View allAll Photos Tagged affirmation
Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire.
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Affirmation
I believe the sun should never set upon an argument
I believe we place our happiness in other people's hands
I believe that junk food tastes so good because it's bad for you
I believe your parents did the best job they knew how to do
I believe that beauty magazines promote low self esteem
I believe I'm loved when I'm completely by myself alone
I believe in Karma what you give is what you get returned
I believe you can't appreciate real love until you've been burned
I believe the grass is no more greener on the other side
I believe you don't know what you've got until you say goodbye
I believe you can't control or choose your sexuality
I believe that trust is more important than monogamy
I believe your most attractive features are your heart and soul
I believe that family is worth more than money or gold
I believe the struggle for financial freedom is unfair
I believe the only ones who disagree are millionaires
I believe in Karma what you give is what you get returned
I believe you can't appreciate real love until you've been burned
I believe the grass is no more greener on the other side
I believe you don't know what you've got until you say goodbye
I believe forgiveness is the key to your unhappiness
I believe that wedded bliss negates the need to be undressed
I believe that God does not endorse TV evangelists
I believe in love surviving death into eternity
I believe in Karma what you give is what you get returned
I believe you can't appreciate real love until you've been burned
I believe the grass is no more greener on the other side
I believe you don't know what you've got until you say goodbye
Song by Savage Garden
This turned out to be one of the most joyous, life affirming places that we've visited on our travels. The sparkling, late summer sunshine, the arresting modern architecture set amid so much history, the superb collection of early 20th century paintings on the 5th floor, and the throng of tourists and Parisians enjoying themselves on a Saturday combined to make this a most memorable afternoon.
"Centre Georges Pompidou commonly shortened to Centre Pompidou; also known as the Pompidou Centre in English) is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil and the Marais. The Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers. In the spring, miniature carnivals are installed temporarily into the place in front with a wide variety of attractions: bands, caricature and sketch artists, tables set up for evening dining, and even skateboarding competitions.
The nearby Stravinsky Fountain (also called the Fontaine des automates), on Place Stravinsky, features sixteen whimsical moving and water-spraying sculptures by Jean Tinguely and Niki de Saint-Phalle, which represent themes and works by composer Igor Stravinsky. The black-painted mechanical sculptures are by Tinguely, the colored works by de Saint-Phalle. The fountain opened in 1983.
It houses the Bibliothèque publique d'information (Public Information Library), a vast public library, the Musée National d'Art Moderne, which is the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. Because of its location, the Centre is known locally as Beaubourg. It is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard d'Estaing.
The sculpture, Horizontal by Alexander Calder, a free-standing mobile that is twenty-five feet high, was placed in 2012 in front of the Centre Pompidou.
The Centre was designed by Italian architect Renzo Piano; British architect Richard Rogers; and Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners.The project was awarded to this team in an architectural design competition, whose results were announced in 1971. It was the first time in France that international architects were allowed to participate. World-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries.
National Geographic described the reaction to the design as "love at second sight." An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.".
Initially, all of the functional structural elements of the building were colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red."
en.wikipedia.org/wiki/Centre_Georges_Pompidou
...
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
my design for the spoonflower "Affirmations" challenge.
The inspiration for this design is a graffiti and grunge style of scribbles of positive affirmation- A pick me up when I am low. I envisaged a duvet cover in this design, The idea being, every night before i went to bed, I can read the scribbles and affirm a positive day.....and over time, i can add to the affirmations to create an ever growing entry of positiveness, in the scribbly, scrawly, fun carefree style.
This design would also make a great wallpapered panel above my desk in the art studio.
www.spoonflower.com/designs/8581980-graffiti-grunge-style...
United States Military Academy Class Of 2022 Cadets reaffirmed their oath during a ceremony at Ike Hall, West Point, New York on August 16, 2020 (U.S. Army photo by Tarnish Pride USMA/PAO).
The U.S. Military Academy hosted an Affirmation Ceremony for the Class of 2024, on Aug. 14, 2022, at Eisenhower Hall on West Point, N.Y. The Sunday evening before the first day of class, the Cow Class (Juniors) recite the Cadet oath and affirm their commitment to complete the next two years of study and serve their five-year active duty service obligation, followed by three years of Reserve duty. (U.S. Army by Sgt. 1st Class Luisito Brooks)
Affirmer sa domination
Wild Konik horse/stalion (originating from Poland) / Cheval/étalon sauvage de race Konik (d'origine Polonaise), Oostvaardersplassen, The Netherlands / Pays-Bas, 1 October / octobre 2011
Salle de l'exposition "The Color Line" au musée du quai Branly-Jacques Chirac
Quel rôle a joué l’art dans la quête d’égalité et d’affirmation de l’identité noire dans l’Amérique de la Ségrégation ? L'exposition rend hommage aux artistes et penseurs africains-américains qui ont contribué, durant près d’un siècle et demi de luttes, à estomper cette "ligne de couleur" discriminatoire. extrait du site de l'exposition au musée du quai Branly - Jacques Chirac
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
L'exposition "The color line" aborde l'histoire de la ségrégation raciale aux USA qui a succédé à l'esclavage, tout en faisant une large place aux productions littéraires et artistiques qu'elle a suscitées au cours de longues années de lutte. Certains documents révèlent la violence inouïe qu'ont subie les noirs aux USA à une certaine époque. Les oeuvres de nombre d'artistes exposés sont quasiment inconnues en France et on les découvre avec intérêt.
L'exposition est très documentée et de nature encyclopédique mais on a l'impression dans la plupart des salles qu'on aurait paut-être mieux fait de consulter des ouvrages sur les sujets traités car les murs sont couverts de documents difficiles à lire dans les conditions habituelles de visite.
Certes, la fin de l'exposition fait une place plus grande aux oeuvres d'arts visuels qu'à son début mais globalement elles apparaissent en nombre insuffisant à beaucoup de visiteurs en raison d'une scénographie beaucoup trop dense.
Peut-être est-ce un problème de place qui en est la raison ? Le commissaire Daniel Soutif aurait peut-être du supprimer des documents moins essentiels que d'autres à la compréhension de ses propos. En tout cas, il apparaît impossible de voir cette exposition en une seule visite.
Ces critiques ne doivent pas empêcher de voir cette exposition exceptionnelle en France dont le sujet est particulèrement d'actualité dans un monde où les réactions identitaires ou raciales ne font que s'exacerber au point de devenir des périls.
Meet the newest collection of paper stitching kits from Joone Creative. They are a thoughtful pairing of simple, tactile embroidery and recorded meditations. US + Canada folks, a giveaway is underway through 7/18: www.allthingspaper.net/2020/07/relax-and-recharge-with-jo...
This turned out to be one of the most joyous, life affirming places that we've visited on our travels. The sparkling, late summer sunshine, the arresting modern architecture set amid so much history, the superb collection of early 20th century paintings on the 5th floor, and the throng of tourists and Parisians enjoying themselves on a Saturday combined to make this a most memorable afternoon.
"Centre Georges Pompidou commonly shortened to Centre Pompidou; also known as the Pompidou Centre in English) is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil and the Marais. The Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers. In the spring, miniature carnivals are installed temporarily into the place in front with a wide variety of attractions: bands, caricature and sketch artists, tables set up for evening dining, and even skateboarding competitions.
The nearby Stravinsky Fountain (also called the Fontaine des automates), on Place Stravinsky, features sixteen whimsical moving and water-spraying sculptures by Jean Tinguely and Niki de Saint-Phalle, which represent themes and works by composer Igor Stravinsky. The black-painted mechanical sculptures are by Tinguely, the colored works by de Saint-Phalle. The fountain opened in 1983.
It houses the Bibliothèque publique d'information (Public Information Library), a vast public library, the Musée National d'Art Moderne, which is the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. Because of its location, the Centre is known locally as Beaubourg. It is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard d'Estaing.
The sculpture, Horizontal by Alexander Calder, a free-standing mobile that is twenty-five feet high, was placed in 2012 in front of the Centre Pompidou.
The Centre was designed by Italian architect Renzo Piano; British architect Richard Rogers; and Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners.The project was awarded to this team in an architectural design competition, whose results were announced in 1971. It was the first time in France that international architects were allowed to participate. World-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries.
National Geographic described the reaction to the design as "love at second sight." An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.".
Initially, all of the functional structural elements of the building were colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red."
en.wikipedia.org/wiki/Centre_Georges_Pompidou
...
affirmations journal, ink & watercolor - 'heart'
"Wheresoever you go, go with all your heart." - Confucious
"Just a qyuick sketch, but I did get a journal entry in today - yay! And I do love RED, oh yes I do and hearts, I even sign my name with a heart on all of my work. The heart symbol has always been very special to me, I think it's because I put so much heart into everything I do.....truly :>
Anyhow, I may use this as a reference for a larger piece on a wood panel, I think she would be lovely with the right background, don't you? No matter, I was definitely..."
full post here:
atailoredline.blogspot.com/2009/01/week-of-color-day-2-re...
The Class of 2021 affirms their commitment to service in the US Army in a ceremony at West Point, NY. 18 August, 2019. (US Army Photo by Cadet Amanda Lin)
affirmations journal - 'create and grow'
"Find the seed at the bottom of your heart and bring forth a flower.” -- Shigenori Kameoka
"Okay, here's my journal entry for Yellow, what a happy color to work with. Weekends are slower paced around here so I was able to slip into my studio and just create away at my own pace. I've learned to savor those moments and trying to work out a schedule so that can happen a lot more for me this year :>
The January Art Journalers are now down to our last day of 7 days of COLOR, no kidding..."
full post here:
atailoredline.blogspot.com/2009/01/week-of-color-day-6-ye...
This is a free download of Positive Affirmations for Artists A to Z. Go to www.lgruger.com/contact.htm to download it! 4 sizes to choose from.Also a high res jpg is available at my Etsy Shop at lgrugerhanson.etsy.com
United States Military Academy Class Of 2022 Cadets reaffirmed their oath during a ceremony at Ike Hall, West Point, New York on August 16, 2020 (U.S. Army photo by Tarnish Pride USMA/PAO).
United States Military Academy Class Of 2022 Cadets reaffirmed their oath during a ceremony at Ike Hall, West Point, New York on August 16, 2020 (U.S. Army photo by Tarnish Pride USMA/PAO).
What Does Christianity Affirm?
Editorial Introduction
In view of the overwhelming flood of false doctrine, erroneous belief systems, and godless humanistic philosophies rampant everywhere in the world today, it is hoped that this compilation of the central articles of the true evangelical Christian faith will be of assistance to all who are being lead of God to seek out and find the Truth.
The Lord Jesus Christ urges all to "...seek, and you shall find; knock, and it shall be opened unto you." For everyone that "...seeks shall find; and to him that knocks it shall be opened."
May this "Evangelical Christian Confession of Faith" enable all who are seeking the truth to turn away from the bewildering and confusing array of false religions and come to a secure knowledge the true gospel of the Lord Jesus Christ.
The gospel message declares in each and every article of faith that without a doubt, "in Jesus Christ, God was reconciling the world unto Himself."
1. The Gospel
We believe that the Gospel is the good news that the Lord Jesus Christ has died for the sins of the world!
Because of His infinite love for the fallen sons and daughters of Adam, God Himself in the person of our Lord Jesus Christ has come into this sin-darkened world, lived a sinless, spotless life by perfectly obeying and fulfilling the Law of God, and then He died for our sins, in our place, as our atoning sacrifice upon the cross of Calvary.
As the Second Adam, our Lord took upon Himself the guilt, punishment, penalty, and death which we all deserve.
The curses pronounced at the Fall of the First Adam, fell in full measure upon the Second Adam, the Lord Jesus Christ.
He is the sin bearer, substitute, and redeemer for the entire human family.
Active obedience — The Law of God requires of all perfect obedience to all of its holy commandments, and absolute holiness and sinlessness of life. This perfect righteousness Jesus performed for us as the sinless Second Adam.
Passive obedience — The Law of God also requires punishment and death to all who sin and come short of its righteous demands.
This penalty Jesus bore for us when He suffered and died for us, in our place, at Calvary . The guilt of all the world was reckoned and imputed to Him while He hung upon the cross.
In His sinless life and atoning death He became the divine Substitute, Representative, and Second Adam for every fallen child of Adam.
He was reckoned and treated as a sinner in the eyes of Divine justice so that by God's unmerited grace alone, in Christ alone, atonement and redemption and reconciliation have been accomplished for all.
He ransomed all by paying the debt of all. Jesus lived, died, arose again from the dead, and ascended into Heaven where He ever lives to make intercession for us as the one and only mediator between God and Man.
On the Last Day He will come again to save all who eagerly await His return.
2. Justification by God's unmerited "Grace Alone" through "Faith Alone" in the Sinless Life and Atoning Death of the Lord Jesus "Christ alone"
We believe that the Good News of our salvation and reconciliation through Christ's shed blood on Calvary is proclaimed to all the world and is attended by the outpouring power of the Holy Spirit.
It is God's will that all should come unto a saving knowledge of Christ.
Thus the Holy Spirit, through the proclamation of the everlasting Gospel, calls and enables whosoever will to personally believe the Gospel of Christ's finished work of atonement on the cross of Calvary, to repent of dead works, and to be baptized for the remission of sins.
All who call upon the name of the Lord Jesus Christ in repentance for their sins are justified freely by God's unmerited grace alone through faith alone in the perfect sinless life and atoning death of the Lord Jesus Christ alone.
They are personally justified, forgiven, declared righteous and innocent, accepted, washed, pardoned, perfected, saved, elected, set free from condemnation, reconciled, accounted righteous, chosen, adopted, cleansed, purged, healed, sanctified, delivered from death and made alive, atoned for, found, brought back, bought back, made nigh, and predestined unto life eternal in Christ.
By the unmerited grace of God they are accounted perfect and sinless in His merciful reckoning; and their sinfulness and guilt are covered by His sinlessness.
The Law of God finds nothing to condemn in the repentant sinner who believes in Jesus.
His name is recorded in the Book of Life and he is reckoned as righteousness in Christ and accounted worthy of eternal life. This is what the apostle Paul calls justification by faith in the imputed righteousness of Christ.
Thus, we as repentant sinners are personally saved from our sins when we believe the gospel.
No repentant believer in the Lord Jesus Christ can be ever be lost as we continue to trust only in the sinless life and atoning death of the Lord Jesus Christ unto the end of our lives or until Jesus comes in the clouds of heaven on the Last Day.
There will never be a point in our lives where we will not need to be justified by God's unmerited grace alone through faith alone in the imputed righteousness of our Lord Jesus Christ.
All saving merit is in the person of the Lord Jesus Christ.
Faith is merely the instrumental cause of our justification and never the meritorious cause.
In other words, there is no merit in faith, but rather all righteousness and merit is in the object of our faith, the sinless Lamb of God, the one Mediator between God and Man, Jesus Christ.
It is not God's will that any should perish, but those who resist the call of the Holy Spirit, refuse to repent of their sins, and will not believe the Gospel of their salvation in Christ are blaspheming against the Holy Spirit and are calling God a liar.
Unbelievers will have to bear the full penalty for their own sins and stand alone without a sinless Mediator on the final Judgment Day.
3. The Sanctified Life of the Believer
We believe that every justified believer in Christ receives the gracious gift of the indwelling Holy Spirit and is born again from above.
The Holy Spirit urges, teaches, empowers, and enables all believers in Jesus to begin to live loving, sanctified lives and enter into the life-long battle against sin.
This daily growth in character is called sanctification or the rebirth.
Christ lives in the believing community, the church, through the anointing power of the Holy Spirit.
In Christ, we will begin to bear the fruit of God's Spirit in our lives: love, joy, peace, patience, kindness, goodness, faithfulness, humility, and self-control. We are called to unite with Christ to use the spiritual weapons He has made available for Christians to enter the battles of life as we struggle against sin and hardness of heart.
Daily the spiritual qualities of God's Law, the Ten Commandments, are impressed and written upon the heart and then expressed and reflected in the life as we earn a living, raise our children, are faithful in marriage, help our neighbor, reach out to our enemies, wrestle with inbred tendencies to evil, and actively labor in the name of Christ to meet the physical and spiritual needs of the fallen world in which we live.
Thus, the good works of believers are the "fruit" of our justification and never the "root" of our justification.
In Sanctification: we resist the Devil; strive against sin — take up our cross and follow Jesus — hunger and thirst after righteousness — overcome the love of the world, the lust of the eye, and the pride of life — love God with all our hearts, minds, and souls — love our neighbors as ourselves by doing unto others as we would have others do unto us — endure hardships and persecution — bless those who persecute us and not curse them — labor to proclaim the gospel to all the world — pray without ceasing — use every talent we have for the glory of God as we present our bodies as a living sacrifice, holy and acceptable unto God, not conforming to the world but rather being transformed by the renewing of our minds — rejoice with those who rejoice and weep with those who weep — do not set our minds on high things but associate with the humble — pay no one evil for evil, not avenging ourselves — show mercy to all with cheerfulness — teach all — minister to all — give to all — show love to all — do not lag in diligence — do not think more highly of ourselves than we ought but think soberly — are kindly affectionate to one another with brotherly love — rejoice in hope — are patient in tribulation — distribute to the needs of the saints — pursue hospitality — despise all forms of adultery, fornication, uncleanness, lewdness, idolatry, sorcery, hatred, contentions, jealousies, outbursts of wrath, selfish ambition, dissentions, heresies, envy, murder, drunkenness, and ungodly associations. In all things we are to be zealous of good works, put on the Lord Jesus Christ, and not make any provision for the flesh.
However, even as we mature in Christ — obey the Commandments of God — partake of the divine nature — grow in faith and a knowledge of His word — and deepen in our repentance — there is no point in the Christian life where we will not need forgiveness and justification by God's unmerited grace alone through faith alone in Christ's imputed righteousness.
Our prayer, this side of eternity, to our Heavenly Father will always be — "Father, please forgive us of our sins, for Jesus' sake" and — "Lord, I am an unprofitable servant. Be merciful to me a sinner, for Jesus' sake."
Thus the Christian church is always a forgiven community and therefore is to always be a forgiving community.
This is true now and even unto the second coming of our Lord Jesus Christ in the clouds of heaven.
4. Immortality and Eternal Life
We believe that "he who is justified by faith shall live ". All who are justified by God's unmerited grace alone through faith alone in the sinless life and atoning death of our Lord Jesus Christ alone have the forgiveness of sin and the promise of eternal life and immortality.
Just as the believer is reckoned perfectly righteous by faith alone, even so we have the gift of immortality by faith alone.
The life and righteousness that we possess now are merely the small down payment of the righteousness and immortal life that we will have "by sight" at His coming.
After the Fall of Adam, a flaming sword hedged the way to the Tree of Life so that Man could no longer eat of its fruit and "live forever".
Thus sickness, suffering, and death entered the creation through Adam's sin.
But that flaming sword of judgment has pierced our dear Savior's side, so that by the unmerited grace of God the redeemed sons and daughters of Adam will once again eat from the Tree of Life.
At the coming of Jesus we shall shout, "O Death, where is thy sting? O Grave, where is thy victory?" Death has been swallowed up in victory through the blood of Calvary !!!
And so death to the believer is a mere moment of sleep from which we shall arise to be like Him.
In a moment — in the twinkling of an eye — we shall put on perfect righteousness and immortality at the Last Trump. Just as in water baptism Christians are "buried" in the likeness of our Lord's death and "arise" in the likeness of His resurrection, even so we who fall asleep in death shall arise on the Last Day to everlasting life through the promise of the resurrection.
5. The Last Days, the Judgment Hour, and the Restoration of the Gospel
We believe that the "Last Days" and the "Hour of God's Judgment" began at the cross of Calvary.
Satan has been cast down to the Earth and knows that his time is short. Since the days of the apostles, the Enemy of truth has sought to destroy the true gospel of Christ by bringing false doctrine into the Christian church and severely persecuting Christ's people.
However, God in His mercy and providence has raised up the "always reforming" Protestant reformation to recover all the precious truth of the Gospel that the Antichrist has sought to destroy.
Now in these last days of Earth's history, the fully restored Gospel in all of its apostolic purity is once again being proclaimed to every nation, language, and people in the "latter rain" power of the Holy Spirit.
All the world is being invited to repent of their transgressions of God's holy Law and receive the "seal of God" in the free gift of the forgiveness of sin and justification unto eternal life by the unmerited grace of God alone through faith alone in the sinless life and atoning death of our Lord Jesus Christ alone.
The Christian era — metaphorically called the "1260 days" — "42 months" — or the "3 and ½ years" — is a time of judgment, tribulation, and terrible plagues upon the Earth.
In this time of judgment, those who refuse to repent of their sins and will not trust in the blood of Jesus will receive the final verdict of condemnation and will receive the "mark of the Beast" and the "seven last plagues" of God's wrath against sin.
God's people who "keep the commandments of God and the faith of Jesus" will pass through this terrible time shielded by the power and mercy of God and be delivered when Jesus returns. When Jesus comes in all of His glory those with the "mark of the Beast" will be destroyed by the brightness of His coming.
6. The Second Coming of Christ
We believe in the literal, visible Second Coming of our Lord Jesus Christ in power and great glory.
All the world will see Him come in the clouds of heaven with all the holy angels.
The Lord will raise His redeemed people who have fallen asleep in death and, together with the living saints, they will be caught up to meet the Lord in the air.
The redeemed saints on that day will be accounted worthy of eternal life only by the unmerited grace of God. God's blood-bought people know that only the "imputed" righteousness of Christ can enable them to stand before the unveiled glory of the Lord Jesus Christ.
They know that even after an entire lifetime of wrestling with evil tendencies from within — wrestling with temptations from without — and at the same time seeking to be a blessing to others — their sanctification always falls short of God's holy and righteous Law.
The sanctified life of the Christian always bears the taint of imperfection even unto the coming of the Lord in the clouds of glory.
On that Day those who have rejected our Lord's offer of mercy through faith in the blood of Christ and who have fully aligned themselves with the Lawless One in the final rebellion against the Truth will be destroyed by the brightness of His coming.
7. The Millennium, the End of Sin and the Eternal Punishment of the Lost
After our Lord comes to take His people to Heaven, Satan and his evil angels will be bound to the desolate Earth for 1000 years.
The redeemed will spend this 1000 years reigning in Heaven with Christ.
At the end of this 1,000 years, Jesus and His people in the "New Jerusalem" will return to the Earth.
The wicked lost will be raised from the dead and then Satan and his angels and the wicked lost will make one final attempt to destroy the New Jerusalem.
But as they come up to the City, eternal fire from heaven will rain down upon them and they will be punished according to the measure of the wickedness of their lives.
After Satan, his evil angels, and the wicked lost are completely burned up and consigned to eternal death, God will make a new heaven and a new Earth where sin and sinners will be no more.
God's people will live eternally in the beautiful Earth made new where there is no more curse or sorrow or death.
8. The One True God
We believe in Almighty God — the Creator and Redeemer of Heaven and Earth.
The only true, merciful, and loving Eternal God — who is the all-knowing, all-powerful, immortal, self existing One — without beginning or end — who alone possesses life unborrowed and underived, is the source of all life and righteousness, — and through whom all the creation is sustained, upheld, and exists moment by moment by the power of His Word.
9. The Triune God
We believe that the one true God has revealed Himself to us in His word as the Triune God from all eternity — God the Father, God the Son, and God the Holy Spirit.
10. Jesus Christ -
The LORD of the Old Testament
We believe that our Lord Jesus Christ is the same LORD who called the universe into existence; walked in the Garden with Adam — saved Noah and his family from the flood — called Abraham, Isaac, and Jacob — wrestled with Jacob and thereafter called him Israel — lead the children of Israel out of Egypt through the Red Sea and into Canaan land — established the sacrifices of the Levitical priesthood to pre-figure His death as the Messiah — raised up the many Judges and major and minor Prophets to deliver the sinful and disobedient people of God — delivered Daniel from the lions and gave him the vision of the "seventy weeks of years" from the command to rebuild Jerusalem unto the Messiah's being "cut off" — and finally sent His angel Gabriel to Mary to announce His arrival as the Messiah.
The LORD of the Old Testament is the same Lord and Savior of the New Testament — The Lord Jesus Christ!
11. The Incarnation of Christ
We believe that in His incarnation, our Lord Jesus Christ was truly and uniquely both fully God and fully Man .
Our Lord Jesus Christ lived an absolutely sinless life as the Son of Man, the second Adam, but also retained all of His eternal divine nature as the Son of God, the second person of the Godhead.
The sinless human nature of our Lord Jesus Christ, although affected by sin, was not in any way infected with sin. His human nature was conceived by the Holy Spirit through the virgin Mary.
12. The Holy Spirit
We believe that the Holy Spirit is the third Person of the Godhead.
He convicts of sin and righteousness and judgment, attends the proclamation of the Gospel, and invites and leads sinners to faith and repentance and justification by God's unmerited grace alone through faith alone in the sinless life and atoning death of the Lord Jesus Christ.—prevenient grace.
The Holy Spirit teaches us the perfect will of God through the word of God, the Bible (sola scriptura).
He urges and empowers believers to live sanctified lives of good works of unselfish love for God and neighbor.
He continues to reveal to us our secret sins, reprove us of our known sins, and lead us to a deepening repentance towards God and trust in the merits of Christ. Christ dwells in the heart of the born-again believer by the word of God through the anointing of the Holy Spirit.—indwelling grace.
13. The Bible
We believe that the Holy Spirit inspired the sacred scriptures in their present Old and New Testament canon.
The Bible is the infallible word of God which leads the reader to find eternal life by the unmerited grace of God alone through faith alone in Jesus Christ our Lord alone.
All Christian faith, practice, and doctrine must be derived solely from the scriptures.
14. The Creation of the World
We believe that in six literal days, approximately 6,000 years ago, God created a perfect, sinless universe without death or decay, sin or rebellion.
All creation was a perfect expression of the will of God. Having free access to the Tree of Life, Adam and Eve were to live eternally in their beautiful home.
15. The Fall of Man
We believe that sin and suffering and death entered God's perfect creation as a result of Adam and Eve's first act of rebellion against God.
Because of the original sin of Adam, all the natural-born children of Adam are born legally and morally separated and alienated from God; having no hope, and without God in the world.
Legal corruption: in Adam all die.
As the legal Head of the human family, when Adam sinned he sold all of his children into the slavery of sin. All are born as sinners in the eyes of God's holy Law and thus the wages of sin is death for all. Bondservants give birth to children who are bondservants, and so it is that all the children of Adam are born under the condemnation of God's holy, just, and good Law.
Sin and guilt and death have come upon all the natural-born sons and daughters of Adam.
Moral corruption: because Adam came under the condemnation of God's Law, he cut off himself and all his descendants from the original indwelling of the Holy Spirit.
All are born without the indwelling Holy Spirit, and thus Man in his very heart and mind and spirit and soul has a fallen human nature which is morally polluted with inherited and cultivated tendencies and propensities to sin.
All are now born with a fallen, sinful moral nature and all have lost their freewill to live righteously and are under the bondage of a sinful human nature.
The natural Man is by nature selfish, unholy, unkind, unloving, pompous, self-righteous, and he by nature despises God's holy Law of unselfish love for God and neighbor — the Ten Commandments.
16. The Christian Church
A.) We believe that the Christian church is composed of all who are believers in Christ as Savior and Lord.
Any sinner who repents and believes in Christ has his name written in Heaven in the Lamb's Book of Life. — the invisible church.
B.) We believe that all new believers ought to be baptized by immersion and join a local fellowship group.
There they can grow and mature in the faith, enjoy the blessings of Christian fellowship with like-minded believers, and share in the communion table of the Lord's Supper.
Members of the body of Christ should work unitedly to support the proclamation of the gospel through the various evangelical outreach programs, educational institutions, medical ministries, and publishing efforts of an organized evangelical Christian church.— the visible church.
17. The Sabbath School and Worship Service
We believe that the Sabbath fellowship meetings of the local church ought to inspire the congregation through beautiful sacred Christian music, scripture reading, teaching of true doctrine, partaking of the Lord's Supper, solemn prayer, giving of thanks, praise, pastoral exhortations, and the baptism of new believers.
Children ought to be included and not separated from the general service.
A little childish background noise should be tolerated.
18. The Gospel Ministry
We believe that the church ought to elect pastors, teachers, evangelists, administrators, elders, deacons, and deaconesses to serve in the Gospel ministry.
They ought to be mature Christian believers who fully embrace all the doctrines of the true evangelical Gospel without reservation.
They ought to be carefully chosen individuals who are ready to serve in those roles which are in harmony with the biblical counsel and who are always ready to teach the truth and speak in defense of the Gospel and the word of God .
The distinctive roles of men and women in Christian service as outlined in the word of God should be recognized.
19. The Great Gospel Commission
We believe that the great commission of the church is to proclaim the Good News of salvation to every nation, people, and language and to invite all to repent of their sins and be forgiven and justified by the unmerited grace of God alone through faith alone in the sinless life and atoning death of our Lord Jesus Christ upon the cross of Calvary.
It is the duty of all believers to actively proclaim the Gospel regardless of their field of human endeavor and vocation.
20. Water Baptism of the New Believer
We believe that all who believe in Jesus Christ as Savior and Lord ought to be baptized by immersion in the name of the Father and in the name of the Son and in the name of the Holy Spirit.
Baptism is a public declaration of faith in Christ's atonement, and a symbol of the believer's commitment to die to sin and be raised up to the newness of life in Christ — that is, it symbolizes both justification and sanctification.
21. The Lord's Supper
We believe that Christians ought to partake of the Lord's Supper as a symbol and remembrance of our Lord's giving of Himself as a ransom for our sins.
The elements of the bread and new wine proclaim the truth of the Gospel until Christ shall come again.
22. The Sabbath Day
We believe that the Sabbath day, the seventh day of the week, is a day for Christian believers to set aside the secular affairs of life and come together to worship, pray, and fellowship in Christ our Creator and Redeemer.
As we rest from our labors on the Sabbath day, we celebrate and rejoice in the "rest" that we have by the unmerited grace of God alone through faith alone in Christ's finished work of redemption and atonement for our sins upon the cross of Calvary.
The Sabbath ought never become a burdensome legalistic requirement for the people of God but rather a day of comfort and joyful rest that is in harmony with the spirit and not just the letter of the Commandment.
We believe that God created the world in six literal days and then rested on the seventh day of the week, the Sabbath day.
It is the duty of the church in these last days of Earth's history to urge all to believe in the literal creation account as found in Genesis and to remember the Lord's Day — the Sabbath — as set forth in the fourth commandment of the Decalogue.
23. The Priesthood of All Believers
We believe that all may go directly to God in prayer for the forgiveness of their sins and justification unto eternal life through the one Mediator between God and Man — the Lord Jesus Christ — who is our merciful and sinless High Priest in the Heavenly sanctuary.
24. The Blessing of Prayer
We believe that Christians should "pray without ceasing" and in all things give thanks.
It is the privilege of every believer to offer heart-felt prayers in the worthy name of our Lord Jesus Christ for the forgiveness of our sins, intercession for the salvation of our friends and loved ones, petition for our present earthly needs, thanksgiving for God's bountiful blessings, and praise to our Lord for His infinite gift of eternal life.
25. The Blessing of Giving
We believe that the various ministries of the church ought to be supported by the freewill offerings of its members.
The Lord loves a cheerful giver and He invites all to give liberally and sacrificially of their worldly means so that the gospel might be proclaimed to all the world.
The financial needs of the church should be made known to the congregation so that all may give as they are able.
However, offerings to support the programs of the church should never be a condition of membership or a test of fellowship; nor should offerings be collected during the church or Sabbath School services.
26. The Origin of Evil
We believe that evil originated before the creation of the universe with the fall of the angel Lucifer who became Satan — a literal, living, fallen angel who, along with one third of the angels of God, rebelled against the rule and authority of God.
27. Godly Living in a Perverse World
"Behold, I stand at the door and knock."
We believe that because of the perverseness and ungodliness of the times, we ought to urge the following recommendations to the body of believers —
◦Believers ought to dress and behave modestly in public.
◦Believers should be careful to maintain sobriety at all times and should never become intoxicated through the use of wine or strong drink. Total abstinence, although not specifically mandated by the word of God, should be encouraged as the wisest course for all believers to pursue.
◦Believers ought to avoid those forms of worldly music, entertainment, dancing, theater, films, and fictional reading whose moral and doctrinal content are ungodly or untrue.
◦Believers ought to make every effort to send their children to Christian schools of the highest possible scholastic, moral, and doctrinal standards.
◦Believers ought to choose to adopt a healthy, wholesome lifestyle. Knowing that our bodies are the temple of the Lord, we ought to follow the laws of health to the best of our abilities and shun the use of tobacco and other harmful drugs and stimulants.
◦Believers ought to make every effort to have morning and evening devotions in the home.
H.E. Archbishop Elpidophoros Offered the Affirmation of Office to The Direct Archdiocesan District Officers at The Chapel of St. Paul at the Archdiocese Tuesday October 18th, 2022.
Photos: © GOA/Dimitrios Panagos
Fitch Ratings recently affirmed its "A" rating on JAXPORT’s $129.8 million in outstanding revenue bonds, issuing the port a “Stable” rating outlook.
Fitch says the rating reflects the port’s “versatile financial and operating position” despite global marketplace volatility created by the coronavirus pandemic. The rating is also supported by JAXPORT’s growing automobile and container activity, increasingly diverse revenue base, and desirable location in the Southeast U.S, according to Fitch.
“Our diversity of business and strong relationships with our customers, along with the investments that have been made in our port by our federal, state, local, and private partners, have helped ensure that we can continue to grow and thrive in today’s industry,” said JAXPORT CEO Eric Green. “A number of major projects, anchored by harbor deepening, will be coming online in about the next 18 months, allowing us to build on the success we’re experiencing and accommodate continued growth for the benefit of our customers and community.”
The Class of 2023 completes their Affirmation Ceremony and commits to their Active Duty requirement in the Army. (U.S. Army Photo by CDT Alexa Zammit)
Cormery (Indre-et-Loire)
Cormery (Indre-et-Loire)
La Tour Saint Paul.
Ce clocher-porche roman (fin XI° siècle) précédait la façade de l’église abbatiale.
La Tour se compose d’un rez-de-chaussée formant porche, d’une salle haute et d’un beffroi.
Sur sa face occidentale on remarque des ornements décoratifs surmontés de deux bas-reliefs.
Au 9° siècle seront achevés l'église et le cloître. L'église est aujourd'hui pratiquement détruite, la nef (allée centrale de l'édifice) a été transformée en rue. Elle possède un autel principal consacré à St Paul, une chapelle d'axe dédiée à la Trinité et deux absidioles sur les bras du Transept. Dans son dernier état, c'est un édifice gothique commencé probablement au début du 13° siècle et terminé vers 1310.
Pour pénétrer dans la rue de l'ancienne cella, il faut passer sous la Tour St Paul, qui précède la façade occidentale de l'église. C'est la partie conservée la plus ancienne. Elle comporte trois étages: le porche, la salle haute et la chambre des cloches, sa flèche est tombée en 1891.
Abbaye Saint Paul de Cormery.
Cette abbaye a été fondée en 791 par Ithier*, Abbé de Saint Martin de Tours, chancelier de Pépin le Bref puis de Charlemagne. A la base, Ithier choisit Cormery pour faire retraite et méditer loin de l'Abbaye de Tours, qui a perdu les racines de l'ordre bénédictin. Il s'y installe avec 5 frères et y établi une "cella"*. Il obtient de Charlemagne une charte octroyant titres et privilèges à l'Abbaye de Cormery.
En 796, Alcuin* (Alcuin d'York, illustre érudit anglo-saxon), un proche de Charlemagne, devient Abbé de Saint Martin de Tours et de Cormery. Il reçoit l'autorisation de Charlemagne d'y installer des moines en 800*. C’est ainsi qu’Alcuin, abbé de Saint-Martin de Tours, mais non moine, fit appel à son ami Benoît d’Aniane pour peupler le monastère de Cormery. En 821, des moines venant du monastère d'Aniane (Hérault) s'y établissent.
Alcuin choisit son successeur, Fridugise (Fridegise). En 804, Fridegise est nommé abbé de Saint-Paul de Cormery.
Louis Ier le Débonnaire (Louis le Pieux), fils et successeur de Charlemagne, soumit tous les monastères de l’Empire à la règle de Saint Benoît d'Aniane.
L'abbé Audacher (Oacre) obtient, en 844, de Charles II le Chauve l'autorisation de créer des foires et des marchés* (le marché du jeudi, qui existe toujours à Cormery, remonte à cette époque).
La vitalité des grands monastères s’affirme partout en Touraine au début du XIe siècle. Un bon exemple en est l’abbaye de Cormery qui vient d’obtenir des
comtes d’Anjou, en 1026, les domaines d’Azay-le-Rideau et de Villaines. Tandis que s’élève l’église abbatiale romane qui sera consacrée en 1054, le seigneur de Nouâtre lui concède le vaste domaine de Mons caninus (Montchenin au bord de l’Échandon). (Pouvoir féodal et pouvoir religieux en Touraine au XIe siècle - Jean-Marie Couderc)
L'abbaye a été très endommagée par les Normands au IXème siècle. A partir de 1054 les abbés Robert I et Robert II la font reconstruire en beaucoup plus grand.
L' église paroissiale Notre-Dame du Fougeray est créée, au début du XIIe siècle, en dehors de l'enceinte du monastère pour les habitants du bourg.
A la fin du XIIIème siècle la partie orientale de l'église s'effondre, l'abbé Thibault de Chalon fait reconstruire le choeur et le transept de 1296 à 1310. Ce travail de réhabilitation, par Thibault de Chalon, l'un des ancêtre de Foulques, n'empêchera pas les anglais de mettre à sac l'abbaye et de massacrer les habitants des villages environnants , en 1358.
En 1358, au début de la Guerre de Cent Ans une troupe à la solde des Anglais commandée par Basquin du Poncet, prend d'assaut la ville, la pille et la détruit presque entièrement après avoir massacré de nombreux habitants.
En 1412, la ville est mise à rançon par un capitaine Anglais, Jean Blount*. Mais Cormery a été préservée grâce à l'arrivée du Sire de Bueil. A la Fin du XVème et au début du XVIème siècle l'abbaye connaît une période faste avec les abbés Jean du Puy et Denis Briconnet.
En 1562, au début des Guerres de Religion*, l'église abbatiale et celle de la paroisse (Notre Dame du Fougeray) sont dévastées par les Protestants.
En février 1790 la Constituante supprime les vœux monastiques et ordonne la mise en vente des monastères et de leurs biens. Le 16 fructidor an 4 (le 16 aout 1796), l’église Abbatiale de Cormery est achetée par Louis Duvau, ancien greffier de la seigneurie qui possédait déjà le logis abbatial et toutes ses dépendances. Il la revend par morceau, mais les bâtiments, trop importants, ne trouvent d'acquéreur qu'en 1799 alors qu'ils sont déjà bien délabrés. Louis Duvau sera le premier maire de Cormery, du 30/1/1790 au 16/8/1790.
*Le précepte d'Ithier de 791 pour Saint-Paul de Cormery mentionne que cet abbé lègue aux moines de Cormery des biens lui ayant été donnés par Charlemagne et qui appartenaient auparavant à Saint-Martin : “delegamus etiam ibidem aliquas res de ratione sancti Martini quas, largiente domino nostro Carolo, excellentissimo rege, adquisivimus, in pago videlicet Pictavo Antoniacum villam cum appendiciis suis, Bragonno et aliis seu et loco nuncupato Arciaco.”
*La "cella" ou "celle" carolingienne est un petit monastère non autonome. Ithier fonda la “cella sancti Pauli” à Cormery en 791.
*Alcuin était un moine anglais originaire de Northumbrie où il est né vers 732. Ecolâtre de l'archevêque d'York, celui-ci l'envoie en mission à Rome en 780. A son retour, il croise, à Ravenne, le roi des Francs, le futur Charlemagne. Alcuin entre alors à l'école du palais dont il devient le chef. C'est Alcuin qui développera auprès de Charlemagne l'idéologie impériale, fondée sur le modèle de l'empire romain. Il suggère au roi de se faire couronner empereur d'Occident. Ce sera chose faite à Noël 800. Alcuin devenu abbé de Saint-Martin de Tours va y développer un atelier de copistes qui sera le plus important d'Occident. De cet atelier sortiront une cinquantaine de bibles commentées de sa main. C'est cette bible qui sera choisie par le concile de Trente au XVIe siècle. Grâce à Alcuin, les historiens parleront, plus tard, de "Renaissance carolingienne" (locution inventée par l'historien Jean-Jacques Ampère, qui était d'ailleurs le fils du physicien). (Voir article de André Larané dans Herodote)
A la mort d'Alcuin 804, Fridegise, un autre anglo-saxon, fut nommé abbé de Saint Martin de Tours et de Saint-Paul de Cormery.
*En 800, Alcuin obtint de saint Benoît d’Aniane une escouade de ses bénédictins pour transformer cette "cella" en une abbaye bénédictine qui prendra rapidement une importance considérable, elle sera à la tête de 33 prieurés. En 858, Cormery fonda une abbaye-fille à Villeloin. Les ermites qui se succédaient à Villeloin depuis 400 ans devinrent alors des bénédictins.
*Diplôme de Charles le Chauve pour l'abbaye Saint-Paul de Cormery (30 décembre 843 ou 844).
"Au nom de la sainte et indivisible Trinité, Charles par la grâce de Dieu, roi (...)
(...) que personne ne fasse opposition à la tenue du marché hebdomadaire ni à celle du marché annuel (...) Et pour que cette décision obtienne une application inviolable (...) nous l'avons confirmée de notre propre main ci-dessous et avons ordonné d'apposer le seing de notre anneau.
Seing de Charles roi très glorieux.
Jonas, diacre, a authentifié cet acte à la place de Louis.
Daté du 3 des kalendes de janvier, an 5, indiction 7, sous le règne de Charles, (...) . Fait à Tours, au monastère de Saint-Martin. Au nom de Dieu dans la joie. Amen. "
*"...en 1412, l'alerte fut donnée à Cormery. Les Anglais étaient revenus. Appelés en Touraine par suite de luttes déplorables entre les Bourguignons et les Armagnacs, toujours prêts à profiter de nos discordes intestines , ils venaient de prendre et de saccager l'abbaye de Beaulieu , près de Loches. Déjà des avant-coureurs, espèces de pillards à la suite de tous les corps d'armée irréguliers , étaient arrivés à Cormery. L'alarme fut bientôt générale. Comment détourner le péril? Les moines tinrent conseil, et offrirent de racheter l'abbaye, les villes et les campagnes environnantes. On débattit le prix de la rançon, qui resta fixé à 350 écus d'or par mois. L'écu d'or valait alors vingt-deux sous et pourrait être estimé à 15 francs environ de notre monnaie actuelle. C'était une somme considérable pour un établissement qui n'avait pas encore réussi à réparer ses pertes récentes. « Mais, dit naïvement le chroniqueur, de deux maux il faut savoir choisir le moindre. En présence d'un péril imminent, il fallait se décider à fuir, à combattre et peut-être à se faire tuer. N'était-il pas préférable de payer ? » Ce bon moine avait raison , la lutte était trop inégale, pour ne pas dire impossible. On se résigna donc à délier les cordons de la bourse. L'acte de rachat fut signé à Beaulieu le 30 octobre 1412. Les deux commissaires étaient Jacques de Villain, représentant de l'abbé de Cormery, et Jean Blount , chevalier, de la part des Anglais. En échange, Thomas, comte de Dorset, amiral d'Angleterre et d'Irlande, et maréchal de l'armée du duc de Clarence , donna un sauf-conduit, revêtu de sa signature et de son sceau , qui assurait paix et sécurité au monastère et à la ville de Cormery, ainsi qu'aux campagnes du voisinage." (Mémoires de la société archéologique de Touraine - Chapitre IX. Les Anglais à Cormery. D'après le cartulaire de Cormery.Par l'Abbé J.J. Bourassé - Tours 1861)
* En 1562 débute la première guerre de religion (il y en aura 8 en 36 ans), par le massacre, par le duc François de Guise, d'une centaine de protestants assistants au culte dans la grange de Wassy (dans la Haute-Marne. La grange a été reconstituée à côté d'un temple construit au 19e siècle et devenu musée protestant), le premier mars. A l’appel de Louis de Bourbon, prince de Condé, les protestants prennent les armes.
Mémoires de la société archéologique de Touraine - Tome IX - Tours 1857
Cormery (Indre-et-Loire).
"Cormaricus. — Cormery (Tours. — Montbazon.) — Ce lieu, situé près de la rivière de l'Indre, était appelé jadis Cormaricus, et distant de huit milles de la ville de Tours et de dix milles de celle de Loches, Itherius*, abbé de Saint-Martin, entreprit d'y fonder une basilique sous l'invocation de saint Paul , en y plaçant trois autels; et avant qu'elle fût terminée, il en fit la consécration le 7 des ides* de février, la vingt-troisième année du règne de Charlemagne. Pendant le temps qu'Itherius présida à Saint-Martin , quelques moines Martiniens construisirent des cellules à Cormery. Alcuin*, successeur d'Itherius, acheva son entreprise , avec l'approbation de Charlemagne et le secours de Benoit*, l'illustre chef de Saint-Aignan, qui du nord des Gaules envoya vingt frères d'une conduite exemplaire à la nouvelle communauté. Sous de tels auspices le monastère de Cormery devint bientôt florissant. Alcuin obtint encore de Charlemagne une autre ordonnance en faveur des moines de Cormery. Ce prince, en 800, les autorisa à posséder deux navires sur la Loire , la Maine , la Sarthe , le Loir et la Vienne sans être assujettis à aucun impôt. Alcuin ajouta à ses dons pour Cormery, Tauxigny et Aubigny qui dépendaient de Saint-Martin (807). Sept ans après, Friduginus, abbé de Saint-Martin, obtint de Louis le Pieux* , roi d'Aquitaine, la confirmation du droit ci-dessus. Jusqu'alors Cormery avait été strictement dans la dépendance des Martiniens ; Friduginus obtint, par lettres du même prince, qu'ils fussent dispensés de cette sujétion, et depuis lors ils eurent un abbé particulier. En 831 , le roi Pépin confirma l'immunité des deux navires et fit d'autres largesses. Au Xe siècle , les moines de Cormery éprouvèrent de grands désastres , pour ne pas dire une ruine complète. Ils passèrent à cette époque sous la domination des consuls d'Anjou. Leur basilique ayant été renversée de fond en comble, Robert d'Enfer et Robert d'Anjou , abbés de Cormery, en
construisirent une nouvelle qui fut consacrée par Barthélemy, archevêque de Tours. En 1096, Cormery, sorti de ses ruines , fut réclamé par les chanoines de Saint-Martin, et le pape Urbain II décida en faveur des Martiniens. En 1139, le pape Innocent II prit le monastère de Cormery sous sa protection, et Alexandre III et plusieurs papes y joignirent d'autres faveurs. De là vinrent des luttes fréquentes entre les deux maisons. Aussi au mois de février 1217 les moines de Cormery s'étant refusés à rendre l'hommage dû aux Martiniens, le doyen de Saint-Martin s'empara de l'abbaye et de toutes les églises qui en dépendaient, et Robert des Loges, sénéchal de Touraine, reconnut le droit du doyen. Il en résulta de grandes tribulations pour Cormery. D'autres plus grandes ne se firent pas attendre. En 1358 le XV des kal*. d'avril, un chevalier nommé Baguin ou Basquin de Poncet*, qui servait sous la bannière du roi d'Angleterre , accompagné d'un escadron entra dans Cormery, et les moines ayant pris la fuite il fit mettre les chevaux dans la nef de la basilique , après avoir pillé le sacré et le profane et ravagé tous les bâtiments. Cette occupation dura plus d'un an, en sorte que rien ne put échapper à la dévastation. Il s'ensuivit en 1358 et 1359 une correspondance entre le pape Innocent , l'archevêque de Tours et les moines. Enfin l'abbé Gérard racheta le monastère en payant rançon aux Anglais et aux Gascons. Pierre, qui succéda à Gérard, donna tous ses soins à la restauration du couvent. En 1412, les Anglais étant revenus menaçaient de nouveaux pillages et incendies; l'abbé Guillaume fit un pacte avec eux et les moines donnèrent de l'argent pour éviter l'éclat des épées , puis ils se retirèrent à Tours. Enfin, en 1564, les huguenots leurs causèrent d'effroyables désastres.
(Gall. Christ., t. XIV, col. 254, A.)
ABBATES CORMARICENSES. (Abbés de Cormery)
1. Jacobus I, 831 + v. 837.
2. Audacher. sive Otacher,837. 838. 840. 843. 844. 850. 856+ 868.
3. Ivo, 893.
4. Aimo, 900.
5. Fulco, 944.
6. Guido, 965.
7. Daniel, 977.
8. Theobaldus I, 997-1006.
9. Richardus, 1007, 1026.
10. Robertus I, + 1040.
11. Robertus II, Andegavensis, 1047-1060.
12. Bernardus I.
13. Guido II, 1070. 1079.1080. 1096. 1109. 1111.
14. Mainardus, 1123. 1130.
15. Theobaldus II, 1133.
16. Guilelmus I, 1139.
17. Joannes I Sabardus, 1146.
18. Rogerius, 1164. 1172.
19. Sulpicius, 1174. 1175.
20. GirardusI, 1180. 1182 +1184.
21. Philippus, 1188. 1194. 1198.
22. Turpinus.
23. Simon, 1205. 1211 + 1212.
23. Geoffridus I de Millay, 1212.
25. Matthaeus, 1214.
26. Joannes II, 1215. 1216. 1221.
27. Reginaldus, 1228.
28. Adamus, 1231.
29. Joannes III, 1238, 1241.
30. Geoffridus II, 1 241. 1244.
31. Bernardus II, 1256. 1259.
32. Beiwerius.
33. Joannes IV a Brostia.
34. Jacobus II, 1271. 1274. +1275.
35. Joannes V, 1276. 1280.
36. Petrus I, de Uciaco, 1283. 1290. + avant 1293.
37. Theobaldus III de Cabilone, 1296. 1299. 1300. 1314-1332.
38. Michael Rupinus, 1333. +1334.
39. Joannes VI Lechat, 1334. 1339. 1352.
40. Gerardus II Potier, 1352. 1358. 1372-1376.
41. Petrus II d'Azay, 1377. +1410.
42. Guilelmus II de Hotot, 1412. 1416. 1417.
43. Humbertus, 1418.
44. Id. Guilelmus II de Hotot, 1423. 1430. 1433. +1434 episcop.
45. Petrus III Berthelotus, 1452. 1453. 1456. 1458. +1476.
46. Joannes VI Bochard, 1476.
47. Joannes VII Conseil, 1483. 1487 + 1490.
48. Joannes VIII du Puys, 1490. 1492 (+ 1517.)
49. Renatus du Puys , 1508. 1514. 1515. 1520.
50. Dionysius Briçonnet, 1520. 1524. 1525 + 1535.
51. Joannes IX du Bellay, 1536-1545.
52. Jacobus III de Jaucourt, 1545.
53. Carolus I de Lorraine , 1547-1550.
54. Robertus III de Lenoncourt, 1550-1557+ 1561.
55. Joannes X de La Rochefoucault, 1557+ 1583.
56. Geoffridus III du Pin, 1583-1586.
57. Carolus II Miron, 1587. 1626.
58. Ludovicus Gouffier de Caravas, 1627
59. Alphonsus Ludovicus du Plessis de Richelieu, 1631. +1653.
60. Henricus de Béthune , 1653. 1662 + 1680.
61. Nicolaus Guilelmus Beautru de Vaubrun, 1680. +1746.
62. N. de la Clue, 1747-1790."
(Mémoires de la société archéologique de Touraine - Tome IX - Tours 1857)
*Itherius (Ithier de Saint-Martin) a été chancelier de Pépin le Bref et de Charlemagne, puis abbé de Saint-Martin de Tours. Sous les carolingiens, le chancelier recevait les requêtes adressées au roi et y répondait.
*Dans le calendrier romain, le mois est partagé en 3 périodes inégales: les calendes, les ides et les nones. Les ides tombaient le 13e jour d'un mois "court" et le 15e jour d'un mois long. On compte les jours avant; le 7 de février serait le 7e jour avant les ides.
*Alcuin était un moine anglais originaire de Northumbrie où il est né vers 732. Ecolâtre de l'archevêque d'York, celui-ci l'envoie en mission à Rome en 780. A son retour, il croise, à Ravenne, le roi des Francs, le futur Charlemagne. Alcuin entre alors à l'école du palais dont il devient le chef. C'est Alcuin qui développera auprès de Charlemagne l'idéologie impériale, fondée sur le modèle de l'empire romain. Il suggère au roi de se faire couronner empereur d'Occident. Ce sera chose faite à Noël 800. Alcuin devenu abbé de Saint-Martin de Tours va y développer un atelier de copistes qui sera le plus important d'Occident. De cet atelier sortiront une cinquantaine de bibles commentées de sa main. C'est cette bible qui sera choisie par le concile de Trente au XVIe siècle. Grâce à Alcuin, les historiens parleront, plus tard, de "Renaissance carolingienne" (locution inventée par l'historien Jean-Jacques Ampère, qui était d'ailleurs le fils du physicien). (Voir article de André Larané dans Herodote)
A la mort d'Alcuin 804, Fridegise, un autre anglo-saxon, fut nommé abbé de Saint Martin de Tours et de Saint-Paul de Cormery.
*Saint Benoît, abbé d'Aniane ou Saint-Aignan en Languedoc, diocèse de Maguelonne vers 780, puis d'Inde ou Saint Corneille près d'Aix-la-Chapelle. Mort en février 821.
*Cormery est mentionné dans un document de 837, le diplôme impérial comprenant la donation de Coussay à l'abbaye de Cormery par Louis le Pieux. L’original portant la date « Donné à Thionville le 16 des calendes de juin 837 –24e année du règne de Louis le Pieux » est conservé aux Archives Départementales d’Indre-et-Loire.
"Complacuit celsitudini nostrae quamdam villam juris ejusdem monasterii vocabulo Cusciacus, ad cellam sancti Pauli, quae rustico nomine Cormericus dicitur ; quam Itherius quamdam abbas ejusdem monasterii in propriis rebus novo, opere construxit atque memorato monasterii delegavit... per nostrae auctoritatis preceptum tradere."
(II a plu à notre grandeur de donner une certaine villa des biens fondés dudit monastère, nommée Coassay, à la maison de saint Paul, vulgairement appelée Cormery, qu’Ithier, feu abbé dudit monastère, construisit à neuf de son bien propre, par un édit de notre autorité.)
*le XV des kal*. d'avril. Le 15 des calendes d'avril.
*Basquin de Poncet était chef de Grande Compagnie anglaise pendant la Guerre de Cent ans. En réalité une bande de bretons commandée par le gascon Basquin de Poncet. En 1358, au début de la Guerre de Cent Ans une troupe à la
solde des Anglais commandée par Basquin du Poncet, prend d'assaut la ville, la pille et la détruit presque entièrement après avoir massacré de nombreux habitants.
Villa Pisani è una villa veneta progettata nel 1552 circa da Andrea Palladio per Francesco Pisani e realizzata tra il 1553 e il 1555 nel borgo di Montagnana. È inserita dal 1996 nella lista dei patrimoni dell'umanità dell'UNESCO assieme alle altre ville palladiane del Veneto.
Storia
I Pisani erano potenti e influenti patrizi veneziani. Il cardinale Francesco Pisani, vescovo di Padova, era un mecenate e amico di artisti e letterati, da Paolo Veronese a Giovanni Battista Maganza, ad Alessandro Vittoria e allo stesso Palladio, questi ultimi entrambi coinvolti nella costruzione e decorazione della sua casa a Montagnana. Il cantiere è sicuramente attivo durante il settembre 1553 e risulta concluso nel 1555, compresa la decorazione plastica.
Descrizione del progetto
L'edificio è sia palazzo di città che residenza suburbana e anche un esempio interessante della tipologia edilizia del Palladio. Privo di parti destinate a funzioni agricole, di bellezza astratta nel volume pressoché cubico, villa Pisani ben riflette il gusto sofisticato del proprietario. Per la prima volta compare in una villa un doppio ordine di semi-colonne e un doppio loggiato coronato da timpano, soluzione già incontrata in palazzo Chiericati. Il tutto è cinto da un ininterrotto ed elegante fregio dorico su una tessitura di intonaco bianco a bugne graffite, che divide il piano terra da quello superiore. Nel fronte verso il giardino la bidimensionalità della parete si movimenta nello scavo plastico del portico e della loggia superiore.
Il materiale utilizzato è il mattone anche per la costruzione delle colonne.
Pur non esistendo disegni autografi palladiani relativi all’edificio, è possibile affermare che la tavola con la descrizione della villa dei Quattro libri dell'architettura (1570) è frutto di un ampliamento a posteriori dell’invenzione realizzata. Caso raro nella produzione palladiana, la villa è a due piani: il superiore con gli appartamenti padronali, l’inferiore per la vita di tutti i giorni, quando si trattano affari e si ricevono i fittavoli, e non solo d’estate come provano i numerosi camini. I due livelli presentano la medesima articolazione degli spazi interni. Diversi sono invece i soffitti, che al piano terreno sono voltati, a partire dallo straordinario ambiente a semi-colonne, una via di mezzo fra atrio e salone, chiaramente l’ambiente più importante della casa con sculture delle Quattro stagioni di Alessandro Vittoria, poco prima impegnato nel palladiano palazzo Thiene. I collegamenti verticali sono assicurati da scale a chiocciola ovate poste simmetricamente ai lati della loggia verso il giardino.
Da Wikipedia, l'enciclopedia libera.
Villa Pisani is around a projected Venetian villa in 1552 from Andrew Palladio for Francis Pisani and realized between 1553 and 1555 in the suburb of Montagnana. She has been inserted since 1996 in the list of the patrimonies of the humanity of the UNESCO together with the other villas palladiane of Veneto.
History
The Pisanis were powerful and influential Venetian patricians. The cardinal Francesco Pisani, bishop of Padua, was a patron and friend of artists and literates, from Paul Veronese to Giovanni Baptist Maganza, to Alexander Vittoria and to the same Palladium, these last both involved in the construction and decoration of his/her house to Montagnana. The yard is surely active during September 1553 and results concluded in 1555, understood the plastic decoration.
Description of the project
The building is both building of city and suburban residence and also an interesting example of the building typology of the Palladium. Deprived of parts destined to agricultural functions, of abstract beauty in the cubic volume nearly, villa Pisani well it reflects the sophisticated taste of the owner. For the first time best man in a villa a double order of seed-columns and a double loggiato crowned by eardrum solution already met in the building Chiericati. The everything is surrounded from a nonstop and elegant frieze dorico on a weaving of white plaster to ashlars graffite, that divides the plain earth from that superior. In the front toward the garden the bidimensionalità of the wall is enlivened in I dig it plastic of the portico and of the superior loggia.
The used material is also the brick for the construction of the columns.
Not existing sketches also autographs palladiani related to the building, it is possible to affirm that the table with the description of the villa of the Four books of the architecture (1570) it derives from an amplification to back of the realized invention. Rare case in the production palladiana, the villa is to two floors: the superior with the main apartments, the inferior one for the life of every day, when business are treated and they are received the tenants, and not only in summer as they try the numerous fireplaces. The two levels introduce the same articulation of the inside spaces. Different they are instead the ceilings, that turn to the terrestrial plan, beginning from the extraordinary seed-columns environment, an alternative between atrium and saloon, clearly the most important environment in the house with sculptures of the Four seasons of Alexander Vittoria, a little before busy in the palladiano building Thiene. The vertical connections are insured from staircases to snail ovate symmetrically set to the sides of the loggia toward the garden.
From Wikipedia, the free encyclopedia.
Villa Pisani est une villa de la Vénétie environ projetée en 1552 d'Andrea Palladium pour Francesco Pisani et réalisée entre le 1553 et le 1555 dans le bourg de Montagnana. Elle est insérée depuis 1996 dans la liste des patrimoines de l'humanité de l'UNESCO avec les autres villas palladiane de la Vénétie.
Histoire
Les Pisani étaient Vénitiens patriciens puissants et influents. Le cardinal Francesco Pisani, évêque de Padoue était un mécène et ami d'artistes et lettré, de Paolo Veronese à Giovanni Battista Maganza, à Alessandro Vittoria et au même Palladium, ces derniers les deux impliqués dans la construction et décoration de sa maison au Montagnana. Le chantier est sûrement actif pendant le septembre 1553 et il résulte conclu en 1555, comprise la décoration plastique.
Description du projet
Le bâtiment est soit immeuble de ville que résidence suburbaine et aussi un exemple intéressant de la typologie de bâtiment du Palladium. Dépourvu de parties destinées aux fonctions agricoles, de beauté abstraite dans le volume cubique presque, villa Pisani bien il réfléchit le goût sophistiqué du propriétaire. Pour la première fois il paraît dans une villa un ordre double de semi-colonnes et un loggiato double couronnés par tympan solution déjà rencontrée en immeuble Chiericati. Le tout est ceint par une décoration dorique ininterrompue et élégante sur un tissage d'enduit blanc aux bossages gravés, qu'il divise l'étage terre du supérieur. Dans le front vers le jardin le bidimensionalità du mur on anime dans le creusement plastique du portique et de la loge supérieure.
Le matériel utilisé est la brique aussi pour la construction des colonnes.
Aussi en n'existant pas dessins palladiani relatifs autographes au bâtiment, il est possible d'affirmer que la table avec la description de la villa des Quatre livres de l'architecture, 1570 est fruit d'un agrandissement à postérieurs de l'invention réalisée. Cas rare dans la production palladiana, la villa est aux deux étages: le supérieur avec les appartements de maître, l'inférieur pour la vie de tous les jours, quand ils se traitent affaires et les fermiers les reçoivent, et non seulement d'été comme ils essaient les nombreuses cheminées. Les deux niveaux présentent l'articulation même des places intérieures. Différents ils sont par contre les plafond qui sont tournés au rez-de-chaussée, à partir de le milieu extraordinaire aux semi-colonnes, un compromis entre hall et salon, clairement le milieu le plus important de la maison avec des sculptures des Quatre saisons d'Alessandro Vittoria, peu avant engagé dans le palladiano immeuble Thiene. Les liaisons verticales sont assurées par escaliers à escargot ovate symétriquement mis aux côtés de la loge vers le jardin.
De Wikipedia, l'encyclopédie libre.
Villa pisana es una villa véneta planeada en el 1552 acerca de de Andrea Paladio para Francesco pisanos y realizada entre el 1553 y el 1555 en el burgo de Montagnana. Es insertada por el 1996 en la lista de los patrimonios de la humanidad del Unesco junto a las otras villas palladiane de Véneto.
Historia
Los pisanos fueron potentes e influyentes patricios venecianos. El cardenal Francesco pisanos, obispo de Padua, fue un mecenas y amigo de artistas y literados, de Paolo veronesa a Giovanni Baptista Maganza, a Alessandro Vittoria y al mismo Paladio, este últimos ambos implicados en la construcción y decoración de su casa a Montagnana. La obra es indudablemente activo durante el septiembre de 1553 y resulta concluido en el 1555, comprendida la decoración plástica.
Descripción del proyecto
El edificio es sea edificio de ciudad sea residencia suburbana y también un ejemplo interesante de la tipología constructora del Paladio. Falto de partos destinados a funciones agrícolas, de belleza abstracta en el volumen casi cúbico, villa pisana bien refleja el gusto sofisticado del propietario. Por la primera vez comparece en una villa un doble orden de semilla-columna y un doble loggiato coronados por tímpano, solución ya encontrada en edificio Chiericati. Lo todo es ceñido por un incesante y elegante friso dórico sobre una tejedura de revoque blanco a sillares graffite, que divide la llana tierra de aquel superior. En la frente hacia el jardín el bidimensionalità de la pared se anima en la excavación plástica del porche y la logia superior.
El material utilizado también es el ladrillo por la construcción de las columnas.
Incluso no existiendo dibujos autografia palladiani relativos al edificio, es posible afirmar que la mesa con la descripción de la villa de los Cuatro libros de la arquitectura, 1570, es fruto de una ampliación a posteriores de la invención realizada. Caso raro en la producción palladiana, la villa es a dos planes: lo superior con los pisos particulares, lo inferior por la vida de todos los días, cuando se tratan asuntos y se reciben los arrendatarios, y no sólo de verano como prueban las numerosas chimeneas. Los dos niveles presentan la misma articulación de los espacios interiores. Diferentes son en cambio los techos, que se son vueltos al llano terreno, a partir del extraordinario entorno a semilla-columna, un compromiso entre pasillo y salón, claramente el entorno más importante de la casa con esculturas de las Cuatro estaciones de Alessandro Vittoria, algo antes ocupado en el palladiano edificio Thiene. Los enlaces verticales son asegurados simétricamente por escaleras de caracol trasovados correos a los lados de la logia hacia el jardín.
De Wikipedia, la enciclopedia libre.
Villa Pisani ist eine venetische Villa geplant etwa 1552 von Andrea Palladium für Francesco Pisani und verwirklicht zwischen das 1553 und das 1555 in der Ortschaft von Montagnana. Es wird von 1996 in der Liste von den Vermögen von der Menschheit des UNESCO zusammen mit die anderen Villen palladiane Venetien eingesteckt.
Storia
Die Pisani waren mächtige und einflußreiche venezianische Adelige. Der Kardinal Francesco Pisani Bischof aus Padua war ein Mäzen und ein Freund von Künstlern und Literaten von Paolo Veronese zu Giovanni Baptisten Maganza zu Alessandro Sieg und zum gleichen Palladium, diese letzten beid verwickelten in der Bau und die Verzierung von ihrem Haus in Montagnana. Die Werft ist sicher während des Septembers 1553 aktiv und es erweist sich ins 1555 verstanden die plastische Verzierung entschieden als.
Beschreibung des Planes
Das Gebäude ist sowohl Palast von Stadt der verstädtischer Wohnsitz und auch ein interessantes Beispiel von der Bau Typologie des Palladiums. Ohne von bestimmten Geburten zu Land Funktionen, abstrakte Schönheit ins kubische Volumen fast, Villa Pisani spiegelt gut den des Besitzers gekünstelten Geschmack wider. Zum ersten Mal Kumpan in eine Villa eine Doppel Bestellung von Samen-Pfeilern und einem Doppel bekrönten loggiato von Trommelfell, schon trifft Lösung in der Palast Chiericati. Das Ganze ist von einem ununterbrochenen und eleganten Fries dorico auf eine Weberei von weißem Putz zu Bossenquadern graffite, der von jenes höheren das Erdgeschoß teilt, umgeben. Der bidimensionalità der Wand belebt im plastischen Graben vom Bogengang und dem höheren Loggia in die Front nach dem Garten.
Das benutzte Material ist Ziegel für auch den Bau der Säulen.
Auch Zeichnen nicht bestehend, du autographierst palladiani bezüglich des Gebäudes, es ist möglich zu behaupten, daß der Tisch mit der Beschreibung von der Villa von den Vier Büchern der Architektur 1570 der Frucht von einer Erweiterung zu Hinter verwirklichten Erfindung ist. Seltener Fall in die Produktion palladiana, die Villa ist mit zwei Plänen: der Vorgesetzte mit den Herren Wohnungen, das untere für das Leben von allen Tagen, wenn sie Geschäfte behandeln und sie erhalten die Pächter, und nicht nur von Sommer wie sie versuchen die zahlreichen Kamine. Die zwei Stände stellen das selbst Gelenk der Innen Räume vor. Verschieden sind sie jedoch die Decken, die zu das flachen irdischen gewandt werden, ab das ungewöhnliche Milieu zu Samen-Pfeilern, ein Mittelweg zwischen Halle und Salon, klar das wichtigste Milieu des Hauses mit Bildhauereien von den Vier Jahreszeiten Alessandros Sieges, wenig erste beschäftigt in der palladiano Palast Thiene. Die senkrechten Verbindungen werden symmetrisch von Treppen Wendel gesetzte zu den Seiten des Loggia nach dem Garten garantiert.
Von Wikipedia, die freie Enzyklopädie.
This turned out to be one of the most joyous, life affirming places that we've visited on our travels. The sparkling, late summer sunshine, the arresting modern architecture set amid so much history, the superb collection of early 20th century paintings on the 5th floor, and the throng of tourists and Parisians enjoying themselves on a Saturday combined to make this a most memorable afternoon.
"Centre Georges Pompidou commonly shortened to Centre Pompidou; also known as the Pompidou Centre in English) is a complex building in the Beaubourg area of the 4th arrondissement of Paris, near Les Halles, rue Montorgueil and the Marais. The Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers. In the spring, miniature carnivals are installed temporarily into the place in front with a wide variety of attractions: bands, caricature and sketch artists, tables set up for evening dining, and even skateboarding competitions.
The nearby Stravinsky Fountain (also called the Fontaine des automates), on Place Stravinsky, features sixteen whimsical moving and water-spraying sculptures by Jean Tinguely and Niki de Saint-Phalle, which represent themes and works by composer Igor Stravinsky. The black-painted mechanical sculptures are by Tinguely, the colored works by de Saint-Phalle. The fountain opened in 1983.
It houses the Bibliothèque publique d'information (Public Information Library), a vast public library, the Musée National d'Art Moderne, which is the largest museum for modern art in Europe, and IRCAM, a centre for music and acoustic research. Because of its location, the Centre is known locally as Beaubourg. It is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard d'Estaing.
The sculpture, Horizontal by Alexander Calder, a free-standing mobile that is twenty-five feet high, was placed in 2012 in front of the Centre Pompidou.
The Centre was designed by Italian architect Renzo Piano; British architect Richard Rogers; and Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners.The project was awarded to this team in an architectural design competition, whose results were announced in 1971. It was the first time in France that international architects were allowed to participate. World-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries.
National Geographic described the reaction to the design as "love at second sight." An article in Le Figaro declared "Paris has its own monster, just like the one in Loch Ness." But two decades later, while reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly coloured tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.".
Initially, all of the functional structural elements of the building were colour-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red."
en.wikipedia.org/wiki/Centre_Georges_Pompidou
...