Watch Anime Online
Tags : naruto one piece bleach trigun kenichi inuyasha devil may cry deathnote claymore
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
User: moonlightnoir |
Erwin Blumenfeld - Collages and Photography Erwin Blumenfeld (1897-1969) was a famous American photographer of German origin. In the 1930s, he published collages mocking Adolf Hitler. In 1936, he emigrated to Paris. With the German occupation, he was interned in a concentration camp in 1940 because he was Jewish. In 1941, he could escape to the USA. In the 1940s and 1950s he became famous for his fashion photography, working for Vogue and Harper's Bazaar, and also for artistic nude photography. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death. About Erwin Blumenfeld Erwin Blumenfeld was a renowned photographer whose work is situated between 1930 and 1969. He was born in Berlin on 26 January 1897, moved to Holland late 1918, and started a professional career in photography in 1934. He moved to France in 1936. From 1937 to 1939, he published in Vogue and Harper's Bazaar. When the Second World War broke out, he was interned in French camps as an alien, but was everntually allowed to leave for New York in 1941. He became a US citizen in 1946. His more personal work is in black and white; his commercial work in fashion, much for Vogue and Harper's Bazaar, is mostly in color. In both media he was a great innovator. In black and white he did all his work personally in the dark room. In color he drew on his extensive background in classical and modern painting. He married Lena Citroen in Holland in 1921 and had three children there: Lisette, Henry Alexander and Frank Yorick. He died in Rome on July 4th, 1969. For details of his life one should read his picaresque autobiography, which he wrote in German and on which he worked from 1955 till 1969. It has been published in German under the title: Einbildungs Roman, Eichborn Verlag, 1998. It also has come out in English under the title: Eye to I, Thames and Hudson, 1999. It was first published in French under the title: Jadis et Daguerre, Robert Laffont, 1975, with a re-edition by Editions de la Martinière, 1996. It also has come out in Dutch: Spiegelbeeld, Uitgeverij de Harmonie, 1980. There were several earlier German editions under the title: Durch thousendjährige Zeit. To appreciate his work in photography, the principal publications of his work are the following: •My One Hundred Best Photos, Bentelli Verlag, 1979. Only black and white. •A Passion for Beauty, Thames and Hudson, 1996. •The Naked and the Veiled, Thames and Hudson, 1999 •Erwin Blumenfeld. 55 Photos, Phaidon Press 2004 ISBN 0-7148-4193-5 A lesser-known aspect of Blumenfeld's image-making is his films. Captured between 1958 and 1964, these were mainly pilots for beauty commercials, aimed at his key beauty clients Helena Rubenstein, Elizabeth Arden and L'Oreal. The full holdings can be seen on SHOWstudio.com. Erwin Blumenfeld had numerous exhibits of his work, among the most important were the following: •Rath Museum in Geneva, Switzerland, 1979 •Musée Pompidou, Paris, France 1981 •Barbican Museum, London, UK, 1996. This exhibit travelled to many cities, including Zurich, Lausanne, Berlin, Paris, Amsterdam. •A show of his Dutch period, has run from 9 September till 26 November 2006, in the Hague Museum of Photography, Netherland. A catalogue/book has been published for this occasion Erwin Blumenfeld His Dutch Years 1919 to 1936 by Veenman Publishers ISBN 90-8690-033-X http://en.wikipedia.org/wiki/Erwin_Blumenfeld http://www.writing.upenn.edu/~afilreis/Holocaust/blumenfeld.html http://www.modernisminc.com/artists/Erwin_BLUMENFELD/ http://www.ubugallery.com/phpwcms/?id=34,125,0,0,1,0 http://en.wikipedia.org/wiki/Dadaism http://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp http://epc.buffalo.edu/authors/perloff/dada.html http://www.showstudio.com/projects/blumenfeld/ Music: You Do Something to Me (Cole Porter), Marlene Dietrich http://www.amazon.com/Cocktail-Hour-Marlene-Dietrich/dp/B00004RD4W http://en.wikipedia.org/wiki/Cole_Porter Tags: Erwin Blumenfeld Collages Photography Cole Porter Marlene Dietrich |
User: moonlightnoir |
Art of Photography - Mario Cravo Neto "Mario Cravo Neto (Brazilian photographer) was born on April 20 1947, in the city of Salvador, Bahia, where to this day he continues to live and work. In 1964, at the age of 17, he moved to Germany, where his father, the sculptor Mario Cravo Jr., was participating in the Artist in Residence program, in Berlin. It was during this period that Cravo Neto began his first experiences with sculpture and photography. In 1965, he returned to Brazil where he won an award at the first Art Biennial of Bahia and also mounted his first solo exhibition. Between 1968 and 1970, he lived in New York, where he studied at the Art Students League, under the direction of artist Jack Krueger, one of the pioneers of conceptual art. In 1970, he published his first photographic work outside of Brazil, in the catalog for the exhibition Information at New York's Museum of Modern Art. In New York, Cravo Neto also produced a series of color photographs entitled On the Subway, which were published in the magazine Camara 35, and a black and white series that explored the theme of human solitude against the backdrop of a large city. In addition to his photographic work, in his SoHo studio, he developed a series of plexglass sculptures based on the process of the "terrarium," which involved the growing of live plants in closed environments. In 1971, at the 11th International São Paulo Biennial of Art, in a special room, he showed his installation of live sculptures produced in New York, for which he was awarded the São Paulo State Governor's Sculpture Prize. Between 1971 and 1974, Cravo Neto devoted himself to the creation of in situ land art projects: with direct interventions in the natural landscapes of the desert-like Bahian sertão and the outlying of Salvador. His systematic documentation of these works fostered an intimacy with cinematographic language. In this filmic context, he made various short features, which led him to win the prestigious Embrafilme National Award for cinematography (1976), for his work on the feature-length film, Ubirajara, directed by André Luis Oliveira. In March of 1975, a near-fatal car accident left Cravo Neto with both legs immobilized for an entire year. This difficult setback, however, didn't at all curtail the artist's activities. During this period he initiated a series of small-scale models of his three-dimensional works and focused his energies on studio portraits and the appropriation of objects for use in his installations and photographic compositions. From this period emerged a unique authorial work, which Cravo Neto created out of the integration he choreographed between characters and objects: the results of which could be called as black and white photo-sculptures. During this phases he produced emblematic works such as Ninho de Fiberglass (Fiberglass Nest, 1977) and Câmaras Queimadas (Burnt Cameras, 1977), which were exhibited, respectively, at the 14th and 15th editions of the São Paulo Biennial. These works were both commented upon by Edward Leffingwell in the preface to his book The Ethernal Now (2002), the most comprehensive study of Mario Cravo Neto to date, featuring 136 black and white studio photographs. In the words of Leffingwell: the first link between these sited projects, the installations that followed, and the photographs for which he is known today consisted of the presentation of a nest made out of translucent fiberglass filaments gathered by some unknown avian architect from the neighborhood of his studio in Bahia. Prior to the publication of The Eternal Now, these black and white photographs had appeared in various books and catalogs and had been exhibited internationally in leading museums, galleries, and photographic festivals, among them: the Palazzo Fortuny, Venice (1988); the Witkin Gallery, New York (1992), Houston FotoFest, Houston (1992); the Museu de Arte de São Paulo (MASP), São Paulo (1995); the Fahey Klein Gallery, Los Angeles (1998); and Photo España, Madrid (1998), where the artist displayed his large-scale photographic impressions in the open-air exhibition throughout Madrid's Royal Botanic Garden. In 1994, the publication of Mario Cravo Neto (Stemmle, Zurich) accompanied a solo exhibition at Frankfurt's Frankfurter Kunstverein, Frankfurt."(...) Please, for more information visit the official website http://www.cravoneto.com.br/ http://www.ephotozine.com/photo/pro-portfolio/Mario-Cravo-Neto http://www.luccadigitalphotofest.it/index.php?view=article&catid=12:mostre&id=42:mario-cravo-neto&option=com_content&Itemid=24&lang=en http://en.wikipedia.org/wiki/Bahia Photography in Brazil (Portuguese) http://pt.wikipedia.org/wiki/Fotografia_no_Brasil http://site.pirelli.14bits.com.br/ Brazilian mythology: http://en.wikipedia.org/wiki/Brazilian_folklore Music: "Felicidade"- Suba, Buddha-Bar, Vol. II (Composers: Vinícius de Moraes and Antonio Carlos Jobim) http://www.amazon.com/Buddha-Bar-Vol-II-Claude-Challe/dp/B00008KCOI Tags: Photography Art Mario Cravo Neto |
User: moonlightnoir |
Art of Photography - Cole Thompson "At 14 years of age, I knew that I was destined to be a fine art photographer.While living in Rochester, NY, I stumbled across an old building associated with George Eastman, whichled to my reading of his biography. Before I even completed the book, I knew that I was going to be a photographer and for the next 10 years, photography was my complete existence. If I wasn't taking pictures or in the darkroom, I would spend countless hours looking at every book and image I could find. There was nothing in my life except photography. Even at an early age I found myself drawn to a particular style of image, one that would literally cause a physical reaction in me. They were dark images created by Adams, Weston, Bullock and others. I knew that I was destined to create such images. I am often asked, "Why black and white?" I think it's because I grew up in a black-and-white world. Television, movies and the news were all in black and white. My heroes were in black and white. My images are an extension of the world in which I grew up. An important early influence in my life and my art was the poem "Invictus" by William Ernest Henley. Out of the night that covers me, Black as the Pit from pole to pole, I thank whatever gods may be For my unconquerable soul. In the fell clutch of Circumstance I have not winced nor cried aloud. Under the bludgeonings of Chance My head is bloody, but unbowed. Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds, and shall find me, unafraid. It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate: I am the captain of my soul. For me, this powerful poem evokes dark and contrasty images, which form the basis and inspiration for my photographs. One of the results has been my current project, "Light Emanating from Darkness," which I see as a message of hope and of self determination. Darkness in my images represents the trials of our human existence while the light represents the strength and power that comes from the realization that we are the captains of our souls. For me color records the image, but black and white captures the feelings that lie beneath the surface." Cole Thompson Website: http://www.colethompsonphotography.com/index.htm http://www.youtube.com/watch?v=EfmcNhhJHiE http://www.youtube.com/watch?v=XPB9_jz9znQ Music: "Nature's Sympony", Bill Frisell http://www.amazon.com/Gone-Just-Like-a-Train/dp/B0011ZVSW2/ref=dm_ap_alb14 Website: http://www.billfrisell.com/ http://en.wikipedia.org/wiki/Bill_Frisell Tags: Photography Art Cole Thompson |
User: moonlightnoir |
The Contemporary Chinese Art Contemporary Chinese art (中国当代艺术, Zhongguo Dangdai Yishu) often referred to as Chinese avant-garde art, continued to develop since the 1980s as an outgrowth of modern art developments post-Cultural Revolution. Contemporary Chinese art fully incorporates painting, film, video, photography, and performance. Until recently, art exhibitions deemed controversial have been routinely shut down by police, and performance artists in particular faced the threat of arrest in the early 1990s. More recently there has been greater tolerance by the Chinese government, though many internationally acclaimed artists are still restricted from media exposure at home or have exhibitions ordered closed. Leading contemporary visual artists include Ai Weiwei, Cai Guoqiang, Cai Xin, Fang Lijun, Huang Yan, Huang Yong Ping, Kong Bai Ji, Lu Shengzhong, Ma Liuming, Ma Qingyun, Song Dong, Li Wei, Christine Wang, Wang Guangyi, Wang Qingsong, Wenda Gu, Xu Bing, Yang Zhichao, Zhan Wang, Zhang Dali, Zhang Xiaogang, Zhang Huan, Zhu Yu, Yan Lei, and Zhang Yue. http://en.wikipedia.org/wiki/History_of_Chinese_Art Artists on order of exposition: Fang Lijun http://en.wikipedia.org/wiki/Fang_Lijun http://www.artnet.com/artist/26017/fang-lijun.html Li Songsong http://en.wikipedia.org/wiki/Li_Songsong http://www.galerieursmeile.com/nav/top/artists/works/default.htm?view_ArtistItem_OID=50 Liu Wei http://en.wikipedia.org/wiki/Liu_Wei_%28artist%29 http://www.absolutearts.com/portfolios/l/liuwei/ Miao Xiaochun http://en.wikipedia.org/wiki/Miao_Xiaochun http://www.artnet.com/artist/424019203/miao-xiaochun.html Qiu Jie http://en.wikipedia.org/wiki/Qiu_Jie http://www.artnet.com/artist/424789935/qiu-jie.html Shen Shaomin http://en.wikipedia.org/wiki/Shen_Shaomin http://www.artnet.com/artist/424613653/shen-shaomin.html Shi Jinsong http://en.wikipedia.org/wiki/Shi_Jinsong http://www.artnet.com/artist/424486693/shi-jinsong.html Wang Guangyi http://en.wikipedia.org/wiki/Wang_Guangyi http://www.artnet.com/artist/17496/wang-guangyi.html Wu Shanzhuan http://en.wikipedia.org/wiki/Wu_Shanzhuan http://www.artnet.com/artist/424499116/wu-shanzhuan.html Xiang Jing http://en.wikipedia.org/wiki/Xiang_Jing http://www.artnet.com/artist/424498698/xiang-jing.html Yue Minjun http://en.wikipedia.org/wiki/Yue_Minjun http://www.artnet.com/artist/18319/yue-minjun.html Zeng Fanzhi http://en.wikipedia.org/wiki/Zeng_Fanzhi http://www.artnet.com/artist/6006/zeng-fanzhi.html Zhang Dali http://en.wikipedia.org/wiki/Zhang_Dali http://www.artnet.com/artist/18388/zhang-dali.html Zhang Haiying http://en.wikipedia.org/wiki/Zhang_Haiying http://www.artnet.com/artist/425504352/zhang-haiying.html Zhang Hongtu http://en.wikipedia.org/wiki/Zhang_Hongtu http://www.artnet.com/artist/8473/zhang-hongtu.html Zhang Huan http://en.wikipedia.org/wiki/Zhang_Huan http://www.artnet.com/artist/725127/zhang-huan.html http://www.zhanghuan.com/ Zhang Peng http://en.wikipedia.org/wiki/Zhang_Peng http://www.artnet.com/artist/424871017/zhang-peng.html http://www.zhangpengart.com.cn/ Zhang Xiaogang http://en.wikipedia.org/wiki/Zhang_Xiaogang http://www.artnet.com/artist/720135/zhang-xiaogang.html Zhang Xiaotao http://en.wikipedia.org/wiki/Zhang_Xiaotao http://www.artnet.com/artist/424297472/zhang-xiaotao.html Yin Zhaohui http://en.wikipedia.org/wiki/Yin_Zhaohui http://www.artnet.com/artist/425418047/yin-zhaohui.html Feng Zhengjie http://en.wikipedia.org/wiki/Feng_Zhengjie http://www.artnet.com/artist/171567/feng-zheng-jie.html The Saatchi Gallery http://www.saatchi-gallery.co.uk/artists/new_art_from-china.htm Sun Yuan and Peng Yu http://www.saatchi-gallery.co.uk/artists/yu_yuan.htm?section_name=china_art Book: http://www.rbooks.co.uk/product.aspx?id=0224084992 Music: Moonlight Reflected On The Er-Quan Spring, Lei Qiang http://www.amazon.com/Chinese-Traditional-Erhu-Music-Vol/dp/B00003XAX7 http://en.wikipedia.org/wiki/Lei_Qiang http://en.wikipedia.org/wiki/Erhu Tags: The Contemporary Chinese Art |
User: moonlightnoir |
Art of Photography - Jerry Uelsmann Jerry N. Uelsmann (born 11 June 1934) is an American photographer. Uelsmann was born in Detroit, Michigan. He is a master printer producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. Unlike Rejlander, though, he does not seek to create narratives, but rather allegorical surrealist imagery of the unfathomable. Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. Uelsmann used the darkroom frequently, sometimes using three to ten enlargers to produce the expected effect. Photos are still widely regarded as documentary evidence of events, and Uelsmann, along with people like Lucas Samaras, was considered an avant garde shatterer of the popular conception. Uelsmann holds a B.F.A. degree from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. He began teaching photography at the University of Florida in 1960. He is now retired from teaching and currently lives in Gainesville, Florida along with his third wife, Maggie Taylor. Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. In 1981, a report by American Photographer ranked Uelsmann as being amongst the top ten photographers collected in America. His smaller works presently sell for between $1000 and $2500 at auction. His photographs can be seen in the opening credits of The Outer Limits (1995). His artwork is also featured in the progressive metal band Dream Theater's 7th studio album Train of Thought (2003). http://en.wikipedia.org/wiki/Jerry_Uelsmann http://www.artcyclopedia.com/artists/uelsmann_jerry.html Website: http://www.uelsmann.net/ Music: "Angel", Massive Attack http://www.amazon.com/Angel/dp/B000T02G8K Website: http://www.massiveattack.co.uk/ Tags: Photography Jerry Uelsmann Angel Massive Attack |
User: moonlightnoir |
Art of Photography - Wynn Bullock Wynn Bullock (April 18, 1902, Chicago - November 16, 1975, Monterey, California) was an American photographer that is notable for his photographs of nudes and of landscapes on the West Coast. He started in the 1920s with a career as a concert tenor. While studying in Paris, he was inspired by visual artists, in particular Cézanne, Moholy-Nagy and Man Ray. Upon his return to the US, he focused on a career as a photographer. He left law school to attend the Art Center School in Los Angeles. In 1948, he met and began a lifelong friendship with Edward Weston, a relationship that continually influenced his life as a photographer. Bullock also explored the commercial side of photography, founding Arrow Camera in Santa_Maria, California in 1943. Bullock ran the business until 1952, when he sold it to Hank Datter. Bullock's photographs are in over 90 museum collections including The Hallmark Collection of Photography, The Museum of Modern Art, The Center for Creative Photography, and The San Francisco Museum of Modern Art. Some of his photographs were used by Edward Steichen in 1955 in his The Family of Man, a vast exhibition consisting of over 500 photos that depicted life, love and death in 68 countries. http://en.wikipedia.org/wiki/Wynn_Bullock Music: "Salamandre", Sarah Harmer http://www.amazon.com/Salamandre/dp/B000UDN2ZC Website: http://www.sarahharmer.com/ http://en.wikipedia.org/wiki/Sarah_Harmer http://en.wikipedia.org/wiki/Salamander_%28legendary_creature%29 Tags: Photography Wynn Bullock Salamandre Sarah Harmer |
User: moonlightnoir |
Genji Monogatari Symphony - Isao Tomita - 3 The Tale of Genji (源氏物語 Genji Monogatari?) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early eleventh century, around the peak of the Heian Period. It is sometimes called the world's first novel, the first modern novel, the first romance novel, or the first novel to still be considered a classic. This issue is a matter of debate. See Stature below. The first partial translation of Genji Monogatari into English was by Suematsu Kencho. A free translation of all but one chapter was produced by Arthur Waley. Edward Seidensticker made the first complete translation into English, using a more literal method than Waley. The most recent English translation, by Royall Tyler (2001), also tries to be faithful to the original text. Diet member Marutei Tsurunen has also made a translation in Finnish. Introduction The Genji, as the work is commonly called by aficionados, was written for the women of the aristocracy (the yokibito) and has many elements found in a modern novel: a central character and a very large number of major and minor characters, well-developed characterization of all the major players, a sequence of events happening over a period of time covering the central character's lifetime and beyond. The work does not make use of a plot; instead, much as in real life, events just happen and characters evolve simply by growing older. One remarkable feature of the Genji, and of Murasaki's skill, is its internal consistency, despite a dramatis personae of some four hundred characters. For instance, all characters age in step and all the family and feudal relationships are consistent among all chapters. One complication for readers and translators of the Genji is that almost none of the characters in the original text is given an explicit name. The characters are instead referred to by their function or role (e.g. Minister of the Left), an honorific (e.g. His Excellency), or their relation to other characters (e.g. Heir Apparent), which may all change as the novel progresses. This lack of names stems from Heian-era court manners that would have made it unacceptably familiar and blunt to freely mention a character's name. Modern readers and translators have, to a greater or lesser extent, used various nicknames to keep track of the many characters. See Characters for a listing. Stature The Genji is an important fictional work of Japanese literature, and numerous modern authors have cited it as inspiration. It is noted for its internal consistency, psychological depiction, and characterization. The novelist Yasunari Kawabata said in his Nobel Prize acceptance speech: The Tale of Genji in particular is the highest pinnacle of Japanese literature. Even down to our day there has not been a piece of fiction to compare with it. The Genji is also often referred to as the first novel, though there is considerable debate over this - some of the debate involving whether Genji can even be considered a novel. Some consider the psychological insight, complexity, and unity of the work to qualify it for novel; status while simultaneously disqualifying earlier works. Others see these arguments as subjective and unconvincing. Related claims, perhaps in an attempt to sidestep these debates, are that Genji is the first psychological novel, the first novel still considered to be a classic, or other more qualified terms. It is, however, difficult to claim that it is the world's first novel without denying the claims of Daphnis and Chloe and Aethiopica in Greek, which author Longus and Heliodorus of Emesa respectively wrote, both around the third century, and in Latin, Petronius's Satyricon in the first century and Apuleius's Golden Ass in the second, as well as Kādambari in Sanskrit which author Bānabhatta wrote in the seventh century. (The debate exists in Japanese as well, with comparison between the terms monogatari -tale- and shosetsu -novel). The novel and other works by Lady Murasaki are standard staple in the curricula of Japanese schools. The Bank of Japan issued the 2000 Yen banknote in her honour, featuring a scene from the novel based on the 12th century illustrated handscroll. http://en.wikipedia.org/wiki/The_Tale_of_Genji Ebook: http://www.globusz.com/ebooks/Genji/0... Full text version: http://webworld.unesco.org/genji/en/ The world of Genji: http://www.taleofgenji.org/ Murasaki Shikibu (紫式部; c. 973--c. 1014 or 1025) http://en.wikipedia.org/wiki/Murasaki_Shikibu Images: http://instruct1.cit.cornell.edu/courses/asian377/studentspring99/asian377e/genji/ Music: "Spring Returns", Isao Tomita http://www.amazon.com/Genji-Monogatari-Symphony-Isao-Tomita/dp/B00005HP04 http://en.wikipedia.org/wiki/Isao_Tomita Official website: http://www.isaotomita.com/top.html Tags: Genji Monogatari Symphony Isao Tomita |
User: moonlightnoir |
Genji Monogatari Symphony - Isao Tomita - 2 The Tale of Genji (源氏物語 Genji Monogatari?) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early eleventh century, around the peak of the Heian Period. It is sometimes called the world's first novel, the first modern novel, the first romance novel, or the first novel to still be considered a classic. This issue is a matter of debate. See Stature below. The first partial translation of Genji Monogatari into English was by Suematsu Kencho. A free translation of all but one chapter was produced by Arthur Waley. Edward Seidensticker made the first complete translation into English, using a more literal method than Waley. The most recent English translation, by Royall Tyler (2001), also tries to be faithful to the original text. Diet member Marutei Tsurunen has also made a translation in Finnish. Introduction The Genji, as the work is commonly called by aficionados, was written for the women of the aristocracy (the yokibito) and has many elements found in a modern novel: a central character and a very large number of major and minor characters, well-developed characterization of all the major players, a sequence of events happening over a period of time covering the central character's lifetime and beyond. The work does not make use of a plot; instead, much as in real life, events just happen and characters evolve simply by growing older. One remarkable feature of the Genji, and of Murasaki's skill, is its internal consistency, despite a dramatis personae of some four hundred characters. For instance, all characters age in step and all the family and feudal relationships are consistent among all chapters. One complication for readers and translators of the Genji is that almost none of the characters in the original text is given an explicit name. The characters are instead referred to by their function or role (e.g. Minister of the Left), an honorific (e.g. His Excellency), or their relation to other characters (e.g. Heir Apparent), which may all change as the novel progresses. This lack of names stems from Heian-era court manners that would have made it unacceptably familiar and blunt to freely mention a character's name. Modern readers and translators have, to a greater or lesser extent, used various nicknames to keep track of the many characters. See Characters for a listing. Stature The Genji is an important fictional work of Japanese literature, and numerous modern authors have cited it as inspiration. It is noted for its internal consistency, psychological depiction, and characterization. The novelist Yasunari Kawabata said in his Nobel Prize acceptance speech: The Tale of Genji in particular is the highest pinnacle of Japanese literature. Even down to our day there has not been a piece of fiction to compare with it. The Genji is also often referred to as the first novel, though there is considerable debate over this - some of the debate involving whether Genji can even be considered a novel. Some consider the psychological insight, complexity, and unity of the work to qualify it for novel; status while simultaneously disqualifying earlier works. Others see these arguments as subjective and unconvincing. Related claims, perhaps in an attempt to sidestep these debates, are that Genji is the first psychological novel, the first novel still considered to be a classic, or other more qualified terms. It is, however, difficult to claim that it is the world's first novel without denying the claims of Daphnis and Chloe and Aethiopica in Greek, which author Longus and Heliodorus of Emesa respectively wrote, both around the third century, and in Latin, Petronius's Satyricon in the first century and Apuleius's Golden Ass in the second, as well as Kādambari in Sanskrit which author Bānabhatta wrote in the seventh century. (The debate exists in Japanese as well, with comparison between the terms monogatari -tale- and shosetsu -novel). The novel and other works by Lady Murasaki are standard staple in the curricula of Japanese schools. The Bank of Japan issued the 2000 Yen banknote in her honour, featuring a scene from the novel based on the 12th century illustrated handscroll. http://en.wikipedia.org/wiki/The_Tale_of_Genji Ebook: http://www.globusz.com/ebooks/Genji/00000010.htm Full text version: http://webworld.unesco.org/genji/en/ The world of Genji: http://www.taleofgenji.org/ Murasaki Shikibu (紫式部; c. 973--c. 1014 or 1025) http://en.wikipedia.org/wiki/Murasaki_Shikibu Images: http://instruct1.cit.cornell.edu/courses/asian377/studentspring99/asian377e/genji/ Music: "Spirit", Isao Tomita http://www.amazon.com/Genji-Monogatari-Symphony-Isao-Tomita/dp/B00005HP04 http://en.wikipedia.org/wiki/Isao_Tomita Official website: http://www.isaotomita.com/top.html Tags: Genji Monogatari Symphony Isao Tomita |
User: moonlightnoir |
Genji Monogatari Symphony - Isao Tomita - 1 The Tale of Genji (源氏物語 Genji Monogatari?) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early eleventh century, around the peak of the Heian Period. It is sometimes called the world's first novel, the first modern novel, the first romance novel, or the first novel to still be considered a classic. This issue is a matter of debate. See Stature below. The first partial translation of Genji Monogatari into English was by Suematsu Kencho. A free translation of all but one chapter was produced by Arthur Waley. Edward Seidensticker made the first complete translation into English, using a more literal method than Waley. The most recent English translation, by Royall Tyler (2001), also tries to be faithful to the original text. Diet member Marutei Tsurunen has also made a translation in Finnish. Introduction The Genji, as the work is commonly called by aficionados, was written for the women of the aristocracy (the yokibito) and has many elements found in a modern novel: a central character and a very large number of major and minor characters, well-developed characterization of all the major players, a sequence of events happening over a period of time covering the central character's lifetime and beyond. The work does not make use of a plot; instead, much as in real life, events just happen and characters evolve simply by growing older. One remarkable feature of the Genji, and of Murasaki's skill, is its internal consistency, despite a dramatis personae of some four hundred characters. For instance, all characters age in step and all the family and feudal relationships are consistent among all chapters. One complication for readers and translators of the Genji is that almost none of the characters in the original text is given an explicit name. The characters are instead referred to by their function or role (e.g. Minister of the Left), an honorific (e.g. His Excellency), or their relation to other characters (e.g. Heir Apparent), which may all change as the novel progresses. This lack of names stems from Heian-era court manners that would have made it unacceptably familiar and blunt to freely mention a character's name. Modern readers and translators have, to a greater or lesser extent, used various nicknames to keep track of the many characters. See Characters for a listing. Stature The Genji is an important fictional work of Japanese literature, and numerous modern authors have cited it as inspiration. It is noted for its internal consistency, psychological depiction, and characterization. The novelist Yasunari Kawabata said in his Nobel Prize acceptance speech: The Tale of Genji in particular is the highest pinnacle of Japanese literature. Even down to our day there has not been a piece of fiction to compare with it. The Genji is also often referred to as the first novel, though there is considerable debate over this - some of the debate involving whether Genji can even be considered a novel. Some consider the psychological insight, complexity, and unity of the work to qualify it for novel; status while simultaneously disqualifying earlier works. Others see these arguments as subjective and unconvincing. Related claims, perhaps in an attempt to sidestep these debates, are that Genji is the first psychological novel, the first novel still considered to be a classic, or other more qualified terms. It is, however, difficult to claim that it is the world's first novel without denying the claims of Daphnis and Chloe and Aethiopica in Greek, which author Longus and Heliodorus of Emesa respectively wrote, both around the third century, and in Latin, Petronius's Satyricon in the first century and Apuleius's Golden Ass in the second, as well as Kādambari in Sanskrit which author Bānabhatta wrote in the seventh century. (The debate exists in Japanese as well, with comparison between the terms monogatari -tale- and shosetsu -novel). The novel and other works by Lady Murasaki are standard staple in the curricula of Japanese schools. The Bank of Japan issued the 2000 Yen banknote in her honour, featuring a scene from the novel based on the 12th century illustrated handscroll. http://en.wikipedia.org/wiki/The_Tale_of_Genji Ebook: http://www.globusz.com/ebooks/Genji/00000010.htm Full text version: http://webworld.unesco.org/genji/en/ The world of Genji: http://www.taleofgenji.org/ Murasaki Shikibu (紫式部; c. 973--c. 1014 or 1025) http://en.wikipedia.org/wiki/Murasaki_Shikibu Images: http://instruct1.cit.cornell.edu/courses/asian377/studentspring99/asian377e/genji/ Music: "Overture", Isao Tomita http://www.amazon.com/Genji-Monogatari-Symphony-Isao-Tomita/dp/B00005HP04 http://en.wikipedia.org/wiki/Isao_Tomita Official website: http://www.isaotomita.com/top.html Tags: Genji Monogatari Symphony Isao Tomita |
User: moonlightnoir |
Looking at VU: A Photographic Magazine, 1928-1940 "The illustrated weekly magazine VU ran over 600 issues between 21 March 1928 and 29 May 1940. Many of its special issues caused a sensation when they appeared, including VU au pays des Soviets on Soviet Russia (1931), L'énigme allemande on Germany (1932), Fin d'une civilisation on technology (1933), Interrogatoire de la Chine on China (1934) and VU en Espagne on Spain (1936). VU spearheaded the media revolution of the 1920s, developing the idea that extensive use of photography could produce an objective view of the world. Like a cinema newsreel on paper, it set out to be the "week's illustrated journal", using photos in all its columns. Its founder and director was Lucien Vogel, a politically committed man of the press who had already created the Gazette du Bon Ton (1912-1925) and the Jardin des modes (1922). Vogel was himself a photographer and often acted as a photo-reporter for his own magazine. His support for the Spanish Republicans in 1936 led to his dismissal. VU covered a varied, even eclectic range of subjects including politics and world affairs, social and moral issues, discoveries, disasters, exploration, the arts, sport, entertainment, and the surprising or unusual. It made systematic use of pictures, promising its readers "pages crammed with photographs" and "sensational illustrated features". VU set itself apart in 1928 by using what it called "photographic reportage", publishing sets of photographs on a predefined subject taken by a single photographer. It also made use of photomontage as a vehicle for pointed political or social criticism, in particular under the leadership of Alexandre Liberman, who was art director from 1932 and had worked with Cassandre, who designed the VU logo. The printing technique known as rotogravure provided page designers with more creative leeway and gave new power to the photographs themselves thanks to the way they could be laid out and composed dynamically across double-page spreads. Rotogravure also meant that tonal values could be rendered more effectively than ever before, producing high-quality brown and blue tones for pictures by freelance photographers including Kertész, Man Ray, Krull, Lotar and Brassaï as well as those produced by international photo agencies. Looking back on all this we see a cutting-edge editorial approach that makes most of today's weekly magaziners pale into insignificance. VU put a high premium on photography as an informational medium: its editors held that "text explains, but photos provide proof". By covering the walls with pictures, the exhibition Regarder VU invites the viewer to reflect on the validity of this phrase, which has become a slogan for modern society. VU was where the modern status of photography-in-the-media was first established; it was where pictures first took precedence over words, and where text was relegated to the role of mere commentary or additional information. This explains why the VU agency created twenty years ago used the magazine's name, as a tribute to its fundamental contribution to press photography. The exhibition is arranged on two floors of the MEP in four independent areas, and displays original issues of the magazine totalling over 600 pages. Each area shows how photographers and publishers gradually became aware of the potential of photography and established today's standards of media performance. Each wall explores a particular domain relating to VU's key role: page layout, the portrayal of faces, the development of reportage, the sensationalism of pictures, its analysis of the situation in Germany, attractive cover design (using photomontage and colour), the regular use of unusual or amazing photographs, etc. The exhibition sets out to display a very large number of pictures whilst avoiding superficiality, giving the visitor an insight into how a whole media system came into being. Curators: Michel Frizot, research director at the CNRS, photography historian, and Cédric de Veigy, researcher and professor of photography and film. Jointly produced with the Musée Nicéphore Niépce in Chalon-sur-Saône, owner of the magazine collection."... http://www.mep-fr.org/us/actu/vu.htm http://fr.wikipedia.org/wiki/Magazine_VU Tags: Photography VU Photographic Magazine Lucien Vogel André Kertesz Brassaï German Krull Robert Capa Gerda Taro Marcel Ichac |
User: moonlightnoir |
Art of Photography - André Kertész André Kertész (July 2, 1894 -- September 28, 1985) born Andor Kertész, was a Hungarian-born photographer distinguished by his photographic composition and by his early efforts in developing the photo essay. In the early years of his lengthy career, his then-unorthodox camera angles, and his unwillingness to compromise his personal photographic style, prevented his work from gaining wider recognition. Even towards the end of his life, Kertész did not feel he had gained worldwide recognition. The first photographer to have an exposition devoted to his work, he is recognized as one of the seminal figures of photojournalism, if not photography as a whole. Dedicated by his family to work as a stock broker, Kertész was an autodidact and his early work was mostly published in magazines. This would continue until much later in his life when he ceased to accept commissions. He served briefly in WWI and began to form dreams to move to Paris, which he realised in 1925, against the wishes of his family. There he was involved with the artistic melting pot of immigrates and the dadaist movement, and achieved critical and commercial success. The imminent threat of WWII pushed him to immigrate again to the United States, where he had a more difficult life and needed to rebuild his reputation through commissioned work. He would take offense with several editors that he felt did not recognize his work. In the 1940s and '50s he stopped working for magazines and began to achieve greater international success. Despite the numerous and awards he collected over the years, he still felt unrecognized, a sentiment which did not change even into his death. His career is general divided into four periods based on where his work was most prominent at these times. They are called the Hungarian period, the French period, the American period and, towards the end of his life, the International period. Read more in: http://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz http://www.dawsonbooks.com/viewgallery.php?ID=15# http://www.getty.edu/art/exhibitions/kertesz/ http://www.nga.gov/exhibitions/2005/kertesz/kertesz_ss1.shtm http://www.skjstudio.com/kertesz/index.html http://www.staleywise.com/collection/kertesz/kertesz.html http://www.bulgergallery.com/dynamic/fr_artist.asp?ArtistID=8 http://www.noorderlicht.com/eng/gallery/kertesz/index.html http://www.mocp.org/collections/permanent/kertesz_andre.php http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=21731&page_tab=Artworks_for_sale http://thinkingaboutart.blogs.com/art/2005/02/andre_kertesz_n.html http://www.yanceyrichardson.com/artists/andre-kertesz/index.html http://www.bbc.co.uk/photography/genius/gallery/kertesz.shtml http://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz Music: "Baroque And Blue", Claude Bolling http://www.amazon.com/Bolling-Suite-Flute-Jazz-Piano/dp/B00006329Y http://en.wikipedia.org/wiki/Claude_Bolling Official website: http://www.claude-bolling.com/ Tags: Art Photography André Kertész Claude Bolling Baroque And Blue |
User: moonlightnoir |
Art of Photography - Jaroslav Rössler Jaroslav Rössler was undoubtedly one of the most important representatives of Czech avant-garde photography during the 1920s and 1930s. On an international scale his works rank among the most progressive examples of the use of abstract art and Constructivism in photography. The beginning of Rössler's career is closely linked with Frantisek Drtikol, a classic name in Czech photography, in whose studio he trained between 1917-1920 and worked as an assistant for 5 years. The first influences from Drtikol are clear in Rössler's early work as seen through his subject matter, Symbolist drawings and his use of the bromoil printing process. Yet already in 1919 Rössler embarked on other style experimentation as in his work, Opus 1, where he uses constructivist elements in his composition. In the early 1920s he created several works which show minimal objects and forms that relish in abstraction like images from a few other photographic artists of his day such as Paul Strand, Alvin Langdon Coburn, Man Ray or Francis Joseph Brugière. This period of Rössler's creativity is typical for the fusion of diverse styles. Elements in Rössler's photographs and drawings are not only inspired by Symbolism, Pictorialism and Expressionism, yet in works devoid of literary content he clearly is experimenting with cubistic and constructivist ideas. He showed an exceptional talent for reducing depicted reality to elementary lines and shapes for constructing a new reality. He photographed simple objects against a backdrop of black and white cardboard and paper; he gave spherical form to light through long exposures. He used multiple images, produced photo-montages and enhanced fragments by drawing black lines between several photographs. From 1927 to 1935 Rössler lived with his wife, Gertruda and daughter Sylva in Paris, where he worked in different photography studios. The Eiffel Tower and other Paris structures became the subject of series of contructivist photographs and photo-montages. During this period he also used photo-grams, diagonal compositions, multiple negatives and lettering to create modern advertising. After his return to Prague in 1935 Jaroslav Rössler had a small studio where he produced only a few works in the way of photographs and photo-montages and in 1949, a collection of drawings. In the mid 1950s he once again began a prolific period of working with photo-montages, collages, still-lives and even in the 1960s, abstract colour transparencies. In the 1970s Jaroslav Rössler's work began to receive recognition through the work of several Czech art historians who were able to introduce his work to an international audience. His work has since been included in numerous international group shows and small one-man exhibitions. He is represented in several Czech museum collections and international collections including the J.Paul Getty Museum, Santa Monica; Museum Folkwang, Essen and the Museum of Fine Arts, Houston to name a few. "Jaroslav Rössler: photographs, collages, drawings" has been supported through Dogwood Projects, Frankfurt am Main and the Embassy of the Czech Republic, Bonn. It is a collaboration with the u(p)m, the Museum of Decorative Arts in Prague and curated by Vladimír Birgus and Jan Mlcoch. http://www.ffi-frankfurt.de/e_archive_roessler.htm http://www.galerieart.cz/index.html Music: "Opus 4", Art Of Noise. http://www.amazon.com/Best-Art-Noise/dp/B000003MU8 http://www.lyricstime.com/art-of-noise-opus-4-lyrics.html http://en.wikipedia.org/wiki/Art_of_Noise Tags: Art Photography Jaroslav Rössler Opus Of Noise |
User: moonlightnoir |
Art of Photography - Grete Stern "Grete Stern (born in Wuppertal, Germany in 1904) came to Argentina in 1935, in exile from the nazi regime. By then she was a graphic designer and an accomplished photographer, formed at the School for Applied Arts, in Stuttgart, and at Walter Peterhans's workshops privately at first, then at the Bauhaus in Dessau. Most of Grete's work in Germany was carried out at the ringl + pit studio she had set up with her friend Ellen Auerbach, and has recently been enthusiastically appraised by European and American critics, as well as by scholars. But the bulk of her production - both as to importance and quantity was carried out in our country over nearly fifty years of uninterrupted activity. Her work, remarkable in quality and variety of genres, had not previously been collected into book form nor described and reviewed, as undertaken in this volume. Grete Stern, formed in the refined, creative European vanguard of the twenties, is an essential artist in modern Argentine photography, and she has contributed decisively to founding it. In 1948 she received an original proposal: supplying photographs to illustrate a section of Idilio magazine, published by Abril, entitled "El psicoanálisis le ayudara" (Psychoanalysis will help you). Edited by sociologist Gino Germani under de penname of Richard Rest, it conveyed psychoanalytical views on the dreams of its women correspondents. Grete proposed illustrating the dreams with photomontages. Her collaboration lasted around three years, in the course of which over one hundred and fifty pieces were published. To our knowledge, this is the largest and most important series of photomontages made in our country. It is an acknowledged fact that modern photomontage, developed in Germany after the First World War, was applied to political propaganda, advertising, and experimental photography. Grete imbibed it first during her apprenticeship as a graphic designer and then as a photographer. As already mentioned, it was a creative procedure she found attractive and inspiring. Up to the time of her Idilio series, Grete's photomontages in Argentina had been few and occasional. The texts describing the dreams to be illustrated by Grete were provided by Germani. Usually, they strictly reproduced the letters sent in by readers. Grete and Germani used to talk over the letter's intended interpretation, and he would request that the layout show certain characteristics, that flowers or animals be depicted, or unstable shapes, or some figures performing certain actions. Thence Grete would develop her combinative creation and her own point of view on the subject, which resulted in pieces of fairly free invention. Each photomontage was published with a title:"Ambition dreams', "Mask dreams", "Dreams of discontent", and so on, plus a comment written by Germani. The comments referred to the image composed by Grete as though it were a literal illustration of the dream described by the reader; based on it Germani produced interpretations and recommendations. The leading character in the photomontages was of course Idilio's reader - Germani's correspondent - who belonged to the lower classes in our country, especially the rising middle class of President Peron's first years in office. That female character is present in the images, either explicitly or implicitly: she takes part in her own dream or "looks on through the viewfinder, as happens in subjective movie footage. The subject matter originated in the dreams Germani found to be the most interesting for his analyzing, and among these main lythe ones emphasizing anguish and conflict. Grete's idea of female independence was very strong, and her critical attitude with respect to dominant values constraining and limiting it was a part of her idiosyncrasy. The possibility of expressing her viewpoints on these issues through her photomontages therefore came natural to her. ... Grete's dreams were for the first time presented as independent photographs by the end of the fifties at the Faculty of Psycho of La Plata University. They were first displayed in Buenos Aires in 1967, with the collaboration of poet Elva de Loizaga. From then up to 1982, when they hung at the great FotoFest show at Hous U.S.A., only art collector Jorge Helft took notice of them. FotoFest their prestige grew sharply, to the extent that they now rated at their original and true significance. (Fragments from Luis Priamo at: Grete Stern: Obra fotográfica en la Argentina, Fondo Nacional de las Artes, Argentina, 1995)." Please, read more in: http://www.zonezero.com/exposiciones/fotografos/stern/engle.html http://www.zonezero.com/exposiciones/fotografos/stern/p5en.html http://www.elangelcaido.org/fotografos/gstern/gstern03.html Music: Los Sueños (South: The Dreams), Ástor Piazzolla http://www.amazon.com/Camorra-Astor-Piazzolla/dp/B00000IXTX http://en.wikipedia.org/wiki/%C3%81stor_Piazzolla Tags: Art Photography Grete Stern Los Sueños Ástor Piazzolla |
User: moonlightnoir |
Art of Photography - Maurice Tabard French photographer (b Lyon, 12 July 1897; d Nice, 23 Feb 1984). In 1914 he emigrated with his family to the USA, where his father worked in a silk mill. There he studied silk design by day and art, mainly painting, by night until he became interested in photography, which he studied under Emil Brunel at the New York Institute of Photography in 1916. He was impressed by the work of Edward Steichen, among others, and became a friend of his assistant Harvey White. After various menial jobs, he worked as a portrait photographer for Bachrach Studios from 1922 to 1928 in Baltimore, MD, although he also produced several official portraits in Washington, DC, including some of the Coolidge family. In 1927 he also studied portraiture under the painter Carlos Baca-Flor in New York. In 1928 he moved to Paris, intending to work as a fashion photographer, and met Man Ray, who taught him the technique of solarization. He also became a friend of René Magritte and the French Surrealist writer Phillipe Soupault (1897-1990). At this time he began to experiment with multiple exposures, foreshortening, photomontage and other techniques, producing highly complex images such as Untitled (1929; Paris, Lucien Treillard priv. col., see 1985 exh. cat., p. 234). http://www.answers.com/topic/maurice-tabard-2?cat=entertainment http://fr.wikipedia.org/wiki/Maurice_Tabard Music: Tout Doucement (Emile Jean Mercadier and Rene Albert Clausier), Blossom Dearie http://en.wikipedia.org/wiki/Tout_Doucement http://www.amazon.com/Blossom-Dearie/dp/B00000478Q http://en.wikipedia.org/wiki/Blossom_Dearie Tags: Art Photography Maurice Tabard Blossom Dearie Tout Doucement |
User: moonlightnoir |
Art of Photography - František Drtikol II František Drtikol (1883-1961) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits. From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague's remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Drikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. There are reminiscent of Cubism and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic. He began using paper cut-outs in a period he called "photopurism". These photographs resembled silhouettes of the human form. Later he gave up photography and concentrated on painting. After the studio was sold Drtikol focused mainly on painting, Buddhist religious and philosophical systems. In the final stage of his photographic work Drtikol created compositions of little carved figures, with elongated shapes, symbolically expressing various themes from Buddhism. In the 1920s and 1930s, he received significant awards at international photo salons. Drikol has published: "Le nus de Drikol" (1929), "Zena ve svetle"(Woman in the light)(1938). Sources: Anna Farova, "Frantisek Drtikol.Photograph des Art Deco", 1986. Vladimir Birgus, "Drtikol. Modernist Nudes", 1997. Vladimir Birgus and Jan Mlcoch, "Akt v Czech Photography", 2001. Alessandro Bertolotti, "Books of nudes", 2007. Search: http://www.jmcfaber.at/inventory/classic/drtikol/drtikol.htm http://www.mdf.ru/english/search/authors/drtikol/ http://www.photogravure.com/collection/searchResults.php?page=1&artist=Drtikol,%20Frantisek&view=medium Music: "La Danza della Scimmie" (Dance of the Monkeys), by Franco Casavola http://en.wikipedia.org/wiki/Franco_Casavola http://www.amazon.ca/Futurlieder-Franco-Casavola/dp/B000F2C7Y0 *** This video version is recommended for minors lol Tags: Art Photography František Drtikol Dance of the Monkeys Franco Casavola |
User: moonlightnoir |
Art of Photography - Ralph Eugene Meatyard Ralph Eugene Meatyard (May 15, 1925-May 7, 1972) was an American photographer. Ralph Eugene Meatyard's death in 1972, a week away from his 47th birthday, came at the height of the "photo boom," a period of growth and ferment in photography in the United States which paralleled the political and social upheavals of the 1960s and 1970s. It was a time of ambition, not reflection, a time for writing resumés, not thoughtful and inclusive histories; in the contest of reputation, dying in 1972 meant leaving the race early. It was left to friends and colleagues to complete an Aperture monograph on Meatyard and carry through with the publication of The Family Album of Lucybelle Crater (1974) which he had laid out and sequenced before his death. He was from Normal, Illinois. While he lived Meatyard's work was shown and collected by major museums, published in important art magazines, and regarded by his peers as among the most original and disturbing imagery ever created with a camera. He exhibited with such well-known and diverse photographers as Edward Weston, Ansel Adams, Minor White, Aaron Siskind, Harry Callahan, Robert Frank, and Eikoh Hosoe. But by the late 1970s, his photographs seemed consigned to appear mainly in exhibitions of "southern" art. In the last decade, however, thanks in part to European critics (who since at least the time of De Tocqueville have forged insights into American culture), Meatyard's work has reemerged, and the depth of its genius and its contributions to photography have begun to be understood and appreciated. In a sense Meatyard suffered a fate common to artists who are very much of but also very far ahead of their time. Everything about his life and his art ran counter to the usual and expected patterns. He was an optician, happily married, a father of three, president of the Parent-Teacher Association, and coach of a boy's baseball team. He lived in Lexington, Kentucky, far from the urban centers most associated with serious art. His images had nothing to do with the gritty "street photography" of the east coast or the romantic view camera realism of the west coast. His best known images were populated with dolls and masks, with family, friends and neighbors pictured in abandoned buildings or in ordinary suburban backyards. At the same time he often turned from this vernacular focus and, like such photographers as Henry Holmes Smith, Harry Callahan and others, produced highly experimental work. These images include multiple exposures and photographs where, through deliberate camera movement, Meatyard took Fox Talbot's "pencil of nature" and drew calligraphic images with the sun's reflection on a black void of water. However, where others used these experiments to expand the possibilities of form in photographs, Meatyard consistently applied breakthroughs in formal design to the exploration of ideas and emotions. Finally—and of great importance in the development of his aesthetic—Meatyard created a mode of "No-Focus" imagery that was distinctly his own. "No-Focus" images ran entirely counter to any association of camera art with objective realism and opened a new sense of creative freedom in his art. In short, Meatyard's work challenged most of the cultural and aesthetic conventions of his time and did not fit in with the dominant notions of the kind of art photography could and should be. His work sprang from the beauty of ideas rather than ideas of the beautiful. Wide reading in literature (especially poetry) and philosophy (especially Zen) stimulated his imagination. While others roamed the streets searching for America and truth, Meatyard haunted the world of inner experience, continually posing unsettling questions about our emotional realities through his pictures. Once again, however, he inhabited this world quite differently from other photographers exploring inner experience at the time. Meatyard's "mirror" (as John Szarkowski used the term) was not narcissistic. It looked back reflectively on the dreams and terrors of metaphysical questions, not private arguments of faith or doubt. Extract from the preface, by James Rhem [1]of the Photo Poche #87 [2] Ralph Eugene Meatyard, Actes Sud publishers, France. Posted by permission of the publisher. http://en.wikipedia.org/wiki/Ralph_Eugene_Meatyard Search: http://www.artcyclopedia.com/artists/meatyard_ralph_eugene.html Music: "Strangers", Portishead http://www.amazon.com/Dummy-Portishead/dp/B000001FI7 Official Website: http://www.portishead.co.uk/ Tags: Art Photography Ralph Eugene Meatyard Strangers Portishead |
User: moonlightnoir |
Art of Photography - František Drtikol František Drtikol (1883-1961) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits. From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague's remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Drikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. There are reminiscent of Cubism and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic. He began using paper cut-outs in a period he called "photopurism". These photographs resembled silhouettes of the human form. Later he gave up photography and concentrated on painting. After the studio was sold Drtikol focused mainly on painting, Buddhist religious and philosophical systems. In the final stage of his photographic work Drtikol created compositions of little carved figures, with elongated shapes, symbolically expressing various themes from Buddhism. In the 1920s and 1930s, he received significant awards at international photo salons. Drikol has published: "Le nus de Drikol" (1929), "Zena ve svetle"(Woman in the light)(1938). Sources: Anna Farova, "Frantisek Drtikol.Photograph des Art Deco", 1986. Vladimir Birgus, "Drtikol. Modernist Nudes", 1997. Vladimir Birgus and Jan Mlcoch, "Akt v Czech Photography", 2001. Alessandro Bertolotti, "Books of nudes", 2007. Search: http://www.jmcfaber.at/inventory/classic/drtikol/drtikol.htm http://www.mdf.ru/english/search/authors/drtikol/ http://www.photogravure.com/collection/searchResults.php?page=1&artist=Drtikol,%20Frantisek&view=small Music: "We Just Couldn't Say Goodbye" (Harry M. Woods), by Annette Hanshaw http://en.wikipedia.org/wiki/Harry_M._Woods http://en.wikipedia.org/wiki/Annette_Hanshaw http://www.amazon.com/Lovable-Sweet-25-Vintage-Hits/dp/B000001HK2/ref=pd_krex_fa_t Tags: Art Photography František Drtikol Couldn't Say Goodbye Harry Woods Annette Hanshaw |
User: moonlightnoir |
Art of Photography - Edward Weston Edward Henry Weston was born in Highland Park, Illinois on March 24, 1886. In 1902, he received his first camera for his 16th birthday, a Kodak Bull's-Eye #2, and began taking photographs in Chicago parks and at his aunt's farm. Weston met with quick success and the Chicago Art Institute exhibited his photographs a year later, in 1903. He attended the Illinois College of Photography. In 1906, Weston moved to California, where he decided to stay and pursue a career in photography. He married Flora May Chandler in 1909, and together they had four sons: Edward Chandler (1910), Theodore Brett (1911), Laurence (1914) and Cole (1919). In 1910, Weston opened his first photographic studio in Tropico, California (now Glendale) and wrote articles about his unconventional methods of portraiture for several high-circulation magazines. 1922 marked a period of transition for Weston. Renouncing pictorialism in favor of straight photography, he would later become known as the "pioneer of precise and sharp presentation" with images of natural forms such as the human figure, seashells, plants, vegetables, and landscapes. He began regular visits to Mexico with his professional and romantic partner, Tina Modotti, whose relationship with Weston caused much gossip in the media. They were often accompanied by one of Weston's sons, who received a sound instruction in photography. Brett and Cole later embarked on their own successful careers in this field; likewise his grandson Kim, and his great-granddaughter Christine Weston (born 1958). After 1927, Weston worked mainly with nudes, still life — his shells and vegetable studies were especially important — and landscape subjects. After a few exhibitions of his works in New York, he co-founded Group f/64 in 1932 with Ansel Adams, Willard Van Dyke and others. The term f/64 referred to a very small aperture setting on a large format camera, which secured great depth of field, making a photograph appear evenly sharp from foreground to background. Weston also achieved great sharpness by not enlarging. He made contact prints from his 4x5" or 8x10" negatives. The detailed, straight photography that the group espoused was in opposition to the pictorialist soft-edged methods that were still in fashion at the time. In 1937 the Solomon R. Guggenheim Foundation awarded Weston a fellowship, the first given to a photographer. He married his assistant, Charis Wilson, the following year (they had lived together since 1934, and divorced in 1946). During this time he received exclusive commissions and published several books, some with Wilson, including an edition of Whitman's Leaves of Grass illustrated with his photographs. He also produced some of his few color photographs with Willard Van Dyke in 1947. Weston also collaborated on several volumes of his photographs with photography critic Nancy Newhall, beginning in 1946. The Center for Creative Photography at the University of Arizona in Tucson houses a full archive of Edward Weston's work. Stricken with Parkinson's Disease, Weston made his last photographs at Point Lobos State Reserve in 1948. 1952 saw the publication of a 50th-anniversary portfolio of his work, printed by his son Brett. Brett and Cole Weston, as well as Brett's wife Dody Warren, were appointed to print 800 of what he considered his most important negatives under his supervision in the years 1955 to 1956. Edward Weston died in his house on Wildcat Hill in Big Sur, California on January 1, 1958, aged 71. His comprehensive legacy includes the detailed and articulate Daybooks he kept regularly from the mid-1920s to 1934, which allow a very intimate glimpse into his personal life, his views on photography, and his working methods. Weston is generally recognized as one of the greatest photographic artists of the 20th century. http://en.wikipedia.org/wiki/Edward_Weston Search: http://www.artcyclopedia.com/artists/weston_edward.html The Edward Weston/ Cole Weston family webisite: http://www.edward-weston.com/index.htm Music: "More Than You Know" (Vincent Youmans, Billy Rose and Edward Eliscu) http://en.wikipedia.org/wiki/More_Than_You_Know_%281929_song%29 Performed by Thelma Gracen http://microgroove.jp/mercury/byArtist/Gracen_Thelma.shtml http://www.amazon.com/Thelma-Gracen/dp/B000056FC4 Tags: Art Photography Edward Weston More Than You Know Vincent Youmans Billy Rose Eliscu Thelma Gracen Jazz |
User: moonlightnoir |
Jazz Photographers I Photographers Bob Parent: http://www.allaboutjazz.com/php/article.php?id=19411 Herman Leonard: http://en.wikipedia.org/wiki/Herman_Leonard Search: http://www.jmichaelhoward.com/jmh_links/html/jmh_jazz_photographers.html Music: Moon Dreams, Miles Davis http://www.amazon.com/Birth-Co%20ol-Miles-Davis/dp/B00005614M Tags: Jazz Photographers Bob Parent Herman Leonard Miles Davis |
User: moonlightnoir |
Art of Photography - Bruno Barbey Bruno Barbey is a Frenchman born in Morocco. He studied photography and graphic arts at the École des Arts et Métiers in Vevey, Switzerland. Between 1961 and 1964 he photographed the Italians, treating them as protagonists of a small 'theatrical world', with the aim of capturing the spirit of a nation. During the 1960s, he was commissioned by Éditions Rencontre in Lausanne to report from European and African countries. He also contributed regularly to Vogue. Barbey began his relationship with Magnum Photos in 1964, becoming an associate member in 1966, and a full member in 1968, the year he documented the political unrest and student riots in Paris. A decade later, between 1979 and 1981, he photographed Poland at a turning point in its history, publishing his work in the widely acclaimed book Poland. Over four decades Barbey has journeyed across five continents and into numerous military conflicts. Although he rejects the label of 'war photographer', he has covered civil wars in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq and Kuwait. His work has appeared in most of the world's major magazines. Barbey is known particularly for his free and harmonious use of colour. He has frequently worked in Morocco, the country of his childhood. In 1999 the Petit Palais, Paris, organized a large exhibition of photographs that Barbey had taken in Morocco during the previous three decades. He has received many awards for his work, including the French National Order of Merit; his photographs have been exhibited internationally and are in numerous museum collections. Education 1959/60 Photography and Graphic Arts, Ecole des Arts et Métiers, Vevey, Switzerland Awards French National Order of Merit Overseas Press Club Award Photojournalism Award, University of Missouri http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.Biography_VPage&AID=2K7O3R14RTZO Official website: http://www.brunobarbey.com/index.htm Music: Light of Life (Ibelin Reprise), performed by Natacha Atlas http://www.amazon.com/Light-of-Life-Ibelin-Reprise/dp/B00137XFRO About the singer: http://en.wikipedia.org/wiki/Natacha_Atlas Official website: http://natachaatlas.net/ Tags: Art Photography Bruno Barbey Photojournalism Light of Life Natacha Atlas |
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
Watch Youtube Videos - Watch Anime Online