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Screen-print by Rick Newham of Knighton Lane Artists Group knightonlaneartists.co.uk/ of legendary Jimi Hendrix featuring the many artists who have played at the popular Musician pub and music venue in my hometown of Leicester,
Cellist Erling Blondal Bengtsson at Sunset
Sculpture Name: The Musician
Sculptor: Ólöf Pálsdóttir
Reykjavik, Ísland
Caravaggio (Michelangelo Merisi - Milan, September 29, 1571- Porto Ercole, July 18, 1610) - Concert (also known as The Musicians) (1597) - oil on canvas size 87.9×115.9 cm - on loan from the Metropolitan Museum of Art, New York - Carrara Academy Bergamo
Il dipinto fu eseguito per il cardinale Francesco Maria Del Monte, che accolse il giovane Caravaggio in casa sua a Roma nella primavera del 1597. L’illustre prelato era un raffinato cultore di musica e la tela del Merisi nasce nell’ambito degli intrattenimenti musicali ospitati dal suo illustre mecenate nella residenza di Palazzo Madama. Nel dipinto sono raffigurati tre giovani vestiti all’antica che si accingono all’esecuzione di un brano musicale, recentemente identificato in un madrigale a sei voci del napoletano Pompeo Stabile, un musicista legato alla cerchia del cardinale Del Monte. I versi, opera di Jacopo Sannazzaro, celebrano il fatale destino di Icaro: «Ben può di sua ruina esser contento; / s’al ciel volando a guisa di colomba, / per troppo ardir fu / esanimato e spento: / ed or del nome suo tutto rimbomba / un mar sì spazïoso, un elemento: / chi ebbe al mondo mai sì larga tomba?».
Caravaggio adotta uno schema iconografico diffuso tra Venezia e Lombardia e che conosceva grazie al suo maestro, Simone Peterzano, autore di quadri di soggetto musicale. Come in questi modelli, il dio d’Amore, Cupido, riconoscibile dalle ali, si aggiunge ai musicisti, tra i quali si deve riconoscere lo stesso Caravaggio, ritrattosi nel giovane in secondo piano che suona il cornetto.
The painting was made for Cardinal Francesco Maria Del Monte, who took the young Caravaggio into his home in Rome in the spring of 1597. The eminent prelate was a refined music lover and, when the artist painted the work, he was inspired by the musical entertainment that his illustrious patron put on in his residence in Palazzo Madama. The painting shows three youths, dressed in the old-fashioned style, who are preparing to perform a piece of music that has recently been identified as a six-voice madrigal by Pompeo Stabile, a Neapolitan composer who was close to the circle of Cardinal Del Monte. The verses, by Jacopo Sannazzaro, celebrate the ultimate destiny of Icarus: “Well may he be happy with such ruin; / If soaring like a dove / through o’erweening valour / he was quenched and died: / And now his name re-echoes far and wide / Across the sea, thro’ a vast element / Who else has ever had so wide a tomb?”
Caravaggio adopts an iconographic scheme commonly used in Venice and Lombardy, which he learnt from his master, Simone Peterzano, a painter of musical subjects. As in Peterzano’s works, the musicians are joined by Cupid, the god of Love, who is identified by his wings. One of the players is Caravaggio himself, who portrays himself in the background as the young man playing the cornett.
'The Musician No.3" narrowboat on the Leeds-Liverpool Canal close to Bridge #164 at Newton Grange, North Yorkshire, UK
The bow of the boat also has the words "Om Shanti" and "Namaste" painted on , which derives from the Sanskrit language and means 'Peace' and 'The divine light within me salutes the divine light within you', as anyone who enjoys yoga will probably be familiar with.
©SWJuk (2019)
All rights reserved
Caravaggio (Michelangelo Merisi - Milan, September 29, 1571- Porto Ercole, July 18, 1610) - Concert (also known as The Musicians) (1597) - oil on canvas size 87.9×115.9 cm - on loan from the Metropolitan Museum of Art, New York - Carrara Academy Bergamo
Il dipinto fu eseguito per il cardinale Francesco Maria Del Monte, che accolse il giovane Caravaggio in casa sua a Roma nella primavera del 1597. L’illustre prelato era un raffinato cultore di musica e la tela del Merisi nasce nell’ambito degli intrattenimenti musicali ospitati dal suo illustre mecenate nella residenza di Palazzo Madama. Nel dipinto sono raffigurati tre giovani vestiti all’antica che si accingono all’esecuzione di un brano musicale, recentemente identificato in un madrigale a sei voci del napoletano Pompeo Stabile, un musicista legato alla cerchia del cardinale Del Monte. I versi, opera di Jacopo Sannazzaro, celebrano il fatale destino di Icaro: «Ben può di sua ruina esser contento; / s’al ciel volando a guisa di colomba, / per troppo ardir fu / esanimato e spento: / ed or del nome suo tutto rimbomba / un mar sì spazïoso, un elemento: / chi ebbe al mondo mai sì larga tomba?».
Caravaggio adotta uno schema iconografico diffuso tra Venezia e Lombardia e che conosceva grazie al suo maestro, Simone Peterzano, autore di quadri di soggetto musicale. Come in questi modelli, il dio d’Amore, Cupido, riconoscibile dalle ali, si aggiunge ai musicisti, tra i quali si deve riconoscere lo stesso Caravaggio, ritrattosi nel giovane in secondo piano che suona il cornetto.
The painting was made for Cardinal Francesco Maria Del Monte, who took the young Caravaggio into his home in Rome in the spring of 1597. The eminent prelate was a refined music lover and, when the artist painted the work, he was inspired by the musical entertainment that his illustrious patron put on in his residence in Palazzo Madama. The painting shows three youths, dressed in the old-fashioned style, who are preparing to perform a piece of music that has recently been identified as a six-voice madrigal by Pompeo Stabile, a Neapolitan composer who was close to the circle of Cardinal Del Monte. The verses, by Jacopo Sannazzaro, celebrate the ultimate destiny of Icarus: “Well may he be happy with such ruin; / If soaring like a dove / through o’erweening valour / he was quenched and died: / And now his name re-echoes far and wide / Across the sea, thro’ a vast element / Who else has ever had so wide a tomb?”
Caravaggio adopts an iconographic scheme commonly used in Venice and Lombardy, which he learnt from his master, Simone Peterzano, a painter of musical subjects. As in Peterzano’s works, the musicians are joined by Cupid, the god of Love, who is identified by his wings. One of the players is Caravaggio himself, who portrays himself in the background as the young man playing the cornett.
Caravaggio (Michelangelo Merisi - Milan, September 29, 1571- Porto Ercole, July 18, 1610) - Concert (also known as The Musicians) (1597) - oil on canvas size 87.9×115.9 cm - on loan from the Metropolitan Museum of Art, New York - Carrara Academy Bergamo
Il dipinto fu eseguito per il cardinale Francesco Maria Del Monte, che accolse il giovane Caravaggio in casa sua a Roma nella primavera del 1597. L’illustre prelato era un raffinato cultore di musica e la tela del Merisi nasce nell’ambito degli intrattenimenti musicali ospitati dal suo illustre mecenate nella residenza di Palazzo Madama. Nel dipinto sono raffigurati tre giovani vestiti all’antica che si accingono all’esecuzione di un brano musicale, recentemente identificato in un madrigale a sei voci del napoletano Pompeo Stabile, un musicista legato alla cerchia del cardinale Del Monte. I versi, opera di Jacopo Sannazzaro, celebrano il fatale destino di Icaro: «Ben può di sua ruina esser contento; / s’al ciel volando a guisa di colomba, / per troppo ardir fu / esanimato e spento: / ed or del nome suo tutto rimbomba / un mar sì spazïoso, un elemento: / chi ebbe al mondo mai sì larga tomba?».
Caravaggio adotta uno schema iconografico diffuso tra Venezia e Lombardia e che conosceva grazie al suo maestro, Simone Peterzano, autore di quadri di soggetto musicale. Come in questi modelli, il dio d’Amore, Cupido, riconoscibile dalle ali, si aggiunge ai musicisti, tra i quali si deve riconoscere lo stesso Caravaggio, ritrattosi nel giovane in secondo piano che suona il cornetto.
The painting was made for Cardinal Francesco Maria Del Monte, who took the young Caravaggio into his home in Rome in the spring of 1597. The eminent prelate was a refined music lover and, when the artist painted the work, he was inspired by the musical entertainment that his illustrious patron put on in his residence in Palazzo Madama. The painting shows three youths, dressed in the old-fashioned style, who are preparing to perform a piece of music that has recently been identified as a six-voice madrigal by Pompeo Stabile, a Neapolitan composer who was close to the circle of Cardinal Del Monte. The verses, by Jacopo Sannazzaro, celebrate the ultimate destiny of Icarus: “Well may he be happy with such ruin; / If soaring like a dove / through o’erweening valour / he was quenched and died: / And now his name re-echoes far and wide / Across the sea, thro’ a vast element / Who else has ever had so wide a tomb?”
Caravaggio adopts an iconographic scheme commonly used in Venice and Lombardy, which he learnt from his master, Simone Peterzano, a painter of musical subjects. As in Peterzano’s works, the musicians are joined by Cupid, the god of Love, who is identified by his wings. One of the players is Caravaggio himself, who portrays himself in the background as the young man playing the cornett.
Caravaggio (Michelangelo Merisi - Milan, September 29, 1571- Porto Ercole, July 18, 1610) - Concert (also known as The Musicians) (1597) - oil on canvas size 87.9×115.9 cm - on loan from the Metropolitan Museum of Art, New York - Carrara Academy Bergamo
Il dipinto fu eseguito per il cardinale Francesco Maria Del Monte, che accolse il giovane Caravaggio in casa sua a Roma nella primavera del 1597. L’illustre prelato era un raffinato cultore di musica e la tela del Merisi nasce nell’ambito degli intrattenimenti musicali ospitati dal suo illustre mecenate nella residenza di Palazzo Madama. Nel dipinto sono raffigurati tre giovani vestiti all’antica che si accingono all’esecuzione di un brano musicale, recentemente identificato in un madrigale a sei voci del napoletano Pompeo Stabile, un musicista legato alla cerchia del cardinale Del Monte. I versi, opera di Jacopo Sannazzaro, celebrano il fatale destino di Icaro: «Ben può di sua ruina esser contento; / s’al ciel volando a guisa di colomba, / per troppo ardir fu / esanimato e spento: / ed or del nome suo tutto rimbomba / un mar sì spazïoso, un elemento: / chi ebbe al mondo mai sì larga tomba?».
Caravaggio adotta uno schema iconografico diffuso tra Venezia e Lombardia e che conosceva grazie al suo maestro, Simone Peterzano, autore di quadri di soggetto musicale. Come in questi modelli, il dio d’Amore, Cupido, riconoscibile dalle ali, si aggiunge ai musicisti, tra i quali si deve riconoscere lo stesso Caravaggio, ritrattosi nel giovane in secondo piano che suona il cornetto.
The painting was made for Cardinal Francesco Maria Del Monte, who took the young Caravaggio into his home in Rome in the spring of 1597. The eminent prelate was a refined music lover and, when the artist painted the work, he was inspired by the musical entertainment that his illustrious patron put on in his residence in Palazzo Madama. The painting shows three youths, dressed in the old-fashioned style, who are preparing to perform a piece of music that has recently been identified as a six-voice madrigal by Pompeo Stabile, a Neapolitan composer who was close to the circle of Cardinal Del Monte. The verses, by Jacopo Sannazzaro, celebrate the ultimate destiny of Icarus: “Well may he be happy with such ruin; / If soaring like a dove / through o’erweening valour / he was quenched and died: / And now his name re-echoes far and wide / Across the sea, thro’ a vast element / Who else has ever had so wide a tomb?”
Caravaggio adopts an iconographic scheme commonly used in Venice and Lombardy, which he learnt from his master, Simone Peterzano, a painter of musical subjects. As in Peterzano’s works, the musicians are joined by Cupid, the god of Love, who is identified by his wings. One of the players is Caravaggio himself, who portrays himself in the background as the young man playing the cornett.
Please visit the following site for available sizes and pricing:
In Seattle you can purchase pieces at Venue:
For www.flickr.com/groups/pureimagination/discuss/72157625044...
Textures Only ~ Competition #109
Original image my own :)
Spear carriers: my own venice stuff...
Buildings: unholy stock DA
Dog: shooflystock DA
Texture: skeletalmess
Caravaggio (Michelangelo Merisi da Caravaggio), Mailand 1571? - Porto Ercole 1610
Die Musikanten - The Musicians (1597)
Metropolitan Museum of Art, New York, USA
While Cupid confirms Caravaggio’s allegorical frame for representing Music, the artist equally engages with contemporary performance and individualized models, including a self-portrait in the second boy from the right. Caravaggio’s contemporary, Giovanni Baglione, recorded that the artist painted "a concert, with some youths portrayed from nature very well" immediately after joining the household of his first great patron, Cardinal Francesco Maria del Monte. Most likely, this is the same painting and is one of several employing the half-length, earthy yet sensual figures with which Caravaggio made his name upon arriving in Rome.
Source: MET
Even if not yet for the ears, but don't tell him I said that. :-p
Owen has taken up the flute which I think is both cute and cool. I did band at his age and while I didn't pursue it myself after the 5th or 6th grade I definitely value it as a creative pursuit and this kid has shown so many creative interests. He loves drawing mazes, making comic books, writing choose-your-own-adventure stories, coding video games and now music. It makes me sit and marvel at the creative tickings and whirrings of that growing mind of his and while I don't want to see him grow up unduly fast, I am curious indeed to see how that curious mind of his expands and matures. It's a cool thing to watch.
I made this image of him over his spring break. I took him on a week trip up near the San Juan Islands where we had a rustic little cabin all to ourselves. We played games, threw rocks into the water, read and listened to podcasts on myths and legends, and yes, practiced the flute. Well he did at least. I listened... and photographed, because these are valuable moments and they pass a bit too fast for my liking.
Hasselblad 500C
Kodak Portra 400
This wall art is oh so big and is another great piece of art by "Rogue-One"
Flickr Lounge ~ Weekly Theme (Week 7) ~ On The Wall ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
Please visit the following site for available sizes and pricing:
In Seattle you can purchase pieces at Venue:
The Central Park characters series (1 of 3)
Everyone thought you wouldn't make it...
They deemed you just a dreamer... they forsake it.
Their own spark put off one day... their self-built cynicism...
Today, your song shall break it...
Central Park,
New York
Taken with a 3G iPhone
Please visit the following site for available sizes and pricing:
In Seattle you can purchase pieces at Venue:
Oil on canvas; 217 x 190 cm.
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1958. His work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them. Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."
Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. Though he currently spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world. Botero gained considerable attention in 2005 for his Abu Ghraib collection, which began as an idea he had on a plane, finally culminating in more than 85 paintings and 100 drawings. The Circus collection followed in 2008, with 20 works of oil and watercolor. In an interview promoting his Circus collection, Botero said: "After all this, I always return to the simplest things: still lifes."
Por favor, no usar esta imagen en páginas web, blogs u otros soportes sin mi autorización, © Todos los derechos reservados.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
to stay and not decide on anything, to turn into the DOOR , or to continue...knowing that the end of that corridor is a locked gate.
If you do drop by, please take a moment to read this amazing story..
The Guest of the Maestro
by Max Lucado
What happens when a dog interrupts a concert? To answer that, come with me to a spring night in Lawrence, Kansas.
Take your seat in Hoch Auditorium and behold the Leipzig Gewandhaus Orchestra—the oldest continually operating orchestra in the world. The greatest composers and conductors in history have directed this orchestra. It was playing in the days of Beethoven (some of the musicians have been replaced).
You watch as stately dressed Europeans take their seats on the stage. You listen as professionals carefully tune their instruments. The percussionist puts her ear to the kettle drum. A violinist plucks the nylon sting. A clarinet player tightens the reed. And you sit a bit straighter as the lights dim and the tuning stops. The music is about to begin.
The conductor, dressed in tails, strides onto the stage, springs onto the podium, and gestures for the orchestra to rise. You and two thousand others applaud. The musicians take their seats, the maestro takes his position, and the audience holds its breath.
There is a second of silence between lightning and thunder. And there is a second of silence between the raising of the baton and the explosion of the music. But when it falls the heavens open and you are delightfully drenched in the downpour of Beethoven's Third Symphony.
Such was the power of that spring night in Lawrence, Kansas. That hot, spring night in Lawrence, Kansas. I mention the temperature so you'll understand why the doors were open. It was hot. Hoch Auditorium, a historic building, was not air-conditioned. Combine bright stage lights with formal dress and furious music, and the result is a heated orchestra. Outside doors on each side of the stage were left open in case of a breeze.
Enter, stage right, the dog. A brown, generic, Kansas dog. Not a mean dog. Not a mad dog. Just a curious dog. He passes between the double basses and makes his way through the second violins and into the cellos. His tail wags in beat with the music. As the dog passes between the players, they look at him, look at each other, and continue with the next measure.
The dog takes a liking to a certain cello. Perhaps it was the lateral passing of the bow. Maybe it was the eye-level view of the strings. Whatever it was, it caught the dog's attention and he stopped and watched. The cellist wasn't sure what to do. He'd never played before a canine audience. And music schools don't teach you what dog slobber might do to the lacquer of a sixteenth-century Guarneri cello. But the dog did nothing but watch for a moment and then move on.
Had he passed on through the orchestra, the music might have continued. Had he made his way across the stage into the motioning hands of the stagehand, the audience might have never noticed. But he didn't leave. He stayed. At home in the splendor. Roaming through the meadow of music.
He visited the woodwinds, turned his head at the trumpets, stepped between the flutists, and stopped by the side of the conductor. And Beethoven's Third Symphony came undone.
The musicians laughed. The audience laughed. The dog looked up at the conductor and panted. And the conductor lowered his baton.
The most historic orchestra in the world. One of the most moving pieces ever written. A night wrapped in glory, all brought to a stop by a wayward dog.
The chuckles ceased as the conductor turned. What fury might erupt? The audience grew quiet as the maestro faced them. What fuse had been lit? The polished, German director looked at the crowd, looked down at the dog, then looked back at the people, raised his hands in a universal gesture and . . . shrugged.
Everyone roared.
He stepped off the podium and scratched the dog behind the ears. The tail wagged again. The maestro spoke to the dog. He spoke in German, but the dog seemed to understand. The two visited for a few seconds before the maestro took his new friend by the collar and led him off the stage. You'd have thought the dog was Pavarotti the way the people applauded. The conductor returned and the music began and Beethoven seemed none the worse for the whole experience.
Can you find you and me in this picture?
I can. Just call us Fido. And consider God the Maestro.
And envision the moment when we will walk onto his stage. We won't deserve it. We will not have earned it. We may even surprise the musicians with our presence.
The music will be like none we've ever heard. We'll stroll among the angels and listen as they sing. We'll gaze at heaven's lights and gasp as they shine. And we'll walk next to the Maestro, stand by his side, and worship as he leads.
These final chapters remind us of that moment. They challenge us to see the unseen and live for that event. They invite us to tune our ears to the song of the skies and long—long for the moment when we'll be at the Maestro's side.
He, too, will welcome. And he, too, will speak. But he will not lead us away. He will invite us to remain, forever his guests on his stage.
From When God Whispers Your Name