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Chardon à capitules grêles - Slender thistle - Cardo borriquero
Carduus cf. tenuiflorus Curtis (colonie)
Matorral (alt. 100 m)
Valparaiso (Chili)
Néophyte (Ouest de l'Europe, Nord-Ouest de l'Afrique)
The Emperor Napoleon in His Study at the Tuileries, 1812
Jacques-Louis David
West Building, Main Floor — Gallery 56
How do portraits influence the way we see historic figures? David shows Napoleon Bonaparte working tirelessly for the people of France. The clock reads 4:13, the early morning. The candles are almost extinguished. The emperor’s hair is disheveled, his stocking rumpled. He has spent the night drafting the Napoleonic Code, France’s first civil law code. David’s portrait creates a powerful myth of the leader, but it’s not the full story. Napoleon was a military genius whose code became the model of modern legal systems worldwide, but he also left millions dead in his quest to conquer Europe. He reestablished slavery in France’s colonies and stole art from around the globe. His complex legacy is still the subject of fierce debate.
Careful examination of the details embedded in this portrait reveals the key to David’s success as a painter during the time of Louis XVI, Robespierre, and Napoleon: the artist’s ability to transform his subjects into politically powerful icons.
Napoleon is placed in the center of a vertical canvas dressed in his uniform as a colonel of the Foot Grenadiers of the Imperial Guard. His pose—the slightly hunched shoulders and hand inserted into his vest—contrasts to the formality of his costume. In addition, his cuffs are unbuttoned, his leggings wrinkled, and his hair disheveled. David, in a letter to the patron of this portrait, Alexander Douglas, the tenth Duke of Hamilton, explained that his appearance was designed to show that Napoleon had spent the night in his study composing the Napoleonic Code, an impression enforced by details, such as the flickering candles that are almost extinguished, the quill pen and papers scattered on the desk, and the clock on the wall which points to 4:13 a.m.
David strategically placed the sword on the chair to allude to Napoleon’s military success, while the prominent display of the word “Code” in his papers, suggests his administrative achievements. Other decorative details—the heraldic bees and the fleurs–de–lys—are symbols of French absolutism, and imply Napoleon’s power as ruler.
More information on this painting can be found in the Gallery publication French Paintings of the Nineteenth Century, Part I: Before Impressionism (PDF).
Jacques-Louis David was born in Paris in 1748, the son of an iron merchant who was killed in a duel (an unusual circumstance in his social class), when the boy was nine years old. His mother, Geneviève Buron, came of a family of builders and architects and was distantly related to the painter François Boucher (1703-1770). Under the guardianship of uncles on his mother's side, Louis received a sound classical education. His guardians wished to train him as an architect, but he insisted on being allowed to study painting. Following the advice of Boucher, he was placed in the studio of Joseph-Marie Vien (1716-1809), the leading promoter of the neoclassical reaction against the rococo. David's student work, strikingly rococo at first, was slow in adjusting to the ascendancy of classicism. He competed four times for the Rome Prize, beginning in 1771 with an awkward pastiche of Boucher (Battle between Mars and Minerva, Louvre); failing again in 1772 with Diana and Apollo Killing the Children of Niobe (lost), which enraged him to the point of threatening suicide; and still unsuccessful in his third try in 1773 (Death of Seneca, PetitPal). His fourth attempt, Antiochus and Stratonice (1774, Ecole des Beaux-Arts, Paris), finally won him the prize and gave the first indication of his turning to classicism. In Rome from 1775 to 1780, the overwhelming impression of the masters of the Italian High Renaissance and early baroque caused him to purge his work radically of all traces of the modern "French," that is, rococo, manner. A visit to Naples in 1779 completed his conversion. Belisarius Begging Alms (1780, Musée des Beaux Arts, Lille), begun in Rome but finished after David's return to Paris, sums up, in the calm grandeur of its composition and the subdued harmonies of its colors, the gains of his Italian stay. Reports of his talent had preceded him to Paris. The French Academy hastened to admit him with the rank of associate. At the Salon of 1781 the exhibition of his Italian canvases produced a strong impression on critics and public. His marriage in 1782 to Charlotte Pécoul, daughter of the supervisor of royal buildings, brought him influence and financial security. Sponsored by Vien, he was admitted to full academy membership the following year, offering as his reception piece Andromache Mourning Hector (Ecole des Beaux-Arts, Paris). With its antique weapons, furniture, and architectural ornaments, it was the most consciously "Greek" of his works to this time.
Awarded a royal commission to execute a painting on the subject of Horatius Defending His Son Before the People for the Salon of 1783, David delayed work on the project and, on his own responsibility, changed its subject to the Oath of the Horatii. Deciding that he could carry it out only in Rome, David traveled to Italy with financial help from his father-in-law and there finished the picture in eleven months. Exhibited at the Paris Salon of 1785, its Spartan severity excited general admiration and founded David's reputation as France's foremost painter. He followed this success with a private commission for the financier Trudaine, The Death of Socrates (The Metropolitan Museum of Art, New York), which won praise at the Salon of 1787. His entry in 1789, Brutus in the Atrium of His House, after the Execution of His Sons (Louvre), based on a play by Voltaire, was, like the Horatii, a royal commission, but its moral lesson--that family ties must yield to the demands of patriotism--was stated with an unyielding hardness that foretold the Terror.
Without professing any political ideology, David's pre-Revolutionary paintings merely celebrated civic virtue, but with a vehemence that later made them adaptable to partisan rhetoric. Though little is known of his opinions before 1789, there can be no doubt that he greeted the Revolution with enthusiasm and constantly supported its most radical causes. His political activity was at first confined to the Academy, in which he became the leader of a dissident faction of junior members. By enlisting the aid of the Commune of Paris, then of the National Assembly, and finally of the Jacobin Club, he managed to dismantle the privileges of the academy one by one and, as a member of the Committee of Public Instruction in 1793, obtained the decree that abolished it altogether. An admirer and friend of Robespierre,, he voted for the beheading of the king and the queen (January and October 1793) and briefly presided over the Convention. During his years of Revolutionary activity, he did not produce moralizing history paintings, such as might be expected from an artist-legislator. His first service to the Revolution was to commemorate the Oath in the Tennis Court at the request of a Jacobin club in 1790. His drawing (Louvre) of that crucial meeting of the Third Estate in an indoor tennis court at Versailles, exhibited at the Salon of 1791, was to have been executed in a large painting paid for by public subscription, but the scheme failed and the canvas remained unfinished. As the leading member of the Committee of Public Instruction, David was in fact, though not in title, Robespierre's minister of the arts, to whom it fell to plan the huge national pageants that were the Revolution's chief means of mass indoctrination. He designed their settings of artificial mountains, symbolic sculptures, and monumental altars, sketched the costumes and organized the ceremonial for the Translation of Voltaire's Ashes to the Pantheon (1791), the celebration of the Mutinous Swiss Guards (1792), the Festival of Brotherhood (1793), and the Feast of the Supreme Being (1794), and volunteered to paint the memorial portraits of the Revolution's "martyrs"--Lepelletier de Saint-Fargeau (1793, lost), Marat (1793, Musées Royaux, Brussels), and Barra (unfinished, Musée Calvet, Avignon).
When Robespierre fell in July 1794, David was denounced as "tyrant of the arts" and had to defend himself before the hostile Convention. Though he had earlier vowed, recalling Socrates, to "drink the hemlock" with his leader, he lost his nerve, lamely exculpated himself, and was spared the guillotine. Imprisoned for several months in 1794 and again in 1795, he was amnestied at the time of the establishment of the Directory. Feeling betrayed and blameless, he withdrew from the pitfalls of politics into the innocence of art: he felt the Revolution had distracted him from his true vocation, classical history painting. The years between Robespierre's fall (1794) and Bonaparte's rise (1799) were his interlude of artistic independence between two political engagements, a time to concentrate on matters of form and style.
While still in prison, his thoughts turned again to themes from antiquity. Among them he found one that was applicable to France's present situation, the Sabine Women Stopping the Battle between Romans and Sabiner (Louvre), a scene of reconciliation. The picture, which occupied him from 1795 to 1799, marked a change in his attitude toward classicism. His earlier paintings, he now believed, were too harshly "Roman" and too physical in their display of muscular anatomies. In the Sabines he aimed instead for "Greek" purity. He disposed its main figures in a wide frieze, stripped them bare, and defined their smooth and slender bodies with clean contours. He exploited this refined classical manner in portraits of fashion leaders of post-Revolutionary society, among them those of Mme Verninac (1799, Louvre) and Mme Récamier (1800, Louvre). Impoverished after years without adequate income, he made his peace with the new order. When the academy, which he had helped to abolish, was reestablished under a new name, he immediately became a member. At the same time, he organized his studio as a place of instruction through which in time some four hundred students passed, causing it to become, identified simply as "the French School," a dominant force in European art for several decades.
David first met Bonaparte in the winter of 1797 on the latter's return from his Italian victories. David was eager to ally himself with the hero of the hour, and Bonaparte, already preparing his ascent to power, sensed that the master propagandist might prove of future use. A life-size portrait was begun but remained unfinished. A closer relationship developed in 1799, after Napoleon, now titled First Consul, had become the dictator of France. In Bonaparte Crossing the Alps at the Saint-Bernard (1801; Versailles and studio repetitions), David celebrated the victo of Marengo, "calm on a fiery horse," as Bonaparte himself had specified. When Napoleon made himself emperor of France in 1804, he appointed David his First Painter and commissioned him to commemorate the empire's inaugural ceremonies in four paintings of very large size. Only two, the Coronation and the Presentation of the Standards, were executed, before David's insistent demands for money and administrative power so irritated the emperor that he canceled the project. David had witnessed the coronation in the choir of Notre Dame. In striving to give artistic form to a scene from modern life, he put aside his classicist preferences and followed the example of Rubens' Coronation of Maria de Médici (Louvre). His innate realism was roused by the ceremonial: he found that crimson velvet and gold braid, though repugnant to strict classicists, "offered opportunities to a painter," as did the pomp of monarchy to a former revolutionary. A masterly composition of splendid, painterly execution, David's Coronation (1805-1808, Louvre) remains the summit of modern history painting. The second canvas in the series, Presentation of the Standards (1808-1810, Versailles), which records the armies' homage to the emperor, proved less successful. After its exhibition at the Salon of 1810, David received no further state commissions. Lacking official employment, he reverted to classical subjects of his own choice, taking up again a monumental canvas, Leonidas at the Pass of Thermopylae (1812-1814, Louvre), that he had begun under the Consulate in 1799 but abandoned at Napoleon's prompting. At sixty-two, he was beginning to show signs of weariness. The robustly modern realism and the delight in fresh colors that Napoleon's commissions had stimulated hereafter found an outlet only in portraits, notable among them the National Gallery's Napoleon in His Study (1961.9.15), the private commission of a francophile Briton.
After Napoleon's first abdication in April 1814 and the restoration of Louis XVIII, David remained undisturbed and was able to arrange a private exhibition of his Leonidas. In March 1815 Napoleon returned from Elba, swept away the Bourbon court, and reconfirmed David as First Painter. David now signed a declaration of loyalty to Napoleon--an act of courage, since he foresaw the emperor's ultimate defeat. On the reinstatement of Louis XVIII after Waterloo, David was banished from France, together with other regicides who had opted for Napoleon. He settled in Brussels in 1816 and, at sixty-eight, prepared for a new life. The portraits he painted in these last years prove his sense of composition and vigor of execution to have been almost undiminished. Not so his renewed attempts at classical subjects that, now entirely without ideological relevance, took the form of ingratiating erotic mythologies--among them Cupid and Psyche (1817, The Cleveland Museum of Art) and David's disastrous swan song, Mars Disarmed by Venus and the Graces (1824, Musées Royaux, Brussels). Preceded by much publicity, this painting, when shown in Brussels and Paris to more than twenty thousand paying visitors, dismayed both friends and foes by its feebleness. David ended his days in bourgeois comfort in Brussels, cared for by affectionate pupils and friends. A heart ailment brought on his death in December 1825. The revolutionary who had stage-managed the pagan funerals of Lepelletier and Marat was borne in solemn cortège to the church of Sainte-Gudule and given a Christian burial. [This is the artist's biography published in the NGA Systematic Catalogue]
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Sopranos, harpsichord, lute, tenor and bariton;
Sweelinck Festival;
Waalse Kerk, Amsterdam,
October 16th, 2021;
(c) co broerse/a dor hout production
Here is Schulte making sweet music with GarageBand on my Macbook Pro. That was the program that pushed him over the edge and into debt to buy his own Mac. Viva la Steve Jobs!
Astéracée (ex-Composée) de 30-90 cm à tige dressée, souvent rougeâtre, peu ramifiée et pubescente. Feuilles faiblement dentées, gaufrées dessus, non embrassantes. Inflorescence en corymbe dense. Capitules de 0,8-1 cm nettement plus petits que chez les autres Inules. Involucre à bractées courtes et inégales, imbriquées sur plusieurs rangs, les externes recourbées au sommet.
Fleurs toutes tubulées et jaunâtresou un peu rougeâtres au sommet, les externes à très courtes ligules peu visibles, dressées et ne dépassant pas les fleurons. Akènes brun foncé d'environ 2 mm, striés et pubescents, portant une aigrette blanc roussâtre à 1 rang de soies libres et denticulées, mais non séparés par des écailles ou paillettes implantées sur le réceptacle.
Autres noms français : Aunée conyze, Chasse puces (celui d'Herbe aux puces est donné indifféremment à 3 espèces de Plantain, leurs graines ressemblant à ces dernières), Herbe aux mouches ou aux punaises, Conyze ou Inule squarreuse, Oeil de cheval. Espèce héliophile ou de demi-ombre des sols riches en bases : oulerts mésoxérophiles, pelouses sèches, fruticées et friches calcicoles (H des Abbayes, P Fournier et P Jauzein).
Fergusson composed his head of Eastre - the Saxon goddess of Spring - almost entiriely from round shapes. This, and the polished brass, were intended to represent the glow of the sun after the gloom of winter.
Wikipedia article about artist LINK ▼
Saxophone;
Young Talent Orchestra
Nina Prove, concertmaster;;
Klassiek op 't Amstelveld;
Amstelveld, Amsterdam,
September 14th, 2019;
© co broerse
My sister Hanna took us to the Louisiana Museum of Modern Art, where we posed for yet another photo shoot :)
Ganhei este tecido da querida Carol Heinen. Ela não tinha gostado da estampa. Mas combiandinha assim, não dá para resistir!
With Selim Doğru, piano, İbrahim Avci, percussion, İsa Kizilöz, saz and Emrah Oğuztürk, ney;
Turkse Muziek Dag;
Passage De Hallen, Amsterdam,
March 6th, 2022;
(c) co broerse/a dor hout production
HDR + Topaz Adjust
3 exp Photomatix (Yep he did freeze while I took three shots.
My lad while he was trying to compose some music.
The Park Güell (Catalan: Parc Güell [ˈparɡ ˈɡweʎ]) is a public park system composed of gardens and architectonic elements located on Carmel Hill, in Barcelona, Catalonia (Spain). Carmel Hill belongs to the mountain range of Collserola — the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism. The park was built between 1900 and 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under “Works of Antoni Gaudí”.
Park Güell is the reflection of Gaudí’s artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premisses. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia).
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism - especially in the entrance stairway where the Catalonian countries are represented - and from Catholicism - the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.
On the other hand, many experts have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.
Et si on changeait un peu les règles ?
Si d'habitude notre LightPainting s'exprime par des mouvements de lumières, nous avons souhaité changer les règles. Face aux ambiances lumineuse des cités urbaines, nous avons appliqué le mouvement à l'appareil photo lui même.
Cette technique se base sur des rotations et des zoom de l'appareil.
Le décor devient la source lumineuse avec laquelle il faut composer.
Aseo Friesacher, piano, Loek van den Berg, saxophone, Nathan Surquin, trombone, Cas Jiskoot, double bass and Willem Romers, drums;
inJazz, showcase festival;
Bimhuis, Amsterdam,
June 21st, 2023;
© co broerse/a dor hout production