solitary dog sculptor: 11/25/09

miércoles, 25 de noviembre de 2009

Music: Sergei Rachmaninov - Fantasie-Tableaux - Suite Nº1 Op 5 - Martha Argerich and Dario Ntaca - Teatro Colón 2003 Festival

Music: Jules Massenet - Meditation from Thais - Yo-Yo Ma

Cocina: Tortas fritas y pan negro. Ricardo Marcenaro bitácora

Llovía y en Argentina es una tradición muy del campo hacer torta frita cuando llueve, muy difícil encontrar un argentino que se resista a comer unas buenas tortas fritas en un día lluvioso.

Las recetas son variadas pero la mía es la mejor (jaja), me salen buenísimas. Amo cocinar y lo que se hace con amor sale bien en todo orden de la vida. Si la gente pusiera amor, que es poner una atención impregnada de corazón abierto: ¡Qué mundo bello que viviríamos!

A mi me gustan que salgan panudas, gorditas, grandes de por lo menos 10 cm de circunferencia aunque una de 15 para empezar no está mal.

Dios me bendijo, no engordo, así que no tengo que cuidarme en demasía.

A la maza le pongo manteca, con grasa son muy pesadas, sí las cocino en grasa, bien caliente para que no absorba la carne de la torta, ese es un buen secreto, tan caliente para que no absorba y no tanto que la grasa humee y se queme, es un punto justo.

En cuanto al pan negro, es una belleza, algunos los hago con granos de trigo remojados, siempre al horno y en vapor como lo hacen los alemanes.

Me gustan estos panes si son húmedos y densos, compactos, para untar manteca y le pongo unos pepinos agridulces que yo mismo hago.

Una casa cuando hule a pan, huele a hogar, un amor raro y acogedor llena la casa, lo mismo cuando hago dulces con la paila.

Este pan negro recibió pepinos para hacer de aperitivo y en el desayuno o la merienda el dulce de naranjas amargas que hice este año que me salió súper.

(Soy el marido perfecto, lástima que no me quiero casar nuevamente ni loco!!!)

Painter: Caravaggio. Michelangelo Merisi da. (1571-1610) Part 5

Magdalene

Martha And Mary Magdalene

Medusa

Narcissus

Nativity With St Francis And St Lawrence

Music: Jamey Johnson - That Lonesome Song

Music: The Eagles - Take It Easy

Poesía: Oliverio Girondo - Membretes - Parte 2

No hay crítico comparable al cajón de nuestro escritorio.

Entre otras... ¡la más irreductible disidencia ortográfica! Ellos: Padecen todavía la superstición de las Mayúsculas.

Nosotros: Hace tiempo que escribimos: cultura, arte, ciencia, moral y, sobre todo y ante todo, poesía.

Los cubistas cometieron el error de creer que una manzana era un tema menos literario y frugal que las nalgas de madame Recamier.

¡Sin pie, no hay poesía! —exclaman algunos. Como si necesitásemos de esa confidencia para reconocerlos.

Esos tinteros con un busto de Voltaire, ¿no tendrán un significado profundo? ¿No habrá sido Voltaire una especie de Papa (negro) de la tinta?

En música, al pleonasmo se le denomina: variación.

Seurat compuso los más admirables escaparates de juguetería.

La prosa de Flaubert destila un sudor tan frío que nos obliga a cambiarnos de camiseta, si no podemos recurrir a su correspondencia.

El silencio de los cuadros del Greco es un silencio ascético, maeterlinckiano, que alucina a los personajes del Greco, les desequilibra la boca, les extravía las pupilas, les diafaniza la nariz.

Los bustos romanos serían incapaces de pensar si el tiempo no les hubiera destrozado la nariz.

No hay que admirar a Wagner porque nos aburra alguna vez, sino a pesar de que nos aburra alguna vez.

Europa comienza a interesarse por nosotros. ¡Disfrazados con las plumas o el chiripá que nos atribuye, alcanzaríamos un éxito clamoroso! ¡Lástima que nuestra sinceridad nos obligue a desilusionarla... a presentarnos como somos; aunque sea incapaz de diferenciarnos... aunque estemos seguros de la rechifla!

Aunque la estilográfica tenga reminiscencias de lagrimatorio, ni los cocodrilos tienen derecho a confundir las lágrimas con la tinta.

Renán es un hombre tan bien educado que hasta cuando cree tener razón, pretende demostrarnos que no la tiene.

Las Venus griegas tienen cuarenta y siete pulsaciones. Las Vírgenes españolas, ciento tres.

¡Sepamos consolarnos! Si las mujeres de Rubens pesaran 27 kilos menos, ya no podríamos extasiarnos ante los reflejos nacarados de sus carnes desnudas.

Llega un momento en que aspiramos a escribir algo peor.

El ombligo no es un órgano tan importante como imaginan ustedes... ¡Señores poetas!

¿Estupidez? ¿Ingenuidad? ¿Política?... “Seamos argentinos”, gritan algunos... sin advertir que la nacionalidad es algo tan fatal como la conformación de nuestro esqueleto.

Delatemos un onanismo más: el de izar la bandera cada cinco minutos.

Sculpture: Kiki Smith - (Wiki In English)

Hanging Woman

Born. 2002. Bronze

Untitled -1990

King Kong

Untitled - 1992

Kiki Smith (clic here Wiki) (born January 18, 1954, in Nuremberg, Germany) is an American artist classified as a feminist artist, a movement with beginnings in the twentieth century. Her Body Art is imbued with political significance, undermining the traditional erotic representations of women by male artists, and often exposes the inner biological systems of females as a metaphor for hidden social issues. Her work also often includes the theme of birth and regeneration, sustenance, and frequently has Catholic allusions. Smith has also been active in debate over controversies such as AIDS, gender, race, and battered women.

Smith began sculpting in the late 1970s. She is best known for her sculptures; however, she creates pieces in a variety of media. She was an active member of the artist's group Colab.^[1]

Her print collection is particularly extensive and began in the 1980s. The Museum of Modern Art (MOMA) has consistently collected her prints, and now owns over fifty of her print projects. Speaking of the quality of reproduction inherent to the medium, Smith has stated that "Prints mimic what we are as humans: we are all the same and yet every one is different. I think there's a spiritual power in repetition, a devotional quality, like saying rosaries." (1998) ^[2]

Since 1980, Smith has produced a myriad of work in media such as sculpture, prints, installations and others that have been admired for having a highly developed, yet sometimes unsettling, sense of intimacy in her works’ timely political and social provocations. These traits have brought her critical success.^[3]

In the Blue Prints series 1999, Kiki Smith experimented with the aquatint process. The "Virgin with Dove" was achieved with aquatint and airbrushing with stop out, an acid resist that protects the copper plate and prevents the Prussian blue ink from adhering therefor creating a halo around the Virgin and Holy Spirit. This image of the Virgin is a powerful example of contemporary Marian art.

Smith's first works were screenprints on dresses, scarves and shirts, often with images of body parts. In association with artist group Colab, Smith printed an array of posters in the early 1980s containing political statements or announcing upcoming events. A sampling of her other works include: All Souls (1988), a screenprint on 36 attached sheets of handmade Thai paper with repetitive images of a fetus, in black and white. Smith created similar prints including Untitled (Baby's Heads), 1990 and Untitled (Negative Legs), 1991. How I Know I'm Here (1985) is a 16-foot, horizontal, four part linocut depicting internal organs including a heart, lungs, and male and female reproductive organs, intermingled with etched lines representing her own feet, face, and hands. Possession Is Nine-Tenths of the Law (1985) is a nine part print portfolio that individualizes and calls attention to the body's internal organs. Smith used the image of a human ovum, surrounded on one side by protective cells, in Black Flag (1989), and 'Cause I'm On My Time (inserts for Fawbush Gallery Invitations ) (1990).

Mary Magdelene (1994), a sculpture made of silicon bronze and forged steel, features a woman's nude body in an untraditional way: her whole body is flayed, skin removed to show bare muscle tissue. However, her face, breasts and area surrounding her navel remain smooth. She wears a chain around her ankle and her face is relatively undetailed and is turned upwards. Smith's sculpture Standing (1998), featuring a female figure standing atop the trunk of a dead Eucalyptus tree, is a part of the Stuart Collection of public art on the campus of the University of California, San Diego.

Smith has also created an extensive collection of self-portraits, nature-themed works, and many pieces that depict scenes from fairy-tales, often in unconventional ways.

Smith feel that she makes traditional objects.

“

I miss radicality—in my own work and in the art world. The art world seems very product-dominated, and I’m a product maker. But it’s not as interesting an art world now. It’s not as determined by artists themselves. When I first came to New York you really had to work at it. It wasn’t given to you. I miss that a little bit. I would like to be more outside of things, but it’s just not my personality at all.^[4]

”

Her father was the artist Tony Smith and her mother the actress and opera singer Jane Lawrence Smith. ^[5]

She has created unique books including: Fountainhead (1991); The Vitreous Body (2001); and Untitled (Book of Hours) (1986). Smith collaborated with poet Mei-mei Berssenbrugge to produce Endocrinology (1997), and Concordance (2006) (and with author Lynne Tillman to create Madame Realism (1984).

In 2009 Smith was awarded the Brooklyn Museum Women In The Arts Award^[6].

Music: Johann Sebastian Bach - Matthäus Passio BWV 244 - Yo-Yo Ma

The St. Matthew Passion (German: Matthäuspassion) (also, Matthæus Passion), BWV 244, is a musical composition written by Johann Sebastian Bach for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias.

Yo-Yo Ma was born in Paris to Chinese parents and had a musical upbringing. His mother, Marina Lu, was a singer, and his father, Hiao-Tsiun Ma, was a conductor and composer. His family moved to New York when he was seven years old.

At a very young age, Ma began studying violin, and later viola, before taking up the cello in 1960 at age four. The child prodigy began performing before audiences at age five, and performed for President John F. Kennedy when he was seven. At eight years old, he appeared on American television in a concert conducted by Leonard Bernstein. By fifteen years of age, Ma had graduated from Trinity School in New York and appeared as a soloist with the Harvard Radcliffe Orchestra in a performance of the Tchaikovsky: Rococo Variations.

Ma studied at the Juilliard School of Music with Leonard Rose, and attended Columbia University, before enrolling at Harvard University, but began questioning whether he should continue his studies until, in the 1970s, Pablo Casals's performances inspired him.

However, even before that time he had steadily gained fame and had performed with most of the world's major orchestras. His recordings and performances of the Johann Sebastian Bach: Cello Suites recorded in 1983 and again in 1994-1997 are particularly acclaimed. He has also played a good deal of chamber music, often with the pianist Emanuel Ax with whom he has a close friendship back from their days together at the Juilliard in New York.

He received his bachelor's degree from Harvard in 1976. In 1991, he received an honorary doctorate from Harvard.

From Yo-Yo Ma's Album: Simply Baroque

Music: Gustav Mahler - Ging heut Morgen übers Feld from Lieder eines fahrenden Gesellen - Dietrich Fischer-Dieskau baritone

Dietrich Fischer-Dieskau, baritone
NHK Symphony, Paul Kletzki, conductor
Filmed at Salle Pleyel, Paris, 24 October 1960

Lyrics:

Ging heut morgen übers Feld,
Tau noch auf den Gräsern hing;
Sprach zu mir der lust'ge Fink:
"Ei du! Gelt? Guten Morgen! Ei gelt?
Du! Wird's nicht eine schöne Welt?
Zink! Zink! Schön und flink!
Wie mir doch die Welt gefällt!"
Auch die Glockenblum' am Feld
Had mir lustig, guter Ding',
Mit den Glöckchen, klinge, kling,
Ihren Morgengruß geschellt:
"Wird's nicht eine schöne Welt?
Kling, kling! Schönes Ding!
Wie mir doch die Welt gefällt! Heia!"
Und da fing im Sonnenschein
Gleich die Welt zu funkeln an;
Alles Ton und Farbe gewann
Im Schonnenschein!
Blum' und Vogel, groß und Klein!
"Guten Tag,
ist's nicht eine schöne Welt?
Ei du, gelt? Schöne Welt!"
Nun fängt auch mein Glück wohl an?
Nein, nein, das ich mein',
Mir nimmer blühen kann!

I walked across the fields this morning;
dew still hung on every blade of grass.
The merry finch spoke to me:
"Hey! Isn't it? Good morning! Isn't it?
You! Isn't it becoming a fine world?
Chirp! Chirp! Fair and sharp!
How the world delights me!"
Also, the bluebells in the field
merrily with good spirits
tolled out to me with bells(ding, ding)
their morning greeting:
"Isn't it becoming a fine world?
Ding, ding! Fair thing!
How the world delights me!"
And then, in the sunshine,
the world suddenly began to glitter;
everything gained sound and color
in the sunshine!
Flower and bird, great and small!
"Good day,
Is it not a fine world?
Hey, isn't it? A fair world?"
Now will my happiness also begin?
No, no - the happiness I mean
can never bloom!

Music: Dimitri Shostakóvich - Symphony 9 Op. 70 - Valery Gergiev - Kirov Orchestra

Symphony No. 9 in E flat major, Op. 70

I. Allegro
II. Moderato
III. Presto
IV. Largo
V. Allegretto-Allegro

Composer: Dmitri Shostakovich (1906-1975)
Performer: Kirov Orchestra
Conductor: Valery Gergiev

Symphony No. 9 in E flat major, Op. 70 was composed by Dmitri Shostakovich in 1945. It was premiered on 3 November 1945 in Leningrad by the Leningrad Philharmonic Orchestra under Evgeny Mravinsky.
The ninth symphony was originally intended to be a celebration to the Russian victory over Nazi Germany in World War II (see Eastern Front). The composer once declared in October 1943 that the symphony would be a large composition for orchestra, soloists and chorus which the context would be "about the greatness of the Russian people, about our Red Army liberating our native land from the enemy". In an occasion of the 27th anniversary of the Revolution held in 1944, Shostakovich affirmed, "Undoubtedly like every Soviet artist, I harbor the tremulous dream of a large-scale work in which the overpowering feelings ruling us today would find expression. I think the epigraph to all our work in the coming years will be the single word 'Victory'."

David Rabinovich recalled a conversation he had with Shostakovich on the ninth symphony in 1944 that the composer "would like to write it for a chorus and solo singers as well as an orchestra". In a meeting with his students on 16 January 1945, Shostakovich informed them that the day before he had begun work on a new symphony. A week later, he told them that he had reached the middle of the development section, and the work was going to be opened with a big tutti. Isaak Glikman heard around ten minutes of the music Shostakovich had written for the first movement in late April, which he described the work was "majestic in scale, in pathos, in its breathtaking motion".

But then Shostakovich dropped the composition for three months. He resumed working on the symphony on 26 July 1945 and finished composing on 30 August 1945. The symphony turned out to be a completely different work as he had originally planned, with neither soloists nor chorus and the mood was much lighter than expected. He forewarned listeners, "In character, the Ninth Symphony differs sharply from my preceding symphonies, the Seventh and the Eighth. If the Seventh and the Eighth symphonies bore a tragic-heroic character, then in the Ninth a transparent, pellucid, and bright mood predominates."
Shostakovich once mentioned that "musicians will like to play it, and critics will delight in blasting it". But the initial reaction of his peers to the new symphony was generally favorable. Gavriil Popov described: Transparent. Much light and air. Marvelous tutti, fine themes (the main theme of the first movement - Mozart!). Almost literally Mozart. But, of course, everything very individual, Shostakovichian... A marvelous symphony. The finale is splendid in its joie de vivre, gaiety, brillance, and pungency!!

Shostakovich's prediction was right in long run: less than a year after its première, Soviet critics censured the symphony for its "ideological weakness" and its failure to "reflect the true spirit of the people of the Soviet Union". On 20 September 1946, a highly critical article by musicologist Izraíl Nestyev "Remarks on the Work of D. Shostakovich: Some Thoughts Occasioned by His Ninth Symphony" was published. It wrote: What remains to be proposed is that the Ninth Symphony is a kind of respite, a light and amusing interlude between Shostakovich's significant creations, a temporary rejection of great, serious problems for the sake of playful, filigree-trimmed trifles. But is it the right time for a great artist to go on vacation, to take a break from contemporary problems?

Neither was the symphony well received in the West: "The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner" (New York World-Telegram, 27 July 1946).

Symphony No. 9 was nominated for the Stalin Prize in 1946, but failed to win it. By order of Glavrertkom, the central censorship board, the work was banned on 14 February 1948 in his second denunciation together with some other works by the composer. It was removed from the list in the summer of 1955 when the symphony was performed and broadcast.
http://en.wikipedia.org/wiki/Symphony...

Painter: Benito Quinquela Martín - Part 1 - In English y Español

Cementerio de barcos - Boat Graveyard

Chimeneas en La Boca - Fireplaces in La Boca

Descarga - Unloading

Fundición de acero - Steel foundry

Benito Quinquela Martín (clic here Wiki) (March 10(?), 1890–January 28, 1977) was an Argentine painter born in La Boca, Buenos Aires. Quinquela Martín is considered the port painter-par-excellence and one of the most popular Argentine painters. His paintings of port scenes show the activity, vigor and roughness of the daily life in portuary La Boca.

Early years

His birthday could not be determined precisely as he was abandoned on March 21, 1890 at an orphanage with a note that stated "This kid has been baptized, and his name is Benito Juan Martín". From his physical appearance, the nuns who found him deduced that he should be around ten days old; thus March 10 is regarded as his birthday.

Adopted by Manuel and Justina Molina de Chinchella when he was six years old, he adopted his stepfather's surname (which would later be hispanized as Quinquela).

At the age of 14 he attended a modest night school of drawing in La Boca while working during day on the family's coal-yard. When he became 17 years old he joined the Pezzini Stiatessi Conservatory, where he stayed until 1920.

International Exhibitions

By 1910 he had started appearing small art exhibitions, mainly in and around La Boca. He obtained the second prize on the Salón Nacional (Spanish, "National Exhibition") in 1920. After an exhibition at Mar del Plata in the same year, he was sent as the Argentine representative to an exhibition in Rio de Janeiro, Brazil attended by local personalities including Brazilian president Epitacio Pessoa.

By the 1920s Marcelo T. de Alvear and his wife were very fond of Quinquela Martín's works, and this admiration led to a lasting friendship. In 1922, Quinquela Martín was assigned as chancellor of the Argentine Madrid Consulate in Spain. On April, 1923 he exhibited at the Círculo de Bellas Artes of Madrid. Two of his works were acquired by the institution (Buque en reparación and Efecto de Sol), while another two were acquired by the Museum of Modern Art of Madrid. In 1925 he set sail for France because—in his own words—"My trip to France is owed to President Alvear, who liked my works and wanted them to be judged by Paris". The Museum of Luxembourg acquired Tormenta en el astillero.

On 1927 he left for New York, where he put part of his work on display at the Anderson Galleries. Accounts say two paintings were bought by "Mr. Havemeyer", who donated them to the Metropolitan Museum of New York. After this exhibition he made several others under sculptor Georgette Blandi's tutelage. Before returning to Buenos Aires, he was invited to Havana by Conde Ribero to exhibit there.

On 1929, on a trip to Italy, he made an exhibition at the Palazzo delle Esposizioni in Rome. The Museum of Modern Art of Rome acquired several paintings which were chosen by Benito Mussolini during the display. Quinquela Martín made his last trip in 1930, to London, where he exhibited at the Burlington Gallery. Several British museums acquired his paintings, including the Museum of Arts of London, Museum of Birmingham, Sheffield, Swansea, Cardiff, New Zealand and St. James's Palace.

Back in his homeland, he became a philanthropist and donated several works to La Boca and the city of Buenos Aires.

He died in Buenos Aires on January 28, 1977, and was buried in the La Chacarita Cemetery.

Famous works

Among his most famous works are: Tormenta en el Astillero (Musée du Luxembourg, Paris), Puente de la Boca (St. James's Palace, London) and Crepúsculo en el astillero (Museo Nacional de Bellas Artes, Buenos Aires).

Jornada de Trabajo - Labor Day

Benito Quinquela Martín (clic aquí Wiki) (1 de marzo de 1890; 28 de enero de 1977) fue un pintor argentino nacido en La Boca, Buenos Aires. Quinquela Martín es considerado el pintor de puertos -por excelencia- y es uno de los más populares pintores argentinos. Sus pinturas portuarias muestran la actividad, vigor y rudeza de la vida diaria en la portuaria La Boca.

Primeros años

No ha podido determinarse con certeza su nacimiento porque fue abandonado el 20 de marzo de 1890 en la Casa de los Expósitos, un orfanato con una nota que decía "Este niño ha sido bautizado con el nombre de Benito Juan Martín". Por su forma física, se dedujo que habría nacido 20 días antes; por lo que se fijó aquella fecha para su cumpleaños.

Con seis años, fue adoptado por Manuel Chinchella y Justina Molina, y él adoptó el apellido de su padrastro (que luego sería fonetizado como "suena" en el italiano, al castellano como Quinquela). “Mi vieja me conquistó en seguida –dicta Quinquela en su autobiografía recogida por Andrés Muñoz y publicada en 1963– y desde el primer momento encontró en mí un hijo y un aliado”. Justina Molina tenía sangre india, venía de Gualeguaychú y era analfabeta, lo cual no le impedía atender la carbonería en el barrio porteño de la Boca con perfecta eficiencia: se acordaba mejor que nadie del estado de cuentas de cada cliente. Manuel Chinchella era un forzudo italiano que redondeaba los ingresos de la carbonería con trabajos en el puerto, donde cargaba de a dos las bolsas de 60 kg. Su trato con el niño era un poco distante, de ruda ternura, pero cada tanto una caricia cuando el padre llegaba del puerto le tiznaba la cara al "purrete" (niño).

A los 14 iba a una escuela nocturna de pintura en La Boca mientras de día trabajaba en la carbonería familiar. Con 17 años entra al Conservatorio Pezzini Stiatessi, donde estudia hasta 1920.

Muere a los 87 años, el 28 de enero de 1977.

Fue el inventor de la calle "Caminito", una vía de ferrocarril abandonada que él quiso transformar en museo al aire libre para favorecer a los artistas y artesanos del barrio en los años de la década de 1950, y que con el tiempo, su éxito fue tal que ahora pareciera que siempre estuvo ahí

Trabajos famosos

Quizás sus más famosos trabajos sean: Tormenta en el Astillero (Museo de Luxemburgo, París), Puente de la Boca (Palacio St. James, Londres), Crepúsculo en el astillero (Museo de Bellas Artes, Buenos Aires).

Music: Dimitri Shostakóvich - Symphony 5 - 1Mov. - Leonard Bernstein - NYPO

Music: Kate Bush - Oh To Be In Love

As the light hits you,
As you shift along the floor,
I find it hard to place my face.
How did I come to be here, anyway?
It's terribly vague, what's gone before.

I could have been anyone.
You could have been anyone's dream.
Why did you have to choose our moment?
Why did you have to make me feel that?
Why did you make it so unreal?

Oh! To be in love,
And never get out again.
Oh! To be in love,
And never get out again.
Oh! To be in love,
And never get out again.

All the colours look brighter now.
Everything they say seems to sound new.
Slipping into tomorrow too quick,
Yesterday always too good to forget.
Stop the swing of the pendulum! Let us through!

Oh! To be in love,
And never get out again.
Oh! To be in love,
And never get out again.
Oh! To be in love,
And never get out again.

Poesía: Raúl Gonzalez Tuñon. El Fugitivo

Embarque de cereales. 1934 - Benito Quinquela Martín - Argentino

El Fugitivo

Isla Maciel. Barriada de la orilla.

Cruza una barca el Riachuelo en sombra

y en el silencio de las callejuelas

la policía ronda, ronda, ronda.

En la mesa curtida del fondín

bosteza el viejo rey de la baraja.

Todos los parroquianos han partido.

Crece la soledad como una planta.

Arma la madre su antigua paciencia.

Alguien apaga la lánguida lámpara

y a un horizonte de carbón y bruma

un viento amargo ladra, ladra, ladra.

Dicen la recia historia del suburbio

muros de fábrica, gastados postigos

y ese gris territorio donde alza

su sórdida silueta el Frigorífico.

Soñando al borde de las turbias aguas

Divaga un sauce, buscador de estrellas.

Una extraña quietud flota en la noche

y mirando la luna sobre el techo

un niño solo espera, espera, espera.

Botany: Fungus. Hongos. Funji: Clitocybe. Part 2

Clitocybe deceptiva

Clitocybe glacialis

Clitocybe inversa

Music: Kate Bush - Moments Of Pleasure

Music: Kate Bush - Gaelic Song: Mná na hÉireann (Woman of Ireland)

Music: Tori Amos - Precious Things

Music: Tori Amos - Taxi Ride

Painter: Giovanni Bellini (1430-1516) Part 10 - Links

Sacra Conversazione. Detail. 1505. Oil on canvas, transferred from wood. S. Zaccaria.

St. Christopher, St. Jerome, and St. Louis. 1513. Tempera on panel.

St. Christopher. Panel of St. Vincent Ferrar Polyptych. c. 1464-68. Tempera on panel.

St. Francis in the Wilderness. c. 1480. Tempera and oil on wood, 124x142 cm.

St. Jerome in the Desert. c. 1480. Tempera on panel. 151x113 cm. Palazzo Pitti, Italy.

Painter: Giovanni Bellini (1430-1516) Part 10 - Links

You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
In the blog: Solitary Dog Sculptor I, the alphabetical guide is on the right side of the page
Thanks

Usted tiene una guía alfabética al pie de la página en el blog: solitary dog sculptor
En el blog: Solitary Dog Sculptor I, la guia alfabética está en el costado derecho de la página
Gracias

Ricardo M Marcenaro - Facebook

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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

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Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)