The Lord Of The Rings Bow And Arrows

Act II (The most Italian of the French)

at City Gallery this Sunday I had more of a surprise. A from 'Sara Dancing' which I mentioned in Act I and ending with the study of Francis Bacon , disassembled and reassembled in London as it stands here in Dublin (and then my mom says that our house is a mess!). In the City Gallery, where the rooms are small with colorful walls and uniforms for certain nationalities, I could see some of Edgar Degas, JB. Camille Corot, Eduard Manet, Berthe Morisot (remember?), Pierre Renoir Agusta, there are also some Italians perhaps little known in Italy. But there is one in particular, which of course I already knew, but that there is only a work (which I think is worth ten, not if only for the size that I prefer to work great!), and is Giovanni Boldini (1842-1931) with the Portrait of Lady Florence Phillips 1903 here right next to another. Now, this portrait of this elegant lady is part of a series of large portraits of elegant ladies who Boldini devoted himself in his French period from late 1990 until his death 800. As I do not remember who said (and I've already said that this name is my fault) about Dutch painting, 'beautiful, too bad to be small', and I fully agree, that both inquiries concerning art in the Netherlands particular, both general inquiries concerning the greatness of a work of art. Certainly it is not all that great paintings are beautiful, and it is not that all paintings must necessarily be as large as the Raft of the Medusa or Guernica, but if I speak my mind for me is a bit 'old saying' beauty half-height ', in this case' size '. I love all the pictures that you always have to move my neck and head to capture the most special, and then you get away, you sit down and appreciate it all. Like a puzzle. Returning Dutch art that I prefer almost everything, they are precisely the exception that the rule based on the concentration of stupefancente masterful technique. But getting to the point around the elegant ladies of Boldini. Obviously in art criticism is more and more studies are conflicting opinions, instead of finding unity. In effect, that is good in every critic says her critics, so I have mine, but sometimes it seems so strange to read the same works the same person completely opposite of that critical period. For example, in a monographic booklet on Boldini (A. Borgogelli), it enhances his last manner, with lines drawn around it to indicate movement of the movement, which seems to anticipate the lines of the futurists (assolutissimamente agree, I prefer perosonalmente widely here than in the period 70 years): 'Boldini as Bragaglia Willie prefuturista preferring instant challenges the aura psychodynamics surrounding his creatures'. In short, those signs that delineate the brush along the trajectories of the movements of the body or clothing. 'In his paintings, the gesture is not posing, it is motion, that transition, so that, while expressing what it is, it still contains what has been already expressed and what you become. Nobody has been able to sit people as Boldini '. (Cardona, the studio of Giovanni Boldini, 1937) Here come the negative reviews: it argues that excuses are technical personnel for an exercise. As I read in other texts that abbassanno tone precisely because of his having fallen too much in worldly and superficial in Paris and this new way did not amount to nothing more than variations on a theme, a different principle of repetition ... But at this point tell me the Impressionists but also appeared to be this 'different repetition'. Experienced the same places and subjects in different phases of the day and the seasons ... and probably a nest of straw at 5 pm in winter, with all due respect to Monsieur Monet, is much less expressive portrait of a woman at the same time in the same season ... But he was? It was lowered into the social life of Paris? Among other things he was not the only type Degas with its internal Okay say he had been French, but even better then! In an Italian Paris (the most Italian of art in Paris) who changes his earlier style (very Italian, as derived from macchiaioli) and 'invent' something new, so be it! Or not? I do not understand where the criticism is negative. But then how do you critcare one who has done portraits so fascinating? Personal mind I believe that in these portraits of women of elegance and Boldini found that the expression of female ntima ladies of the previous 400. A jump of nearly 500 years of walking and she looks great. All the beautiful people think something but do not reveal anything, as Belle in 1490 Ferronierre you remember? What was he thinking? Where or who looked that way? If you really was his lover prestigious, sure he could not speak, let alone could have his picture taken with him, good sense of time did not allow it. But she was there, and the send of the decorum of the time allowed and indeed required it to be beautiful. And if one is better you can allow them to be heavily involved and highly allusive I would say, with that look diagonally say-not-say that in laying compostissima said all his imposing presence and sneak some respect. And the same women Boldini, they seem so lost in their vanity '... are still supple and uninhibited without showing a pattern of reluctance and erudite beauty, stripping, affirm their self-determination of individuals mature and emancipated, fully aware of their femininity '. ... vanity that was not granted 500 years ago, but the 'fully aware of their femininity and claim' we put my hand on fire! And reflecting my favorite here at the side 'Portrait of the Countess Luisa Casati with a greyhound' 1908.

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The artist is a man who never prostitute his art, except for money.
(Henri Meyers)

in a book When I see a typo, I always think that something new has been invented. (Goethe)

For thirty years, under the Borgias, the Italians have had wars, terror, bloodshed and death, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. The Swiss have had five hundred years of democracy and peace, and what product? The cuckoo clock! (Orson Welles)

The philosopher writes things that do not understand, then makes you think that is your fault. (Boris Makaresko)

There are certain writers who manage to express in twenty pages of things that sometimes it takes me two even rows. (Kraus)

I'm not a good painter. I'm too smart to be a good painter. Good painters are stupid, except that Velasquez was a genius (Salvador Dali)

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Abstract subsequent

I wanted to make a brief introduction to rear, but on occasions someone had asked why in this blog there is a section devoted to film. Well, being that the film is considered the seventh art, and being that we here treat of Visual Arts in general, and being that there are films about the life and works of artists, I still felt compelled to include these works in this' section '. For the uninitiated there are different types of films that deal with art. If we use the word 'film' in the sense of the term that is 'film' we have the documentary film, the critofilm, films on the lives of painters, and movies that deal with or relate to this period of art, etc. etc.. But there are also other reasons why I wanted to introduce this angle on the film, much less technical reasons and a lot more personal. There was a time when we went to the movies often, very often, the years when I went there at least once a week if not two, and I sipped the majority voted on everything from the rest of the company, which company time, however, can say he did not particularly taste, so you can imagine ranged from Alien to Shall We Dance?, from Star Wars to About A Boy, by Woody Allen to Dogwille, from Shrek to The Passion ... and so on and so forth, all exclusively dependent only Dall'Ora in which the film was being screened that night and if there were any remaining places. And here we understand why the province of Verona is one of the provinces with the highest revenue in the cinema. I say no more. I personally go to the movies as well, even with the discount that has become vital in these times, I have always broken, and who knows me knows very well. Every so often I even tried to offer some rare film that would appeal to me, but I was still in the minority, and then one time I really did not want to give us just went with my boyfriend of the time, forced inter alia, without the rest of the gang , or know someone who would have appreciated. The films that I saw only two, that is with someone specifically requested in the communion of mean, were just a few, such as 'The Wonderful World of Amelie', 'particles elemenatri' and 'In Memory of Me' to name a few ... Also see 'The Girl with a Pearl Earring' and 'The colors of the soul' were two ... but not in partnership for innovation! Okay anyway. I said, I have seen many, many, in defiance of all milestones spent to make this for me not worth the € 7 (or 4 discounted) ticket if we start from the fact that more and more advertising to bombard me I refuse to see them. Of the most interesting films I have seen the trailer twice, and usually were the ones in the various multiplex were not there, and I had to go out and look at that film and neighborhoods that hold them a week, yes and no. Then when, or when I went to live abroad, my relationship with cinema has changed again. Obviously because there are movies in original language. In early times that I was going and I was, who still live there, when my boyfriend suggested I was always reluctant to go to the movies because my English was not excellent and I thought I should have to concentrate for two hours to translate in real time and effort would have made a beast and I would not have enjoyed the movie and I definitely gave up after 15 minutes with I pretended to be bored for the remaining 1 hour and a half. So how Forward: At home we watched the movie online with subtitles in Italian, but other than that not all of them have had much more of a mess to try to understand English and then read the speed of light in Italian, then later are passed to the English subtitles and I say that I found myself better. Then we started looking at a serial of those comedians, one in which Ireland is famous and funny Father Ted (he is the right of the group, flanked by the old father consumed by the service and other things less Catholic, shoulder to shoulder with the young inexperienced parent, all under the supervision of the inevitable perpetuates the house), only it was real Irish accent but eventually he understood it with subtitles ... and finally with Father Ted, even if it is not colossal, could enjoy an episode and make me laugh! Auks after all this training when I moved there I felt safe to go and see an entire movie in English at the cinema ... paying! And I must say that indeed it would be better to see them in their original language, when English, if the command is good, certainly if it's in Cantonese close maybe not ... But I must say that the 'Devil Wears Prada' I intend to see it in Italian, only to steal some super stop to Glen Close in all its charm more! At the end of the saga of my difficult relationship with the cinema, I do not know what vipossa interest, I see it as useless to the list of genres that I like it or not, you will understand the various book reviews, though I try to be objective! I just want to say that I prefer movies that have a true story, or at least likely. With regard to the yellow, the horror and science fiction, say that I'm going to try them here, also because usually this is not the film that you can define your art. So that's it. Good reading.

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The Girl with a Pearl Earring

Today we speak (or rather I want to dwell), 5 years later, or if you want more than 3 centuries, the Dutch painter Jan Vermeer and his famous painting 'Girl with a Pearl Earring' (or 'Girl with a troubled' 1665). In 2003 he was made into a film that tells the story of this portrait, film taken in turn by Ministerial Order Onimo novel by Tracy Chevalier. So, for those who did not clear the process you order: real painter Jan Vermeer existed three centuries ago, the painting r Agazzi, always three centuries ago, the novel Chev Alier, 2003, three centuries of fter, the film that year. I can speak and / or criticize this film for several reasons. There 's been like this: from the fact or that Dutch painters are something absolutely stupeface nte for the mind and eyes, and Vermeer is one of my favorites of all, when I had to take the examination of language and English literature at university, and I saw the list of texts to be chosen that Roma Anzo, catching two birds with one stone I on the framework chosen. After that, since at that time to read a whole book in English was a bit 'too much for my level, I have the cunning as a weasel in Italian industry, so in order to compare the translation and understand it better, quick feedback / callback when it is released in the movie could not lose (ps.: saaaacco but that year I saw a movie that I could lose myself! ... should be). We go to the heart of my criticism. The film was nominated for an Oscar the following year with three categories: best direction, photography and customs. You know qu anti / n which and losers? Not one, no one. And here we wonder who the other candidates can and achieve enza winners. Since the list will go on too long, string saying for those who do not know the candidates for each category 5. Let's start: for best director has The Lord of fully equipped Rings won for best picture has won Master and Commander, and for best costumes ever The Lord of the Rings . ... Moment of reflection ... Here, if you've seen all three films, like me, or just the two winners, I hope you will agree with me that it was a scandal! But .... I say ... but The Lord of the Rings ??!!! But there realize? Movies that I went to see in Bologna (the first) to the Future Film Festival only because my friend possessed of the kind had two free tickets for one euro and that afternoon because I do not really far we have nothing else to do (The second the 'I saw on dvd forced from the rest the company, and the third I jumped walk even). The Lord of the Rings Best Director?? Best Costumes? And best f photographing, Master and Commander?? In my humble opinion of criticism, I'll be old but I say: The Lord of the Rings director, as director? 80% and computer and do not say that it is not true, because the costumes are all invented invented question of time and place, and finally Best Picture Master and Commander ... which photo excuse? With all that fog !!... Eh '! I say that there was a boi cottaggio as usual driven by revenue in the first case, and Russel Crow actor of the moment. The fashion of the moment was the fantasy (like Harry Potter then, that even then I could open a bracket here saying that I think we have reached the point where it allows adults to keep kids with this nasty syndrome Peter Pan and continue reading the cartoons, and children in them if they had instead pitted the most unlikely tales of 10 volumes ciascina as Lord of the Rings, Harry Potter, Narnia in a while ... 'read on the Establishment Speaking of Quintilian in all his 12 books if someone makes a film him then!) the fashion collections, film producing, selling the film, the film wins. But when I say that the girl dall'Orecchino Pearl least one of the best photo or costumes deserve it widely with my eyes closed, and no compromise on this! If you have ever seen, and especially if you already know p rhyme Dutch painting and V ermeer in pa rti particular, you can not agree or do not remember that Sometimes it seems like to see a particular context Dutch come alive and moving. (A n c h a simple dare as clean the windows of a fi n ight ! I challenge all the uninitiated Dutch art, and who has not seen the film, to say at first sight of the two wings qu intangible gini you see here is the qu Adro and as the scene of the movie) For me some short scenes, some small details were nothing short of amazing! Several times I remained speechless. The costumes on, and the reconstruction of the interior, the light very important, throughout the study that there was behind the need for fidelity and customs of the century, was not evaluated correctly in my opinion. And there is not computer or invention fantasy. There, it is true sources, development, verification, true style, the real hands of tailors true ... I close the parenthesis closely tied to the film open to one linked to the history attached to the book. I must say that the book is very nice, you really capture the feelings of Griet, poor and ignorant that you've in hardship greater than those of the first after the accident of his father, and finds 'safe' as waiters in about this rich new home of the Vermeer family. Only the characters that live and rotate in that house are not the nicest to species. Starting from the hierarchy of his fellow waiter, to pass from the painter's daughters, daughters that sometimes multiplied, not to mention his wife, mistress of the house, and then he, the master Vermeer, it is bursting with joy and compassion from every pore. I then related characters ... the slimy salesman art the son of the butcher that even though the end was the only one with whom one could have a dialogue, it was still a boy cut too coarsely to one that's not i could not even see the hair. I mention this thing about the uncovering of his hair because, unfortunately, is one of the special c he does very end of the translation into film of the book. Yes, because I had not even mentioned, in spite of the very performance of fotog and raffia costumes and settings etc etc the movie left me very disappointed on this front. Griet first seems just that, words Pavor said, 'scared of being in the world', his constant sighs and fears are very emotional stumps, perhaps it seemed the only way the director to express embarrassment and the rest of the feelings new there and confused that he felt at times, and that in the novel are very well described and engaging, while in the film everything ends in a 'Hh!' (They already say the third 'eh lady! He is calm) ... Then this hair thing, I said, it captures very well in the novel (and I'm not here to tell you, I'll go read because it really deserves!) Actually mean what he wanted at that time for a young girl. As the scene towards the end where she shot from above, passes the star of the winds at Mosaic in a street that ran forever, the narrative does absolutely mention what that would mean passing within her. As well as finding the tile route, the situation which gave me freedom of enterprise switching while reading it on video I think few people have really taken the pain of the ntimo Grie t . Latest but not to u ltima for disappointment, the scene of q hen receives the earrings. Maximum for this disappointment, I sorry to say. In short this is what ... I conclude by saying that when the lights are lit on my raga ZZO time, forced me to come by and see this film, says: "Well, the story is virtually nothing!" I looked at him disappointed but immediately I understand that But for those who like him had / have familiar ity with the Dutch art, or do not have read the book, I think this is the result of mass ... Not can be fascinating or you DERE a picture come to life and move if you do not know, and you can not empathize with the protagonist just because sometimes you scare ... Too bad, really.

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City Gallery Act I (the most unlikely artistic way of learning!)

Last Sunday, the first of Sunday's rest after taaanto time, as usual here in Dublin doubt the weather was uncertain (Never trust in Irish weather!), So I say we do? Would you like if we go to visit that other gallery that always tells Oscar that he likes more than the National? - (The one where there is the fabulous Carvaggio for instance) - Yes by. - This is the Dublin City Hugh Lane Gallery.

Ok let's go. We arrive. Outside, in front of the entrance the first thing you require 'Sara Dancing' : one of the installations of the series of Julian Opie 'Walking on O'Connell Street' for a year to animate this part one of the biggest streets and fomose cities with this fantastic idea of \u200b\u200bcharacters who walk made of lights. I say: look! I've never seen it! Of course I had never seen because I had never gone there before, but my amazement was the fact that I assumed that those facilities were exclusively in and for O 'Connell Street, for the simple reason that walk, and in O'Connell street you walk, and not the images across the city. But then on reflection it Sara dancing not walk, and most say that dancing swaying from right to left and vice versa in perpetual motion. ( http://www.youtube.com/watch?v=bk8VgGhxOVU ) However, after taking the brochure at the entrance of City Galley and be back home, I opened all a world! The ignorance but has been decreasing gradually, by dint of links, or if you want awareness at the same time it has been showing up more. All circuit unconscious knowledge and ignorance intertwined past of whom now try to explain how ironic! I go: although almost a year I see those characters in fairy lights walking on O'Connell Street, and although I asked several times of who might be, I never in-depth research to learn more ... so were there every day ... But I took that from quad flyer has expanded my mind! Before discovery: these characters, five in all, I have found to have a proper name, at least Sara, Jack and Julian, the other three are only shown no caption below. Second discovery: these characters are not the prerogative of Dublin, but someone has already been able to see them in Phoenix, Arizona, in Boston, Indianapolis and Toronto! And that already gave me a completely different view of that installation . third and final pool (which made me think of the typical and conclusive AAAAAAA sentence, you know who it is!): Going to the website and looking style of these designs with contoured blacks and eyes small immediately connects them to the cover of Best of Blur. This here. And I read that also did something similar to U2. Here ... this world is revealed to me in five minutes, and I felt more stupid that was ignorant because I have it under my nose for a year and if not was because I had nothing else to do that Sunday, I never connected all these things, with the risk that maybe back in Italy a few of my friend or worse still a professor all'univeristà I say 'Aahh Dublin! Then he must have certainly been able to admire the last installazini Julian Opie famous throughout the world which, unfortunately, we here in Italy we still can not enjoy! ' And I would have done the typical fool of him with that which he wants to give drink to those who know more of you at this small detail of the artist's world-renowned not recollect, but in reality nothing about an Irish fife what you're talking about laundry, but after that has seen them for a whole year. And then when you finally lighting vaglielo do believe that yes you've seen something for a year! ... (See the end of everything if you just Best of me could save face! Thank goodness go!;)

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Diversions

know when one is distracted? Or rather when it does not reflect? Like when you were a child, those games 'repeat 20volte milk milk milk ...' and then asked you what the cow eats and you say 'milk!' ?? here I mean things like that, when does not reflect a ...

So in this post I reconnect go to the previous post on the Caravaggio painting then passed to a thing that apparently has nothing to do, but as I said at the beginning, if something makes you think of a 'got to do something else! Not got to do m ac'entra! Here in this post are different elements that are intertwined: a Caravaggio, 2 Jesus Christ, but the link is more important in all my mother! Let's start: Part : A bit 'of weeks ago came to visit me here in Dublin app anointed my mom. was 5days and I did see a bit 'of a city and little' side of country. The last day I took ta the Nanti onal Gallery, where I could vent t Utta my culture on art. In particular so we stopped in front of Caravaggio's Taking of Christ (above). While and explained the painting, c ike the last thing I wanted to point out that the guards who come to Jesus in the capture of he were dressed in Olives so co ntemporaneo to C aravagg me and not in Roman dress, as it should be. Dialogue: I said, and then see how the guards are dressed ? "And she: m h." Me: I see I do not wear a Roman? And she, seizing at once-without thinking-the reminiscences Catholic we all say some xchè the Romans if they washed their hands. " And I, N O! So what? And who taken then? I'm not gone gaurdie Romania to take in the Garden? "And she : A already true!" And I: So you seem to be dressed as these Roman guards? Look well, look at your helmet! " She said is not, and why then?" I say, but god holy but you've also seen the fiction on BBC1 on Carava GGIO, m then what do you remember? Nothing "(and here we open a long speech on all the fiction that gua rda my mom's was) Okay comuq nue, pretending I do not know maybe a little 'p trop or but I think a helmet medieval / modern is dis tingua f acylated by a helmet rom anus. But in any case, this is one of those things that if one does not say craft, not those reasons 5second unconsciously end up putting everything in the same calderon e. So my mom apologized ... even if he has seen the fiction! Having said that when he made realize that the clothes were not Roman and he asked 'm So why, I explained why I have that 'all' we know that Caravaggio was strongly criticized their because pon eva his characters in sacred garments with temporary (albeit the scandalous vestitiss ime Madonnas, perhaps they would not nude scandal). Then my mom said: "Aaaa aaan" (= onomatopoeia of revelation conjunction of logical / visual!). Ok, this was the first but has nothing to do but part of a factor. Seco nda part Hospital Borgo Roma Verona is verament and empty and dreary (almost like the waiting rooms of the police here in Dublin ) qu anyone had the good idea of \u200b\u200b are a touch of Christmas and had set up a Nativity scene on a big table. I get up, do an eye, I remember when as a child I liked put statues, do the houses of cardboard, put the moss true, to walk the Magi a small step a day ... short in this flashback, as my eyes turn v ano there in that crib placed there as best I see in a corner, alone, a strange statue. A man with a long dress Tues Baron, standing. N appeared on either a King M ease neither a pastor nor a Roman, Ave is the man joints and yet ... ... I look good, sharp vision ... and who was ?? SAINT FRANCIS OF ASSISI !!!!!!! auks I snorted me and went back down. Perchèèè?? Let us reflect for a moment and see that the circle narrows: San Fra ncesco of Assisi, Giovanni Francesco Bernardone anagrafe indeed, was born in 1182 : That is 1182 years after the birth of Jesus, 1182 years Doop that first Christmas was celebrated in this small table set up! And only in 1210-always DOOOPO the birth of Jesus-the order of the Franciscans is recognized as such by Pope Innocent III. All San France risks that you saw in the movies and / or fiction, the most fam dare Brother Sun Sister Moon by Graham Faulkner (top left),

Italians Ettore Bassi left and Raul Bova right (which by the way, despite their chastity Franciscan, I do not know who the most beautiful between the two !) and even Mickey Rourke Ethan Hawke in 1989 and last , or in cartoons or in paintings or sculptures you've ever seen are all DOOOOOOOPO the birth of Jesus, just for instance. So I wonder: What the hell was Saint Francis in the crib?? Other than consecutio tempore! Not that any statue we have, relating to or call the sanctity be put in the manger! Prossismo for your crib, who had a statue of Padre Pio or Raul Bova ...

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"Van Gogh, I, and our shoes"

Have you ever thought to your shoes?
Yes definitely ... when you buy them.
price, color, heel, fashion ...
And my, did you ever think?


What you see up here, worthily represent, yes, they are!

Since we are small the doctor says that the shoes must be bune. I mean: spend spend but little clothing xi x good shoes, otherwise you later regret, with the growth. On the side there is also barking people 'sick' for the shoes, and even for the feet ... There are also a lot of those on the shoes and feet ... but now I'm not here to paralre nor erogenous zones nor Fetish, nor wisdom. Start: It was the year 1995, after spending the Diadora orange and black All Star high and low blue, white Rose El Charro, on a rainy day in winter I see a window of a shoe store the reasonable price 99 000 lire (c bid 'was written) a pair of massive black Nike Force. He was immediately shot lightning! Well, I must say the more resistant shoes I've ever had. They passtao d for all years: rainy winters, hot summers, rain, sand beach, etc. etc.. Well after 1 year so I will begin to consume a snare;'m like a knot. After 2 years I know that it starts to consume one of the little holes in which to pass a string, sew it. After 3 years I will begin to consume one of two points, there and I can not do anything. After months and months, yet beginning to crack the rivet / cloth / cover (do not know what it's called) of one side of the above, another little hole and breaks the ties but I sew too. the 4th part soft where rests the pide was not so soft, was his way of asking pity. guys well, on the 5th and last year after the ground was so smooth and consuamata that on one hand you could see the underlying structure of square, at some point, the umpteenth day of rain, but you would not believe I felt the wet feet! auks I said to myself: 1995, the year 2000, five years ... Well maybe there is time to find a replacement '. (Do not ask me why I use the female, perhaps because 'shoes' is feminine, 'the Nike' is feminine, no matter if 'couple' is masculine) I start looking for worthy replacements, (actually I spent 100negozi to ask the same model, but obviously did not do more after 5 years) and I find a new pair: Nike always, black, but not so high of Force, and that I do not even remember the model name so I was not satisfied and could not keep the comparison. Durations are short, like 2years and whole life lived without the other because at the time I was gone from sneakers to boots. However, in those shoes now because I was really fond of us, I kept aside in the closet for years thinking few days I have to do something, I make stuff! Until the day came with the great idea and I start to take some pictures (it did not take a genius, but Okay time to time) photos from which I created my painting 'Still Life' ( http://alessiaromeo.blogspot . com / ). comuqnue But this is not my speech to celebrate the Nike (which indeed should pay me I'm a point) but because a couple of days ago while reading a book of criticism for my review, I came across yet another, in fact I stumbled into shoes of a another famous artist, that Vincent Van Gogh ! Time: oddly enough, in all these years of studying art history I had not never seen the famous shoes of Van Gogh! How it was possible I do not know, do not you ask me. When I did those pictures because my shoes were my companions in life for years, and I was and still are so attached that even after they have been captured yet I have not thrown more than one person made fun of me for those photos: pictures of the shoes? Why? ' and I said sure! I'm not of any unsolicited shoes are my Nike! They are people! They gave and they deserve respect! - How to say worth a picture! In the exhibition of 2005, which theme was precisely the time that passes, I have exposed live, not in the picture. were in a niche with lots lighting and their white cloth under and around. Title: Still Life. And I got that idea, finally, also some appreciation, I do not know where all conscious of the inherent sense of the work or Simplify the ironic and superficial, but have been noted! So this is to say that as they say that scaroe Van Gogh did not want to represent all the work and condition of the agricultural world (because when in fact represents the hooves of the new farmers are unusually well defined and not worn), but only account for a True to himself, then this also applies to mine! And if I had seen these paintings years ago I could defend myself better arrogating full every right to do all the sacred holy photos I wanted for my life partner shoes worn!

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'The Impressionists, Crossfire'

Knowing that I love the impressionist works, I found myself thinking.

Let me name a few. In order of seniority: A. 1814 Renoir, C. Pisarro 1830, E. Degas 1834, A. 1839 Sisley, C. Monet 1840 .... and there pooooi E. Manet 1832. But because I put after Manet dot dot dot? First things first. Bearing in mind that I studied in a manual of all respect as the De Vecchi Cerchiari, other related texts of other teachers who do not are the last to arrive, I noticed that I am no one, a bit 'of confusion on this movement and its protagonists, but rather confusion is perhaps rather different point of view. So now I say mine too, for the same speech that you like it or not I also have the right to speak my mind. My reflection is very simple. Follow me, look at the dates and names. So: did the Impressionists 8 independent official Salon exhibitions from 1874 to 1886. In 1873 Pissarro proposes a corporation to protect the interests and survival of those who were not aligned with the academic style of the salons. In addition to joining the Company he obviously Monet, Renoir, Sisley, Degas, Guillaumin and the Morrisot . Manet (the Olympus and Breakfast on the grass to be clear, which I was a wee bit haughty) looks at them from afar and says good pretty good idea, I support fully, however I do not agree with. You know why? Because they had accepted a year and a watercolor painting at the Salon, and in later years was the only one that for better or worse with one or two works at the Salon if he drew. I think it was one that said 'well if I accepted at the Salon, otherwise I do it myself, let me work!' There. Even when the painting of 1875 is not accepted and a scandal he says 'if you want to come and see it's in my house'. Now say you could not put it with your other fellow impressionists? No. It should be Well ... Anyway back to my speech. Any art history text mentions you as the only true impressionists Degas, Monet and Renoir. And hand in hand took notes widened my doubt. Renoir've got it this right? Luncheon of the Boating (1881, the first image in the side), ok he is there between the Impressionists for sure. Monet Bridge at Argenteuil 1874 or all series of the Rouen Cathedral and the water lilies ... one that is able to ennoble even the Poplars ! We do not want? He is all around us I think. But .... DEGAS! .. (I wish now to point out that the end is what I like best) ... Let's talk about Degas. Maybe from here on some historical shiver of art, or some professor I mouths in my trunk ... but bear with me: Degas this bourgeois Parisian Montmartre, which said no art is less spontaneous than mine, who strongly believed in the laying of the subject to be able to build at will, which never had the problem of how to strengthen the form because he was born as realistic painter always used the precise design , who always preferred the plein air study conducted from memory and with the help of photography, that the few times he painted landscapes and outside it was only because he liked the horses ... Degas in short, I repeat that for me is the best because of all those reasons listed above, why do you have to put between the Impressionists? If contradicts virtually all the conditio-sine-qua-non to be impressed? Why? Because I know them? Because in 1871 he followed Monet at Argenteuil? (Where the coincidence of the subject with his friend Monet? But the canvas is visible that each of the two of them still remained in his personal style different from the other). Why, I'll tell you why, maybe I figured: why in the whole series of exhibitions is the only impressionist Pissarro, together with that from beginning to end there except that a 82! Want proof? Taking only the 4 most important names that interest us: 1st, 2nd and 3rd expo Degas, Pissarro, Monet, Renoir, Pissarro 4 ° Degas, Monet, 5th and 6th Degas, Pissarro, Renoir, Monet, Pissarro 7 th, 8 th Degas, Pissarro (Monet, Renoir and Sisley in the latter refuse to expose the presence of Seurat). So what does this mean? What Degas, although it was not the 'same thing' the other an impressionist plein air, exposing the same to them anyway because he felt the contents remain similar in different ways, and instead the unpleasant Manet, however, that he had gone to Argenteuil so just to try and then he returns to his studio (just as Degas), never wanted to be 'confused' with them. Who do you want? But stay at home! And do not come to Agenteuil to spy on us! So Pissarro? He, too, there was in all exposures, the Company has given him all, and yet when it comes to impress his name, to the great mass, those of hearsay does not show up like that of Manet. So what do I conclude? And from here on, sorry but I am keen about. Manet not want / want / wanted to be confused with the Impressionists? Ok do not worry. Outside one. Degas did not paint en plein air, out of two. Pissarro do not know why, but if you do not study history of serious catkins do not remember anyone, and out 3. Sisley 4esposizoni was only about 8 or even all in a row, and his name does the same Pissarro's fine, but at this point it makes more sense for him to Pissarro. Berthe Morrisot (left: 1879 Young woman) is in all aspects is one of the best but you say and who is it? Never heard of it, perhaps because only women, but more so for this reason his name should stand out completely over time in the history of Impressionism, and yet the fact is that out of four. In short, those who remain of these famous Impressionists? Monsieur Pierre-Auguste Renoir . Sneaking is the only survivor of the massacre in the crossfire between speculation and official texts. I repeat that are not so speculate why these things, including how things went we read the texts and then what comes to ordinary people of so much artistic skill, you can sadly conclude you is very little. Renoir, the son of a tailor, that he is not exposed in all aspects, then down to '81' change direction 'after trip to Italy, and at the end of his days in a wheelchair with his brush painting attached to the forearm due to the dev bystander arthritis, in my opinion is the only real impressed if we refer to the initial list. All this ends: Sire Impressionist Impressionist Renoir is (for the plein air), Degas legitimately represents the equal and opposite direction to the interior. Degas (that you see on the right) that comes from mythology and history painting with the young Spartans to contemporary and everyday ironing and dancers, is in my opinion, the venerable master father in those years, the most complete and

independent of all good company.

So it is decided, the hearing was closed.

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first

It is said that a female nude is always nice, and a male nude to be nice to be perfect. Maybe so. With all the ways you can give the naked, from the purely academic to the divine beauty, which means instead of a woman dressed? This post will not say much about it, because I think the images speak for themselves. It 's true the suit covers the forms but sometimes enhances, or falsifies, a dress may be beautiful but badly led by the wrong woman (and if I see a lot). On the contrary, there are beautiful women who are well known with the rag on him (and if they see a few). But we do not want to talk about clothes or fashion history. Let me just say that I find that the woman in all the centuries in which it was portrayed was never so beautiful as in the paintings of ladies in 1400. In the next century, without taking anything away from Gentileschi and Caravaggio, of course, never, a little 'things change I think, to say nothing of 1600 with what I call the' construction 'of the woman, if nso that the poor built around a dress, too tight to the torso and hips too pompous, and she had to fit inside. But here you can see, and never was more appropriate verb, some of the ladies that I think, in my opinion, pose, clothing, hairstyles as well, and not least in the eyes of the finest in beauty. There's largest complimeto for me you can do to a woman in qualsisi time elegant and ladies are portrayed in 400 of course, are elegant in the sense absolutely right! At one of these I have ventured to make a modest tribute to my Art Gallery with the work 'Queen of Hearts' (http://alessiaromeo.blogspot.com/) Unfortunately the list is endless here, but I limit myself only to these not to fall in the banal rhetoric, I have intentionally omitted the famous 'Lady with an Ermine' ch andall know to go look for some less well-known face, but certainly not least Elgen. To do no wrong to anyone I simply put them in chronological order, when I found the exact date. The last is an infiltration in this post because of the next century, but a few years, just because of my favorite Raphael! This must give me

order:
I ° 1490 'Cecilia d'Este' Ambrogio de
Predis
II 1490 'La belle Ferroniere'
of L.da Bernardino da Vinci
III IV Cotignola
Lorenzo Costa the old Fifth
1506 'Lady with a unicorn'
Raffaello Sanzio

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Ingres and the engagement

"How wide and sometimes the sky is benign domostri accumulate and one person in the infinite riches of the 'treasures and all the graces and' rarer gifts in luoigo space of time wont be apportioned among many people, that clearly could veders in the least excellent pretty Raffaello Sanzio da Urbino. Who was by nature with all that modesty which usually no time in seeing more of those who others have a certain kind nature of humanity added a beautiful ornament of grace affability, that wont always sweet and nice show co n any source et ta people in qualun this way of things. He made a gift to the world of nature, when they won dlla'rte Michelangnolo hands of Michelangelo, Raphael would be won in the art and co Stum together. " G. Vasari

How I wanted to pay homage to my beloved Raphael in his Three Graces, I see that in previous centuries other artists leggggermente superior to mine have had the same idea. wonderful example of all that of Jean-Auguste- Domique Ingres. His 'The engagement of Raphael' of 1814 is a continuous bouncing between internal and external free and references in my opinion completeness difficilemnte beat. Yes, because the gift is not limited to a simple double portrait of his 'master' and its unfortunate historical sweetheart (they seem almost sweethearts Raymond Peynet), but adds right in a sort of 'beginning of the famous portrait of the Fornarina (1519) and behind them the Madonna of the Chair (1513) already completed and hung, which needless to say to me is one of the Madonna with the look sweeter in the world. In short, only four portraits in a picture, all three women and a man linked by feelings for each other. Among other things, all the women look at us and instead he gives me the idea one who does not know which way to turn around to admire all the beauty that feels to have around. As long admired the portrait has begun to make his beloved keeps her on her knees and hugged her, and then in a second is also pleased with the turn in his Madonna over there ... But why talk about this painting is basically due to a feeling that I got from it as soon as I saw it, the feeling which is reflected in the work itself. I'm going to explain better: the feeling is that Ingres had made up everything as in contemporary times that of Raphael, as if he had lived in the same year. In that sense you ask. I try to give in detail Because of this the reason of my particular point of view, that even if I do not think that official historians or biographers of Ingres, I do not mind at all to have. Let me explain: I think from the title we have wanted to put as Ingres, whose exceptional of engagement in question and that this portrait will serve as evidence Journal (as was done for 'The marriage of Spouses Arn OLFINO in 1434 by Jan van Eyck ) . Margaret sitting on my knees looking straight into the camera as they say today, as if someone portraying themselves right there now, live, and who better than a devoted disciple of her boyfriend over the centuries? That Mr. Ingres, who in 1814 giuntagli the request directly from his idol catapult instead of 3 centuries EXCLUSIVELY for the occasion. knowing for certain that the official engagement with Margaret never happened (because as they say not to do s'aveva) noting the two frameworks under which I said before, we still have the idea of \u200b\u200bthe year engagement which took place this secret: it is the Madonna of 1513 is over already, can not be the 1518/19 year just the portrait of Fornarina, who is there and has just begun. The letter signed by Semi-god of Master Raphael clearly saying 'I beg you to come paint my portrait before I perish' I want to also stressed to Ingres arrived secretly in the most unexpected ways, yes xchè the engagement between the two is secret and should remain so. From what I gather it? 1: Now I understand at the time Raphael was in relation to this unfortunate situation into a report of what I definsico 'everybody knows but nobody here knows anything', 2: The teacher has not never painted in sweet company no one, least of Fornari, 3: where is the private study of the artist and the tent is just a little 'open right for the light, it's not in front of a notary public or between friends and relatives; 4 th and last but crucial point to evidence of this (and try to give me wrong now) is just that to portray the two lovers is Ingres ! Yes, because the engagement is so secret that Raphael had to call someone a friend but not really reliable contemporary, for fear that blurt out everything! Well I think Jean-Auguste must have been an honor to have been chosen to share as a witness over the centuries the secret of his love 'maesro art', how did he say no? Honor and burden in trying to produce this work so fascinating and perfect, at the request, as appropriate homage to test changes in fashions and evil tongues for ever and ever. ... Amen.