Michael Nyman is an English composer of minimalist music + pianist + librettist + musicologist + best known for the many scores he wrote during his lengthy collaboration with the filmmaker Peter Greenaway + the score to Jane Campion's award-winning 1993 film The Piano became a classical music best-seller, which I love so much, is beauty in motion.
Useful links:
www.michaelnyman.com
http://www.youtube.com/watch?v=0dPS-EHl-FE
Sunday, April 13, 2008
Babylon: Myth + True Facts
A must-visit: Two worlds, one exhibition + jointly with the Musée du Louvre in Paris and the British Museum in London, the National Museums in Berlin venture to explore the backgrounds behind the myth of Babel and the true facts surrounding the ancient city of Babylon + discover what lies at the bottom of the legend - the legend which accounts for today’s fascination with Babylon.
Useful links:
www.britishmuseum.org
www.smb.spk-berlin.de
www.louvre.fr
http://mini-site.louvre.fr/trois-empires/index_en.htm
Useful links:
www.britishmuseum.org
www.smb.spk-berlin.de
www.louvre.fr
http://mini-site.louvre.fr/trois-empires/index_en.htm
Natalia Goncharova
The article about Natalia Goncharova @ http://www.economist.com/daily/columns/artview/displaystory.cfm?story_id=11037482 and her beautiful paintings were interesting + what really intrigued me is the business angle (Rothenstein family chose to sell the painting through Bonhams instead of Christie's/Sothebys): We try harder (Avis slogan)
For the Rothenstein family it must be an interesting bet.
Useful link:
www.bonhams.com
For the Rothenstein family it must be an interesting bet.
Useful link:
www.bonhams.com
Golf, An Economic Indicator
I found the Fast Money/CNBC interview with Greg Norman @ http://www.cnbc.com/id/24068220?__source=RSS*blog*&par=RSS intriguing because he gave an interesting perspective about his company (caters primarily to the high-end market) and how it relates to the global economy.
Useful link:
www.shark.com
Useful link:
www.shark.com
The Grand Sancy
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
The Grand Sancy (sometimes known simply as the Sancy and documented in June 1586) was bought by the Banque de France and the Musées de France from the 4th Viscount Astor in 1977 and is now on display in the Galerie d’Apollon of the Musée du Louvre, Paris. According to Cletscher, the rough Grand Sancy was acquired in Constantinople and fashioned in Paris. In its lifetime it has been part first of the English and then of the French Crown Jewels.
The outline and faceting of the stone: At its pointed end it looks very like a Rose Cut, which probably explains why it has so often wrongly been described as a Double Rose. But between the table and the blunt end the faceting is of a totally different design.
The central facet, the table, has always been thought to be pentagonal, but under a magnifying glass one can see that the narrow end does not, in fact, terminate in a point but has three edges, and that three of the five triangular facets which appear to meet at the point have had their apexes removed and join the table at these upper edges. This means that instead of being a pentagonal kite, as it appears to the naked eye, the table is actually eight-sided. The pavilion is faceted in more or less the same design as the crown, except that the culet, which is the same size as the table, is genuinely pentagonal. The gem is ‘convexo-convex’ (i.e the two sides are rounded) and the two convex surfaces meet at the girdle. It was not possible to study the girdle itself as this was hidden in the setting when I had it in my hands. The dimensions are:
Height: 25.7mm
Width: 20.6mm
Thickness: 14.3mm
Weight: 55.23 ct (according to Sancy himself, 60 ct including te setting of about 1.3 grams)
Through the pointed end, a distinct flaw and several abraded facet edges are visible, even in photographs.
The Grand Sancy (sometimes known simply as the Sancy and documented in June 1586) was bought by the Banque de France and the Musées de France from the 4th Viscount Astor in 1977 and is now on display in the Galerie d’Apollon of the Musée du Louvre, Paris. According to Cletscher, the rough Grand Sancy was acquired in Constantinople and fashioned in Paris. In its lifetime it has been part first of the English and then of the French Crown Jewels.
The outline and faceting of the stone: At its pointed end it looks very like a Rose Cut, which probably explains why it has so often wrongly been described as a Double Rose. But between the table and the blunt end the faceting is of a totally different design.
The central facet, the table, has always been thought to be pentagonal, but under a magnifying glass one can see that the narrow end does not, in fact, terminate in a point but has three edges, and that three of the five triangular facets which appear to meet at the point have had their apexes removed and join the table at these upper edges. This means that instead of being a pentagonal kite, as it appears to the naked eye, the table is actually eight-sided. The pavilion is faceted in more or less the same design as the crown, except that the culet, which is the same size as the table, is genuinely pentagonal. The gem is ‘convexo-convex’ (i.e the two sides are rounded) and the two convex surfaces meet at the girdle. It was not possible to study the girdle itself as this was hidden in the setting when I had it in my hands. The dimensions are:
Height: 25.7mm
Width: 20.6mm
Thickness: 14.3mm
Weight: 55.23 ct (according to Sancy himself, 60 ct including te setting of about 1.3 grams)
Through the pointed end, a distinct flaw and several abraded facet edges are visible, even in photographs.
Realism And Impressionism In France
(via The Outline of Art) William Orpen writes:
2
Manet was the heir of Courbet with this difference, that the temper of his art was more aristrocratic. He also built up his pictures by the direct application of planes of color rather than by working up an underpainting based on linear design and light-and-shade; he also used the blonde palette of Velazquez and Hals, and he also chose his subjects from the life around him; but he painted the people and life of the middle-classes, while Courbet had concentrated on the proletariat.
Edouard Manet was born at Paris in 1833. His father was a magistrate and, like Manet was originally destined for the bar, but he eventually overcame family opposition, and when he was about eighteen he was permitted to enter the studio of Couture (1815-79). Thomas Couture was an accomplished artist whose rich colored paintings were a discreet compromise between Romanticism and Classicism, but his orthodox instruction appealed little to Manet, who from the beginning desired to observe Nature closely and reproduce it according to his own feeling. After traveling in Germany, Austria, and Italy to study the Old Masters, Manet finally found in the paintings by Velazquez and Goya at the Louvre the answer to all his questionings and aspirations for light and truth. Influenced by these masters and by the example of Courbet, he gradually evolved a new technique which presented modern aspects by modern methods. Observing how one color melted into another in nature, he declared ‘There are no lines in Nature,’ and in his pictures he abandoned the convention of the outline and shaped his forms by a modelling obtained by subtle gradations of tints which fused into one another. The problem of just illumination was to Manet a matter of primary importance. Once when he was asked to point out the principal figure in a group he had painted, he made a reply that has become historic. ‘The principal person in a picture,’ said Manet, ‘is the light.’
Manet made his first appearance at the Salon in 1861 with a portrait of himself and his young wife and another paiting, ‘The Spanish Guitar-player.’ Over both the cry of ‘Realism’ was raised, and Realism was unpopular at the moment, nevertheless the Jury, inspired by Delacroix, gave Manet an Honorable Mention. But during the next two years the partisans of the classical tradition obtained the upper hand agian, and Manet was excluded from the Salon of 1863. So many artists of admitted talent, however unpopular, had their works rejected en bloc by the Salon jury this year, that the Emperor, Napoleon III, inspired by a praiseworthy liberal thought, insisted that these innovators should at least have the right to exhibit together in a special room. Thus there came into being what was known as the Salon des Refusés: among the exhibitors there, in addition to Manet and Whistler, were Alphonse Legros, Fantin Latour (1836-1904), celebrated both as a portraitist and as a painter of flowers, Harpignies, Renoir, Claude Monet, and many others who have since become famous. One of the paintings in this exhibition, a sunset by Claude Monet, entitled ‘Impressions’, excited much laughter among the crowd that came to jeer at the ‘rejected’, and henceforward the custom arose of alluding to the new school of painters as ‘Impressionists’. Originating as a term of derision, the word remained in use, and the painters to whom it was applied adopted it as an official label which would serve, as well as any other, to cover their varied aims.
Realism And Impressionism In France (continued)
2
Manet was the heir of Courbet with this difference, that the temper of his art was more aristrocratic. He also built up his pictures by the direct application of planes of color rather than by working up an underpainting based on linear design and light-and-shade; he also used the blonde palette of Velazquez and Hals, and he also chose his subjects from the life around him; but he painted the people and life of the middle-classes, while Courbet had concentrated on the proletariat.
Edouard Manet was born at Paris in 1833. His father was a magistrate and, like Manet was originally destined for the bar, but he eventually overcame family opposition, and when he was about eighteen he was permitted to enter the studio of Couture (1815-79). Thomas Couture was an accomplished artist whose rich colored paintings were a discreet compromise between Romanticism and Classicism, but his orthodox instruction appealed little to Manet, who from the beginning desired to observe Nature closely and reproduce it according to his own feeling. After traveling in Germany, Austria, and Italy to study the Old Masters, Manet finally found in the paintings by Velazquez and Goya at the Louvre the answer to all his questionings and aspirations for light and truth. Influenced by these masters and by the example of Courbet, he gradually evolved a new technique which presented modern aspects by modern methods. Observing how one color melted into another in nature, he declared ‘There are no lines in Nature,’ and in his pictures he abandoned the convention of the outline and shaped his forms by a modelling obtained by subtle gradations of tints which fused into one another. The problem of just illumination was to Manet a matter of primary importance. Once when he was asked to point out the principal figure in a group he had painted, he made a reply that has become historic. ‘The principal person in a picture,’ said Manet, ‘is the light.’
Manet made his first appearance at the Salon in 1861 with a portrait of himself and his young wife and another paiting, ‘The Spanish Guitar-player.’ Over both the cry of ‘Realism’ was raised, and Realism was unpopular at the moment, nevertheless the Jury, inspired by Delacroix, gave Manet an Honorable Mention. But during the next two years the partisans of the classical tradition obtained the upper hand agian, and Manet was excluded from the Salon of 1863. So many artists of admitted talent, however unpopular, had their works rejected en bloc by the Salon jury this year, that the Emperor, Napoleon III, inspired by a praiseworthy liberal thought, insisted that these innovators should at least have the right to exhibit together in a special room. Thus there came into being what was known as the Salon des Refusés: among the exhibitors there, in addition to Manet and Whistler, were Alphonse Legros, Fantin Latour (1836-1904), celebrated both as a portraitist and as a painter of flowers, Harpignies, Renoir, Claude Monet, and many others who have since become famous. One of the paintings in this exhibition, a sunset by Claude Monet, entitled ‘Impressions’, excited much laughter among the crowd that came to jeer at the ‘rejected’, and henceforward the custom arose of alluding to the new school of painters as ‘Impressionists’. Originating as a term of derision, the word remained in use, and the painters to whom it was applied adopted it as an official label which would serve, as well as any other, to cover their varied aims.
Realism And Impressionism In France (continued)
Random Thoughts
Superman (Christopher Reeve): Don't worry, I've got you.
Lois Lane (Margot Kidder): But who's got you?
A great line from the Superman movie.......
Lois Lane (Margot Kidder): But who's got you?
A great line from the Superman movie.......
A Rare Rock Crystal Clock
It has been reported that the famous 'The Royal Skeleton Clock', a true work of art, crafted entirely of rare rock crystal + 18 karat gold, including the movement + a myriad of precious diamonds, emeralds, rubies and sapphires that adorn every inch of the timepiece, created by Asprey, commissioned by the Sultan of Brunei, has been listed for sale.
It's an amazing piece of art (http://www.rauantiques.com/29-1865.html) that's finding its way to the market.
Useful links:
www.thewdn.com
www.rauantiques.com
It's an amazing piece of art (http://www.rauantiques.com/29-1865.html) that's finding its way to the market.
Useful links:
www.thewdn.com
www.rauantiques.com
Price Shock
After years of years of strong global economic growth, prices of oil, grains, and some metals have risen sharply + speculative investors have also added fuel to that fire by buying up hard assets like commodities, which are viewed as a hedge against inflation, and the impact is stunning --suddenly we are all sucked into this powerful magnetic field called inflation, and slowly getting weaker together + I am seeing strange behavioral patterns of businesses and consumers worldwide.
Useful links:
www.globalinsight.com
www.mbginfosvcs.com
www.imf.org
www.federalreserve.gov
Useful links:
www.globalinsight.com
www.mbginfosvcs.com
www.imf.org
www.federalreserve.gov
Saturday, April 12, 2008
The Tiny Overlooked Universes That Surround Us
Just look at the beauty and rarity of the photos @ http://www.wired.com/culture/art/news/2008/04/submissions_macro and the phenomenal effects -- they are so natural, it's just brilliant! The images reminded me of the spectacular inclusions in gemstones.
Lucian Freud
Lucian Freud by William Feaver is an excellent edition of Freud's work.
Lucian Freud is internationally acknowledged as one of the most important British painter working today, and now a life-size painting, Benefits Supervisor Sleeping, never been seen publicly, which features a Jobcentre worker fondly known as 'Big Sue', the subject of several masterpieces by Freud, painted in 1995, sold privately at the time, will be auctioned by Christie's next month in New York, which is expected to sell for up to £18m, one of the most expensive work by a living artist at auction.
Useful link:
www.christies.com
Lucian Freud is internationally acknowledged as one of the most important British painter working today, and now a life-size painting, Benefits Supervisor Sleeping, never been seen publicly, which features a Jobcentre worker fondly known as 'Big Sue', the subject of several masterpieces by Freud, painted in 1995, sold privately at the time, will be auctioned by Christie's next month in New York, which is expected to sell for up to £18m, one of the most expensive work by a living artist at auction.
Useful link:
www.christies.com
Arbitration Justice In Absentia
Chaim Even Zohar writes about procedural flaws in commercial disputes involving members of the diamond bourse (s) + bourse member’s unfamiliarity with the rules of sister bourses in cross-boundary arbitrations, and the impact + other viewpoints @ http://www.idexonline.com/portal_FullEditorial.asp
The Sancy Cut
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
The name Sancy Cut has so far only occasionally been given to diamonds that are halfway between Brilliants and Briolettes. They are pear-shaped gems with both the front and the back convex. A girdle divides the two halves, each of which has a small table. The gems must have been fasioned from macles, dodecahedroid crystals, or elongated, domed irregulars, all of which could have been fashioned into Sancy shapes without too much loss of weight.
There are, however, only two actual Sancys, once owned by the Seigneur de Sancy, but the name also applies to several pendeloques which were once in the crown of Louis XV; four stones in the Iranian Imperial sword and two in the Jiqa plum among the Iranian Crown Jewels, and Mazarin numbers 17 and 18 (two flatbacks which were clearly originally one stone). In the French Crown inventory of 1791 fifteen Sancys are mentioned, weighing between 1 and 3¾ ct. These are only a few of the best-known examples.
According to Jacques Babinet of the Institut de France, ‘all the diamonds which pretend to this name.......are cut in the form of a flattened pear, almost round, a shape called the ‘Pendeloque’, having facets above and below, with a small flat surface on the top.....This kind of cutting, which I venture to call the Sancy, merits as much attention as those known by the name of the rose or the brilliant.’
In the seventeenth century the standard description for the Sancy Cut was ‘taillé à facettes des deux côtés, en forme d’amande’. The French Crown inventory of 1691 gives the following descriptions:
C.I. : fort épais, taillé à facettes des deux côtés de forme pendeloque 53¾ (Le Grand Sancy)
59: à facettes, double, long, pointu, carré
1: un grand diamant en pendeloque, taillé à grande facettes des deux côtés. 15¼ ct
8: en pendeloque, taillé à grande facettes des deux côtés 14½ ct
Though some of the diamonds listed may have been girdled pendeloques, I believe that many of them were, in fact, Sancy Cuts.
Since the beginning of the nineteenth century, Sancy Cuts have frequently been called Double Roses. This term evidently originated from French inventories of the previous century, when the cut was described as ‘un diamant brilliant formé en poire, taillé en rose des deux côtés, percé d’un bout’. Once Rose Cuts were established, the words taillé en rose were added, and the earlier term ‘almond-shaped’ was replaced by ‘pear-shaped’. According to Morel (1988), the fleur-de-lis on top of Louis XV’s crown (1722) was composed of four Double Roses each formed by two circular Rose Cut diamonds glued base to base.
Of specific interest is the fact that Sancy Cuts disclose a circlet of facets quite similar to the crown facets of a Brilliant, both of the standard type and the Split and Step Cut. With a large table facet replacing the apex they would have been as good as any Fancy Brilliant.
The name Sancy Cut has so far only occasionally been given to diamonds that are halfway between Brilliants and Briolettes. They are pear-shaped gems with both the front and the back convex. A girdle divides the two halves, each of which has a small table. The gems must have been fasioned from macles, dodecahedroid crystals, or elongated, domed irregulars, all of which could have been fashioned into Sancy shapes without too much loss of weight.
There are, however, only two actual Sancys, once owned by the Seigneur de Sancy, but the name also applies to several pendeloques which were once in the crown of Louis XV; four stones in the Iranian Imperial sword and two in the Jiqa plum among the Iranian Crown Jewels, and Mazarin numbers 17 and 18 (two flatbacks which were clearly originally one stone). In the French Crown inventory of 1791 fifteen Sancys are mentioned, weighing between 1 and 3¾ ct. These are only a few of the best-known examples.
According to Jacques Babinet of the Institut de France, ‘all the diamonds which pretend to this name.......are cut in the form of a flattened pear, almost round, a shape called the ‘Pendeloque’, having facets above and below, with a small flat surface on the top.....This kind of cutting, which I venture to call the Sancy, merits as much attention as those known by the name of the rose or the brilliant.’
In the seventeenth century the standard description for the Sancy Cut was ‘taillé à facettes des deux côtés, en forme d’amande’. The French Crown inventory of 1691 gives the following descriptions:
C.I. : fort épais, taillé à facettes des deux côtés de forme pendeloque 53¾ (Le Grand Sancy)
59: à facettes, double, long, pointu, carré
1: un grand diamant en pendeloque, taillé à grande facettes des deux côtés. 15¼ ct
8: en pendeloque, taillé à grande facettes des deux côtés 14½ ct
Though some of the diamonds listed may have been girdled pendeloques, I believe that many of them were, in fact, Sancy Cuts.
Since the beginning of the nineteenth century, Sancy Cuts have frequently been called Double Roses. This term evidently originated from French inventories of the previous century, when the cut was described as ‘un diamant brilliant formé en poire, taillé en rose des deux côtés, percé d’un bout’. Once Rose Cuts were established, the words taillé en rose were added, and the earlier term ‘almond-shaped’ was replaced by ‘pear-shaped’. According to Morel (1988), the fleur-de-lis on top of Louis XV’s crown (1722) was composed of four Double Roses each formed by two circular Rose Cut diamonds glued base to base.
Of specific interest is the fact that Sancy Cuts disclose a circlet of facets quite similar to the crown facets of a Brilliant, both of the standard type and the Split and Step Cut. With a large table facet replacing the apex they would have been as good as any Fancy Brilliant.
Realism And Impressionism In France
(via The Outline of Art) William Orpen writes:
In 1855 Courbet painted a picture which summed up his life of the past seven years. He called it ‘The Studio of the Painter: a Real Allegory.’ On the right of this large canvass were the types he had been painting, the beggar, the laborer, the tradesman, the priest, the poacher, the gravedigger; on the left was a group of his personal friends, among them Baudelaire and Proudhon; between the groups was Courbet himself painting a landscape of Ornans.
In an introduction to the catalogue of a private exhibition of his works held in the same year, Courbet explained his endeavor to replace the cult of the ideal by a sentiment of the real:
To translate the manners, the ideas and the aspect of my own times according to my perception, to be not only a painter but still more a man, in a word, to create a living art, that is my aim.
During the reign of Napoleon III Courbet became more and more incensed against all authorities, political or artistic. The former thought him revolutionary because of his subjects, the latter because his style was based on Dutch and Spanish painting instead of on the accepted Italian masters. Nevertheless, his position as leader of the Realist school was such that in 1870 he was nominated Chevalier of the Legion of Honor. Courbet wrote a violet letter to the Ministry refusing to accept this decoration, and when the Commune broke out in 1871 he took a prominent part in the Revolution and became President of the Commission of Fine Arts. Courbet has been much blamed down the Column commemorating Napoleon I in the Place Vendôme. This was part of a scheme to efface from Paris all traces of the Empire, whether First or Third, and though the Column was a historic monument it had no great artistic interest. On the other hand it was Courbet who, during the fury of the Commune, not only preserved intact the art treasures of the Louvre, but with difficulty secured the safety of the Arc de Triomphe. He was full of concern for this monument because of its great artistic qualities, notably the sculpture by Rude with which it was decorated, and he managed to persuade those who urged its demolition that the Arc de Triomphe ought to be spared because it stood not so much for the glory of Napoleon as for the heroism of the revolutionary armies of France.
Still, when the Commune had been suppressed with an iron hand, the good deeds of Courbet during the insurrection were forgotten; the unfortunate artist was arrested in connection with the demolition of the Vendôme Column, condemned to six months’ imprisonment and to defray the whole cost—some 400,000 francs—of the reconstruction of the Column. This utterly ruined him, and though Courbet eventually succeeded in crossing the frontier he was broken in health and spirits. He died in exile in 1877.
Realism And Impressionism In France (continued)
In 1855 Courbet painted a picture which summed up his life of the past seven years. He called it ‘The Studio of the Painter: a Real Allegory.’ On the right of this large canvass were the types he had been painting, the beggar, the laborer, the tradesman, the priest, the poacher, the gravedigger; on the left was a group of his personal friends, among them Baudelaire and Proudhon; between the groups was Courbet himself painting a landscape of Ornans.
In an introduction to the catalogue of a private exhibition of his works held in the same year, Courbet explained his endeavor to replace the cult of the ideal by a sentiment of the real:
To translate the manners, the ideas and the aspect of my own times according to my perception, to be not only a painter but still more a man, in a word, to create a living art, that is my aim.
During the reign of Napoleon III Courbet became more and more incensed against all authorities, political or artistic. The former thought him revolutionary because of his subjects, the latter because his style was based on Dutch and Spanish painting instead of on the accepted Italian masters. Nevertheless, his position as leader of the Realist school was such that in 1870 he was nominated Chevalier of the Legion of Honor. Courbet wrote a violet letter to the Ministry refusing to accept this decoration, and when the Commune broke out in 1871 he took a prominent part in the Revolution and became President of the Commission of Fine Arts. Courbet has been much blamed down the Column commemorating Napoleon I in the Place Vendôme. This was part of a scheme to efface from Paris all traces of the Empire, whether First or Third, and though the Column was a historic monument it had no great artistic interest. On the other hand it was Courbet who, during the fury of the Commune, not only preserved intact the art treasures of the Louvre, but with difficulty secured the safety of the Arc de Triomphe. He was full of concern for this monument because of its great artistic qualities, notably the sculpture by Rude with which it was decorated, and he managed to persuade those who urged its demolition that the Arc de Triomphe ought to be spared because it stood not so much for the glory of Napoleon as for the heroism of the revolutionary armies of France.
Still, when the Commune had been suppressed with an iron hand, the good deeds of Courbet during the insurrection were forgotten; the unfortunate artist was arrested in connection with the demolition of the Vendôme Column, condemned to six months’ imprisonment and to defray the whole cost—some 400,000 francs—of the reconstruction of the Column. This utterly ruined him, and though Courbet eventually succeeded in crossing the frontier he was broken in health and spirits. He died in exile in 1877.
Realism And Impressionism In France (continued)
Travel Update
(via budgettravel) I liked http://travel.alltop.com because the site brings together most recent posts from leading travel blogs.
Great idea!
Great idea!
Satyagraha
(via Wiki) Philip Glass is a three-time Academy Award-nominated American composer + he is considered one of the most influential composers of the late-20th century and is widely acknowledged as a composer who has brought art music to the public + Satyagraha, is his landmark 1980 work, is a moving account of Mahatma Gandhi’s formative experiences in South Africa, which transformed him into a great leader (@ Metropolitan Opera, April 28, 2008).
Useful links:
www.philipglass.com
www.metoperafamily.org
Useful links:
www.philipglass.com
www.metoperafamily.org
Friday, April 11, 2008
Synchrotron
I found the article Seeing the Light @ http://www.economist.com/science/displaystory.cfm?story_id=11014512 intriguing because new research tools, from X-rays to computerised tomography to synchrotrons, and their applications researching fossil remains in amber are interesting new developments + we are learning more + hopefully the techniques could become useful in other gemological research applications.
Useful link:
www.esrf.eu
Useful link:
www.esrf.eu
Selexyz Dominicanen
Selexyz Dominicanen in Maastricht, Netherlands, is one-of-a-kind bookstore created from a merger between the town's Bergman's bookshop, the Academische Boekhandel + the Dutch Selexyz bookshop chain + it's housed in the thrilling setting of a 13th-century Dominican church.
An extraordinary venture of a very different style + a must-visit bookstore in Holland.
Useful links:
www.selexyz.nl
http://www.flickr.com/search/?q=Selexyz%20Dominicanen&w=all
An extraordinary venture of a very different style + a must-visit bookstore in Holland.
Useful links:
www.selexyz.nl
http://www.flickr.com/search/?q=Selexyz%20Dominicanen&w=all
Tutta la Vita Davanti
The movie Tutta la Vita Davanti has a universal theme + it's a moving story of ordinary people exposed to wide spectrum of real life situations + I think you will like it.
Useful links:
http://www.youtube.com/watch?v=2QSN9fG0xRo
http://www.imdb.com/title/tt1075114
Useful links:
http://www.youtube.com/watch?v=2QSN9fG0xRo
http://www.imdb.com/title/tt1075114
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