(via fastcompany) Some people are drawn to movie stars and rock stars. To me, entrepreneurs are the interesting people in this time and our society because they drive the economy. They have whacked out marginal utilities for risk in the sense that they seem to value risk instead of trying to shy away from it. They tend to walk away from high-paying jobs to do things that are highly risky just because they want to change the world and hope to make some money even though it's very unlikely they will. That's what's drawn me to this particular beat. I love blogging just because it's a direct channel to your readers that's very raw and unfiltered.
- Michael Arrington
www.techcrunch.com
Monday, May 12, 2008
Olympic Memorabilia
Olympic memorabilia are fetching high prices + Economist has an interesting update @ http://www.economist.com/opinion/displayStory.cfm?story_id=11355677
Useful links:
www.dnw.co.uk
http://ioneil.com
www.coubertin.com
www.goldmedalcollectibles.com
www.olympic.org
www.societyofolympiccollectors.org
www.olympinclub.com
www.bonhams.com
Useful links:
www.dnw.co.uk
http://ioneil.com
www.coubertin.com
www.goldmedalcollectibles.com
www.olympic.org
www.societyofolympiccollectors.org
www.olympinclub.com
www.bonhams.com
Mathieu Amalric
(via Wiki) Mathieu Amalric is a three-time César Award winning French actor and film director, perhaps best known for his lead role in the four-time Academy Award nominated 2007 film The Diving Bell and the Butterfly. He also has won the Étoile d'Or and the Lumiere Award, and is considered one of France's greatest contemporary actors.
Useful links:
http://film.guardian.co.uk/interview/interviewpages/0,,2279291,00.html
http://www.imdb.com/name/nm0023832
I think he is brilliant!
Useful links:
http://film.guardian.co.uk/interview/interviewpages/0,,2279291,00.html
http://www.imdb.com/name/nm0023832
I think he is brilliant!
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
5
Returning to the pupils of Legros, first attention must be given to Charles Wellington Furse (1868-1904), who, but for his early death, would assuredly now be occupying a position in the art world rivalling that of Sargent and Orpen. Born at Staines, Furse was only sixteen when he began to study under Legros at the Slade School. Later he worked in Paris, and returning to London he soon made his mark at the New English Art Club, where his portraits especially attracted attention. He was only twenty-five when he began his heroic equestrian portrait of Lord Roberts—now in the Tate Gallery—a great work which, being interrupted by illness, he was never able to complete, for after his recovery he was too much occupied with other work to return to it at once.
Between 1899 and 1901 much of his time was taken up in painting the decorative spandrels for Liverpool Town Hall, and his remarkable capacity for executing imposing works on a large scale was clearly revealed to the world in 1903, when ‘The Return from the Ride’ was the ‘picture of the year’ at the Academy. In this magnificent portrait group of his friends Mr and Mrs Aubrey Waterfield, the figures are nearly life-size and the whole picture is painted with the assurance and exuberance of a master. In the following year, when he was elected A.R.A, he repeated his success at the Academy with an open air portraits of his wife, entitled ‘Diana of the Uplands’, another life-sized work full of breeziness and polished brilliance. For many years the artist had suffered from lung trouble; and this finally caused his death in the very year in which he had won his Associateship. The breadth and dignity of his outlook equalled the felicity of his execution, and while the great performances in which his art culminated may be said to have been based to some extent on the practice of Velazquez, his own personal gifts and his keen observations of Nature gave an individual distinction to his works which makes them essentially original.
Mr William Strang was born at Dumbarton in 1859, came to London in 1875, and developed remarkable powers as a draughtsman under Legros at the Slade School. The first works of his to attract notice were his portrait drawings and his etchings, which attained distinction in two very different fields. His portraits, whether drawn or etched were intensely realistic, of a Holbeinesque clarity and simplicity, strong in line and character; but in etchings of other subjects Strang displayed imaginative gifts of the highest order, and his illustrations to the Bible, Don Quixote, and to some of Mr Kipling’s stories revealed a mind as alert to think and philosophise as his eye to see and his hand to record.
As a painter Strang had two distinct styles: in the first his color was based on that of the great Venetians, in the second his palette became much brighter and lighter and the influence of Manet was apparent. The union of his incisive drawing with this pure clean color produced in his second manner pictures of arresting brilliance. ‘Bank Holiday’, painted in 1912 and now in the Tate Gallery, is a fine example of his later style and, while displaying the severity of his line and the emphatic realism with which he presents figures and objects, it also reveals his imaginative gifts in the subtle rendering of the embarrassment of a holiday couple used to the etiquette which prevails in restaurants.
The Art Of Today (continued)
5
Returning to the pupils of Legros, first attention must be given to Charles Wellington Furse (1868-1904), who, but for his early death, would assuredly now be occupying a position in the art world rivalling that of Sargent and Orpen. Born at Staines, Furse was only sixteen when he began to study under Legros at the Slade School. Later he worked in Paris, and returning to London he soon made his mark at the New English Art Club, where his portraits especially attracted attention. He was only twenty-five when he began his heroic equestrian portrait of Lord Roberts—now in the Tate Gallery—a great work which, being interrupted by illness, he was never able to complete, for after his recovery he was too much occupied with other work to return to it at once.
Between 1899 and 1901 much of his time was taken up in painting the decorative spandrels for Liverpool Town Hall, and his remarkable capacity for executing imposing works on a large scale was clearly revealed to the world in 1903, when ‘The Return from the Ride’ was the ‘picture of the year’ at the Academy. In this magnificent portrait group of his friends Mr and Mrs Aubrey Waterfield, the figures are nearly life-size and the whole picture is painted with the assurance and exuberance of a master. In the following year, when he was elected A.R.A, he repeated his success at the Academy with an open air portraits of his wife, entitled ‘Diana of the Uplands’, another life-sized work full of breeziness and polished brilliance. For many years the artist had suffered from lung trouble; and this finally caused his death in the very year in which he had won his Associateship. The breadth and dignity of his outlook equalled the felicity of his execution, and while the great performances in which his art culminated may be said to have been based to some extent on the practice of Velazquez, his own personal gifts and his keen observations of Nature gave an individual distinction to his works which makes them essentially original.
Mr William Strang was born at Dumbarton in 1859, came to London in 1875, and developed remarkable powers as a draughtsman under Legros at the Slade School. The first works of his to attract notice were his portrait drawings and his etchings, which attained distinction in two very different fields. His portraits, whether drawn or etched were intensely realistic, of a Holbeinesque clarity and simplicity, strong in line and character; but in etchings of other subjects Strang displayed imaginative gifts of the highest order, and his illustrations to the Bible, Don Quixote, and to some of Mr Kipling’s stories revealed a mind as alert to think and philosophise as his eye to see and his hand to record.
As a painter Strang had two distinct styles: in the first his color was based on that of the great Venetians, in the second his palette became much brighter and lighter and the influence of Manet was apparent. The union of his incisive drawing with this pure clean color produced in his second manner pictures of arresting brilliance. ‘Bank Holiday’, painted in 1912 and now in the Tate Gallery, is a fine example of his later style and, while displaying the severity of his line and the emphatic realism with which he presents figures and objects, it also reveals his imaginative gifts in the subtle rendering of the embarrassment of a holiday couple used to the etiquette which prevails in restaurants.
The Art Of Today (continued)
Sunday, May 11, 2008
Pangea Day
Pangea Day is a global event bringing the world together through film. In 2006, filmmaker Jehane Noujaim won the TED Prize, an annual award granted at the TED Conference. She was granted $100,000, and more important, a wish to change the world. Her wish was to create a day in which the world came together through film. Pangea Day grew out of that wish.
Useful link:
www.pangeaday.org
Brilliant!
Useful link:
www.pangeaday.org
Brilliant!
Riedel
Riedel products are unique + the designs are beautiful + they are oenophile's pleasure. I liked it.
Useful link:
www.riedel.com
Useful link:
www.riedel.com
Htein Lin
Htein Lin is a Burmese artist + his prison experiences are portrayed in his paintings + they are dense with unique visual information.
Useful link:
www.hteinlin.com
Useful link:
www.hteinlin.com
The Billionaire's Vinegar
The Billionaire's Vinegar: The Mystery of the World's Most Expensive Bottle of Wine by Benjamin Wallace is full of detail that will delight wine lovers + it's a great story well told.
Useful link:
www.benjaminwallace.net
Useful link:
www.benjaminwallace.net
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
While Legros was responsible for the renewed attention paid to drawings, other artists gradually made England familiar with the new ideas about color which had originated in France. Conspicuous among the pioneers in this direction is Mr George Clausen, R.A. Born at London in 1852, Mr Clausen was an art student at South Kensington from 1867 to 1873, and then went to Paris, where he was at first chiefly influenced by J.F Millet and his follower, Jules Bastien-Lapage (1848-84). His well-known picture at the Tate Gallery, ‘The Girl at the Gate’, a comparatively early work painted in 1889, shows Mr Clausen still dominated by the art of Bastien-Lepage. Later the artist was profoundly influenced by the color of the Impressionists, especially by Monet and Pissarro, and in his second manner, while frequently adhering to pastoral and peasant subjects which recall Millet, Mr Clausen presented them in prismatic colors in which the illumination of real sunshine is rendered with exquisite truth and delicacy. Mr Clausen has painted both the life and the light of the fields, fusing the humanity of J F Millet with the Nature-worship of Claude Monet. Possessing a wide range, he has painted portraits and allegorical subjects as well as landscapes and pastorals. All his work is distinguished by its beauty of color, radiant illumination, and human tenderness.
Mr P Wilson Steer was born at Birkenhead in 1860. After studying at the Ecole des Beaux Arts, Paris, he returned to England full of enthusiasm for the Impressionists, and among his early works may be found experiments in the style of Manet, Degas, Monet, and Renoir. But while he has always preserved their keen interest in light, Mr Wilson Steer gradually broke away from the close imitation of the Impressionists and developed a style of his own in which the vivacity and broken touch of the French painters were mingled with elements derived from such British painters as Gainsborough, Constable, and Turner. The later art of Mr Steer may be described as a blend of English and French traditions. In the landscapes of his maturity he has used pinks, mauves, and blues very sparingly and concentrated on the varied greens and yellows of Nature, excelling in the rendering of wooded country with trees glittering in the sunshine after rain, and also in depicting the light and atmosphere in great vistas of spacious countrysides. Equally distinguished s a figure painter, Mr Steer is represented by an auto-portrait in the Pitti Gallery, Florence, by ‘The Music Room’ in the Tate Gallery, and by figure subjects as well as landscapes in many other public galleries. Apparently averse to Academical honors, Mr Steer has from the first remained the most loyal member of the New English Art Club, of which he is still the chief ornament. The grace and refinement of his portraiture ar beautifully exemplified in his ‘Portrait of Mrs Hammersley’, in which the background also reveals his powers as landscape painter.
Two other members of the New English Art Club who have helped to introduce Impressionism into England are Lucien Pissarro and Walter Sickert. The former is the eldest son of Camille Pissarro. He was born at Paris in 1863, and grew up among the Impressionist and neo-Impressionists, so that he may be said to have been impregnated with the science of color from his early boyhood. In 1893 he settled in London, where he came into touch with William Morris, and setting up a private press he made a European reputation as a wood engraver and printer of beautiful books. As a painter he made his way more slowly, but his landscapes have always aroused the enthusiasm of his brother artists by their just observation and masterly statement of the actual hues in Nature.
Mr Walter Sickert, born in 1860, was in his youth a pupil of Whistler, but the influence of this master was later superseded by that of the Impressionists, especially that of Degas, after the artist took up his residence in Paris, where he remained for several years. Making a speciality of painting low-life scenes, portraying humble interiors, the galleries of theatres and music halls, costers and flower girls, Mr Sickert does not rarely explore, even in his landscapes, scenes at Dieppe or Venice, the realm of full sunshine which was the happy hunting ground of the earlier Impressionists. In his interiors Mr Sickert is known chiefly as an exquisite interpreter of the subtle beauties of twilight, in his exteriors he usually prefers grey days or at least moments when direct sunshine is masked; but within his self-imposed limits he is a true Impressionist, always giving his first attention to the lighting, and making lights even in darkness sparkle and vibrate with the magic of his deft broken touches.
The Art Of Today (continued)
While Legros was responsible for the renewed attention paid to drawings, other artists gradually made England familiar with the new ideas about color which had originated in France. Conspicuous among the pioneers in this direction is Mr George Clausen, R.A. Born at London in 1852, Mr Clausen was an art student at South Kensington from 1867 to 1873, and then went to Paris, where he was at first chiefly influenced by J.F Millet and his follower, Jules Bastien-Lapage (1848-84). His well-known picture at the Tate Gallery, ‘The Girl at the Gate’, a comparatively early work painted in 1889, shows Mr Clausen still dominated by the art of Bastien-Lepage. Later the artist was profoundly influenced by the color of the Impressionists, especially by Monet and Pissarro, and in his second manner, while frequently adhering to pastoral and peasant subjects which recall Millet, Mr Clausen presented them in prismatic colors in which the illumination of real sunshine is rendered with exquisite truth and delicacy. Mr Clausen has painted both the life and the light of the fields, fusing the humanity of J F Millet with the Nature-worship of Claude Monet. Possessing a wide range, he has painted portraits and allegorical subjects as well as landscapes and pastorals. All his work is distinguished by its beauty of color, radiant illumination, and human tenderness.
Mr P Wilson Steer was born at Birkenhead in 1860. After studying at the Ecole des Beaux Arts, Paris, he returned to England full of enthusiasm for the Impressionists, and among his early works may be found experiments in the style of Manet, Degas, Monet, and Renoir. But while he has always preserved their keen interest in light, Mr Wilson Steer gradually broke away from the close imitation of the Impressionists and developed a style of his own in which the vivacity and broken touch of the French painters were mingled with elements derived from such British painters as Gainsborough, Constable, and Turner. The later art of Mr Steer may be described as a blend of English and French traditions. In the landscapes of his maturity he has used pinks, mauves, and blues very sparingly and concentrated on the varied greens and yellows of Nature, excelling in the rendering of wooded country with trees glittering in the sunshine after rain, and also in depicting the light and atmosphere in great vistas of spacious countrysides. Equally distinguished s a figure painter, Mr Steer is represented by an auto-portrait in the Pitti Gallery, Florence, by ‘The Music Room’ in the Tate Gallery, and by figure subjects as well as landscapes in many other public galleries. Apparently averse to Academical honors, Mr Steer has from the first remained the most loyal member of the New English Art Club, of which he is still the chief ornament. The grace and refinement of his portraiture ar beautifully exemplified in his ‘Portrait of Mrs Hammersley’, in which the background also reveals his powers as landscape painter.
Two other members of the New English Art Club who have helped to introduce Impressionism into England are Lucien Pissarro and Walter Sickert. The former is the eldest son of Camille Pissarro. He was born at Paris in 1863, and grew up among the Impressionist and neo-Impressionists, so that he may be said to have been impregnated with the science of color from his early boyhood. In 1893 he settled in London, where he came into touch with William Morris, and setting up a private press he made a European reputation as a wood engraver and printer of beautiful books. As a painter he made his way more slowly, but his landscapes have always aroused the enthusiasm of his brother artists by their just observation and masterly statement of the actual hues in Nature.
Mr Walter Sickert, born in 1860, was in his youth a pupil of Whistler, but the influence of this master was later superseded by that of the Impressionists, especially that of Degas, after the artist took up his residence in Paris, where he remained for several years. Making a speciality of painting low-life scenes, portraying humble interiors, the galleries of theatres and music halls, costers and flower girls, Mr Sickert does not rarely explore, even in his landscapes, scenes at Dieppe or Venice, the realm of full sunshine which was the happy hunting ground of the earlier Impressionists. In his interiors Mr Sickert is known chiefly as an exquisite interpreter of the subtle beauties of twilight, in his exteriors he usually prefers grey days or at least moments when direct sunshine is masked; but within his self-imposed limits he is a true Impressionist, always giving his first attention to the lighting, and making lights even in darkness sparkle and vibrate with the magic of his deft broken touches.
The Art Of Today (continued)
Saturday, May 10, 2008
The Venkateswara Temple
The Venkateswara Temple at Tirumala, Andhra Pradesh, in India is dedicated to Lord Vishnu as 'Venkateswara' (or Srinivasa) and attracts followers from a wide range of Hindu traditions. The temple is the world's richest in terms of the wealth of offerings (invaluable ornaments and precious jewels) and gifts given by visiting pilgrims. Gold and diamonds are the traditional choice (s) for offerings.
Useful link:
www.tirumala.org
A must-visit.
Useful link:
www.tirumala.org
A must-visit.
Subroto Bagchi
I think Saritha Rai's article on MindTree @ http://www.forbes.com/global/2008/0519/020.html was brilliant. I really liked the jargon (s) emotional infrastructure/gardener = an aggregate of the positive feelings employees have for their company + for one another; 95-95-95 = 95% of its employees have access to 95% of the information 95% of the time.
Useful links:
www.mindtree.com
www.bangalore.philips.com
'My work will be unending in the same way as a gardener is eternally connected to every tree and plant in his garden. A gardener's work is never finished.'
- Subroto Bagchi
He was spot on.
Useful links:
www.mindtree.com
www.bangalore.philips.com
'My work will be unending in the same way as a gardener is eternally connected to every tree and plant in his garden. A gardener's work is never finished.'
- Subroto Bagchi
He was spot on.
Rediscovering David Lean
I am a huge fan of David Lean + (The Guardian) David Thomson has written an interesting article about the most celebrated English movie director @ http://film.guardian.co.uk/features/featurepages/0,,2279185,00.html + David Lean's The Passionate Friends is in cinemas from June through July @ bfi.org.uk/lean
Mark Boston
Mark Boston is the Chairman of H. Goldie & Company Ltd, international diamond brokers and consultants + he has an interesting/insightful blog @ http://hgoldie.blogspot.com
Useful link:
www.hgoldie.com
Useful link:
www.hgoldie.com
Home-brew Biodiesel
I found the article on home-brew biodiesel @ http://www.guardian.co.uk/environment/2008/may/10/biofuels.alternativeenergy very interesting + insightful. It's really encouraging to see people going the extra mile to produce DIY diesel to save the environment. Bravo!
Useful link:
www.etruk.com
Useful link:
www.etruk.com
Estella Collection Update
Here is an interesting update on Estella Collections @ http://www.iht.com/articles/2008/05/08/arts/estella.php + the controversy. It's unfortuntate but it's a fact of life that art business is always prone to speculation + misinterpretation + there are always unexpected winners and losers + I think the specific gravity of the art market is moving towards China.
Teaching The Science Of Selling Art
As the global art market flourishes into an industry turning over an estimated $25 billion or more a year in sales, a subsidiary business has grown alongside, training those who hope to make a living from the commerce of art. The programs are intensive + highly priced.
Useful links:
www.christies.com/services/education
www.fitnyc.edu (Art Market Principles and Practice)
www.sothebysinstitute.com
www.courtauld.ac.uk
http://www.iht.com/articles/2007/10/15/europe/rieart.php
Useful links:
www.christies.com/services/education
www.fitnyc.edu (Art Market Principles and Practice)
www.sothebysinstitute.com
www.courtauld.ac.uk
http://www.iht.com/articles/2007/10/15/europe/rieart.php
U.S. Court Subpoenas GIA ‘Certifigate’ Records
Chaim Even Zohar writes about the ongoing GIA 'Certifigate' investigation + other viewpoints @
http://www.idexonline.com/portal_FullEditorial.asp
It will be interesging to see the outcome + impact, if any. Thanks to Chaim for updating the info.
http://www.idexonline.com/portal_FullEditorial.asp
It will be interesging to see the outcome + impact, if any. Thanks to Chaim for updating the info.
Random Thoughts
All paper money returns to its intrinsic value—zero.
- François-Marie Arouet, better known by the pen name, Voltaire.
Gold is money and nothing else.
- J.P. Morgan
- François-Marie Arouet, better known by the pen name, Voltaire.
Gold is money and nothing else.
- J.P. Morgan
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
4
No two institutions in the United Kingdom have produced a more remarkable sequence of illustrious artists than the New English Art Club and the Slade School of Art, and since, though separate in their origin, the two have come to be closely related to each other, it is convenient to consider them together. The New English Art Club was founded in the ‘eighties by a number of young artists whose bond of union was a Paris training. Among the founders were the painters P Wilson Steer and Frederick Brown and the sculptors J Harvard Thomas and T Stirling Lee; while other early members included John S Sargent, H H La Thangue, Mark Fisher, and George Clausen. For more than twenty years the New English Art Club has supplied the Royal Academy with nearly all its most distinguished members. At the present moment fifty percent of the Academicians and Associates are or have been exhibitors at the New English Art Club, while almost all the most important official art positions in London have been gradually captured by members of this Club. Sir Charles J Holmes and C J Collins Baker, respectively Director and Keeper of the National Gallery, Mr D S MacColl, Keeper of the Wallace Collection, Mr William Rothenstein, Principal of the Royal College of Art at South Kensington, are all former members of the New English Art Club.
Since its foundation the New English Art Club has largely recruited its strength from students of the Slade School, and the close alliance between the School and the Club is easily understood when we remember that the bond of union between the original clubmen was a Paris training, and when we discover that French influence has been paramount at the Slade School. This school of drawing and painting, situated in Gower Street and connected with University College, was named after Felix Slade (1790-1868), a famous art collector, who left money for the endowment of (Slade) professorships of fine arts in Oxford, Cambridge, and University College, London.
The first Slade Professor at University College was Sir E J Poynter (1871-5), under whose direction the teaching was much the same as that given in the Royal Academy Schools, but in 1876 he was succeeded by a distinguished French artist, M Alphonse Legros, who more than any other one man perhaps, may be said to have changed the character of British painting. Born at Dijon in 1837 and afterwards studying in Paris under the famous teacher of drawing, Lecoq de Boisbaudran, Alphonse Legros came to England in 1863. He was befriended by Whistler, Rossetti, Watts, and other English artists, and made his living principally by etching and by teaching. For a time he taught at the South Kensington School of Art, but in 1876 he was appointed Slade Professor at University College, a position he held till 1892. His picture of French peasant women at prayer, painted at University College in 1888, is a characteristic example of the seriousness and shows that Legros was a a lineal descendant of Ingres. To a generation absorbed in problems of color, lighting, and atmosphere, this broadminded exponent of the French classical school came as a prophet in his insistence on impeccable drawing as the sure foundation of all good painting.
At the Slade, Legros worked wonders in two ways. His great reputation as a teacher attracted the most promising art students of the time; and his influence on these students has far reaching effects. Legros, it has been well said, ‘brought English art again into closer touch with the main European tradition, and contributed largely to the noticeable revival of draughtsmanship in England at the close of the nineteenth century.’ Among the most gifted of his pupils were Charles Wellington Furse, William Strang, and William Rothenstein, all of whom laid the foundations of their reputationsas painters by sterling drawing. After Legros left the Slade in 1892, the great tradition he bequeathed to the School was ably maintained by Professor Frederick Brown, among whose pupils were Sir William Orpen and Augustus John, and since Mr Brown’s retirement, Mr Henry Tonks, also of the New English Art Club, has successfully conducted the Slade School along the lines laid down by Legros.
The Art Of Today (continued)
4
No two institutions in the United Kingdom have produced a more remarkable sequence of illustrious artists than the New English Art Club and the Slade School of Art, and since, though separate in their origin, the two have come to be closely related to each other, it is convenient to consider them together. The New English Art Club was founded in the ‘eighties by a number of young artists whose bond of union was a Paris training. Among the founders were the painters P Wilson Steer and Frederick Brown and the sculptors J Harvard Thomas and T Stirling Lee; while other early members included John S Sargent, H H La Thangue, Mark Fisher, and George Clausen. For more than twenty years the New English Art Club has supplied the Royal Academy with nearly all its most distinguished members. At the present moment fifty percent of the Academicians and Associates are or have been exhibitors at the New English Art Club, while almost all the most important official art positions in London have been gradually captured by members of this Club. Sir Charles J Holmes and C J Collins Baker, respectively Director and Keeper of the National Gallery, Mr D S MacColl, Keeper of the Wallace Collection, Mr William Rothenstein, Principal of the Royal College of Art at South Kensington, are all former members of the New English Art Club.
Since its foundation the New English Art Club has largely recruited its strength from students of the Slade School, and the close alliance between the School and the Club is easily understood when we remember that the bond of union between the original clubmen was a Paris training, and when we discover that French influence has been paramount at the Slade School. This school of drawing and painting, situated in Gower Street and connected with University College, was named after Felix Slade (1790-1868), a famous art collector, who left money for the endowment of (Slade) professorships of fine arts in Oxford, Cambridge, and University College, London.
The first Slade Professor at University College was Sir E J Poynter (1871-5), under whose direction the teaching was much the same as that given in the Royal Academy Schools, but in 1876 he was succeeded by a distinguished French artist, M Alphonse Legros, who more than any other one man perhaps, may be said to have changed the character of British painting. Born at Dijon in 1837 and afterwards studying in Paris under the famous teacher of drawing, Lecoq de Boisbaudran, Alphonse Legros came to England in 1863. He was befriended by Whistler, Rossetti, Watts, and other English artists, and made his living principally by etching and by teaching. For a time he taught at the South Kensington School of Art, but in 1876 he was appointed Slade Professor at University College, a position he held till 1892. His picture of French peasant women at prayer, painted at University College in 1888, is a characteristic example of the seriousness and shows that Legros was a a lineal descendant of Ingres. To a generation absorbed in problems of color, lighting, and atmosphere, this broadminded exponent of the French classical school came as a prophet in his insistence on impeccable drawing as the sure foundation of all good painting.
At the Slade, Legros worked wonders in two ways. His great reputation as a teacher attracted the most promising art students of the time; and his influence on these students has far reaching effects. Legros, it has been well said, ‘brought English art again into closer touch with the main European tradition, and contributed largely to the noticeable revival of draughtsmanship in England at the close of the nineteenth century.’ Among the most gifted of his pupils were Charles Wellington Furse, William Strang, and William Rothenstein, all of whom laid the foundations of their reputationsas painters by sterling drawing. After Legros left the Slade in 1892, the great tradition he bequeathed to the School was ably maintained by Professor Frederick Brown, among whose pupils were Sir William Orpen and Augustus John, and since Mr Brown’s retirement, Mr Henry Tonks, also of the New English Art Club, has successfully conducted the Slade School along the lines laid down by Legros.
The Art Of Today (continued)
Friday, May 09, 2008
Great Advice
(via Fortune) The best advice I ever got came from my mother, Estée Lauder: She believed that if you had something good to say, you should put it in writing. But if you had something bad to say, you should tell the person to his or her face. I learned this lesson the hard way. I'm chairman of the Whitney Museum of American Art in New York, and several years ago, I was angry with one of my trustees. I wrote a letter and signed it. But then I decided not to send the letter, and left it on my desk over the weekend. The following Monday I was out of the office, when a temp saw the letter and mailed it. The trustee got very angry and resigned from the board. To this day, writing that letter is something that I regret.
- Leonard Lauder
Chairman, The Estée Lauder Companies
Brilliant!
- Leonard Lauder
Chairman, The Estée Lauder Companies
Brilliant!
Random Thoughts
The market is smarter than ever. It's an environment. You either adapt to it or you don't. In the market a few thrive, most muddle along, and many succumb. Sort of like life really — full of interesting creatures and characters.
- George Parkanyi
I agree.
- George Parkanyi
I agree.
Wine Update
James Meikle has an interesting update on wine producing countries + the emerging markets + what I found intriguing was The Future of Wine report by Berry Brothers and Rudd + the effects of climate change @ http://www.guardian.co.uk/environment/2008/may/09/food.fooddrinks
It looks like China will become the biggest player in the coming years.
Useful link:
www.bbr.com
It looks like China will become the biggest player in the coming years.
Useful link:
www.bbr.com
Kerala's Art Scene
I found the article on Kerala's art scene @ http://economictimes.indiatimes.com/Kochi_the_Queen_of_Keralas_art_scene/articleshow/3023460.cms interesting + I hope the new trend benefits local artists.
Useful links:
www.openeyeddreams.com
www.kashiartgallery.com
Useful links:
www.openeyeddreams.com
www.kashiartgallery.com
EFuel Micro Fueler
(via Wired) E-Fuel Corporation has unveiled its EFuel 100 MicroFueler, a device about the size of a stacking washer-dryer that uses sugar, yeast and water to make 100 percent ethanol at the push of a button. According to the company founder, Tom Quinn, it is easy.
Brilliant!
Useful links:
www.efuel100.com
http://blog.wired.com/cars/2008/05/make-your-own-e.html
Brilliant!
Useful links:
www.efuel100.com
http://blog.wired.com/cars/2008/05/make-your-own-e.html
Modern Masters Of Form
Roderick Conway Morris has written an interesting article on goldsmiths of Padua @ http://www.iht.com/articles/2008/05/02/arts/rcajpad.php + their unique techniques.
21: The Movie
(via Wiki) 21 is a 2008 drama film from Columbia Pictures. It is directed by Australian director Robert Luketic (Legally Blonde) and stars Jim Sturgess, Kevin Spacey, Kate Bosworth, and Laurence Fishburne. The film is inspired by the true story of the MIT Blackjack Team. The film draws from Bringing Down the House, the best-selling book by Ben Mezrich.
Useful links:
http://www.sonypictures.com/movies/21
http://news.bbc.co.uk/2/hi/business/7374111.stm
http://www.imdb.com/title/tt0478087
Useful links:
http://www.sonypictures.com/movies/21
http://news.bbc.co.uk/2/hi/business/7374111.stm
http://www.imdb.com/title/tt0478087
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
Since he gave up poster designing, Mr Pryde has never made any attempt to obtain popularity. A fastidious and self exacting painter, his output has been comparatively small, and the pictures he has shown at the old Grosvenor Gallery, at the New Gallery, and at the exhibitions of the International Society, of which he is distinguished member, have appealed more to the collector and connoisseur than to the general public. As a painter he is difficult to place, for he is neither a realist not an out-and-out romanticist. His subjects are a little mysterious, and though his pictures often have an eighteenth-century look we hesitate to assign them to any definite period. What is happening in the picture is rarely clear, yet the artist contrives to hold our interest by a suggestion that something is about to happen. There is a strong feeling of latent drama in his work, because he excels in Dramatic Design.
‘The Venstibule’, in the Earl of Crawford’s Collection, is a characteristic example of the peculiar qualities in Mr Pryde’s work. Here,as in all his pictures, we find a stage beautifully set, a scene which so bewitches us by the nobility of its design, by the monumental splendor of its masses, by rich glows of color from a whole of harmonious sombreness, thta we catch our breath with delight at the spectable, just as we might do in a theatre as the curtain goes up and before we have any knowledge of what action will take place on the scene.
Mr William Nicholson, who was born at Neward-on-Trent in 1872, served a lengthy apprenticeship before he developed into the popular painter of portraits and still-life that he is today. After the success of the posters which he designed jointly with his brother-in-law, he laid the foundations of his individual reputation by a remarkable series of woodcuts in color. Three of his books, an Alphabet, an Almanac of Twelve Sports, and London Types—all published in 1898—widened the base of his popularity and made the name of William Nicholson known to thousands who rarely visit picture exhibitions.
More definitely realistic, less imaginative, and less mysterious than Mr Pryde, Mr William Nicholson has this much in common with him, that he, too, is pre-eminently a designer. This much we may see in a work so remarkable for its fidelity to nature as his ‘Portrait of Miss Jekyll’. In its suave rendering of character and atmosphere this portrait is descended from Velazquez through Whistler, but in its arresting simplicity, the effective placing of the chair-back, head, and hands as the accented notes of a diagonal composition, the picture is also related to the posters of the Beggarstaff Brothers and to the masterly designs of the Far East.
A younger generation of Scottish artists, of whom the best known are S J Peploe, J D Fergusson, and Joseph Simpson, are connected with Edinburgh, not Glasgow, and form another distinct group. All of them were at first influenced by Whistler and subsequently by Manet and later French artists; and while each painter has his own personality, strong drawing, bright clean color, and emphatic design are common to all three.
The once much talked of Newyln School was never a local development, like that of Glasgow, but consisted of a group of artists drawn from various places who found this Cornish fishing village, near Penzance, a pleasant place in which to settle and practice open air painting. Stanhope Forbes, the late Napier Hemy, the sea painter, and Frank Bramley have been considered the leaders and founders of this school. Other artists have founded colonies at St Ives and elsewhere along the Cornish coast, some of the best known of the younger generation being the marine painter Mr Julius Olsson, the landscape painter Mr Lamorna Birch, and that particuarly brilliant pair, alike in portraiture, landscape, and figure subjects, Harold and Laura Knight.
The Art Of Today (continued)
Since he gave up poster designing, Mr Pryde has never made any attempt to obtain popularity. A fastidious and self exacting painter, his output has been comparatively small, and the pictures he has shown at the old Grosvenor Gallery, at the New Gallery, and at the exhibitions of the International Society, of which he is distinguished member, have appealed more to the collector and connoisseur than to the general public. As a painter he is difficult to place, for he is neither a realist not an out-and-out romanticist. His subjects are a little mysterious, and though his pictures often have an eighteenth-century look we hesitate to assign them to any definite period. What is happening in the picture is rarely clear, yet the artist contrives to hold our interest by a suggestion that something is about to happen. There is a strong feeling of latent drama in his work, because he excels in Dramatic Design.
‘The Venstibule’, in the Earl of Crawford’s Collection, is a characteristic example of the peculiar qualities in Mr Pryde’s work. Here,as in all his pictures, we find a stage beautifully set, a scene which so bewitches us by the nobility of its design, by the monumental splendor of its masses, by rich glows of color from a whole of harmonious sombreness, thta we catch our breath with delight at the spectable, just as we might do in a theatre as the curtain goes up and before we have any knowledge of what action will take place on the scene.
Mr William Nicholson, who was born at Neward-on-Trent in 1872, served a lengthy apprenticeship before he developed into the popular painter of portraits and still-life that he is today. After the success of the posters which he designed jointly with his brother-in-law, he laid the foundations of his individual reputation by a remarkable series of woodcuts in color. Three of his books, an Alphabet, an Almanac of Twelve Sports, and London Types—all published in 1898—widened the base of his popularity and made the name of William Nicholson known to thousands who rarely visit picture exhibitions.
More definitely realistic, less imaginative, and less mysterious than Mr Pryde, Mr William Nicholson has this much in common with him, that he, too, is pre-eminently a designer. This much we may see in a work so remarkable for its fidelity to nature as his ‘Portrait of Miss Jekyll’. In its suave rendering of character and atmosphere this portrait is descended from Velazquez through Whistler, but in its arresting simplicity, the effective placing of the chair-back, head, and hands as the accented notes of a diagonal composition, the picture is also related to the posters of the Beggarstaff Brothers and to the masterly designs of the Far East.
A younger generation of Scottish artists, of whom the best known are S J Peploe, J D Fergusson, and Joseph Simpson, are connected with Edinburgh, not Glasgow, and form another distinct group. All of them were at first influenced by Whistler and subsequently by Manet and later French artists; and while each painter has his own personality, strong drawing, bright clean color, and emphatic design are common to all three.
The once much talked of Newyln School was never a local development, like that of Glasgow, but consisted of a group of artists drawn from various places who found this Cornish fishing village, near Penzance, a pleasant place in which to settle and practice open air painting. Stanhope Forbes, the late Napier Hemy, the sea painter, and Frank Bramley have been considered the leaders and founders of this school. Other artists have founded colonies at St Ives and elsewhere along the Cornish coast, some of the best known of the younger generation being the marine painter Mr Julius Olsson, the landscape painter Mr Lamorna Birch, and that particuarly brilliant pair, alike in portraiture, landscape, and figure subjects, Harold and Laura Knight.
The Art Of Today (continued)
Thursday, May 08, 2008
Akshaya Tritiya
(via Wiki) Akshaya Tritiya, falling on the third day of the bright half of the lunar month of Vaisakha of the traditional Hindu calendar, is one of the four most auspicious days of the year for Hindus. The word Akshaya, a Sanskrit word, literally means one that never diminishes, and the day is believed to bring good luck and success. It is widely celebrated in all parts of India by different sections of the society irrespective of their religious faith and social grouping. The day is particularly considered auspicious for buying long term assets like gold and silver, including ornaments made of the same; diamond and other precious stones; and the real estate. The legend states that any venture initiated on the auspicious day of Akshaya Tritiya shall continue to grow and bring prosperity. Hence, it is normal to see many of the new ventures, like starting a business, ground breaking for construction etc on the Akshaya Tritiya Day. In 2008, Akshaya Tritiya falls on 8th May.
Useful links:
www.marketing.gold.org
www.kotakcommodities.com
http://riddhisiddhicommodity.com
Useful links:
www.marketing.gold.org
www.kotakcommodities.com
http://riddhisiddhicommodity.com
Pascal Dangin
Pascal Dangin is arguably one of the most powerful men in fashion + behind-the-scenes premier retoucher of fashion photographs.
Useful links:
www.boxstudios.com
http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_collins
Useful links:
www.boxstudios.com
http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_collins
Santa Fe Symposium
The 22nd annual symposium on jewelry manufacturing technology will be held in Albuquerque, New Mexico, May 18 - 20, 2008.
Useful link:
www.santafesymposium.org
Useful link:
www.santafesymposium.org
Portugal Gemas
A quarterly gemological newsletter in Portuguese has been launched by LABGEM gemological laboratory in PDF format.
Useful link:
www.labgem.org
Useful link:
www.labgem.org
Goldheart
Goldheart is an interesting jewelry store: the metamorphosis from a traditional store selling gold to a large branded jewelry operation with innovative designs and good customer service should be a good business model for aspiring jewelers.
Useful link:
www.goldheart.com.sg
Useful link:
www.goldheart.com.sg
Art Market Update
Souren Melikian has an interesting update on Christie's sale of Impressionist and Modern art @ http://www.iht.com/articles/2008/05/07/arts/w-melik8.php + what's amazing to me is the state of the art market: it is still active despite economic uncertainities worldwide.
Useful link:
www.christies.com
Useful link:
www.christies.com
Wind Power
I found the article on wind power @ http://www.economist.com/science/tq/displaystory.cfm?story_id=11323401 very interesting + insightful + it's really exciting to see innovative entrepreneurs venturing with technocrats to create alternative energy sources.
Useful links:
http://sway.no
www.bluehgroup.com
www.nrel.gov/wind
www.capewind.org
Useful links:
http://sway.no
www.bluehgroup.com
www.nrel.gov/wind
www.capewind.org
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
3
Since Pettie and Orchardson Scotland has always been strongly represented in the Royal Academy. The younger Scottish school originated in Glasgow, whither about fifty years ago a very large number of fine pictures by the French romanticists found their way into public and private collections. In the appreciation of Corot and his contemporaries, Scotland was far ahead of England, and since Whistler also found favor more quickly in the north than in the south, the Scottish painters were, generally speaking, more advanced than their English confrères during the latter part of the nineteenth century. Of the group of painters known as the Glasgow School, it may be broadly said that the figure painters were chiefly influenced by Whistler, the landscapists by Corot and the French romanticists. Among the most distinguished of the figure painters are Sir James Guthrie, born in 1859 and elected President of Royal Scottish Academy in 1902, who adds much of the robustness of Raeburn to a Whistlerian elegance and color harmony; Sir John Lavery, born at Belfast in 1857, who has developed in his own way the graceful style and dainty coloring of Whistler, whether in portraying manly dignity, feminine loveliness, or in painting landscapes; Mr E A Walton, equally at home in portrait and landscape, Mr Harrington Mann, Mr George Henry, and Mr Edward Hornel, who with thick, enamel-like paint, has invented a new style in which children are usually seen decoratively disposed amid flowery gardens of a semi-tropical luxuriance. In this school a place apart was held by the late Joseph Crawhall, whose animal paintings, and particularly his watercolors on brown holland, had an inevitability of line and simple grandeur of design which related his work to that of the greatest oriental artists.
Among the Glasgow landscape painters, most of whom, like W Y Macgregor and David Gauld, followed either the Barbizon or Modern Dutch Schools, the premier place has now been won by Mr D Y Cameron, R.A. Born at Glasgow in 1865, Mr Cameron has made a foremost place for himself as an etcher, rivaling Mr Muirhead Bone in his masterly interpretation of architectural and landscape subjects, while he has also developed a most personal style as a painter, depicting the hills and lakes of Scotland and the picturesque houses in her cities with a fine simplicity of design and clear, translucent color. While in his use of delicate hues, harmonised with subtelty, Mr Cameron shows more than a passing acquaintance with Impressionism, in his emphasis of line and tendency towards simplication he exhibits in a mild and restrained form that reaction from Impressionism which ran to excess in Paris.
While there has never been a definite Edinburgh school, several modern painters of distinction have been associated with the Scottish capital, among them being Mr James Pryde, one of the most original and gifted artists of our time. Born in 1869, Mr Pryde is the son of the late Dr David Pryde of St Andrews and subsequently of Edinburgh. Though nominally he received his training, like so many others, at the Atelier Julien in Paris, very little French influence appears in his work. He learnt the decorative value of the silhouette from Whistler, something about the effective disposal of masses, perhaps, from the brilliant French poster-designer Toulouse-Lautrec (1864-1901), and a good deal about dramatic composition from Hogarth. In other words, Mr Pryde made his own choice among the masters and built up his own art by affinities and observation. It was by poster work that Mr Pryde first roused the attention of the public. He had a sister, Mabel Pryde, who married another artist, William Nicholson, and the brothers-in-law, working under the pseudonym of ‘Beggar staff Brothers’, produced a series of posters in the ‘nintees which electrified London by their outstanding artistic qualities.
The Art Of Today (continued)
3
Since Pettie and Orchardson Scotland has always been strongly represented in the Royal Academy. The younger Scottish school originated in Glasgow, whither about fifty years ago a very large number of fine pictures by the French romanticists found their way into public and private collections. In the appreciation of Corot and his contemporaries, Scotland was far ahead of England, and since Whistler also found favor more quickly in the north than in the south, the Scottish painters were, generally speaking, more advanced than their English confrères during the latter part of the nineteenth century. Of the group of painters known as the Glasgow School, it may be broadly said that the figure painters were chiefly influenced by Whistler, the landscapists by Corot and the French romanticists. Among the most distinguished of the figure painters are Sir James Guthrie, born in 1859 and elected President of Royal Scottish Academy in 1902, who adds much of the robustness of Raeburn to a Whistlerian elegance and color harmony; Sir John Lavery, born at Belfast in 1857, who has developed in his own way the graceful style and dainty coloring of Whistler, whether in portraying manly dignity, feminine loveliness, or in painting landscapes; Mr E A Walton, equally at home in portrait and landscape, Mr Harrington Mann, Mr George Henry, and Mr Edward Hornel, who with thick, enamel-like paint, has invented a new style in which children are usually seen decoratively disposed amid flowery gardens of a semi-tropical luxuriance. In this school a place apart was held by the late Joseph Crawhall, whose animal paintings, and particularly his watercolors on brown holland, had an inevitability of line and simple grandeur of design which related his work to that of the greatest oriental artists.
Among the Glasgow landscape painters, most of whom, like W Y Macgregor and David Gauld, followed either the Barbizon or Modern Dutch Schools, the premier place has now been won by Mr D Y Cameron, R.A. Born at Glasgow in 1865, Mr Cameron has made a foremost place for himself as an etcher, rivaling Mr Muirhead Bone in his masterly interpretation of architectural and landscape subjects, while he has also developed a most personal style as a painter, depicting the hills and lakes of Scotland and the picturesque houses in her cities with a fine simplicity of design and clear, translucent color. While in his use of delicate hues, harmonised with subtelty, Mr Cameron shows more than a passing acquaintance with Impressionism, in his emphasis of line and tendency towards simplication he exhibits in a mild and restrained form that reaction from Impressionism which ran to excess in Paris.
While there has never been a definite Edinburgh school, several modern painters of distinction have been associated with the Scottish capital, among them being Mr James Pryde, one of the most original and gifted artists of our time. Born in 1869, Mr Pryde is the son of the late Dr David Pryde of St Andrews and subsequently of Edinburgh. Though nominally he received his training, like so many others, at the Atelier Julien in Paris, very little French influence appears in his work. He learnt the decorative value of the silhouette from Whistler, something about the effective disposal of masses, perhaps, from the brilliant French poster-designer Toulouse-Lautrec (1864-1901), and a good deal about dramatic composition from Hogarth. In other words, Mr Pryde made his own choice among the masters and built up his own art by affinities and observation. It was by poster work that Mr Pryde first roused the attention of the public. He had a sister, Mabel Pryde, who married another artist, William Nicholson, and the brothers-in-law, working under the pseudonym of ‘Beggar staff Brothers’, produced a series of posters in the ‘nintees which electrified London by their outstanding artistic qualities.
The Art Of Today (continued)
Wednesday, May 07, 2008
The Sospiro Programme
I just came across The Sospiro Programme via Global Business, BBC by Peter Day. It was an extraordinary experience. I enjoyed it immensely.
Thanks to BBC + Peter Day.
Useful link:
www.sospiro.com
Thanks to BBC + Peter Day.
Useful link:
www.sospiro.com
The Best Advice
(via Fortune) Some of the best advice I ever received was unspoken. Over the course of my IBM career I've observed many CEOs, heads of state, and others in positions of great authority. I've noticed that some of the most effective leaders don't make themselves the center of attention. They are respectful. They listen. This is an appealing personal quality, but it's also an effective leadership attribute. Their selflessness makes the people around them comfortable. People open up, speak up, contribute. They give those leaders their very best. When it comes to specific advice, the best was from a former boss, who told me, "Don't view your career as a linear progression." He advised me to take horizontal rather than vertical steps: to try out situations that are unstructured, to learn different ways of working, and to get outside of headquarters and experience different cultures. I've applied this advice many times - most notably, taking a decidedly unstructured job at IBM Japan and then joining the fledgling IBM services business. After those experiences, I had the confidence that I could manage pretty much anything.
- Sam Palmisano
Chairman and CEO, IBM
Very inspirational. I have learned a bit more today.
- Sam Palmisano
Chairman and CEO, IBM
Very inspirational. I have learned a bit more today.
Alltournative
I really liked Alltournative's right combination of off-track adventure travel, nature and Maya culture. Brilliant idea!
Useful links:
www.alltournative.com
www.globalreporting.org
www.wri.org
Useful links:
www.alltournative.com
www.globalreporting.org
www.wri.org
The Online Way
I really liked Telling Stories the Online Way @ http://www.newsweek.com/id/130188. The impact of seeing real-world places in their context is a unique experience. I think they were brilliant.
Fine Jewelry News
Fine Jewelry News website is a great place for consumers + jewelry industry + it's educational and insightful.
I liked it.
Useful link:
www.finejewelrynews.com
I liked it.
Useful link:
www.finejewelrynews.com
Random Thoughts
In human affairs excesses provoke corrections, and the momentum of the correction carries on to provoke a new and different excess. So it is with politics, so with religion, so with art, and so with tides of opinion generally, including the stock market.
- John Train
- John Train
Diamond Pipeline Update
I found Chaim Even Zohar's Diamond Pipeline 2007 update @
http://www.idexonline.com/portal_FullNews.asp?SID=&id=30244 educational and useful.
Thanks, Chaim.
Useful link:
www.kimberleyprocess.com
http://www.idexonline.com/portal_FullNews.asp?SID=&id=30244 educational and useful.
Thanks, Chaim.
Useful link:
www.kimberleyprocess.com
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
2
Glancing briefly at the number of British artists who have attained eminence by the character and individuality of their work—a number so great that it excludes any possibility of doing justice to them all within the space of this chapter—it is not without significance to note how few of them have received their training in the Royal Academy schools. In recent years the most fruitful forcing grounds for British Art have been the Scottish schools and the Slade School in London; other painters of distinction have come from the Royal College of Art in South Kensington or have received their training abroad.
It has often been said that the rank of a living artist can most fairly be gauged by the esteem in which he is held by foreign countries. By this reckoning a high place must be assigned to Mr Frank Brangwyn, R.A, for few British artists have been more feted than he on the Continent and in America, Paris, Munich, Vienna, Brussels, Madrid, Holland, and Italy, all have showered honors and distinctions on this artist. Born at Bruges in 1867, of Welsh extraction, Mr Brangwyn was from boyhood familiar with the splendors of Flemish tapestry, and though he first obtained notice by his power of drawing as an illustrator, his real bent has always been towards decorative art. In his early boyhood he worked with William Morris, executing designs for tapestries, etc; but when he was only sixteen he left Morris and went to sea, and the knowledge of shipping and seafaring life which he thus gained stood him in good stead when he again returned to London and the practice of art. All his most important early pictures were of subjects he had seen at sea; among them may be mentioned ‘Ashore’ (1890), ‘Burial at Sea’ and ‘Salvage’ (1891), and ‘The Convict Ship’ (1892). The sturdy drawing, glowing color, and spacious design in these works marked out the decorative painter of the future, though at this time the artist was earning his living principally by seafaring drawings, executed for the Graphic and other illustrated papers. In addition to his drawings and paintings Mr Brangwyn also devoted himself to etching, and his plates of the working maritime life on the lower reaches of the Thames were among the earliest of his works to attain a wide popularity.
Influenced to some extent perhaps by the Belgian painter and sculptor Constantin Meunier (1831-1905), whose vigorous art illustrated the industrial and mining life of the ‘Black Country’ of Belgium, Mr Brangwyn soon made his reputation as a painter by his unique gift of basing heroic decorative designs on typical scenes and episodes of modern industrialism. In 1895 his ‘Trade on the Beach’ was bought for the Luxembourg, Paris, and a few years later his panel ‘Commerce,’ in the Royal Exchange, London, made his decorative gifts widely known to his own compatriots. His decorations for the Skinner’s Hall and the series of panels illustrating typical modern industries, originally designed for the British pavilion in the Venice International Exhibition and now in the Leeds Art Gallery may be cited as brilliant examples of the decorative mural painting which this artist has done so much to revive.
Though latterly gigantic projects of decorative painting in the United States have taken up much of Mr Brangwyn’s time, so that he is now a comparatively rare exhibitor in London, he has been a prolific producer of pictures, watercolors, and etchings in addition to his mural painting. He is limited neither in method nor in subject, but whether the latter be a scene in Italy, an impression of Pittsburg, or a table laden with the rich fruits of a sumptuous dessert, the presentation of the theme is invariably decorative and grandiose. ‘The Poulterer’s Shop’, which was bought for the nation by the Chantrey Trustees from the Academy of 1916, is a glowing example of the sense of opulent splendor which Mr Brangwyn’s imagination and executive skill can extract from dead poultry, a heap of vegetables, and commonplace utencils.
The Art Of Today (continued)
2
Glancing briefly at the number of British artists who have attained eminence by the character and individuality of their work—a number so great that it excludes any possibility of doing justice to them all within the space of this chapter—it is not without significance to note how few of them have received their training in the Royal Academy schools. In recent years the most fruitful forcing grounds for British Art have been the Scottish schools and the Slade School in London; other painters of distinction have come from the Royal College of Art in South Kensington or have received their training abroad.
It has often been said that the rank of a living artist can most fairly be gauged by the esteem in which he is held by foreign countries. By this reckoning a high place must be assigned to Mr Frank Brangwyn, R.A, for few British artists have been more feted than he on the Continent and in America, Paris, Munich, Vienna, Brussels, Madrid, Holland, and Italy, all have showered honors and distinctions on this artist. Born at Bruges in 1867, of Welsh extraction, Mr Brangwyn was from boyhood familiar with the splendors of Flemish tapestry, and though he first obtained notice by his power of drawing as an illustrator, his real bent has always been towards decorative art. In his early boyhood he worked with William Morris, executing designs for tapestries, etc; but when he was only sixteen he left Morris and went to sea, and the knowledge of shipping and seafaring life which he thus gained stood him in good stead when he again returned to London and the practice of art. All his most important early pictures were of subjects he had seen at sea; among them may be mentioned ‘Ashore’ (1890), ‘Burial at Sea’ and ‘Salvage’ (1891), and ‘The Convict Ship’ (1892). The sturdy drawing, glowing color, and spacious design in these works marked out the decorative painter of the future, though at this time the artist was earning his living principally by seafaring drawings, executed for the Graphic and other illustrated papers. In addition to his drawings and paintings Mr Brangwyn also devoted himself to etching, and his plates of the working maritime life on the lower reaches of the Thames were among the earliest of his works to attain a wide popularity.
Influenced to some extent perhaps by the Belgian painter and sculptor Constantin Meunier (1831-1905), whose vigorous art illustrated the industrial and mining life of the ‘Black Country’ of Belgium, Mr Brangwyn soon made his reputation as a painter by his unique gift of basing heroic decorative designs on typical scenes and episodes of modern industrialism. In 1895 his ‘Trade on the Beach’ was bought for the Luxembourg, Paris, and a few years later his panel ‘Commerce,’ in the Royal Exchange, London, made his decorative gifts widely known to his own compatriots. His decorations for the Skinner’s Hall and the series of panels illustrating typical modern industries, originally designed for the British pavilion in the Venice International Exhibition and now in the Leeds Art Gallery may be cited as brilliant examples of the decorative mural painting which this artist has done so much to revive.
Though latterly gigantic projects of decorative painting in the United States have taken up much of Mr Brangwyn’s time, so that he is now a comparatively rare exhibitor in London, he has been a prolific producer of pictures, watercolors, and etchings in addition to his mural painting. He is limited neither in method nor in subject, but whether the latter be a scene in Italy, an impression of Pittsburg, or a table laden with the rich fruits of a sumptuous dessert, the presentation of the theme is invariably decorative and grandiose. ‘The Poulterer’s Shop’, which was bought for the nation by the Chantrey Trustees from the Academy of 1916, is a glowing example of the sense of opulent splendor which Mr Brangwyn’s imagination and executive skill can extract from dead poultry, a heap of vegetables, and commonplace utencils.
The Art Of Today (continued)
Tuesday, May 06, 2008
Alex Metcalf
I really liked Alex Metcalf's Tree Listening Installation concept + the designs + the interactive mode. Brilliant!
Useful links:
www.alexmetcalf.co.uk
www.touchmusic.org.uk
Useful links:
www.alexmetcalf.co.uk
www.touchmusic.org.uk
The Government Art Collection
The Government Art Collection, in the care of the Department of Culture, Media and Sport, U.K, has thousands of works of art, and now members of the public are invited to celebrate museums and galleries month by visiting the spectacular national art collection they never knew they owned.
It's a real treasure trove!
Useful link:
www.gac.culture.gov.uk
It's a real treasure trove!
Useful link:
www.gac.culture.gov.uk
Winza Tanzanian Ruby
Industry analysts believe highly saturated + transparent untreated rubies from Winza, Morogoro, Tanzania, may become the choice locality for ruby connoisseurs. There are many Winza Tanzanian rubies in the market and I hope they are not sold as Burmese. As always, if in doubt, consult a reputed gem testing laboratory.
Useful links:
www.gemburi.co.th
www.multicolour.com
Useful links:
www.gemburi.co.th
www.multicolour.com
Green Business Network In India
New Ventures India has launched Coaches Network to help SMEs go Green + the Coaches Network would also include top investors, business leaders and successful entrepreneurs who would devote time to nurturing seed and early and expansion stage green companies.
Useful link:
www.newventuresindia.org
Useful link:
www.newventuresindia.org
Emerald Update
Ronald Ringsrud has the latest information on emerald production from Colombia's premier mines, Muzo, La Pita and Coscuez + emerald proportions @ www.emeraldmine.com
I found the article on proportions educational + insightful. I learned something new. Thanks, Ron.
I found the article on proportions educational + insightful. I learned something new. Thanks, Ron.
Marketing Metaphoria
Marketing Metaphoria: What Deep Metaphors Reveal About the Minds of Consumers by Gerald Zaltman + Lindsay H. Zaltman is a great book + I think metaphors/analogies are the best medium to connect the dots, and the book says it all.
Useful link:
www.marketingmetaphoria.com
Useful link:
www.marketingmetaphoria.com
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
From John S Sargent To Augustus John
1
The art of today is a cosmopolitan business. Rapidity of communications and the interchange of international ideas have broken down the old frontiers of thought, so that while painters of various styles can now be found in all civilized countries, the styles throughout the world are very much alike, and it is difficult to make out a case for any distinctive national art. If it be hazardous, however, to assert that there exists at present a ‘British School’, distinct from the schools of painting in France, Spain, Italy, and other countries, it may nevertheless be said with sufficient confidence and today, in the words of Sir Robert Witt, ‘British art stands second to none in the world.’
Writing nearly fifteen years ago, the late Sir Walter Armstrong said: ‘The Pre-Raphaelite revolt is the last great movement which really belongs to the history of British Art. Those developments which have taken place since are more cosmopolitan than British. They have been moves towards assimilating our insular ideas to those of the Continent, which, in painting, means the ideas of France and Holland. Being all moves in one direction, they have had considerable similarity one with another, and it is scarcely worth while to dwell much on the differences which separate the neo-Scots school from that of Newlyn, or both from those franker disciples of Paris who have been so greatly encouraged by the genius of two Americans, Whistler and Sargent.’
Mr John Singer Sargent, R.A, who has been perhaps the greatest influence in portrait painting in our time, was himself Paris-trained. Born at Florence in 1856, the son of American parents—his father being a physician at Boston, USA—Mr Sargent was educated in Italy and Germany, studied paiting under Carolus Duran at Paris, and finally settled in England during the eighties. In his own person, therefore, Mr Sargent represented in the most marked manner the cosmopolitan experiences which go to the making of a modern painter. A word may be said here as to his master, Carolus Duran, who was born at Lille in 1837, for though this painter won the coveted Prix de Rome and spent four years in Italy, he became the leading French portrait painter of his time by reason of his later study of Velazquez in Madrid. Carolus Duran, then, was one of the pioneers who turned away the thought of his contemporaries and pupils from the Italian and Flemish to the Spanish schools of painting, and his art, like that of his still more famous pupil Mr Sargent, is largely derived from Velazquez. The English portraiture of the eighteenth century, as has already been shown, was modelled firstly on the practice of Van Dyck and secondly on that painting towards the middle of the nineteenth century, and still dominant at the present day, is based on the work of Velazquez and Goya.
While many have drawn inspiration from this common source, the results obtained from the following, in the main, the Spanish tradition, have varied considerably according to the individual temperaments of the artists. In Mr Sargent’s painting we see the irrepressible energy which we associate with Transatlantic business enterprise; he was a ‘hustler’ in paint who swept us off our feet by the amazing vivacity of his brushwork and by the almost uncanny actuality with which he set a living being before us. A vigorous draughtsman, using sweeps of paint with economic mastery, Mr Sargent developed powers of psychological penetration which made him supreme in the rendering of character. Some of his male portraits have been so merciless in their unmasking of the real minds of his sitters that they have justified the amusing but apt comment of ‘Mr Dooley’:
‘Stand there,’ he sez, ‘while I tear the ugly black heart out av ye.’
At the same time his ‘Lord Ribblesdale’ proves how noble a rendering of human dignity the artist can achieve when he is in complete sympathy with his sitter, while his brilliant group of ‘Ena and Betty Wertheimer’ is a masterpiece in which warm, living beings are presented with perfect naturalness yet with stately grandeur. The wonderful series of Wertheimer portraits, now in the National Gallery, is at once a revelation of the artist’s power in the expression of different characters and a souvenir of his long association with the astute and esteemed art dealer who, from his earliest days, stoutly affirmed his belief in the genius of Mr Sargent.
Since he first exhibited at the Paris Salon in 1879, Mr Sargent’s career was one of a steady upward progress. It was not till 1894 that he was elected an A.R.A, but before this he had exhibited with distinction both at the Academy and at the New English Art Club. His early portraits show traces of the influence of the Impressionists, but Mr Sargent’s connection with this school is less obvious in his portraits than in his landscapes and watercolors.
In watercolor Mr Sargent created a new and distinct style which had a great effect on his contemporaries. How skilfully he used it as a brilliant sketching medium may be seen in ‘The Piazzetta, Venice’. Here, like Manet, he saw ‘no lines in Nature,’ but built up a vivid impression of the scene before him by brilliant touches of color and strong contrasts of light and shade. It is a broad, vigorous style which, despite its summariness, gives a marvelous sense of actuality in the hands of a master. Though pre-eminent as a portrait painter and as a sketcher in watercolor, Mr Sargent executed notable works in a variety of styles and media. He painted important decorative works for public buildings in the United States, and he also did some scuplture, notably his ‘Crucifixion’ for the Boston Library, U.S.A, a bronze study for which may be seen in the Tate Gallery.
The Art Of Today (continued)
From John S Sargent To Augustus John
1
The art of today is a cosmopolitan business. Rapidity of communications and the interchange of international ideas have broken down the old frontiers of thought, so that while painters of various styles can now be found in all civilized countries, the styles throughout the world are very much alike, and it is difficult to make out a case for any distinctive national art. If it be hazardous, however, to assert that there exists at present a ‘British School’, distinct from the schools of painting in France, Spain, Italy, and other countries, it may nevertheless be said with sufficient confidence and today, in the words of Sir Robert Witt, ‘British art stands second to none in the world.’
Writing nearly fifteen years ago, the late Sir Walter Armstrong said: ‘The Pre-Raphaelite revolt is the last great movement which really belongs to the history of British Art. Those developments which have taken place since are more cosmopolitan than British. They have been moves towards assimilating our insular ideas to those of the Continent, which, in painting, means the ideas of France and Holland. Being all moves in one direction, they have had considerable similarity one with another, and it is scarcely worth while to dwell much on the differences which separate the neo-Scots school from that of Newlyn, or both from those franker disciples of Paris who have been so greatly encouraged by the genius of two Americans, Whistler and Sargent.’
Mr John Singer Sargent, R.A, who has been perhaps the greatest influence in portrait painting in our time, was himself Paris-trained. Born at Florence in 1856, the son of American parents—his father being a physician at Boston, USA—Mr Sargent was educated in Italy and Germany, studied paiting under Carolus Duran at Paris, and finally settled in England during the eighties. In his own person, therefore, Mr Sargent represented in the most marked manner the cosmopolitan experiences which go to the making of a modern painter. A word may be said here as to his master, Carolus Duran, who was born at Lille in 1837, for though this painter won the coveted Prix de Rome and spent four years in Italy, he became the leading French portrait painter of his time by reason of his later study of Velazquez in Madrid. Carolus Duran, then, was one of the pioneers who turned away the thought of his contemporaries and pupils from the Italian and Flemish to the Spanish schools of painting, and his art, like that of his still more famous pupil Mr Sargent, is largely derived from Velazquez. The English portraiture of the eighteenth century, as has already been shown, was modelled firstly on the practice of Van Dyck and secondly on that painting towards the middle of the nineteenth century, and still dominant at the present day, is based on the work of Velazquez and Goya.
While many have drawn inspiration from this common source, the results obtained from the following, in the main, the Spanish tradition, have varied considerably according to the individual temperaments of the artists. In Mr Sargent’s painting we see the irrepressible energy which we associate with Transatlantic business enterprise; he was a ‘hustler’ in paint who swept us off our feet by the amazing vivacity of his brushwork and by the almost uncanny actuality with which he set a living being before us. A vigorous draughtsman, using sweeps of paint with economic mastery, Mr Sargent developed powers of psychological penetration which made him supreme in the rendering of character. Some of his male portraits have been so merciless in their unmasking of the real minds of his sitters that they have justified the amusing but apt comment of ‘Mr Dooley’:
‘Stand there,’ he sez, ‘while I tear the ugly black heart out av ye.’
At the same time his ‘Lord Ribblesdale’ proves how noble a rendering of human dignity the artist can achieve when he is in complete sympathy with his sitter, while his brilliant group of ‘Ena and Betty Wertheimer’ is a masterpiece in which warm, living beings are presented with perfect naturalness yet with stately grandeur. The wonderful series of Wertheimer portraits, now in the National Gallery, is at once a revelation of the artist’s power in the expression of different characters and a souvenir of his long association with the astute and esteemed art dealer who, from his earliest days, stoutly affirmed his belief in the genius of Mr Sargent.
Since he first exhibited at the Paris Salon in 1879, Mr Sargent’s career was one of a steady upward progress. It was not till 1894 that he was elected an A.R.A, but before this he had exhibited with distinction both at the Academy and at the New English Art Club. His early portraits show traces of the influence of the Impressionists, but Mr Sargent’s connection with this school is less obvious in his portraits than in his landscapes and watercolors.
In watercolor Mr Sargent created a new and distinct style which had a great effect on his contemporaries. How skilfully he used it as a brilliant sketching medium may be seen in ‘The Piazzetta, Venice’. Here, like Manet, he saw ‘no lines in Nature,’ but built up a vivid impression of the scene before him by brilliant touches of color and strong contrasts of light and shade. It is a broad, vigorous style which, despite its summariness, gives a marvelous sense of actuality in the hands of a master. Though pre-eminent as a portrait painter and as a sketcher in watercolor, Mr Sargent executed notable works in a variety of styles and media. He painted important decorative works for public buildings in the United States, and he also did some scuplture, notably his ‘Crucifixion’ for the Boston Library, U.S.A, a bronze study for which may be seen in the Tate Gallery.
The Art Of Today (continued)
Monday, May 05, 2008
Invention Session
I thoroughly enjoyed Malcolm Gladwell's article In the Air @ http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_gladwell?currentPage=all. It was brilliant + insightful. He was spot on.
Useful link:
www.gladwell.com
Useful link:
www.gladwell.com
Tan Dun
(via Wiki) Tan Dun is a Chinese contemporary classical composer, most widely known for his Grammy and Oscar-award winning scores for the movies Crouching Tiger, Hidden Dragon and Hero.
I've always enjoyed his music.
Useful links:
www.tandunonline.com
http://www.iht.com/articles/2008/05/04/arts/04dunt.php
I've always enjoyed his music.
Useful links:
www.tandunonline.com
http://www.iht.com/articles/2008/05/04/arts/04dunt.php
BarberOsgerby
I really liked BarberOsgerby's designs because it's simple, has energy and consistent elegance.
Useful link:
www.barberosgerby.com
Useful link:
www.barberosgerby.com
Canadian Diamonds
Canada is now on the top of the pyramid as a rough diamond producer. Martin Irving is an expert on Canadian diamonds. He knows inside out the location and the available infrastructure which is crucial in determining the economic viability of the project.
Useful link:
www.diamondconsultants.ca
Useful link:
www.diamondconsultants.ca
Call Of The Mall
Call of the Mall: The Geography of Shopping by the Author of Why We Buy by Paco Underhill is an interesting retail research book on consumer behavior + tricks of the trade. I liked it.
Useful link:
www.envirosell.com
Useful link:
www.envirosell.com
Art During The Great War
(via The Outline of Art) William Orpen writes:
The artisitc activity of Great Britain was at its height in 1917. In March the Imperial War Museum was instituted, and during the summer the Canadian War Memorials Fund was founded by Lord Beaverbrook and Lord Rothermere, who, acting under competent expert advice, accumulated a notable collection of pictures. When the collection was exhibited at Burlington House, prior to its dispatch to Canada, the work of the younger artists revealed to a significant degree the new spirit that was abroad in art. Nevinson and Nash were no longer alone; other artists of their own generation exhibited war pictures in which similar tendencies could be discerned. Conspicuous among those who stressed the Cubist point of view, presenting soldiers as automata and emphasizing the mechanism of war, were Messrs. P Wyndham Lewis and William Roberts; still more numerous were those who adopted a post-Impressionist simplication of statement, among the most prominent members of this school being the brothers Stanley and Gilbert Spencer, Messrs. Paul and John Nash, and Mr Henry Lamb. Pictures by all these artists and many others were also acquired for the Imperial War Museum.
Mr Henry Lamb, another member of the New English Art Club who had attracted attention before the War by his powers of drawing and the emotional force in his pictures, was a comparative late comer; for having been formerly a medical student he was fully accupied with Red Cross work up to and following the Armistice. When he resumed the brush, however, it was seen that he had taken notes during his services in Macedonia, and his picture ‘Advanced Dressing Station on the Struma, 1916’, now in the Manchester Art Gallery, is a notable contribution to the pictorial exposition of the psychology of war. It is not the excitement or frenzy of fighting that Mr Lamb shows us, but the boredom and dreariness of the men who are waiting for untterable things to happen. Precisely drawn, wonderfully clear and simple in its design, this painting depicts a quiet moment in the campaigner’s life, a moment when the weariness of all concerned finds abundant expression.
To deal with all the artists who painted war pictures between 1914 and 1918 is obviously beyond the scope of this chapter, and therefore the work of many eminent painters—several of whom will be referred to subsequently—must be passed over in silence for the moment. Turning to a new subject does not necessarily change an artist’s style, and it is the evolution of a new style rather than the discovery of a new subject which vitally affects the history of art. The number of Official Artists appointed was evidence of the curious way in which the War persuaded a ‘Business Government’ to treat art with more seriousness and consideration than it had yet received in Great Britain. While many artists, like Sir John Lavery and Mr Muirhead Bone, continued their former style and practice when engaged on these new subjects, other artists, as we have seen, were fired by their experiences in the trenches to the invention of new styles for the expression of new emotions. This direct or indirect influence of the War on art was not limited only to the artists who had served abroad; occasionally it made itself felt in the work of the men who stayed at home.
The most remarkable war picture in the Royal Academy of 1918 had for its subject a London ‘Tube’ station during an air raid. Mr Walter Baye’s great canvas ‘The Underworld’ is a vigorous and haunting painting which in its style approaches the new manner of post-Impressionism. Designed as a mural decoration, the picture shows an appropriate monumental treatment of the alien figures who sprawl about the platform. The faces are not English faces, but on occasions such as the artist depicts London’s underworld was full of these types. Mr Bayes ably commemorates in their characteristic attitudes and dishevelled condition the dreary languor of these semi-orientals waiting in safety for the ‘All clear’ signal which will tell them it is safe to return to the surface of the Metropolis. Mr Walter Bayes, who is the Head of the Westminster School of Art and a member of a well-known family of artists, had long been known as a decorative painter of great talent, but he had never previously produced a painting so precious as a human document.
The public, as well as the technical expert, can appreciate good drawing, attractive color, and well balanced design; but these things alone will not serve to capture its imagination. It demands rightly that a picture should contain an idea or an emotion that can be clearly grasped. To some artists—mostly of the younger generation—the War afforded the most astounding experience they had ever undergone, and, overwhelmed by it, they burst through the barriers of school-taught orthodox painting to express with a primitive ferocity the intensity of their own sensations. By placing on permanent record, not only the scenes caused but the emotions evoked by the War, they have rendered services to both History and Art which posterity will know how to value.
The artisitc activity of Great Britain was at its height in 1917. In March the Imperial War Museum was instituted, and during the summer the Canadian War Memorials Fund was founded by Lord Beaverbrook and Lord Rothermere, who, acting under competent expert advice, accumulated a notable collection of pictures. When the collection was exhibited at Burlington House, prior to its dispatch to Canada, the work of the younger artists revealed to a significant degree the new spirit that was abroad in art. Nevinson and Nash were no longer alone; other artists of their own generation exhibited war pictures in which similar tendencies could be discerned. Conspicuous among those who stressed the Cubist point of view, presenting soldiers as automata and emphasizing the mechanism of war, were Messrs. P Wyndham Lewis and William Roberts; still more numerous were those who adopted a post-Impressionist simplication of statement, among the most prominent members of this school being the brothers Stanley and Gilbert Spencer, Messrs. Paul and John Nash, and Mr Henry Lamb. Pictures by all these artists and many others were also acquired for the Imperial War Museum.
Mr Henry Lamb, another member of the New English Art Club who had attracted attention before the War by his powers of drawing and the emotional force in his pictures, was a comparative late comer; for having been formerly a medical student he was fully accupied with Red Cross work up to and following the Armistice. When he resumed the brush, however, it was seen that he had taken notes during his services in Macedonia, and his picture ‘Advanced Dressing Station on the Struma, 1916’, now in the Manchester Art Gallery, is a notable contribution to the pictorial exposition of the psychology of war. It is not the excitement or frenzy of fighting that Mr Lamb shows us, but the boredom and dreariness of the men who are waiting for untterable things to happen. Precisely drawn, wonderfully clear and simple in its design, this painting depicts a quiet moment in the campaigner’s life, a moment when the weariness of all concerned finds abundant expression.
To deal with all the artists who painted war pictures between 1914 and 1918 is obviously beyond the scope of this chapter, and therefore the work of many eminent painters—several of whom will be referred to subsequently—must be passed over in silence for the moment. Turning to a new subject does not necessarily change an artist’s style, and it is the evolution of a new style rather than the discovery of a new subject which vitally affects the history of art. The number of Official Artists appointed was evidence of the curious way in which the War persuaded a ‘Business Government’ to treat art with more seriousness and consideration than it had yet received in Great Britain. While many artists, like Sir John Lavery and Mr Muirhead Bone, continued their former style and practice when engaged on these new subjects, other artists, as we have seen, were fired by their experiences in the trenches to the invention of new styles for the expression of new emotions. This direct or indirect influence of the War on art was not limited only to the artists who had served abroad; occasionally it made itself felt in the work of the men who stayed at home.
The most remarkable war picture in the Royal Academy of 1918 had for its subject a London ‘Tube’ station during an air raid. Mr Walter Baye’s great canvas ‘The Underworld’ is a vigorous and haunting painting which in its style approaches the new manner of post-Impressionism. Designed as a mural decoration, the picture shows an appropriate monumental treatment of the alien figures who sprawl about the platform. The faces are not English faces, but on occasions such as the artist depicts London’s underworld was full of these types. Mr Bayes ably commemorates in their characteristic attitudes and dishevelled condition the dreary languor of these semi-orientals waiting in safety for the ‘All clear’ signal which will tell them it is safe to return to the surface of the Metropolis. Mr Walter Bayes, who is the Head of the Westminster School of Art and a member of a well-known family of artists, had long been known as a decorative painter of great talent, but he had never previously produced a painting so precious as a human document.
The public, as well as the technical expert, can appreciate good drawing, attractive color, and well balanced design; but these things alone will not serve to capture its imagination. It demands rightly that a picture should contain an idea or an emotion that can be clearly grasped. To some artists—mostly of the younger generation—the War afforded the most astounding experience they had ever undergone, and, overwhelmed by it, they burst through the barriers of school-taught orthodox painting to express with a primitive ferocity the intensity of their own sensations. By placing on permanent record, not only the scenes caused but the emotions evoked by the War, they have rendered services to both History and Art which posterity will know how to value.
Sunday, May 04, 2008
Bordeaux Wine Tasting
The Union des Grands Crus de Bordeaux organizes wine tasting for professionals (by invitation only) during the first week of April every year, but on each May, the group also puts on a big tasting event that's open to the public, called 'Le Weekend des Grands Amateurs.'
Sign up @ www.wga-ugcb.com
Useful link:
www.ugcb.net
Sign up @ www.wga-ugcb.com
Useful link:
www.ugcb.net
Random Thoughts
(via Fortune) Even when we started Google, we thought, "Oh, we might fail," and we almost didn't do it. The reason we started is that Stanford said, "You guys can come back and finish your Ph.D.s if you don't succeed." Probably that one decision caused Google to be created. It's not clear we would have done it otherwise. We had all this internal risk we had just invented. It's not that we were going to starve or not get jobs or not have a good life or whatever, but you have this fear of failing and of doing something new, which is very natural. In order to do stuff that matters, you need to overcome that.
- Larry Page, President, Google
I think he was spot on.
- Larry Page, President, Google
I think he was spot on.
Iron Man Movie
(via Wiki) Iron Man is a 2008 superhero film based on the fictional Marvel Comics character Iron Man. Directed by Jon Favreau, the film is about Tony Stark (Robert Downey Jr.), a billionaire industrialist who is captured by terrorists in Afghanistan. Ordered to build a missile for them, Stark uses his resources instead to build a powered exoskeleton to make his escape. Returning to the United States, Stark improves his armor and becomes the technologically advanced superhero Iron Man. Gwyneth Paltrow plays his personal assistant Pepper Potts, Terrence Howard plays jet pilot James Rhodes, and Jeff Bridges plays Obadiah Stane.
I think Iron Man is a solid film that will appeal to a wide audience + a talented cast and crew have created a great movie.
Useful links:
http://ironmanmovie.marvel.com
http://www.youtube.com/watch?v=vhgzIM-9lfA
I think Iron Man is a solid film that will appeal to a wide audience + a talented cast and crew have created a great movie.
Useful links:
http://ironmanmovie.marvel.com
http://www.youtube.com/watch?v=vhgzIM-9lfA
Nathaniel's Nutmeg
Nathaniel's Nutmeg: How One Man's Courage Changed the Course of History by Giles Milton is a great book on the history of spice trade by the Dutch and English trading companies + the courageous and tragic characters + this book definitely brings the period to life.
Heard On The Street
A person's character is determined by the things he does when no one is watching.
Paraiba Tourmaline Controversy
David Federman writes about the pros and cons with the origin name Paraiba + provenance issues and the impact @ http://www.colored-stone.com/stories/may08/paraiba.cfm
I think Dave Federman was spot on.
I think Dave Federman was spot on.
Art: The Best And The Rest
Carol Vogel writes about the multibillion dollar art market and the speculators + the gamble/face-saving strategies by the auction houses and the impact + other viewpoints @ http://www.nytimes.com/2008/05/04/arts/design/04voge.html?_r=1&oref=slogin
$25 Billion And Counting
Eileen Kinsella writes about the exponentially larger private art markets (Russia, Asia, the Middle East) + other viewpoints @ http://www.artnewsonline.com/issues/article.asp?art_id=2487
Art During The Great War
(via The Outline of Art) William Orpen writes:
4
Some two months after these last appointments, a small collection of water colors of ‘The Ypres Salient’ was exhibited at the Goupil Gallery. They were the work of a young soldier, Mr Paul Nash, who then was practically unknown, though he and his brother John Nash had already exhibited at the New English Art Club water colors which had attracted attention among connoisseurs by reason of their unsophisticated simplicity and naive charm. Though enthusiastically welcomed by some of the leading art critics, Mr Nash’s first exhibition passed almost unnoticed by the public, but a second exhibition of his war drawings, held later at the Leicester Galleries, aroused widespread interest, and the publication by Country Life of a book of his water colors established his reputation as an original artist who had and could express poignantly his own vision of the War. In the introduction to this volume of reproductions, Capt C E Montague wrote:
In drawing strange places so strangely Mr Nash contrives to bring back to the mind the strange things felt by men who were there at moments of stress. One does not see with the eyes alone, but with brain and nerves too, and if these are worked upon in unusual ways, then the messages brought in by the little waves of light that break on delicate shores in the eye are changed—some may say disturned or blurred; others may say refined into an uncommon rightness, not to be had at other times. If an artist succeeds in expressing effects of such changes, his works may well delight some of those who have felt the changes go on in themselves.
A picture like ‘Sunrise: Inverness Copse’, may not be ‘true’ as the camera sees truth; but it is true to the memory of a nerve-racked fighting man. Granted that it contain exaggerations, they are exaggerations of significant elements in the scene. The lumps and holes in the foreground are a pointed commentary on the deeply pit-marked earth exposed to constant shelling. Mr Paul Nash paints his subjects as seen by the mind’s eye, and the mind of man ever enlarges that which it has cause to fear. A sensitive and emotional artist, Mr Nash paints in these water colors not only what he has seen, but what he has felt. As a landscape painter, what he felt most deeply was the abomination of desolation caused by war. Whereas Nevinson showed us soldiers as cogs in the war machine, Nash presented the Earth as a tortured and violated entity. These two painters, the first realist, the second imaginative, each formed and inspired by the War, were the complement of each other. Nevinson showed the complicated, man-driven machinery of war; Nash its devastating effects. Many other artists of great skill and talent painted pictures of the War which were perhaps more pleasant to look upon; but none exhibited its inner ghastliness with more power, originality, and intensity of feeling. By midsummer 1917 the best judges of modern painting were convinced that the two men who had most to say about the War in paint were C R W Nevinson and Paul Nash. Representations were made to the proper authorities, with the result that during the next few months a new batch of ‘Official Artists’ included Messers C R W Nevinson, Paul Nash, Eric Kennington, and Sir John Lavery. As became his age and position, Sir John Lavery—who was born at Belfast in 1857—was enlisted, so to speak, for ‘home service’. ‘The Royal Naval Division, Crystal Palace, 1916’ is an excellent example of the war pictures—charming in their delicate color and atmosphere—which Sir John was able to paint without crossing the seas. Happy in its Whistlerian impressionism, in which Sir John is an adept, this picture is entirely worthy of the reputation of one of our leading portrait painters, but it is no new revelation either of the spirit of the times or of the significance of war.
Art During The Great War (continued)
4
Some two months after these last appointments, a small collection of water colors of ‘The Ypres Salient’ was exhibited at the Goupil Gallery. They were the work of a young soldier, Mr Paul Nash, who then was practically unknown, though he and his brother John Nash had already exhibited at the New English Art Club water colors which had attracted attention among connoisseurs by reason of their unsophisticated simplicity and naive charm. Though enthusiastically welcomed by some of the leading art critics, Mr Nash’s first exhibition passed almost unnoticed by the public, but a second exhibition of his war drawings, held later at the Leicester Galleries, aroused widespread interest, and the publication by Country Life of a book of his water colors established his reputation as an original artist who had and could express poignantly his own vision of the War. In the introduction to this volume of reproductions, Capt C E Montague wrote:
In drawing strange places so strangely Mr Nash contrives to bring back to the mind the strange things felt by men who were there at moments of stress. One does not see with the eyes alone, but with brain and nerves too, and if these are worked upon in unusual ways, then the messages brought in by the little waves of light that break on delicate shores in the eye are changed—some may say disturned or blurred; others may say refined into an uncommon rightness, not to be had at other times. If an artist succeeds in expressing effects of such changes, his works may well delight some of those who have felt the changes go on in themselves.
A picture like ‘Sunrise: Inverness Copse’, may not be ‘true’ as the camera sees truth; but it is true to the memory of a nerve-racked fighting man. Granted that it contain exaggerations, they are exaggerations of significant elements in the scene. The lumps and holes in the foreground are a pointed commentary on the deeply pit-marked earth exposed to constant shelling. Mr Paul Nash paints his subjects as seen by the mind’s eye, and the mind of man ever enlarges that which it has cause to fear. A sensitive and emotional artist, Mr Nash paints in these water colors not only what he has seen, but what he has felt. As a landscape painter, what he felt most deeply was the abomination of desolation caused by war. Whereas Nevinson showed us soldiers as cogs in the war machine, Nash presented the Earth as a tortured and violated entity. These two painters, the first realist, the second imaginative, each formed and inspired by the War, were the complement of each other. Nevinson showed the complicated, man-driven machinery of war; Nash its devastating effects. Many other artists of great skill and talent painted pictures of the War which were perhaps more pleasant to look upon; but none exhibited its inner ghastliness with more power, originality, and intensity of feeling. By midsummer 1917 the best judges of modern painting were convinced that the two men who had most to say about the War in paint were C R W Nevinson and Paul Nash. Representations were made to the proper authorities, with the result that during the next few months a new batch of ‘Official Artists’ included Messers C R W Nevinson, Paul Nash, Eric Kennington, and Sir John Lavery. As became his age and position, Sir John Lavery—who was born at Belfast in 1857—was enlisted, so to speak, for ‘home service’. ‘The Royal Naval Division, Crystal Palace, 1916’ is an excellent example of the war pictures—charming in their delicate color and atmosphere—which Sir John was able to paint without crossing the seas. Happy in its Whistlerian impressionism, in which Sir John is an adept, this picture is entirely worthy of the reputation of one of our leading portrait painters, but it is no new revelation either of the spirit of the times or of the significance of war.
Art During The Great War (continued)
Saturday, May 03, 2008
Find Of A Lifetime
Geologists prospecting for diamonds off the coast of Namibia were lucky enough to find a 500-year-old shipwreck (Portuguese/Spanish) with tons of copper ingots, elephant tusks, gold coins ++ I think the leaky vessel may have caught up in a storm or the cargo (treasures) may have been too heavy, tipping the ship.
Useful links:
www.namdeb.com
www.noaa.gov
Useful links:
www.namdeb.com
www.noaa.gov
Art During The Great War
(via The Outline of Art) William Orpen writes:
3
‘Often,’ says a character in one of Sundermann’s novels, ‘Art leads us astray because she has deliberately tried to reflect something quite different from the spirit of her time.’ Many visitors to the Royal Academy and other exhibitions in 1915 and 1916 felt vaguely that the pictures they saw there were leading them astray. Mr Kennington’s picture and the paintings of Mr Nevinson acted on them differently, because these seemed truer to the spirit of the time. The outworn conventions of the older artists seemed powerless to convey an adequate expression of the clash of the world conflict, and possibly it was the general failure of well-known and eminent painters to deal with the War that led the British Government to select a black-and-white artist as the first ‘Official Artist.’ In addition to the useful propaganda work accomplished by poster artists and cartoonists, it was felt that the nation should possess permanent records of typical scenes and episodes in the greatest war the world had ever known. The outcome of this feeling was the appointment in August 1916 of Mr Muirhead Bone as an official artist on the Western Front. The appointment was eminently appropriate, for Mr Bone’s known ability to make memorable designs from scaffolding and the demolition of buildings argued that he was the right man to depict the havoc of war.
Born at Glasgow in 1867, Mr Muirhead Bone came to London in 1901, and was a prominent member of the New English Art Club long before the War. His masterly etchings and drawings of architectural subjects have long been highly prized by connoisseurs. In 1915-16 Mr Bone had devoted much of his time to the interpretation of British war industries, sketching ‘The Building of a Liner’, ‘The Yards on the Clyde,’ and similar subjects. After his new appointment the regular publication in parts, from the Office of Country Life, of reproductions of Mr Bone’s drawings made on the Western Front, opened a new era in the pictorial treatment of the War. Drawings like the ‘Sketch in Albert’ show with what economy and distinction Mr Bone achieved his task of presenting with pictorial dignity and actual truth the aspect of ravaged buildings and wasted landscape. Though Mr Bone’s reputation was made before the War, these portfolios increased his admirers a hundredfold, and the unexpected popularity and wide demand for his books of sketches soon convinced the authorities that there was room and to spare for another official artists.
In April 1917 Mr James McBey, another Scottish artist, born in Aberdeenshire in 1883, who was akin in style to Mr Bone, and also chiefly known for his etchings and drawings, was appointed the Official Artist for Egypt and Palestine. The same month Sir William Orpen, R.A, was sent to France as an official artist. A large collection of the paintings he made there was freely presented by the artist to the nation and may be seen in the Imperial War Museum.
Art During The Great War (continued)
3
‘Often,’ says a character in one of Sundermann’s novels, ‘Art leads us astray because she has deliberately tried to reflect something quite different from the spirit of her time.’ Many visitors to the Royal Academy and other exhibitions in 1915 and 1916 felt vaguely that the pictures they saw there were leading them astray. Mr Kennington’s picture and the paintings of Mr Nevinson acted on them differently, because these seemed truer to the spirit of the time. The outworn conventions of the older artists seemed powerless to convey an adequate expression of the clash of the world conflict, and possibly it was the general failure of well-known and eminent painters to deal with the War that led the British Government to select a black-and-white artist as the first ‘Official Artist.’ In addition to the useful propaganda work accomplished by poster artists and cartoonists, it was felt that the nation should possess permanent records of typical scenes and episodes in the greatest war the world had ever known. The outcome of this feeling was the appointment in August 1916 of Mr Muirhead Bone as an official artist on the Western Front. The appointment was eminently appropriate, for Mr Bone’s known ability to make memorable designs from scaffolding and the demolition of buildings argued that he was the right man to depict the havoc of war.
Born at Glasgow in 1867, Mr Muirhead Bone came to London in 1901, and was a prominent member of the New English Art Club long before the War. His masterly etchings and drawings of architectural subjects have long been highly prized by connoisseurs. In 1915-16 Mr Bone had devoted much of his time to the interpretation of British war industries, sketching ‘The Building of a Liner’, ‘The Yards on the Clyde,’ and similar subjects. After his new appointment the regular publication in parts, from the Office of Country Life, of reproductions of Mr Bone’s drawings made on the Western Front, opened a new era in the pictorial treatment of the War. Drawings like the ‘Sketch in Albert’ show with what economy and distinction Mr Bone achieved his task of presenting with pictorial dignity and actual truth the aspect of ravaged buildings and wasted landscape. Though Mr Bone’s reputation was made before the War, these portfolios increased his admirers a hundredfold, and the unexpected popularity and wide demand for his books of sketches soon convinced the authorities that there was room and to spare for another official artists.
In April 1917 Mr James McBey, another Scottish artist, born in Aberdeenshire in 1883, who was akin in style to Mr Bone, and also chiefly known for his etchings and drawings, was appointed the Official Artist for Egypt and Palestine. The same month Sir William Orpen, R.A, was sent to France as an official artist. A large collection of the paintings he made there was freely presented by the artist to the nation and may be seen in the Imperial War Museum.
Art During The Great War (continued)
A Positive Understanding Of Islam’
Sarah H. Bayliss writes about why many cultural institutions around the world are showcasing Islamic art + other viewpoints @ http://www.artnewsonline.com/issues/article.asp?art_id=2494
Executricks
Executricks: Or How to Retire While You're Still Working by Stanley Bing is an interesting book because I think we all need Stanley Bing's global positioning system for a sane and pleasantly successful life.
Useful link:
http://money.cnn.com/magazines/fortune/stanleybing
Useful link:
http://money.cnn.com/magazines/fortune/stanleybing
Style And Tradition
The article, Top jewelers turn to their heritage to sell on the global stage @ http://www.iht.com/articles/2008/05/02/arts/rcajmenkes.php was interesting, and I think today heritage is becoming the buzz word among top jewelers because it inspires and sells.
Lipstick Theory
The article, Hard Times, but Your Lips Look Great @ http://www.nytimes.com/2008/05/01/fashion/01SKIN.html?_r=1&oref=slogin was brilliant and insightful + I have learned something new today.
Jack Kirby
(via Wiki) Jack Kirby was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America, and hundreds of others stretching back to the earliest days of the medium. He was also a comic book writer and editor. His most common nickname is 'The King'. Historians and most comics creators acknowledge Kirby as one of the medium's greatest and most influential artists.
Jack Kirby will be remembered forever.
Useful links:
www.kirbymuseum.org
http://edition.cnn.com/2008/SHOWBIZ/books/05/02/jack.kirby/index.html
http://www.youtube.com/watch?v=M50Mjdsh_iw
Jack Kirby will be remembered forever.
Useful links:
www.kirbymuseum.org
http://edition.cnn.com/2008/SHOWBIZ/books/05/02/jack.kirby/index.html
http://www.youtube.com/watch?v=M50Mjdsh_iw
Gold Update
It has been reported that MMTC Ltd, India’s largest bullion trader, is expected to import 140 tonnes of gold in 2008-09 + MMTC/Produits Artistiques Métaux Précieux have also decided to to make gold and silver medallions and coins, which I think will further the demand for precious metals.
Useful links:
www.pamp.ch
www.mmtclimited.com
Useful links:
www.pamp.ch
www.mmtclimited.com
A Spectacular Win In DTC’s ‘One against Hundred’ Game
Total internal reflections of Chaim Even Zohar on the renowned Belgian rough diamond trading company Diamanthandel A. Spira BVBA + how the company got listed in the new Diamond Trading Company (DTC) client list for the 2008-2011 contract period + other viewpoints @ http://www.idexonline.com/portal_FullEditorial.asp
Greatest Songs Of All Time
The complete list of Rolling Stone 500 Greatest Songs of All Time are @ http://www.rollingstone.com/news/coverstory/500songs
A few of my favorites:
- Like a Rolling Stone, Bob Dylan
- A Change Is Gonna Come, Sam Cooke
- Blowin' in the Wind, Bob Dylan
- Born to Run, Bruce Springsteen
- Stairway To Heaven, Led Zeppelin
- One, U2
- No Woman, No Cry, Bob Marley and the Wailers
- That'll Be the Day, Buddy Holly and the Crickets
- Georgia on My Mind, Ray Charles
- Hotel California, The Eagles
- Billie Jean, Michael Jackson
- I Still Haven't Found What I'm Looking For, U2
- You Can't Always Get What You Want, The Rolling Stones
- Losing My Religion, R.E.M.
- Blue Eyes Crying In the Rain, Willie Nelson
- Candle in the Wind, Elton John
- Tears in Heaven, Eric Clapton
- C'mon Everybody, Eddie Cochran
- The Boys of Summer, Don Henley
- Piano Man, Billy Joel
- Love Me Tender, Elvis Presley
Useful link:
www.rollingstone.com
A few of my favorites:
- Like a Rolling Stone, Bob Dylan
- A Change Is Gonna Come, Sam Cooke
- Blowin' in the Wind, Bob Dylan
- Born to Run, Bruce Springsteen
- Stairway To Heaven, Led Zeppelin
- One, U2
- No Woman, No Cry, Bob Marley and the Wailers
- That'll Be the Day, Buddy Holly and the Crickets
- Georgia on My Mind, Ray Charles
- Hotel California, The Eagles
- Billie Jean, Michael Jackson
- I Still Haven't Found What I'm Looking For, U2
- You Can't Always Get What You Want, The Rolling Stones
- Losing My Religion, R.E.M.
- Blue Eyes Crying In the Rain, Willie Nelson
- Candle in the Wind, Elton John
- Tears in Heaven, Eric Clapton
- C'mon Everybody, Eddie Cochran
- The Boys of Summer, Don Henley
- Piano Man, Billy Joel
- Love Me Tender, Elvis Presley
Useful link:
www.rollingstone.com
Friday, May 02, 2008
Knowing Your Opponent
How to get inside your opponents' heads rather than their hearts? The article Inside a deal was brilliant. http://www.economist.com/science/displaystory.cfm?story_id=11288484
Useful link:
www.psychologicalscience.org
Useful link:
www.psychologicalscience.org
Stephen Gregory
I really liked Steven Gregory's unique skull embedded with precious stones + I think it's one-of-a-kind art form with its own beauty and luster with a precious message.
Useful links:
www.opus-art.com
http://arts.guardian.co.uk/art/news/story/0,,2277561,00.html
Useful links:
www.opus-art.com
http://arts.guardian.co.uk/art/news/story/0,,2277561,00.html
Forevermark
De Beers says it plans to launch the world’s leading diamond brand Forevermark via carefully selected jewelers in Asia/South Africa + it's own independent grading laboratories in Belgium and England using proprietary technology exclusively for Forevermark diamonds.
I think this concept will definitely re-assure diamond consumers of all ages at a cost (if they don't care).
Useful links:
www.forevermark.com
www.debeersgroup.com
www.dtc.com
I think this concept will definitely re-assure diamond consumers of all ages at a cost (if they don't care).
Useful links:
www.forevermark.com
www.debeersgroup.com
www.dtc.com
Twilight Becomes Night: A New Documentary
In her new documentary, Twilight Becomes Night, filmmaker Virginie-Alvine Perrette shows why America should fear a chain store takeover. Brilliant! I liked it.
Useful link:
www.twilightbecomesnight.com
Useful link:
www.twilightbecomesnight.com
Art During The Great War
(via The Outline of Art) William Orpen writes:
The versatility of Mr Nevinson and the way in which he alters his style to suit his subject is seen in ‘A Group of Soldiers’. The great truth about the English ‘Tommy’ after 1915 was that he was the British working man in disguise, and here with unerring accuracy Mr Nevinson has penetrated to the man behind the uniform, and unveiled the man of toil, the unit of the machine. Some have demurred that in the foremost figures the hands are exaggerated but, while the point is open to debate, a slight exaggeration is permissible as emphasising the fact that these men belong to the horny-handed class. In this group, where there is no movement to be registered, Futurist devices would be out of place and they are avoided, but there is still a faint trace of Cubism in the definite angles of the simple modelling, and this helps to give a monumental sense of strength and doggedness to the sturdy figures.
In landscape, as well as in his figure paintings, Mr Nevinson contrived to get at the reality behind te thing seen. ‘The Road from Arras to Bapaume’ is neither impressionistic nor photographic, but it gives the essential truth of a scene acutely remembered. All the inessential details have been suppressed, with the result that the main recollections of the truth—the white, switchback track of Roman straightness, the lopped-down tree-trunks, the stream of moving traffic, and the limitless expanse—are recorded with increased strength and intensity. This is one of Mr Nevinson’s later war pictures, and while he no doubt enjoyed greater facilities and privileges when he returned to France in July 1917 as an ‘official artist’ than he had done in 1914-15 as a motor mechanic, the essential qualities in his pictures remained the same. His reputation was made with the earlier pictures, in which the mannerisms were most marked; in the later works these mannerisms were pruned to a vanishing point, and realities were stated without any serious loss in strength and with increased clarity.
It is no wonder that the war pictures of Mr Nevinson took London by storm in the early days of the War. He was the first to show the grim inner realities of modern fighting, and others who dealt only with appearances seemed in comparison remote from the heart of the subject. When other young artists were released from the fighting line, a new series of visions of men as automata expressed the new outlook of a new generation, but their work did not begin to appear in exhibitions till nearing the time of the Armistice in 1918.
The first serious rival to Mr Nevinson appeared in April 1916, when a large painting, ‘The Kensington’s at Laventie’ by Mr Eric H Kennington, was exhibited in Regent Street. Mr Kennington, a young painter of promise in whom Mr William Nicholson had taken an interest, was an artist of quite another type. He was untouched by the most modern movements, except that he had a leaning towards simplicity of drawing and emphasis of design: this and a knowledge of the War from within was all he had in common with Mr Nevinson. After only three months training in England as a Territorial, Private Kennington went to France at the beginning of November 1914 with the 13th Battalion of the London Regiment (The Kensingtons). He returned to England in 1915, when he was discharged unfit for further service, and then began to paint this great picture of a typical moment in the life at the Front during the terrible winter of 1914-15. The moment chosen for representation in this picture was when his platoon, after serving for four days and nights in the fire trenches, enduring the piercing cold of twenty degrees of frost and almost continuous snow, had at last been relieved. The men have emerged from the communication trench terminating in a ruined farmyard, and are forming up along the ruined village street. Each figure in the picture is an actual portrait, and the artist has given the following description of his work:
Corporal J Kealey is about to give the order ‘Fall in, No.7 Platoon.’ ....In the first four....reading from right to left—are Pte.Slade, resting wtih both hands on his rifle; Lee—Cpl. Wilson, Pte. Guy, and Pte.McCafferty, who is turning to look at te other men falling in behind....On the extreme left is Pte.H Bristol....Directly behind Pte.Guy are two men in waterproof sheets: Pte.Kennington (the artist) in a blue trench helmet and Pte.W.Harvey....On the ground is Pte. A Todd...He has fallen exhausted by continual sickness, hard work, lack of sleep, long hours of ‘standing—to ,’ and observing.
This picture shows quite another aspect of realism. It is a stately presentation of human endurance, of the quiet heroism of the rank and file. The deadliest enemy here is the piercing cold, which seems to pervade the whole picture. Apart from its human emotional appeal, this large picture—in which the figures are two—thirds life—size—possesses a peculiar technical interest in that it is painted on glass. The advantage of this method is that the pigment is hermetically sealed, and so long as the thick plate—glass endures unbroken the color of the surface will remain for centuries as fresh as on the day which it was painted. The technical difficulties, however, will be apparent even to laymen when it is realized that in order to use this method the whole picture has to be painted backward. Not only has the subject to be reversed on the other side of the glass, but the process of painting has to be reversed also: the upper touches, which on a canvas would have been the last, must be laid first on the glass, and what would have been the first brush stroke on a canvas must be put on the glass last. Looking at the apparent case with which the whole picture has been painted, and remembering the infinite difficulties of the method employed, ‘The Kensingtons at Laventie’ must be pronounced a great technical achievement as well as a noble memorial of British fortitude.
Art During The Great War (continued)
The versatility of Mr Nevinson and the way in which he alters his style to suit his subject is seen in ‘A Group of Soldiers’. The great truth about the English ‘Tommy’ after 1915 was that he was the British working man in disguise, and here with unerring accuracy Mr Nevinson has penetrated to the man behind the uniform, and unveiled the man of toil, the unit of the machine. Some have demurred that in the foremost figures the hands are exaggerated but, while the point is open to debate, a slight exaggeration is permissible as emphasising the fact that these men belong to the horny-handed class. In this group, where there is no movement to be registered, Futurist devices would be out of place and they are avoided, but there is still a faint trace of Cubism in the definite angles of the simple modelling, and this helps to give a monumental sense of strength and doggedness to the sturdy figures.
In landscape, as well as in his figure paintings, Mr Nevinson contrived to get at the reality behind te thing seen. ‘The Road from Arras to Bapaume’ is neither impressionistic nor photographic, but it gives the essential truth of a scene acutely remembered. All the inessential details have been suppressed, with the result that the main recollections of the truth—the white, switchback track of Roman straightness, the lopped-down tree-trunks, the stream of moving traffic, and the limitless expanse—are recorded with increased strength and intensity. This is one of Mr Nevinson’s later war pictures, and while he no doubt enjoyed greater facilities and privileges when he returned to France in July 1917 as an ‘official artist’ than he had done in 1914-15 as a motor mechanic, the essential qualities in his pictures remained the same. His reputation was made with the earlier pictures, in which the mannerisms were most marked; in the later works these mannerisms were pruned to a vanishing point, and realities were stated without any serious loss in strength and with increased clarity.
It is no wonder that the war pictures of Mr Nevinson took London by storm in the early days of the War. He was the first to show the grim inner realities of modern fighting, and others who dealt only with appearances seemed in comparison remote from the heart of the subject. When other young artists were released from the fighting line, a new series of visions of men as automata expressed the new outlook of a new generation, but their work did not begin to appear in exhibitions till nearing the time of the Armistice in 1918.
The first serious rival to Mr Nevinson appeared in April 1916, when a large painting, ‘The Kensington’s at Laventie’ by Mr Eric H Kennington, was exhibited in Regent Street. Mr Kennington, a young painter of promise in whom Mr William Nicholson had taken an interest, was an artist of quite another type. He was untouched by the most modern movements, except that he had a leaning towards simplicity of drawing and emphasis of design: this and a knowledge of the War from within was all he had in common with Mr Nevinson. After only three months training in England as a Territorial, Private Kennington went to France at the beginning of November 1914 with the 13th Battalion of the London Regiment (The Kensingtons). He returned to England in 1915, when he was discharged unfit for further service, and then began to paint this great picture of a typical moment in the life at the Front during the terrible winter of 1914-15. The moment chosen for representation in this picture was when his platoon, after serving for four days and nights in the fire trenches, enduring the piercing cold of twenty degrees of frost and almost continuous snow, had at last been relieved. The men have emerged from the communication trench terminating in a ruined farmyard, and are forming up along the ruined village street. Each figure in the picture is an actual portrait, and the artist has given the following description of his work:
Corporal J Kealey is about to give the order ‘Fall in, No.7 Platoon.’ ....In the first four....reading from right to left—are Pte.Slade, resting wtih both hands on his rifle; Lee—Cpl. Wilson, Pte. Guy, and Pte.McCafferty, who is turning to look at te other men falling in behind....On the extreme left is Pte.H Bristol....Directly behind Pte.Guy are two men in waterproof sheets: Pte.Kennington (the artist) in a blue trench helmet and Pte.W.Harvey....On the ground is Pte. A Todd...He has fallen exhausted by continual sickness, hard work, lack of sleep, long hours of ‘standing—to ,’ and observing.
This picture shows quite another aspect of realism. It is a stately presentation of human endurance, of the quiet heroism of the rank and file. The deadliest enemy here is the piercing cold, which seems to pervade the whole picture. Apart from its human emotional appeal, this large picture—in which the figures are two—thirds life—size—possesses a peculiar technical interest in that it is painted on glass. The advantage of this method is that the pigment is hermetically sealed, and so long as the thick plate—glass endures unbroken the color of the surface will remain for centuries as fresh as on the day which it was painted. The technical difficulties, however, will be apparent even to laymen when it is realized that in order to use this method the whole picture has to be painted backward. Not only has the subject to be reversed on the other side of the glass, but the process of painting has to be reversed also: the upper touches, which on a canvas would have been the last, must be laid first on the glass, and what would have been the first brush stroke on a canvas must be put on the glass last. Looking at the apparent case with which the whole picture has been painted, and remembering the infinite difficulties of the method employed, ‘The Kensingtons at Laventie’ must be pronounced a great technical achievement as well as a noble memorial of British fortitude.
Art During The Great War (continued)
Random Thoughts
'What we wanted to do was once the customer come into our store we wanted to be sure that we are able to hold them for another few minutes, because they say that if you are able to make them sit for 10-15 minutes, they are ready to shop for another 30 minutes, so for us, every minutes is moolah.'
- B S Nagesh, MD
www.shoppersstop.com
- B S Nagesh, MD
www.shoppersstop.com
T- rays
(via Wiki) Electromagnetic waves sent at terahertz frequencies, known as terahertz radiation, terahertz waves, terahertz light, T-rays, T-light, T-lux and THz, are in the region of the electromagnetic spectrum between 300 gigahertz (3x1011 Hz) and 3 terahertz (3x1012 Hz), corresponding to the submillimeter wavelength range between 1 millimeter (high-frequency edge of the microwave band) and 100 micrometer (long-wavelength edge of far-infrared light).
I found the article Detecting T-rays @ http://www.economist.com/science/tq/displaystory.cfm?story_id=11286550 interesting because of its wide application in various faculties of science and technology + I also believe T-rays could be useful in detecting unique chemical signatures in sophistcated treated/synthetic colored stones and diamonds.
Useful links:
www.nist.gov
www.ieee.org
I found the article Detecting T-rays @ http://www.economist.com/science/tq/displaystory.cfm?story_id=11286550 interesting because of its wide application in various faculties of science and technology + I also believe T-rays could be useful in detecting unique chemical signatures in sophistcated treated/synthetic colored stones and diamonds.
Useful links:
www.nist.gov
www.ieee.org
Thursday, May 01, 2008
The Memory Project
I really liked the O2 Memory Project . Congratulations to Gabby Shawcross + Jason Bruges for designing the Memory Project. It was Brilliant!
Useful link:
www.o2memoryproject.com
Useful link:
www.o2memoryproject.com
The Adventures Of Johnny Bunko
The Adventures of Johnny Bunko: The Last Career Guide You'll Ever Need by Daniel H. Pink is a fascinating book with good sense of humor + it's informative.
I liked it.
Useful link:
www.johnnybunko.com
I liked it.
Useful link:
www.johnnybunko.com
The Perth Mint
(via Wiki) The Perth Mint is Australia's oldest operating mint + today the Mint continues to provide refining and other services to the gold industry and manufactures many coin related numismatic items for investors and coin collectors.
Interestingly the mint has become a prime tourist destination for the Asian visitors, especially the Chinese, Malaysian, Indonesian, Japanese and Indian customers because of their passion for gold.
Useful link:
www.perthmint.com.au
Interestingly the mint has become a prime tourist destination for the Asian visitors, especially the Chinese, Malaysian, Indonesian, Japanese and Indian customers because of their passion for gold.
Useful link:
www.perthmint.com.au
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