Shower Rod Built In Hooks

THE CRISIS OF THE OLD



(Enzo Pedrocco)

Nel suo libro di memorie Guy de Rothschild scrive, a proposito della vecchiaia, che essa è una disfatta e che, pertanto, “bisogna proibirsi di essere vecchi” : una parola!

...

"Il riflesso adocchiato in una vetrina, il rimando della faccia allo specchio da una angolazione insolita ci portano, così dicono, 'la prima inquietante presa di coscienza del fatto che stiamo invecchiando'. Freud racconta di una sensazione del genere: un giorno, in treno, vide entrare improvvisamente nello scompartimento un vecchio. Solo che was himself: Freud had used the image of his own head in the mirror hung behind the door, which had opened suddenly to a sudden jolt of the train. It felt a sense of repulsion. "

(Hillman /" The strength of character "- Adelphi Edizioni 2000 - Trad A. Bottini)

..." He did not (... ) any basis for the opinion of those who assert that the old are excluded from active life is like saying that the pilot in navigation does not do anything because he is quietly sitting in the stern, holding the helm, while some tree climbing , others run around to the bridge, other empty the bilge. Of course, does not do what young people are doing, but does much more and better. Not by force, with the speed or agility of the person, but in retrospect, with the authority and teaching do large firms: these are indeed the qualities of such as old age not only does not cease, but is usually richer.

(Cicero, "De senectute" / Trad.di A. Ghelardini)

...

sentences and brief reflections on old age great men, poets, writers, artists and philosophers from "Towards the evening. Thoughts on the old" by di M. Wilhelm – Città Nuova Editrice (2002):

“Mai rimandare a domani quello che puoi fare oggi! Potrebbe essere tanto bello che domani potresti già ripeterlo”( Wilhelm Muhs )


“Si dovrebbe sempre pensare che possiamo morire anche domani. E’ questo tempo che crediamo di avere davanti a noi infinito che a volte ci uccide” (Elsa Triolet)


“Per rendersi conto del livello culturale di una società o di una persona, basta vedere come si comporta nei confronti degli anziani” ( Zenta Maurina Raudive)


“Più si invecchia più The birthday cake looks like a torch "(Katherine Hepburn)


" Let's kill time, as if it had time to kill us "(Alphonse Allais)


" Who has the discretion to see beauty never grows old "(Franz Kafka)


" The passage of time blurs the outlines of the events and sweetens the painful aspects "(John Paul II)


" The value of a life not derived from its length, but its depth "(Gustav Frenssen)


" You always act, speak and think as if it were the last moment of your life "(Marcus Aurelius)


" Ageing is to see himself in a light more clear "(Simone de Beauvoir)


"It was old when the past is more pleasant than the future" (John Knittel)


"When your friends begin to compliment your youthful air, you can be sure they think you're getting old" (Washington Irving )

Men Peace Sign Bedding

Symbolism

"The man who painted her dreams" Marcel Proust.

**********

Symbolism developed in Europe towards the end of the nineteenth century and the early years of the next.

More than a group or school, is a movement, an atmosphere that embraces artists and writers of different backgrounds, united by their disdain for the positivism and technological progress and the desire to restore the primacy of the spiritual sphere. What

Symbolism is difficult aesthetic that has its roots in Neoplatonism, in the occult and mystical doctrines. Across Europe we are witnessing the spread of this state of mind, which causes a kind of romantic regurgitation, a phenomenon evident in art and literature and even philosophy, music and theater arts minor. The link between literary and pictorial symbolism and philosophical schools is in fact inseparable. A text which, as Will and Representation Schopenhauer, which makes a distinction between being and appearance, and welcomed in France with great enthusiasm by their environments Simbolismo.Gli near the same artists and theorists of symbolic movement identify their strikers in Some artists already active at mid- of the century. In France the names most often mentioned first


is to Gustave Moreau, the nineteenth century, a pupil of Picot the Ecole des Beaux-Arts in Paris. Although his early paintings achieved great success at the Salon, the artist felt soon to deepen the academic language mixing it with romantic charm, to get a dramatic result and toccante.Tra 1857, and 1959, the artist stays in Italy He studied in Rome, Florence and Venice. The combined effects of Italian Studies at the Ecole des Beaux-Arts, are highlighted in the canvas paintings in the early sixties.
Oedipus and the Sphinx 1864-New York-take underground Museum of Art Ad  e Orfeo. Saranno queste due tele  ad affascinare i surrealisti, eleggendolo  a modello.

**********

DENTRO AL CAPOLAVORO

Gustave  Moreau, è stato un'artista fuori dagli schemi, vicino agli ambienti accademici ma al contempo autonomo  e originale , è  sempre attentissimo al dettaglio.  Moreau in questa tela cita liberamente la tradizione: lo sfondo, per esempio, tradisce la lezione di Leonardo da Vinci.  La scelta dell'episodio, lo stile l'atmosfera incantata, l'ambiente e la gamma cromatica testimoniano the complexity of the work.


Orpheus, complex character, hero and victim, very close to mythical figures such as Oedipus or Promoteo revenue in the literature because of their deep symbolic allegorical value.
Orpheus singer and poet, was killed by the Bacchae for refusing their love. Orpheus is a character very dear to art and literature of the nineteenth and twentieth centuries. Moreau's interpretation is very original and goes beyond the pictorial tradition of the time. If other artists focus on the dramatic moment of the killing of the young, Moreau prefers to portray a scene less than the usual finding da parte di una fanciulla tracia della testa e della cetra del poeta, gettate in un fiume dalle Baccanti.

Raffinatissimo il dettaglio dei pastori che suonano sulla roccia, in secondo piano, presenze che arricchiscono la scena di magia e si ha come la sensazione di un limbo senza tempo.

Il particolare della cetra è splendido!  divenuto tutt'uno con la testa del poeta, in un'unione altamente simbolica con la propria arte, che ne renderà eterno il ricordo.
Orfeo, personaggio complesso, eroe  e vittima,  assai vicino alle figure mitiche, come Promoteo o Edipo, entrate nella letteratura simbolica in virtù del loro profondo allegorical value.
Orpheus singer and poet, was killed by the Bacchae, for refusing their love. Orpheus is a character very dear to art and literature of the nineteenth and twentieth centuries. Moreau's interpretation is very original and goes beyond the pictorial tradition of the time. If other artists focus on the dramatic moment of the killing of the young, Moreau prefers to portray a scene less than usual by the discovery of a Thracian girl's head and lyre of the poet, thrown into a river from the Bacchae.

**********

recently rediscovered Pierre Puvis de Shavannes personality is another key to the development of art, not just the scope of symbolist. Born in 1824, discovers his artistic vocation in a trip to Italy, back in France, he enrolled in the courses of the first painting Scheffer, following those of Delacroix, then for a few months he attended the workshop also master Couture Edouard Manet.Artista attentive to technical aspects, to improve the final outcome of the work and make it look similar to a fresco, the artist stretched canvas on a layer of plaster and glue, and then to color it with little oil. These are characteristics that the monuments projects that make decorative and enhances one of the painters Puvis required for this kind of intervention. His are some paintings that adorn the Pantheon and the Hotel de Ville in Paris. At this important production alongside works by Puvis tripod, less spectacular but equally interesting. One of his most famous paintings is The poor fisherman.

Pierre Puvis. Child in the seaside, 1881, Paris, Musée d'Orsay.
The artist depicts a glimpse of daily life, a symbol of a much wider and universal theme, a sort of meditation on the concept of poverty. Where, the stark reality of the moment is tinged with nuances of philosophy. Similarly, it is significant for understanding the work of this extraordinary painter.

Girls by the sea by Pierre Puvis, 1879 Paris, Musée d'Orsay

riguardevole canvas size. 205 to 154 cm. Simple in composition, you can breathe all the modernity of his style.
a serene but suspended, almost crystallized, permeates the scene and wrapped the bodies of statues of three women pulling them completely from reality and surrounded by an aura of mystery, the two-dimensionality of the composition, the lovely poetry of all bear witness to the news Language Puvis, definitely an artist who escapes any definition.
The lesson will be invaluable to Puvis avant-garde art of the century.

**********

Odilon Redon born in 1840, he comes to painting for thirty years, although in the past shown great artistic talent. In the first phase of his artistic career performing mostly charcoal drawings.
connoisseur of art, even before the artist, Redon
approaches the color with the same spirit which is the graphic sign, creating pictures mysterious, suspended in a sort of eternity dream, moving and symbolic. Eyes closed
offers a remarkable witness of
oil and pastels, executed in this new phase. Odilon Redon, is among the most direct precursor of Symbolism.

eyes closed, 1890, Paris Musée d'Orsay

**********

offers its contribution to the birth of Symbolism in painting also Eugene Carriere, artist in his time enjoys considerable fame and appreciated. Its production covers only one subject, motherhood, family patterns inspired by, his wife and five children. His style is characterized by a very personal Paletted, almost monochrome brown tones, from a quick tap and nuanced.
His research focuses on very personal spiritual beliefs, aims to transform individual experience into universal symbols.


Student at the Ecole des Beaux-Arts in Paris in 1870, it was after the Franco Prussian Academy student of Cabanel, 1823-1889, whose most famous painting, The Birth of Venus, 1863 Musée d ' Orsay in Paris, but managed to escape quickly from the influences that gave him a style that mingled with the rich colors of Rubens and Velasquez, to go to this and to penetrate a sweet poem that marked all his work, particularly the mid-eighties.

The family of Eugene Carriere

**********

Thought.

born tremulous, hesitant
struts.

He pauses a moment, then moves
secure. It soars

mild and ineffable, unattainable and elusive
,
where there are no boundaries.
Anna Ruberto

**********

Anna said ...

undoubtedly has

Gustave Moreau, French art scene in the second half of the nineteenth century, a location completely new and very personal. With its accession to Symbolism, after the early classical, definitely denies the sensitivity and nineteenth-century culture, yet full of realism, managing to decline the themes of the Symbolist style in a very original way.

His painting is refined, rich in symbolism and explores with sensitivity that evocative and intimate areas of human consciousness that hitherto had always been excluded from any artistic investigation.

masterpiece "Young Thrace on the head of Orpheus" is unique. Leonardo undoubtedly influenced by the suggestions ... I am reminded of the landscape of "The Virgin delle Rocce", conservato al Louvre e che ho visto dal vivo. Ma poi si stacca da tutto ciò che è precedente per interpretare il tema di Orfeo in modo unico e originale, come da te descritto nel post.

Un articolo superbo, Rosariella. Ti ringrazio di aver voluto inserire il mio breve componimento poetico adolescenziale in un contesto così straordinario.

Grazie per la vostra attenzione.
Maria Rosaria Di Lella.

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Fragile thought that shakes the soul.

What listens in rapt silence your moans.

In silence let us face the reality,

proud of existence that we can not understand.

Yet your wings in the sky many geometries,

that cheer our hearts, that brighten our lives, sometimes submerged

by thoughts that are not worthy of such.

Think about those wings perhaps then be able to fly.

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At the root of contemporary art. The crisis of Impressionism

Vincent van Gogh.
I girasoli, 1888, Londra.
National Gallery

Nel 1886 è un anno chiave for art in Paris, then the undisputed capital of the European School. The pointillist

contributes to the emergence of new languages \u200b\u200bfor the future development of artistic creation. The original style of Paul Cezanne, is increasingly becoming more and more significant results with becoming a point of reference for the new generations, by Paul Gauguin, who is still seeking its own artistic language, but already interested in painting a synthetic, highly symbolic.

In that period he worked in Paris Herri de Toulouse-Lautrec, a man become a legend because of its short fictional biographer, sensitive singer of Parisian nights and clever inventor of posters of surprising modernity. In 1886 Vincent van also comes Gong and its unique language will leave a deep mark on the European scene, sowing the seeds for the birth of the expression of them upset about the artistic circles in France and Germany.

The expressions are not easy to label, artists are free of any membership group.

These new artists express a new way of seeing and hearing. Art is no longer a retinal and simply record the external reality, the impressions of truth, the artist looks into looking at the answers himself, transforms, translates information that the eye provides, enriching or simplifies a new era is dawning The "big eye" of Monet to capture the subtle variations of true, is not enough. The term has already passed the impression, the time of avant-garde is now at hand.

*****

The short life of Henri de Toulouse-Lautrec , has the flavor of a novel and can be used as few others in the narrative. This aspect too has contributed to the fame of the artists who best embody the common imagery of life in Paris. Beyond lights and shadows of his character, Toulouse is a painter of the highest level, an extraordinary inventor of billboards and very modern printed works that are innovative graphics solutions. Born in 1864, from a noble family, he started painting as a result of immobility due to poor health forced, un'osteogenesi imperfect nature of genetics is causing his frequent bone fractures, and stop its growth to 150 cm in height. In 1886 he moved to Paris, the economic independence also marks the start of a brilliant and brief career as an artist. Admirer of Degas he devoted mainly to scenes of daily life in Paris by night. If the issues are similar to those of Degas, the aproccio is different. Seconded the eye of the master impressionist is replaced by that of Henri Toulouse-sensitive. To understand the difference between the two eyes, is enough to compare the works of Degas to the female toilet and one of the best known oils of Toulouse. The toilet in the first image gives the impression of spying in the lock, the second in spite of the position behind the subject and the atmosphere of a quiet complicity between artist and model. Few artists have managed to portray the daily life with stunning immediacy. The bed is a real snapshot of disarming truth cultured without malice can suggest the complexity of a lifetime in the short space of a sheet.

His posters have made history, one of the most famous Moulin Rouge, La Goulue, a new era, the advertising graphics. The poster was an immediate success and introduces some great novelty, reminiscent of a sign written in red with a solution of the big M and the repetition of words, the perspective distortion of space, globes of gas lamps, the idea of \u200b\u200bthe public placed in a semicircle. Henri Toulouse combines different suggestions, mediating the simplicity and stylization of Japanese prints, key to understanding the artist's work. "Toulouse, became interested in lithography in 1891, in ten years will create more than 360 that shows the 'the artist's commitment in this area. Lautrec for his graphic works is a proper completion of the work depicted. A lot of originality not matched by a real appreciation from the critics and the public, which does not include the changes introduced by the artist. Toulouse, died at only thirty-seven years syphilis.

*****

*****

Paul Cezanne . The father of modern
*****

Paul Cezanne .

Apples and oranges-1895-1900

Paris, Musée d'Orsay

apples make their appearance in the work of Cezanne in the seventies and became, in later years, one of the most popular subjects of the artist. Cezanne's style in painting fruit has charmed critics and writers, is known, the opinion of the writer Virginia Woolf observes that As you look more like apples of Cezanne, the more apples seem to become more red and more green and round and their heavy pigment itself seems to defy, we touch some nerve, stimulate, excite words inspire in us where we did not believe that words exist, suggests ways in which the first did not see that yet. In this wonderful canvas
nothing is left to chance, the objects and fruits are arranged in space according to different angles, along a diagonal, giving a balanced but very complex multiplicity of points of view.

*****

Paul Cèzanne nasce a Aix-en Provence nel 1839. Suo padre è un fortunato commerciante di umili origini che grazie alla propria abilità negli affari, arriverà a possedere l'unica banca della città; all'ascesa economica non ne corrisponde una sociale: gli arricchiti Cèzanne non godrà mai della considerazione dei propri concittadini. Compagno di scuola di Zola, che rappresenta per il pittore un importante riferimento culturale e affettivo Paul abbandona presto gli studi per dedicarsi alla pittura. Parte per Parigi dove viene accolto con ostilità: il suo carattere scontroso e ostentatamente rozzo, cosi poco avvezzo alle raffinatezze cittadine, si accompagna a un linguaggio artistico incomprensibile anche agli spiriti più colti. Il lato oscuro Cezanne's good is evident in his early works, never completely subsided even in maturity. First encounter with impressionism whose works are Maddalena (1869 Paricio about Musée d'Orsay) or woman strangled of 1870-1872, Paris, Musée d'Orsay), both works highlight a particular aspect of the work of visionary Cèzanne.Le scenes painted in the seventies-all: The orgy (pictured right)
(around 1870 private collection) which reveals all the contradictions and fears of a difficult man inwardly unresolved, for which the sexual and emotional relationships are still a painful battlefield. The paintings of this period are particularly interesting for understanding the artist and his work.
The portrait is a genre very popular artist, from the beginning. The youthful portrait of her father, learned while reading the newspaper in an armchair at home gives us an extraordinary example, the apparent calm hides once again the complexity of a difficult family relationship: "L'événement" is the newspaper in which Zola publishes his articles in defense of the Impressionists, writings hardly have received the sympathy of his father, adamantly opposed to the son's departure for Paris and his vocation as an artist. It is no coincidence that, at his back, face fine show whether, on the wall, a still life painter, a painting that really exists: Sugar Pears and blue cup (1865-1866 - Paris Musée d'Orsay) Works
the next with Paul Gauguin and Vincent van Gogh

*****

*****

Stars. Silent spectators

of anger and joy

of terrible things

motionless companions of the lonely wanderer

the fisherman at night

of those awaiting a return.

To offer looks

joyful sparks.

Splendor spread. Want to light up

Stars.

Ember dispensers of hope

Dreams illuminate

range of colors in unexpected.

wink

Bright summer nights.

Recall blond sirens

for the novel Ulysses.

Stars.

In their magic dust

the beginning of time is enclosed

the mystery of the universe.

Anna Robert
thank my friend Anna, who with his verses, enhanced by pure poetry Soloimmagini.

Wooden Fingerboard Sale 2010

The daily distribution to kiosks of the historic center of Venice in the early hours of the morning, newspapers and periodicals


WHY 'PRINT WHEN IT' IN LOSS OF PERENNIAL?


At the bottom of many emails I receive, marked with a logo depicting a small leaf, often find the phrase "Respect the environment. Do not print this email if you do not need "an invitation, in other words, not wasting paper and contribute thereby to protect the planet from the disastrous deforestation in place a bit 'everywhere and especially in the Amazon rainforest. And also to prevent, if the mail, once printed and completed its purpose, would end up as often the case in the trash, excessive and unnecessary accumulation of waste paper difficult to recycle or dispose of without causing damage, in one way or another, the environment.

Given the crisis in newspapers for years now a bit 'all over the world and especially in our country - not having been able to grasp and make their own opportunities offered by social and cultural changes have occurred in recent years globally via the Internet - and considered that their publishers, despite the inevitable financial losses resulting from the crisis, continue undeterred to send them on sale regularly using tons and tons of paper, and wasting nearly as many because yield more consistent every day, why not pay them a call also to respect the environment and not to print their newspaper if it is not necessary?

Maybe some of them can not repent, for once, closing down shack and puppets rather than insistently pity funding from the state, blame is wrong with the Internet or rhetorically unlikely prospect risks to our democracy, as if a company has finally learned to communicate on its own and in its place, without any need for intermediaries or distributors from the top of world views, then something was undemocratic.

ENZO PEDROCCHI


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fall in sales for newspapers, data

(http://lapulcedivoltaire.blogosfere.it/2010/05/crollo-delle-vendite-per- everyday-i-i-dati.html)

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DAILY NEWSPAPERS IN THE AGE OF THE INTERNET 2.0

Far from become "the morning prayer of modern man" - according to the wish of Hegel - reading the newspaper or newspapers, both in their traditional print edition in the online media, meets today new and unexpected obstacles - including which, above all, the claim more and more ways and times to make information on the so-called "web 2.0" - which hamper it in a much more serious and more serious than any obstacle encountered in the past.

Until a few decades ago, when yours truly was still little more than a boy, the biggest obstacle standing in the way of reading one or more daily newspapers printed edition, which was still the only existing, was represented by a widespread reluctance to the reading in our country and due in large part, in addition to a low level of culture medium at all to have the slightest familiarità con la lingua italiana scritta, al fatto che la giornata della stragrande maggioranza della popolazione italiana era ancora forzatamente assorbita pressoché interamente dalla preoccupazione di mettere insieme quotidianamente pane e companatico. E non c’era quindi assolutamente spazio, né voglia, per distrazioni fuorvianti quali la lettura anche soltanto del quotidiano locale, riservata a pochi privilegiati che, grazie alla discreta condizione economica di cui godevano, potevano tranquillamente permettersi tale “lusso”, assieme curiosamente a pensionati, disoccupati e sfaccendati vari che, pur non godendo ovviamente dei medesimi mezzi economici, potevano tuttavia disporre di tutto il tempo possibile e immaginabile e approfittare during the day the newspaper that, like today, many public places are used to make available to its customers.

Subsequently, in a few years, everything changed fortunately thanks to a relative affluence spread in most of the Italian population and the launch in our country, similar to what had already happened a long time in other European countries, of mass schooling. But, despite the fact that after these changes become the newspaper every day for many Italians a primary means of information and movement of ideas, but we do not differ much in the world ranking of reading newspapers, they were still relegated in last place, where, after several years, is still shown today - by, paradoxically, in certain countries where the notoriously press freedom and the right to information which are essential to democracy, are being systematically violated - taking into account that, as you can read between the other things in an interesting article by Stephan Faris published in "Time" just a few months ago - Italy's Newpapers: Untrusted Sources - only one Italian out of ten law on a daily newspaper, against one in five U.S. and three in five in Japan.

In this regard, however, today, unlike the past when there was a tendency to attribute almost exclusively to the hastily because of the limited success of newspapers in our country to a supposed innate idiosyncrasy of reading against the Italians in general and to wrongly assume that the newspapers did not have anything to reproach which, not a few analysts are of the opinion that it, beyond all possible faults of the Italians, should certainly attributable in part to what the newspapers could not do and have done and continue to do today to avoid the crisis in a long time.

E 'in the eyes of all, to cite one example, they have not innovated pressoché nulla in un secolo e che, se si eccettua qualche dettaglio, come la fotografia a colori o il formato tabloid, i quotidiani che troviamo oggi in edicola non siano poi molto diversi, alla fin fine, da com’erano un secolo addietro. E, quel che è peggio, è che essi tendano per lo più a trasferire la medesima staticità e mancanza di innovazione, in forme diverse, anche nelle loro edizioni on line. Con il risultato di una sostanziale delusione da parte dei lettori, sia giovani che meno giovani, i quali chiedono in genere maggiore partecipazione e interattività; notizie inedite che non risultino, possibilmente, già apprese la sera prima dalla televisione o dalla radio e attinte solo ed esclusivamente dai canali ufficiali, but also from other news sources, alternative to the latter, such as blogs, citizen journalism, social networking etc, and especially images and video to the post, preferably, certain pedants pistolotti written primarily, rather than to inform, to show off its prose and culture with friends, colleagues, politicians etc..

It goes without saying that as long as the newspapers, be they paper or digital, will not feel the need to innovate, especially bridging the gap between what we usually offer and what would be requested, the crisis in act, not only will not cease, but that appears even more logical.

ENZO PEDROCCO

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Edouard Manet, off September 30, 1882 His death opens a deep wound in the Impressionist group, the loss of a landmark so important in a way that accentuates the crisis for some time going through the ranks of the movement - also irreversible, which will explode in all its seriousness of the last exposure. organized in 1886 - the cause must be sought not so much in the history of the movement itself but in the artistic faced by each of its members.

Pierre-Auguste Renoir

(Madame Charpentier with children)

1878

Metropolitan Museum of Art, New York

The most emblematic example of current crisis is to Auguste Renoir , trasfuga the first group, which analyzes lucidly his expulsion from the Impressionist movement, going so far as, if not deny, rillegerne at least many of the precepts in a new light.
The work which starts at the turn of the artist's style is an impressive portrait of the wife of the famous publisher Sharpentier Georges, Madame Sharpentier with his children, Renoir decided to present with large-blame by Degas, always critical of official circles.

Edgar Degas L'Etoile, 1876 - 1887, Paris, Musée Dorsay.

The first signs of crisis all'interno del movimento si avvertono già con la quarta esposizione, organizzata nel 1879, fortemente voluta da Degas, che è tra i principali premonitori. Renoir e  Sisley , decidono di non parteciparvi. Ne seguirà l'esempio Claude Monet, che diserterà la quinta edizione, lasciandosi alle spalle un'associazione ormai ridotta a pochi elementi:  Pissarro , La  Morisot ,  Caillebotte ,  Guillaumin ,  Rouart  e Degas " Che ne sarà delle nostre esposizioni"?, scrive in una lettera Degas a Camille Pissarro, il 24 gennaio del 1881, "
must continue, but continue only in the artistic sense, the only way, by definition, that interests us. "He calls for a return of the friends who have deserted the latest exhibitions, some wish fulfilled in the edition of 1882, which revises between participants Monet, Renoir and Sisley (but lack Degas), but it represents at the same time, the swan song of the group.

Degas sculpture arrives with his usual wit and curiosity. A severe shortage has made it to the view difficult approach to oil painting, pushing towards the use of crayon and from the plastic work. " E 'to my satisfaction that the wax model, animals and people, "the artist explains," not per allontanarmi dalla pittura e dal disegno ma per donare alle mie pitture e ai miei disegni più espressione, più ardore e più vivacità".Raramente Degas mostra le proprie sculture al pubblico. Quando provò a esporre Ballerina di quattordici anni, (nell'immagine) la critica si scatena con l'usuale ferocia. Alla sua morte vengono trovate nel suo atelier centocinquanta sculture in cera e in terracotta, molte delle quali saranno poi  fuse in bronzo da  Hèbrard, nel 1991.

        

Il pittore dell'impossibile.

Claude Monet

less dramatic and ostentatious, but just as deep and perhaps even more complex, is the stylistic evolution of Claude Monet. True to paint en plein and Impressionism, Monet knows how to deepen their poetic prejudice in the wake of the movement that he created years ago. Interest and research on the changeability of the only reality and the perception that it has the human eye. To find new ideas makes many trips: visit the north and the south of France, the Netherlands Italy, Norway Whether looking for new confirmations to their thinking, new grounds on which riflettere.Il subject is always an excuse: they are the haystacks and the Rouen Cathedral does not matter. What matters is the perception that they have, the rapid change of their appearance due to changing weather conditions. The same place is portrayed at different times of day and under different climatic conditions to be able to fix on canvas the subtle, sometimes imperceptible, changes the truth. That Monet has become a challenge, conscious search of the impossible. In 1890 he settled in Giverny, where he has long been a studio. Here she realizes his dream: the creation of "a garden waterslide, a small pond full of water lilies crossed by a bridge Japanese landscape of water, "which soon became the sole protagonist of his pittura.Quella Monet's is more like a real poetry to the pages of Marcel Proust to ones, so close to impressionism history of Emile Zola. A lesson properly prepared, will mark the birth of the abstractism.

THE Pointillism

The crisis of the group that gave birth to Impressionism is evident, in tutta la sua gravità, nell'ottava e ultima mostra del 15 maggio del 1886. A tenere alta la bandiera dell'impressionismo ormai sono davvero pochi.
La presenza di Georges Seurat e del suo seguace Signac solleva molte perplessità tra gli altri membri del gruppo. Seurat apporta un elemento nuovo L'artista cerca di mettere in pratica una regola che gli impressionisti avevano indagato in teoria  ma disatteso nella loro pittura: non mescolare sulla tavolazza  i colori ma lasciare che sia la retina dello spettatore a farlo, osservando dalla giusta distanza una fitta rete di puntini di colore puro avvicinati seguendo le precise leggi della percezione cromatica. Per raggiungere il proprio fine, Seurat studia le piu recenti teorie ottiche. This scientific procedure allows the artist once set the tone that you wish to work in all light conditions, even artificial. It ended the era of painting en plein air.Anche organization of the composition he follows precise mathematical rules, coming to recover their criteria geometric proportion of Renaissance art, and a line of engraved, far away from the free brushwork of Renoir and Monet.

Georges Seurat A Sunday afternoon at the island of Grande-Jatte
1886, Art Institute, Chicago

preceded by numerous studies and meticulously prepared in detail, the Grande Jatte is one of the most modern and stunning paintings of the second half of the real stone of scandal to the Impressionist exhibition of 1886, the painting, monumental in size (207.6 x 308 cm), bears witness to the birth of a new style, known as Pointilisme for characterizing the application of color dots. The colors are divided according to the technique of touch divided, so as to achieve a particular color effect and a clear feeling bright In spite of the immobility of the composition of the scene as a whole retains an emotional vitality.

Georges Seurat, died at only thirty-one in the spring of 1891, leaving little but works reached the summit with the circus, the last artist's masterpiece, a veritable compendium of all her research.

The circus is an oil painting on canvas 185.5 x 152.5 cm built (but unfinished) in 1891 by the painter Georges-Pierre Seurat.

is kept at the Musée d'Orsay Parigi.L 'work was exhibited although it was not finished in seventh Salon des Independants, during the exhibition period morì.Seurat Seurat depicts the circus tent with foil and a party atmosphere . This is the last work of the painter, left unfinished at his death. The framework will be purchased by Paul Signac who then resold the American collector John Quinn, the promise of his bequest to the Louvre.

After his death, the Pointillisme affect many young people up to Herri Matisse-elaborating their first tests in a style close to that of Seurat. True heir of the painter Signac, however, is part of the assumptions to develop a style of Seurat's position, freer and more influenced by modern trends in taste.

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Model East.

The taste of the exotic Eastern end of the century

The rich heritage di arte giapponese ed orientale, raccolto in Giappone durante il periodo Meiji da Edoardo Chiossone è ora esposto nella Villetta Di Negro.
Il museo ospita opere giapponesi di varie epoche: pittura (dal XI al XIX sec.), armi e armature, smalti, ceramiche, lacche, porcellane, stampe policrome, strumenti musicali, maschere teatrali, costumi e tessuti, bronzistica, e una ricca collezione di grandi sculture del Giappone, della Cina e del Siam.

In January of 1870, Frederic Bazille began working in the toilet, an important work by the person vaguely exotic. The young painter had great hopes in this work, the Orientalist genre is very fashionable in Paris at the time. The choice of such a person makes him hope in admitting the Salon. But hopes of Bazille soon be disappointed: the jury agrees with surprise that he presented the second canvas _ Summer Scene (1869, Cambridge, Massachusetts, Fogg Art Museum), far more modern in the subject-but not the toilet. Perhaps, as the same suggests Bazille, convinced that the work has been forgotten and has not been subject to review by the jury, but perhaps it has paid the price of a style accents too "to Manet" and a free bill, so far away from the original painting orientalist array accademica.nella scene Bazille you can breathe little of the sensuality that permeates other works of a similar subject, including Renoir's Odalisque: is svelatamente this atmosphere that the general public seeking erotic paintings in Eastern Europe, which allows you to portray voluptuously beautiful naked lying between rich fabrics sumptuous decorations and colors, without any cause for scandal.

Pierre August Renoir Odalisque-

1870 -

of Washington National Gallery of Art.

The popular imagination has now adopted the idea of \u200b\u200ban East magical, seductive and erotic, filled with disturbing odalisques, eunuchs and caliphs. Much of the success of the "oriental dream" is due to the spread of the tales, The Thousand and One Nights, Sheherazade of that in the late eighteenth century, widely known throughout Europe. Many ignored the power of many spiritual steps to strike the imagination of Western man are mainly accents svelatamente erotic.

Eugène Delacroix.

Women of Algiers in their apartment.

1834. Oil on canvas. cm. X2 1.80, 29.

Paris, Louvre

Eugène Delacroix, after harshly judged those painters who felt the need for a trip to the East, preaching to find inspiration at home, will leave for Morocco and will be seduced. His paintings on the theme Return used to manage a full atmosphere Eastern images are solved with great skill, deeply evocative, sensual but not erotic, fascinating. - Its Women of Algiers are the antipodes of the beautiful odalisques of Ingres, the linear classical purity, the exercise of formal perfection and best example of the academic vocation.

In 1832, on the way back from a diplomatic mission to which he belonged, Eugene Delacroix, visiting Tangier and Algiers, here with a Poirel, an engineer of the port, to succeed in the greatest secrecy gain access to the harem of a captain. "After some leads through dark corridors, you enter in the house that is reserved to him, the eye is dazzled by bright light, the fresh faces of women and children, suddenly appearing in front of a pile silk and gold "Delacroix, immediately takes notes, draws sketches in a notebook now in the Louvre and note details and feelings of emotional and spiritual quell'immersione lived in the harem, which then reconstructs the atelier in Paris, by posing models dressed in the fashion of Algeria.

The painter carefully reproduced in this painting, styles and accessories. At the center of the composition, next to the hookah, there is a small brazier almost off the walls a Venetian-style mirror and right panel in ceramic white and blue with a dedication to Allah on the bottom, leaving the door half-closed guess other hidden places of the house. Finally, the slippers of red cloth on top, insert the key all the power

expression of a simple yet full of intimacy, if dresses and jewelry for women, together their serene expression suggests a quiet sensuality. The work marks an almost magical East, wriggling and overwhelming from the voluptuous vision of previous years.

Guillaumet Gustave Le Sahara (1767, Paris, Musèee d'Orsay)

The subject is not limited only to the Orientalist scenes of life in the harem.

In the halls of official exhibitions multiply the paintings that tell of endless deserts, to camps in the Sahara or cudeltà mori.Emblematica of the canvas at the show Gullaumet Gustave-Le-Sahara

A deeply realistic painting of a camel carcass abandoned in a desolate stretch of sand, sun, the artist manages to evoke the idea of \u200b\u200bdeath in all its horror

Eugene Fromentin
Le pays de la soif 1869

Musee d ' Orsay, Paris, France

Eugene Fromentin, tells how the desert traps and kills a group of viaggiatori.Ma the East is to withdraw from most formidable Herri Regnault - Execution without trial under the Moorish Kings of Granada

Herri Regnault
Execution under the Moorish king of Granada, 1870, Musée d'Orsay

monumental work (302 X 146) which emphasizes the large force and brutality of the subject. The refinement and luxury of Moorish architecture, suggested by the refined contrasts with the image of the artist panel terrible execution, in a crescendo of tension, which reached its height in decapidata head that rolls from the steps, tintengiandoli blood.

Regnault open a point of view and in Tangier, where he painted original works and intense, that always arouse a sensation at the Salon. The premature death on the battlefields of the Franco-Prussian War, will contribute to the emergence of a real myth around the figure of the artist.

Japan between phenomenon and fashion

Katsushika Hokusai Katsushika Hokusai

and 'the most' famous painter and Japanese woodcuts, considered the most 'high school named artist of the Ukiyo-e, and, by Hiroshige, the ultimate interpreter of the season' Japanese high engraving. And 'maybe l'artista non solo giapponese, ma asiatico piu' conosciuto nel mondo: Edmond de Goncourt gli dedico' un'ampia e dettagliata monografia gia' nel 1896.

Il  lungo isolamento del Giappone si interruppe nel 1853, quando una squadra della marina americana agli ordini del comandante Mattehew Perry penetra nella baia nell'antica citta di Edo (l'odierna Tokio), violando gli editti dello ahogun che negavano l'ingresso degli stranieri nei porti giapponesi.

Negli anni che precedono il 1853 soltanto l'Olanda, sfruttando l'eccezionale autorizazione concessa dalla Compagnia delle Indie Orientali, aveva potuto avvicinarsi alla produzione artistica e artigianale del Giappone: una possibilità che non esita a rendere pubblica nelle sale delle esposizioni di Dublino e New York, entrambe nel 1853.Anche a Parigi, due anni dopo l'Olanda punterà molto sui manufatti giapponesi, presentando in mostra mobili laccati, porcellane e vasi di rame smaltato L'esposizione genera un'ondata di curiosità verso l'arte giapponese, che indurrà molti mercanti ad aprire negozi specializzati.

James McNeill Whistler
Stanza dei pavoni (1876-1877 Washington, freer Art gallery)

particolare della - Stanza dei pavoni-

La tela protagonista della stanza è una delle opere che meglio testimoniano l'approccio all'universo nipponico da parte dell'artista americano. Splendide giovani dalle fisionomie occidentali vestono abiti da geisha, posando in ambienti colmi di japonaiseries. il pavimento, il tappeto, il ventaglio, le stoffe del chimono evocano un Giappone seducente e raffinatissimo, quanto superficiale e immaginario.La stanza decorata da Whistler nel 1876 per il palzzo  Frederich Lejland,  per una  rottura tra i due viene smontata and stored after each step, in Washington - is one of the most extraordinary manifestations of the taste of Japan in the application design and fine arts.

Sudden Shower on Ohashi

to Atake "by Hiroshige , 1857-The garden of plum trees in Kameido" of Van Gogh, 1887

The Van Gogh's work with the Japanese art is very intense and repeatedly stressed in his writings: "All my work is based on giapponeria," he wrote to his brother Theo.nella GGH collect his short life, Van more than four hundred prints Eastern, all works of the great Japanese masters .. In works dated 1887, where the artist chooses color ranges limited to a few very bright colors - especially yellow and red -

addition to an aesthetic model and formal, Japan accounts for Van Gogh is also a social model. " Japanese artists often engaged in trade. " Van Gogh was always willing to swap paintings with other artists, in a spirit of brotherhood and cooperation among artists.

Edouard Manet

The queue outside the butcher

! 871-Baltimore-The Baltimore Museum of Art

Among the first to carefully study the examples of printed works, originating from Japan and Manet, which mediates the models Nipponese iconographic and stylistic suggestions for your graphics. It offers a beautiful testimony to the etching-tail in front of the butcher, I remember the attack in Paris. The construction of space and the simplification process which subjects the figures clearly descended from Hokusai Manga

Claude Monet Camille

in Japanese clothes Boston 1876 Museum of Fine Arts

Anche Claude Monet con una certa ironia traveste sua moglie da geisha, la ritrae davanti a una pioggia di di ventagli giapponesi.Il sorriso della bionda Camille, il suo suo atteggiamento sbarazzino. la bellezza del ricamo dell'abito e la scelta cromatica rendono l'opera una delle più alte incursioni di Monet nella pittura di figura.Monet acquista ad Anversa le prime incisioni giapponesi, che andranno a formare una collezione che arriverà a comprendere più di duecento esemplari firmati dai più famosi artisti giapponesi dell'ètà moderna

Van Gogh - Portrait of Pere Tanguy 1887-8

Paris Musée Rodin

The prints are all represented any actual or recognizable to the production of the great Japanese masters. On the left stands the courtesan Tuka, the cherry blossom in the top right-which will offer important insights to the brush of Van Gogh, the artist has a passion for Japanese culture, this is certainly the reason that not only him to enter a series of prints of the portrait of oriental background but also to manage the entire composition and simplifying its formal art nipponica The figure, carved in color, the man in the foreground participates in the atmosphere Proposed from the press behind him. At the top stands the silhouette of Mount Fuji, which symbolically above the head of the protagonist, almost crowning.

Obsession


pierce the mind astonished

words.

Dig
blades

the meat moist.


tears dripping from the sky

heavy.

Pulsa
in the chest

forgotten instrument. Silent Scream




in deafening silence.

Obsession
me in greenhouse
impalpable
turns.

Obsession
you

not let me.

Annarita Ruberto