Saturday, December 15, 2007
The New Risk Architecture
(via Knowledge@Wharton) Erwann Michel-Kerjan's report on 'The New Risk Architecture' representing business + politics + arts + universities + other viewpoints @ http://knowledge.wharton.upenn.edu/article/1862.cfm
Finding Nemo
Finding Nemo (2003)
Directed by: Andrew Stanton, Lee Unkrich
Screenplay: Andrew Stanton, Bob Peterson, David Reynolds
Cast: Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe
(via YouTube): Finding Nemo Trailer
http://www.youtube.com/watch?v=gfgeIZyrIM0
Finding Nemo - Seagulls - "Mine? Mine?"
http://www.youtube.com/watch?v=1E4pYvJTyBA
A new way of visual story telling + the graphic language was persuasive + it's a modified form of movie art. I enjoyed it.
Directed by: Andrew Stanton, Lee Unkrich
Screenplay: Andrew Stanton, Bob Peterson, David Reynolds
Cast: Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe
(via YouTube): Finding Nemo Trailer
http://www.youtube.com/watch?v=gfgeIZyrIM0
Finding Nemo - Seagulls - "Mine? Mine?"
http://www.youtube.com/watch?v=1E4pYvJTyBA
A new way of visual story telling + the graphic language was persuasive + it's a modified form of movie art. I enjoyed it.
Hidden Horror
(via The Guardian) Jonathan Jones writes about Matthias Grünewald's Isenheim altarpiece, a masterpiece of religious art + its fascination/inspiration + other viewpoints @ http://arts.guardian.co.uk/art/visualart/story/0,,2225942,00.html
The Art Of The Deal
Susan Adams writes about the Nahmad family + their influence in the art world + other viewpoints @ http://www.forbes.com/global/2007/1224/076.html
Useful links:
www.hellynahmadgallery.com
www.hellynahmad.com
Useful links:
www.hellynahmadgallery.com
www.hellynahmad.com
The Dawn Of The Reformation
(via The Outline of Art) William Orpen writes:
The Art of Albert Durer And of Holbein The Younger
So far we have been following mainly the development of art in Italy, but that country had no monopoly of painting and sculpture during the Middle Ages. Ever since the time of the Van Eycke paintings had been produced by natives of most of the great countries of Europe—even in England, where Odo the Goldsmith was employed by King Henry III to execute wall paintings for the Palace of Westminster—but either because their work was not powerful enough to capture the imagination of Europe or, quite as probably, because they had no historians and biographers to trumpet their praises, the early artists of England, France, and Germany never acquired the fame won by their brethren of Italy and Flanders. With few exceptions their names, and in many cases their works, have been entirely lost.
Full many flower is born to blush unseen,
And waste its sweetness on the desert air.
When all has been said, however, the fact remains that Italy was the center of the world for medieval Europe, and to it came ll who were desirous of learning, culture, and advancement. In those times the painter born elsewhere made his way to Italy as naturally and inevitably as the artist of today makes his pilgrimage to Paris; and in Italy the stranger artist was treated, not as a foreigner, but as a provincial. Looking at the political divisions of Europe today, we are apt to forget that in the Middle Ages the Christian nations of Europe were considered to be one family. Just as the Pope of Rome was the religious Head of all Christendom, so in theory, if not in practice, its secular Head was the Emperor of the Holy Roman Empire. The capital of the Empire, again in theory, was Rome, though in practice the Emperor was usually not very safe outside his own kingdom in Germany.
When the Italian historian Vasari describes the great German artist Albert Durer as a ‘Fleming,’ he is making the same sort of mistake that a Londoner might make when he was uncertain whether a west countryman came from Devon or Cornwall; and just as some Londoners are so narrow-minded that they cannot imagine any preeminent greatness outside the metropolis, so Vasari in a patronizing way wrote of Durer:
Had this man, so nobly endowed by Nature, so assiduous and possessed of so many talents, been a native of Tuscany instead of Flanders, had he been able to study the treasures of Rome and Florence as we have done, he would have excelled us all, as he is now the best and most esteemed among his own countrymen.
If Vasari thought this talent had much to learn from Italy, there were Italian artists who thought they had something to learn from Durer. Giovanni Bellini, greatly admired Durer’s painting, and found his rendering of hair so marvelous that he thought the artist must have a special brush for the purpose. So when Durer visited Venice and in his polite way offered to do anything in his power for Venetian artists, Bellini begged to be given the brush with which he painted hairs. Durer picked up a handful of his brushes and told Bellini to choose any one he wished. “I mean the brush with which you draw several hairs with one stroke,’ the Venetian explained. Durer smiled and replied, ‘ I use no other than these, and to prove it you may watch me,’ Then, taking up one of the same brushes, he drew ‘some very long wavy tresses, such as women generally wear.’ Bellini looked on wonderfully, and afterwards confessed that had he not seen it nothing would have convinced him that such a painting was possible.
Who was Durer? Strangely enough, the artist who most fully revealed the spirit of awakening Germany was of Hungarian descent. His father, Albert Durer the Elder—whose portraits by his son hangs in the National Gallery, London—was born in Hungary. After traveling in the Netherlands for some time, he finally settled in Nuremberg, where his son was born on May 21, 1471. Albert the Younger had everything to foster the development of his gifts, his father was a goldsmith, and his grandfather also; hence their removal to Nuremberg, a city which was in constant communication with Venice and had already begun to rival it in the arts and crafts of jewelry and metalwork. It is worth noticing that young Albert’s godfather was the bookseller and expert printer Anton Koberger, and through him his godson probably became familiar with fine prints and engravings from his earliest years.
The father intended the son to succeed him his craft, but as the latter tells us in his memoirs, “I was more inclined to painting, and this I confessed to my father. My father was not pleased,’ he adds with characteristic simplicity. Nevertheless young Durer got his way, and in 1486 was apprenticed to Michael Wohgemut, a local artist then at the zenith of his fame. Wohlgemut had a large art school, which was the most important in Nuremberg, and here young Durer learnt to paint and also, possibly, to practise wood-engraving. But such a master had little to teach so brilliant a pupil, and after three years Durer the Elder wisely took his son away and sent him abroad for four years. Young Albert traveled in the south of Germany and probably paid his first visit to Venice during this period.
The Dawn Of The Reformation (continued)
The Art of Albert Durer And of Holbein The Younger
So far we have been following mainly the development of art in Italy, but that country had no monopoly of painting and sculpture during the Middle Ages. Ever since the time of the Van Eycke paintings had been produced by natives of most of the great countries of Europe—even in England, where Odo the Goldsmith was employed by King Henry III to execute wall paintings for the Palace of Westminster—but either because their work was not powerful enough to capture the imagination of Europe or, quite as probably, because they had no historians and biographers to trumpet their praises, the early artists of England, France, and Germany never acquired the fame won by their brethren of Italy and Flanders. With few exceptions their names, and in many cases their works, have been entirely lost.
Full many flower is born to blush unseen,
And waste its sweetness on the desert air.
When all has been said, however, the fact remains that Italy was the center of the world for medieval Europe, and to it came ll who were desirous of learning, culture, and advancement. In those times the painter born elsewhere made his way to Italy as naturally and inevitably as the artist of today makes his pilgrimage to Paris; and in Italy the stranger artist was treated, not as a foreigner, but as a provincial. Looking at the political divisions of Europe today, we are apt to forget that in the Middle Ages the Christian nations of Europe were considered to be one family. Just as the Pope of Rome was the religious Head of all Christendom, so in theory, if not in practice, its secular Head was the Emperor of the Holy Roman Empire. The capital of the Empire, again in theory, was Rome, though in practice the Emperor was usually not very safe outside his own kingdom in Germany.
When the Italian historian Vasari describes the great German artist Albert Durer as a ‘Fleming,’ he is making the same sort of mistake that a Londoner might make when he was uncertain whether a west countryman came from Devon or Cornwall; and just as some Londoners are so narrow-minded that they cannot imagine any preeminent greatness outside the metropolis, so Vasari in a patronizing way wrote of Durer:
Had this man, so nobly endowed by Nature, so assiduous and possessed of so many talents, been a native of Tuscany instead of Flanders, had he been able to study the treasures of Rome and Florence as we have done, he would have excelled us all, as he is now the best and most esteemed among his own countrymen.
If Vasari thought this talent had much to learn from Italy, there were Italian artists who thought they had something to learn from Durer. Giovanni Bellini, greatly admired Durer’s painting, and found his rendering of hair so marvelous that he thought the artist must have a special brush for the purpose. So when Durer visited Venice and in his polite way offered to do anything in his power for Venetian artists, Bellini begged to be given the brush with which he painted hairs. Durer picked up a handful of his brushes and told Bellini to choose any one he wished. “I mean the brush with which you draw several hairs with one stroke,’ the Venetian explained. Durer smiled and replied, ‘ I use no other than these, and to prove it you may watch me,’ Then, taking up one of the same brushes, he drew ‘some very long wavy tresses, such as women generally wear.’ Bellini looked on wonderfully, and afterwards confessed that had he not seen it nothing would have convinced him that such a painting was possible.
Who was Durer? Strangely enough, the artist who most fully revealed the spirit of awakening Germany was of Hungarian descent. His father, Albert Durer the Elder—whose portraits by his son hangs in the National Gallery, London—was born in Hungary. After traveling in the Netherlands for some time, he finally settled in Nuremberg, where his son was born on May 21, 1471. Albert the Younger had everything to foster the development of his gifts, his father was a goldsmith, and his grandfather also; hence their removal to Nuremberg, a city which was in constant communication with Venice and had already begun to rival it in the arts and crafts of jewelry and metalwork. It is worth noticing that young Albert’s godfather was the bookseller and expert printer Anton Koberger, and through him his godson probably became familiar with fine prints and engravings from his earliest years.
The father intended the son to succeed him his craft, but as the latter tells us in his memoirs, “I was more inclined to painting, and this I confessed to my father. My father was not pleased,’ he adds with characteristic simplicity. Nevertheless young Durer got his way, and in 1486 was apprenticed to Michael Wohgemut, a local artist then at the zenith of his fame. Wohlgemut had a large art school, which was the most important in Nuremberg, and here young Durer learnt to paint and also, possibly, to practise wood-engraving. But such a master had little to teach so brilliant a pupil, and after three years Durer the Elder wisely took his son away and sent him abroad for four years. Young Albert traveled in the south of Germany and probably paid his first visit to Venice during this period.
The Dawn Of The Reformation (continued)
Forevermark: The New De Beers Monopoly?
Chaim Even Zohar writes about the new Forevermark policy + the proprietary technology to 'insert' the icon and identification number on the crown of the polished diamond + the impact + other viewpoints @ http://www.idexonline.com/portal_FullEditorial.asp
Basically Faceted Gothic Roses
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
Another very early ring has been described as follows: ‘the unusually high head of the ring is pyramidally built out of four basically faceted Gothic Roses. A large number of outlines and basic facetings are classified under his heading; some of the faceting designs were also applied to pavilion-based stones. The facets followed the crystal faces, or at least pretended to follow them.
Another very early ring has been described as follows: ‘the unusually high head of the ring is pyramidally built out of four basically faceted Gothic Roses. A large number of outlines and basic facetings are classified under his heading; some of the faceting designs were also applied to pavilion-based stones. The facets followed the crystal faces, or at least pretended to follow them.
Foundations Of The Bridge: The Technicalities Of Gem Trading
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:
A word or two to the possible customer is perhaps not amiss here. When you are buying a piece of jewelry, remember you are buying something for a lifetime and take your time over it. Make your purchase from a reputable jeweler and even then look at it as carefully as you know how, not only to make sure you are getting your money’s worth, but also to see you are getting what you really want. When you can, buy from a local jeweler. There are a number of reasons why you should do this. One is that you should patronize a neighbor when you can. If he has not got what you want in his window, he will go to some pains to get it for you, for the wholesalers will be only too glad to supply on approval a whole range of goods from which to select. Don’t be afraid of making a fuss. If you are a genuine buyer, you have a right to call the tune. Another reason why you should buy from a local man rather than from a great glittering store is the fact that you will pay less. It is you, the client, who pays for the electric lights, the pile carpets and the gentlemanly assistants who wash their hands with invisible soap.
When you are examining goods ask for a magnifying glass and insist on looking at them by the light of day and not by artificial light. Make sure that the stones are firmly set...then buy with a clear mind, and when you have bought, insure.
There is a right a wrong way of looking after jewelry. All pieces of jewelry, for instance, ought to be kept in a case by themselves in such a way that there is no chance of the stones rubbing against each other. Layers of cotton wool, placed at the bottom and between the various articles, will achieve this. Periodically make sure that the stones have not worked loose in their settings. This can be done by gently pressing a matchstick against the table of each stone. If the stone has become loose it will wobble, if ever so slightly, and it may be that a mere tightening up of one of the claws needs to be done to avoid a serious loss. Then again fine atmospheric dust, or soapsuds, or perspiration, or all together, may dim the luster of gems in their settings after a little while. Do not attempt to get rid of the accumulation by means of a toothpick or a pin. There is far better and safer way. Cover the bottom of a wineglass with a little industrial alcohol (unless you think the use of brandy or whisky no waste in such circumstances!), slide your set jewelry gently into the glass and leave it there for five or ten minutes. When you take them out, don’t wipe them with a cloth, but just waft them about until they are dry. All the dirt will have dissolved and your stones will shine as brightly as they did the day you bought them.
Oh, before I close, there’s one point about heirloom jewelry. There is no reason why heirlooms should not be remodelled and brought up-to-date. In fact, quite the contrary. The precious metal is there and so are the gems, and the cost of remodelling is small, provided you don’t specify designs that require further purchases of stones or metal. Many a heavy old piece of jewelry that looks like a cross between a candelabra and a miniature set of gold plate could be turned in a few days into an article showing dignity and good taste.
(via Gem Trader) Louis Kornitzer writes:
A word or two to the possible customer is perhaps not amiss here. When you are buying a piece of jewelry, remember you are buying something for a lifetime and take your time over it. Make your purchase from a reputable jeweler and even then look at it as carefully as you know how, not only to make sure you are getting your money’s worth, but also to see you are getting what you really want. When you can, buy from a local jeweler. There are a number of reasons why you should do this. One is that you should patronize a neighbor when you can. If he has not got what you want in his window, he will go to some pains to get it for you, for the wholesalers will be only too glad to supply on approval a whole range of goods from which to select. Don’t be afraid of making a fuss. If you are a genuine buyer, you have a right to call the tune. Another reason why you should buy from a local man rather than from a great glittering store is the fact that you will pay less. It is you, the client, who pays for the electric lights, the pile carpets and the gentlemanly assistants who wash their hands with invisible soap.
When you are examining goods ask for a magnifying glass and insist on looking at them by the light of day and not by artificial light. Make sure that the stones are firmly set...then buy with a clear mind, and when you have bought, insure.
There is a right a wrong way of looking after jewelry. All pieces of jewelry, for instance, ought to be kept in a case by themselves in such a way that there is no chance of the stones rubbing against each other. Layers of cotton wool, placed at the bottom and between the various articles, will achieve this. Periodically make sure that the stones have not worked loose in their settings. This can be done by gently pressing a matchstick against the table of each stone. If the stone has become loose it will wobble, if ever so slightly, and it may be that a mere tightening up of one of the claws needs to be done to avoid a serious loss. Then again fine atmospheric dust, or soapsuds, or perspiration, or all together, may dim the luster of gems in their settings after a little while. Do not attempt to get rid of the accumulation by means of a toothpick or a pin. There is far better and safer way. Cover the bottom of a wineglass with a little industrial alcohol (unless you think the use of brandy or whisky no waste in such circumstances!), slide your set jewelry gently into the glass and leave it there for five or ten minutes. When you take them out, don’t wipe them with a cloth, but just waft them about until they are dry. All the dirt will have dissolved and your stones will shine as brightly as they did the day you bought them.
Oh, before I close, there’s one point about heirloom jewelry. There is no reason why heirlooms should not be remodelled and brought up-to-date. In fact, quite the contrary. The precious metal is there and so are the gems, and the cost of remodelling is small, provided you don’t specify designs that require further purchases of stones or metal. Many a heavy old piece of jewelry that looks like a cross between a candelabra and a miniature set of gold plate could be turned in a few days into an article showing dignity and good taste.
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