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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.
Passage Dantzig | La Ruche 29/09/2011 15h14
La Ruche is an artists' residence in the Passage Dantzig in the 15ème arrondissement.
Located in the "Passage Dantzig," in the 15th arrondissement of Paris, La Ruche was an old three-storey circular structure that got its name because it looked more like a large beehive than any dwelling for humans. Originally a temporary building designed by Gustave Eiffel for use as a wine rotunda at the Great Exposition of 1900, the structure was dismantled and re-erected as low-cost studios for artists by Alfred Boucher (1850–1934), a fireman and sculptor, who wanted to help young artists by providing them with shared models and with an exhibition space open to all residents. As well as to artists, La Ruche became a home to the usual array of drunks, misfits, and almost every penniless soul needing a roof over their head.
At La Ruche the rent was dirt cheap; and no one was evicted for non-payment. When hungry, many would wander over to artist Marie Vassilieff's soup kitchen (more genteely called her "Cantine") for a meal and conversation with fellow starving artists. The Russian painter Pinchus Kremegne got off the train at the Gare de l'Est with three rubles in his pocket. The only words in French he knew was the phrase "Passage Dantzig"; but that was all he needed to get him there.
In the history of mankind, like Montparnasse or Montmartre, few places have ever housed such talent as could be found at La Ruche. At one time or another in those early years of the 20th century, Guillaume Apollinaire, Alexander Archipenko, Alexandre Altmann, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Nina Hamnett, Fernand Léger, Jacques Lipchitz, Pinchus Kremegne, Max Jacob, Blaise Cendrars, Chaim Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuşi, Amshey Nurenberg, Diego Rivera, Marevna, Luigi Guardigli and others, called the place home or frequented it. Today, works by some of these desperately poor residents and their close friends sell well, even in the millions of dollars.
La Ruche went into decline during World War II; and by the time of the 1968 real estate boom, it was threatened with demolition by developers. However, with the support of luminaries such as Jean-Paul Sartre, Alexander Calder, Jean Renoir, and René Char, new management with a preservation mission took over in 1971, turning it into a collection of working studios.
Its interior is not open to the general public, although the exterior of La Ruche alone is worth a visit. Paintings, sculptures, photographs from its heyday and films showing some of its residents may be viewed at the Musée du Montparnasse, 21 av du Maine.
[ Source and more: La Ruche - Wikipedia ]
On the outside wall you can find a micro art object by Jérôme Gulon dedicated to painter and sculptor Amedeo Modigliani (1884 - 1920). Click on the 'note' on the photo to learn more about this mosaïc made of micro tiles.
More information about Jérôme Gulon. His work is all over Paris. Precise locations can be found here.
I recently had the honor of creating an art jewelry collection for the Barnes Foundation Gallery in PA! This mini reproduction is taken from the famous painting by Modigliani. She's captured on a brass locket which hangs from a rolo chain. This collection is currently being sold in their museum gift shop. Enjoy!
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.
1917. Oli sobre tela. 55,3 x 38,1 cm. National Gallery of Art, Washington, DC. 1963.10.171. Obra exposada: Galeria 103A.
Huile sur toile, 81 x 54 cm, 1908.
Les nus de Modigliani, figures décoratives ordinairement passives, sensuelles et franchement sexuelles, sont ici transformés en une expression de la douleur, de la pauvreté et même de la maladie et de la dépravation. L'influence du style expressionniste, propre à des artistes comme Munch, se fait ici sentir. La couleur est appliquée grossièrement par touches et par endroits l’œuvre paraît inachevée. Le torse de la femme est allongé, squelettique, les seins sont légèrement de travers et les bras exagérément longs. Cette femme ressemble plus à une sainte martyrisée qu’à un objet sexuel, avec une tension entre les habituelles connotations sexuelles liées à la pose du modèle, tête légèrement penchée en arrière, yeux clos, bouche entrouverte, et l’expression de douleur et de saleté suggérée par le corps (cf. kerdonis).
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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.
SAO PAULO BRASIL ,
El MASP – Museu de Arte de São Paulo (Museo de Arte de São Paulo) se encuentra en la Avenida Paulista 1578 y es un referente de la cultura paulista y brasilera, tanto por su colección de arte como por el valor arquitectónico de su edificio.
El MASP es una institución privada sin fines de lucro. Su colección es reconocida en todo el mundo y es considerada una de las más importantes de América Latina. Cuenta con obras tanto clásicas como contemporáneas, entre las que se pueden apreciar 5 pinturas de Francisco Goya, entre ellas el retrato de Fernando VII y varias excelentes muestras de Pablo Picasso, Toulouse-Lautrec, Manet, Renoir, Van Gogh y Modigliani.
A finales de los años ´40, Assis Chauteubriand, propietario de Diários Associados, decidió la creación de un museo que fuera “una casa de pintura y escultura para formar e interesar a nuestra gente por las artes plásticas” según sus propias palabras. Su intención era acercar a la gente al arte que, consideraba, se encontraba alejado de misma por encontrarse demasiado radicalizado (el arte moderno) y ser muy conservador (el arte clásico). Primeramente pensó en crearlo en Rio de Janeiro pero optó al final por São Paulo por considerarla una ciudad con mejores recursos económicos y, en consecuencia, mejor para recaudar los fondos necesarios. La situación de la Segunda Guerra Mundial también colaboró para adquirir obras de arte euriopeas a precios más asequibles. Assis Chauteubriand propuso como director del museo al galerista Pietro María Bardi, quien aceptó el reto por sólo un año, quedándose al frente del museo el resto de su vida, casi 50 años. Pietro María Bardi llevó a São Paulo su colección privada y cerca de 20.000 fotografías de arte. Inicialmente funcionó en una sala de 1000 m2 de la sede de Diários Associados y el 2 de octubre de 1947 se abrió al público presentando las primeras adquisiciones, entre ellas un Rembrandt y un Picasso.
La arquitecta italiana Lina do Bardi, esposa de Pietro do Bardi, dividió los 1000 m2 en cuatro salas: una pinacoteca, un auditorio, una sala de exposiciones temporales y una sala de exposición didáctica. Esta división no es casual y demuestra la intención y apertura del MASP, constituyéndose en el primer museo brasilero en dar lugar al arte moderno. En 1950 el MASP cobró importancia y pasó a ocupar 3 pisos más en el edificio de Diários Associados, ampliando así el área pedagógica. Se creó el Instituto de Arte Contemporáneo y se comenzaron a dar cursos de pintura, escultura, grabado, diseño industrial, etc., convirtiéndolo en un centro de cultura cada vez más influyente.
El gran volumen de obras de arte y el valor cultural de la misma determinaron la construcción de una sede propia. Con ese fin la prefectura de São Paulo donó un terreno que antes ocupaba el Belvedere Trianon (paseo desde donde la élite paulista podía ver completa la vista del Vale do Anhangabaú), demolido en 1951 para acoger en ese terreno la primera Bienal Internacional de Arte de São Paulo. Con anterioridad este terreno había sido donado a la prefectura de São Paulo por el Ing. Joaquín Eugenio de Lima, constructor de la Avenida Paulista, con la condición de que se preservase la vista del valle (de allí la posterior creación del paseo Belvedere Trianon) y por ese motivo la construcción de la nueva sede del MASP debía ajustarse en su diseño respetando esa condición. Para ello debía estar elevada o ser subterránea. En 1958 la Arq. Lina do Bardi diseñó la nueva sede del MASP y optó por ambas: elevó a 8 metros del piso la caja del museo, soportándola con dos enormes pórticos de hormigón armado, dejando una planta libre de 74 metros (la mayor planta libre en su época), y construyó en forma subterránea, y aprovechando la pendiente del terreno, el resto del museo. Fue en su momento una idea original y audaz, y su materialización la hizo posible el Ing. José Carlos de Figuereido Ferraz. Finalmente, el 7 de noviembre de 1968, se inauguró la nueva sede del MASP, como centro de arte y cultura y, entre las figuras notables en el evento inaugural, estuvo la Reina Isabel II de Inglaterra.
En 1969 se reguló la protección legal de la colección del MASP. La misma no puede ser dividida ni prestada sin la autorización del Estado. De esta forma la colección se convirtió en inalienable y parte del patrimonio cultural brasilero.
La Arq. Lina do Bardi describió así su obra: “Hormigón a la vista, paredes blancas, piso de piedra-goiás para el enorme hall cívico, cristal templado, paredes plásticas. Los pisos son de caucho negro tipo industrial. El Belvedere es [ahora] una plaza con plantas y flores alrededor, pavimentada con rectángulos que rememoran la tradición ibérico-brasilera. Hay también áreas con agua, pequeños espejos con plantas acuáticas” “No busqué la belleza, busqué la libertad”.
En 2003 el Instituto do Patrimônio Histórico e Artístico Nacional lo confirmó como edificio histórico protegido. Entre 1996 y 2001 se realizaron algunas modificaciones en el edificio. El Arq. Júlio Neves, quien también fue director del museo, decidió el cambio del piso original de piedra-goiás, la creación de un tercer subsuelo, instalación de un segundo ascensor y la sustitución de espejos de agua por jardines.
Visitar el MASP es una cita obligada para quienes aprecian la cultura y el arte. Su ubicación estratégica, sobre la Avenida Paulista, transforma al MASP en un oasis cultural dentro del vértigo capitalista de su mayor exponente urbano: la Avenida Paulista.
En el primer subsuelo cuenta con un local de recuerdos (loja), al mejor estilo de cualquier museo internacional, donde se mezcla la cultura y lo comercial y se pueden comprar excelentes libros y catálogos de exposiciones del MASP, así como objetos de diseño firmados por artistas brasileros. En total la “loja” el MASP ofrece más de 500 artículos, desde libros, papelería, cerámicas hasta juguetes. Aquí encontrará piezas firmadas por Norma Tamaoki, única artista autorizada a producir piezas de la artista Tarsila do Amaral y piezas de Kimi Nii, artista cuyas piezas también se venden en el MOMA (Museum of Modern Art) de New York. Al lado de la “loja” se puede hacer un stop y descansar tomando un café (cafezinho) en su bien surtida cafetería llamada Cafeteria Nescafé MASP y si es ya el mediodía, el MASP cuenta con un restaurante, el Restaurante UNI, donde se puede almorzar por R$27,80.
MASP – Museu de Arte de São Paulo / Avenida Paulista, 1578 – São Paulo – SP / Teléfono: 55 11 3251-5644 / web
Cómo llegar: Subte (En portugués “Metrô”): Estação Trianon/Masp / Horarios: Martes, miércoles, viernes, sábado y domingo: de 11hs. A 18hs. (boletería cierra 17:30) / Jueves: de 11hs. A 20 hs. (boletería cierra 19:30) / Lunes: cerrado. / Entradas: Público general: R$15,00 / Estudiantes: R$7,00 / Menores de 10 y mayores de 60 años no pagan. / Martes gratis para el público en general.
Vista 360°
MASP – Museo de Arte de São Paulo
Boat Street Antibes French Riviera Rue du Bateau Antibes
Picasso Museum Place Mariejol 06600 Antibes
opened
10:00 a.m. to 12:00 p.m.
2:00 p.m. to 6:00 p.m.
Based on the ancient acropolis of the Greek city of Antipolis, Roman castrum, residence of the bishops of the Middle Ages (from 442-1385), the Grimaldi castle was inhabited from 1385 by the Monegasque family who gave it its name. King became mansion of the governor, then from 1792, City Hall, the building is transformed into a barracks in 1820, marking the taking possession of the premises by military engineers until 1924.
PicassoProfessor of French, Greek and Latin at Lycee Carnot in Cannes, Romuald Dor de la Souchère began in 1923 archaeological research in Antibes. On March 29, 1924, the Dor Souchère created the company of friends who Antibes museum is to establish a historical and archaeological museum and to work to publicize the history of the region.
In 1925, the Grimaldi castle was bought by the city of Antibes and becomes the first to Grimaldi museum curator, Romuald Dor de la Souchère. In September 1945, Pablo Picasso went to Grimaldi museum in 1946, Romuald Dor de la Souchère asked him to use part of the castle as a workshop.
Picasso ....
Picasso, enthusiastic, works at the castle and created numerous works, drawings and paintings. Following his stay in 1946, Pablo Picasso left on deposit at the Antibes 23 paintings and 44 drawings. Among the most famous paintings: La Joie de vivre, Satyr, centaur fauna and trident, Slimer The sea urchin, sea urchin Woman, Still life with owl and three urchins, The Goat ...
The September 22, 1947 saw the official opening of the Picasso room on the first floor, together with a first hooking works of Antibes.
The September 7, 1948, an exhibition confirms the significant enrichment of 78 ceramics workshop conducted in Madura Vallauris.
On September 13, 1949, on the occasion of the inauguration of the "French Paintings" exhibition, new rooms devoted to paintings, ceramics and drawings by Picasso are open to the public. And December 27, 1966, the city of Antibes makes new tribute to Pablo Picasso and Grimaldi Castle officially became the Picasso Museum, the first museum dedicated to the artist. Finally, in 1991, the giving Jacqueline Picasso authorizes a new enrichment of Picasso collections.
... To Nicolas de Stael
Picasso1The works of Nicolas de Staël also presented in the museum bear witness to the painter's stay in Antibes, from September 1954 to March 1955. A first donation made by his widow to the Picasso museum after the exhibition devoted to the artist in 1955 and from 1982, the city acquired important works of his last period.
To modern art
In 2001, a donation made by Hans Hartung Foundation and Anna-Eva Bergman allows the opening of two rooms, the ground floor of the museum. A permanent attachment offers a journey in the work of each of these artists.
Finally, the modern art collection, begun in 1951 by Dor La Souchère was created from exceptional donations from the artists. Important artists from the mainstream art of the twentieth and twenty-first centuries are represented: Arman, Atlan, Balthus, Ben, Bioules, Bloch, Buraglio, Bury, Calder, Cane, Castellas, Caesar, Chillida, Clavé, Combas, Cornelius , Crotti, Debre, Dezeuze, Ernst, Gleizes, Goetz, Hantaï, Hartung, Jaccard, Klein, Leppien, Magnelli, Malaval Mansouroff, Mathieu, Meurice, Modigliani, Music, Picabia, Pincemin, Raynaud, Raysse, Sarkis, Spoerri, Viallat ...
Cathedral of Our Lady of Immaculate Conception
1 Rue du Saint-Esprit
06600 Antibes
The Notre-Dame-de-la-Platea is the former cathedral of the Diocese of Antibes and the largest church in the city of Antibes , in Alpes-Maritimes ( France ). Its doors, the xviii th century, are the work of sculptor Joseph Dolle Antibes.
History
The Cathedral was destroyed by the Saracens in 1124 and rebuilt in 1125. The facade was damaged in 1746 and restored by Louis XV with funds from the Royal cassette. The door made in 1710 by Joseph Dolle a Antibois includes figurines of St. Roch and St. Sebastian, which are both protective of Antibes. Inside are the altarpiece of Our Lady of the Rosary, painted in 1515, a marble Virgin of the xix th century, a baptismal font xvi e , a wooden Christ of 1447, lying in a wood xvi th century, the baptismal font from 1772 and a 1860 organ master Jungh.
Chronology
442
Saint Hermaire, monk of the Abbey of Lérins is the first bishop.
5th century
A cathedral is now at the foot of the Roman castrum. The second bishop of Antibes Valerius is murdered.
476
Fall of the Western Roman Empire.
6th century
Construction of a new cathedral whose remains are visible in the chapel of the Holy Spirit.
9th century
Rodoard family takes possession of the diocese.
1113
Election of the Bishop Manfred, former monk of Lérins monastery.
1124
Incursion of barbarian. They destroy the cathedral. All that remains of the previous cathedral a wall element near the Chapel of the Rosary.
1125
The Count of Provence Raimond Beranger made a significant donation to the Bishop Manfred to rebuild the cathedral.
1155
An act mentions the cloister of the canons.
1155 - 1181
The bishops get the counts of Provence suzerainty of all property held by the family of Grasse.
late 12th century early 13th century
Construction of the present cathedral with three naves. The plan of the Romanesque cathedral is similar to the churches of the order of Chalais, particularly in Valbonne located between Antibes and Grasse. Construction of the tower-hut 40 m high before the church.
1208 - 1237
The Count of Provence gives the bishop all the useful field.
1244
The bishop's seat was transferred to Grasse. From 1244 to 1385, the Apostolic Vicariate dependent on the bishopric of Grasse.
1385
Construction of the chapel of the Holy Spirit against the north side of the church for the White Penitents on the remains of the ancient cathedral of the 6th century. Excavations have revealed the remains of the 5th century cathedral.
1385 - 1732
The Apostolic Vicariate of Antibes depends on the Holy See. It becomes a collegiate diocesis nullius.
1593
Consecration of the chapel of the Holy Spirit.
1608
King Henry IV bought the city to the Grimaldi family. The cathedral is rebuilt.
1710
The portal is run by Jacques Dolle.
1746
The cathedral suffered extensive damage during a bombing of the city during the war of succession of Austria.
18th century
Construction of the four bays of the nave, aisles and the current facade.
1848
The Romanesque facade was modernized in Italian style.
Saracen Towers in Antibes
The tower near the cathedral housing the bells , 40 meters high
Located on the town walls of Antibes, the towers "said Saracen" which dates back to the eleventh and early twelfth century, had a protective role for the city of Antibes.
Indeed the devastating Saracen invasions forced the city to protect themselves.
One of the towers; next to the cathedral measures 40 meters high and houses the cathedral bells said.
Her neighbor is integrated into the Picasso Museum overlooking the waterfront.
To access either pass by the old city and the Provencal market or Promenade Admiral de Grasse, and mounted the Souchère Dor (near the cathedral).
Amedeo Modigliani - Italian, 1884 - 1920
Madame Kisling, c. 1917
East Building, Ground Level — Gallery 103-A
This vertical portrait painting shows the head and shoulders of a person with pale peach skin and an auburn, cheek-length bob hairstyle. The person has high cheek bones, deep pink lips, and an angular, pointed chin. The head is cocked to our left, and almond-shaped eyes are nearly blacked out. The black jacket has lapels over a white, collared, buttoned-up shirt with a crimson-red necktie. Shown against brick-red and black background, the portrait is painted with areas of relatively flat color but with loose brushstrokes that create a textured, mottled effect. The artist signed the work with black paint in the lower right corner: “modigliani.”
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
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.
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.
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.
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].
Huile sur toile, 81 x 54 cm, 1907, Museum Hecht, Haifa (Israël).
Verso : Portrait de Maud Abrantes (même modèle) :
www.flickr.com/photos/7208148@N02/49758940051/in/datepost...
Modigliani vient souvent au Bateau-Lavoir, mais ne se résout pas à s’y installer. Il fréquente les bars et cabarets de la Butte, et un soir de novembre (peut-être est-ce en décembre ?) le peintre Henri Doucet le rencontre au Lapin Agile et l’invite à le suivre chez celui qui deviendra le premier grand collectionneur du peintre italien, le docteur Paul Alexandre. Modigliani se présente donc la première fois au 7 rue Delta accompagné de sa maitresse, Maud Abrantès, une artiste peintre également, très élégante et qui le quittera un an plus tard pour s’installer à New York (cf. amis-de-modigliani.net).
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.
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, 100 x 81 cm, 1909.
Médecin et amateur d'art, Paul Alexandre fut l'unique acheteur de Modigliani jusqu’à la première guerre mondiale. Passionné d'art, il met à disposition des artistes qu'il affectionne des ateliers
dans un bâtiment voué à la destruction rue du Delta à Montmartre. Modigliani qui n'y réside pas mais y travaille y côtoie de nombreux artistes de l'École de Paris et peindra Paul Alexandre cinq fois en cinq ans, lui commandant également un
portrait de son père (Jean-Baptiste Alexandre au crucifix, 1909) et de son frère (Jean Alexandre, 1909). Peu fortuné, Paul arriva à convaincre sa famille de ces achats, ce qui explique la
facture classique de ces premiers portraits, facture qui évoluera au fur et à mesure que Modigliani se libérera de ces contraintes.
C'est également Paul Alexandre qui présente à Modigliani Constantin Brancusi dont la rencontreaura une influence décisive sur son œuvre de sculpteur.
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.