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Das Museum Barberini Potsdam stellt Kunstwerke des italienischen Künstlers Amedeo Modigliani (1884-1920) aus.
Foto: Sitzender Akt, 1916, Öl auf Leinwand.
Dieses Hochformat entstand als eines der ersten in Modiglianis Serie von Aktgemälden.
"Devenir Gris, Devenir Gris
Feel the rain like an English summer
Hear the notes from a distant song
youtu.be/cI6_OInb0Vs FADE TO GREY - VISAGE
Aaah, we fade to grey" There was a time I was young and getting old was so, so far away.
It is raining, again. I feel the rain in my bones but I adore it, its pitter-pattering on the window pane quiets my mind and I drift back.
I was an eighties girl. I loved the music, the clubs, and dancing. Life was simple, never imperiled, easy and free to love. A youth, almost perfect then only now, I'm much older, timeworn, feeling the years, lost in a chilling world. I watched Notre Dame burn this week, I choked, my vision signed. So much loss : (
I did this illustration of a girl inspired by Modigliani.
VISAGE
Its titled "Visage ". A girl with a haunting, melancholic look..." two eyes staring cold and silent. "
It's a homage to Notre Dame Cathedral and the people of France.
Me at the Thyessen Museum. There was a great exhibition about Modigliani.
Photographer: Irene Garcia /Rafael Mendez (Barcelona, Spain / Caracas, Venezuela).
Location: Madrid.
Date: from may 2nd to may 5th 2008.
Irene and me went to Madrid to assist to the premier in Spain of a documentary in which she was the writer and direction assistant.
The documentary is called "For Them" (Por mis Hijos), directed by our friend Aymee Cruzalegui.
The piece just won some festival recognition including the second place in Documenta Madrid.
This are pics form my visit to Madrid this opportunity.
Oil on canvas; 92 x 60 cm.
José Victoriano González-Pérez , better known as Juan Gris, was a Spanish painter and sculptor who lived and worked in France most of his life. His works are closely connected to the emergence of Cubism.
In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, Fernand Léger, and in 1915 he was painted by Amedeo Modigliani. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso.
Gris began to paint seriously in 1910, and by 1912 he had developed a personal Cubist style. His portrait of Picasso in 1912 is a significant early Cubist painting done by a painter other than Picasso or Braque. Although he regarded Picasso as a teacher, Gertrude Stein acknowledged that Gris "was the one person that Picasso would have willingly wiped off the map."
At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse.
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
"Nu assis à la chemise" (1917) by Amedeo MODIGLIANI (ITA, Livorno 1884 - Paris 1920)
Lille Métropole Musée d'Art Moderne, d'Art Contemporain et d'Art Brut
aka LaM
1 allée du Musée
59650 Villeneuve d'Ascq
FRANCE
© picture by Mark Larmuseau
Modigliani - Volti di donna - Bicchieri.
Bicchiere in ceramica lavorato e decorato a mano, per acqua, vino, thè, bibite, etc.
I decori, su fondo bianco, si ispirano o riprendono i particolari di famosi dipinti di Amedeo Modigliani.
Le irregolarità, nelle forme e nei colori, sono un segno distintivo del lavoro manuale.
Misure: h 11 x 7,5 cm.
Decoro: Donna con i capelli rossi.
Amedeo Modigliani:
Un artista famoso per le sue figure allungate e per i suoi nudi voluttuosi.
Nato in Italia, ma vissuto a Parigi, concentrò il proprio interesse sulle sculture e sulle maschere africane, come si rende evidente nella raffigurazione dei visi dei suoi modelli, piatti e simili a una maschera, con occhi a mandorla e lineamenti distorti.
A differenza delle opere degli altri pittori appartenenti alla Scuola di Parigi, i dipinti di Modigliani non raffiguravano nulla del contesto circostante alla persona che veniva raffigurata. I personaggi apparivano autonomi e rivelavano poco del loro tempo e del loro ambiente, se non per i dettagli che si potevano dedurre dalle acconciature e dall’abbigliamento. I modelli di Modigliani si trovavano in un rapporto frontale rispetto allo sguardo del pittore e dell’osservatore. Nei nudi, solitamente, le modelle posavano con un atteggiamento esibizionista, scoprendo il seno, il ventre e il pube.
Per arrivare a un risultato soddisfacente Modigliani passava attraverso numerose fasi preparatorie, come dimostrano i disegni, a volte più di cento, che faceva prima di iniziare a dipingere sulla tela. Modigliani disegnava con grande rapidità, senza mai ritoccare le linee. Piuttosto che tornare sulla linea appena tracciata preferiva ricominciare, finché non riusciva a ottenere il profilo desiderato attraverso un unico getto.
Nella rappresentazione delle sue aggraziate distorsioni figurative e delle ampie aree piatte colorate, Modigliani risente fortemente dell’influsso di Cezanne.
Morì all’età di 35 anni di tubercolosi, il cui decorso fu accelerato dall’abuso di alcool, droghe e dalla povertà.
Modigliani - Woman faces - Glasses.
Glass ceramic crafted and decorated by hand, for water, wine, tea, soft drinks, etc.
The decorations on a white background, are inspired or take the details of famous paintings by Amedeo Modigliani.
Irregularities, shapes and colors, are a hallmark of manual labor.
Measurements: h 11 x 7,5 cm.
Decoration: Woman with red hair.
Amedeo Modigliani:
An artist famous for his elongated figures and his voluptuous nudes.
Born in Italy, but lived in Paris, she focused their interest on the sculptures and African masks, as is evident in the depiction of the faces of his models, dishes and mask-like, with almond eyes and twisted features.
Unlike the works of other painters belonging to the School of Paris, the paintings of Modigliani not depict anything about the context surrounding the person who was depicted. The characters appeared autonomous and revealed little of their time and their environment, if not for details that could be inferred from clothing and hairdos. The models of Modigliani were in a relationship front compared to the look of the artist and the observer. Nudes, usually, the models rested with an attitude exhibitionist, discovering the breast, stomach and groin.
To arrive at a satisfactory result Modigliani went through several preparatory stages, as shown by the drawings, sometimes more than a hundred, that was before you begin painting on canvas. Modigliani drew very rapidly, never touch the lines. Rather than go back on line soon traced preferred to start again, until he could get the desired profile through a single jet.
In the representation of its graceful figurative distortions and large flat areas of color, Modigliani were strongly influenced by Cezanne.
He died at age 35 of tuberculosis, whose course was accelerated by the abuse of alcohol, drugs and poverty.
www.flickr.com/groups/napolinobilissima/discuss/721576510...
books.google.it/books?id=WudiB0jBSgMC&pg=PA40&lpg...
Confesso di essere stato sempre attratto da questa scultura! Raffigura la Carità, si trova nella chiesa di San Lorenzo Maggiore a Napoli ed è opera del 1323 dello scultore senese Tino di Camaino, che sarebbe morto proprio a Napoli nel 1337. Trattandosi di una delle tre Virtù Teologali (Fede, Speranza, Carità) possiede vistose ali, che si "scoprono" solo spostandosi sul retro. Davanti si vede solo una coppia di alberelli. Sembra che Tino abbia voluto renderne il duplice aspetto, celando l'uno all'altro: umano (Madre con figli) e sacro (Ali). Di quest'artista mi piace lo stile "sintetico", che punta all'essenziale, con ampie superfici, senza particolari insignificanti. I volti ovali, i lunghi colli, il panneggio con poche pieghe... lo rendono moderno, quasi Novecentesco. E a restare colpito da questa scultura, durante il soggiorno a Napoli e dintorni del 1900-1901, fu infatti Amedeo Modigliani, che chissà se non abbia attinto ispirazione per le sue opere (pittoriche e scultoree) proprio dai colli lunghi e dagli occhi a mandorla senza pupilla di Tino di Camaino. [Chi volesse trovare notizie su Modigliani e Tino a Napoli, non ha che da cliccare sul secondo link di questa foto, quello che comincia con book].
Oil on canvas
H. 23-7/8, W. 36-1/2 in. (60.6 x 92.7 cm)
Reclining Nude - Amedeo Modigliani 1917
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Huile sur toile, 56 x 46 cm, 1908.
Extrêmement non traditionnel, ce portrait d’une jeune femme inconnue a un caractère obsédant. Par sa véhémente recherche de l’expression est son agitation fiévreuse il se rapproche des peintres rebelles de Die Brücke et possède quelques affinités avec les œuvres turbulentes des débuts de Rouault et la mélancolie des tableaux de Picasso de sa Période bleue. Le pigment bleu foncé qui prédomine est modulé avec sensibilité. Les cheveux de la femme, son torse et son bras ne sont indiqués que par un contour esquissé de façon à ce que l’attention puisse se concentrer sur le visage aux yeux et aux sourcils fermement dessinés, au nez légèrement courbé, aux lèvres volontaires et au menton puissant (cf. kerdonis).
1917. Oli sobre tela. 55,3 x 38,1 cm. National Gallery of Art, Washington, DC. 1963.10.171. Obra exposada: Galeria 103A.
Amedeo Clemente Modigliani( 12 July 1884 – 24 January 1920) was an Italian Jewish painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style characterized by elongation of faces, necks, and figures that were not received well during his lifetime but later found acceptance. Modigliani spent his youth in Italy, where he studied the art of antiquity and the Renaissance. In 1906 he moved to Paris, where he came into contact with such artists as Pablo Picasso and Constantin Brâncuși. By 1912 Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne.
Modigliani's oeuvre includes paintings and drawings. From 1909 to 1914 he devoted himself mainly to sculpture. His main subject was portraits and full figures, both in the images and in the sculptures. Modigliani had little success while alive, but after his death achieved great popularity. He died of tubercular meningitis, at the age of 35, in Paris.
In November 2010, a painting of a nude by Amedeo Modigliani, part of a series of nudes he created around 1917, sold for more than $68.9m (£42.7m) at an auction in New York—a record for the artist's work. Bidding for La Belle Romaine pushed its price well past its $40m (£24.8m) estimate. Modigliani's previous auction record was 43.2m euros (£35.8m), set earlier in 2010 in Paris. Another painting by the artist—Jeanne Hébuterne (au chapeau), one of the first portraits he painted of his lover—sold for $19.1m (£11.8m), much higher than its pre-sale estimate of $9–12m (£5.6–7.4m).
On November 9, 2015 the 1917 painting Nu couché, sold at Christie's in New York for US$170.4 million. On May 14, 2018 the 1917 painting Nu couché (sur le côté gauche) sold at Sotheby's in New York for $157.2 million. This was the highest auction price in Sotheby's history.
Huile sur toile, 80 x 52 cm, 1918, Museum of Art, Sao Paulo.
Lunia Czechowska (1894-1990), née Ludwika Makowska et surnommée Lunia, est une Polonaise qui a été pendant plusieurs années le modèle et l'amie d'Amedeo Modigliani qui l'a peinte 14 fois. Arrivée à Paris en 1913, elle est institutrice et épouse en 1915 Kazimierz Czechowski, son amie Stéphanie Łazarska étant témoin du mariage. Tous deux (Lunia et Stéphanie) côtoient dans la capitale leurs compatriotes, parmi lesquels Léopold Zborowski et sa compagne Anna (Hanka en polonais, cf. ce tableau) Zborowska (cf. wikipédia).
Title: Modigliani Paintings Drawings Sculpture
Author: James Thrall Soby
Publication: The Museum of Modern Art New York
Publication Date: 1951
Book Description: Green paperback. 55 pages with black and white photographic images of artist's works.
Call Number: ND 623 .M67 N4
Hecho el mismo día del atentado a las Torres Gemelas...
Nota biográfica
OPINIÓN
Tiziano Terzani
JAVIER PÉREZ PELLÓN
Si Tiziano Terzani estuviera aún en el mundo de los vivos, – murió o como él hubiera preferido decir “ha dejado su cuerpo”, el 28 de julio del 2004, en el Valle de Orsigna, en la provincia de Pistoia y cerca de Florencia, ciudad en la que había nacido en 1938 – , sería el primero en asombrarse de la actualidad de muchas de las cosas que escribió como si fueran profecías de un vidente sobre el devenir del futuro de la historia.
Tiziano Terzani ha sido una de las voces más límpidas y originales del panorama literario italiano de los últimos cuarenta años. Profundo conocedor del continente asiático ha sido, también, uno de los periodistas italianos de mayor prestigio internacional. Colaborador de Il Corriere della Sera, en 1971 fue corresponsal en Asia para el semanario alemán Der Spiegel. Sus andanzas periodísticas le llevaron a vivir en Singapur, en Hong Kong, en Pekín, en Tokyo y en Bangkok. El 1994 decidió alejarse de la profesión y con su mujer y sus dos hijos se trasladó a la India, en un solitario lugar a las faldas del Himalaya.
Muchos son sus libros traducidos a varios idiomas, creo que, también, al castellano. En 1973 publicó Piel de leopardo, dedicado a la guerra de Vietnam y en 1975 ¡Giai Phong! la liberación de Saigón. En los últimos años de su existencia convivió con un cáncer incurable en el intestino y probó todos los remedios para curarse del mal, desde las “violentas en la violenta América” hasta los curanderos filipinos, brasileños, santones indios y hechiceros africanos. Todo esto lo contó en un libro Otra vuelta en el carrousel una especie de viaje a través del bien y del mal de nuestro tiempo, una suerte de itinerario en busca de ayuda en civilizaciones lejanas y diversas. O como escribe el proprio Terzani “pensándolo bien, apenas pasado poco tiempo, el viaje no era para buscar remedio a mi cáncer, sino para aquella enfermedad que es común a todos: la mortalidad”.
Todo esto me lo ha traído a la memoria una exposición que sobre la vida y la obra de Tiziano Terzani, está abierta en una sala en el centro de Roma.
Y conociendo y habiendo leído, creo que casi toda la obra literaria de Terzani, me he conmovido visitándola, viendo fotografías viejas casi cincuenta años, escuchando su voz y su sonrisa franca y abierta. Y he vuelto a tener, entre mis manos, sus Cartas contra la guerra, escritas en el 2001, después del ataque a las Torres Gemelas de Nueva York, encontrándolas de una actualidad apasionante.
Y he tenido que hacer un esfuerzo para revolver y atrasar el reloj de mi vida en casi cuarenta años, de cuando conocí a Tiziano Terzani en Camboya y los “jemeres rojos” ya estaban llamando a las puertas de –Phnom-Penh dando así comienzo a uno de los más horrorosos genocidios del que la Historia tiene recuerdo; pero, todo esto, después de haber sufrido la brutalidad del ejército camboyano del dictador Lon Nol, impuesto por la administración estadounidense, y los bombardeos, tanto tiempo ocultados por Nixon, que destruyeron enteros poblados donde mujeres, niños y ancianos fueron vilmente asesinados por las bombas “liberadoras” que caían desde el cielo, a lo largo de toda la frontera camboyana-vietnamita. Volví a coincidir con Tiziano Terzani durante los últimos días de Saigón, historia que contaría magistralmente.
Precisamente con Oriana Fallaci, con la que compartí inolvidables días en el Saigón de esa lenta y lacerante agonía del régimen sudvietnamita y donde se inició la que sería una profunda amistad que duraría hasta la muerte de la gran periodista y escritora florentina, hablamos, en alguna ocasión, de estas Cartas contra la guerra que, en parte, fueron dictadas por los diferentes puntos de vista que ambos tenían sobre el terrorismo y su lucha contra el mismo. A mí me parece que estos dos magistrales hijos de Florencia tenían razón. Oriana más temperamental y sanguínea, que vio el atentado desde su apartamento en Nueva York, lo describió como el mal absoluto en su Rabia y orgullo, mientras que Terzani que, como sabio conocedor del mundo islámico, trataba de comprender las razones del otro, incluyendo las de Osama Bin Laden.
“Quizás porque he pasado toda mi vida de adulto en Asia, estoy convencido que todo es uno, algo que resume muy bien el símbolo taoísta del Yin y del Yan, la luz contiene en si la semilla de las tinieblas y en el centro de las tinieblas hay siempre un punto de luz”. Esto puede ayudar a comprender las razones del otro”.
No existe nada más peligroso en una guerra y nosotros estamos entrando en una, – cito a Terzani – , que desestimar al adversario, ignorar su lógica y tacharle de loco para negarle cualquier clase de razón. La yihad islámica, esa red clandestina e internacional que capitanea Osama Bin Laden y que con toda probabilidad ha tenido que ver con el alucinante ataque a los Estados Unidos, es algo que no tiene nada que ver con un fenómeno de locura…”
Quien como Tiziano Terzani, fue en1995, haya tenido la oportunidad de visitar un campamento de entrenamiento, patrocinado por Bin Laden, entre las fronteras de Pakistán y Afganistán, saldrá de él entontecido y lleno de miedo. Una gran cantidad de jóvenes de miradas sonrientes y despreciativas que ven en el hombre occidental su ancestral enemigo…gente que considera el sacrificio de la propia vida por una causa justa como una cosa santa. Jóvenes acostumbrados a una vida de máximo rigor espartano, ritmada por una estrecha rutina de ejercicios, estudios y oraciones, una vida todo disciplina, sin mujeres antes del matrimonio, sin alcohol y sin drogas…Bin Laden y su gente se siente impotente en la humillación de toda una civilización, la musulmana y que ahora se ve siempre más marginalizada y ofendida por el poder sin límites y arrogante del Occidente…”.
La contra respuesta de Bin Laden llegó con el ataque a las Torres gemelas. No pudiendo atacar a los B-52 porque vuelan muy alto y son inalcanzables, responde con la solución terrorista atacando en masa civiles indefensos. Pero, aún siendo estos ataques feroces e inhumanos, no están exentos de lógica. Ha sido ya algo común a todos los beligerantes del último conflicto mundial. Desde la V2 alemanas bombardeando Londres, hasta Hiroshima y Nagasaki con la bomba atómica y su infernal balance de más de 200.000 muertos, todos civiles.
“Desde 1983 los Estados Unidos han bombardeado, en el Oriente Medio, países como Líbano, Libia, Irán e Iraq. Sólo con el embargo, en su día, impuesto por los Estados Unidos al régimen de Saddam Hussein, después de la Guerra del Golfo y según datos americanos, alrededor de medio millón de civiles, la mayoría niños, murieron de malnutrición. Cincuenta mil muertos al año es un genocidio sólo equiparable a la hecatombe de Nueva York”. El Islam es una grande e inquietante religión y, si se quiere, con una historia repleta de atrocidades y delitos, pero es absurdo pensar que un ignorante “cow-boy, armado con todas las pistolas del mundo, pueda cancelar esta fe de la faz de la tierra. Mejor sería ayudar a los musulmanes a erradicar las franjas fundamentalistas y redescubrir el aspecto espiritual de su fe.
No estaría de más observar que el Islam se está extendiendo en todo el mundo y que abarca multitud de etnias y colores de piel. Sobre el territorio americano, por ejemplo, ya se han edificado más de 1.400 mezquitas, incluso una de ellas en la base naval de Norfolk.
Karl Kraus decía: “Quien tenga algo que decir que de un paso adelante y que calle”. Un grito desesperado derivado del hecho que, de frente a los horrores de la Primera Guerra Mundial, a la gente no se le hubiera paralizado la lengua. La violencia embrutece no sólo a las víctimas sino a quien la ejerce. Hace dos mil quinientos años un hindú, llamado el iluminado, el Buda, explicaba a quien quisiera escucharle una cosa obvia: “el odio sólo genera odio y el odio se combate sólo con el amor”. Nuestros políticos, a nivel nacional, europeo y mundial, hacen poco caso de las enseñanzas del iluminado. Basta oriels en debates y discursos. Son portadores de odio.
“Conquistar las pasiones es mucho más difícil que conquistar el mundo con la fuerza de las armas. Delante de mi tengo todavía un camino muy difícil que recorrer”, lo escribía Gandhi en 1925. Y añadía: “Hasta que el hombre no se coloque por propia voluntad en el último puesto entre todas las criaturas de la tierra, no existirá ninguna salvación”
Todas las guerras son horribles y la de Afganistán con los diarios, incontables, inconfesables y delictivos “efectos colaterales” que produce es algo que ha sido estudiado y aplicado con la más pérfida de entre las conciencias humanas.
El gran interés por este país está ligado al hecho de ser el paso obligado para cualquier conducto que desee transportar los inmensos recursos de metano y petróleo del Asia central (es decir de todas las repúblicas ex-soviéticas, improvisadamente aliadas de los Estados Unidos) hacia Pakistán, India y, desde allí, a todos los países del sudeste asiático. Durante el curso de esta indecente guerra, – en la que España, habría que recordarlo de vez en cuando, está metida – , nadie ha hecho notar que ya en 1997, dos delegaciones de los “apestados” talibanes, fueron recibidas, con todos los honores, en Washington por el Departamento de Estado, para tratar de este asunto y que una gran empresa petrolífera, la Unocal, que tenía como mentor a Henry Kissinger, Premio Nobel de la Paz, se había comprometido con el Turkestán a construir el oleoducto a través de Afganistán.
“¿Dígame que es lo que empuja al hombre hacia la guerra? preguntaba Albert Einstein, en el 1932, en una carta dirigida a Sigmund Freud. “¿Es posible, – añadía – , dirigir la evolución psíquica del hombre de tal modo que llegue a ser capaz de resistir a la psicosis del odio y de la destrucción?
El padre del psicoanálisis se tomó dos meses en responder al padre de la ciencia moderna. Su conclusión fue que había que esperar basándose en dos factores, un comportamiento más civil y el justificado temor de una guerra próxima habrían influido a poner fin a cualquier otra guerra en un próximo futuro. La muerte, en 1938, ahorró a Freud el presenciar los horrores de la Segunda Guerra Mundial.
En 1955 y poco antes de morir Albert Einstein, desde su modesta casa en Princeton, en la América que le había acogido como refugiado de la persecución antijudía de su patria alemana, dirigió a la humanidad una última y desgarrada llamada para su supervivencia: “Recordad que sois hombres y olvidad todo le demás”.
Volviendo a la cabecera de estas líneas: leer y reflexionar sobre lo que han escrito sobre la violencia y la guerra, tanto Oriana Fallaci como Tiziano Terzani, es una delicia a la par que una inestimable enseñanza que nos hará pensar.
Huile sur carton, 55 x 38 cm, 1916. Beatrice Hastings, née Emily
Alice Haigh, née en 1879 à Hackney (Londres) et morte en 1943 à Worthing (Angleterre), est une poétesse britannique, journaliste et critique d’art. Avant qu’éclate la Première guerre mondiale, elle s’installe en France où elle donne, comme chroniqueuse du New Age, des nouvelles de la vie de société à Paris. Grâce à son ami, l’artiste Max Jacob, elle est admise dans la bohème parisienne et vit dans le quartier des artistes à Montparnasse. En juin 1914, elle fait la connaissance du peintre et sculpteur italien Amedeo Modigliani (1884-1920), avec lequel elle vit pendant plus de deux ans une relation amoureuse. Elle pose pour lui de nombreuses fois, quatorze portraits et nus ayant subsisté jusqu’à aujourd’hui. Au cours de leur relation turbulente, la vie de Modigliani tombe de plus en plus dans les excès. Sa consommation d’alcool et d’opium, qu’il partage avec ses amis Maurice Utrillo et Chaïm Soutine, est fréquemment évoquée par la presse. Fin 1916, Modigliani la quitte pour la jeune étudiante en arts Jeanne Hébuterne (1898-1920). Peu de temps après, Beatrice Hastings entame une relation orageuse avec Raymond Radiguet (1903-1923 et se suicide en 1943, lorsque les médecins lui diagnostiqunt un cancer (cf. wikipédia).
Düsseldorf is located at the confluence of the rivers Düssel and Rhein. Most of Düsseldorf is on the right bank of the Rhine. It is the capital of North Rhine-Westphalia, has about 620,000 inhabitants and a large Japanese community and is the eternal rival of Cologne, about 40 km to the south. Both cities even prefer different types of beer. While "Kölsch" is drunk in Cologne, "Alt" is drunk in Düsseldorf.
The Kunstsammlung Nordrhein-Westfalen is the art collection of the German Federal State of North Rhine-Westphalia. The Kunstsammlung was founded in 1961 by the state government of North Rhine-Westphalia for the purpose of displaying the art collection and expanding it through new acquisitions.
Amedeo Modigliani (1884 - 1920)
Karyatide / Cariatid / 1911/12
1. Charlie Brown: It's a Hole in One, Charlie Brown, 2. dinner, 3. naptime, 4. The Great Escape, 5. Cd Art, 6. Japanese Maple Autumn Colors, 7. Chim Chim, 8. Garbage Man.., 9. A Portrait Of My Father (Black & White), 10. Roof Addition Lovett Elementary 2, 11. Decahedron (d10), 12. AMEDEO MODIGLIANI La femme aux yeux bleus
Created with fd's Flickr Toys.
The concept:
a. Type your answer to each of the questions below into Flickr Search.
b. Using only the first page, pick an image.
c. Copy and paste the html into your blog or Flickr stream (the easiest way is to copy the URLs and then head over to the fd's flickr toys link above and use the mosaic maker).
The Questions:
1. What was your nickname as a child?
2. What was your favorite food as a child?
3. What was the theme of your favorite childhood birthday?
4. What were you punished most often for ?
5. What special talent or skill did you have?
6. What was the name of your first best friend?
7. What was your favorite cartoon character or superhero?
8. What did you want to be when you grew up?
9. Who did you look up to?
10. What elementary school did you attend?
11. What was your favorite game to play?
12. What was your biggest fear as a child?
The Answers:
1. Charlie Brown
2. Mac and cheese
3. A zoo themed party when I was a kid
4. Escaping from the house when I had a baby sitter
5. Art / Drawing / Creativity
6. Amber
7. Speed Racer
8. A Garbage Man (Our Garbage Man would always talk to me as they were picking up our trash and I just thought that was the coolest thing)
9. My Dad
10. Lovett Elementary
11. Dungeon And Dragons
12. Modigliani (I had a nightmare about a Modigliani Print my parents had that stuck with me. I never wanted to be alone in the room with that painting)
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.