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Héraklès tue les oiseaux du lac Stymphale
Formé d'abord à Montauban puis à Toulouse, Bourdelle travaille ensuite comme praticien chez Rodin. Une admiration et une estime réciproques unissent les deux hommes, même si la volonté de synthèse et la construction par plans de Bourdelle s'opposent bientôt au modelé analytique de Rodin.
A partir de 1905, Bourdelle cherche des lignes simplifiées : "Contenir, maintenir, maîtriser, voilà l'ordre des constructeurs", répétait-il à ses élèves. Il puise désormais une bonne part de ses sujets dans la mythologie comme dans l'Héraklès archer qui lui permet de transposer ses recherches à grande échelle. Selon ses propres termes, l'Apollon fut "entrepris dans le sens de maîtriser là tout le plus pur de ma vision profonde, laissant bien loin tous les élans passés, je fis arriver sur la forme, au-delà du sang, de l'os, du cartilage et des muscles humains, la structure ambiante des forces".
Victoire du héros sur les monstres, mais aussi de Bourdelle sur son inspiration fougueuse, l'oeuvre est remarquable autant par sa tension que par l'équilibre de sa construction. La dynamique vient du jeu entre pleins et vides, force brutale et équilibre. Le nu dénote une puissance, une nervosité farouche, écartelé entre deux efforts contraires : le bras tendant l'arc et le pied s'appuyant sur le rocher. Le recours à la sculpture grecque primitive et à l'art roman - yeux en amande, nez en prolongement du front, pommettes et arcades sourcilières saillantes - est utilisé comme une sorte de catalyseur de la modernité.
This was the hotel I stayed in in Istanbul earlier this year. I'm just practicing a technique for a forthcoming trip to New York.
I would appreciate really constructive critisism on it
The Grand Canal (Italian: Canal Grande, Venetian: Canałasso) is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses (Italian: vaporetti) and private water taxis, and many tourists explore the canal by gondola. At one end, the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3,800 m long, 30–90 m wide, with an average depth of five meters (16.5 ft).
Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the recent, controversial Ponte della Costituzione, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago. Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.
en.wikipedia.org/wiki/Grand Canal, Venice
The Ca' da Mosto is a thirteenth-century palace in Venice, northern Italy, the oldest building on the Grand Canal. It is in the Veneto-Byzantine style, with high narrow arches and distinctive capitals. The features of the palace show its beginnings as a casa-fondaco, the home and workplace of its original merchant owner. A second floor was added at the beginning of the sixteenth century, and a third in the nineteenth. The palace takes its name from the Venetian explorer Alvise da Ca' da Mosto, who was born in the palace in 1432. It stayed in the da Mosto family until 1603, when Chiara da Mosto left her entire estate to Leonardo Donà dalle Rose, a nephew of her second husband, rather than her da Mosto relatives, with whom she had fallen out. Between the 16th and the 18th centuries the Ca' da Mosto housed the well-known Albergo Leon Bianco (the White Lion Hotel). In 1769 and 1775 the Holy Roman Emperor and son of Maria Theresa, Joseph II, lived here during his stay in Venice.
en.wikipedia.org/wiki/Ca' da Mosto
The Chiesa dei Santi Apostoli di Cristo (English: Church of the Holy Apostles of Christ), commonly called San Apostoli, is a 7th-century Roman Catholic church located in the Cannaregio sestiere of the Italian city of Venice. It is one of the oldest churches in the city and has undergone numerous changes since its foundation. The present building is the result of a major reconstruction project which was undertaken in 1575. The church is notable particularly for the Cornaro Chapel, an important example of Early Renaissance architecture, added by Mauro Codussi during the 1490s. The chapel is the burial place of several members of the powerful Cornaro family, including Catherine Cornaro, Queen of Cyprus. The church houses several works of art including pieces by Giambattista Tiepolo and Paolo Veronese.
en.wikipedia.org/wiki/Santi Apostoli, Venice
Palazzo dei Camerlenghi is a Renaissance palace in Venice, northern Italy, located in the sestiere (quarter) of San Polo. It faces the Canal Grande, near the Rialto Bridge. The palace was built from 1525 to 1528 under design by Guglielmo dei Grigi, who was inspired by the style of Mauro Codussi and Pietro Lombardo. It was the seat of several financial magistrates, including the Camerlenghi whom it takes its name from, the Consuls of the Traders and the Supra-Consuls of the Traders. Due to this function, the lower floor was used as a jail for the insolvents: the location nearby the crowded Rialto Bridge served as an admonition for the people passing there. The palace currently houses the regional seat of the Italian Comptroller and Auditor General. The palace has a pentagonal plan which follows the shore of the Canal Grande, with three floors. It has tall windows with centrings, divided by false columns and decorated with friezes. There were once polyhcrome marble and porphyry slabs, now lost. Due to the Venetian tradition that, when leaving the position, a magistrate would leave a religious-themed painting and a portrait in his former seat, the Palazzo dei Camerlenghi housed numerous artworks. These were dispersed during the French occupation; some returned to Venice, but are now in other locations.
What crazy times these are. These images were taken not quite two weeks ago before Europe (and more specifically Belgium) went into lockdown. We dithered at the time as to whether we should go but of course there was no mandate to shut Borders whilst we were there. That announcement came the day after our return. Our visit was much quieter and quite eerie with no crowds and no problem with maintaining social distancing.
I seem to have lost confidence and enthusiasm for photography (it's taken me 2 weeks to decide to post these) but it will provide some sort of focus for the coming months. At least we are going into longer and warmer days, and with the lack of air traffic over London and the Home Counties it's lovely to hear the birdsong again and reconnect with nature which in it's self is calming and reassuring.
Stay safe and healthy guys.
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Vous lire est un plaisir.Merci de votre visite,vos commentaires,vos invitations et favoris.
To read your comments is a pleasure. Faves, comments, invites are welcome, great thanks :-)
Rovingian Council - Rovingian Council - Exploring the Universal Language of Symbols and Forms by Daniel Arrhakis (2026)
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Exploring the Universal Language of Symbols and Forms (I)
Introduction to the Rovingian Quest: The Language of Silence
Rovingian nomadic monks are known for their dedication to the quest for sacred symbols and geometries, transcending the boundaries of traditional ritualistic patterns. For these monks, the spiritual world does not express itself through alphabetic languages, whether spoken or written. Instead, they believe that spiritual communication manifests itself through a visual language composed of geometric forms and patterns that are incorporated into the very structure of Nature and the Universe.
The Language of Silence
By rejecting spoken languages, Rovingians aim to eliminate cultural and mental barriers, seeking a direct and intuitive connection with the cosmos. This connection is achieved through the study and contemplation of sacred geometries, symbols, and ritualistic patterns. Thus, they pave the way for silent communication, a truly profound visual language that allows for a dialogue with the universe without the limitations of words.
The Visual Language: While words vary and disappear over time, the ways in which the triangle or spiral maintains mathematical meaning anywhere in the universe highlight its universal and timeless value.
The Geometric Source Code of the Universe
Rovingians believe that the universe is governed by a fundamental geometric code. Understanding this code allows one to unravel the hidden order of reality. For them, studying sacred geometry is a way to reconnect with the cosmos, treating nature as a true living temple, and the universe as a symbolic book, open to interpretation.
The Living Temple: For the monks, the world does not contain temples; the world is the temple itself. Natural elements, such as a nautilus shell or a quartz crystal, are seen as sacred scriptures. For example, the quartz crystal is not just a mineral, but a geometric lesson on order, clarity, and repetition.
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Explorando a Linguagem Universal dos Símbolos e Formas (I)
1 - Introdução à Busca Rovingiana: A Linguagem do Silêncio
Os monges nómadas rovingianos são conhecidos pela sua dedicação à procura de símbolos e geometrias sagradas, ultrapassando as fronteiras dos padrões ritualísticos tradicionais. Para estes monges, o mundo espiritual não se expressa através das línguas alfabéticas, sejam elas faladas ou escritas. Em vez disso, acreditam que a comunicação espiritual se manifesta por uma linguagem visual composta por formas e padrões geométricos que estão incorporados na própria estrutura da Natureza e do Universo.
A Linguagem do Silêncio
Ao rejeitarem as línguas faladas, os rovingianos pretendem eliminar barreiras culturais e mentais, buscando uma ligação direta e intuitiva com o cosmos. Essa conexão é alcançada através do estudo e contemplação das geometrias sagradas, símbolos e padrões ritualísticos. Assim, abrem caminho para uma comunicação silenciosa, uma verdadeira linguagem visual profunda, que permite um diálogo com o universo sem as limitações das palavras.
A Linguagem Visual: Enquanto as palavras variam e desaparecem com o tempo, formas como o triângulo ou a espiral mantêm o significado matemático em qualquer parte do universo, evidenciando o seu valor universal e intemporal.
O Código-Fonte Geométrico do Universo
Os Rovingianos acreditam que o universo é regido por um código geométrico fundamental. Compreender esse código permite desvendar a ordem oculta da realidade. Para eles, estudar as geometrias sagradas é um caminho para se reconectar ao cosmos, tratando a natureza como um verdadeiro templo vivo, e o universo como um livro simbólico, aberto à interpretação.
O Templo Vivo: Para os monges, o mundo não contém templos; o mundo é o próprio templo. Elementos naturais, como uma concha de nautilus ou um cristal de quartzo, são vistos como escrituras sagradas. Por exemplo, o cristal de quartzo não é apenas um mineral, mas sim uma lição geométrica sobre ordem, clareza e repetição.
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Fijne Kerstdagen en een voorspoedig Nieuwjaar!
Frohe Weihnachten und ein glückliches neues Jahr!
Joyeux Noël et une bonne année!
¡Feliz Navidad y un prospero año nuevo!
Buon Natale e un Felice Anno Nuovo
Bom Natal e um próspero ano novo!
Veselé Vánoce a Šťastný Nový Rok!
Veselé Vianoce a šťastný nový rok!
Wesołych Świąt i Szczęśliwego Nowego Roku!
Kellemes karácsonyi ünnepeket és boldog új évet!
Crăciun fericit și un An Nou Fericit!
God Jul och Gott Nytt År!
God Jul og Godt Nyttår!
Glædelig jul og godt nytår!
Hyvää joulua ja onnellista uutta vuotta!
Gleðileg jól og farsælt komandi ár!
Καλά Χριστούγεννα και Ευτυχισμένο το Νέο Έτος!
Sretan Božić i Nova Godina!
Срећан Божић и Нова година!
Весела Коледа и честита нова година!
Веселого Різдва та щасливого Нового року!
Зул сарын мэнд бас шинэ жилийн мэнд!
Mutlu Noeller ve mutlu yıllar!
Sugeng Natal lan Taun Anyar!
Веселого Рождества и счастливого нового года!
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Henk & Maarten
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Disappointment takes many forms.
I originally set out on a nighttime escapade to the Inland Empire to catch a Union Pacific military train interchanging onto the BNSF at Mt. Vernon, before it would eventually make a run for Camp Pendleton. However due to SoCal Edison working on an underground vault in the area a planned blackout put taking pictures in that into the grave from the get go, as a quick back up I ventured out to Rana to see if the BNSF was doing anything.
What I thought to be the switcher for the Auto facility at San Bernardino moving back and fourth, turned out to be BNSF 6163 and 7245 milling around close to the signal at Rana. After they had done a quick double over and air test at the plant, with the Conductor getting back to the leader. BNSF 6163 will get ready to take a short empty rack train to National City, after a pair of eastbound Junkers got out of the way.
Forming part of the morning rush at the capital is B-1017 of Shenzhen Airlines, with an Air China A330 and a China Eastern 737 in the background.
Form follows function is a principle associated with 20th-century modernist architecture and industrial design which says that the shape of a building or object should primarily relate to its intended function or purpose.
Europe, Netherlands, Rotterdam, Museumpark, Chabot museum, Bauhaus exposition, Form and color organ with touching color sound (slightly cut)
The 'Form and color organ with touching color sounds ' art work was designed in 1901 by Kurt Schmidt and crafted by Holger Zolkowski in 1960. The structure is wood painted with oil and distemper.
Kurt Schmiidt was a painter and a stage and set designer. He studied at Bauhaus in Dessau from 1920 to 1924. His teachers included Paul Klee, Wassiliy Kandinsky, Theo van Doesburg, László Moholy-Nagy and Johannes Itten.
About Bauhaus: "Bauhaus, the 20th century’s most influential school of art and design. Active during the years of Germany’s Weimar Republic (1919–33), the Bauhaus aimed to unite artists, architects, and craftsmen in the utopian project of designing a new world. The school promoted experimental, hands-on production; realigned hierarchies between high and low, artist and worker, teacher and student; sharpened the human senses toward both physical materials and media environments; embraced new technologies in conjunction with industry; and imagined and enacted cosmopolitan forms of communal living. The legacies of the Bauhaus are visible today, extending well beyond modernist forms and into the ways we live, teach, and learn." Source: here.
About Schmidt: "Der 1901 im sächsischen Limbach geborenen und 1991 in Gera verstorbenen Bauhauskünstlers Kurt Schmidt lebte mit seiner Familie seit 1903 in Gera. 1919 besuchte er die Kunstgewerbeschule in Hamburg, ging ein Jahr später an das Bauhaus nach Weimar, wo er bis 1925 die entscheidenden Impulse für seine künstlerische Entwicklung erfuhr. Noch heute wird sein Name weltweit vor allem mit dem „Mechanischen Ballett“ identifiziert, das er 1923 für die Bauhaus-Festwoche kreierte. Diese "Bühnenorganisation mit einfachen Formen", wie es Kurt Schmidt wenig später präziser bezeichnete, zählt zu den revolutionären Bühnenexperimenten der 1920er Jahre. Nach seinem Weggang aus Weimar arbeitete Kurt Schmidt in den Jahren 1925 bis 1929 als Dekorationsmaler in Stuttgart, kehrte anschließend nach Gera zurück und musste sich in der Folgezeit in verschiedenen Notberufen durchschlagen. In vielen Jahren der persönlichen und künstlerischen Isolation vom Bauhaus, beschäftigte sich Kurt Schmidt erst ab 1968 wieder mit eigenen abstrakten Kompositionen. Die von 1976 bis 1988 in verschiedenen Arbeitsphasen entstandenen Glasbilder stellen einen herausragenden Komplex des Alterswerkes von Kurt Schmidt dar. Die ersten Anerkennungen für seine Bauhaus-Arbeiten erhielt er Anfang der 1960er Jahre in Westdeutschland. Ab 1975 erfährt er nach einer Ausstellung im Gothaer Museum, zumindest beim Fachpublikum im Osten Deutschlands, einen gewissen Grad an Aufmerksamkeit. 1991, noch zu Lebzeiten des Künstlers, veranstaltete die Kunstsammlung Gera eine umfangreiche Retrospektive seines Schaffens. In der Geraer Sammlung wird heute auch der Nachlass bewahrt." Source: here.