The European Building 2007 -2016 Home to the European Council and Council of the European Union, designed by Philippe Samyn and Partners, who was collaborating with Studio Valle Progettazioni, and @burohappoldengineering. Warning: thought-dumping ahead! Now; If you have seen my feed you probably know I don't post a heck of a lot of modern/ post modern/ contemporary architecture (this is the first) And it's not always because I don't think it's beautiful. It's usually because it doesn't do anything for me. I can't identify with it, it doesn't speak to me or touch me. It's often nice, but boring... See, I don't know what it is about this building, but when I saw it for the first time it felt like we immediately connected, maybe it's because it incorporates the art deco Résidence Palace on the right, uses the wood of its window frames as a way to carry some of the style foreward. Maybe it's the fact, that those recycled window frames allow you to have a look into the soul of Europe but also reflect the surroundings to show you the EU is to a certain degree a product of our time and mentality. I do have a lot more thoughts on the matter but this is too long as it is...
Some pictorial innovations in the account of the XV century Florence School is given in frescoes such as the Tribute. His use of foreshortening, cast shadows, linear perspective, and a light source for all the composition, etc, makes it unequivocally think of the broad spatial sense that we, as spectators, have when contemplating the frescoes. All taken together lead us to think indeed, as pointing above, as the Brancacci Chapel as another kind of Sistine Chapel in the great Italian landscape of the XV century.
Masaccio’s Expulsion fresco looks almost real and opposes to the previous scene of Masolino da Panicale’s Adam and Evefresco; the force impinged by the angel with his sword help to focus on the agonizing, desperate faces of the couple of sinners.
Masaccio’s use of space in his composition was a leap forward in the development of the creation of more convincing spatial representations in artworks. He probably took careful observation at the buildings in Florence to get some inspiration as to represent the constructions in his pieces. So, the use of the linear perspective –as in the case of the Tribute fresco– is achieved by creating a clearly established sense of movement on the part of both Adam and Eve (particularly more convincing in the case of Adam, I would say). It is said that Michelangelo would spend whole hours contemplating the frescoes while making some sketches to comprehend his use of perspective in artworks. Going back again to the Tribute, a great narrative story is depicted in a single fresco recollecting the story of Peter’s tribute: three scenes in one fresco, the extracting of the coin from the fish, Christ being asked to produce some coins to get to the Temple, and Peter paying the tax collector. Movement seems to be on our minds when watching and remembering the biblical story in front of us.
Masolino, a refined master of the late Gothic style, tailors his style to switch that of his younger colleague, Masaccio. However, both personalities were clearly differentiated: Masaccio’s characters endowed with plasticity set in spatial compositions and Masolino’s mostly refined figures following compositional Gothic modes.
Cappella Brancacci. (Just a few frescoes only!). 1424-c.1428, Santa Maria della Carmine, Florence. Masolino da Panicale(c.1383 – c.1435-40), and Masaccio (1401 –1428). This worldwide famous chapel, originally founded by Antonio Brancacci in the late XIV century, –and being of the supreme masterpieces of renaissance painting– was again brought to the limelight when Felice di Michele Brancacci, another successful family member on his return from Egypt in 1423, decided to ask Masolino da Panicale and Masaccio to execute the decoration of the cappella.
The Brancacci chapel, which had been founded by friars from Pisa in 1268; known as “the Sistine Chapel of the Early Renaissance” by art historians, was added to the south transept of the church round about 1386; provisions for its building were provided in Pietro Brancacci’s will (1367). It was to be dedicated to St Peter, so both painters worked on the Stories of his life to be frescoed on the walls of the chapel. The work was left unfinished once Masolino set off for Hungary (to work in other royal commission) and Masaccio for Rome (1427). It was not until 1481-83 that Filippino Lippi took over the work to restore and complete those scenes which had been left unfinished at the departure of the two masters.
After a tormented life, including extensive XVI century building alterations, a fire which gutted the church in 1771, and more renovation works, as a result of the fire, carried out by G. Ruggieri, etc., the series of frescoes passed through several hands, both artistically and in terms of ownership, as in the 1780s –for example- when the chapel was acquired by the Riccardi family, who immediately set about to do some more restoration works.
Jesús Lorenzo Vieites
Hoy es el aniversario del artista barcelonés Joan Miró i Ferrà.
Miró fue pintor, escultor, grabador y ceramista. Y además uno de los pioneros de eso que se llamó surrealismo, en concreto de su vertiente más «infantil» y automática.
Para Joan Miró el subconsciente era un enorme campo de juegos, o un juguete muy parecido a los que tuvo en su infancia.
Con inicios muy eclécticos, el pintor nació con las vanguardias y en su primera obra mostró fuertes influencias del fauvismo, cubismo y expresionismo, todo con ese toque tan naïf propio de su producción.
Pero en París descubre el poder de lo onírico y decide acabar con los métodos convencionales de pintura. Enpalabras propias quería «matarlos, asesinarlos o violarlos». En 1924 firma el Manifiesto Surrealista e incorpora a su obra formas infantiles automáticas y signos caligráficos.
Su obra se va volviendo cada vez más abstracta, más simple, más infantil. Reduce también su paleta a colores primarios, a formas primarias, y esto se ve también en sus esculturas y cerámicas.
Su arte roba de la infancia, pero también de la cultura popular, por lo que hay mucho simbolismo (el pájaro, las estrellas, la figura femenina…) que refleja su visión ingenua, feliz e impetuosa del mundo.
~ Germanic Tribe Ubii ~
My usual classes of today were switched for a trip to the Romano-Germanic Museum in Cologne.
It was mostly focused on Germanic robes. I was one of the few that put on one of the few robes our tour guide has ordered to be made just for tours like this. 😏
It was very interesting and half the time I was thinking about how I could/should improve my Loki!Gabriel Cosplay to look a little more accurate. 😅
#museum#germanic -romanomuseum #ubii#robes#tunic#museumtour#classtrip#school#kunstgeschichte#kostümkunde
Feeling sick already? Think you’re getting crazy? Think you are in control? The truth is that you are not. You have yourself fooled by simple black and white lines and your brain. Bridget Riley, ‘current’, 1964, MOMA, shows us how immobility moves. It is hard to believe that Riley was strongly influenced by the post impressionist George Seurat in the run-up to her artistry. Though it is easy to understand she was hit by the optical illusion of his pointillism technique. Drafting far away from the figurative style and passing the abstract expressionism, she became the leading lady of Op Art. The art movement that experimented with optical effects and contrasting colors. Confronting us with the power of the lines and the magic of perception. It was the 60s, the so-called ‘happenings’ - flash mob ‘avant la lettre’ - where people came together to experience art as a live act, were upcoming. Hallucinating drugs included. Austin Powers would have fit in well: ‘Oh yes, baby yes’. ‘I got my mojo back’. Now get out and have some fun and don’t take yourself too serious. Have a nice sunny weekend and enjoy! #art#kunst#arthistory#kunstgeschichte#moma @themuseumofmodernart #weekend#weekendvibes#opart#newyork#newyorkcity#sixties#museum#citytrip#travel
St Catherine Crowned, c.1520. Oil on panel. 35.2 cm x 27.9 cm. Kelvingrove Art Gallery, Glasgow. Attributed to Bartolomeo Veneto –(“Bartolomeo half-Venetian and half-Cremonese”)– (Venice, fl. end of XV-early XVI century, died in Turin, 1531) Nothing relevant pertaining to his early life has reached us except by way of a few dates, inscriptions, and signatures on his works; as reflected in the abovementioned inscription of one of his madonnas (1502) Possibly he was in Giovanni Bellini’s workshop (as his earliest compositions reveal). Not until he went to work in the Ferrarese court d’Este (1505-1508) that he started to develop a gusto for portraiture, a branch in which he excelled and received numerous commissions. His best known works were half-length portraits of richly and fashionably high society men of his time. He was in Padua and Milan in the second decade of the XVI century, being a successful portrait painter (though certainly contested as a portraitist) and, following Leonardo’s steps, Bartolomeo, perhaps, was influenced in his pictures of now by the great master (Lady Playing the Flute, a point in case). But that’s another story.
Legend says that in 310 AD the beautiful Catherine of Alexandria –a truly learned woman who easily convert people towards the new Christian religion- was martyred by the emperor Maximus. The torture-wheel strewn with glass shards to impale her while being tortured never worked with Catherine as the saint, after touching the wheel, it was broken. So, Maximus decided to cut her head off. In the picture we see St Catherine crowned, represented by a young woman, inclines her head downwards and to the left; her brown wavy hair falls on the shoulders, and on her head is a veil with little white flowers. She is dressed in a red robe, the brim of which is adorned with precious stones; a part of a torment-wheel is seen on the left, associated to her instrument of torture. Dark background (which, by the way, was a common recourse in his paintings; so we have same dark backgrounds in Flora or in Lady Playing the Flute, for example). His meticulous detail to costume and garment accessories is something of a trend in his subjects.
Otto Wagner’s Contemporaries ✨ Nachdem sich derzeit alles um Otto Wagner dreht, möchten wir euch auch einige seiner Zeitgenossen vorstellen. Durch die Gründung der Wiener Werkstätte 1903 wurden Kunsthandwerk, Architektur und Inneneinrichtung wieder besonders geschätzt. So bekamen auch Interieurbilder neue Bedeutung. Dieses Werk von Carl Moll, Teil der Dauerausstellung im Wien Museum, zeigt einen privaten Moment: Moll’s Frau Anna und ihre gemeinsame Tochter Marie beim Vorlesen im Salon. Carl Moll und Koloman Moser bewohnten übrigens ein Doppelhaus auf der damals noch recht ländlichen Hohen Warte. • Carl Moll, Salon im Haus auf der Hohen Warte, 1903 (Ausschnitt) #ottowagner#wienmuseum#wien#museum#jahrhundertwende#carlmoll#moll#kunstgeschichte
Auf in ein neues Semester. 🎓✍Das alte ist noch gar nicht abgeschlossen - erst am Montag werde ich meine letzte Hausarbeit abgeben. Seit Oktober also Dauer(stress)arbeit. Seit zwei Monaten habe ich nur einen freien Abend pro Woche. Aber das Ziel vor Augen und in greifbarer Nähe. Schritt für Schritt zum Abschluss.👣💪 #studierenmitkindern#kunstgeschichte#walterbenjamin#sommersemester
Beautiful head on the facade of the Fredericks Wing at #schlossheidelberg . I feel torn between loving the look of moss growing on it and knowing for a fact, that the elements and nature will slowly destroy this amazing castle. That's aslo what make monument conservation such a hard but worthwhile job. But as one of my professors put it: "Think of yourself as a delaying factor to an inevitable result"
The Coronation of the Virgin, c.1420. Tempera and gold leaf on panel. 87.5 × 64 cm. This work, which was portable and accompanied originally by a reverse panel depicting the stigmatization of Saint Francis, was meant to be carried in religious festivities related to the Virgin. (Both panels were sawn off sometime during the first or second decades of the XIX century, and the Saint Francis one being kept in a private collection in Italy). It is believed that the standard was commissioned for the Franciscans of Fabriano’s hometown.
In a most tender image, Jesus (both blessing and crowning simultaneously, a most unusual scene in painting of the time) is placing, gently, the crown on top of His mother, who, according to the canon, shows a sign of humility, with her head bowed. The scene is completed by an assorted group of angels singing holding musical scrolls. As a characteristic of the painting of the epoch is the widespread use of gold leaf and ornamental patterning with rich, luxurious fabrics, both in the background and in the garments of the characters, both dressed in gold-encrusted brocades. In fact, this richness of colour –brilliant colors over a layer of gold leaf– and intricate patterns lead us to think of the painting as a kind of visual representation of a tapestry, so in vogue during the Renaissance. This industriousness in the designs of the robes of both the Holy Virgin (embroidered in gold with elaborate pattern) and Christ is part and parcel of the so-called International Gothic style.
Not great many of his paintings have survived, a fact which, however, has not been detrimental to the great influence that his works had had on his contemporaries, such as Pisanello, Bellini or di Paolo, not to mention, Fra Angelico, his most advanced artistic disciple. A truly venerable old panel which, surely, was among Gentile’s most praised artworks.
Jesús Lorenzo Vieites
The Coronation of the Virgin, c.1420. Tempera and gold leaf on panel. 87.5 × 64 cm. The J. Paul Getty Museum, Los Angeles. Gentile da Fabriano (the Marches,c.1370 - 1427). Though at first he was influenced by artists like Francesco di Cecco Ghissi and Allegretto Nuzi, he soon started to develop his own style in the domains of the International Gothic, perhaps, thanks to the painters and miniaturists from Lombardy (witness hisMadonna at the church of San Niccolio, Fabriano)
He first worked in Venice; regretfully none of his early frescoes have survived. By 1422 he had joined the Florentine guild, and started a workshop. Having worked in Rome (for Pope Martin V), Florence and the northern and central parts of Italy –including his natal Fabriano–, his reputation grew to the highest level, and as a result, a series of important commissions followed suit. The International Gothic style that Gentile da Fabriano introduced in Florence was already known there but with diluted Sienese shades. It was his Palla Strozzi commission (The Adoration of the Magi, 1423) that set in full light the powerful new style that was to link the old styles with the new Renaissance in the offing. (end of part 1)
Jesús Lorenzo Vieites
„Out of Control_Revisited – The Autonomy of Growth (Detail), von Birgit Knoechl, 2015
#Tusche auf Papier – #KunstinWaiblingen
Nur noch bis Sonntag, 22.04. in der Galerie Stihl in Waiblingen zu sehen!
Bild 2 zeigt euch die komplette Cut-Out-Installation, fotografiert vom Waiblinger Fotografen Peter Oppenländer. Schaut noch schnell vorbei! Nur noch 4 Tage – #GalerieStihl#birgitknoechl#peteroppenländer @oppenlaender_p
Aus der Ausstellung „Scharf geschnitten. Vom Scherenschnitt zum Papercut“ in der Galerie Stihl Waiblingen.
Gezeigt werden außerdem historische Werke aus der Blütezeit des Papierschneidens (um 1800) bis zur zeitgenössischen Kunst. Dabei sind natürlich auch wieder namhafte Künstler aus Waiblingen und der Region vertreten, wie z.B. Luise Duttenhofer (1776 –1829). Weitere internationale Künstlerinnen und Künstler bereichern die Werkschau. Gezeigt werden auch 3D Objekte, Reliefartiges aus Papier und technische Perfektionen, die sogar zu Animationen werden. Folgende Künstler sind u.a. vertreten: Christiane Luise Duttenhofer, Esther Glück, Lena von Goedeke, Birgit Knoechl, Jörg Mandernach, Charlotte McGowan-Griffin, Adolph von Menzel, Olaf Nicolai, Marcel Odenbach, Katja Pfeiffer, Zipora Rafaelov, Philipp Otto Runge, Georgia Russell, Henrik Schrat, Annette Schröter, Valentina Stanojev, Kris Trappeniers, Kara Walker, Luise Walther. .
Öffnungszeiten der Galerie Stihl Waiblingen
Dienstag bis Sonntag: 11.00 bis 18.00 Uhr
Donnerstag: 11.00 bis 20.00 Uhr
Sonn- und Feiertags: 11:30 und 15:00 Uhr
Donnerstags: 18:00 Uhr www.galerie-stihl-waiblingen.de