Sunday, February 22, 2009
My Baby Is Eight Months And Cries For No Reason
Carolus-Duran. (Lille, 1837-Paris, 1917) Umberto Boccioni
Carolus-Duran. (Lille, 1837-Paris, 1917). French painter. Son of an innkeeper, was formed in Lille with François Souchon, a disciple of David. First established in Paris in 1853, made copies in the Louvre and met through Astruc, old friend, Courbet. Trabaría after the Swiss Academy friendship with Fantin-Latour and known to Manet and Berthe Morisot, who also joined by an intimate friendship. Between 1862 and 1866 was in Rome thanks to a pension from the City of Lille. The medal he got at the Salon of 1866 with the killer (Palais des Beaux-Arts, Lille), bought by the state allowed him to travel to Spain, where he lived between 1866 and 1868. The success achieved in the Salon of 1869 with the lady of the glove (Musée d'Orsay, Paris), a portrait of his wife, allowed to settle permanently in Paris, where he continued to forward a brilliant career as a portraitist and got all kinds of distinctions, although the price of getting lost in a painting 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although 
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
Sunday, February 15, 2009
How Long Before No Gonorrhea
Umberto Boccioni 
(Reggio Calabria, Italy, 1882-Verona, id., 1916) Italian painter and sculptor. key figure Italian Futurist movement, was also one of its most prominent theorists. .jpg)
It began in the divisiveness of the hand of Giacomo Balla. After spending some time in Paris, Russia, Padua and Venice, he settled permanently in Milan
and was interested in everything relating to modern industrial society. Influenced by symbolism and expressionism of Munch, and after several meetings with Marinetti, Carrà and Russolo, Boccioni's work was developed from 1910 around two key concepts:
dynamism and simultaneity. Among his works include The town which lies (1910) and The street outside the house, paintings, though formally different, refer to the same subject, the city, which symbolized the futuristic modernity, movement and speed. As for his sculptural activity, which developed parallel to the painting, was a pioneer in the use of new materials such as glass, cement and iron, as well as the use of electricity. Postpress
THE FUTURE OF
This Italian artist was short-lived and somewhat agitated. During his childhood, place of residence changed relatively frequency until in 1901, aged 18, arrives in Rome. And that's where it starts to take shape the artistic personality
Umberto Boccioni (1882-1916). Although
had previously shown interest in the painting will be in the city where his vocation is channeled permanently. They made contact with other young painters interested in renewing the Italian art world. Years later he traveled to Paris, travels to Russia some time and also visit to Germany. Umberto Boccioni
: "The Grand Canal of Venice" (1907). Verona (Italy).
On his return to Italy Boccioni is based in Milan and decided to devote himself to painting. Hasta ese momento, en torno a 1907/08, su pintura puede encuadrarse dentro de l
as corrientes postimpresionistas y sus temas son, hasta cierto punto, los que pueden esperarse de un pintor tradicional: paisajes, marinas, vistas urbanas, etc. Incluso podemos apreciar en esos temas algunos ecos del simbolismo.
Pero en 1909, todo va a cambiar para nuestro pintor: ese año el escritor Tommaso Marinetti publica su “manifiesto futurista” y Boccioni se adhiere al movimiento, de modo que, un año después es uno de los firmantes del primer “manifiesto de los pintores futuristas“, en el que se afirma algo tan rotundo como que “la confeccion de cuadros ha sido hasta hoy estupidamente tradicional“.
Umberto Boccioni, "The Charge of the Lancers" (1916). Milan. Boccioni
just happened to form part of one of the most interesting avant-garde of the early twentieth century. Not only that, but it can be considered the true leader of the group, which plays an important role by organizing exhibitions in Italian cities as some of the major capitals of Europe. Moreover,
.jpg)
It began in the divisiveness of the hand of Giacomo Balla. After spending some time in Paris, Russia, Padua and Venice, he settled permanently in Milan and was interested in everything relating to modern industrial society. Influenced by symbolism and expressionism of Munch, and after several meetings with Marinetti, Carrà and Russolo, Boccioni's work was developed from 1910 around two key concepts:
dynamism and simultaneity. Among his works include The town which lies (1910) and The street outside the house, paintings, though formally different, refer to the same subject, the city, which symbolized the futuristic modernity, movement and speed. As for his sculptural activity, which developed parallel to the painting, was a pioneer in the use of new materials such as glass, cement and iron, as well as the use of electricity. Postpress THE FUTURE OF
This Italian artist was short-lived and somewhat agitated. During his childhood, place of residence changed relatively frequency until in 1901, aged 18, arrives in Rome. And that's where it starts to take shape the artistic personality
Umberto Boccioni (1882-1916). Although
had previously shown interest in the painting will be in the city where his vocation is channeled permanently. They made contact with other young painters interested in renewing the Italian art world. Years later he traveled to Paris, travels to Russia some time and also visit to Germany. Umberto Boccioni
: "The Grand Canal of Venice" (1907). Verona (Italy).
On his return to Italy Boccioni is based in Milan and decided to devote himself to painting. Hasta ese momento, en torno a 1907/08, su pintura puede encuadrarse dentro de l
as corrientes postimpresionistas y sus temas son, hasta cierto punto, los que pueden esperarse de un pintor tradicional: paisajes, marinas, vistas urbanas, etc. Incluso podemos apreciar en esos temas algunos ecos del simbolismo. Pero en 1909, todo va a cambiar para nuestro pintor: ese año el escritor Tommaso Marinetti publica su “manifiesto futurista” y Boccioni se adhiere al movimiento, de modo que, un año después es uno de los firmantes del primer “manifiesto de los pintores futuristas“, en el que se afirma algo tan rotundo como que “la confeccion de cuadros ha sido hasta hoy estupidamente tradicional“.
Umberto Boccioni, "The Charge of the Lancers" (1916). Milan. Boccioni
just happened to form part of one of the most interesting avant-garde of the early twentieth century. Not only that, but it can be considered the true leader of the group, which plays an important role by organizing exhibitions in Italian cities as some of the major capitals of Europe. Moreover,
Monday, February 9, 2009
Mom Caught Me In Her Bra
Michelangelo Merisi, known as Caravaggio
Recent research on the biography of Michelangelo Merisi, known as Caravaggio or Caravaggio in the town where supposedly appropriate, advance their date of birth in late 1571 and move this place home to Milan. In fact, until the appearance of relevant documents, there were various events to commemorate the fourth centenary of the painter taking into account that he was born on September 28, 1573. A date that follows two funerary inscriptions dedicated to Caravaggio by lawyers Marzio Milesi, preserved in a manuscript of the Vatican Library. Both inscriptions say that the painter lived thirty-six years, nine months and twenty days, and who died on July 18, 1610. Since not found in the parish registers no entry that refers to the birth or baptism of Michelangelo Merisi, was taken as the date written by Marzio Milesi, Latino jurist sections of illustrious names composed by different hobby and later documents seem to indicate that I was not very good in arithmetic when calculating the years of the painter. The first document file that advances the birth of Caravaggio to the end of 1571 was discovered by Mia Cinotti and Mario Fara Puggioni. It is a land deed of sale signed by the artist in 1589, which claims to have 18 years. Dato endorsed by two letters found later: the marriage certificate of parents, kept in the church of Caravaggio, a town of origin of the painter's mother, dated January 14, 1571, together with a text that shows that the second son marriage, the younger brother of the painter, called Giovan Battista, born in Milan on November 21, 1572. 
addition to the date of birth, documentary research also reach meaningful conclusions in regard to their place of origin. always thought he was born in the town of Caravaggio because it is known by this name as a painter. In fact, his family came from this town in Lombardy, which have land and where the artist lives, surely, throughout his childhood before and after the death of his father, when he finished his apprenticeship in Milan and until they sell all their property to go to Rome. Only the fact that his father, Fermo Merisi, displayed domiciled continuously since 1563 in Milan and were baptized here all their children also suggests that Michelangelo Merisi was born in the Lombard capital. This fact can not be verified at present because in 1906 disappeared under mysterious circumstances Caravaggio parish register for the period 1569-1589 which was to appear with the date and place of birth. Although one scholar has Sicilian painter was able to verify the accuracy of these data before its demise. By
Rome without family ties and parishes in notarial ground that his father, Fermo Merisi, was "magister", ie a constructor or master builder. In fact, the family has nicknamed >, an ancient Lombard voice that can refer to this office. It also specifies one of the early biographers of the painter, Giulio Mancini, who in 1619 said that "the father was more
dome and architect of the Marquis of Caravaggio, a small child Marquis in Lombardy, near Bergamo. Even the pin
tor Giovanni Baglione, who personally met Caravaggio and prompted a lawsuit against him, confirms that "the son of a teacher who
< Vantas buildings with great art." It means, therefore, a bourgeois birth for the pinto r, son of a professional, who also owned land. Nothing of a bohemian ent Nacim : life admired by the Romantics will follow. 
Fermo Merisi die in 1577 because of the great plague which had a similar the previous year. His second wife, Lucia Aratori,
also perish few years later took over custody of their four children: Michelangelo, Giovan Battista, Giovan Pietro, who died when still a child, and Caterina.
Michelangelo Merisi seems to have a vocation as a painter from an early age, as in 1584, ie when they had little Amente thirteen, enters as an apprentice in the workshop of a pinto r Milan, which was formed in Venice, called Simone Peterzano
. A painter "mediocre", as Rudolf Wittkower, but in the Milan of those years is known to be a disciple of Titian. The contract between the teacher and Caravaggio is carried on medieval lines. Peterzano undertakes to take with him the boy, in his workshop as a stay at home for four years to teach grou everything you need to become a painter able to establish their own . is known some four years Caravaggio's happening in Milan. A chronicler an tigua states "studied with application (...), but occasionally do some extravagance, because the warmth of his spirit exaggerated." Bellori notes that the painter could make a trip to Venice motivated by "some disagreements" that had been involved. Mancini even alludes to a murder that could cost you a year in jail, apostille by Giovanni Baglione phrase "for having killed his companion fled the country (...) and put the shelter in Rome." Are all data for many biographers do not prove the veracity of the facts stated. The
I do know is that between 1589 and 1591 the family sold several land Merisi Caravaggio and one of them states that he sees nta is made to pay debts
by the mother or the children. The phrase "per dictum vel Michaelem Angelum" suggests that specifically refer to the debts of the painter. In 1592 the three brothers Merisi goods are distributed they are, Michelangelo is quick to cash the little touches, probably thinking about his trip to Rome and never again saw his brothers. This is evidenced by an episode that occurs years later. Caravaggio denied having a brother in front of own Giovan Battista, when she travels to Rome because he wants a priest. 
begins his work in Rome known
Until his arrival in Rome was not aware of any work of Caravaggio. Workshops begins in more or less industrial as the home of Monsignor Pandolfo Pucci, who in return for their hospitality will require copies of religious paintings, as Mancini explains, "what is worse, the night came with a salad q ue served as an appetizer, meal and dessert (...) so she called his patron Archbishop
Salad. " Then live with a painter named Lorenzo, who pays the artist a fat by each portrait or head of a saint. Will then be installed with Antiveduto of Grammar, creator of images to sell in stores and that will become imitator of Caravaggio.
The young Michelangelo takes a step forward in his career when accepted for eight months at the house of one of the most active Mannerist Rome, Giuseppe Cesari d'Arpino. The fame of this young artist, only three years older than him, leads to Pope Clement VIII to grant him knighthood. He is the author, for example, the medallions of the dome of San Pe dro or decoration of the Hall of the Horatii the Capitol. Caravaggio enters his workshop as >, as a boy, and specializes in painting garlands of flowers and fruits.
Cesari Living with the final end when Caravaggio ing <
cerned in Consolata Hospital because of an injury caused by a horse kick. In fact, the Cavaliere d'Arpino not visit the artist in every month to remain hospitalized, a sign of the enmity that both painters lavished thereafter. The fact is that, while hospitalized, a monk helps Caravaggio and buys small works among which are some self-portraits. 
then staying at someone's house call Asdrubale and then where Bishop Fantin Patrignani. Run and l year 1595 and two friends will help introduce you to a more select. One is Prospero Orsi, the genre known for decorative
> in which he excelled and whose brother, Lelio Orsi, being one of the most famous poets of Mannerism, introduced the "new style of Michele" in the intellectual circles of Rome. The second friend is an art dealer, Valentino, who has a place in the immediate mediation of the church of St. Louis of the French, near where he lives Caravaggio's first patron, Cardinal Francesco del Mt. < income of Caravaggio in the circles of the prelate takes place between late 1595 and early 1596. Del Monte sensual cutting organizes meetings where performances are mystical and lyrical familiar with the language of myth and religion. But also belonging to the upper echelons Vatica
nas, serves to support the artist in the bid for public works orders.
In 1599 obtained the first public commission desired by every artist arrived in Rome. This is the Chapel of San Luis Contareli of the French that the Cavaliere d'Arpino left unfinished. After a series of lawsuits, Caravaggio painted two canvases side missing: Vocation and the Martyrdom of St. Matthew (left). Both have to redo them because their interpretation raises controversy, such c
omo happen in many other subsequent occasions. Normally religious paintings of Caravaggio, anti-classical and strongly anti-academic, will arouse indignant reactions and the time will become the highest paid in Rome. Since 1600, Caravaggio left his residence at the home of Cardinal Del M
onte, while evidence that its "very prone to fights and disturbances," according to Mancini. After wounding Stampa Gerolamo di Montepulciano, it happens a long list of altercations with the guards of the order, misuse of weapons possession, skirmishes, riots and labeling processes such as the painter and biographer starts Baglione against Caravaggio and three friends were in 1603. All these events require the patron of the artist to get out of jail on more than one occasion and encourage you decide irs Caravaggio ea the town of Tolentino from 25 October to 8 January 1604 and later to Genoa in July 1605. Returns to Rome after three weeks, when his supporters settled a process in which he is accused of injuring the clerk Pasqualone d'accu because of a woman named Elena. Upon his return, his tumultuous life follows the same course until the year 1606 committed a murder that will make you permanently flee Rome. 
dramatic Escape
On 29 May 1606, the Caravaggio played on a team of four
a ball game Campo Marzio. The game degenerates into a brawl, the eight players come to blows Tomassoni Ranuccio and Caravaggio and paddle in a duel. Michelangenlo, moderately wounded in the head, kills his opponent and had to flee Rome. From now until the end of his days Caravaggio's friends try to get his papal pardon, while the painter must constantly develop their career to escape justice. Find temporary asylum Ruffeti Andrea's house, near the Piazza Colonna. He explains to a clerk of the criminal injuries is in the throat and left ear has made with his own sword to fall on the street. Remains under house arrest and ordered to pay a fine, although a newsletter, dated May 31, ends the narration of this event saying that the artist is missing. Could it be that someone influential would have prevented the condemnation of Caravaggio.
Anyway, that day the agent of the Duke of Modena, Fabio Masetti, wrote that Caravaggio had fled and headed to Florence. Indeed, Caravaggio had left Rome, but its course were the Sabine Mountains, going to Palestrina. From there the painter commands to bring some of his unfinished work to complete them while awaiting the papal pardon. Masetti writes in his letters that his case does not seem desperate
ado because the crime was not premeditated and the painter had also been injured. There are scholars who set the date on which Caravaggio moved to Naples in late 1606 or early 1607, due to the amount of work done in the city. The uniqueness of the artist was quickly recognized, especially by younger generations.
His later years
The fact that he negotiated the acquisition of Virgen del Rosario through painter's agents, suggests that in September , 1607 Caravaggio abandoned Naples. In Malta, the famous painter is presented to Grand Master Wignacourt Alof member of l
to French nobility for having two portraits. Its success will enter the Order of Malta and was named >. However, once again, getting into trouble again. In this case jailed for fighting with a Cavaliere of Giusticia. Still do not know well as he could escape from Castel Sant'Angelo, but the fact is he got it in a barge that takes as its direction Sicily. To Order this constitutes a crime of the utmost gravity and December 1 Caravaggio is "kicked and set apart as a member of the rotten and fetid Order and Society. " 
<
In Sicily continues to paint while moving from city to city, Syracuse, Messina, Palermo, to avoid falling into hands of many members of the Order of Malta. finally decides to head to Naples where he painted Salome with the head of St. John (above) for the Grand Master, probably in order to appease the wrath of the Order. It may not be of any use . On October 24, 1609 a notice published in Rome says that "the famous artist" Caravaggio was dead or disfigured in Naples. They have more detail and Baglione Bellori the artist was so savagely stabbed in the face by his enemies that was almost unrecognizable. Recovered from these injuries continues to paint in Naples, until in June 1610 decided to sail for Rome. He is convinced that he will receive the papal pardon, but has not yet been able to find out if someone confirmed to the artist that His Holiness would meet their expectations as stated in a notice dated July 31, 1610. The fact is that during the trip there is a new and fatal incident. Bellori account that the English guard arrested Caravaggio because it confused with another Cavaliere. We are landing somewhere near
the village Port'Ercole, on the promontory of Monte Argentario, where part of the coastline under the jurisdiction of the English Viceroy in Naples. When authorities realize their er 
ror, released by Caravaggio, but his boat has left without him. Without any of their belongings, the artist decided to walk along the coast, infected with malaria to the 30's. The fever will end his life on the beach with no one known Port'Ercole around. Baglione says "died had lived evil as evil." In fact, the news of his death reached Rome days later and is not known at what place he was buried. We only know that the Viceroy Spain wrote to the customs to give the order to locate the property of the famous painter, because I wanted a picture of San Juan is English custody. A Roma got two reminders, 28 and July 31, 1610. The first says: "We have received news of the death of Michelangelo da Caravaggio, famous painter, eminent in the art of color and painting from life as a result of disease Port'Ercole."
by Milko A. García Torres
addition to the date of birth, documentary research also reach meaningful conclusions in regard to their place of origin. always thought he was born in the town of Caravaggio because it is known by this name as a painter. In fact, his family came from this town in Lombardy, which have land and where the artist lives, surely, throughout his childhood before and after the death of his father, when he finished his apprenticeship in Milan and until they sell all their property to go to Rome. Only the fact that his father, Fermo Merisi, displayed domiciled continuously since 1563 in Milan and were baptized here all their children also suggests that Michelangelo Merisi was born in the Lombard capital. This fact can not be verified at present because in 1906 disappeared under mysterious circumstances Caravaggio parish register for the period 1569-1589 which was to appear with the date and place of birth. Although one scholar has Sicilian painter was able to verify the accuracy of these data before its demise. By 
Rome without family ties and parishes in notarial ground that his father, Fermo Merisi, was "magister", ie a constructor or master builder. In fact, the family has nicknamed >, an ancient Lombard voice that can refer to this office. It also specifies one of the early biographers of the painter, Giulio Mancini, who in 1619 said that "the father was more dome and architect of the Marquis of Caravaggio, a small child Marquis in Lombardy, near Bergamo. Even the pin
tor Giovanni Baglione, who personally met Caravaggio and prompted a lawsuit against him, confirms that "the son of a teacher who
<
Michelangelo Merisi
. A painter "mediocre", as Rudolf Wittkower, but in the Milan of those years is known to be a disciple of Titian. The contract between the teacher and Caravaggio is carried on medieval lines. Peterzano undertakes to take with him the boy, in his workshop as a stay at home for four years to teach
Until his arrival in Rome was not aware of any work of Caravaggio. Workshops begins in more or less industrial as the home of Monsignor Pandolfo Pucci, who in return for their hospitality will require copies of religious paintings, as Mancini explains, "what is worse, the night came with a salad q ue
then staying at someone's house call Asdrubale and then where Bishop Fantin Patrignani. Run and > in which he excelled and whose brother, Lelio Orsi, being one of the most famous poets of Mannerism, introduced the "new style of Michele" in the intellectual circles of Rome. The second friend is an art dealer, Valentino, who has a place in the immediate
Sunday, February 1, 2009
Brown Hair With Blond Chunks
The Importance of Rubens and be able to sign
Article Author Jon Juanma 
http://www.rebelion.org/noticia.php?id=79219 
The work that Peter will discuss today Paul Rubens, is called "Self Portrait with Isabella Brandt in the garden of love." Oil on canvas, wood is in the Upper Gallery in Munich and has some measures 178 cm high x 136.5 cm wide.
Rubens was a great painter of the Baroque, was able to imbue her works of dramatic compositions, the movement of their anatomy and the complex represented veils of subtle changes in tone, perfectly suited to the baroque piety after the Council of Trent, the Catholic Church sought to inject their propaganda works. Its artistic zenith got no doubt impressive "Descencimientos of the Cross", a theme repeatedly discussed and reached the rank of master for his strength, pathos and powerful scenery of court "chiaroscuro." The paint discussing today, we focus on an example of self-sharing, it appears the artist himself with his first wife, Isabella Brandt, daughter of a noble of Antwerp. According to various bourgeois art historians, the picture shows the happy couple, united by love and affection, with classical symbolic references in the iconography of the era, such as honeysuckle plant that is in front of the couple and symbolized by the time (and minority religions circles could understand) love and faithfulness . Beyond these platitudes iconographic, easily recognizable to anyone who can and wants to study the usual iconography of the time specified, the Baroque, the most interesting is to enter the third reading stage method of image analysis of Panofsky: the iconic stage. At this stage highlight / outline the meaning of the image in its historical context, its real function. To do this we build on Marxism and critical lessons art specialist John Berger.
Many liberal historians Rubens wonder why, in this picture, gave less attention to the detailed representation of objects and qualities of the same (brightness, visual textures of the fabrics, etc). These authors can not discard their false conception of "art for art" of the worldview of their own class to
normally belong: the petty bourgeoisie. This world view not only apply to their daily lives but to falsify history itself, consciously or unconsciously, and adapting it to their interests, concerns or lack thereof. For this reason, will never understand something obvious to people who seek the truth, and an analysis not condescending to anything or anyone in the work of art. And in this case, the fact is that the simple reason that Rubens took pains both reliable and believable recreation of the qualities of the dresses they wore to him and his wife was because I wanted to make a display of material wealth could possess. All those expensive clothes, and his wife, "good family", were only possessions he deserved to be immortalized on canvas, paper illustrating the properties of public-owner.
In those years there were no cameras photographic and Rubens (33 years and upstroke) needed to be publicly proclaimed his canvas (people of their economic and social circle) what he was worth half of what he could have and in fact had (you know " Therefore you are worth "of capitalism maximum current and past).
So despite the lack of poetry that this may pose to the bourgeois art critics, the fact is that Rubens painted this way because he wanted to boast of good clothes and status, just as if a rich man of our time photographed next to your pool or Ferrari. Unfortunate but true, both yesterday and today. Suzi said Gablick
As for understand a work of art, we must also understand its social function in their historical context. Real social function, not what we want to see or that we are officially held up as true, I'd say.
Rubens was a senior diplomat and perhaps the most sought after artist of his time. Precisely the year that made this picture, the painter was hired as court painter of Archduke Albert and his wife Isabel, English governors in the Netherlands. The agreement freed him from the rules of the (still) strong unions and exempted him from paying taxes, in addition to receiving an annual base salary of 500 guilders, excluding commissions (an ox at the time cost 90 guilders and a good portrait is charged about 60 guilders, when according to Arnold Hauser in his prime Rubens earned 100 guilders per working day). addition Rubens could make a huge work thanks to his studio painting, in which manufacturing methods applied in the organization of artistic work. The careful selection of first-class specialized artists as Van Dyck and Jordaens (who came to perform in some cases the whole picture except the hands and faces) also helped to accept large numbers of orders in the near future. On the other hand, say that in his workshop had a number not less than one hundred employees and slaves who helped with tasks painful in the paintings. Only in this way means that he attributed to the Flemish painter authorship of a huge amount of pictures, well above the most prolific authors of his time.
Rubens was a great artist, great teacher, but also a man of high standing of his time, a senior official of the Court surrounded by important influences advantage of them knew how to push as a painter and live in wealth typical of a princely fortune, which among other things, he made his famous palace built workshop in Antwerp and live a life in luxury. A smart guy that Rubens, perhaps not as rogue / rogue / face-hard as Miquel Barceló but certainly much better and more confident painter author. As evidence of a button, in the words of their own aristocratic flamenco:
"My talent is such that no undertaking, however great and varied in its object it is, could overcome my confidence in myself"
In confidence, of course not . Rest in peace.
Article Author Jon Juanma
http://www.rebelion.org/noticia.php?id=79219 
The work that Peter will discuss today Paul Rubens, is called "Self Portrait with Isabella Brandt in the garden of love." Oil on canvas, wood is in the Upper Gallery in Munich and has some measures 178 cm high x 136.5 cm wide. Rubens was a great painter of the Baroque, was able to imbue her works of dramatic compositions, the movement of their anatomy and the complex represented veils of subtle changes in tone, perfectly suited to the baroque piety after the Council of Trent, the Catholic Church sought to inject their propaganda works. Its artistic zenith got no doubt impressive "Descencimientos of the Cross", a theme repeatedly discussed and reached the rank of master for his strength, pathos and powerful scenery of court "chiaroscuro." The paint discussing today, we focus on an example of self-sharing, it appears the artist himself with his first wife, Isabella Brandt, daughter of a noble of Antwerp. According to various bourgeois art historians, the picture shows the happy couple, united by love and affection, with classical symbolic references in the iconography of the era, such as honeysuckle plant that is in front of the couple and symbolized by the time (and minority religions circles could understand) love and faithfulness . Beyond these platitudes iconographic, easily recognizable to anyone who can and wants to study the usual iconography of the time specified, the Baroque, the most interesting is to enter the third reading stage method of image analysis of Panofsky: the iconic stage. At this stage highlight / outline the meaning of the image in its historical context, its real function. To do this we build on Marxism and critical lessons art specialist John Berger.
Many liberal historians Rubens wonder why, in this picture, gave less attention to the detailed representation of objects and qualities of the same (brightness, visual textures of the fabrics, etc). These authors can not discard their false conception of "art for art" of the worldview of their own class to
normally belong: the petty bourgeoisie. This world view not only apply to their daily lives but to falsify history itself, consciously or unconsciously, and adapting it to their interests, concerns or lack thereof. For this reason, will never understand something obvious to people who seek the truth, and an analysis not condescending to anything or anyone in the work of art. And in this case, the fact is that the simple reason that Rubens took pains both reliable and believable recreation of the qualities of the dresses they wore to him and his wife was because I wanted to make a display of material wealth could possess. All those expensive clothes, and his wife, "good family", were only possessions he deserved to be immortalized on canvas, paper illustrating the properties of public-owner.
In those years there were no cameras photographic and Rubens (33 years and upstroke) needed to be publicly proclaimed his canvas (people of their economic and social circle) what he was worth half of what he could have and in fact had (you know " Therefore you are worth "of capitalism maximum current and past).
So despite the lack of poetry that this may pose to the bourgeois art critics, the fact is that Rubens painted this way because he wanted to boast of good clothes and status, just as if a rich man of our time photographed next to your pool or Ferrari. Unfortunate but true, both yesterday and today. Suzi said Gablick
As for understand a work of art, we must also understand its social function in their historical context. Real social function, not what we want to see or that we are officially held up as true, I'd say.
Rubens was a senior diplomat and perhaps the most sought after artist of his time. Precisely the year that made this picture, the painter was hired as court painter of Archduke Albert and his wife Isabel, English governors in the Netherlands. The agreement freed him from the rules of the (still) strong unions and exempted him from paying taxes, in addition to receiving an annual base salary of 500 guilders, excluding commissions (an ox at the time cost 90 guilders and a good portrait is charged about 60 guilders, when according to Arnold Hauser in his prime Rubens earned 100 guilders per working day). addition Rubens could make a huge work thanks to his studio painting, in which manufacturing methods applied in the organization of artistic work. The careful selection of first-class specialized artists as Van Dyck and Jordaens (who came to perform in some cases the whole picture except the hands and faces) also helped to accept large numbers of orders in the near future. On the other hand, say that in his workshop had a number not less than one hundred employees and slaves who helped with tasks painful in the paintings. Only in this way means that he attributed to the Flemish painter authorship of a huge amount of pictures, well above the most prolific authors of his time.
Rubens was a great artist, great teacher, but also a man of high standing of his time, a senior official of the Court surrounded by important influences advantage of them knew how to push as a painter and live in wealth typical of a princely fortune, which among other things, he made his famous palace built workshop in Antwerp and live a life in luxury. A smart guy that Rubens, perhaps not as rogue / rogue / face-hard as Miquel Barceló but certainly much better and more confident painter author. As evidence of a button, in the words of their own aristocratic flamenco:
"My talent is such that no undertaking, however great and varied in its object it is, could overcome my confidence in myself"
In confidence, of course not . Rest in peace.
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