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A pintura "Fernando Pessoa" de Almada Negreiros retrata o poeta português Fernando Pessoa sentado a uma mesa, num ambiente interior.
Fernando Pessoa está vestido de forma elegante, com um traje preto, camisa branca, e um “papillon” preto.
Ele usa óculos e um chapéu preto, e está numa pose contemplativa, segurando uma caneta na mão direita e um papel na esquerda, sugerindo que está no meio de um processo criativo ou reflexivo.
A mesa à sua frente contém alguns objetos: um livro intitulado "Orpheu 2", uma xícara de café e um pires.
O fundo da pintura é dominado por tons de vermelho, com sombras geométricas que criam um ambiente dramático e intensificam a figura central.
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Almada Negreiros, um dos principais artistas do movimento modernista português, captura Fernando Pessoa num momento de criação, o que é muito representativo da vida e obra do poeta.
A escolha do vermelho como cor dominante pode simbolizar paixão, intensidade e a profundidade da alma artística de Pessoa.
A geometria das sombras e a simplicidade da composição refletem a estética modernista, que valorizava a clareza e a forma sobre o detalhe excessivo.
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A presença do livro "Orpheu 2" é significativa, pois "Orpheu" foi uma revista literária vanguardista onde muitos dos heterónimos de Pessoa foram publicados pela primeira vez.
Isso enfatiza a importância de Pessoa na literatura modernista portuguesa e a sua contribuição para a renovação da poesia e da prosa.
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A expressão facial de Pessoa, embora estilizada, sugere uma concentração profunda, talvez refletindo a complexidade da sua mente e a multiplicidade das suas identidades literárias (seus heterónimos).
A escolha de Negreiros de retratar Pessoa com óculos e chapéu pode ser uma referência à sua imagem pública e ao seu status intelectual.
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Fernando António Nogueira Pessoa (1888-1935) foi um dos maiores poetas de língua portuguesa e uma figura central do modernismo em Portugal.
Conhecido pela sua vasta obra poética e pela sua inovadora utilização de heterónimos, personagens fictícios que ele criou com biografias, estilos e filosofias próprias, como Alberto Caeiro, Ricardo Reis e Álvaro de Campos.
Pessoa explorou temas como a existência, a identidade, o tempo e a metafísica, muitas vezes através duma linguagem rica e complexa.
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A sua obra não se limita à poesia; ele também escreveu ensaios, críticas literárias, e até astrologia e ocultismo.
A profundidade e a diversidade da sua escrita tornam Pessoa uma figura fascinante e complexa, cuja influência transcende a literatura portuguesa, impactando a literatura mundial.
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Almada Negreiros, ao retratar Pessoa, não apenas captura a sua imagem física, mas também encapsula a essência da sua contribuição cultural e literária, fazendo desta pintura uma homenagem visual à sua imortalidade artística.
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Texto: ©MárioSilva
Pintura: Almada Negreiros
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Foto: Alex Caceres/PMSM
Esta fotografia oficial da Prefeitura de Santa Maria está sendo disponibilizada apenas para publicação por veículos de notícias e/ou para uso pessoal pelo(s) assunto(s) da fotografia. A fotografia NÃO PODE ser manipulada de forma alguma e não pode ser usada em materiais comerciais ou políticos, anúncios, e-mails, produtos, promoções que de alguma forma sugiram a aprovação ou endosso do(a) autor(a) da foto, Prefeito ou Prefeitura Municipal de Santa Maria.
Material protegido pela Lei nº 9.610/98.
400 écoliers de Seine-Saint-Denis, formant "La Cité des Marmots", porteront la voix des sons de la Louisiane avec Villes des Musiques du Monde. Rendez-vous le 30 mai, 14 h 30, à l’Embarcadère.
Vita Pauwels ‘Early Life Forms’
AB Club Brussels
Wednesday 24-Jan-2024
Vita Pauwels - Guitars
Frederik Leroux - Guitars
Casper Van De Velde - Drums
Laurens Dierickx - Hammond
AB Club
Wednesday 24-Jan-2024
© Patrick Van Vlerken
My entry for this week's assignment. It actually was much harder than I thought. I looked around all week trying to find things and couldn't Ended up shooting this tonight. I kind of like the way it came out.
Previously known as the Caserne Letourneux, this building, which was clearly inspired by Frank Lloyd Wright, is now the Montreal Impact Training Facility.
Specifications
Spiral duct forming machine use special mould for various tube diameters, very easy to change and adjust,no need crane
Spiral duct forming machine,
Diameter range:80-1500mm
thickness of strip: 0.4-1.2mm
Width:137mm
Strip speed:1-38m/min
Control system: PLC automatic control
The crew Sat. night after a hard days work.
Jon, Pavel, Kyrsten, and Lauren.
"The Golden Mean" a giant Jules Verne hot rod snail we are building in our shop Form & Reform in West Oakland.
For more info see: www.oilpunk.com
English:
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Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
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Form : GREBA OROKORREKO ARGAZKI, BIDEO eta EDUKIAK IGOTZEKO FORMULARIOA [Argazkiak]
registered at 2012-09-26 06:08:12
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Mezua/Mensaje (Aukeran/Opcional) : EGUERDIKO MANIFESTAZIOA
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IP Address : 80.24.155.202
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Sol LeWitt,
"Complex Form MH 15", enamel paint on aluminum, 1990
White abstract sculpture with two pointed sections branching from a common base. Faceted surface composed of triangular planes.
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www.lymanallyn.org/american-perspectives/
The Lyman Allyn Art Museum is home to a collection of more than 18,000 works.
The Museum opened in March 1932 with only 13 objects from the permanent collection on view. Of the original 13 on display, four were of Asian or ancient origin, four were European sculptures – two of which were quite modern – and five were European works on paper dating from the 14th to the 18th centuries. Today, the collection has grown to include more than 18,000 paintings, drawings, prints, sculptures, furniture and decorative arts as a result of active acquisitions by the Museum and generous donations to the Lyman Allyn.
The collection spans a 2,600-year period, ranging from ancient Greek and Roman artifacts to works by living artists, with particular strengths in American and European art from the 18th and 19th centuries. Notable artists in the collection include Thomas Cole, Frederic Edwin Church, Winslow Homer, Andrew Wyeth, John Copley, Winthrop Chandler, Paul Revere, Louis Comfort Tiffany, Sol LeWitt, Eugene Delacroix, Charles LeBrun, J. A. D. Ingres, and Giovanni Battista Tiepolo, among many others.
The 18th Century
New London’s deep water harbor has driven the regional economy since colonial times, connecting southeastern Connecticut to the broader Atlantic world. In the 18th century, local shipping merchants specialized in the West Indies trade, exporting livestock and food to Caribbean plantations in exchange for sugar, molasses, and rum. Economic growth and stability in the second half of the century enabled colonists to acquire a greater range of household goods—textiles, silver, glass, ceramics, furniture, and paintings among them. Some goods were imported, while others were produced in the home or by craftsmen and artists, whose work and skill expanded to meet increasing demand. The Tea Table and the painting of Sarah Deshon (from the same family) tell a local story, showing how the Deshons of 18th century New London cemented their status and wealth from trade with objects that conveyed their social and economic standing.
Connecticut played a key role in the American Revolution, as political tension over taxation and colonial governance led to war with Britain. With the British headquartered in New York City, New London’s harbor was an ideal site from which to initiate naval attacks on British loyalists. New London’s privateering (the use of authorized private ships to attack and loot enemy ships) prompted British troops to retaliate, burning New London in the Battle of Groton Heights on September 6, 1781.
Daniel Huntington’s portrait of Abigail Dolbeare Hinman, 1854–56, recreates an episode from this event, showing Hinman standing with her musket in hand, attempting to shoot Benedict Arnold, who can be seen through the window, sitting on horseback.
The 19th Century
As the young nation sought to define itself in the first half of the 19th century, artists created objects and paintings to unite Americans around common ideals of liberty, justice, and hope for the future. Some objects were overtly patriotic, while others were less direct. Hudson River School landscapes, for example, expressed pride in the nation’s natural resources, with scenes from the woods, rivers, and mountains of the northeast standing in for all of America, suggesting the promise of land, the spread of civilization, and the unique, almost spiritual quality of the landscape.
Artists also traveled to Europe to study art and see the sights, painting mountains and classical ruins, as Thomas Cole did in his the majestic view of Mount Etna, drawing visual connections between the ideals of the newly minted American Republic and those of classical antiquity.
Steam power, the railroad, the telegraph, and improved roads and canals ushered in the age of industrialization, facilitating the mass production and transportation of goods. Whereas many objects had been crafted by hand in the previous century, the 19th century saw the rise of goods made with machines. Connecticut mills and factories produced munitions, tinworks, clocks, furniture, and textiles, among other things. Early factories were fueled by whale oil, an important industrial lubricant and lamp fuel supplied by whaling, the most significant part of New London’s economy for several decades.
Isaac Sheffield, who painted portraits of many local whaling captains, portrayed five-year-old James Francis Smith shortly after his return from a long whaling voyage in 1837 with his father, New London whaling captain Franklin Smith. They had gone to Desolation Island in the South Seas, and his portrait shows him wearing a penguin skin coat, with the Chelsea, the ship his father had captained, in the background.
The United States grew dramatically over the course of the 19th century, expanding westward and growing in population with waves of immigration. Regional differences and tension over slavery and states’ rights erupted in the U.S. Civil War (1861–65). In New London County, a number of textile mills were built to supply the Union troops. After the war, New England’s mills became an industrial powerhouse, employing and sustaining entire towns.
The 20th Century
In a period of tremendous growth and change, artists looked forward and back, charting new terrain with abstraction, while revisiting their artistic roots through innovative approaches to traditional genres such as landscape, still life, and portraiture.
The early 20th century was a time of rapid expansion and industrialization fueled in part by waves of immigration. A decade of exuberance followed World War I before the stock market crash of 1929 initiated the Great Depression of the 1930s. Abstraction and European modernism filtered into American art, while a realistic, regional style simultaneously held sway, resulting in a mix of subjects and styles.
Many artists were drawn to the energy and bustle of the modern city, awash in crowds and transformed by industry, skyscrapers and the automobile. The city could be intense, noisy, and oppressive, however, and some artists retreated during the summer to Connecticut art colonies to paint peaceful landscapes and scenes of leisure. Guy Wiggins drew inspiration from both the city and the country, painting impressionistic views of New York in winter, as well as scenes such as Church on the Hill, ca. 1910–12, showing country life in Old Lyme, Connecticut.
Beatrice Cuming’s painting, Chubb, shows a submarine being built in Groton, Connecticut during World War II. Cuming’s canvas affirms New London’s long connection to the sea and celebrates industry at a time when the nation was consumed with the war effort.
Post-War Art
In the prosperity and growth of the post-World War II era, a multiplicity of artistic trends and styles arose, dominated by abstraction. New York emerged as the center of the international art world. The 1960s and ‘70s witnessed cultural upheaval as people of color and women sought equal rights and many protested the U.S. involvement in the Vietnam War. The prevalence of advertising and mass media led artists to explore new themes, performance, and technology, questioning the definitions of art and the idea of originality.
Since the 1980s, the postmodern art world has been in flux, and issues of gender, race, politics, and cultural identity have been at the fore in our globalized and technology-driven world. In A.R.T. (in the new world order), 1994, African-American artist Willie Cole uses text on a blackboard to create an acrostic poem of sorts, using various word associations and erasure to define and comment on art and culture.
A 40-over cricket match between High Beach Cricket Club Saturday League XI (batting) and Woodford Wells Cricket Club 4th XI on 8 August 2020, at High Beach, Essex, England. Score: High Beach 242 for 5 in 40 overs; Woodford Wells 243 for 4 in 36.5 overs. Woodford Wells won by 6 wickets.
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This photo has a Creative Commons Attribution-Share Alike 4.0 International licence . For other Essex cricket photos see: cricket in Essex. Republishing in any media, form or adaptation requires the author's name to be stated. identifiable people might require personality rights permission, see: personality rights
Media: Acrylic. Price: NFS.
Show: "Beyond Form: Expressing Art"
Dates: March 4-27, 2011.
Curators: Betty Plummer & Fareeha Khawaja.
Del Ray Artisans, 2704 Mount Vernon Avenue, Alexandria, VA 22301.
Mesopotamia—the land between rivers—lay cradled by the Tigris and Euphrates, in what is today Iraq, and parts of Syria, Iran and Turkey. It is here, over 5000 years ago, that humanity began to write, to measure, to shape the world with thought made material.
Often called the cradle of civilisation, Mesopotamia gave rise to the first known cities, legal codes, poetry, and trade networks. But perhaps most quietly revolutionary: it was here that time was made. The division of hours into 60 minutes, of days into structured ritual and celestial rhythm, stems from the Sumerians’ sexagesimal system. They watched the stars and counted the breath between shadow and light.
It was not a single civilisation, but many: Sumerians, Akkadians, Babylonians, Assyrians—each layering knowledge upon the next. And though temples and empires rose and fell, it was the everyday—the shaping of clay, the weaving of linen, the counting of grain—that endured. Culture, here, was not a luxury. It was a way of surviving beautifully.
In Mesopotamia, humans became makers of meaning.
Not through conquest. But through pattern. Through form. Through time.
“Kiln Songs”
They did not know
they were building the spine
of centuries.
A kiln in a courtyard—
a cracked bowl resting
like a sleeping moon.
Laughter braided through fingers
as slip met skin.
Clothes not tailored, but grown—
colours whispered
from plants, ash, and river bones.
They spun stories not in language,
but in glaze,
in fringe,
in the swing of a hip
on market mornings.
Their world had no history yet—
just movement.
Just clay that remembered the hand
that touched it.
River bends her mouth—
hands shape bowls from silt and song.
Dust listens, still warm.
Fringes catch the breeze—
girls in linen, laughing light.
Time forgets their names.
Before stone knew form,
before breath turned into text,
she danced, shaping flame.