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Arquivo para a ‘Pintura’ Categoria

The essential, the useful and the happiness

29 Jul

The times of a life in nature, when food was produced by medieval farmers, when many consumer products were handcrafted, had a look at nature, at the possibility of having a life in the essentials is first of all these days, it is the ability to forgo many things, make the list of the essentials and live well each day, and solve the problems without accumulating them and without procrastinating them.
The list of usefulness should not lead us to utilitarianism, easy formulas of happiness bring many people distress over time, frustration over unearned goods, unreached social positions, and if we have the essentials list, they are not needed.
What is useful then should be: healthy food, comfortable clothes and shoes, reading the news of the day without intoxication, there is a lot of toxic reading and social media “media” is not exclusive, newspapers and TV there is little culture and good news, remain calm even when it is not possible and acquire goods honestly, while taking care of those other than the essentials.
Happiness has no magic formulas as some ill-worked philosophies, or poorly deepened spiritualities suggest, and is certainly not indulging in consumption and futility.
Art, music, poetry and painting are necessary, as Victor Hugo said: “art is as useful as it is useful”, and perhaps even more in the days of agitation, stress and tiredness of a society that gives little respite and tranquility.
There are likely to be people who are happy with the accumulated goods, but they will one day run out and maturity will reflect on what love, utility, and peace are in a world without peace.
The meditation of the French Buddhist monk Matthieu Ricard, while focusing inwardly, contains some good Western reflections and at least made me laugh and cheer:

 

The Essentials List

26 Jul

We carry too many burdens, not just our bags, bags, even books and too much to do, because the contemporary world has difficulty making the list of the essentials.
Taking care of small household chores, not just leaving them to others, taking work seriously and taking time to rest, also dealing with what can get us out of the stress and anxiety of everyday life, having time for family members and to meditate , contemplate or even just think.
Baroque paintings, paintings and music seem to speak of a still world, too calm for my taste, some would say, but the aspects of flowers, bodegons, and still life indicate something else that is hard to see these days: flow power.
It is not the energy of force, but the energy of soul and spirit, the one that can really put us in the essentials in the face of such a troubled life, full of conflict and contradictory values, even if it is claimed to have difficulty living, it is the flow of everyday life, which is not the flow of life, of energy can be said of baroque art.
Some form of spirituality and inner well-being is responsible for harmony and life on the outside, even though daily life pushes us in the opposite direction, we must have the ability to “get out of the conventional” to make the list of essentials. When we were asked by the apostles to teach them how to pray, we could think of meditating or even just thinking for people who have no religious background.
One can for all indicate the Lord’s Prayer, the one in the “heavens” not far away, but contemplative and in Being.
May his name be holy in present terms, let meditation and contemplation always be present, may your kingdom of peace and harmony come, if not from the outside, to which we are fighting, at least the interior to face conjunctural difficulties.
And lastly, let us work for daily bread, without seeking excess and consumerism, that we may be able to forgive and be forgiven to go beyond the daily conflict. And deliver us from the evil of war, the destruction of nature, and all social ills.

 

Agnus dei´s Josefa, Óbidos, PT

24 Jul

This main work Josefa d’Ayala and Cabrera, or Josefa d´Óbidos (1630-1684), was a baroque painter in the city of Óbidos, her main work was Agnus Dei, whose painting is in the Évora museum.

The painting “Cordeiro Pascal Agnus Dei” was painted between 1660 and 1670 and is in the Museum of Évora, being one of his main works, but it is for the next post.

Its baroque style of still life is characteristic of the period called “Siglo d’Oro” of the arts. There was a new glimpse of nature by integrating floreros, scenes of hunting and representation of animals and still life in the painting.

Strong Iberian influence, among them of Francisco de Zurbarán, see Still Life with Lemons, Oranges and a Rose of the Iberian style of the “bodegóns” and “vases”, of the time.

The Christian influence is also in the work, which can be observed by the grapes, two branches of wheat below and details of the leaves of the vines, besides the Lamb himself.

 

 

Josefa, Óbidos, painting Portugal´s barroque

23 Jul

Josefa d’Ayala and Cabrera, a Josefa d’Óbidos (1630-1684), daughter of father, painter Baltazar Gomes Figueira. and Spanish mother D. Catarina de Ayala Camacho Cabrera Romero, noble Andalusian.

The father is in danger in Seville in 1626 to follow ephemeral military career. Josefa was the first daughter of her eight children, having been patronized by a famous Sevillian painter, Francisco de Herrera, el Velho. who is the master of Josefa’s father in Spain.

The return to Portugal of Baltazar and D. Catarina, in 1634 (until then made in 4 years), is not a case that the woman returned with her parents and a sister Luisa (born in 1632).

He will probably stay in Seville during his childhood with his father. Juan Ortiz de Ayala, collector and amateur of Fine Arts and his godfather Francisco de Herrera.

Josefa meets the family in Óbidos in 1647. It will be in Coimbra, that realizes its first work: the engraving “Santa Catarina”, signed by Jozepha d’Alla. Coimbra 1646.

It was important for Josefa to stay in Coimbra, in the Augustinian Convent of Santa Ana (1644-47), since it was a great source of information and instruction in the seventeenth century.

It will have been through the office of the father or the convent that Josefa de Óbidos will have had access to an engraving of Italo-Flemish origin, available free of charge in an office of any medium painter of the time, or in the library of any convent.

A short video of RTP shows the work of Josefa de Óbidos:

http://ensina.rtp.pt/artigo/josefa-de-obidos-1630-ou1634-1684/

 

 

From Dali to Gaudi

20 Mar

The first contact with Gaudi would not be the first post, it was the experience I did that made me reverse the post, yesterday separated them to notice the end of the conception of objective reality.
Yes the historical path of these two Catalans is the reverse, in the Virtual Multimodal Gallery that I did, you can find 2 works of the last Dali that bring you closer to the current virtual universe (not objective therefore), while Gaudi had a great dialogue with Gothic and naturalism.
Alias for physical reasons, Gaudi was always a vegetarian long before this was fashionable.
I would say that they are complementary, but Antonio Gaudi i Cornet (1852-1926) will only impress us if we walk through his work, we feel his “aroma”, and his connection with Dali can be found in a lecture at Park Güell in 1956, for on the occasion of the feast of Mercy, the complete text in Spanish can be found on the Gaudi Club website.
In this conference Dali in defending him was 52 years old, when he died he was 22 years old.
Gaudi designed the interior of the cathedral in the form of a cross, in a stylized way the cross is present in all his works, the novelty of this church is that the representative biblical figures are all out of the church, inside there is a harmony of light, colors and sounds (above the picture I took) with the tube organs that were later placed, but certainly were in Gaudi’s imaginary, which we have already said has a cosmogony that goes beyond Christianity.
The church outside is what he wanted “a catechesis of stone,” and perhaps the height does what was his purpose “I will make all look to heaven.”
The proposal of finalization is for the year 2026, when it will be the centenary of Dali, it is also expected his canonization by the Catholic Church, nothing more just.

 

 

Ashes in the Snow, now the movie

06 Mar

The novel by novelist Ruta Sepetys, on the theme of Stalinist repression at the beginning of Stalinism and World War II, the character Lina is deported from Lithuania to Siberia with her mother and the younger son, the novel, translated into 27 languages, is 2012, won several awards and now goes to the screens.
The film directed by Marius A. Markevicius, had several producers, among them Sepetys own, will have among other appearances: the actress Isobel Dorothy Powley, or Bel Powley of 26 years, in the paper of Lina Vilkas, Lisa Loven Kongsli like Elena Vilkas, Sophie Cookson as Ona, Sam Hazeldine as Kostas Vilkas, Peter Franzén as Commander Komarov, Martin Wallström as Nikolai Kretzky and others.
As important as the theme of repression is the artistic resistance of Lina, who placed her separated from the family in another prison camp struggling to survive documenting her experience with artistic notes and waiting for her messages to reach her father’s prison camp separate from her, so you know she’s alive.
She risks everything, waiting for her messages in art to reach her father’s prison camp and she hopes her messages will arrive and console her.
Sepetys decided it was more important to write a novel of fiction than a documentary of more than a dozen people he interviewed, this would make it easier for the survivors to talk to her without fear.
The film premiered January 19 and the photography, costumes and art look very good:

 

An immersive digital exhibition

18 Feb

Paris is famous for the Louvre, Orsay and Grand Palais museums, it also has a digital art space, called Atelier des Lumières (photo), a fair tribute to the Lumières brothers.
His great attraction that starts now is an Immersive Van Gogh Exhibition, which has inspired so many inspirations, the film Akira Kurosawa’s Dreams, various types of animation, and a lot of art was inspired by the genius of the Netherland.
The space debuted with Gustav Klimt’s exhibition and quickly caught the eye.
Van Gogh is known, but Gustav Klimt (1862-1918) is not so curious, the connection of the two with this house of Digital Media Art, both opposed to realism (would say to realistic objectivism, but anyway …) and also the positivism that penetrated different humanities, art did not escape.
One can also link it with Art Nouveau, its movement in another direction arose from a work commissioned by a wealthy Belgian Adolphe Stoclet, who had a palace built by leaving him in charge of Wiener Wekstratt, of the Viennese Atelier, where Klimt was an exponent .
The style now appears with repetitive geometric styles, letting appear some realistic parts (that is to say …) that allow the understanding, there uses a Byzantine style cover, and mosaics where realism and abstraction are in contrast, and finally its style.
Returning to Van Gogh’s immersive exhibition that takes place at the Atelier des Lumières, the exhibition begins now in February and runs through December 2019.

The video below gives a sample of the exhibition, with presentation of the co-director of the exhibition Gianfranco Iannuzzi.

 

 

 

The spiritual in art, almost forgotten

15 Nov

In addition to Kandinsky, a contemporary recognized as having influence in spiritual art, there are three others almost forgotten: Raymond de Sebonde, author of Natural Theology; Gaudí, creator of the Mediterranean Gothic, and Salvador Dali, incorrectly seen as paranoid-critic, see this in sequence.
Dali said after a long phase that he himself said he had a psychological and indirect influence of Freud, to integrate into a new phase, where his frame Christus Hypercubus will be a landmark, and may even relate contemporaneousness with Quantum Physics, the fourth dimension of the universe (the Hypercube), and to a certain extent to the tesseract of Charles H. Hilton.
He says in his Anti-matter Manifesto he writes in all letters: “In the surrealist period, I wanted to create the iconography of the inner world and the wonderful world, of my father Freud … Today, the outside world and that of physics transcended the world of psychology, he declair:  “My father today is dr. Heisenberg”, so is a Dali post-surrealism as he proclaims himself.
We have already posted something about this before, but we have developed a little more here.
Proclaimed Dali about his work: “I Dali, re-updating Spanish mysticism, I will prove with my work the unity of the universe, showing the spirituality of all substances,” in which the use of substance is not by chance, even of the physical universe, but may also be that which Teilhard Chardin called the “Christocentric universe,” that is, his Noosphere in the most substantial sense of the word, or in the physical sense of the universe.
This dimension, besides being studied in Particle Physics and Astrophysics, appeared in films like “Contact” (1997, direction of Robert Zemeckis) based on the work of the same name of Carl Sagan, and recently the film Interstellar (direction of Christopher Nolan , 2014), and the possibility of the fourth dimension and the universe being immersed in a hypercube is scientific.
Einstein had predicted a relativistic phenomenon Lense-Thirring (homage to Josef Lense and Hans Thirring) that remained for a long time without proof until this effect began to be detected in artificial satellites and since then has been studied as a real possibility, is a effect of a gyroscope due to the gravitational magnetic field.
The Artefacto 2018 event will begin tomorrow in Lisbon, at Palácio da Ceia, among other works, and will present an Ode to Christus Hypercubs by Dr. Jônatas Manzolli from Unicamp, which will feature pianist Helena Marinho from Aveiro and the soloist Beatriz Maia

 

The Monotization of the World

14 Nov

So begins the text of Stefan Zweig on his impression of the contemporary world: “Everything is becoming more uniform in its outward manifestations, all flush with a uniform cultural scheme. The characteristic habits of the individual people are being worn, the native clothing giving way to the uniforms, the customs becoming international.
Countries seem increasingly to have slid simultaneously to each other; the activity and vitality of people follows a unique scheme; cities grow more and more alike in appearance. “(Zweig, 1925)
With this quotation I also begin the presentation booklet with Dr. Jônatas Manzolli, Professor of Arts at Unicamp, in our joint work: “Transmediatic architecture of the Ode To Christus Hypercubus”, which is presented on fryday at the Palácio de Ceia in Lisbon, with the pianist Dra. Helena Marinho and the soloist Beatriz Maia, both from the University of Aveiro.
This small report intends to present, besides the ode, Photographic work and animation that relate music, images and a hologram in 3D dimensions with an imaginary space hypercube that extrapolates this dimension, inspired by the work of Salvador Dali: Christus Hypercubus.
It is for that reason inspired in the Mystical Manifesto of Salvador Dali of 1950 is a decisive phase and that changes the very conception of Salvador Dali, it can be said for a post-surrealism, in which the mystical influence united the new quantum conception of the emergent Universe (1952) (photo), the Disintegration of Persistence of Memory (1954), The Last Supper (1955), and the Discovery of America (1958-59) are works of this phase.
The Artefacto 2018 event takes place in Lisbon at the Ceia Palace, on November 16 and 17, with several other works that can be found on the event’s website.

ZWEIG, Stefan (1925) “The Monotonization of the World”   Disp. em: germanhistoryDocs.gh.dc.org .

 
 

There is way, this is a method

13 Sep

Beyond the historical truth, opposed to hermeneutics (Shcleimacher) and romantic historicism (Dilthey), Gadamer deals with the question of truth linked to both religion and art, a transdisciplinary anticipation, and perhaps perhaps its “method” (see our previous post the Ricoeur question), put it this way: “A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the ‘standpoint of art’ can deliver.

The Romantic desire for a new mythology… gives the artist and his task in the world the consciousness of a new consecration. He is something like a ‘secular saviour’ for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.” (Gadamer, 1989),  of course, salvation here would be earthly and not heavenly.

In fact, it is what we understand by history that makes us skating at levels of tradition, says Gadamer on history “In truth history does not belong to us but rather we to it.” (Gadamer, 1989)

Gadamer explains the difficulties not only historical, but mainly the prejudices linked to tradition: “It is the tyranny of hidden prejudices that makes us deaf to what speaks to us in tradition.” (Gadamer, 1989)

And agree in this dialog´s difficult: “We cannot understand without wanting to understand, that is, without wanting to let something be said…Understanding does not occur when we try to intercept what someone wants to say to us by claiming we already know it.”

It indicates how to put this into practical and real plans: “What man needs is not just the persistent posing of ultimate questions, but the sense of what is feasible, what is possible, what is correct, here and now. The philosopher, of all people, must, I think, be aware of the tension between what he claims to achieve and the reality in which he finds himself.” (Gadamer, 1989)

It is necessary to foresee (virtually) possibilities, but to be able to adapt them within the real possibilities, so there is no romantic hermeneutics or historicism, both must bear in mind the realities and interpret them.

Gadamer, H.G. Truth and Method, 2nd edn, Sheed and Ward, London 1989.