Sunday, December 02, 2007
The Mod Bod
Hilarie M. Sheets writes about (modified) metaphors for emotions via body exploration + other viewpoints @ http://www.artnews.com/issues/article.asp?art_id=934
The Wonder Of The Renaissance
(via The Outline of Art) William Orpen writes:
In 1501, he returned to Florence to make the famous statue of ‘David’, which was to commemorate the deliverance of the city from her enemies. But no happiness awaited him in his native town. He was foolishly pitted against Leonardo da Vinci, and his envy and jealousy excited by tittle-tattlers. The two great men of time, who ought to have been understanding friends and comrades, were forced into enmity. Michael Angleo grew morose and suspicious. One day as he was walking through the streets of Florence he saw Leonardo discussing a passage in Dante with a group of citizens. Meaning nothing but kindness, Leonardo hailed his rival and said to his friends, ‘Michael Angelo here will explain the verses of which you speak.’
But the embittered sculptor scented an insult in the innocent remark and passionately retorted: ‘Explain them yourself, you who made the model of bronze horse and who, incapable of casting it, left it unfinished—to your shame, be it said.’
This allusion to his equestrian statue of Francesco Sforza, never finished, wounded Leonardo to the quick. Conscious of his fatal tendency to procrastinate, he reddened as Michael Angelo turned his back on him and strode away.
Unhappy in Florence, Michael Angelo was not sorry when in 1505 Pope Julius II called him back to Rome. Later he was to regret still more bitterly that he ever went. Julius desired a colossal mausoleum to be built for his remains, and the sculptor entered into the project with enthusiasm. He spent eight months in Carrara quarries selecting his marbles, and in December returned to Rome, where the blocks began to arrive. But a rival artist, Bramante, hinted to the Pope that it was unlucky to build your tomb in your own lifetime. The Pope hastily dropped the idea of the mausoleum, closed his door to Michael Angelo, who was left not only unpaid for his work and time, but in debt for the marbles he had obtained. The sculptor was driven out of the Vatican by a groom, and quivering with indignation the humiliated genius at once left Rome for Florence.
But no sooner was he in Florence than the Pope wanted him back at Rome. Eventually he got him back, and perhaps the eccentric, inconstant Pope meant kindly; but he reduced Michael Angelo to despair by demanding that the greatest sculptor in the world should spend his time painting the ceiling of the Sistine Chapel. Again the architect Bramante was the evil genius; he had prompted the command, believing the sculptor would fail ignominiously. What was meant for his dishonor became his greatest glory.
Michael Angelo never wanted to d the work. Already his young rival Raphael had commenced painting the ‘Stanze’ of the Vatican with unparalleled success. The sculptor pleaded that this ceiling should be given to Raphael, but the Pope insisted and his will was law. On March 10, 1508 the distracted artist wrote: ‘Today I, Michael Angelo, sculptor, began the painting of the chapel.’ The next year, on January 27, 1509, he wrote again: ‘This is not my profession...I am uselessly wasting my time.’ Today the whole world thinks otherwise.
Of all the palaces of art which Europe contains, there is not one more wonderful within, or with a meaner exterior, than the Sistine Chapel. The long barn-like structure, lit by twelve round-headed windows, was built over what was once the Library by Sixtus IV. His aim was to ornament the chapel with scenes from the world’s history pointing to the coming of Christ. All the greatest artists of the preceding generation, Botticelli, Ghirlandaio, Piero di Cosimo, and Perugino had been called upon to assist in the work, and after the death of Sixtus the completion of the Chapel occupied his nephew Count Guiliano Rovere, who succeeded him as Julius II.
In 1501, he returned to Florence to make the famous statue of ‘David’, which was to commemorate the deliverance of the city from her enemies. But no happiness awaited him in his native town. He was foolishly pitted against Leonardo da Vinci, and his envy and jealousy excited by tittle-tattlers. The two great men of time, who ought to have been understanding friends and comrades, were forced into enmity. Michael Angleo grew morose and suspicious. One day as he was walking through the streets of Florence he saw Leonardo discussing a passage in Dante with a group of citizens. Meaning nothing but kindness, Leonardo hailed his rival and said to his friends, ‘Michael Angelo here will explain the verses of which you speak.’
But the embittered sculptor scented an insult in the innocent remark and passionately retorted: ‘Explain them yourself, you who made the model of bronze horse and who, incapable of casting it, left it unfinished—to your shame, be it said.’
This allusion to his equestrian statue of Francesco Sforza, never finished, wounded Leonardo to the quick. Conscious of his fatal tendency to procrastinate, he reddened as Michael Angelo turned his back on him and strode away.
Unhappy in Florence, Michael Angelo was not sorry when in 1505 Pope Julius II called him back to Rome. Later he was to regret still more bitterly that he ever went. Julius desired a colossal mausoleum to be built for his remains, and the sculptor entered into the project with enthusiasm. He spent eight months in Carrara quarries selecting his marbles, and in December returned to Rome, where the blocks began to arrive. But a rival artist, Bramante, hinted to the Pope that it was unlucky to build your tomb in your own lifetime. The Pope hastily dropped the idea of the mausoleum, closed his door to Michael Angelo, who was left not only unpaid for his work and time, but in debt for the marbles he had obtained. The sculptor was driven out of the Vatican by a groom, and quivering with indignation the humiliated genius at once left Rome for Florence.
But no sooner was he in Florence than the Pope wanted him back at Rome. Eventually he got him back, and perhaps the eccentric, inconstant Pope meant kindly; but he reduced Michael Angelo to despair by demanding that the greatest sculptor in the world should spend his time painting the ceiling of the Sistine Chapel. Again the architect Bramante was the evil genius; he had prompted the command, believing the sculptor would fail ignominiously. What was meant for his dishonor became his greatest glory.
Michael Angelo never wanted to d the work. Already his young rival Raphael had commenced painting the ‘Stanze’ of the Vatican with unparalleled success. The sculptor pleaded that this ceiling should be given to Raphael, but the Pope insisted and his will was law. On March 10, 1508 the distracted artist wrote: ‘Today I, Michael Angelo, sculptor, began the painting of the chapel.’ The next year, on January 27, 1509, he wrote again: ‘This is not my profession...I am uselessly wasting my time.’ Today the whole world thinks otherwise.
Of all the palaces of art which Europe contains, there is not one more wonderful within, or with a meaner exterior, than the Sistine Chapel. The long barn-like structure, lit by twelve round-headed windows, was built over what was once the Library by Sixtus IV. His aim was to ornament the chapel with scenes from the world’s history pointing to the coming of Christ. All the greatest artists of the preceding generation, Botticelli, Ghirlandaio, Piero di Cosimo, and Perugino had been called upon to assist in the work, and after the death of Sixtus the completion of the Chapel occupied his nephew Count Guiliano Rovere, who succeeded him as Julius II.
More About Diamonds. Some Famous Stones
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:
Another very common way of cutting diamonds is that which provides the stone with twenty four triangular faces. Diamonds cut in that fashion are called rose diamonds, or roses for short. One meets with sizable stones of that kind frequently in old jewelry, but nowadays only small stones are cut in the rose fashion. The jeweler uses them at the dictates of economy, and the layman who notices the difference between a rose cut and full cut diamond is quite often heard to say: ‘These are chips, aren’t they?’
An ultra-modern way of cutting diamonds is the ‘baguette’ or baton shape, which is ideal for the purpose for which it is intended, in connection with the modern designs in flexible jewelry. I am, however, of the opinion that that method of cutting diamonds deprives them of their most important quality—luster.
There was a time, from the middle of the eighteenth century until the discoveries on the South African Rand, when South America supplied the world with its diamonds, just as India had done from the earliest times until Brazil became a great name in the diamond world. Tomorrow (figuratively speaking) the great diamonds may be coming from Patagonia, and the day after from Antarctica, places still both remote from industrial strife. History has already been made by the discovery of precious minerals in unexpected localities. It may, and probably will, be again made in the same way.
The story of the great diamonds is an almost unending feast of romance, tragedy and adventure, too often tinged with the sordidness of criminal greed. Sometimes there is humor in the tale, like a bit of the private history of the Cullinan diamond which I was told.
I had known young Ascher of Amsterdam when he was scarcely out of his teens. He was a shrewd, precise, staid young man, a perfect blend of Jew and Dutchman. Yet he seemed to me to be lacking in one outstanding Jewish trait, in that he appeared to have no sense of humor. That was forty five years before he had become world famous as the head of the great Amsterdam diamond cutting establishment. Yet I was wrong in my estimate of him.
It was the Dutch firm of Ascher that was entrusted with the extremely delicate and responsible job of dividing the prodigiously large Cullinan diamond into several pieces, and for the subsequent shaping and polishing of the now historical stones which were presented to King Edward VII by the Union of South Africa. When at last the wonderful and priceless gems were ready for presentation to Their Britannic Majesties, and the date had been set for the ceremony, Mynheer Ascher crossed over from Holland in order to meet the representatives of the South African Government at Buckingham Palace and hand over the result of many month’s labor, and to be himself presented to the King and Queen.
Extraordinary precautions had been taken for the safe transit of the gems, for not only had the Dutch police sent along several of their astutest secret service men, but also two of Scotland Yard’s keenest detectives had been dispatched to prevent any unfortunate incident from occurring during the trip from the Netherlands.
To make assurance doubly sure, one of Ascher’s own trusty men had one handle of the bag containing the caskets strapped and padlocked to his wrist, while the other handle was secured in the same manner to the wrist of a Scotland Yard officer. Ascher himself held the key to the two padlocks and to the bag itself. With an escort of this kind, there was no question but that short of some accident at sea during the crossing the stones would arrive safely at their destination.
Yet, when the bag was opened in the anteroom where the official personages were to take over, the presentation caskets were found to be empty. There was tremendous consternation, as may readily be imagined. What could possibly have happened? The explanation was forthcoming, to the relieved hilarity of all present, when Mynheer Ascher turned aside and spoke to his personal servant who attended him, an old family retainer of insignificant appearance whom nobody had noticed. The old fellow felt in his pockets and produced from somewhere on his person a large colored handkerchief, into which were tied, peasant fashion, the gems that in a few minutes were to be presented to the ruler of the British Empire.
That is the reason why I think Ascher of Amsterdam must have had a considerably developed bump of humor.
More About Diamonds. Some Famous Stones (continued)
(via Gem Trader) Louis Kornitzer writes:
Another very common way of cutting diamonds is that which provides the stone with twenty four triangular faces. Diamonds cut in that fashion are called rose diamonds, or roses for short. One meets with sizable stones of that kind frequently in old jewelry, but nowadays only small stones are cut in the rose fashion. The jeweler uses them at the dictates of economy, and the layman who notices the difference between a rose cut and full cut diamond is quite often heard to say: ‘These are chips, aren’t they?’
An ultra-modern way of cutting diamonds is the ‘baguette’ or baton shape, which is ideal for the purpose for which it is intended, in connection with the modern designs in flexible jewelry. I am, however, of the opinion that that method of cutting diamonds deprives them of their most important quality—luster.
There was a time, from the middle of the eighteenth century until the discoveries on the South African Rand, when South America supplied the world with its diamonds, just as India had done from the earliest times until Brazil became a great name in the diamond world. Tomorrow (figuratively speaking) the great diamonds may be coming from Patagonia, and the day after from Antarctica, places still both remote from industrial strife. History has already been made by the discovery of precious minerals in unexpected localities. It may, and probably will, be again made in the same way.
The story of the great diamonds is an almost unending feast of romance, tragedy and adventure, too often tinged with the sordidness of criminal greed. Sometimes there is humor in the tale, like a bit of the private history of the Cullinan diamond which I was told.
I had known young Ascher of Amsterdam when he was scarcely out of his teens. He was a shrewd, precise, staid young man, a perfect blend of Jew and Dutchman. Yet he seemed to me to be lacking in one outstanding Jewish trait, in that he appeared to have no sense of humor. That was forty five years before he had become world famous as the head of the great Amsterdam diamond cutting establishment. Yet I was wrong in my estimate of him.
It was the Dutch firm of Ascher that was entrusted with the extremely delicate and responsible job of dividing the prodigiously large Cullinan diamond into several pieces, and for the subsequent shaping and polishing of the now historical stones which were presented to King Edward VII by the Union of South Africa. When at last the wonderful and priceless gems were ready for presentation to Their Britannic Majesties, and the date had been set for the ceremony, Mynheer Ascher crossed over from Holland in order to meet the representatives of the South African Government at Buckingham Palace and hand over the result of many month’s labor, and to be himself presented to the King and Queen.
Extraordinary precautions had been taken for the safe transit of the gems, for not only had the Dutch police sent along several of their astutest secret service men, but also two of Scotland Yard’s keenest detectives had been dispatched to prevent any unfortunate incident from occurring during the trip from the Netherlands.
To make assurance doubly sure, one of Ascher’s own trusty men had one handle of the bag containing the caskets strapped and padlocked to his wrist, while the other handle was secured in the same manner to the wrist of a Scotland Yard officer. Ascher himself held the key to the two padlocks and to the bag itself. With an escort of this kind, there was no question but that short of some accident at sea during the crossing the stones would arrive safely at their destination.
Yet, when the bag was opened in the anteroom where the official personages were to take over, the presentation caskets were found to be empty. There was tremendous consternation, as may readily be imagined. What could possibly have happened? The explanation was forthcoming, to the relieved hilarity of all present, when Mynheer Ascher turned aside and spoke to his personal servant who attended him, an old family retainer of insignificant appearance whom nobody had noticed. The old fellow felt in his pockets and produced from somewhere on his person a large colored handkerchief, into which were tied, peasant fashion, the gems that in a few minutes were to be presented to the ruler of the British Empire.
That is the reason why I think Ascher of Amsterdam must have had a considerably developed bump of humor.
More About Diamonds. Some Famous Stones (continued)
Saturday, December 01, 2007
Cobalt-bearing Glass Imitations
Cobalt-bearing glass imitations are still appearing in the gem market in all shapes, sizes and color shades to imitate mainstream colored stones. Watch out for these imitations in Southeast Asia + South Asia + East Africa + alluvial sources. The specimens may have the look and character of the real stones.
Usually 'momentary autism' does the trick because you think you have the right stone + you are in a hurry; you are stitched!
Usually 'momentary autism' does the trick because you think you have the right stone + you are in a hurry; you are stitched!
Central Pamir Mountains
It has been reported that gem quality corundum occurs at scattered localities in the Muzkol metamorphic complex in the Central Pamir Mountains of southeastern Tajikistan + according to experts it is associated with scapolite, biotite, muscovite, and chlorite with smaller amounts of tourmaline, apatite rutile and apatite.
Success Depends On Others Failing
Laura Blue writes about a new neurological study, published in the Nov. 23 issue of the journal Science on brain regions that process reward + the practical implications + other viewpoints @ http://www.time.com/time/health/article/0,8599,1687725,00.html
It was educational and insightful.
It was educational and insightful.
Men Buy, Women Shop: The Sexes Have Different Priorities When Walking Down The Aisles
Here is an interesting study titled 'Men Buy, Women Shop' via researchers @ Wharton's Jay H. Baker Retail Initiative + the Verde Group, a Toronto consulting firm + other viewpoints @ http://knowledge.wharton.upenn.edu/article.cfm?articleid=1848
It was educational and insightful.
It was educational and insightful.
Brazil
Brazil (1985)
Directed by: Terry Gilliam
Screenplay: Terry Gilliam, Tom Stoppard, Charles McKeown
Cast: Jonathan Pryce, Robert De Niro
(via YouTube): Brazil montage/trailer
http://www.youtube.com/watch?v=3pbpv8_3Dw4
"Brazil" Ending (2)
http://www.youtube.com/watch?v=71us9TunjWU&feature=related
A unique comic fantasia. Part futurist. Part retro. I enjoyed it.
Directed by: Terry Gilliam
Screenplay: Terry Gilliam, Tom Stoppard, Charles McKeown
Cast: Jonathan Pryce, Robert De Niro
(via YouTube): Brazil montage/trailer
http://www.youtube.com/watch?v=3pbpv8_3Dw4
"Brazil" Ending (2)
http://www.youtube.com/watch?v=71us9TunjWU&feature=related
A unique comic fantasia. Part futurist. Part retro. I enjoyed it.
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