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blinkaholik1 · 27 days

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Gallery Walk Through: Andò Gallery

Stephanie Koch Media 111 South Michigan Avenue Chicago, IL 60601 Art Institute of Chicago (161) The Andō Gallery This gallery was designed by Osakaborn architect Tadao Andō in 1922, as part of the reinstallation of the Asian art galleries in that year. It was first project in the United States for the now internationally renowned Andō. Inside this darkened, mininimalist environment, visitors are guided through 16 pillars arranged to evoke a traditional Japanese interior. Beyond the pillars, Japanese screens, ceramics, or other artworks are dramatically lit behind a nearly invisible wall of glass. Andō’s states aim was to provide the experience of Japanese spatial aesthetics in a contemporary setting. From left to right: Shigaraki Ware Jar 14th century Japan Stoneware with ash glaze Frederick and Nathalie Gooking Endowment, 1992.97 Tokoname Ware Jar 14th century Japan Stoneware with ash glaze Restricted gift of the Rice Foundation, 1989.623 Shigarki Ware Jar 16th century Japan Stoneware with ash glaze Gift of Roger Weston, 1991.14 Shigaraki Ware Jar 15th century Japan Stoneware with ash glaze Restricted gift of the Rice Foundation, 1989.624 Tokoname Ware Jar 15th century Japan Stoneware with ash glaze Avery Brundage and Louis Lutz endowments, 2002.24 Tanba Ware Jar 15th century Japan Stoneware with ash glaze Through prior gift of the American Friends of China, Mrs. William Bloom, Mrs. John Alden Carpenter, Polly Root Collier, W. Everett Fox, Newton S. Noble, Jr., and Russell Tyson, 1987.147 Artist unknown Japanese Millet Fields under Sun and Moon 17th century Pair of sixpanel screens, ink, color, and gold on paper Tiny dots of shellwhite pigment (gofun) form a pattered surface across the full heads of grain in these highly accurate on the right are painted with a rendering of millet fields. The leaves on the right are painted with a vibrant green malachite, reflecting a wash of brighter sunlight, while in the left browned plants nestle together under moonlight. Viewers who sat on tatami mats surrounded by these screens likely would have felt immersed in the billowing masses of fields. The pairing of the sun and the moon on screens dates back several centuries and carries Buddhist, Daoist, and Shintoassocitations. But it’s combination with century innovation, perhaps linked to improved framing technologies and seed strains that increasinges agricultural yields. Restricted gift of the Rice Foundation, 1989.625ab Tosa Mitsuoki Japanese,m16171691 Pair of sixpanel screens; ink, color, gold, and silver on silk In the 17th century, Japanese aristocrats enjoyed alongstanding custom of reciting classical verses during outings. Tosa Mitsuoki has here depicted the outcome of one such gathering thenreveling courtiers have departed and left behind their poems on stripsmfield to tree branches. These screens were commissioned or presented as a gift by Tofukumonin (16071678), daughter of the shogun and wife of the emperor Gominzunoo (15961680). This imperial couple’s patronage sparked in a renaissance in the court’s aesthetics. Tofukumon’in received instruction in composing verse, writing calligraphy, and other refined pastimes. She sponsored poetry gatherings in the women’s quarters of the palace, and the screens may have used as part of the decorative program for the rooms during such occasions. Kate S. Buckingham Endowment, 1977.15659

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alene7 · 2 years

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Check out this listing I just found on Poshmark: 🆕️ Orvieto green rooster half bowl.

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thatwitchyaunt · 3 years

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Makeup for Magick/Ritual p3: Beltane

We made it to Beltane, you guys! We did it! Is this actually going to go up in time without my computer freaking out? Only time will tell. And no, I didn't get a better phone.

I stole my sisters. ANYWAY!!!

It's the last of the three fertility sabbats (along with Imbolc and Ostara). And that's fertility in all its forms, by the way, not just the baby-making kind. You need fertile soil to for just about any kind of plant to grow, after all. The main colors that I, personally, associate with Beltane are bright/summery reds, lush greens, and… white. All colors of fertility, growth, passion, shmex… as you do. However! The entire rainbow spectrum is fair game. Think of all the colorful flowers, plants, and trees and stuff. For instance, just looking out my widow from where I'm typing this, you got the green of the new leaves on the tree, the reddish-orange color of the little helicopter seed fellas hanging from it, and little yellow, almost white, flowers on the bush in the neighbor's yard.

Any of the more nude palettes from Ostara are still in play. And DAMMIT! The picture's cut off at the edges. Because of course it is, why wouldn't it be? *groan* Whatever, let's get into Colourpop.

Top: Strawberry Shake, Main Squeeze, Orange You Glad?, Uh Huh Honey

Middle: Just My Luck, Blue Moon, It's My Pleasure, Oh La La

Bottom: Yes, Please!

If the red/green thing is what you wanna go for, grab the Just My Luck palette and either Strawberry Shake or Main Squeeze and you're good. And of course, as the rainbow spectrum goes, there it is. Hell, if you have the Fade into Hue palette, just grab that. I don't have it because, though the eyeshadow formula is decent for the price, there are pressed glitters in the palette. And unlike the BH eyeshadow formula, I don't think the CP formula is good enough to make up for the handful of arts-and-crafts-herpes shades you have to deal with in this palette.

Yes, Please! is here because Beltane is also a fire festival and this a cute and cheap fiery palette.

On to Give Me Glow!

Top: Summer Vibes, Extra Spicy

Bottom: Vintage Rose,Vivid Rose

Where there is the CP Yes, Please! Palette, there is the Give Me Glow Extra Spicy palette. Unfortunately, she's no longer available, but it's a great pick for this fire festival if you have it.

Kindly excuse the busted pans in my Summer Vibes palette, but a good chunk of these shades could work for Beltane. You can take it fiery or flowery, depending on what you're going for.

And if you want to look like a stereotypical flower fairy (and I mean that in the best possible way), the sister Rose palettes are the palettes to grab.

Now let's get the single-palettes out of the way.

Tarte's Tartelette Toasted palette is another one of those fire festival palettes, except more of a warm toned nude version of one as opposed to the bright fiery colors of Yes, Please! and Extra Spicy.

The Too Faced Life's a Festival palette is just full of great brights and those fun duochromes. Definitely the time to pull it out if you have it.

And then there's the ABH Modern Renaissance palette. This palette will give you serious vintage flower fairy vibes, and was the first time I got said vibe while using a palette. Okay,technically that was when I used the Makeup Revolution dupe palette, but that formula was utter trash.

And as for the ABH sub-brand, Norvina…

We got two. The Pro Pigment Palette Vol. 3, and the Pro Pigment Mini Palette Vol. 3.

The Mini's cherry reds, green and pinks and beautiful, and that white has a cherry red duochrome to it. Ignore the pressed glitter in the middle of the top row, the shades are pretty enough not to.

The larger Vol. 3 has some nice bright greens, reds, etc. that makes it great for the lushness of Beltane, even though it's meant to be a fall palette. Which it's also great for, but we'll get to that in a future post.

Now for BH Cosmetics!

Top: Trendy in Tokyo, Chillin' in Chicago

Bottom: Mimosa

Trendy in Tokyo is the typical rainbow palette, except the shimmers are more satin than metallic, so not my favorite of their Travel palettes.

Chillin' in Chicago would make a pretty good fire festival palette, and lays in between Tartelette Toasted and Extra Spicy/Yes, Please!. It's not as nude as Toasted but not as bright as the two others.

Mimosa's pinks with orange and yellow pops could give you a bright, flowery look.

And now the last of the palettes, Juvia's Place!

Left Column (Top to Bottom): The Masquerade Mini, The Magic Mini

Middle Column (Top to Bottom): The Zulu, The Festival,The Sweet Pinks

Right Column (Top to Bottom): The Warrior III, The Chocolates, The Violets

The Masquerade Mini's top two colorful rows are what you're reaching for if you want to do a fully colorful Beltane look, but can be paired with the bottom nudes if all you want (or can do because work or whatever) is a little pop of color. For The Magic Mini, you're looking at the top two rows, which are the warmer rows, and the purple duochrome (Faso) and the green (Buzo) in the bottom, cooler toned rows.

Both The Zulu and The Warrior III are beautiful colorful palettes. In Warrior III, I'd stick with the top six mattes. That green and red are beautiful, and that pink is almost neon in real life. The entire Zulu palette is good for brighter plant/flower looks. And that pink/gold duochrome in the bottom left corner? So beautiful.

In The Festival palette, I'd say all the shades except the metallic black, the deeper metallic teal, and the matte mustard gold. The red, pink and oranges are so beautiful and rich, guys! And that metallic white and gold? *chef kiss* But, guess what palette is getting pulled out for Samhain. X3!

The Chocolates, Violets and Sweet Pinks are basically companion palettes. The Chocolates have some "rich, fertile soil" vibes if you want to bring that into the look, while The Violets are fairly floral and The Sweet Pinks are more bright pops with a more floral matte and shimmer shade (top right, bottom left). The two pinky floral shades could actually be cute with the Violets, now that I think about it.

And finally, the singles! A few days ago, my first Terra Moons singles order arrived, but since I haven't really got to play with them much they won't be included in this one. Though they, as well as my first order of singles from Looxi beauty, will probably start showing up in my next post. Okay, Shroud singles first!

Top: Enigma, Azura, Vigor, Ignite, Vigil

Bottom: Oracle, Pillow Talk, Scrumptious, Magnetism, Soulstone

Pillow Talk, Scrumptious and Magnetism aren't pressed glitters, but definitely act and remove like they are. So, if you pick these up when Shroud reopens, keep that in mind.

Enigma (purple with a blue shift)

Azura (teal blue with a green shift)

Vigor (bright lemon-lime soda green)

Ignite (fiery copper)

Vigil (yellow-gold)

Oracle (champagne gold)

Pillow Talk (deep purple with a gold shift)

Scrumptious (coral red with a gold shift)

Magnetism (aqua green with a gold shift)

Soulstone (magenta)

And finishing off, Give Me Glow singles!

Column 1

My Sunshine (pale sunny yellow metallic)

Lucky Charm (light yellow metallic)

Lemon Lime (electric green with shifts of banana yellow)

Limeade (lime green)

Column 2

Peach Glaze (pale icy peach)

You're Cheesy (Mac n Cheese orange)

Havana (deep coral metallic)

Low Battery (neutral-toned, medium-dark red)

Column 3

Pink Frosting (icy bubble gum pink)

Heartbreaker (electric hot pink)

West Coast (deep vivid coral)

Floral Coral (peachy-pink coral)

Column 4

Strawberry Lollipop (reddish pink)

Pink Lemonade (pink base with electric gold a baby blue shifts)

Icicle (icy white)

Marshmallow (pure white)

Column 5

Pretty Little Lilac (icy lavender)

Electric Purple (neon pastel purple)

Bubbles (true icy blue)

Sky High (bright sky blue)

Column 6

Toxic (deep neon purple)

Purple Hills (a pure deep electric purple)

Under the Sea (deep sea blue)

Starboy (deep cobalt blue)

And we've reached the end of the Beltane post! Fun fact, the Beltane crossquarter day is on May 4th so, still relevant right? Yes? No? Maybe so? The fact that I was able to get this done by Beltane is a miracle in and of itself. Use these as color story inspiration for your own looks, maybe repost with palettes/singles you've found in your own stash, and I'll see you in the next one!

#Makeup for Magick/Ritual #Beltane #sabbats #travel witchcraft #broom closet #witchcraft #magick #rituals

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legallyharrie · 4 years

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BERLERMO ALTERNATIVE UNIVERVE : ART GALLERY IN PARIS

Hello,

I’m sharing with you my first Berlermo AU in wich Andrés is the owner of a art gallery in Paris. He met Martín who came to buy some paintings for his new place.

Sorry for the mistakes, I was tired when I wrote it and english is not my native language !

***

Since his primary childhood, Andrés has always been in love with art. It is the only way he has found to express his feelings. Art helps him to feels love, joy, sadness. Painting and sculptures are the only things to which he let his true self exposed. Even if Andrés is now in is forties, he never said “I love you” to someone. Not even to his parents, or to his little brother, Sergio, or to one of the five women he married. The fact is that Andrés is also extremely ill at ease with shows of affection.

After running the world for fifteen years as a consultant in Renaissance art, Andrés decide to settle five year ago in Paris and open his own art gallery. He found a little gem in the heart of the Marais, a fancy neighborhood of the French capital. Andrés decided to name it “La Galerie Berlin” in reference to Berlin, a city full of artists and in which is sell his first drawing.

In a lovely spring afternoon, a green-eyed man opened the door and cried out in a broken French “ Bonjour !”. A big smile was now invading Andrés’ face. The man was slightly younger than him and seemed very dynamic. He also immediately recognized his Argentinian accent.

“ Buenas Tardes amigo !” Andrés said.

« I’m Martin Berrote. I am an Argentinian engineer sent to Paris for a one-year mission. I lost myself in the neighborhood and then I saw your store front. Could you help me to select some painting, I really need to garnish my apartment! “

Martin was a very talkative person. During his speech, he looked Andrés straight in the eyes with his two-sapphire iris. His accent was also very melodious, and you can hear Italian intonations.

It needed some seconds for Andrés to come back to his senses. He coughed in his fist before answering to Martin.

“Nice to meet you Martin. I’m Andrés De Fonollosa. I’m a Spanish art expert, established for five years in Paris…” without stopping talking, Andrés moved with a rare elegance between the multiples sculptures, glass boxes and showed to Martin every painting.

Even if to them it seemed like only ten minutes have passed, the two men talked about lives for two hours straight. Martin’s childhood in Buenos Aires, the violence of his father, Andrés’ travels, and his unperishable memory of Argentine, his history of art studies. They found a lot of common in each other.

After this long discussion, Martin choose three paintings all of them were abstract art. Vivid colors. Anarchic paintbrushes. It was a pretty realistic representation of his mindset and his thoughts. As nature gifted him with a great intelligence, it was also born with a brain fill with ideas and unable to rest for more than thirty seconds.

“Are you free tonight?” Martin asked.

“Hmm. I just divorced from my fifth wife some weeks ago and I have only a cat at home. So, I guess that I have nothing planned. Why?

“Would you do me the favor to take a drink? Some friends told me that The Marais was full of bars and places to go out.”

At this moment, Andrés was not able yet to put words on what he was feeling but he was mesmerized by this Argentinian guy. It was a magnetic force, something that no one could see. It was unusual, unique, for Andrés to be this confused.

“Of course. Just give five minutes to close the gallery. Let me store your paintings there and I will help you later to grab them to your place.”

A soft wind was now diving into the streets of Paris. The two men were giggling in their way to a little bar. It was crowdy and filled with pride flags and rainbow crosswalks. Even if it was a fancy neighborhood, Andrés preferred the chic of Saint-Germain-Des-Près. They both sat inside a little pub and ordered tapas with a pricy bottle of wine that Andrés recommended to Martin. If he had had the choice Martin would have only ordered a regular beer but he could not disappoint his new friend. They continued to talk about themselves, the highs and downs of each other lives. Martin confess to Andrés how disastrous and toxic was his last relationship with a Sicilian guy. Andrés reviewed his five weddings, all of them sold by a divorce. He admitted to Martin that he really loved women but in the end that he never understood them. He covered them with flowers, luxurious hotels, and jewelries but it seemed that it was not enough for them.

At several moments, they both stopped talking and stare each other in the eyes. But at no time, it became weird. They both needed calm. In these silences, both of them could red the other thoughts. It’s been less than half a day since they met but is seemed like they have known each other for years. Martin understood Andrés. Andrés understood Martin. They were born in different continents, shared a different culture but they shared the same point of view on most of subjects. For the first time in his life, Andrés opened up to someone, naturally. It was like a flood barrier had been broke.

Shortly after midnight Martin asked Andrés if he was not too tired to go back to his gallery and pick up home the paintings. Martin’s flat was 2 miles away from there. As the engineer he was, Martin had a secret plan in mind.

During the way back to the gallery and his place, Martin became quite touchy with Andrés. He touched his arm and then he started to put a hand on his back. Andrés didn’t objected and didn’t moved either. He thought that the feeling was pleasant and showed a knowing smile.

After climbing the four floors which separate the street from Martin’s place, the little Argentinian offered to Andrés a tour. Immediately, Andrés argued with Martin about which walls the paintings should be hang on. At the end, they decided that two of them would be perfect in the hall. The largest one will take its place upon Martin’s bed.

Martin was leaning to the framing of the bedroom’s door staring at Andrés four feet away. Now, they both had sleepy eyes. Today had been intense but none of them have the intention to end it now.

Even though Martin was not a shy person, his arms were full of goosebumps. On top of that, the little butterfly he started to feel sooner did not stopped to grow in his stomach. In fact, thousands of butterflies were now flying in his body. Before, Martin never believe in love at first sight. He was a bit misogynistic and, in his mind, it was for girls and for fairy tales. What he did not know yet is that the supposedly straight men, five times married to women, was also devoured with strange butterflies. And he that he was submerged by the same sensation even if he tries his best to burry it. In any way, Andrés thought that he was uncapable to have feeling for someone. To genuinely love someone.

Martin inhaled a big bowl of air and made a step. He looked Andrés straight in the eyes, smiling.

“Andrés. I wanted to thank you for this wonderful evening. Since I left my country, I felt very alone. But then, I met you and your crazy passion for art and beauty. I never get along so fast and so well with someone.”

“ I have to admit that it’s a first time for me too. Sorry if I bothered you with all my problems and everything. I never felt that connected with a total stranger. But I find in you someone who listens to me and who understand my point of view on life. “. Andrés said with glazed eyes. This, was a first time for him too. He never cried in front of someone. Maybe he even never cried since is childhood.

“ Cariño, you didn’t bothered me.”

Martin made a new step towards Andrés. Then, another one. The distance was now quite close between them. Martin gently wipe Andrés eyes with a comforting “shhh”. His hands were now wandering on Andrés’s cheeks and he brushed the back of his hair. For sure, since the moment he saw Andrés when he first entered in the gallery, Martin thought that Andrés was a very charming and seducing men. Now, he was staring at him and the distance between them was only of twenty centimeters. This close, with the moonlight transpiercing the curtains, Andrés was even more sexy and Martin craving to taste how soft was his lips.

In order to finally break the distance, Martin slowly approach his nose to Andrés’. Andrés raise a eyebrow at first, surprised by Martin boldness but then, they begun to rub each other nose. It was pure, it was soft, it was new. Time was frozen around them. Andrés closed his eyes; he was one hundred percent confident in Martin. He puts his hands on Martin’s hips and pull him closer to break the distance once and for all.

Shortly after, Martin gently kiss Andrés lips. As he imagined they were beautifully soft. Andrés responded to the kiss and their lips began to move synchronically and it became less and less innocent. No words were needed and like they both already learnt today, they didn’t had to speak to understand each other.

“There is no accidental meeting between soulmates”

#fluff #berlermo #la casa de papel #palermo la casa de papel #palermo #berlin #they are so cute 😥#AU #BERLIN #andres de fonollosa #martin berrote #what do you guys think about it ?

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miamiartdistrict · 4 years

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KAMROOZ ARAM

on the ancient arts of Iran

Achaemenid (Iran, Susa). Bricks with a palmette motif, ca. 6th–4th century B.C. Ceramic, glaze. The Metropolitan Museum of Art, Rogers Fund, 1948 (48.98.20a–c)

The Artist Project

Vito Acconci on Gerrit Rietveld's Zig Zag Stoel

Ann Agee on the Villeroy Harlequin Family

Diana Al-Hadid on the cubiculum from the villa of P. Fannius Synistor at Boscoreale

Ghada Amer on an Iranian tile panel, Garden Gathering

Kamrooz Aram on the ancient arts of Iran

Cory Arcangel on the harpsichord

John Baldessari on Philip Guston's Stationary Figure

Barry X Ball on an Egyptian fragment of a queen’s face

Ali Banisadr on Hieronymus Bosch's The Adoration of the Magi

Dia Batal on a Syrian tile panel with calligraphic inscription

Zoe Beloff on Édouard Manet's Civil War (Guerre Civile)

Dawoud Bey on Roy DeCarava

Nayland Blake on boli

Barbara Bloom on Vilhelm Hammershøi's Moonlight, Strandgade 30

Andrea Bowers on Howardena Pindell

Mark Bradford on Clyfford Still

Cecily Brown on medieval sculptures of the Madonna and Child

Luis Camnitzer on Giovanni Battista Piranesi's etchings

Nick Cave on Kuba cloths

Alejandro Cesarco on Gallery 907

Enrique Chagoya on Goya's Los Caprichos

Roz Chast on Italian Renaissance painting

Willie Cole on Ci Wara sculpture

George Condo on Claude Monet's The Path through the Irises

Petah Coyne on a Japanese outer robe with Mount Hōrai

Njideka Akunyili CROSBY on Georges Seurat's Embroidery; The Artist's Mother

John Currin on Ludovico Carracci's The Lamentation

Moyra Davey on a rosary terminal bead with lovers and Death's head

Edmund de Waal on an ewer in the shape of a Tibetan monk's cap

Thomas Demand on the Gubbio studiolo

Jacob El Hanani on the Mishneh Torah, by Master of the Barbo Missal

Teresita Fernández on Precolumbian gold

Spencer Finch on William Michael Harnett's The Artist's Letter Rack

Eric Fischl on Max Beckmann's Beginning

Roland Flexner on Jacques de Gheyn II's Vanitas Still Life

Walton Ford on Jan van Eyck and workshop's The Last Judgment

Natalie Frank on Käthe Kollwitz

LaToya Ruby FRAZIER on Gordon Parks's Red Jackson

Suzan Frecon on Duccio di Buoninsegna's Madonna and Child

Adam Fuss on a marble grave stele of a little girl

Maureen Gallace on Paul Cézanne's still life paintings with apples

Jeffrey Gibson on Vanuatu slit gongs

Nan Goldin on Julia Margaret Cameron

Wenda Gu on Robert Motherwell's Lyric Suite

Ann Hamilton on a Bamana marionette

Jane Hammond on snapshots and vernacular photography

Zarina Hashmi on Arabic calligraphy

Sheila Hicks on The Organ of Mary, a prayer book by Ethiopian scribe Baselyos

Rashid Johnson on Robert Frank

Y.Z. Kami on Egyptian mummy portraits

Deborah Kass on Athenian vases

Nina Katchadourian on Early Netherlandish portraiture

Alex Katz on Franz Kline's Black, White, and Gray

Jeff Koons on Roman sculpture

An-My Lê on Eugène Atget's Cuisine

Il Lee on Rembrandt van Rijn's portraits

Lee Mingwei on Chinese ceremonial robes

Lee Ufan on the Moon Jar

Glenn Ligon on The Great Bieri

Lin Tianmiao on Alex Katz's Black and Brown Blouse

Kalup Linzy on Édouard Manet

Robert Longo on Jackson Pollock's Autumn Rhythm (Number 30)

Nicola López on works on paper

Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs

Kerry James MARSHALL on Jean Auguste Dominique Ingres's Odalisque in Grisaille

Josiah McElheny on Horace Pippin

Laura McPhee on Pieter Bruegel the Elder's The Harvesters

Josephine Meckseper on George Tooker's Government Bureau

Julie Mehretu on Velázquez's Juan de Pareja

Alexander Melamid on Ernest Meissonier's 1807, Friedland

Mariko Mori on Botticelli's The Annunciation

Vik Muniz on The Henry R. Luce Center for the Study of American Art

Wangechi Mutu on Egon Schiele

James Nares on Chinese calligraphy

Catherine Opie on the Louis XIV bedroom

Cornelia Parker on Robert Capa's The Falling Soldier

Izhar Patkin on Shiva as Lord of Dance

Sheila Pepe on European armor

Raymond Pettibon on Joseph Mallord William Turner

Sopheap Pich on Vincent van Gogh's drawings

Robert Polidori on Jules Bastien-Lepage's Joan of Arc

Rona Pondick on Egyptian sculpture fragments

Liliana Porter on Jacometto's Portrait of a Young Man

Wilfredo Prieto on Auguste Rodin's sculptures

Rashid Rana on Umberto Boccioni's Unique Forms of Continuity in Space

Krishna Reddy on Henry Moore

Matthew Ritchie on The Triumph of Fame over Death

Dorothea Rockburne on an ancient Near Eastern head of a ruler

Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers

Annabeth Rosen on ceramic deer figurines

Martha Rosler on The Met Cloisters

Tom Sachs on the Shaker Retiring Room

David Salle on Marsden Hartley

Carolee Schneemann on Cycladic female figures

Dana Schutz on Balthus's The Mountain

Arlene Shechet on a bronze statuette of a veiled and masked dancer

James Siena on the Buddha of Medicine Bhaishajyaguru

Katrín Sigurdardóttir on the Hôtel de Cabris, Grasse

Shahzia Sikander on Persian miniature painting

Joan Snyder on Florine Stettheimer's Cathedrals paintings

Pat Steir on the Kongo Power Figure

Thomas Struth on Chinese Buddhist sculpture

Hiroshi Sugimoto on Bamboo in the Four Seasons, attributed to Tosa Mitsunobu

Eve Sussman on William Eggleston

Swoon on Honoré Daumier's The Third-Class Carriage

Sarah Sze on the Tomb of Perneb

Paul Tazewell on Anthony van Dyck's portraits

Wayne Thiebaud on Rosa Bonheur's The Horse Fair

Hank Willis THOMAS on a daguerreotype button

Mickalene Thomas on Seydou Keïta

Fred Tomaselli on Guru Dragpo

Jacques Villeglé on Georges Braque and Pablo Picasso

Mary Weatherford on Goya's Manuel Osorio Manrique de Zuñiga

William Wegman on Walker Evans's postcard collection

Kehinde Wiley on John Singer Sargent

Betty Woodman on a Minoan terracotta larnax

Xu Bing on Jean-François Millet's Haystacks: Autumn

Dustin Yellin on ancient Near Eastern cylinder seals

Lisa Yuskavage on Édouard Vuillard's The Green Interior

Zhang Xiaogang on El Greco's The Vision of Saint John

#The Metropolitan Museum of Art

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the-order-of-release · 4 years

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“You have understood, and described in poetic terms, the multitudinous and turbid glimmers which constitute the prismatic art of that goldsmith-magician. Oh, what a mute and ever-changing fire sleeps within his jewels, what minute details of animals or flowers are set by him in the depths of gems! You have elegantly sung the praises of that golden flora, which is at once Byzantine, Egyptian and Renaissance! You have grasped the corraline quality of those submarine jewels — yes, submarine, for it is as if the almost-cerulean bloom of beryls, peridots, opals and pale sapphires, the colour of seaweeds and waves, has rested for a long time at the bottom of the sea. Like the rings of Solomon or the cups of the King of Thule, they belong to the caskets of cities engulfed by the sea; the daughter of the king of Ys must have worn such jewels when she delivered the keys of the lock-gates to the Demon...

“Oh, the Barruchini necklaces, those rills of blue and green stones, those over-weighty bracelets encrusted with opals! Gustave Moreau has decked the nude bodies of his damned princesses with them. They are the jewellery of Cleopatra and Salomé. They are also the jewellery of legend, the jewellery of moonlight and evening.

“ ‘And that which took place in times most ancient.’

That is the formula, as you have written, which springs to the lips when one confronts these glazed fruits, these flowers of polished stone set in gold. It is of Egypt and of the divided Roman Empire especially that these jewels of Memphis and Byzantium make one dream, but perhaps they remind one even more of the city of the king of Ys and its submerged lock-gates.”

-Monsieur de Phocas, Jean Lorrain

#jean lorrain

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madilovesart · 4 years

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A New Age of Media

Art can take on many forms. These forms include how we create, share, and express creativity. During the Northern Renaissance, many artists found new ways to express media and art by using modern techniques and machinery to produce art. Two of these developments were the uses of glaze in oil paintings and the invention of the printing press. Both of these developments were able to distinguish the Northern Renaissance as a graceful movement of art and change in Europe.

One of the developments that we see during the Northern Renaissance is the growth of glazes in paintings. Susan Jones of Caldwell College describes the use of glazes in her essay, “Admixture in oils makes most pigments translucent, allowing artists to apply their colours in thin layers, or glazes, thereby generating the rich, glowing reds and greens” (Jones). One of the best examples of this is in Jan van Eyck’s painting, The Arnolfini Portrait (1434). The process of adding glazes made it possible for Jan van Eyck to add layers of colour while keeping the depth and detail; this is visible in the green dress the woman is wearing and red blankets behind the couple (Duoma). This technique of using oil paint to add layers is quite the opposite of Italian Renaissance painters who often used tempera or fresco.

Few developments in media have an impact as significant as the printing press. Invented by Johannes Gutenberg in 1436, this machine has as much artistic importance as it does social and cultural importance. Dave Roos explains in his article the impact that the printing press had on Northern Europe during this time, “With the newfound ability to inexpensively mass-produce books on every imaginable topic, revolutionary ideas and priceless ancient knowledge were placed in the hands of every literate European, whose numbers doubled every century” (Roos). The printing press was a huge turning point for the average person in Northern Europe, especially religiously, as the printing press made it possible to produce The Bible in common languages for everyone to read. Previously the only people who had read The Bible were church officials such as priests; this meant that the ordinary person had to depend on the Catholic Church for their spirituality.

The printing press not only mass-produced written products but artistic pieces as well. A way this was done was by woodcutting and engraving. Wendy Thompson of The Metropolitan Museum of Art explains further: A relief process, woodcuts are produced by inking a raised surface against which a piece of paper is pressed, either manually or by running it through a press, to create an image on the paper. The rubber stamp and potato print are familiar forms of relief printing. The design of a woodcut is produced by elimination, cutting away everything except the lines or shapes to be printed. (Thompson) One of the leading artists we see producing these kinds of works is Albrecht Durer, who created The Four Horsemen of the Apocalypse (1498) and Melencolia I (1514) amongst many others. Engravings, woodcuts, and prints such as these could be mass-produced as prints and shown to a much more substantial amount of people as opposed to a one of a kind painting such as the Mona Lisa, for example. Previous to this, paintings and sculptures were commissioned by wealthy merchants, businesses, government, or churches and were not for public viewing; however, the printing press changed this by allowing modern people to view amazing pieces of artwork.

As a society, we have come a long way in producing and spreading creativity. Techniques and ideas of the past have been challenged so that artists and viewers can enjoy art to its fullest extent, and why shouldn’t they? Artists during the Northern Renaissance now had two new mediums to create with, glazes and the printing press, amongst many. Glazes gave artists the ability to add depth and layers to paintings, which added a realness that was not achievable before with previous mediums. The printing press let artists reach an entirely new audience of viewers who could now enjoy engravings and woodcuts. The viewers (commoners) now had a media that was accessible to them, whereas before, it was only for the elite such as Royalty, merchants, the Church, or businesses. These developments helped not only the artist but the viewer to enjoy and explore an entirely new era of art and media.

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winterromanov · 5 years

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she’s the sunset (in the west) - thasmin fic

Poppy Smith is the youngest and quietest kid in Yasmin Khan’s reception class, so it’s a bit of a shock when she encounters Poppy’s mum - the chaotic, intelligent whirlwind that is Doctor Joanna Smith. With both parent and child struggling to hold their worlds together, Yasmin becomes more involved in the life of Joanna and Poppy than she originally anticipates (other than having the biggest, fattest crush on Joanna, of course. It’s impossible not to.)

single parent/teacher thasmin au

chapter one

Her last meeting of the night is at six fifty and Yaz has never felt so exhausted in her life.

It’s not the kids. She deals with them day in day out and yeah, it’s tiring, but it’s nothing compared to the tirade of questions from irate parents she’s had thrown at her since four pm. Many of them seemed annoyed at their kid’s reading ability—or lack thereof—which would be a problem if they weren’t four or five years old and, naturally, Harry Potter is still going to be a bit ambitious for a boy who can barely hold a pencil. She’s been through piles and piles of identical maths problems with erratic results, handwriting exercises varying from just about legible to dancing scribbles in HB. The art, on the other hand, is a lot more fun talk about. She tried so hard to hide her giggles when showing a bemused mother her daughter’s drawing of a dog poo she’d seen in the playground.

But right now, all Yaz wants is to lock her classroom door, make her way to her car and have the longest and hottest bath of her life. Ideally with a pizza and half a bottle of white. It’s been that sort of day.

But there’s still one more agonising ten minute appointment to go. Fortunately it’s with one of her…less behaviourally challenging pupils, a little girl called Poppy, with an August birthday that pits her at the younger end of the class. Despite her age, there’s no unintelligible scrawls in Poppy’s exercise books—she’s smart, one hell of a reading ability, but very quiet. Yaz has seen her stalking across the grassy edge of the playground at break and sat alone at lunch, usually armed with a dog-eared picture book about space.

It’s not Poppy’s behaviour Yaz is slightly concerned about. It just can’t be good, or healthy, for a little four year old girl to have not made any friendships in the month she’s been at the school. She’d really like to talk about it with Poppy’s parents, but the clock on the wall above the door ticks on and there’s no-one to be seen.

Six fifty-six.

Six fifty-seven.

At six fifty-eight, Yaz sighs and starts to pack up her things, because sometimes parents forget appointments or can’t get away from work or life happens. At six fifty-nine, she’s about to leave, when—

The classroom door flies open and a woman walks in gripping Poppy’s hand, flustered and panting like she’s just run across the playground. She looks up, blowing a strand of blonde hair that’s blown into her eye-line away from her face. Two vivid green eyes blink back at her—Yaz hasn’t seen anything like them, and maybe it’s the sappy part of her left over from her literature degree, but it’s the kind of gaze that horny Renaissance poets write sonnets about.

(It’s pathetic, but it would be a lie to say that she doesn’t end up writing one herself a little bit later down the line. Oh, well. It’s called being ridiculously in love.)

“Sorry,” the woman breathes in a Northern accent almost as strong as hers, “I’m late. Am I late?”

“You are late,” Poppy says decidedly, identical eyes staring sagely, “Can I please go sit in the reading corner, Miss Khan?”

The reading corner is a pile of cushions and beanbags in an abandoned alcove of the classroom, now covered with posters of The Gruffalo and animals that begin with every letter of the alphabet. Poppy has her space book tucked under her left arm, as well as a little stuffed dog.

“Of course you may, Poppy,” Yaz says, smiling, dropping her bag onto the ground by her chair. “Me and your mummy are just going to have a short chat about how you’re doing at school.”

Poppy nods, and the woman presses a kiss on the top of her head as she rushes away, little shoes tapping noisily on the carpeted floor. The woman turns, smiling apologetically.

“I’m so sorry. I do try, really, but sometimes it’s like the world is working against me to purposely make me late.” Yaz notices the small array of earring glinting on her ear, the smart grey coat she wears on top of some cuffed mom jeans and a long sleeved shirt. She leans across the desk, shaking Yaz’s hand. “I work up at the university, you see, and the traffic is an absolute nightmare if you… sorry, I’m rambling, aren’t I? Already taken up enough of your time, I expect. It’s Miss Khan, right?”

She talks at a hundred miles an hour, waving her hands occasionally, and there’s something oddly compelling about it. It really doesn’t take much to warm to her—or to notice the contrast between her and her daughter. “Yasmin. And you would be Mrs Smith?”

“Miss,” the woman hastily corrects, but then smiles awkwardly, scratching her head. There’s an absence of a wedding ring, which isn’t so unusual, but there’s a pain in her grimace that she doesn’t see in so many divorced parents. Rather the widowed ones. “Technically, it’s Doctor, but I really can’t stand titles, sounds a bit pretentious. Joanna is fine.”

Doctor Joanna Smith. Yaz smiles inwardly, and wonders if it’s totally inappropriate to have a little bit of a crush on one of her student’s parents, because there’s just something about this beautiful and chaotic woman in five minutes that is impossible to put her finger on.

“Okay, let’s talk about Poppy, shall we?” Yaz says, fanning out Poppy’s collection of exercise books onto the table. There are no full-sized seats in the room other than her own, so Joanna is perched on a red plastic one, face comically just above being in line with the desk itself. It doesn’t seem to bother her. “She’s a lovely little girl. Very, very smart for her age—her reading is on par with someone at least three years older and her maths is coming along really well. I’m worried she’ll overtake me!”

Joanna laughs a little, but she’s busy scanning rows of handwriting and felt-tip illustrations, fingertips skimming a picture of roughly drawn little dog. It’s the same one she has clutched in her hands in the reading corner, grey with a red collar.

“Here,” Yaz says, turning the book slightly to an assignment labelled My Family, “We asked all the kids to talk about who they live with, what they do, and so on. She clearly looks up to you a lot.”

It’s heart-warming, really, and Yaz almost teared up sat at home marking it. My mummy is very clever and kind and when we hug we go to the moon. Mummy says I am a star but I think she is a star too and one day we will go to space together

There’s no mention of a daddy, or anyone else, and maybe that’s what makes this task so bittersweet sometimes. Reading about the kids who aren’t like the other kids.

Joanna’s eyes glaze over for a second and she looks over to the reading corner, where Poppy is lying on her back with her book held at arms’ length. Her hands clasp together. “What she like with the other kids? She never talks about anyone at home, really, and she always struggled with making friends at nursery. By that I mean she didn’t have any.”

Yaz softens because she can see concern in her eyes and a sort of muted desperation and hope that she’ll say something that contradicts her thoughts. But lying doesn’t help anybody in situations like these. “She is very quiet and that does often mean she’s by herself, yes.”

Joanna bites the inside of her cheek. “You should see her at home. Can barely get her to shut up most of the time, always banging on about penguins or black holes or…well, she talks about you quite a lot.”

“Me?”

“Oh, yeah,” Joanna nods, “Ever since you read Alice in Wonderland she’s made me read it to her every chance she gets, but apparently I don’t do the voices like Miss Khan does.”

Yaz remembers reading a bit of the story just the other week with all twenty-nine kids sat on the carpet eagerly, rolling with laughter every time she changed from high to low pitch when voicing the Hare and the Hatter. Poppy had sat silently at the back, expression unwavering—yet the whole time she was taking it in, making a bigger impact than Yaz anticipated.

“There’s a fine art to the voices in Alice,” Yaz replies, Joanna grinning, “You clearly just haven’t mastered it yet.”

“I have a PhD in astrophysics but satisfactorily reading a children’s book to a four year old’s standard is where I fall short, yeah?”

Yaz leans forward, rests her chin in her hand. Hopes she’s been subtle but doubts she actually is, but that is usually the way. She wants to keep talking about Poppy but she also wants to talk about her, what she sees when she looks up at the sky and what it means. Her job at the university. The silvery light of a full moon and the pull it has on the tides.

“I’m sure you’ll get there. It just takes practice.”

“Yeah. That’s a good motto for parenting, actually.” She pauses, looking down at her hands. Her nails are painted navy blue and chipped at the corners. “I just—like, I worry about her, a lot. We lost her dad a couple of years ago and most of the time, it’s just me and her.”

“Oh, I’m sorry,” Yaz sympathises—there it is, there it is.

“No, no, it’s fine,” Joanna insists, “Long time ago. I don’t think she remembers him. And I don’t have any family, not anymore, just a few friends who are basically family, but… she needs more than that. I’m not worried about her schoolwork at all. I just want her to be able to talk and play with people her own age rather than me all the time. As much as I’d like to build dens twenty-four seven. Who wouldn’t?”

“You shouldn’t worry. It’s only the first month of term, after all. Kids move at different paces, and it’s just taking Poppy a little longer to settle in.” Yaz smiles comfortingly. “If you like, I’ll keep a closer eye on her. See if I can encourage her to be more involved with some of the children.”

Joanna’s demeanour brightens a little, hands loosening apart. “That would be great, thanks. Sometimes all she needs is a bit of a prod in the right direction.”

At that moment Poppy stalks over to the desk, toy dog straying behind her, book still clutched tight to her chest. She looks at her mother expectantly.

“What is it, baby?” Joanna asks softly, stroking Poppy’s blonde hair gently. “You tired?”

She shakes her head decisively. “Can I show Miss Khan the picture in my book?”

Yaz grins brightly, leaning across the desk. “You know, Poppy, I absolutely love pictures. And I think I’d love to see the one in your book.”

Poppy looks shyly over at Joanna before opening it to the back cover, where a biro illustration of a strange blue box stands majestically amongst the index. Joanna pulls her onto her knee so she can point to it better and Yaz looks intrigued, curious to know what it means.

“This is my time machine. Mummy drew it for me,” Poppy explains carefully, “And we’re going to travel back to the dinosaurs so I can ride on the back of a diplodocus.”

“A diplodocus?” Yaz raises a questioning eyebrow, as it’s a big word for such a little girl, and Joanna masks her giggle by kissing the back of her head. “That does sound like fun.”

“Mummy tells lots of fun stories. I especially like the one about the lizard and her wife and their pet potato.” Joanna does another terrible attempt of hiding her laugh and Yaz finds it ridiculously endearing, especially the way her nose scrunches as she grins. “If you like mummy could put you into one of her stories.”

The thought of being in this woman’s head after she’s left the classroom behind is too good an offer to refuse. They share a look, barely a second—but surely, surely, it’s not just her that feels something?

“I think I’d like that a lot,” Yaz says.

When they shake hands as Joanna and Poppy are about to leave, her hand lingers a little longer than before. Her skin is soft but flecked with black pen, a small silver ring indented with a moon on her index finger. When they break apart, Yaz longs for a reconnect. This cannot be the last time they meet. It cannot be the only time. It cannot.

#thasmin #thasmin fic #doctor who #dw #doctor who fic #doctor who au #thirteenth doctor #yasmin khan #thirteen x yaz #fanfic

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sholiofic · 5 years

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Ooo, prompt for Iron Fist? Danny has to go back and talk to Shou Lao about the Fist and when the Dragon finds out Danny "gave away" his gift, he tries to egg him into fighting him again because "NO ONE SPURNS MY GIFT."

"So I hear they call you the Little Dragon," the dragon rumbled, as Danny dangled from his enormous claws. Sarcasm dripped from his tone. "Do you need a reminder what a real dragon is like?"

"I could never forget such power as yours."

"And yet you did forget," Shou-Lao growled into Danny's face, "for you spurned my gift, you gave it away!"

That last was a roar -- deafening, terrifying, mere inches from his face. The dragon dropped him, and though he was half-stunned from that numbing burst of sound, Danny twisted instinctively and managed to land on his feet.

Not that it helped him a second later when the dragon's huge jaws snapped at him. Danny threw himself to the side, rolling away. He scrambled to his feet and stood panting, looking up at Shou-Lao's bulk.

When he'd been here before, he had been trying to kill the dragon. But that was a younger him; it was the (somewhat) older and (hopefully) wiser Daniel Rand who stood before Shou-Lao today.

"Great dragon --"

"Silence!" The vast jaws snapped at him again; he flung himself aside again, but the side of the dragon's iron-hard head struck him a painful blow to the shoulder and he barely managed to roll with it, bruising himself on the rocks of the cave floor. "You think the Iron Fist is a trinket, to be passed around at will? I rue the day I ever bestowed my blessing upon you!"

The smell of the cave had hit him like a hammerblow to the memory as soon as he'd stepped inside: that reek of brimstone and cold ashes and animal musk. As Danny staggered to his feet, blood trickling down the side of his face, he still remembered his terror and his conviction, at the time, that he was going to die here.

Since then, he'd learned there were things he feared more than death. And it was with a certain inner calm, this time, that he faced up to the fact that he was, perhaps, even more likely to die this time, because he had no intention of fighting to kill.

"I'm not going to fight you," he said calmly. "I'm here to talk."

Shou-Lao swept at him with claws like scimitars. He leaped, caught the top of the dragon's paw, and vaulted onto a boulder. Once, he'd avoided most of Shou-Lao's attacks like this --

But he was unprepared for the dragon's whipping tail, wrapping around his legs and slamming him with brutal force face-first into a boulder. Before he could recover, Shou-Lao caught him up in a powerful grip once again. He could have fought to break it, or slithered free, but instead he simply waited, blinking blood out of his eyes.

"You punched me in the heart, once," the dragon rumbled. "Have you come so low in the world that you do not even fight to defend yourself?"

"I'm here to talk," Danny repeated.

Shou-Lao opened his jaws. Danny waited as calmly as he could, thinking through his options. His arms were pinned, but he thought he could still get free, perhaps dropping straight down through Shou-Lao's fingers, or startling the dragon by jumping straight into his mouth -- no, that was a bad idea --

The massive jaws, capable of crushing Danny without effort, snapped shut inches from his face. The dragon's saliva splattered his skin, burning slightly where it touched. Shou-Lao turned, and, walking on three legs and holding Danny in his paw, carried him into the cave.

"Does this mean you're willing to talk?" Danny asked hopefully.

The cave's dank, twisting gullet wound downward and opened out into ...

... a enormous, tastefully furnished apartment. All the furniture was dragon scale, but it was full of art objects made on a human scale -- they were human art, Danny thought, astonished and staring around as best he could while being held in the dragon's punishing grasp. Porcelain bowls of finest Korean whiteware, silk wall hangings, Renaissance paintings, Tang Dynasty horses, modern sculptures that could be from any continent ...

Down here, it smelled nothing like the upper reaches of the cave; the smells were the refined scents of incense and paper, with perhaps a slight undertone that seemed a trifle scorched, as if someone had set a very old book on fire, a long time ago.

Shou-Lao dropped him roughly on a piece of dragon-sized furniture, a padded couch that could easily have accommodated an entire team of draft horses. Above it, a massive table loomed (low by the standards of the rest of the furniture, but above Danny's head); it appeared to be made from either a solid piece of jade, or cunningly carved smaller pieces that fitted together without a seam.

Danny jumped, caught the edge of it, and pulled himself up just as a bathtub-sized bowl clanked to the table. It was full of steaming green tea. He could have floated in it.

Shou-Lao swiveled his giant head around and then, carefully, with two clawtips, picked up a human-sized tea bowl of delicate green porcelain from among his extensive art collection and set it beside Danny with the tiniest of clicks, not chipping so much as a bit of its glaze.

After a slightly dazed moment, Danny picked it up and stood on tiptoe to dip it into the enormous tea bowl.

Shou-Lao flopped on the couch opposite him with a tremendous creaking of the furniture, and reached for his own bowl of tea on the edge of the table. In the dragon's huge claws, it looked no bigger than a normal cup. "Do you know how long it's been since someone came here just to talk? I hope you are an interesting conversationalist, Daniel Thomas Rand."

"What happens if I'm not?"

Shou-Lao grinned, showing every fang. "I will eat you."

Danny took a careful sip of his tea to cover his expression until the dragon laughed, a great bellowing roar. "Of course I'm not going to eat you. Not raw, certainly, and not without careful preparation in a decent sauce. Humans are stringy and not very flavorful. The meat requires careful handling. But anyway." He leaned forward, arcing his head over the table, fixing Danny with a single golden eye the size of an SUV windshield. "Tell me more of what has brought you here, and why you gave my gift away. I shall decide whether to eat you after."

#iron fist #danny rand #shou-lao #Shou-Lao is an Eastern dragon and therefore has civilized tastes #he's not going to want to just live in any old cave #disappearinginq

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cooperhewitt · 5 years

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A Natural Treasure

Made of faience, a type of tin-glazed earthenware produced in France, this brightly colored inkstand held a pot for ink, a sander, pens, and various writing accouterments. Initially derived from Middle Eastern regions before the 9th century, faience developed in France during the 16th century; the French producers were largely influenced by Italian makers of maiolica, another type of tin-glazed earthenware dating from the Renaissance. Tin-glazed and enameled French faience was used to produce decorative objects for everyday use, such as plates, platters, mugs, tureens, vases, and more.[1]

The production starts with a mixture of clay that is then formed, and coated with glaze and metallic oxides before being fired a single time in a kiln at temperatures exceeding 1,830 °F (1,000 °C). This French technique was called Grand Feu (high fire). In a second technique, the Petit Feu (little fire), the clay is fired before and after application of the glaze and metallic oxides. The second firing is done at a lower temperature; this technique allowed for greater precision in painting and a broader range of colors.

There were three major faience manufacturers in France: Nevers, Rouen and Moustiers[2] This inkstand was made in Moustiers Sainte-Marie, the ‘ceramic capital’ of a small village located in the southeastern Alpine region of France. Moustiers ceramics were highly favored by the 18th-century aristocracy, particularly after Louis XIV had his silver objects melted down as a way to pay his war debt. Colorful faience dining ware restored a sense of luxury to the royal table. The porcelain-like appearance appealed to the nobility, and the wares’ colorful charm appealed to all social classes. Made mainly from natural and locally accessible materials, faience production flourished.

Early Moustiers faience sported a monochromatic palette: delicate blue decoration on a white surface that most often depicted figures and interlaced grotesques. This inkstand represents the emergence of a polychrome palette, as well as the appearance of whimsical figures surrounded by vegetation placed randomly about the ceramic surface. Made possible by the Grand Feu technique, hues such as mustard yellow and olive green enlivened the color repertoire.

This object is on view in Moustiers Ceramics: Gifts from the Eugene V. and Clare E. Thaw Collection at Cooper Hewitt.

Molly Beegoo is a Curatorial Fellow in the Product Design and Decorative Arts department at Cooper Hewitt, Smithsonian Design Museum, and a first-year graduate student in the History of Design and Curatorial Studies program offered jointly by Cooper Hewitt and Parsons School of Design.

[1] Barber, Edwin Atlee. Tin Enameled Pottery: Maiolica, Delft, and Other Stanniferous Faience. Miami FL: HardPress Publishing, 2013.

[2] Waselkov, Gregory A., and John A. Walthall. “Faience Styles in French Colonial North America: A Revised Classification.” Historical Archaeology 36, no. 1 (2002): 62-78. doi:10.1007/bf03374339.

from Cooper Hewitt, Smithsonian Design Museum https://ift.tt/2Q3OwhY via IFTTT

#cooper hewitt #design conversations

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architectnews · 2 years

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Pavilion Z České Budějovice, South Bohemia

Pavilion Z České Budějovice, South Bohemia Philharmonic Orchestra Hall Architecture Photos

Pavilion Z České Budějovice in South Bohemia

14 Dec 2021

South Bohemian Philharmonic Orchestra Hall Renovation

Architects: atelier A8000

Location: České Budějovice, South Bohemia, Czech Republic

Photos by Ondřej Bouška

Pavilion Z České Budějovice, South Bohemia Building

New social and culture hall for South Bohemia by atelier A8000

The conversion turned the Pavilion Z at the České Budějovice Exhibition Centre into a 21st-century mixed-use space

14th of December 2021 – The picturesque town of České Budějovice, located in the south of the Czech Republic, is still flourishing. The city of nearly 100,000 inhabitants is a hot candidate for the European Capital of Culture 2028, offering trendy cafés, pleasant restaurants, the Vltava and Malše rivers, and nature within easy reach. It has also recently undergone an architectural renaissance.

The newly renovated South Bohemian Philharmonic Orchestra Hall by the A8000 architecture studio has recently opened here. This studio now operates both in České Budějovice and Prague today cooperating with such foreign starchitects as BIG or Jean Nouvel in the past; it is also behind the retrofit of the exhibition pavilion at the České Budějovice Exhibition Centre.

The area of the České Budějovice Exhibition Centre has gradually been changing. The first building to undergo retrofitting was the national pavilion Z dating back to the 1970s. The A8000 architecture studio restored the pavilion’s original minimalist beauty. As a result, the building, which used to open to the public only a few times a year for the most prominent Czech agriculture fair, now serves the public as a space for concerts, balls, conferences, theatre, and visual arts events. The key new feature of the black-and-white technologically sophisticated pavilion is its multifunctionality and ability to adapt to a wide variety of programs quickly.

The design of the renovation and extension of Pavilion Z is based on the original shape of the building. It consisted of three enlarging blocks. The basic principle of the simple building from the 1970s designed by the architects Libor Erban and Jan Benda was suppressed and disorganised in the past. However, architects from A8000, responsible for the architectural design of the multifunctional Forum Karlín hall in Prague, also apply their approach to the Karlín project here, in České Budějovice.

The inspiration for the retrofit was a plant motif and the process of bonsai cultivation. In the same way that a carefully selected part of the leaves is cut off from the plant to achieve a new airy and original look, the architects got rid of different periods’ deposits and random layers that did not benefit the appearance of the building. The original pavilion was stripped down to the bone. The exposed steel skeleton is newly acknowledged and elevated to the initial principle of the interior.

Airiness and austerity dominate the pavilion’s new form. The main hall is designed as an open, multifunctional, and highly variable space that can be arbitrarily changed from an exhibition hall to a congress or theatre hall to a ballroom or concert hall. The hall’s podium is oriented to the west. The new layout divides the space into an enclosed right section and a generous left section, conceived as free and airy as possible, partitioned with only a system of curtains.

When the curtains are open, the surrounding greenery flows directly into the hall’s interior; when they are closed, on the contrary, a perfect black box is created. One finds oneself inside and, in fact, in the green. All the necessary technologies, including air-conditioning or cooling, are incorporated into the technological tower. However, the architects do not hide it in any way, quite the opposite. The tower is designed as an adjacent steel-clad structure with a glazed gap through which the technology can be seen.

The interior is decorated in a neutral colour spectrum of white and black. The muted colour scheme allows using unconventional glazing. It is complemented by the profiled glass in a natural greenish colour alongside the usual clear glass, creating an almost dreamlike effect.

Soft light thus flows into the interior, encouraging a pleasantly warm impression and an intimate scene. The minimalist polished-concrete flooring, usually found in logistics centres and production halls, is also used. Here, however, it effectively serves the multifunctionality. It can cope with the heavy load of machinery on display, including tractors, at a large agricultural show.

Still, it will not offend at a festive social event or a concert by the South Bohemian Philharmonic Orchestra. The interior space is newly fitted with an exposed steel loadbearing structure. The entrance hall and the main multifunctional space flow freely into the upper floor. Two additional halls can be variably divided and used as event facilities, exhibition spaces or conference halls. A new glass elevator connects individual floors and a staircase gracefully illuminated by a skylight that creates a clerestory lighting of the space.

At first glance, the pavilion also looks clean and unified from the outside. While concrete floors and the latest technology dominate the interior, the exterior is minimalist. The lower two floors are airy. The striking minimalism is emphasised by the Copilit (LINIT) glass wall, which creates pleasant colour effects on the exterior. A seemingly heavy roof mass is set on the subtle lower floors. Somewhat unconventionally, however, it is finished in white. Everything is thus perfectly unified.

The renovated pavilion now offers a main hall providing 850 seats or 1,500 for a rock concert, an exhibition space, and facilities for conferences, proms, and other events. At the beginning of the new year, the space will be fitted with a stage lift. The pavilion served the public for only a few days a year in the past, but now it should come alive with a year-round program.

Pavilion Z České Budějovice, South Bohemia – Building Information

Investor: Výstaviště České Budějovice, a.s. Project: 11/2019–04/2021 Built: 12/2020–09/2021 Developed area: 2 400 m2 GFA: 3 200 m2 Developed volume: 28 500 m3 Total costs: CZK 141 Mio

Architects: Martin Krupauer, Pavel Kvintus, Daniel Jeništa, Petr Hornát Cooperating architects: Anežka Vonášková, Jaroslav Kedaj Architecture and construction: Zdeněk Fux, Milan Oktabec, Ladislav Krlín Main Contractor: OHL ŽS, a.s Technology contractor: ŠTROB & SPOL., s.r.o. Structural design: STATIKON Solutions s.r.o.

Photographs: Ondřej Bouška

A8000 studio

The A8000 studio, founded by Martin Krupauer and Jiří Střítecký, has been one of the top Czech architectural studios for more than three decades. It works on many projects of great importance, range, and complexity. In 2020 it was awarded the title of Building of the Year for the project of the Sedlčany Community Centre. The studio’s most notable projects include the architectural design of the Forum Karlín multifunctional hall in Prague.

Represented by Martin Krupauer, A8000 is also significantly involved in public debate and the development of the territory. In addition to architecture, Krupauer also focuses on visions and strategies for transforming transition areas and brownfields in the Czech Republic and beyond.

The head of the studio was a member of the Prague City Commission for the New Metropolitan Plan 2017. He is now leading a team preparing the construction of the Vltava Philharmonic Hall in Prague, Prague’s first major cultural construction project in 100 years.

Pavilion Z České Budějovice, South Bohemia images / information received 131221 from A8000 studio

Location: South Bohemia, Czech Republic, central eastern Europe

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bm-decorative-arts · 3 years

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Tile, 1885, Brooklyn Museum: Decorative Arts

Tile relief portrait of a man in Renaissance costume in circular reserve, green glaze. Tile enclosed by a gilt wood frame with blue velvet interior border. Size: 8 3/8 x 8 1/16 in. (21.3 x 20.5 cm) Medium: Glazed earthenware, gilt wood, velvet

https://www.brooklynmuseum.org/opencollection/objects/58650

#museumarchive #decorativearts #brooklynmuseum

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mia-decorative · 3 years

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Dovizia, Giovanni della Robbia, c. 1520, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

Terracotta, Italian XVIc cat. card dims H 27 x L 8 x W 12'; Figure carries on her head a basket filled with fruit and in her hand a brimming cornucopia. Little boy at her feet turns to her for protection from a barking dog. Blue gown with golden yellow decoration; yellow, green and violet fruit. Since ancient times, a female figure carrying fruit has personified abundance or wealth (dovizia in Italian). This colorful ceramic statuette is based on a famous Renaissance sculpture by Donatello (1386–1466) that once towered over the market square in Florence. Donatello’s Dovizia advertised agricultural products while celebrating the ideal of public prosperity through trade. Della Robbia’s small version, meant for a private home, embodies the idea of happy family life as well as wealth. The inscription turns a verse from the Psalms of David into a blessing: GLORIA ET DIVITI[A]E IN DOMO TVA (Honor and wealth [shall be] in your home). Size: 27 1/4 x 14 3/4 x 8 1/4 in. (69.2 x 37.5 x 21.0 cm) Medium: Glazed terracotta, polychromed

https://collections.artsmia.org/art/57/

#museumarchive #minneapolisinstituteofart #giovannidellarobbia #artsmia

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homedecoratingjournal426-blog · 4 years

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Antique Home Furniture Things To Know Before You Get This

Picture Thanks To Go Great Lakes Bay Two antique stores, side by side? With nearly identical names? Just believe us when we say that taken together, these nearby antique shops provide 60,000 square feet of historical goodness, from classic toys to tools and historical furniture to knick-knacks.

The Detroit Antique Shopping center occupies a triangular building right throughout the Fisher Highway from Detroit's MGM Grand Gambling establishment and Hotel. A lots dealers and stores fill the building's 12,000-square-foot storage facility area. Look for antique furnishings and lighting as well as architectural items, lots of drawn from historical houses and businesses as soon as situated in Michigan's biggest city.

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Thought about among the country's oldest architectural salvage business, Products Unlimited got their start in the early 1970s. You'll find all type of architectural pieces, including vintage bathroom components, windows, even door hinges, as well as ceiling components and flooring lights totally rewired and approximately modern code. Products Unlimited also sells plenty of furnishings, art and glassware, too, in rooms organized by chronology and architectural design.

Found just throughout the street from the GM Renaissance Center , the antique store shows their finds in their downtown store and online, and sales are made via auction, either personally, online or over the phone. Du Mouchelles also offers appraisals and consignment. Require time from the Lake Michigan beach for a little shopping at the West Michigan Antique Shopping center, located midway in between Grand Sanctuary and Holland .

There's likewise a fine collection of rural Michigan memorabilia including historic tools and housewares. In the spring and summer season, the Allegan Antiques Market draws antiques enthusiasts from throughout the Midwest to their area in the Allegan County Fairgrounds . Ranked by Antiques Publication as one of the 10 Finest Antiques Reveals in America, the warm-weather market includes primitives and great precious jewelry, salvaged architectural pieces and magnificently preserved furniture.

The marketplace is held the last Sunday of each month, from April through September. Located simply south of downtown Grand Rapids, Warehouse One sells antiques and collectibles in a 25,000-square-foot storage facility equipped with vintage furnishings and clothing, old bikes and collectible comics and vinyl. Wish to make an afternoon of it? Storage facility One shares the block with Lost & Found Treasures of Old and New and Century Antiques, both of which stock even more historic finds.

Heirloom-quality antique sideboards sit together with this year's trendiest toy. Green Anxiety Glass tumblers push display screen near classic gasoline station indications. You'll find rare antiques in addition to wacky souvenirs and stylish brand-new items at this enormous shopping center just north of downtown Lansing.

Olde Advantage is proud to offer a diverse variety of antique furniture for your next residential or industrial repair project. Our extensive variety of vintage furnishings includes Mid Century, Classic, Traditional, Industrial, Victorian, Modern, Commercial and French styles. Our antique furniture collection consists of dark wood tone, white, black medium wood tone, light wood tone, multi-color, red and clear pieces.

Our antique furniture range includes pieces by well-known artists such as M. Hard, George Daniell, A.B. Deleourey, A.S. Charrier, Adolph Maubach, Anson A. Martin and Barbara Mclean. Choose your preferred piece for any room from our selection antique tables, cabinets, book stands, waiting area seats, and many other unique pieces.

Step one cup of satin surface paint in the contrasting color and two cups of glaze into your blending pot and stir. Now include water a little at a time, stirring well. You want a consistency that's a little runny however still follows your brush. The correct consistency of the glaze mix is very important-- it has to be thin enough to permit the skim coat to reveal through.

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healthmaria · 5 years

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The Skovgaard Family

Some families seem to be able to produce so much talent in generations. One of those families is the Skovgaard family. In Viborg Cathedral, you can see frescos made by Joakim Skovgaard (1856-1933). The decoration in the church is one of the hugest church works in Denmark.

A view into Viborg Cathedral with Joakim Skovgaard frescos and paintings

A view into Viborg Cathedral with Joakim Skovgaard biblical murals and paintings

In my childhood, before I could read, I often looked at his sketches in my parent’s book of the motives used for the church frescos. They were dramatic, and I was afraid of the sight of the drowning people at the sin flood. By looking at the page in the scetch book, I observed Adam and Eve being driven out of Eden thinking about the severe consequences of our actions can have.

At his time, Joakim was more famous than his brother Niels (1858-1938), who is now having a renaissance. Both of them travelled abroad to learn from other artists and explore motives and light in other countries.

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Some of Joakim Skovgaard’s works

Their sister Susette 1863-1937, could not as a woman attend the art Academy as her brothers but took private lessons in painting.

Susette Cathrine Holten, nee Skovgaard (1863-1937) “Peonies in a lilac vase.”

Artist Johanne Krebs’ A portrait of Susette Cathrine Holten, nee Skovgaard.

Susette Cathrine Holten, nee Skovgaard (1863-1937) Flowers

Suzette Holten, nee Skovgaard inspired by the Japanese style 1916

Susette was five years old when her mother died and twelve years old when her father passed away. The brothers stayed in the house with a painter who lived there and Susette moved across the street to friends of the family where Hans Christian Andersen often visited to entertain the children.

Niels Skovgaard

Niels Skovgaard, View over the sea in Jutland, Denmark, 1894. He was inspired by the Impressionists

In their childhood, all three Skovgaard siblings also got training by their father P.C. Skovgaard (1817-1875), who was famous in the so-called “Golden Age” of Romanticism. He mostly painted landscapes. His faith in God and in our National State of Denmark shines through his works.

When the Skovgaard siblings were still children, they lost their mother during the birth of a stillborn child. In a letter on display at the museum, a relative described the last hours before she died. The family had a strong faith in God during this enormous loss.

P.C. Skovgaard’s painting of his daughter Suzette seven years old, 1870

P.C. Skovgaard’s portrait of his youngest son Niels Skovgaard thirteen years old in 1871.

P.C. Skovgaard painting of his fourteen years old son, Joakim Skovgaard in 1871

Their father P.C. Skovgaard painted the children a few years after their mother’s death. P.C. Skovgaard lived in a time of Nationalism where Denmark and other countries strived to get away from the total power of the king and gain independence. He was among famous artists and thinkers who fought for this cause and his he painted Danish landscapes to illustrate the beauty of green beech trees like a metaphor of our nationality. Inspired by other revolutions, we got our Constitution in 1849. Our transition from absolute monarchy was peaceful as it is said about our national character that the intervals between our meals are too short of making a revolution.

P.C Skovgaaard Landscape at Capri, Italy 1869

P.C. Skovgaard 1957-1860. Quiet summer evening at Hellebæk lake

P.S. Skovgaard, 1850, View over Møns klint in Denmark

I am impressed that they all managed so well in their life. They were skilled artists, and Joakim and Niels raised large families. They, like their father before them, were friends with thinkers and artists of their time. One of them was Thorvald Bindesbøll who performed in clay and sculpture and silver, was inspired by the English Beaux-Arts. All three siblings made art of pottery for decoration and use in households as well of paintings.

Thorvald Bindesbøll’s glazed terracotta vase. T.B was a good friend of Joakim Skovgaard

A silver vase by Bindesbøll

Painter Joakim Skovgaard’s portrait of Thorvald Bindesbøll, who established Danish design inspired by the English Art & Craft movement

Joakim Skovgaard. 1886, a ploughman, horses and seagulls on pottery

In Viborg, since 1937 the old town Hall is the Skovgaard Museum. The museum is situated at the same square as the Cathedral with the eighty-four biblical frescos created by Joakim Skovggard.

Part of the Skovgaard Museum in Viborg

For more information on the museum, please visit the link above.

A Talented Danish Art Family The Skovgaard Family Some families seem to be able to produce so much talent in generations. One of those families is the Skovgaard family.

#Art #Denmark #Skovgaard #Skovgaard Art Museum

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