Sunday, December 23, 2007
The ARTnews 200
Milton Esterow writes about the 'wow' factor when buying a work of art + the contemporary sales + an upsurge of realistic and representational art + other viewpoints @ http://www.artnewsonline.com/issues/article.asp?art_id=745
The Pride Of Flanders
(via The Outline of Art) William Orpen writes:
Rubens remained little more than six months with his cousin, who was a landscape artist. His next teacher, Adam van Noort, was a figure-painter, but it is unlikely he learnt much from this morose and often drunken boor. In 1590 he found a more congenial master in Otto Vaenius (1558-1629), who was a gentleman, a scholar, and a man of the world, though as a painter he was even duller and stiffer than his own master, the Venetian Zucchero (c. 1543-1616), well-known in England by his numerous portraits of Queen Elizabeth. One thing that Vaenius did was to fire his pupil with enthusiasm for Italian art, and two years after he had come of age and had been admitted a member of the Guild of St. Luke, Peter Paul Rubens arrived in Venice. Here the admirable copies he made of paintings by Titian and Veronese attracted the attention of Vincenzo I, Duke of Mantua, into whose service Rubens almost immediately entered. With the Duke he was at Florence for the marriage of Marie dé Medici to Henri IV (by proxy), and in 1603—after he had visited Rome, Padua, and other Italian cities—Rubens was sent by Vincenzo I on a mission with presents of horses and pictures to Philip III of Spain.
Though not then entrusted with any work for the Spanish monarch, Rubens painted several pictures for his prime minister the Duke of Lerma before he returned to Italy. After working for his patron at Mantua, Rome, and Genoa, Rubens in 1608 was recalled to Antwerp by news of his mother’s serious illness. Too late to see her alive when he reached his native city, the grief-stricken painter remained for several months in strict seclusion, when he was drawn by the rulers of Flanders, the Stadt-holders Albert and Isabella, who, conscious of his growing reputation, persuaded Rubens to leave the Mantuan service and become their Court Painter. In accepting this position Rubens was permitted to live at Antwerp instead of with the Court at Brussels.
His brother Philippe had already married the daughter of his chief, the Secretary of Antwerp, and it was probably at their house that Rubens saw his sister-in-law’s niece Isabella, daughter of John Brant, whom he married in 1609. The following year the artist designed a palatial residence in the Italian style, and had it built on the thoroughfare now known as Rue de Rubens: there he took his young and beautiful wife, and there he settled down to found the School of Antwerp. The ensuing ten or twelve years were the most tranquil and probably the happiest in life of Rubens. An example of Ruben’s first manner is the portrait of ‘Rubens and his First Wife,’ painted when he was about thirty two and his newly married wife Isabella Brant little over eighteen. During this period he executed the works on which his fame most securely rests, notably his supreme masterpiece, ‘The Descent from the Cross,’ in Antwerp Cathedral. This work, executed in 1612, marks the beginning of Ruben’s second manner, just as his ‘Elevation of the Cross,’ also in Antwerp and painted in 1609-10, concludes his first or Italian manner.
The late R A M Stevenson, a most penetrating critic, has pointed out how much more original and softer is the later pictures:
It started the Antwerp School, and beyond its ideal scarce any contemporary advanced. The forms are less muscular, the gestures less exaggerated, the transitions suaver, the light and shade less contrasted than in the first period, but the pigment is still solid, and the colors are treated as large, unfused blocks of decorative effect.
The growth of Rubens was gradual, but the extraordinary number of his collaborators makes the tracing of that growth a task of infinite difficulty. Apart from other contemporary evidence, the letters of Rubens himself show the number of artists he employed to work from his designs. The truth is he established a picture-factory at Antwerp, and not only engaged assistants to help him carry out gigantic decorations for churches and palaces, but also farmed out commissions for easel-pictures, landscapes, and portraits. In addition to ‘Velvet’ Brueughel, his collaborators and pupils at one time or another included Snyders (1579-1657), Jordaens (1593-1678), Cornelius de Vos (1585-1651), Antony Van Dyck (1599-1641), David Teniers (1610-90), Jan Fyt (1609-61), and score of others. A good example of the ‘teamwork’ accomplished in the Rubens studio is ‘Christ in the House of Martha and Mary’. In this picture, now in the Irish National Gallery at Dublin, the figures are by Rubens, the landscape by ‘Velvet’ Breughel, the architecture by Van Delen, and the accessories by Jan van Kessel. Yet all is so controlled by the master hand that to any but an expert the whole appears to be the work of one man.
The Pride Of Flanders (continued)
Rubens remained little more than six months with his cousin, who was a landscape artist. His next teacher, Adam van Noort, was a figure-painter, but it is unlikely he learnt much from this morose and often drunken boor. In 1590 he found a more congenial master in Otto Vaenius (1558-1629), who was a gentleman, a scholar, and a man of the world, though as a painter he was even duller and stiffer than his own master, the Venetian Zucchero (c. 1543-1616), well-known in England by his numerous portraits of Queen Elizabeth. One thing that Vaenius did was to fire his pupil with enthusiasm for Italian art, and two years after he had come of age and had been admitted a member of the Guild of St. Luke, Peter Paul Rubens arrived in Venice. Here the admirable copies he made of paintings by Titian and Veronese attracted the attention of Vincenzo I, Duke of Mantua, into whose service Rubens almost immediately entered. With the Duke he was at Florence for the marriage of Marie dé Medici to Henri IV (by proxy), and in 1603—after he had visited Rome, Padua, and other Italian cities—Rubens was sent by Vincenzo I on a mission with presents of horses and pictures to Philip III of Spain.
Though not then entrusted with any work for the Spanish monarch, Rubens painted several pictures for his prime minister the Duke of Lerma before he returned to Italy. After working for his patron at Mantua, Rome, and Genoa, Rubens in 1608 was recalled to Antwerp by news of his mother’s serious illness. Too late to see her alive when he reached his native city, the grief-stricken painter remained for several months in strict seclusion, when he was drawn by the rulers of Flanders, the Stadt-holders Albert and Isabella, who, conscious of his growing reputation, persuaded Rubens to leave the Mantuan service and become their Court Painter. In accepting this position Rubens was permitted to live at Antwerp instead of with the Court at Brussels.
His brother Philippe had already married the daughter of his chief, the Secretary of Antwerp, and it was probably at their house that Rubens saw his sister-in-law’s niece Isabella, daughter of John Brant, whom he married in 1609. The following year the artist designed a palatial residence in the Italian style, and had it built on the thoroughfare now known as Rue de Rubens: there he took his young and beautiful wife, and there he settled down to found the School of Antwerp. The ensuing ten or twelve years were the most tranquil and probably the happiest in life of Rubens. An example of Ruben’s first manner is the portrait of ‘Rubens and his First Wife,’ painted when he was about thirty two and his newly married wife Isabella Brant little over eighteen. During this period he executed the works on which his fame most securely rests, notably his supreme masterpiece, ‘The Descent from the Cross,’ in Antwerp Cathedral. This work, executed in 1612, marks the beginning of Ruben’s second manner, just as his ‘Elevation of the Cross,’ also in Antwerp and painted in 1609-10, concludes his first or Italian manner.
The late R A M Stevenson, a most penetrating critic, has pointed out how much more original and softer is the later pictures:
It started the Antwerp School, and beyond its ideal scarce any contemporary advanced. The forms are less muscular, the gestures less exaggerated, the transitions suaver, the light and shade less contrasted than in the first period, but the pigment is still solid, and the colors are treated as large, unfused blocks of decorative effect.
The growth of Rubens was gradual, but the extraordinary number of his collaborators makes the tracing of that growth a task of infinite difficulty. Apart from other contemporary evidence, the letters of Rubens himself show the number of artists he employed to work from his designs. The truth is he established a picture-factory at Antwerp, and not only engaged assistants to help him carry out gigantic decorations for churches and palaces, but also farmed out commissions for easel-pictures, landscapes, and portraits. In addition to ‘Velvet’ Brueughel, his collaborators and pupils at one time or another included Snyders (1579-1657), Jordaens (1593-1678), Cornelius de Vos (1585-1651), Antony Van Dyck (1599-1641), David Teniers (1610-90), Jan Fyt (1609-61), and score of others. A good example of the ‘teamwork’ accomplished in the Rubens studio is ‘Christ in the House of Martha and Mary’. In this picture, now in the Irish National Gallery at Dublin, the figures are by Rubens, the landscape by ‘Velvet’ Breughel, the architecture by Van Delen, and the accessories by Jan van Kessel. Yet all is so controlled by the master hand that to any but an expert the whole appears to be the work of one man.
The Pride Of Flanders (continued)
I Pass From Paris To London: ‘Malacoot’
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 gem industry.
(via Gem Trader) Louis Kornitzer writes:
My principal in Paris was only six years older than I. At the time of which I write, that is, he was twenty eight. At the early age of sixteen he had been pitchforked into Spain by a Spartan father with nothing more than a letter of introduction to a friend’s on who was in a small way of business as a dealer in antiques, or pseudo-antiques, in Madrid.
The young man had what is termed ‘his head screwed on the right way’. In other words, he started making money from the word ‘Go’. He was taken into the Madrid business and within a short time became a full partner. One day he happened to attend a public sale of an Estremaduran hidalgo’s effects. An ancient chest took his fancy and he bid successfully for it. When he got it home its extraordinarily heavy weight made him look it over very carefully, with the result that he found a number of secret drawers crammed with gold doubloons.
Being naturally of an aggressive nature, his early success in life had made him even more self-confident, and it was one of his patent maxims that treading on other people’s toes before they have a chance to tread on yours is one of the secrets of success, and moreover, saves the possessor of big feet a lot of pain. He was not particularly to save my feelings, at any rate, and was over-fond of calling me the French equivalent of ‘bloody fool’. One day he said it once too often and I picked up a heavy inkstand with intention of slinging it at him. Fortunately someone seized my arm, but, of course, the affair left me with no alternative other than handing in my resignation. In fact, I was just able to say very quickly: ‘I’m getting out of here,’ before he could utter: ‘You’re fired.’
Now, I had saved nothing out of my small pay, for I had been helping a younger brother who was serving his apprenticeship to a goldsmith in Paris. There was nothing for me back in Vienna and in any case I had too much pride to return there a failure. I decided to become a gem broker in Paris on my own account.
There are two kinds of broker, the broker attitré and the freelance broker, in Paris. The first is attached to one firm as a kind of commercial traveler working on a commission basis only, but he is usually permitted to have a drawing account which tides him over bad patches. The freelance, on the other hand, works for any firm that will entrust him with goods. He has no drawing account to fall back on.
Before casting myself on the turbulent and shark-infested waters of Paris gem trade, I sought to secure for myself a raft. I asked my ex-principal if I might be one of his accredited brokers with a drawing account. But although he permitted me to to so attach myself, there was no drawing account, and various incidents thereafter forced me to conclude that he had no intention of forgetting the inkstand episode. I cast myself off into complete independence and have remained in that state ever since.
Life as a freelance broker taught me much and I do not regret the bitter lessons of those days. There is no better schooling for one who intends to blossom into a trader on his own account than a long apprenticeship as a broker to the trade. It is always the buyer who is the professor, for he is ever alert to point out what is undesirable in the merchandise you submit for his considerations and to compare your prices with those of your competitors. It is the buyer who puts you on your mettle; it is the buyer you must study if you want to be a success. Please him and you have pleased yourself. From my buyers I have learned to discriminate between the bad, the middling, the good and the exquisite, and from the seller—how to make the most of the least.
I Pass From Paris To London: ‘Malacoot’ (continued)
(via Gem Trader) Louis Kornitzer writes:
My principal in Paris was only six years older than I. At the time of which I write, that is, he was twenty eight. At the early age of sixteen he had been pitchforked into Spain by a Spartan father with nothing more than a letter of introduction to a friend’s on who was in a small way of business as a dealer in antiques, or pseudo-antiques, in Madrid.
The young man had what is termed ‘his head screwed on the right way’. In other words, he started making money from the word ‘Go’. He was taken into the Madrid business and within a short time became a full partner. One day he happened to attend a public sale of an Estremaduran hidalgo’s effects. An ancient chest took his fancy and he bid successfully for it. When he got it home its extraordinarily heavy weight made him look it over very carefully, with the result that he found a number of secret drawers crammed with gold doubloons.
Being naturally of an aggressive nature, his early success in life had made him even more self-confident, and it was one of his patent maxims that treading on other people’s toes before they have a chance to tread on yours is one of the secrets of success, and moreover, saves the possessor of big feet a lot of pain. He was not particularly to save my feelings, at any rate, and was over-fond of calling me the French equivalent of ‘bloody fool’. One day he said it once too often and I picked up a heavy inkstand with intention of slinging it at him. Fortunately someone seized my arm, but, of course, the affair left me with no alternative other than handing in my resignation. In fact, I was just able to say very quickly: ‘I’m getting out of here,’ before he could utter: ‘You’re fired.’
Now, I had saved nothing out of my small pay, for I had been helping a younger brother who was serving his apprenticeship to a goldsmith in Paris. There was nothing for me back in Vienna and in any case I had too much pride to return there a failure. I decided to become a gem broker in Paris on my own account.
There are two kinds of broker, the broker attitré and the freelance broker, in Paris. The first is attached to one firm as a kind of commercial traveler working on a commission basis only, but he is usually permitted to have a drawing account which tides him over bad patches. The freelance, on the other hand, works for any firm that will entrust him with goods. He has no drawing account to fall back on.
Before casting myself on the turbulent and shark-infested waters of Paris gem trade, I sought to secure for myself a raft. I asked my ex-principal if I might be one of his accredited brokers with a drawing account. But although he permitted me to to so attach myself, there was no drawing account, and various incidents thereafter forced me to conclude that he had no intention of forgetting the inkstand episode. I cast myself off into complete independence and have remained in that state ever since.
Life as a freelance broker taught me much and I do not regret the bitter lessons of those days. There is no better schooling for one who intends to blossom into a trader on his own account than a long apprenticeship as a broker to the trade. It is always the buyer who is the professor, for he is ever alert to point out what is undesirable in the merchandise you submit for his considerations and to compare your prices with those of your competitors. It is the buyer who puts you on your mettle; it is the buyer you must study if you want to be a success. Please him and you have pleased yourself. From my buyers I have learned to discriminate between the bad, the middling, the good and the exquisite, and from the seller—how to make the most of the least.
I Pass From Paris To London: ‘Malacoot’ (continued)
Saturday, December 22, 2007
Travel-inspiring Movies 2007
(via Budget Travel): Travel-inspiring Movies 2007
1. The Bourne Ultimatum
2. Elizabeth: The Golden Age
3. Ratatouille
4. The Assasination of Jesse James By The Coward Robert Ford
5. Into The Wild
6. The Darjeeling Limited
7. Atonement
8. Enchanted
9. Lust, Caution
10. Once
Useful link:
www.budgettravel.com
1. The Bourne Ultimatum
2. Elizabeth: The Golden Age
3. Ratatouille
4. The Assasination of Jesse James By The Coward Robert Ford
5. Into The Wild
6. The Darjeeling Limited
7. Atonement
8. Enchanted
9. Lust, Caution
10. Once
Useful link:
www.budgettravel.com
Fabergé
It has been reported that Fabergé, owned by Pallinghurst Resources will be venturing into top-quality colored stones + it is perceived that the famous Fabergé name will add value to the gemstones, with each stone laser-engraved to ensure authenticity + the company is in a situation to emulate De Beers' mine-to-market model + they also plan to extend the Fabergé name into the luxury goods sector.
Useful links:
www.faberge.de
www.faberge.com
www.pallinghurst.com
Useful links:
www.faberge.de
www.faberge.com
www.pallinghurst.com
Exotic Procedures in Far Places: Aged, Monsooned And Luwaked Coffees
Kenneth Davids writes about the world's more exotic coffee types + differences between better and poorer samples of monsooned and aged coffees + authenticity issues + other viewpoints @
http://www.coffeereview.com/article.cfm?ID=139
I see intriguing parallels between coffee classification + authenticity issues with colored stone, diamond, wine, chocolate, and tea grading + it's technically complex/subjective.
http://www.coffeereview.com/article.cfm?ID=139
I see intriguing parallels between coffee classification + authenticity issues with colored stone, diamond, wine, chocolate, and tea grading + it's technically complex/subjective.
U2
Paul David Hewson known as Bono, is the lead singer and principal lyricist of the Irish rock band U2 + U2 has collaborated and recorded with numerous artists + almost all U2 lyrics were written by Bono with political, social and religious themes + Bono is also widely known for his activism concerning Africa, including the AIDS pandemic + he co-founded DATA (Debt, AIDS, Trade, Africa) + he is perceived as someone who has been making a difference in the world + I love his music.
Useful links:
www.u2.com
http://en.wikipedia.org/wiki/Bono
Useful links:
www.u2.com
http://en.wikipedia.org/wiki/Bono
His Girl Friday
His Girl Friday (1940)
Directed by: Howard Hawks
Screenplay: Ben Hecht, Charles MacArthur (play The Front Page); Charles Lederer (screenplay)
Cast: Cary Grant, Rosalind Russell, Ralph Bellamy
(via YouTube): His Girl Friday Trailer
http://www.youtube.com/watch?v=K-Rx6FrjX5k
His Girl Friday 1/11 (1940)
http://www.youtube.com/watch?v=ApDSNJ-yZQY
His Girl Friday
http://www.youtube.com/watch?v=IgfhbHw6gXY
His Girl Friday 3/11 (1940)
http://www.youtube.com/watch?v=rZxsn_U6ymw
A romantic comedy. I enjoyed it.
Directed by: Howard Hawks
Screenplay: Ben Hecht, Charles MacArthur (play The Front Page); Charles Lederer (screenplay)
Cast: Cary Grant, Rosalind Russell, Ralph Bellamy
(via YouTube): His Girl Friday Trailer
http://www.youtube.com/watch?v=K-Rx6FrjX5k
His Girl Friday 1/11 (1940)
http://www.youtube.com/watch?v=ApDSNJ-yZQY
His Girl Friday
http://www.youtube.com/watch?v=IgfhbHw6gXY
His Girl Friday 3/11 (1940)
http://www.youtube.com/watch?v=rZxsn_U6ymw
A romantic comedy. I enjoyed it.
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