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Lit from the side, by a 45watt bulb and a SB600 speed light on a chair, fitted with a phong light sphere 2
Prints available at zacharymassengill.smugmug.com
I was slightly annoyed how over exposed the book was, it was difficult to make the arm look natural because of this. However it was all I could get my hands on and I was losing the light quickly so I had to make do. I'm still very happy with this though, it turned out exactly how I wanted it to.
As we try to learn more and more, we do what with that knowledge?
Sometimes, do you look and immediately know: "I need to exit and see no more"?
"Curiosity killed more than some cat", all must know, rigtht?
_________________
below from www.brainyquote.com/quotes/authors/a/albert_camus.html
are a few quotes from Albert Camus, French Philosopher
Date of Birth: November 7, 1913
Date of Death: January 4, 1960
The absurd is the essential concept and the first truth.
The desire for possession is insatiable, to such a point that it can survive even love itself. To love, therefore, is to sterilize the person one loves.
The evil that is in the world almost always comes of ignorance, and good intentions may do as much harm as malevolence if they lack understanding.
The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.
The modern mind is in complete disarray. Knowledge has stretched itself to the point where neither the world nor our intelligence can find any foot-hold. It is a fact that we are suffering from nihilism.
The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.
EXPLORE # 291 on Saturday, April 26, 2008; # 362 on 04-25-2008; # 379 on 04-24-2008 within 3 hours of posting
A pair of Antique neoclassical carved wooden doors depicting both masculine and feminine figures with tablet and scroll.
Sorry my knowledge is very limited on ID.
I love the Flickr automatic tags. they have tagged this as food. I may go back and have it on my toast. Wonder if I will have a bad belly afterwards?
That said, I may get a Flickr viewer saying it is edible. Egg on my face then. Sorry about the pun.
Copyright © 2016 Clive Rees All rights reserved
If you would like to use one of my images for any purpose please get in contact first, to get my written permission. Manipulation of a copyright image or use only a portion of the image still infringes my copyright
The discerning heart seeks knowledge, but the mouth of a fool feeds on folly.
[Proverbs 15:14 NIV]
5 MORE THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Una de las cuatro virtudes de Celso Episteme (Conocimiento). Fachada de la Biblioteca de Éfeso. Turquía.
Changing Images of Man is a 1974 report (revised in 1982) by the Stanford Research Institute (SRI International). This report can be summed up like this:
You have two options: your future can either be 1984 or the Brave New World.
“We have met the enemy and he is us!” We must reform the way we conceptualize the nature of mankind. Indeed, the mind (and body) is a human biocomputer, with programs and coding that can be analyzed, hacked, and altered. Our concepts of free will, freedom, and consciousness must be cast off for man to attain a peaceful, rational, and humane society in the future.
Changing images of man has a double meaning: man’s image has changed throughout history, and man’s image can be changed (manipulated). If we apply this idea to the present, what would be man’s image? Today, man’s image is one of transition. Since we are in the digital age, man’s image would reflect the digital world. Man looks into his screen, and his screen reflects back his digital world. Man’s image is being tokenized into the digital world. His image is becoming digitalized. His image is going to transition into transhumanism (merging man with the digital world). So man’s future image will be one of transhumanism. He will be a techno-slave. Indeed, the image of man is currently being manipulated toward the goals of the elite.
This report warns that our society is heading towards friendly fascism. This form of fascism “will come under the slogans of democracy.” It will be a “techno-urban fascism,” a “friendly sort of totalitarianism.” This is what this friendly fascism will look like: they will use military surveillance technologies to aid the police; they will use behavior-changing drugs and indoctrination in schools; they will attempt to manage the news; they will use personality screening and maintain files on pre-delinquent children, via coordination with school administrations and local, state, and federal authorities; they will use interconnected computer systems to collect peoples personal data like: employment records, criminal records, tax status, credit, insurance, and information about education.
What is their solution to this friendly fascism? They want, instead, to introduce a friendly fascism that has a shiny spiritual veneer. They want man to “evolve” to a higher consciousness, a super consciousness, which lies at the boundary between the conscious and unconscious parts of the mind. This evolution of consciousness will be a personal, spiritual, social, and cultural evolution. They want people to tap into this consciousness through their dream states. They want them to evolve into a hivemind, where they can telepathically communicate with one another. This could possibly be achieved through mystical experiences, psychic phenomena, esoteric ideas, occult practices, hypnotism, self-hypnotism, meditation, yoga, psychotherapy, psychology, psychochemical drugs, electrocranial stimulation, and cybernetics. “I think that cybernetics is the biggest bite out of the fruit of the Tree of Knowledge that mankind has taken in the last 2000 years.”
This evolved man will see the inequality of the poorer nations. He will willingly give up his comfortable lifestyle. He will lower his living standards. He will share his wealth with the rest of the world. Men will collectively work together to accomplish equality (communism). And if they refuse to give up their wealth, they will be forced to give it up. This evolution is Gnostic in nature; it reminds me of Karl Marx, with his idea of man evolving into the socialist man/communist man. Out of this evolution will come a new system, a “new socialism,” which will be influenced by Freemasonry. “In ‘true Freemasonry’ there is one lodge, the universe-and one brotherhood, everything that exists. Each person has the ‘privilege of labor,’ of joining with the ‘Great Architect’ in building more noble structures and thus serving in the divine plan.”
The architects of this scheme must convince the masses that the earth has limited resources, which they term the “new scarcity.” They must convince the people that the earth is being overpopulated (today, climate change is the big scare they are pushing). With these supposed problems, man must be convinced that he needs to collectively band together. The architects of this scam must bring in a new economic and ecological system (known today as stakeholder capitalism and the green economy). To introduce this alternative way of life, they will introduce “behavior controls that would deprive the individual of freedoms” (which is known today as a social credit score system).
“Thanks to this initiative (the Green Economy Initiative) and the work of other agencies, ‘green economy in the context of sustainable development and poverty eradication’ was placed on the 2012 Rio+20 agenda and was acknowledged as a tool for achieving sustainable development.” – United Nations
“A crisis is often the catalyst for the redrawing of one’s preferred map.” A “crisis-oriented transformation” is likely to transform a culture rapidly. We saw some of this during COVID, which greatly affected our society and economy. People accepted a soft form of authoritarianism and the loss of freedoms. During COVID, they pushed vaccine passports. This mimicked Digital IDs. The unvaccinated could not go to certain places, because they didn’t have vaccine passports. The Canadian truckers had their bank accounts frozen. Those with alternative views were censored. These things mimicked a social credit score system with rewards and punishments. Society failed to think critically, thus proving that it was ready for the next step of the plan. Therefore, politicians touted the start of the Great Reset—a plan to build back better. So now we are in a transition period, a transition into a new economic order. As a result, we are being steered towards a major economic crisis. This “crisis-oriented transformation” will bring us into their new system. This system will use digital biometric IDs, CBDCs, and social credit scores.
The elites see multinational corporations as the “most effective mechanisms for husbanding the earth’s resources and optimizing their use for human benefit.” Giving multinational corporations the earth’s resources will supposedly lead to an “equitable sharing of the earth’s resources.” They will pressure corporations to help with the social engineering of society. The methods they will use to get corporations on board resemble those of a corporate social credit score system like ESGs. They will prod corporations, particularly multinational corporations, to shift their goals to line up with those of the (hijacked) public institutions. Indeed, the public institutions will be tools of indoctrination (today, these institutions promote things like DEI). They plan to use “corporations, foundations, political agencies, and voluntary associations” to help with the implementation of their plans. Today, this is called public–private partnerships. They will use networks at the local, regional, national, and world levels. This way, it will be quicker and easier for them to implement their new world order goals. They expect rapid social change, economic decline, and social disruption as they implement their new technocratic socialist order.
“We would thus hope not for a handful, but for a thousand heroes, ten thousand heroes-who will create a future image of what humankind can be.” They need an army of social(ist) justice warriors to bring about change. “The needed transformation cannot occur without both personal and institutional change.” This correlates with the left’s “long march through the institutions.”
They also want to experiment with a variety of family structures. They want to turn the family into “an extended unit,” which will provide “a larger source of meaning and significance.” So basically, the collective (government, schools, neighbors, and society) will raise your children in this new collectivist utopia. This extended family will be a “source of education,” and “a unit for work.” They want to “foster a period of experimentation and tolerance for diverse alternatives, both in life styles and in social institutions.” They also want to use “new experimental curricula.” Today, we have new experimental curricula such as critical race theory and queer theory.
They want the world’s population to embrace this new order. Their end goal is the Brave New World. In reality, those who refuse this new order will live out 1984, and those who accept it will live out the Brave New World. Though, as they admit, no transition will go smoothly. Everyone is going to feel some pain, and in a worst-case scenario, a lot of pain.
The Bible warns us about the Antichrist. Those who refuse the Mark of the Beast won’t be able to buy or sell, and they will be tracked down by the authorities. These people will experience the hell of 1984. But those who take the Mark of the Beast will evolve into transhumans, and they will experience the bliss of the Brave New World. They will be on a high, stimulated by soma frequencies. Thus, they will blissfully worship the Beast. They will evolve to a super consciousness; they will become one with the Beast.
God created man with a soul and free will. Those who accept the Mark of the Beast will lose their free will, because technology will control their allegiance and love for the Beast. Their free will is gonna be controlled by the Beast system. Never again will they have the free will to repent and turn to Jesus Christ. They will give up their free will; they will forfeit their own souls.
Revelation 14:9-11 “A third angel followed the first two, declaring in a loud voice: ‘If anyone worships the Beast and his Image, and takes the Mark on his forehead or his hand, that person will also drink of the wine of God’s anger that has been mixed undiluted in the cup of His wrath, and he will be tortured with fire and sulfur in front of the holy angels and in front of the Lamb. And the smoke from their torture will go up forever and ever, and those who worship the Beast and his Image will have no rest day or night, along with anyone who receives the Mark of his name.’”
Mark 8:36 “For what does it profit a man to gain the whole world, yet forfeit his soul?”
The main library at Trinity College. This library houses the Book of Kells. To me, the library was more interesting.
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
EXPLORED!!! Highest position: 51 on Sunday, January 3, 2010
This is, of course, my last upload for this year.
Time to draw some conclusions...
I'm gonna be pretty wordy here, I really want to share with you my impressions of the moment; my 'occasional' followers can skip this section and go to my usual shooting details and description!
First of all, 2009 has been, without a doubt, the explosion of my SERIOUS love for visual arts.
I realized I need a stronger knowledge about art and photography. I'm trying to read as much as I can, to broaden my culture. I made a commitment to stop caring that much about gear and spending useless time on photographic forums, serious books provide far more valuable informations.
I'm also trying to learn more and more from the Masters, having increased their 'number', too.
I'm a lot more into subtleties than before, I spend much more time thinking the shot than actually wonder around shooting.
As for my personal life, 2009 made me really stronger. I fully recovered from an important love story which ended.
This recovery made me realize how much strong I am and how much I can give to other people.
Then I fell in love again, and when I look back it's easy to see that those moments of deep pain are now so distant and far, and things are going much better than before.
Those deep changes in life are useful: they let you realize your point of view can dramatically change, much faster than you can imagine.
Now, some 2010 NEW YEAR'S RESOLUTIONS!!! (random order)
1) More stability with work. I want to get a full time occupation and sign an official contract;
2) No laziness: I have to keep up the good work with my body I started last May - June;
3a) No intellectual laziness: Stop wasting time on the Internet (Flickr is NOT wasting time; useless forums, facebook etc.. are);
3b) No intellectual laziness: Read more (Novels, Art books, essays, etc);
4) Attend more art exhibitions;
5) Buy a full-frame camera (is it a resolution?!?);
6) Travel a lot;
Last but not least:
I really want to thank you, my dear Flickr friends. When I write this I really mean it; without you I wouldn't be here;
your constant feedback, comments, faves, notes, helped me immensely.
Many of your artworks truly inspired me, made me struggle to get better and better and open my eyes in many directions.
THANK YOU!!!!
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Una piccola eccezione per la fine del 2009... la descrizione in italiano!!!
Mi scuso con tutti i miei contatti e con i visitatori occasionali per le mancate traduzioni passate;
come ho scritto anche nel profilo la traduzione completa diventerebbe impegnativa;
Questo è il mio ultimo upload per il 2009, ed a corredo voglio inserire alcune riflessioni.
Il 2009 è stato certamente l'anno che ha segnato l'inizio del mio interesse dilagante per le arti visive.
Mi sono reso conto di quanto debba approfondire la mia conoscenza relativa sia alla storia dell'arte in generale che, più nello specifico, alla fotografia.
Mi sto applicando per leggere moltissimo, cercando di evitare di sprecare tempo girovagando in Internet senza una meta.
Cerco di trarre ispirazione dai Maestri, che, con il passare del tempo, stanno aumentando decisamente in numero!
Passando ad aspetti più personali, il 2009 mi ha reso senza dubbio più forte; mi sono completamente ripreso dalla fine di una storia molto importante, e ciò mi ha fatto intendere quanto forte sia davvero e quanto abbia da dare agli altri.
Ora, quando guardo indietro, è facile rendermi conto di come quei momenti di sofferenza siano lontani e quanto adesso le cose funzionino meglio di prima.
Certi cambiamenti radicali nella vita sono senza dubbio utili: permettono infatti di renderti conto di come il tuo punto di vista, i tuoi riferimenti possano mutare in un battito di ciglia.
Ed ora, qualche buon proposito per il 2010!!! (Ordine casuale)
1) Più stabilità lavorativa. Voglio un impiego a tempo pieno;
2) No alla pigrizia: Voglio continuare l'ottimo lavoro con il mio fisico iniziato prima dell'estate;
3a) No alla pigrizia intellettuale: Non sprecare tempo su Internet;
3b) No alla pigrizia intellettuale: Leggere di più;
4) Visitare più mostre;
5) Acquistare una full-frame;
6) Viaggiare molto.
Ultimo, ma non meno impoartante:
Voglio ringrazionare di cuore tutti voi, miei amici di Flickr. Senza di voi non sarei qui; i vostri commenti, le critiche, le preferite, mi hanno aiutato moltissimo.
I vostri lavori mi hanno ispirato, fornendomi motivazione per migliorarmi e mi hanno aperto gli occhi in molto nuove direzioni: GRAZIE!!!
Details
- CANON 400d, EF-S 10-22 @ 10mm, f/10, 1/50s, ISO 100.
- Tripod
The shot
Shot not far from where I live.
The Processing
Photoshop:
- Created 5 Overlay layers to adjust light
- Multiplied the sky and added a gradient mask
- Added a Level layer to improve contrast
- Created a Color-Balance adjustment layer to warm things up
- Improved microcontrast with Unsharp Mask
- Resized
- Sharpened (SS + More Accurate, rocks only)
- Framing and signature.
Take a look at it, LARGE on Black :
@ You all
Comments, faves and critiques are always welcomed!
It is time to wish you, your families and your loved ones the best 2010 you could ever imagine.
Luca
A veces no puedo evitarlo, están ahí y necesitan salir, necesitan expresarse, reprimirlas nunca será una buena alternativa... emociones.
Sometimes I can't help it, they are there and they need to get out, they need to express themselves, repressing them will never be a good alternative... emotions
My daughter went to Lafayette HS, as did other notable and important people like Harry Dean Stanton, Jim Varney, Gary Brewer, John Y. Brown, and Tom Hammond.
Holga 120CFN, Expired Kodak T-Max 400, D-76 1+1
The Knowledge Totem is found on the grounds of the British Columbia Parliament Buildings in Victoria, B.C. The totem was carved by Coast Salish artist Cicero August and was created for the 1994 Commonwealth Games. The totem was refurbished in 2021 by Doug August, son of the original artist.
Instagram #msgpararefletirmos
The knowledge is liberating only when it transforms the creature, otherwise it will be nothing but dead weight!
🤔😆
are printed books days numbered?
I've been running out of places to store my books but since I bought a kobo hd glo I don't think I'll ever have that problem.
this kobo can store more than 3000 books at any one time, that's more space than I will ever need and I don't have to worry about eye strain that you get from other device. e ink is the way forward for me.
sb700 and a shoot through umbrella were used to light the subject.
I can't think what this white flower could be - my knowledge of garden plants is so limited. If anyone can tell what it is from this angle, I would really appreciate help with the ID - thanks! Could it be a Mallow species?
My daughter and I had a such a great day on 5 September 2017. She had a free day, so we decided to drive north-east of the city and visit the Pioneer Acres Museum. The day started off with seeing three perched Swainson's Hawks, which were a bonus. We had passed the colourful old truck and tractor displayed on tall posts, to indicate Pioneer Acres, on various occasions and this time, we actually went to the museum. What an amazing collection of old farming equipment, some standing outdoors and many others in large sheds. Have to say that I am always attracted to older, rusty things, and there was no shortage of these, either.
"Pioneer Acres is operated by a team of volunteer members who, in many cases, have extended their golden years of retirement, performing the duties necessary to meet the club's objectives. These include work to collect, restore, maintain and demonstrate the artifacts which were used by the pioneers of early Alberta.
The end result is that present and future generations have the opportunity to glimpse into our pioneering past through the artifacts on display and demonstrated. Younger members of the club also learn the care, maintenance and operation of these living artifacts." From link below.
www.pioneeracres.ab.ca/member.aspx
While we were walking round the grounds, visiting each massive shed in turn, my daughter spotted a Plains Garter Snake, and waved me over to see it. She also saw several birds running round behind one of the sheds, and when I went to check, I found there were four Gray Partridge running off in the distance. A distant Jackrabbit completed our wildlife sightings, first noticed when it was standing tall and upright on its back legs in 'freeze mode'. My mind wandered to Alice in Wonderland : )
Though we did not do a tour of the inside of the "Long" House, we found it an impressive building, complete with a few Sunflowers, Hollyhock and other flowers in the garden, and a metal windmill.
"The "Long" House was built in 1914 by John Thomas on a farm just northwest of Irricana, Alberta. It has been lived in by three generations of the Long Family since 1914. The house was donated to Pioneer Acres, moved to our location, and restored to 1929 status." From the Pioneer Acres website.
There is also an old schoolhouse on the Museum site. "The Crown School, built in 1905, was located west of Three Hills on Highway 583. It closed in 1953 and was bought by the district of Allingham for use as a community league. In 1996, the building was relocated to Pioneer Aces of Alberta Museum." From the Alberta Teachers' Association website.
After spending a long time walking round the grounds, we decided to drive through Irricana itself in order to get back to the highway. I had seen photos on the Internet of three murals there - sunflowers, crayons, and a view of the old grain elevators that had once stood nearby - and I wanted to go and see them. All near each other, as this town only has a few streets. I had never been to Irricana before and I was impressed with what a delightful place it is, full of brightly coloured murals, and well kept. One of the outer roads had many flower beds along the edge, watered with well water, looking most attractive.
I had asked my daughter if she was interested in calling in at the Silver Springs Botanical Gardens in NW Calgary, if there was time after our drive east. I had planned the drive ahead of time, partly because I had also seen a photo somewhere on the Internet of a rather nice old barn that I really wanted to see. We were not disappointed, though it was a shame to see that the cupola had fallen from the roof since that photo was taken. I had never driven through the town of Airdrie before, but did the "drive" on Google Earth the night before and it looked straightforward enough.
Returning to the city via Cochrane, my daughter told me how to get to Silver Springs. I had never driven there before, but I had been there with a friend last year, I think on 1 October, and thoroughly enjoyed these meticulously kept gardens. We were just too hot and tired to see every inch of the garden, but finished off with photographing sunflowers and enjoying the American Goldfinches that were feeding on them, before we continued on our way.
A great day, despite the heat and smoke from the B.C. and Alberta wildfires (distant low visibility, too). Thanks so much, Rachel - hope you enjoyed it as much as I did. We drove 256 km (used about half a tank of gas, or less). I was absolutely tired out from the heat and driving unfamiliar roads.
They said: "there're too many books but too little time". I say: "no need to conquer the world if we found home just comfortable enough..."
The old book store at the corner, Duomo di Milano, Milan, Italy
0.2mm pinhole; 35mm film; 50 seconds
we all should strive for knowledge, not necessarily in this way :)
texture from NinianLif
I don't know why but I feel that this is not my style & that its not me who captured it, who knows this might be my style!! time will answer that
The Tree of Knowledge is a ghost gum located in front of the railway station at Barcaldine, under which the workers of the 1891 Shearer's Strike met. An icon of the Labor Party and Trades Unions, it symbolises the foundation of the organised representation of labour in Queensland.
Barcaldine sprang up in 1886 as the terminus of the Central Railway. The area was already settled by pastoralists and had previously been centred on Blackall. Large sheep stations were like small townships with their own working facilities, stores, worker's accommodation and tradesmen such as blacksmiths. The owners and managers of these stations had considerable power to dictate terms to an itinerant workforce recruited for the shearing season. Poor working conditions, low pay and the threat of competition from cheap foreign labour caused discontent within the industry.
Barcaldine was a natural focus for the development of unionism. As the railhead, the town drew many seasonal and casual workers. Besides shearers and hands there were navvies who had worked on the construction of the railway and carriers who had found their work reduced by it. Difficulties in finding work and financial hardship helped to build a sense of mateship and mutual support amongst sections of them. In 1887 the Central Queensland Carriers Union was formed, and discussions leading up to this are said to have been held under the gum tree which provided shade where carriers waited at the front of the railway station. At the same time, the Queensland Shearers' Union was formed at Blackall. Within a year it had 1300 members, indicating a perceived need for collective bargaining to obtain fair pay and working conditions. In 1888 the Central Queensland Labourers' Union was formed at Barcaldine. These three unions were the driving force behind the strike of 1891.
In Brisbane, the Trades and Labour Council was formed in 1885 and in 1889 became the Australian Labour Federation. At Barcaldine in the same year the Pastoral Employers' Association was founded in response and moved to reduce pay rates. Many workers now joined the unions, pushing membership of the Shearers Union over 3000 and the Labourer's Union to 2,250. Only severe wet weather in 1890 delayed a confrontation. By January 1891 union representatives had gathered at Barcaldine for meetings and pastoralists were pressing shearers to sign freedom of contract forms. A strike was called and employers began to import non-union labour from the south. Strikers, some of whom were armed, gathered at Barcaldine and set up a camp at Lagoon Creek and other places around the town.
The government dispatched police and soldiers to the area and the strikers responded by drilling and staging torchlight processions in the town. The tree in front of the station, the Tree of Knowledge, was the location of many meetings and a focus for protest. In March the situation escalated as carriers and railway workers went out in sympathy and military reinforcements arrived. Barcaldine became the focus of the whole country's interest and armed conflict was expected. However, heavy rain which limited movement and the arrest of leaders slowed momentum and strikers began to disperse. On 15 June the strike was officially called off. It had failed, but was to have far reaching effects. The following year, T.J. Ryan became the first representative of labour to be elected to the Queensland Parliament and soon after the Labor Party in Queensland was formed.
Because the area beneath the Tree of Knowledge was the scene of actions and decisions which had a profound effect on the future of labour and politics in Australia, it has become an icon of the Labor Party and Trades Unions. It is also important to the people of Barcaldine as a symbol of the town's identity and historical importance. This is reflected by the name chosen for the commemoration committee formed in 1987, the Tree of Knowledge Development Committee, and by the care given to the tree. In 1990 it was discovered that the tree was infested by termites and other insects and had severe health problems. Treatment by a tree surgeon, pest control and flushing of the root system with thousands of litres of water gave the tree a new lease of life. This treatment was completed in late 1993.
In 1991, there were major celebrations at Barcaldine to mark the centenary of the Shearers' Strike. In preparation for this, the area around the tree was landscaped and a memorial to the strikers erected within the enclosure.
Source: Queensland Heritage Register.
On the streets of Nizhny Novgorod on the Day of Knowledge (1 September). 1 September — The First Day of School for Children in Russia.
I have just submitted this one as an entry to "Your city in Your eyes" contest in Dhahran - Saudi Arabia.
This tower is the symbol of the university. I tried to take the shot from an angle that I think was "interesting"...I hope you find it so!
hidjab is concentring all the divisions of opinion aroud the world...are we in a binar world ? do we have to choose for or against it? or should we don't give any importance?
These stairs lead up to Kaufmann Jr's pad on the 3rd floor of the Fallingwater House. He and his parents of the Kaufmann Department Store owned this house from the late 1930's to the early 1960's when it was donated by Kaufmann Jr .to the Western Pennsylvania Conservancy. Since that time, the public has been able to tour this incredible house.