Lost For Art

Economist writes about Iraqi artists’ works at Qibab Art Gallery + the tiny art scene in the United Arab Emirates (UAE) + other viewpoints @ http://www.economist.com/daily/diary/displaystory.cfm?story_id=10235761

Trypillian Threat

Olena Rusina writes about the state of the archeological treasures in Ukraine + the illegal excavations + black archeologists and their methodology + other viewpoints @ http://www.artnews.com/issues/article.asp?art_id=2389&current=True

The Road To Venice

(via The Outline of Art) William Orpen writes:

3

To appreciate all that Squarcione’s school at Padua did for Italian art, we must trace its influence into the second and third generation. In addition to the sons of Bellini—to whom we shall return—who were the real founders of Venetian painting, the old contractor had among his pupils Cosimo Tura (1420-95) who founded the School of Ferrara. Tura had a pupil named Bianci, who founded a school in Modena, and there had a pupil greater than any of his predecessors, Antonio Allegri, known as Correggio, from the place of his birth. Of the life of this great man singularly little is known, and apart from his art it does not seem to have been in any way eventful. Vasari tells us that Correggio ‘was of a very timid disposition and, at a great personal inconvenience, worked continually for the family which depended on him. In art he was very melancholy, enduring its labors, but he never allowed difficulties to deter him, as we see in the great tribune of the Duomo of Parma.’

It is with Parma that the name of Correggio is always associated, for his greatest works were executed there between 1518 and 1530, and the Cathedral of Parma is the monument of his genius. In its marvelous complexity and rich invention, his ‘Assumption of the Virgin’ there has no rival in the world. If his fluent and sure drawing was derived from Mantegna, his mastery of light and shade from Leonardo da Vinci, and his tremendous forms and designs borrowed from the storehouse of Michael Angelo, yet his marvelous coloring is entirely his own, and it is as a colorist, above all, that Correggio is supreme.

‘It is considered certain,’ wrote Vasari, ‘that there never was a better colorist, nor any artist who imparted more loveliness or relief to his things, so great was the soft beauty of his flesh tints and the grace of his finish.’ Nearly 400 years have passed since these lines were written, but no connoisseur of today would change a word in this appreciation. The work of Correggio appeals to every human being who is susceptible to the indefinable quality of charm. Whether his subject be frankly pagan, as in ‘The Education of Cupid’ at the National Gallery, or avowedly religious, as in his ‘St Catherine’ at Hampton Court, it is on the satisfaction of the eye, and through the eye of all the senses, that Correggio relies.

So modest was this great colorist, that portrait of himself by himself is known to exist. ‘He was content with little,’ says Vasari, ‘and lived as a good Christian should.’ A modern critic, Mr Berenson, has pronounced Correggio’s paintings to be ‘hymns to the charm of feminity the like of which have never been known before or since in Christian Europe,’ yet from all accounts this artist’s private life was singularly free from amours. Correggio was a model husband and father, and the only thing said against him by his Italian biographer is that ‘he was anxious to save, like everyone who is burdened with a family, and he thus became excessively miserly.’ This closeness is said to have brought about his premature death. ‘Payment of 60 crowns being made to him at Parma in farthings, which he wished to take to Correggio for his affairs, he set out with this burden on foot. Becoming overheated by the warmth of the sun, he took some water to refresh himself, and caught a severe fever, which terminated his life in the fortieth year of his age.’

The Road To Venice (continued)

Diamonds Of Fate

Louis Kornitzer's book, Gem Trader, is partly autobiographical and partly woven round the lore of pearls. It's educational + explains the distribution chain of gems, as they pass from hand to hand, from miner to cutter, from merchant to millionaire, from courtesan to receiver of stolen goods, shaping human lives as they go + the unique characters in the industry.

(via Gem Trader) Louis Kornitzer writes:

Much has been written about the Hope diamond, mainly with the intent to stress the fact that it has brought bad luck to all successive owners. But I do not wish to enlarge upon the aspect. I remember seeing a telegram forty two years ago addressed to my principal in Paris advising him that his father (my uncle) had purchased the Hope diamond at Christie’s sale rooms and that he had already received an offer for it from a New York firm of diamond merchants. It is true that my uncle died at a comparatively early age in the prime of his life and the New York merchant met with financial disaster, and also that another merchant into whose hands the stone had passed, an Armenian named Habib, was drowned in the ill-fated La Seine whilst on his way to Java. His wallet contained amongst other precious stones the Hope diamond. I myself narrowly missed traveling by the same steamer, having missed my connection at Singapore on my way from Australia, so the tragic event is still sharp on my memory. Subsequently an ex-naval deep sea diver whom I met on that occasion in Singapore was instrumental in recovering Habib’s wallet, and with it the Hope diamond.

The later history of the stone is well known can be found in many accounts. I may quote in passing a news item from the London Evening News of May 4th, 1938, which says: ‘Boston, Wednesday—May Yohe, international stage star of the ‘nineties, one-time wearer of the ill-fated Hope diamond, and friend of royalty, now rises at six every morning to do a job of relief work at £3 6s per week. She is working as a research clerk for the Works Progress Administration, and she is living in a four-room flat alongside the railway lines in Boston.’

But although within my own ken the several persons who have had anything to do with that noble gem ended their days in a manner different from that which they might have chosen for themselves, I should be lacking in sincerity if for the sake of playing up to the reader’s desire for a spot of goose-flesh I were to refrain from saying bluntly: ‘Bosh!’ A piece of crystallized pure carbon cannot in itself have baneful influence upon man.’

Before I mention the other stone, the green diamond noted above, you may like to know something about Tavernier, whose name has been given several times already in these pages. This intrepid traveler, gem expert, trader and adventurer in the best sense of the word, Jean Baptiste Tavernier, was born in 1605 at Antwerp. His father, Gabriel Tavernier, was by profession a geographer—a maker of maps and an engraver. Perhaps it was this paternal factor which in some way created in the young Jean Baptiste a desire to travel. Having journeyed much in Europe, Tavernier seized an opportunity which presented itself to travel in the company of two French priests, possibly missionaries, to Constantinople and thence to Persia. That was in 1631. In 1638 he made a second journey, this time visiting Persia and India, trading in jewels and precious stones wherever he went. He must have been what nowadays is called a good mixer, for he seems to have experienced no great difficulty in bringing himself and his wares to the notice of the most eminent persons. Then he made a third journey, which took him to Java, whence he returned to Europe via the Cape. During so much traveling and trading he must have acquired an immense fund of practical knowledge on matters connected with precious stones, and aided by a natural flair, he became a foremost authority on all that concerned gems. At any rate, the splendor-loving Louis XIV became one of his patrons, and it was said that by the sale of jewels to the King alone Tavernier made a profit of £100000. To wealth was added, in 1669, a title of nobility, and he purchased in 1670 the Barony of Aubanne near Geneva. But like many another man, he had a son who could get rid of money faster than the old man had made it, and the young man brought about his father’s financial ruin. After selling his estates to discharge his debts, Tavernier again, at the great age of 84, went in search of fortune. But he did not reach India, the object of his journey. In 1689, while on the way to Persia, he met his end at Moscow. Amongst other writings he left a work in two volumes, Les Six Voyages de J.B.Tavernier, which was published in Paris in 1676.

The green brilliant has a history like a mere postscript to the story of the great blue stone. But it, too, was of unique color, though not in the first rank for size, being only 160 grains (forty carats). It was worn by the King of Saxony when in Court dress. Brilliant cut, it was set ájour, in a plume to be worn as a hat ornament.

45 Social Entrepreneurs

(via Fastcompany): Make a profit + Make a difference = Social Capitalist. I liked the concept. http://www.fastcompany.com/social/2008

Connecting The Dots

(via Fastcompany): Mark Dziersk writes about design + its impact on indusry/commerce if properly delivered + other viewpoints @ http://www.fastcompany.com/resources/design/dziersk/connecting-the-dots-112807.html

Useful links:
www.sirkenrobinson.com
www.fitch.com

Children of Paradise

Children of Paradise (1945)
Directed by: Marcel Carné
Screenplay: Jacques Prévert
Cast: Arletty, Jean-Louis Barrault

(via YouTube): Children Of Paradise - Trailer (1945)
http://www.youtube.com/watch?v=JpmADgSQaxM

Children of Paradise (1945)
http://www.youtube.com/watch?v=VUIFRtvUU2A

One-of-a-kind story from a different period + its artistic angle + the love story--I enjoyed it.

The Evolution Of The Taille en Seize

(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:

The Taille en Seize can be seen in early seventeenth-century drawings of jewels by Arnold Lulls, Thomas Cletscher and occasionally others. Designers were still using it a hundred years later, but only in a restricted form—that is, as far as one can ascertain, with never more than sixteen facets, whereas Legare, with his special liking for this design, often used thirty-two.

It seems that the Taille en Seize and the Rose Cut had an influence on each other. Drop-shaped, flat-bottomed diamonds are clearly hybrids. Two such cuts can still be seen in the Imperial Austrian Sceptre, and three in the shoulder knot commissioned by Augustus the Strong. Jeffries depicts this as a standard for Rose Cut Pendeloques. Only a few of them are known actually to have carried—most of the illustrations represent ‘patterns’ of the kind widely distributed among jewelers all over Europe. All they indicate now is the period during which this particular cut was available. The drawings are so numerous that it seems incredible that no actual diamonds of this kind should have survived. All we know is that it was extremely simple to refashion a large Taille en Seize into a Brilliant Cut, and that it involved even less labor to transform a small one into a sixteen-facet cut with a square table facet. Was the Taille en Seize perhaps a premature cut which fascinated the professional but not the consumer?

Ecce Homo
This medallion contains thirty four variously faceted diamonds: ten of them are Tailles en Seize, and the remaining twenty-four are normal Rose Cuts.

Who Buys Old Masters?

Economist writes about a new class of buyers: Russian oligarchs and their acolytes(“market freshness”: a phrase referring to a good painting that has not been on the market for a long time) + other viewpoints @ http://www.economist.com/daily/columns/artview/displaystory.cfm?story_id=10235514

The Incredible Growing Art Museum

Blake Eskin writes about museums around the globe erecting new structures or expanding their current homes + the global phenomenon + the concept of bringing art and people together + other viewpoints @ http://www.artnews.com/issues/article.asp?art_id=988

The Road To Venice

(via The Outline of Art) William Orpen writes:

2

To enumerate all the artists who were influenced by Mantegna and the School of Squarcione would be to give a list of a hundred names, and to attempt a task beyond the scope of the Outline; but brief mention must be made of one whose life, and particularly whose death, is of unusual and romantic interest. Franceso Francia (1450-1517) was a goldsmith of Bologna who achieved great fame as an engraver of medallion portraits long before the example of Mantegna inspired him to become a painter also. Francia was one of the first artists to make prints from an engraved plate, and served literature by designing the famous italic type for the press of Aldus Manutius. As a painter, Francia began with portraits and proceeded to altar-pieces, in which he displayed a remarkable psychological insight. Both in ancient times and in modern his lunette of the Dead Christ in the lap of the Virgin has been regarded as a most beautiful work, poignant in the intensity of its expression. The half-moon shaped picture is the upper part of a famous alter piece originally painted for the Church of St. Frediano at Lucca, and now in the National Gallery, London. The main picture below shows the Madonna and Child, with the following saints: St. Sebastian, St. Paul, St. Anne, St. Lawrence, and St. Benedict, while in front of the throne is the figure of the young St. John the Baptist; and the wan, expressive face of the young Virgin seems to suggest that she is already forewarned of the tragedy commemorated by the picture.

Francis was at the height of his reputation in Bologna when the young Raphael was working in Rome. The two artists never met, for Raphael was too busy to leave the Vatican and Francia was too old to travel. But they heard much of one another, and Francia as the elder, offered to help his junior in any way he could. He had never seen a picture of Raphael, and longed to view some work by the young man of whom everybody was talking. At last the opportunity came. Raphael was commissioned to paint a panel of ‘St. Cecilia’ for a Bolognese chapel, St. Giovanni in Monte; and when he had finished the painting he sent it to Francia at Bologna with a courteous letter begging the older artist to ‘correct any errors found in it,’ and then set it up on the altar for which it was intended.

When Francia drew the masterpiece from its case and viewed it in a good light, he was filled with amazement and with chagrin, so Vasari says, at his presumption in offering to help so great a genius:

‘Francia, half dead at the overwhelming power and beauty of the picture, which he had to compare with his own works lying around, though thoroughly discouraged, took it to St. Giovanni in Monte, to the chapel where it was to be. Returning home he took to his bed in an agony, feeling that art could offer him no more, and died, some suppose of grief and melancholy, due to his contemplation of the living picture of Raphael.’

That is the story told by Vasari, and though it may seem incredible to us that any artist should be so fatally affected by seeing the work of another, the fact that so strange a cause of death was related in good faith reveals to us how seriously art was taken in Italy in 1518.

The Road To Venice (continued)

Diamonds Of Fate

Louis Kornitzer's book, Gem Trader, is partly autobiographical and partly woven round the lore of pearls. It's educational + explains the distribution chain of gems, as they pass from hand to hand, from miner to cutter, from merchant to millionaire, from courtesan to receiver of stolen goods, shaping human lives as they go + the unique characters in the industry.

(via Gem Trader) Louis Kornitzer writes:

One of the most recent famous gems is the ‘Jonker,’ said to be amongst the four largest diamonds ever to come to light. It was dug from a muddy hole not far from Pretoria by a colored man in the service of an Afrikander names Jacobus Jonker. Sir Ernest Oppenheimer paid £60000 for it. Like most of these extraordinarily large stones in the rough, the Jonker,too showed defects which made is advisable to split it into several pieces. One of the minor pieces when cut weighed about twenty carats and was sold for a large sum to a London businessman in April, 1938. Although I only heard of the deal going through as I was leaving my office in the evening, one of the leading London papers had already got wind of it and rang me up for any information I could give. I mention this to show that sizable gems of quality are of perennial news value.

One can have too much even of the best. The recital of rare diamonds is no exception, but I cannot bring this chapter to a close without mentioning the two rarest diamonds in the world: one blue and the other green.

It was in the year 1642 that Tavernier bought in India a rough diamond weighing 112¼ carats, of a violet-blue so extremely rare that no other stone of such tint of any appreciable size has been known before or since. When later he sold the stone to Louis XIV in 1668 as a faceted stone, its weight had been reduced to sixty seven and one-eights carats.

Louis, who is spoken of as le roi soleil—the Sun King—owed this flattering epithet less to his mental gifts than to his love of display. On appropriate occasions he could deck himself out i such manner that his person put in the shade the lesser luminaries. ‘The King,’ says a contemporary writer, ‘on occasion of the reception of the Persian Ambassador, was dressed in a black suit ornamented with gold and embroidered with diamonds at a cost of twelve million, five hundred thousand livres. Suspended from a light blue ribbon round his neck he wore a dark-blue diamond as a pendant.’

At the outbreak of the French Revolution in 1792 the French regalia was seized and stored at the Garde Meubles, but whatever else may have remained intact, the blue diamond had disappeared.

Now, when thirty two years had elapsed there appeared in the hands of a dealer, one Daniel Eliason, a blue diamond of a tint identical with that worn by Louis XIV, but it only weighed forty four and a quarter carats, or twenty three and one-eighth carats less than the King’s gem. Was this a new stone that had no connection with the royal jewel? The possibility must be admitted, but in the light of what transpired subsequently we are justified in arriving at a different conclusion.

But before we go in search of clues to the unravelling of the mystery, let us see what Mr Daniel Eliason did with his forty four and a half carat blue diamond. Being a trader, he did not wear it suspended round his neck, but seeking a customer for it, found him in the person of a Mr Henry Thomas Hope, and from the time the gentleman parted with £18000 to get possession of the lovely gem of a beautiful sapphire blue, it became known as the ‘Hope’ diamond. Of this stone E W Streeter, as great a connoisseur of gems as any of his contemporaries, says ‘that because of its extreme brilliancy, faultless texture, exquisite form (7/8-inch in breadth, 1 1/8 inches in length, and of unusual thickness), it is unique’. He estimated its value at £30000. It was his opinion that Louis XIV’s blue diamond had been cloven into two parts: one the size of the Hope diamond (being none other), and another, after allowing for the unavoidable waste in recutting, of ten to eleven carats.

Now for the denouement of the riddle. In the year 1874 there actually came into the market, at a sale of the Duke of Brunswick’s jewels at Geneva, a triangular blue diamond weighing between twelve and thirteen carats; and subsequently elsewhere a very much smaller piece again of the same color and quality. Since all these stones were of the same rare blue tint which has never been encountered in any other diamond known in the world, and since their total weight—allowing for cleavage and cutting—is a rough equivalent of the royal French jewel, no doubt can exist in the mind of any logical person that the thief, whoever it was, had the original stone cut into three pieces as conditioned by its natural cleavage lines.

Diamonds Of Fate (continued)

How To Dream

The book, Dream: A Tale of Wonder, Wisdom & Wishes by Susan V. Bosak is about life's hopes and dreams, inspiring both children and adults.

Useful link:
http://www.tcpnow.com/books/dream.html

When Nature Calls, Use Your Cell Phone

(via Budget Travel): When nature calls, use bathroom locator service @ www.mizpee.com

Here's how it works: Turn on your phone's Web browser, and search for bathrooms by city and street address. The site will fetch a list of the nearest ones, along with details, such as whether each bathroom has a diaper-changing station.

Call MizPee

The Jewelry Channel

www.tjc.tv is interactive + includes user forums + blogs + live broadcast 24 hours a day + a unique shopping experience.

Meet The Woman Who Dictates The Taste Of Coffee

Jenny Gold writes about Tracy May Adair, who holds the grand title of master coffee cupper for Folgers + how to taste Folgers coffee + other viewpoints @ http://www.npr.org/templates/story/story.php?storyId=16671564&ft=1&f=3

In my view, the concept of grading and tasting coffee is similar to colored stone grading / diamond grading / wine tasting / tea tasting + it's subjective, educational.

Citizen Kane

Citizen Kane (1941)
Directed by: Orson Welles
Screenplay: Herman J. Mankiewicz, Orson Welles
Cast: Orson Welles, Joseph Cotton, Dorothy Comingore, Agnes Moorehead

(via YouTube): Citizen Kane (1941) Full Film - Part 1/12
http://www.youtube.com/watch?v=QYbXQmD_Fq8

One of the greatest films + a rare gem + I enjoyed it.

Pearls Of Dubai

The Dubai Multi Commodities Centre + Arrow Pearls of Australia would be culturing Akoya pearls in the region (United Arab Emirates) + the pilot project of 100000 oysters would be harvested early in 2009 + the concept is to produce a branded ‘Dubai’ line of cultured pearls, 8-9 mm size + marketed
via local jewelers.

Cultured pearl industry is a highly fragmented industry. In my view, the cultured pearl industry may go through boom and busts in the coming years due to proliferation of producers around the world + the unpredictability of nature.

I also believe the popularity of pearls in the traditional and emerging consumer populations are growing due to improvement in quality, innovative jewelry designers + creative retailers.

Wallinger Takes Turner prize With Re-creation Of Parliament Protest

(via The Guardian) Charlotte Higgins writes about Mark Wallinger, the Turner prize winner + other viewpoints @ http://arts.guardian.co.uk/turnerprize2007/story/0,,2221510,00.html

The Master Swindler Of Yugoslavia

Konstantin Akinsha writes about Ante Topic Mimara, Yugoslav mystery man: a collector, dealer, painter, restorer, forger, alleged art thief, and probable spy + the Mimara Museum + other viewpoints @ http://www.artnews.com/issues/article.asp?art_id=975