View allAll Photos Tagged Autodidacta,
Ciao Giuseppe e ciao Michele.
Con piacere voglio farvi conoscere al mondo di flickr.
Anche questa foto fa parte delle mie foto eseguite in Nigeria.
Un caro saluto.
Fotografía: Christian Varas Kallens
Lugar: Estacion Central, Santiago de Chile
Fecha: 12 de Julio del 2007
Circunstancia: De regreso del trabajo.
Equipo: Nikon D80, lente 135 mm
Grazie per avermi dato la possibilità di farti questa foto.
Oggi per me è un giorno speciale.
Ringrazio Dio di avermi dato la possibilità di festeggiare il tuo Compleanno insieme.
Grazie mio grande Amore.
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
Alejandra Plaza, notera y candidata representante de Planeta Modelos.com
Alejandra Plaza
24 años
Argentina
Signo: Tauro
Estudiante de la carrera de Derecho
Medidas: 95 – 63 – 90
Estatura :1.69
Pelo castaño
Ojos turquesa
Alejandra fue PRINCESA NACIONAL DEL MAR, en el año 2003, en Mar del Plata
100% Natural
El lugar:
Restaurant Cavas de Chile, ubicado en calle suecia 019, segundo piso.
La diseñadora:
Carmen Gloria Rojas
© all rights reserved
Please take your time... and enjoy it large on black
Champassak is the southernmost province of Laos and was part of the large Khmer empire in the past. The provincie is considered to be the cradle of traditional Laotian culture. This certainly is true for the valley of the Mekong river populated by Lao Loum. Tropical forests cover more than half of the country's total land area; only a tiny portion of its total area is suitable for agriculture. The floodplains of the Mekong River provide the country's only lowlands and its major wet-rice fields. Laos has a centrally planned economy based primarily on agriculture (including rice, sweet potatoes, sugarcane, cassava, and opium poppies) and international aid. Women hold dual responsibility for farm at home. In rice farming women in Laos have a substantial role. Traditionally, men plough, make bunds and prepare seedbeds, and women do more than half of the transplanting of rice, weeding, harvesting, threshing and post-harvest operations. In some areas the traditional task division has changed due to lack of male labour. Women are increasingly involved in land preparation, irrigation and preparing bunds and seedbeds.
Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. Photo of Lao lady with her sincere eyes at the temple complex of Vat Phou. Smiles and wrinkles go hand-in-hand. And that makes sense in a way, because genuinely happy people are too positive to let a few wrinkles get them down.
Champassak is de zuidelijkste provincie van Laos en maakte ooit deel uit van het grote Khmer rijk. Voordat het onderdeel werd van het Laotiaanse koninkrijk behoorde Champassak tot het Cambodjaanse rijk van Angkor. De provincie bestaat bekend als het echte Laos, de bakermat van de traditionele cultuur. Dat geldt in ieder geval voor de vallei van de Mekong die wordt bevolkt door de Lao Loum, de etnische Laotianen. Laos is het enige land in Zuidoost-Azië dat geheel door andere landen wordt omsloten. Het ontbreken van een kustlijn is een van de redenen voor het isolement waarin het land eeuwenlang heeft verkeerd. Het land heeft een bevolking van vijf miljoen mensen. Van de inwoners leeft driekwart in de vruchtbare dalen langs de Mekong en zijn zijrivieren. De overige Laotianen bevolken de berggebieden en hoogvlakten. Opvallend is de sterke positie die de vrouwen binnen de familie innemen en ze doen zelfs het meeste werk op de rijstvelden. De natte rijstbouw is het voornaamste middel van bestaan.
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
Este es la primera panorámica de coches que he hecho, aunque no hay una sin dos (eso quiere decir que ya hay otra). Está realizada a partir de dos fotogramas unidos usando el Photomerge de Adobe Photoshop Elements 9. Me costó bastante trabajo completarlo porque mi viejo ordenador se quedaba sin memoria. Con un coche de este tamaño, valió la pena. Recomiendo ver en grande.
En 1913 los hermanos Fred y August Duesenberg fundaron Duesenberg Automobile & Motors Company Inc. en el Nº 915 de la Grand Avenue en Des Moines, Iowa, con la finalidad de construir autos deportivos. Nacidos respectivamente en 1876 y 1879 en Kirchheide (Lemgo), Alemania1 ambos hermanos eran ingenieros autodidactas y habían desarrollado varios autos experimentales. Los modelos Duesenberg fyeron considerados entre los de mejor calidad de su época, y se los construía completamente en forma artesanal. En 1914 Eddie Rickenbacker condujo un «Duesy» culminando la carrera de Indianapolis 500 en décimo lugar, y otros modelos de la marca ganaron en 1924, 1925 y 1927.
{Fuente: Wikipedia}
Deutsch:
de.wikipedia.org/wiki/Duesenberg
English:
en.wikipedia.org/wiki/Duesenberg
Français:
fr.wikipedia.org/wiki/Duesenberg_(automobile)
Italiano:
it.wikipedia.org/wiki/Duesenberg
This is my first car panorama. It seemed fitting that such a large and fine car as the Duesenberg would be first. I recommend watching it in large.
Yo no sabía de su existencia, pero por qué no rendirle mis honores, él era un autodidacta como yo!
Ich hatte nie von ihm gehört aber warum nicht ihn ehren, denn er war autodidakt wie ich!
Danke Google für die Information! Gracias Google por la información!
Fuente:http://es.wikipedia.org/wiki/Robert_Doisneau
Her Crown of White tells the story of a life tainted by anguish, tragedy and fear.
Yet the faint smile ~ yes, that very faint smile tells us that she'll be alright.
Wisdom she has gathered, and the lines of her face form highways of knowledge for those who has taken a peek upon her face of eternal beauty.
~~
I also just learned something today ~ "Tomasito!" in Spanish means "Little Tomato" (according to Cris, a flickrmate) Ain't that cute? hahaha! Have a great day my dear friends! :)
Explored June 25, 2009. Thank You!
Don't use this image on websites, blogs or other media without my permission.
© All rights reserved.
Fotografía: Christian Varas Kallens
Equipo: Nikon D80
Il grande Amico Giorgio.
Non è su flickr ma conosce già delle persone che ne fanno parte.
Bellissima maglietta....bellissimo " titolo "..
Grazie Giorgio della tua amicizia.
"...Hoje o vento que vem lá cordilheira
se topou com meu ponchito bichará...
Outro dia me pegou desprevenido,
até a alma empeçou a encarangar...
Resolvi sai bem cedo pra invernada
porque o dia de inverno é meio curto...
Neste meu tostado ruano frente aberta,
paciencioso, vou pitando um bom de um fumo..."
Trecho de "Coplas campeiras", de Marco Antonio Xiru Antunes
Pelotas, Rio Grande do Sul, Brasil
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
Lugar: Reñaca, Viña del Mar - Chile
Fecha: 07 de Marzo del 2009.
Fotografía: Christian Varas Kallens
Contacto: c.varaskallens@gmail.com
Nikon D80
18-135 mm
© All rights reserved.
Aleksander Porfírievich Borodín (en ruso, Александр Порфирьевич Бородин; San Petersburgo, Imperio ruso, 12 de noviembre de 1833 – ibídem, 27 de febrero de 1887) fue un compositor, doctor y químico, destacado dentro de los compositores del nacionalismo ruso, también conocido por formar parte del Grupo de los cinco.
Borodín es conocido por sus sinfonías, sus dos cuartetos de cuerda, En las estepas de Asia Central y su ópera El príncipe Ígor. Fue un prominente defensor de los derechos de las mujeres, de la educación en Rusia y fundó la Escuela de medicina para mujeres en San Petersburgo.
Fue hijo ilegítimo del príncipe georgiano Luká Stepánovitch Gedevanishvili (62), quien lo registró conforme a la usanza de la época como hijo de uno de sus sirvientes, Porfiri Borodín. Su madre fue Evdokia (Eudoxie) Constantínovna Antónova (25), apodada por el diminutivo Dunia. Su padre muere cuando Alexander tenía 7 años y lo incluye en su testamento. Alexander fue un autodidacta, aprende a tocar flauta, violonchelo y piano. Tuvo una vida confortable y recibió una buena educación incluyendo clases de piano, francés y alemán. A los 15 años se inscribe en la Facultad de Medicina, a los 21 es contratado en el Hospital de la Armada Territorial y a los 23 como profesor de la Academia Militar de Química. Sin embargo, su área de especialización fue la química, por lo cual no recibió clases formales de composición hasta 1863, cuando se convirtió en discípulo de Mili Balákirev. Tuvo dos hermanos, Dmitri Serguéievich Aleksándrov y Evgueni Fiódorovich Fiódorov, que fueron registrados como hijos de los sirvientes del príncipe. Se casa en 1861 con una famosa y talentosa pianista nacida en Heidelberg, Ekaterina Serguéievna Protopópova, con quien tuvo tres hijos.
En 1869 Balákirev le dirigió su primera sinfonía y en ese mismo año Borodín comenzó la composición de su segunda sinfonía. Aunque el estreno ruso de esta última fue un fracaso, Franz Liszt logró que fuera interpretada en Alemania en 1880, donde tuvo bastante éxito, dándole fama fuera de Rusia.
También en 1869 empezó a trabajar en la composición de su ópera El príncipe Ígor, que es considerada por algunos su obra más importante. Esta ópera contiene las ampliamente conocidas Danzas polovtsianas (o Danzas de los pólovtsy), siendo éste un fragmento comúnmente interpretado por sí mismo, tanto en su versión coral como orquestal. Debido a la gran carga de trabajo como químico, la ópera quedó inconclusa al momento de su muerte, siendo completada posteriormente por Nikolái Rimski-Kórsakov y Aleksandr Glazunov.
Priorizó su ópera sobre la tercera sinfonía, quedando esta inacabada. Alexander Glazunov consiguió arreglar las secciones del primer movimiento, así como recrear el scherzo a partir de uno de sus cuartetos de cuerda, cuyo scherzo iba a ser el mismo. Para el trío del scherzo, Glazunov utilizó temas que se habían desechado durante la composición de El príncipe Igor.
A pesar de ser un compositor reconocido, Borodín siempre se ganó la vida como químico, campo en el cual era bastante respetado, particularmente por su conocimiento de los aldehídos. A Borodín también se le atribuye, junto con Charles-Adolphe Wurtz, el descubrimiento de la reacción aldólica, una importante reacción en química orgánica; además de otra reacción química conocida como reacción Borodin-Hunsdiecker. En 1872, participó en la fundación de una escuela de Medicina para mujeres.
Sus obras incluyen el poema sinfónico En las estepas de Asia Central, dos cuartetos de cuerdas, donde el tercer movimiento Nocturno del segundo cuarteto goza de gran fama, un quinteto para cuerdas, un quinteto para piano y cuerdas, una sonata para violoncelo y piano, 16 canciones para bajo y piano, tres de ellas además con violoncelo, piezas para piano, así como las ya mencionadas sinfonías 1 y 2, más una tercera incompleta al momento de su muerte (con dos movimientos completados por Glazunov), el segundo movimiento de la tercera sinfonía, Borodín lo transcribió a cuarteto de cuerdas como un Scherzo.
Tras la muerte de Modest Músorgski en marzo de 1881, sufre de ataques cardiacos y cólera. Borodín murió a los 53 años de un infarto durante una fiesta organizada por los profesores de la academia en San Petersburgo, el 27 de febrero de 1887 y fue enterrado en el cementerio Tijvin del monasterio de Aleksandr Nevski. Su esposa le sobrevivió 5 meses.
En su honor, un cuarteto de cuerdas fundado en Rusia en 1945 lleva su nombre, el Cuarteto Borodín. El pintor Iliá Yefímovich Repin (1844–1930) hizo un magnífico retrato de Borodín, que se encuentra en el Museo Estatal Ruso de San Petersburgo.
es.wikipedia.org/wiki/Aleksandr_Borodín
es.wikipedia.org/wiki/Los_Cinco_(compositores)
Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н) (12 November 1833 – 27 February 1887) was a Russian chemist and Romantic musical composer of Georgian ancestry. He was one of the prominent 19th-century composers known as "The Mighty Handful", a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models. Borodin is known best for his symphonies, his two string quartets, the symphonic poem In the Steppes of Central Asia and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.
A doctor and chemist by profession, Borodin made important early contributions to organic chemistry. Although he is presently known better as a composer, during his lifetime, he regarded medicine and science as his primary occupations, only practising music and composition in his spare time or when he was ill. As a chemist, Borodin is known best for his work concerning organic synthesis, including being among the first chemists to demonstrate nucleophilic substitution, as well as being the co-discoverer of the aldol reaction. Borodin was a promoter of education in Russia and founded the School of Medicine for Women in Saint Petersburg, where he taught until 1885.
Borodin was born in Saint Petersburg as an illegitimate son of a 62-year-old Georgian nobleman, Luka Stepanovich Gedevanishvili, and a married 25-year-old Russian woman, Evdokia Konstantinovna Antonova. Due to the circumstances of Alexander's birth, the nobleman had him registered as the son of one of his Russian serfs, Porfiry Borodin, hence the composer's Russian last name. As a result of this registration, both Alexander and his nominal Russian father Porfiry were officially serfs of Alexander's biological father Luka. The Georgian father emancipated Alexander from serfdom when he was 7 years old and provided housing and money for him and his mother. Despite this, Alexander was never publicly recognized by his mother, who was referred to by young Borodin as his "aunt".
Despite his status as a commoner, Borodin was well provided for by his Georgian father and grew up in a large four-storey house, which was gifted to Alexander and his "aunt" by the nobleman. Although his registration prevented enrollment in a proper gymnasium, Borodin received good education in all of the subjects through private tutors at home. During 1850 he enrolled in the Medical–Surgical Academy in Saint Petersburg, which was later the workplace of Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.
During 1862 Borodin returned to Saint Petersburg to begin a professorship of chemistry at the Imperial Medical-Surgical Academy and spent the remainder of his scientific career in research, lecturing and overseeing the education of others. Eventually, he established medical courses for women (1872).
He began taking lessons in composition from Mily Balakirev during 1862. He married Ekaterina Protopopova, a pianist, during 1863, and had at least one daughter, named Gania. Music remained a secondary vocation for Borodin besides his main career as a chemist and physician. He suffered poor health, having overcome cholera and several minor heart failures. He died suddenly during a ball at the Academy, and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in Saint Petersburg.
In his profession Borodin gained great respect, being particularly noted for his work on aldehydes. Between 1859 and 1862 Borodin had a postdoctoral position in Heidelberg. He worked in the laboratory of Emil Erlenmeyer working on benzene derivatives. He also spent time in Pisa, working on halocarbons. One experiment published during 1862 described the first nucleophilic displacement of chlorine by fluorine in benzoyl chloride. The radical halodecarboxylation of aliphatic carboxylic acids was first demonstrated by Borodin during 1861 by his synthesis of methyl bromide from silver acetate. It was Heinz Hunsdiecker and his wife Cläre, however, who developed Borodin's work into a general method, for which they were granted a US patent during 1939, and which they published in the journal Chemische Berichte during 1942. The method is generally known as either the Hunsdiecker reaction or the Hunsdiecker–Borodin reaction.
During 1862, Borodin returned to the Medical–Surgical Academy (now known as the S.M. Kirov Military Medical Academy), and accepted a professorship of chemistry. He worked on self-condensation of small aldehydes in a process now known as the aldol reaction, the discovery of which is jointly credited to Borodin and Charles-Adolphe Wurtz. Borodin investigated the condensation of valerian aldehyde and oenanth aldehyde, which was reported by von Richter during 1869. During 1873, he described his work to the Russian Chemical Society and noted similarities with compounds recently reported by Wurtz.
He published his last full article during 1875 on reactions of amides and his last publication concerned a method for the identification of urea in animal urine.
His successor as chemistry professor of the Medical-Surgical academy was his son-in-law and fellow chemist, Alexander Dianin.
Borodin met Mily Balakirev during 1862. While under Balakirev's tutelage in composition he began his Symphony No. 1 in E-flat major; it was first performed during 1869, with Balakirev conducting. During that same year Borodin started on his Symphony No. 2 in B minor, which was not particularly successful at its premiere during 1877 under Eduard Nápravník, but with some minor re-orchestration received a successful performance during 1879 by the Free Music School by Rimsky-Korsakov's direction. During 1880 he composed the popular symphonic poem In the Steppes of Central Asia. Two years later he began composing a third symphony, but left it unfinished at his death; two movements of it were later completed and orchestrated by Alexander Glazunov.
During 1868 Borodin became distracted from initial work on the second symphony by preoccupation with the opera Prince Igor, which is considered by some to be his most significant work and one of the most important historical Russian operas. It contains the Polovtsian Dances, often performed as a stand-alone concert work forming what is probably Borodin's best-known composition. Borodin left the opera (and a few other works) incomplete at his death.
Prince Igor was completed posthumously by Rimsky-Korsakov and Glazunov. It is set in the 12th century, when the Russians, commanded by Prince Igor of Seversk, determined to conquer the barbarous Polovtsians by travelling eastward across the Steppes. The Polovtsians were apparently a nomadic tribe originally of Turkish origin who habitually attacked southern Russia. A full solar eclipse early during the first act foreshadows an ominous outcome to the invasion. Prince Igor's troops are defeated. The story tells of the capture of Prince Igor, and his son, Vladimir, of Russia by Polovtsian chief Khan Konchak, who entertains his prisoners lavishly and orders his slaves to perform the famous 'Polovtsian Dances', which provide a thrilling climax to the second act. The second half of the opera finds Prince Igor returning to his homeland, but rather than finding himself in disgrace, he is welcomed home by the townspeople and by his wife, Yaroslavna. Although for a while rarely performed in its entirety outside of Russia, this opera has received two notable new productions recently, one at the Bolshoi State Opera and Ballet Company in Russia during 2013, and one at the Metropolitan Opera Company of New York City during 2014.
No other member of the Balakirev circle identified himself so much with absolute music as did Borodin in his two string quartets, and in his many earlier chamber compositions. Himself a cellist, he was an enthusiastic chamber music player, an interest that increased during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. In thematic structure and instrumental texture he based his pieces on those of Felix Mendelssohn.
During 1875 Borodin started his First String Quartet, much to the displeasure of Mussorgsky and Vladimir Stasov. That Borodin did so in the company of The Five, who were hostile to chamber music, demonstrates his independence. From the First Quartet onward, he displayed mastery of the form. His Second Quartet, in which his strong lyricism is represented in the popular "Nocturne", followed during 1881. The First Quartet is richer in changes of mood. The Second Quartet has a more uniform atmosphere and expression.
Borodin's fame outside the Russian Empire was made possible during his lifetime by Franz Liszt, who arranged a performance of the Symphony No. 1 in Germany during 1880, and by the Comtesse de Mercy-Argenteau in Belgium and France. His music is noted for its strong lyricism and rich harmonies. Along with some influences from Western composers, as a member of The Five his music has also a Russian style. His passionate music and unusual harmonies proved to have a lasting influence on the younger French composers Debussy and Ravel (in homage, the latter composed during 1913 a piano piece entitled "À la manière de Borodine").
The evocative characteristics of Borodin's music made possible the adaptation of his compositions in the 1953 musical Kismet, by Robert Wright and George Forrest, notably in the songs "Stranger in Paradise" and "And This Is My Beloved". In 1954, Borodin was posthumously awarded a Tony Award for this show.
en.wikipedia.org/wiki/Alexander_Borodin
en.wikipedia.org/wiki/List_of_compositions_by_Alexander_B...
en.wikipedia.org/wiki/The_Five_(composers)
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
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Please take your time... and enjoy it large on black
This is Laos, a land of ethnically diverse inhabitants but where gentle, open, beaming smiles surround you wherever you go. Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. Its delightful old world charm has not been despoiled by the slow but steady pace of modernization. A number of kids played along the coffee plantations and greeted us. A few others kids took care of their cattle. We enjoyed the natural surroundings exploring by feet and bask in the welcoming embrace of the locals. Pakxong spreads over a beautiful forest in the Bolaven Plateau. At this elevated area you can soak up the fresh climate and the friendly atmosphere. Bolaven Plateau greatly suffered during the Vietnam War. The Bolaven Plateau was one of the most heavily bombed theaters of the Second Indochina War. Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. A country where experienced travelers will appreciate breathtaking scenery and ofcourse the friendly people.
From Tad Yuang waterfalls we continued our trekking. The scenery was very good, the plateau is crossed by several rivers and has many scenic waterfalls. We went along rolling high hills and scattered farms and villages where we met this friendly man with a sincere smile I won't forget. He's wearing a warm hat for the chilly evenings and mornings. Thanks to its location on an elevation of 1300 meters and surrounded by clouds forests, temperatures are much lower than elsewhere in Laos. A cloud forest, is a tropical evergreen highland moist forest characterized by a high incidence of low-level cloud cover, usually at the canopy level. Within cloud forests, much of the condensation is in the form of fog drip, where fog condenses on tree leaves and then drips onto the ground below. Even in the hottest period of the year, March and April, temperatures in the daytime usually do not reach over 27 Celsius, while at night it cools down considerably. Starting July, when rain starts to fall more regularly, temperatures drop and a sweater in addition to a rain coat is recommended. Do definitely pack warm clothes when staying with us between November and February.
Laos is een prachtig land met ongerepte natuur, exotische dieren en vriendelijke mensen. Het land is een arm land, met nog onbedorven wildernis en een bevolking van 5,5 miljoen mensen. In Laos zijn zo'n twintig natuurgebieden die door de overheid zijn aangewezen als National Protected Area. Door deze bescherming wordt het unieke landschap en de flora en fauna zoveel mogelijk behouden De gebieden bestaan uit tropische regenwouden, kalkstenen rotsformaties, inheemse flora en fauna en andere wildlife. Zeker voor de avontuurlijke reiziger herbergt dit land een grote hoeveelheid aan onontdekte natuurschatten, vriendelijke mensen en een gevoel dat veel nog puur is.
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Please take your time... and enjoy it large on black
Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. The vast majority of Lao people live in Laos is approximately 4 million. Laos is generally very rural areas, and Many Lao people support by agriculture, with rice being the most important crop. Women hold dual responsibility for farm at home. In rice farming women in Laos have a substantial role. Traditionally, men plough, make bunds and prepare seedbeds, and women do more than half of the transplanting of rice, weeding, harvesting, threshing and post-harvest operations. Aside from this enumerated work, a gender division of labour exists in Laos which assigns women the major responsibility for childcare and housework. As household size averages seven people these tasks require numerous hours of work each day in addition to women's work outside their home. Women are responsible for much heavy work—hauling water for the household and, in the absence of rice mills, pounding the rice in big mortars of hollowed out logs to husk it. The men plow and deal with draft animals, while women tend to be responsible for pigs and poultry and vegetable gardens. The animals usually live under the house. Everyone, including the children, helps with transplanting and harvesting rice. Such hard life for elderly women where life expectancy is 59 years est. 2008. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. Laos has enjoyed high economic growth, despite poor national infrastructure and a dominant, inefficient agriculture sector. It is also heavily reliant on international assistance programs. In 1998, Laos began formal negotiations with the World Trade Organization. In 2008 a 5.60 US$/day per capita.
Photo of an old women taken on Don Det. A backpackers’ paradise, Don Det is an island in Laos near the border of Cambodia. Nestled along the breathtaking Mekong River, Don Det is a perfect base for travelers exploring the area. Don Det is off the beaten path, so lacks the touristy feel of other destinations, but still offers beauty and adventure. Along the way to other side of the island we met this old woman. She was working in front of her house busy with household duties. Lao women have played a central role in the national country's and household economies over the past two decades. Women's participation exceeds men's in the economically active population. Due to dual responsibility for farm and household they are usually overburdened with work. At home some of these duties include water collection, which may take two to three hours a day; husking rice for family consumption, which may require two hours of work; milling rice; and caring for the sick and the elderly. Girls assist their mothers with these chores and they are often made responsible for care of younger kids. In spite of their major economic contribution, women are generally not considered as workers. However, women, particularly older ones, do control household budgets and share in financial decision making. However, for some intangible reason, the Lao people are still wonderfully friendly, hospitable and passionate. They do not have much, but show it off with pride.
Si Pan Don, ofwel vierduizend eilanden, is een verzameling bewoonde en onbewoonde eilandjes in de Mekong. De rivier is hier een maar liefst 14 km breed labyrint van zandplaten, eilanden, rotsen, stroomversnellingen en spectaculaire watervallen. De eilandjes liggen in het uiterste zuiden van Laos, tegen de grens met Cambodja en hebben een unieke flora en fauna. Don Det is een oase van rust, want gemotoriseerd verkeer is er nog vrijwel onbekend. Je kunt hier heerlijk wandelen langs tempeltjes, rijstvelden, lotusvijvers en dorpjes. De meeste guesthouses liggen aan de noordelijke zijde van Don Det, en net als Don Khon is ook dit eiland en beetje een backpackers paradijs aan het worden. Laos, is nog één van de weinige overgebleven communistisch regimes en is ook één van de armste naties van Azië. De huidige regering kwam aan de macht in 1975 en legde onmiddellijk een onbuigzaam socialistisch economisch programma op. Verandering begon in 1986 met de losmaken van beperkingen op privé-onderneming. Sinds dien heeft Laos een hoge economische groei, ondanks arme nationale infrastructuur en een overwegende, ondoelmatige landbouwsector. Het is ook zwaar afhankelijk van internationale hulpprogramma's. In 1998 begon Laos formele onderhandelingen met de Wereld Handelsorganisatie. De gemiddelde verdienste per dag is 5,60 US$ per hoofd. Opvallend is de sterke positie die de vrouwen binnen de familie innemen en ze doen zelfs het meeste werk op de rijstvelden. De natte rijstbouw is het voornaamste middel van bestaan. De vrouwen en mannen in Laos blijven ondanks hun moeilijke bestaan altijd vriendelijk en gastvrij. Ze hebben niet veel maar stralen altijd hun trots uit.
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Please take your time... and enjoy it large on black
I have travelled all my life but never before have I been in a country where the principal characteristic of the people seems to be their smile. A naturally sweet nature seems to have survived centuries of fighting and turbulent change, while the results of the intense barrage of bombs and Agent Orange dropped on Laos during the Vietnam war still affects, in some way, almost every family in the country. To Westerners, with our grumbles and grouses about the slightest inconveniences to our lives, it is a revelation. Laos is blessed with some of Asia’s nicest rivers, and many of them are mellow. Children spent the day at school, and by the afternoon they were doing the chores required of them…building a fire for the kitchen, sweeping the leaves into a pile, or caring for the young siblings strapped to their back …young boys and girls from the age of seven or eight attentive to the baby’s every need. Amongst this was the laughter of children playing in the river. But sometimes they skip their days at school, going fishing. The vast majority of people are engaged in agriculture, especially subsistence rice farming on small family plots. Children help with farm chores from an early age, and most are engaged full-time in farming after leaving primary school. Children rarely have toys but enjoy catching fish, frogs, and insects to supplement the family diet. Boys are skillful with slingshots and blowguns in hunting small birds. Young girls help with child care and often carry a younger sibling astride a hip while they play with their friends. Kids have a great time running on the rampart, swimming in the Mekong river, taking boat rides along the river and playing. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. Its delightful old world charm has not been despoiled by the slow but steady pace of modernization. Lao seems a bit like heaven, the laughter is often & sincere, the rivers are cool and clean and not a speck of modern civilization in sight. In my perspective it is some of the best Laos can offer. Until recently Laos was an Asian backwater. When it opened its doors again to foreign visitors in the Nineties there were few modern amenities and no tourist infrastructure. Now this sleepy, rural land is waking up to tourism.
Photo of a boy taken on a little island near the border between Laos and Cambodia. The little island is located in the Mekong river. While his father is ploughing in the rice fields and his mother is preparing food for him and his brothers and sisters. His mesmerizing eyes got my attention. A great place to explore some of the lesser-known areas of the southern region of Laos. A place to meet the friendly Lao people despite their poverty and isolation. School is important for ethnic minority kids, they should attend and complete primary education in order to overcome rural/urban, ethnic in the area of literacy and education. But it isn't that easy. The reason to skip school are the family economic considerations, involvement in family maintenance and subsistence tasks, the lack of perceived benefits from education. While poverty and lack of access are issues. In addition to these, ethnic minority kids have to face further barriers to education, including the distance from school facilities, their extreme poverty, and additional cultural barriers and the lack of fluency in the national language, Lao. The ethnic kids speak their own language. About 32% of all Laotians are related to Ethnic groups. Totally 160 ethnic groups and speak 82 distinct living languages.
Si Phan Don, ook bekend als 4 duizend eilanden is gelegen in het zuiden van Laos. Hier is de Mekong op sommige gebieden wel 14 km breed. Don Det eiland is een oase van rust want gemotoriseerd verkeer is er nog vrijwel onbekend. Je kunt hier heerlijk wandelen langs tempeltjes, rijstvelden, lotusvijvers en kleine dorpjes. Don Det is wel een beetje een backpackers paradijs met goedkope bamboehutjes, pancakes en Frans stokbrood. Samengevat: peace & happiness. Voor de gemiddelde toerist is er erg weinig te doen, maar voor mij is de omgeving schitterend en heel rustgevend. De omgeving nodigt uit tot het maken van flinke wandelingen, maar je kunt het eiland ook prima per fiets verkennen. We hebben dan ook maar een fiets gehuurd en een rondje gemaakt. Werkelijk prachtig en heerlijk om door onbedorven dorpjes en de prachtige groene rijstvelden te rijden waar iedereen ons zwaaiend met Sabaidee begroette. Een land naast Thailand van de glimlach. De glimlachjes die ik hier overal krijg toegeworpen zijn oprecht. Ik voel me jarig, alsof ik de hele dag kadootjes krijg. Naast vriendelijk is Laos ook nog eens mooi. Als er een Authentiek Azië; bestaat, moet het Laos zijn. En als je ook maar enigszins je best doet om contact te krijgen met de bevolking zal je worden uitgenodigd om binnen te kijken en wat te eten en drinken. We hebben verder naar veel kinderen gezwaaid, veel glimlachjes teruggegeven. Zeker voor de avontuurlijke reiziger herbergt dit land een grote hoeveelheid aan onontdekte natuurschatten, vriendelijke mensen en een gevoel dat veel nog puur is.
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. We visited a Kieng Than Lei village along the Sexet river. A number of kids played along the beach and greeted us. Walking is by far the best way to get around this small village. And during our strolls we'd often bump into the same kids over and over. A small village next to the Tad Lo waterfall. We enjoy the natural surroundings exploring by foot or elephant. Tad Lo spreads over a beautiful forest in the Bolaven Plateau. At this elevated area you can soak up the fresh climate and the friendly atmosphere.
Photo of this lovely smiling lady taken in Kieng Than Lei. A little village located on the Bolaven Plateau. A great place to explore some of the lesser-known areas of the southern region of Laos. A village to meet the friendly Lao people despite their poverty and isolation.
Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. A country where experienced travelers will appreciate breathtaking scenery and ofcourse the friendly people.
Georgian National Museum, Shalva Amiranashvili Museum of Fine Arts, Tbilisi
Niko Pirosmani’s Albertina Museum exhibition
Exhibición de Niko Pirosmani en La Albertina
Niko Pirosmanashvili (georgiano: ნიკო ფიროსმანაშვილი; Mirzaani, Georgia; 5 de mayo de 1862 - 1918), conocido también como Niko Pirosmani, fue un pintor primitivista georgiano.
Niko Pirosmanashvili nació el 5 de mayo de 1862 en el poblado de Mirzaani, provincia de Kajeti, Georgia, hijo de una familia de campesinos, propietarios de un pequeño viñedo. Pronto se encontró huérfano y fue puesto bajo el cuidado de sus dos hermanas mayores. Hacia 1870 se mudó a Tiflis, y en 1872 entró a trabajar como sirviente de familias opulentas. Aprendió a escribir ruso y georgiano. En 1876 regresó a Mirzaani y se empleó como pastor.
Autodidacta, una de sus especialidades fue la pintura directa sobre hule negro. En 1882 abrió un taller en Tbilisi el cual no prosperó. En 1890 trabajó como conductor de trenes, y en 1895 se empleó creando carteles. En 1893 cofundó una granja en Tbilisi que abandonó en 1901. A lo largo de su vida, la cual pasó siempre en la pobreza, se empleó en trabajos comunes que iban desde pintar casas hasta encalar fachadas. A pesar de que sus pinturas lograron una popularidad local su relación con artistas profesionales fue difícil. Ganarse la vida siempre fue una tarea más importante para él que la estética abstracta. En abril de 1918 murió de desnutrición e insuficiencia hepática. Fue enterrado en el cementerio Nino, aunque el lugar exacto se desconoce puesto que no fue registrado.
A inicios del Siglo XX Niko Pirosmanashvili vivió en un pequeño departamento no lejos de la estación de ferrocarriles de Tbilisi. Sus pinturas incluyeron vastas escenas locales y retratos imaginarios de figuras históricas georgianas, como aquellas de Shota Rustaveli y la Reina Tamar, además de retratar georgianos comunes y su quehacer diario.
En 1910 se ganó el entusiasmo crítico del poeta ruso Mijaíl Le-Dantue y del artista Kiril Zdanévich y su hermano Iliá Zdanévich. Éste escribió una carta sobre Pirosmanashvili en el periódico Zakavkázskaia Rech, publicada el 13 de febrero de 1913. También tomó la empresa de publicitar a Piroshmanashvili en Moscú. La edición del 7 de enero del periódico moscovita Moskóvskaia Gazeta contenía una nota sobre la exhibición Mishen en donde se exhibieron algunas obras de pintores autodidactas, entre las cuales se encontraban cuatro de Pirosmanashvili: Retrato de Zdanévich, Naturaleza muerta, Mujer con un jarro de cerveza, y El corzo. Los críticos que escribieron después en el mismo periódico quedaron impresionados por su talento. Ese mismo año se publicó un artículo sobre la obra de Niko Pirosmanashvili en el periódico georgiano Temi.
La Sociedad de Pintores Georgianos, fundada por Dito Shevardnadze en 1916, invitó a Pirosmanashvili a sus reuniones en donde lo acogieron, sin embargo, su relación con la sociedad no fue fácil. A pesar de haber mostrado a la sociedad su pintura Boda georgiana, uno de los miembros publicó una caricatura de él que lo ofendió considerablemente. Su continua pobreza, aunados a los problemas económicos derivados de la Primera Guerra Mundial, provocaron que su vida terminara con su obra sin reconocimiento.
Tras la guerra desarrolló una reputación internacional, al ganarse la admiración como pintor naïf en París y en otros lugares. El primer libro sobre Pirosmanashvili fue publicado en georgiano, ruso y francés en 1926. Inclusive su figura inspiró a Pablo Picasso hacer un esbozo de retrato en 1972. A pesar de que hoy en día han sobrevivido alrededor de 200 pinturas, se han hecho exhibiciones de su obra en diferentes ciudades, desde Kiev (1931), Varsovia (1968), París (1969), Viena (1969), Niza y Marsella (1983), Tokyo (1986), Zurich (1995), Turín (2002), Istanbul (2008), y Vilnius (2008-2009).
es.wikipedia.org/wiki/Niko_Pirosmani
elhurgador.blogspot.com/2018/08/niko-pirosmani-pintura-pa...
Niko Pirosmani (Georgian: ნიკო ფიროსმანი), simply referred to as Nikala (ნიკალა) (1862–1918), was a Georgian naïve painter who posthumously rose to prominence.
Pirosmani was born in the Georgian village of Mirzaani to a peasant family in Kakheti province. His parents, Aslan Pirosmanashvili and Tekle Toklikishvili, were farmers, who owned a small vineyard, with a few cows and oxen. He was later orphaned and left in the care of his two elder sisters, Mariam and Pepe. He moved with them to Tbilisi in 1870. In 1872, while living in a little apartment not far from Tbilisi railway station, he worked as a servant to wealthy families and learned to read and write Russian and Georgian. In 1876, he returned to Mirzaani and worked as a herdsman.
Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882, with self-taught George Zaziashvili, he opened a painting workshop, where they made signboards. In 1890, he worked as a railroad conductor. In 1893, he co-founded a dairy farm in Tbilisi, which he left in 1901. Throughout his life, Pirosmani, who was poor, was willing to take ordinary jobs including housepainting and whitewashing buildings. He also worked for shopkeepers in Tbilisi, creating signboards, paintings, and portraits, according to their orders. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than aesthetic abstractions.
In April 1918, he died in the 1918 flu pandemic resulted from malnutrition and liver failure. He was buried at the Nino cemetery; the exact location was not registered and is unknown.
Pirosmani’s paintings were influenced by the social conditions of his time and place. There are many works about merchants, shopkeepers, workmen, and noblemen groups. Pirosmani was fond of nature and rural life. He rarely employed city landscapes. He made many animal paintings. He was the only Georgian animalist. Pirosmani also was attracted by historical figures and themes such as Shota Rustaveli, Queen Tamar, Giorgi Saakadze, as well as ordinary Georgian people and their everyday lives.
Usually, Pirosmani painted on oilcloth. Unlike other artists, Niko didn’t aim at a pure imitation of the nature and paid no attention to details. Some of his paintings are monochrome. His paintings demonstrate the author's sharp compositional consideration. Placements of the figures are frontal, while faces do not demonstrate a specific mood.
In the 1910s, he won the enthusiasm of the Russian poet Mikhail Le-Dantyu and the artist Kirill Zdanevich and his brother Ilia Zdanevich. Ilia Zhdanevich wrote a letter about Pirosmani to the newspaper Zakavkazskaia Rech, which it published on February 13, 1913. He undertook to publicise Pirosmani's painting in Moscow. The Moscow newspaper Moskovskaia Gazeta of 7 January wrote about the exhibition "Mishen" where self-taught painters exhibited, among them four works by Pirosmani: "Portrait of Zhdanevich", "Still Life", "Woman with a Beer Mug", and "The Roe". Critics writing later in the same newspaper were impressed with his talent.
In the same year, an article about Niko Pirosmani and his art was published in Georgian newspaper Temi.
The Society of Georgian Painters, founded in 1916 by Dito Shevardnadze, invited Pirosmani to its meetings and began to take him up, but his relations with the society were always uneasy. He presented his painting "Georgian Wedding" to the Society. One of the members published a caricature of him, which greatly offended him. His continuing poverty, compounded by the economic problems caused by the First World War, meant that his life ended with his work little recognised.
After his death, Pirosmani gained international reputation when he became admired as a 'naïve' painter in Paris and elsewhere. His paintings were represented at the first big exhibition of Georgian painters in 1918. From 1920 onwards, a number of articles were published about him. The first monograph on Pirosmani was published in 1926 in Georgian, Russian, and French.
Interest in Pirosmani increased in the 1950s.
In 1969, a film about him was made, titled Pirosmani. He inspired a portrait sketch by Pablo Picasso (1972). Pirosmani is also depicted on a Georgian lari bill. A periodic newspaper titled Pirosmani is published in two languages in Istanbul.
Exhibitions of his work have been held in Kiev (1931), Warsaw (1968), Paris (The Louvre) (1969), Vienna (1969), Nice and Marseilles (1983), Tokyo (1986), Zurich (1995), Nantes (1999), Turin (2002), Kiev, Istanbul (2008), Minsk, Vézelay and Vilnius (2008–2009), and Vienna again (2018/19).
Today, 146 of his works are shown in the Art Museum of Georgia and sixteen paintings are exhibited in the Historical-Ethnographic Museum of Sighnaghi. A monument was installed in Tbilisi. There is also the Niko Pirosmanashvili Museum in Mirzaani, Georgia, in one of his abodes.
In March 2011, it was discovered that the writing on the door of Qvrivishvilebi’s wine-cellar in Ozaani was made by Pirosmani. On 31 May 2011, during an investigation, experts discovered a painting, which proved to be "Wounded Soldier" by Pirosmani. The painting was given to the National Gallery of Georgia.
© all rights reserved
Please take your time... and enjoy it large on black
The Laotian Civil War 1953–1979 was an internal fight between the Communist Pathet Lao and the Royal Lao Government in which both the political rightists and leftists received heavy external support for a proxy war from the global Cold War superpowers. The Kingdom of Laos was a covert theater of battle for the other belligerents during the Vietnam War. The Franco-Lao Treaty of 1953 gave Laos full independence but the following years were marked by a rivalry between the neutralists under Prince Souvanna Phouma, the right wing under Prince Boun Oum of Champasak, and the left-wing Lao Patriotic Front under Prince Souphanouvong and future Prime Minister Kaysone Phomvihane. A number of attempts were made to establish coalition governments, and a "tri-coalition" government was finally seated in Vientiane. Laos was never actively a party in the Civil War of Vietnam. But because of a very important part that was helpful to North Vietnam for getting upper hand in the War, Laos was dragged into it. United States President John Kennedy said in 1961 The security of all South East Asia will be in danger if Laos loses its Neutral independence. I want to make it clear to the American People and to all the world that all we want in Laos is peace, not war.. In the year 1962 Geneva Conference established Laos as a neutral country regarding the Civil War of Vietnam. But North Vietnam continued to use the Laotian trail for winning in the war. They continued to use the Ho Chi Minh Trail for sending military troops and other supplies and ammunitions. As a result, US took part in the war for stopping the North Vietnam but the entire involvement of US was a secret that gave the name Secret War to this unfortunate event and phase in Laos. A significant number of Hmong people fought against the communist-nationalist Pathet Lao during the Secret War financially they were supported by the CIA.The US involvement was kept secret as this country signed in the Geneva Conference regarding the neutrality of Laos. No official documents can be found regarding the US and Vietnam War that used Laos and ravaged the country. The Secret War in Laos continued from 1962 to1975. Well the truth behind the Secret War in Vietnam including bombing raids conducted every 8 Minutes day and night for nine solid years over the country of Laos. It makes Laos the Most Heavily Bombed Country in the World.
This portrait was taken at our Anouxsa Guest-house, Champasak - Laos. An old man stared at a peaceful view on the Mekong river. His face, his gaze - full of sadness. I didn't know why he was looking so sad till the friendly owner told me this is his father, a retired general of the Lao army. A man of 90 years old. A General during a long history of war with innumerable victims. Looking at his painful face it seems this retired General have some untold stories which will probably be kept untold.... His memories of war and suffering must be a heavy burden to carry.
De Laotiaanse Burgeroorlog 1953-1979 was een intern gevecht tussen de communistische Pathet Lao en de koninklijke Laoregering waarbij beide partijen enorme steun verkregen voor een oorlog bij volmacht van de wereldwijde supermachten Amerika en Rusland tijdens de Koude Oorlog. Het Koninkrijk Laos vormde het toneel voor een schemeroorlog voor de andere strijdende partijen tijdens de Vietnamoorlog. Het Frans-Laotiaans Verdrag van 1953 verleende Laos volledige onafhankelijkheid maar de jaren daaropvolgend werden gekenmerkt door rivaliteit tussen de neutralisten onder prins Souvanna Phouma, de rechtervleugel onder prins Boun Oum uit Champasak en het linkse Laotiaans Front onder prins Souphanouvong en toekomstig premier. Een aantal pogingen werden verricht om coalitieregeringen te vormen, wat uiteindelijk leidde tot een "drie-coalitie"-regering in Vientiane. De strijdende partijen in Laos omvatten het Noord-Vietnamese Leger, Amerikaanse, Thaise en Zuid-Vietnamese troepen, die op directe wijze en via ongestructureerde volmachten verwikkeld waren in een strijd om de macht over de zuidelijke uitloper van Laos. Het Noord-Vietnamese Leger bezette het oosten om het te kunnen gebruiken voor de Ho Chi Minh-bevoorradingscorridor en als uitvalsbasis voor offensieven in Zuid-Vietnam. In 1975 kwamen de Noord-Vietnamezen en Pathet Lao als overwinnaars uit de strijd in het jaar dat de communisten de overwinning proclameerden over heel Indochina. Met de geheime oorlog wordt een tijdsperiode tussen 1962 en 1975 aangeduid waarin de CIA in het geheim Laos met bommen bestookte. Gedurende die negen jaar werd het Aziatische land gemiddeld om de acht minuten gebombardeerd door Amerikaanse vliegtuigen, zonder dat daarvoor toestemming was verleend door het Amerikaans Congres. De geheime oorlog kwam voort uit angst van de Amerikanen dat het communisme in Indochina zou oprukken. De geheime oorlog kwam ten einde op 21 februari 1973 toen er in Vientiane een akkoord werd getekend. Daarin verklaarden de Verenigde Staten hun aanvallen te staken, op voorwaarde dat er een nieuwe regering zou komen die gemengd rechts en links zou zijn. Daarvoor moest de zittende, pro-communistische regering van Pathet Lao wijken. Deze was het officiële doelwit van de Amerikaanse bombardementen, alleen wist de CIA niet exact waar deze te vinden. De geheime oorlog maakte van Laos het meest gebombardeerde land ter wereld.
Dit portret heb ik genomen tijdens ons verblijf in Guesthouse Anouxsa , Champasak - Laos. Een oude man staarde naar de machtige Mekong rivier. Zijn gezicht, z'n blik is droefheid. Ik wist niet waarom hij zo droef keek totdat de vriendelijke eigenaar vertelde dat deze man z'n vader was, een gepensioneerde Generaal uit het leger van Laos. Een man van 90 jaar oud. Een lange tijd oorlog met ontelbare slachtoffers is moeilijk te verteren. Een man met waarschijnlijk veel ongeschreven verhalen die waarschijnlijk nooit geschreven en verteld zullen worden...
Aleksander Porfírievich Borodín (en ruso, Александр Порфирьевич Бородин; San Petersburgo, Imperio ruso, 12 de noviembre de 1833 – ibídem, 27 de febrero de 1887) fue un compositor, doctor y químico, destacado dentro de los compositores del nacionalismo ruso, también conocido por formar parte del Grupo de los cinco.
Borodín es conocido por sus sinfonías, sus dos cuartetos de cuerda, En las estepas de Asia Central y su ópera El príncipe Ígor. Fue un prominente defensor de los derechos de las mujeres, de la educación en Rusia y fundó la Escuela de medicina para mujeres en San Petersburgo.
Fue hijo ilegítimo del príncipe georgiano Luká Stepánovitch Gedevanishvili (62), quien lo registró conforme a la usanza de la época como hijo de uno de sus sirvientes, Porfiri Borodín. Su madre fue Evdokia (Eudoxie) Constantínovna Antónova (25), apodada por el diminutivo Dunia. Su padre muere cuando Alexander tenía 7 años y lo incluye en su testamento. Alexander fue un autodidacta, aprende a tocar flauta, violonchelo y piano. Tuvo una vida confortable y recibió una buena educación incluyendo clases de piano, francés y alemán. A los 15 años se inscribe en la Facultad de Medicina, a los 21 es contratado en el Hospital de la Armada Territorial y a los 23 como profesor de la Academia Militar de Química. Sin embargo, su área de especialización fue la química, por lo cual no recibió clases formales de composición hasta 1863, cuando se convirtió en discípulo de Mili Balákirev. Tuvo dos hermanos, Dmitri Serguéievich Aleksándrov y Evgueni Fiódorovich Fiódorov, que fueron registrados como hijos de los sirvientes del príncipe. Se casa en 1861 con una famosa y talentosa pianista nacida en Heidelberg, Ekaterina Serguéievna Protopópova, con quien tuvo tres hijos.
En 1869 Balákirev le dirigió su primera sinfonía y en ese mismo año Borodín comenzó la composición de su segunda sinfonía. Aunque el estreno ruso de esta última fue un fracaso, Franz Liszt logró que fuera interpretada en Alemania en 1880, donde tuvo bastante éxito, dándole fama fuera de Rusia.
También en 1869 empezó a trabajar en la composición de su ópera El príncipe Ígor, que es considerada por algunos su obra más importante. Esta ópera contiene las ampliamente conocidas Danzas polovtsianas (o Danzas de los pólovtsy), siendo éste un fragmento comúnmente interpretado por sí mismo, tanto en su versión coral como orquestal. Debido a la gran carga de trabajo como químico, la ópera quedó inconclusa al momento de su muerte, siendo completada posteriormente por Nikolái Rimski-Kórsakov y Aleksandr Glazunov.
Priorizó su ópera sobre la tercera sinfonía, quedando esta inacabada. Alexander Glazunov consiguió arreglar las secciones del primer movimiento, así como recrear el scherzo a partir de uno de sus cuartetos de cuerda, cuyo scherzo iba a ser el mismo. Para el trío del scherzo, Glazunov utilizó temas que se habían desechado durante la composición de El príncipe Igor.
A pesar de ser un compositor reconocido, Borodín siempre se ganó la vida como químico, campo en el cual era bastante respetado, particularmente por su conocimiento de los aldehídos. A Borodín también se le atribuye, junto con Charles-Adolphe Wurtz, el descubrimiento de la reacción aldólica, una importante reacción en química orgánica; además de otra reacción química conocida como reacción Borodin-Hunsdiecker. En 1872, participó en la fundación de una escuela de Medicina para mujeres.
Sus obras incluyen el poema sinfónico En las estepas de Asia Central, dos cuartetos de cuerdas, donde el tercer movimiento Nocturno del segundo cuarteto goza de gran fama, un quinteto para cuerdas, un quinteto para piano y cuerdas, una sonata para violoncelo y piano, 16 canciones para bajo y piano, tres de ellas además con violoncelo, piezas para piano, así como las ya mencionadas sinfonías 1 y 2, más una tercera incompleta al momento de su muerte (con dos movimientos completados por Glazunov), el segundo movimiento de la tercera sinfonía, Borodín lo transcribió a cuarteto de cuerdas como un Scherzo.
Tras la muerte de Modest Músorgski en marzo de 1881, sufre de ataques cardiacos y cólera. Borodín murió a los 53 años de un infarto durante una fiesta organizada por los profesores de la academia en San Petersburgo, el 27 de febrero de 1887 y fue enterrado en el cementerio Tijvin del monasterio de Aleksandr Nevski. Su esposa le sobrevivió 5 meses.
En su honor, un cuarteto de cuerdas fundado en Rusia en 1945 lleva su nombre, el Cuarteto Borodín. El pintor Iliá Yefímovich Repin (1844–1930) hizo un magnífico retrato de Borodín, que se encuentra en el Museo Estatal Ruso de San Petersburgo.
es.wikipedia.org/wiki/Aleksandr_Borodín
es.wikipedia.org/wiki/Los_Cinco_(compositores)
Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н) (12 November 1833 – 27 February 1887) was a Russian chemist and Romantic musical composer of Georgian ancestry. He was one of the prominent 19th-century composers known as "The Mighty Handful", a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models. Borodin is known best for his symphonies, his two string quartets, the symphonic poem In the Steppes of Central Asia and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.
A doctor and chemist by profession, Borodin made important early contributions to organic chemistry. Although he is presently known better as a composer, during his lifetime, he regarded medicine and science as his primary occupations, only practising music and composition in his spare time or when he was ill. As a chemist, Borodin is known best for his work concerning organic synthesis, including being among the first chemists to demonstrate nucleophilic substitution, as well as being the co-discoverer of the aldol reaction. Borodin was a promoter of education in Russia and founded the School of Medicine for Women in Saint Petersburg, where he taught until 1885.
Borodin was born in Saint Petersburg as an illegitimate son of a 62-year-old Georgian nobleman, Luka Stepanovich Gedevanishvili, and a married 25-year-old Russian woman, Evdokia Konstantinovna Antonova. Due to the circumstances of Alexander's birth, the nobleman had him registered as the son of one of his Russian serfs, Porfiry Borodin, hence the composer's Russian last name. As a result of this registration, both Alexander and his nominal Russian father Porfiry were officially serfs of Alexander's biological father Luka. The Georgian father emancipated Alexander from serfdom when he was 7 years old and provided housing and money for him and his mother. Despite this, Alexander was never publicly recognized by his mother, who was referred to by young Borodin as his "aunt".
Despite his status as a commoner, Borodin was well provided for by his Georgian father and grew up in a large four-storey house, which was gifted to Alexander and his "aunt" by the nobleman. Although his registration prevented enrollment in a proper gymnasium, Borodin received good education in all of the subjects through private tutors at home. During 1850 he enrolled in the Medical–Surgical Academy in Saint Petersburg, which was later the workplace of Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.
During 1862 Borodin returned to Saint Petersburg to begin a professorship of chemistry at the Imperial Medical-Surgical Academy and spent the remainder of his scientific career in research, lecturing and overseeing the education of others. Eventually, he established medical courses for women (1872).
He began taking lessons in composition from Mily Balakirev during 1862. He married Ekaterina Protopopova, a pianist, during 1863, and had at least one daughter, named Gania. Music remained a secondary vocation for Borodin besides his main career as a chemist and physician. He suffered poor health, having overcome cholera and several minor heart failures. He died suddenly during a ball at the Academy, and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in Saint Petersburg.
In his profession Borodin gained great respect, being particularly noted for his work on aldehydes. Between 1859 and 1862 Borodin had a postdoctoral position in Heidelberg. He worked in the laboratory of Emil Erlenmeyer working on benzene derivatives. He also spent time in Pisa, working on halocarbons. One experiment published during 1862 described the first nucleophilic displacement of chlorine by fluorine in benzoyl chloride. The radical halodecarboxylation of aliphatic carboxylic acids was first demonstrated by Borodin during 1861 by his synthesis of methyl bromide from silver acetate. It was Heinz Hunsdiecker and his wife Cläre, however, who developed Borodin's work into a general method, for which they were granted a US patent during 1939, and which they published in the journal Chemische Berichte during 1942. The method is generally known as either the Hunsdiecker reaction or the Hunsdiecker–Borodin reaction.
During 1862, Borodin returned to the Medical–Surgical Academy (now known as the S.M. Kirov Military Medical Academy), and accepted a professorship of chemistry. He worked on self-condensation of small aldehydes in a process now known as the aldol reaction, the discovery of which is jointly credited to Borodin and Charles-Adolphe Wurtz. Borodin investigated the condensation of valerian aldehyde and oenanth aldehyde, which was reported by von Richter during 1869. During 1873, he described his work to the Russian Chemical Society and noted similarities with compounds recently reported by Wurtz.
He published his last full article during 1875 on reactions of amides and his last publication concerned a method for the identification of urea in animal urine.
His successor as chemistry professor of the Medical-Surgical academy was his son-in-law and fellow chemist, Alexander Dianin.
Borodin met Mily Balakirev during 1862. While under Balakirev's tutelage in composition he began his Symphony No. 1 in E-flat major; it was first performed during 1869, with Balakirev conducting. During that same year Borodin started on his Symphony No. 2 in B minor, which was not particularly successful at its premiere during 1877 under Eduard Nápravník, but with some minor re-orchestration received a successful performance during 1879 by the Free Music School by Rimsky-Korsakov's direction. During 1880 he composed the popular symphonic poem In the Steppes of Central Asia. Two years later he began composing a third symphony, but left it unfinished at his death; two movements of it were later completed and orchestrated by Alexander Glazunov.
During 1868 Borodin became distracted from initial work on the second symphony by preoccupation with the opera Prince Igor, which is considered by some to be his most significant work and one of the most important historical Russian operas. It contains the Polovtsian Dances, often performed as a stand-alone concert work forming what is probably Borodin's best-known composition. Borodin left the opera (and a few other works) incomplete at his death.
Prince Igor was completed posthumously by Rimsky-Korsakov and Glazunov. It is set in the 12th century, when the Russians, commanded by Prince Igor of Seversk, determined to conquer the barbarous Polovtsians by travelling eastward across the Steppes. The Polovtsians were apparently a nomadic tribe originally of Turkish origin who habitually attacked southern Russia. A full solar eclipse early during the first act foreshadows an ominous outcome to the invasion. Prince Igor's troops are defeated. The story tells of the capture of Prince Igor, and his son, Vladimir, of Russia by Polovtsian chief Khan Konchak, who entertains his prisoners lavishly and orders his slaves to perform the famous 'Polovtsian Dances', which provide a thrilling climax to the second act. The second half of the opera finds Prince Igor returning to his homeland, but rather than finding himself in disgrace, he is welcomed home by the townspeople and by his wife, Yaroslavna. Although for a while rarely performed in its entirety outside of Russia, this opera has received two notable new productions recently, one at the Bolshoi State Opera and Ballet Company in Russia during 2013, and one at the Metropolitan Opera Company of New York City during 2014.
No other member of the Balakirev circle identified himself so much with absolute music as did Borodin in his two string quartets, and in his many earlier chamber compositions. Himself a cellist, he was an enthusiastic chamber music player, an interest that increased during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. In thematic structure and instrumental texture he based his pieces on those of Felix Mendelssohn.
During 1875 Borodin started his First String Quartet, much to the displeasure of Mussorgsky and Vladimir Stasov. That Borodin did so in the company of The Five, who were hostile to chamber music, demonstrates his independence. From the First Quartet onward, he displayed mastery of the form. His Second Quartet, in which his strong lyricism is represented in the popular "Nocturne", followed during 1881. The First Quartet is richer in changes of mood. The Second Quartet has a more uniform atmosphere and expression.
Borodin's fame outside the Russian Empire was made possible during his lifetime by Franz Liszt, who arranged a performance of the Symphony No. 1 in Germany during 1880, and by the Comtesse de Mercy-Argenteau in Belgium and France. His music is noted for its strong lyricism and rich harmonies. Along with some influences from Western composers, as a member of The Five his music has also a Russian style. His passionate music and unusual harmonies proved to have a lasting influence on the younger French composers Debussy and Ravel (in homage, the latter composed during 1913 a piano piece entitled "À la manière de Borodine").
The evocative characteristics of Borodin's music made possible the adaptation of his compositions in the 1953 musical Kismet, by Robert Wright and George Forrest, notably in the songs "Stranger in Paradise" and "And This Is My Beloved". In 1954, Borodin was posthumously awarded a Tony Award for this show.
en.wikipedia.org/wiki/Alexander_Borodin
en.wikipedia.org/wiki/List_of_compositions_by_Alexander_B...
en.wikipedia.org/wiki/The_Five_(composers)
Vacaciones Patagonicas
Fecha: 01 Abril 2010.
Lugar: Ventisquero Balmaceda, Puerto Natales - Chile
Fotografía: Christian Varas Kallens
Contacto: c.varaskallens@gmail.com
Nikon D300
© All rights reserved.
Fotografía: Christian Varas Kallens
Lugar: Estacion Central, Santiago de Chile
Fecha: 12 de Julio del 2007
Circunstancia: De regreso del trabajo.
Equipo: Nikon D80, lente 135 mm
Oil on canvas
Atalía Lima
Museo Histórico Nacional
Buenos Aires, Argentina
About the artist:
Argentine painter, born in San Juan, who lived approximately between 1810 and 1880. Friend of Sarmiento, who mentions Lima sometimes in his works. It is believed that he always lived in San Juan. Self taught.
In the Museum of Luján a miniature of Fray Justo Santa María de Oro of 1836 is conserved.
In 1858 he worked as professor of drawing and geography in the National School of Buenos Aires. He attended the Córdoba Exhibition of 1871 with several works, including: The San Juan Beggar, The Encounter of the Gaucho in Love, The Tracker Calíbar, and Portrait of General Mariano Acha.
He was fundamentally a portrait painter, although some still life and works of local customs are known. His work, The Repentance , was exhibited in 1863 at the home of Corti and Francisqueli in 1863. At the San Roque Hospital in San Juan, there was a portrait of Doña Gertrudis Funes. Other portraits: Mrs. Mercedes Merlo de Videla Lima; Lady Sixta Mallea de Cordero (1880); Don Zacarías Antonio Yanzi. His work is in the collection of the National Historical Museum; it is known that San Juan families owned his works, but the whereabouts of many are unknown.
www.museofranklinrawson.org/artistas/lima-ataliva/
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Fray Justo Santa María de Oro y Albarracín (San Juan, September 3, 1772 - October 19, 1836) was an Argentine cleric and defender of republicanism.
He was the son of Juan Miguel de Oro Bustamante and Cossio and Elena Albarracín Ladrón de Guevara. When he was 17 years old he joined the Order of the Dominicans in Chile, from where he returned to his province in 1814, expelled by General José Miguel Carrera.
His contacts with his Order brothers in Chile allowed General San Martín to send secret mail through them.
In 1816 he was elected deputy to the Congress of Tucumán, along with Francisco Laprida. There he promoted the Declaration of Independence. Liberal historiography places him as a strong defender of the republican form of government by virtue of his phrase "we must consult the peoples."
In the Congress of Tucumán his words were "the sovereignty of the people will win the day," framing the thesis of the constitutional monarchy, or "I the King" appears, against the republic, or "We the people." .
He resigned from Congress when, the following year, he moved to Buenos Aires; He was deported to Chile in 1818, quickly becoming the superior of the Dominicans of that country.
He returned to San Juan in 1828, as apostolic vicar for the diocese of San Juan de Cuyo. He built the Cathedral, improved the religious schools of that city and founded one for women. He was appointed bishop in 1830 but he served as governor of the bishopric, since he never became ordained.
He was forced out of politics for not entering the internal fights between unitarians and federalists, he died on October 19, 1836 and his remains rest in the Cathedral of San Juan.
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Sobre el artista:
Pintor argentino, nacido en San Juan, cuya existencia transcurre aproximadamente entre los años 1810 y 1880. Amigo de Sarmiento, éste lo menciona algunas veces en sus obras. Se cree que vivió siempre en San Juan. Autodidacta. En el Museo de Luján se conserva una miniatura de Fray Justo Santa María de Oro de 1836. En 1858 se desempeñó como profesor de dibujo y geografía en el Colegio Nacional de Buenos Aires. Concurrió a la Exposición de Córdoba de 1871 con varias obras, entre ellas: El mendigo sanjuanino, La cita del gaucho enamorado, El rastreador Calíbar, Retrato del General Mariano Acha. Fue fundamentalmente pintor de retratos, aunque se conoce algún bodegón y obras de corte costumbrista. Su obra El arrepentimiento, fue expuesta en 1863 en la casa de Corti y Francisqueli en 1863. En el Hospital San Roque de San Juan, existió el retrato de Doña Gertrudis Funes. Otros retratos: Señora Mercedes Merlo de Videla Lima; Señora Sixta Mallea de Cordero (1880); Don Zacarías Antonio Yanzi. Hay obra suya en el Museo Histórico Nacional; se sabe que familias sanjuaninas poseían obras suyas, pero de muchas de ellas se desconoce el paradero.
www.museofranklinrawson.org/artistas/lima-ataliva/
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Fray Justo Santa María de Oro y Albarracín (San Juan, 3 de septiembre de 1772 - 19 de octubre de 1836) fue un religioso argentino, defensor del republicanismo.
Era hijo de Juan Miguel de Oro Bustamante y Cossio y Elena Albarracín Ladrón de Guevara. A los 17 años ingresó en la Orden de los Dominicos en Chile, de donde regresó a su provincia en 1814, expulsado por el general José Miguel Carrera.
Sus contactos con sus hermanos de Orden en Chile sirvieron para que el General San Martín pudiera enviar correo secreto a través de ellos.
En 1816 fue elegido diputado al Congreso de Tucumán, junto con Francisco Laprida. Allí impulsó la declaración de la Independencia. La historiografía liberal lo ubica como un férreo defensor de la forma republicana de gobierno por su frase "hay que consultar a los pueblos".
En el Congreso de Tucumán sus palabras fueron "se dará la batalla a favor de la soberanía del pueblo" y por eso aparece la tesis de la monarquía constitucional o "Yo el Rey", enfrentada con la de la república o "Nosotros los pueblos".
Renunció al Congreso cuando, al año siguiente, éste se trasladó a Buenos Aires; fue deportado a Chile en 1818, llegando rápidamente a ser el superior de los Dominicos de ese país.
Regresó a San Juan en 1828, como vicario apostólico para la diócesis de San Juan de Cuyo. Construyó la Catedral, mejoró las escuelas religiosas de esa ciudad y fundó una para mujeres. Fue nombrado obispo en 1830 pero ejerció como gobernador del obispado, ya que nunca llegó a ser ordenado.
Retirado de la Política por no ingresar en las luchas intestinas entre unitarios y federales muere un 19 de octubre de 1836 y sus restos descansan en la Catedral de San Juan.
Source/fuente: es.wikipedia.org/wiki/Justo_Santa_Mar%C3%ADa_de_Oro
Vacaciones Patagonicas
Fecha: 27 Marzo 2010.
Lugar: Región de Magallanes - Chile
Fotografía: Christian Varas Kallens
Contacto: c.varaskallens@gmail.com
Nikon D300
© All rights reserved.
El Tordo llanero, también llamado Zanate caribeño o Tordo negro a ido migrando desde los llanos orientales Colombianos hacia otros territorios, en este caso en Ciudad del Rio (Medellín), pero también se han identificado en Bello y Barbosa.
El Tordo llanero es muy gregario, se suele alimentar en el suelo de insectos, otros invertebrados o desperdicios (es omnívoro). Puede resultar muy atrevido y audaz, y llega a entrar en las casas y restaurantes en busca de comida. Suele atacar en grupos a sus posibles depredadores, como a los perros, mapaches o humanos. Por la noche descansa también en grupo.
Nombre(s) común(es): Tordo Llanero, Tordo negro, Zanate caribeño
Nombre científico: Quiscalus lugubris
English name: Carib Grackle
Altura: 27cm Macho // 23cm Hembra
Vacaciones de Verano 2008
Lugar: Fundo Isla Teja Norte, Valdivia - Región de los Ríos - Chile
Fecha: 21 de Febrero del 2008
Fotografía: Christian Varas Kallens
Contacto: c.varaskallens@gmail.com
Nikon D80
18-135mm
Laos, one of the world's few remaining Communist regimes, is also one of Asia's poorest nations. The current government came to power in 1975 and immediately imposed a rigid socialist economic program. Change began in 1986 with the loosening of restrictions on private enterprise. Since then, Laos has enjoyed high economic growth, despite poor national infrastructure and a dominant, inefficient agriculture sector. It is also heavily reliant on international assistance programs. In 1998, Laos began formal negotiations with the World Trade Organization. As symbols of progress and of Laos' impressive arrival on the world stage of nations, display boxes feature old piles of something called Cosco Coke. This is a Lao version of Coca-Cola, dressed up in post-revolutionary rhetoric. Facility location in the capital city of Vientiane. Also a land of ethnically diverse inhabitants but where gentle, open, beaming smiles surround you wherever you go. Of all the places we've visited, Laos probably wins the award for friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. Its delightful old world charm has not been despoiled by the slow but steady pace of modernization.
I just went for a stroll around Pakxong and saw this soulful man wearing a Cosco Coke cap. It's a drink here in Laos called Cosco Cola. The label looks very similar to that of Coca Cola, though I doubt it’s an approved version. I was surprised to find that it tastes exactly like Coke.
Laos, is nog één van de weinige overgebleven communistisch regimes en is ook één van de armste naties van Azië. De huidige regering kwam aan de macht in 1975 en legde onmiddellijk een onbuigzaam socialistisch economisch programma op. Verandering begon in 1986 met de losmaken van beperkingen op privé-onderneming. Sinds dien heeft Laos een hoge economische groei, ondanks arme nationale infrastructuur en een overwegende, ondoelmatige landbouwsector. Het is ook zwaar afhankelijk van internationale hulpprogramma's. In 1998 begon Laos formele onderhandelingen met de Wereld Handelsorganisatie. Als symbool van vooruitgang heeft Laos zijn eigen Coca Cola versie; Cosco Coke. De fabriek staat in de hoofstad Vientiane. Laos is een prachtig land met ongerepte natuur, exotische dieren en vriendelijke mensen. Het land is een arm land, met nog onbedorven wildernis en een bevolking van 5,5 miljoen mensen. In Laos zijn zo'n twintig natuurgebieden die door de overheid zijn aangewezen als National Protected Area. Door deze bescherming wordt het unieke landschap en de flora en fauna zoveel mogelijk behouden De gebieden bestaan uit tropische regenwouden, kalkstenen rotsformaties, inheemse flora en fauna en andere wildlife. Zeker voor de avontuurlijke reiziger herbergt dit land een grote hoeveelheid aan onontdekte natuurschatten, vriendelijke mensen en een gevoel dat veel nog puur is alleen de Cola niet.