Tuesday, May 31, 2011

Arabian Nights - Temperas on paper by Duilio Cambellotti (1912-1913)

1. The Story of the Fisherman.

2. The Second Voyage of Sinbad the Sailor.

3. The Story of Prince Zein.

4. The Story of the Barber's Third Brother.

5. The Story of Cogia Hassan Alhabbal.

6. The Story Of Prince Achmed.

7. The Story of Three Sisters.

8. The Story of 'Ali Baba and the Forty Thieves.

9. The Story of the Three Calendars, Sons of Kings.

10. The Seventh Voyage of Sindbad.

11. The Story of Aladdin.

12. The Story of the Enchanted Horse.

Tuesday, May 24, 2011

Joseph Furttenbach - Roses made of shells

Joseph Furttenbach - Architectura Civilis, 1628.

Wednesday, May 18, 2011

Léon Spilliaert - Trees

Léon Spilliaert (Ostend, 1881 - Brussels, 1946)

1. Trees, white and black. India ink and watercolor on paper (1941).

2. Seedlings around the trees. Gouache, pen, India ink and wash on paper (1933).

3.Trunk of beech and branches in the spring. Pencil and watercolor on paper (1930).

4. Branches of trees. Watercolor, India ink and pen on paper (1941).

5. Gnarled trunk. India ink, pencil, pen, black chalk and gouache on paper (1938).

6. Winter landscape with ivy. Pencil, watercolor and gouache on paper (1915).

7. Trees in the Flood. Watercolor on paper (1944).

8. Spring in Brabant. Conté pencils, India ink, gouache, watercolor and pastel on paper (1920).

9. Landscape with tall trees. India ink and Conté pencils on paper (1900-1902).

10. Park. India ink and watercolor on paper (1944).

Monday, May 2, 2011

Keiichi Tahara - Through Parisian windowglass, darkly

Our cultural insistence on a personal viewpoint is not always matched by the availability of singular experience. But there is one subjective outlook that cannot be denied. Few people see the world imprinted on the particular canvas that is your window. Keiichi Tahara took these photographs from the windows of his apartment in Paris. The sky of Europe, framed and distorted by glass, is his subject. Behind these images, one can feel a brooding presence that is doubly detached—first by apartment walls, and then by the camera. The severity of these images supports the intensity of Tahara’s description of his work as "visions of feeling" and "recognitions of (his) position." He denies any scenic implications in these photographs, presenting them more as interior meditations than exterior explorations. And yet, he manages to reveal the chasm between both perspectives.

Fenêtre series (Windows) 1974-1980