View allAll Photos Tagged omnipresence
Edouard Vuillard. 1868-1940. Paris
Le graveur, Vallotton dans son atelier.
The engraver, Vallotton in his workshop. 1902
Nancy Musée des Beaux Arts
DE L'ESQUISSE ET DE L'ART DU FLOU A L'ART BÂCLÉ
" Mais Robert, vous faites des esquisses depuis si longtemps, ne pourriez vous terminer un tableau ?".
Denis Diderot (1713-1784) à Hubert Robert (1733-1808)
"But Robert, you've been doing sketches for so long, could not you finish a painting?"
Denis Diderot (1713-1784) to Hubert Robert (1733-1808)
L'Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L'Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l'Art Moderne, s'éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l'interprétation du réel l'emporte sur sa reproduction.
L'artiste moderne ne reproduit plus guère le réel, il le rêve, ou l'invente. Ces tendances ont abouti à l'art non figuratif, autrement appelé l'art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d'expression artistique.
Parmi les techniques développées au cours du 19è siècle l'Esquisse a été une des meilleures expressions de l'Art du Flou.
L'Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d'une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d'art du flou.
Mais l'Esquisse a été surtout dans l'histoire de la peinture un projet, une étude préparatoire, qui permettait à l'artiste de s'assurer de la cohérence et de l'équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n'est qu'une approximation, un brouillon, le témoin d'un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l'esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C'est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n'est pas une définition mathématique, mais c'est la meilleure.
L'esquisse n'est une oeuvre achevée que lorsqu'elle est créatrice d'une atmosphère singulière, particulièrement suggestive, porteuse d'une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l'imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l'imaginaire, alors que le flou qui caractérise l'esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c'est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l'a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l'art de l'esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d'autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L'Art de l'esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu'en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d'art.
L'Europe a découvert avec les romantiques (Delacroix, Turner Constable) et les impressionnistes l'art de l'esquisse et ses charmes particuliers, mais nous voyons de nos jours de l'esquisse à profusion, au point que l'on peut poser la question : Et si on revenait, aussi, à de la peinture finie, comme celle des artistes du MEAM de Barcelone ? Combien d'artistes depuis les impressionnistes on fait de l'esquisse par facilité ?! En fait pour être capable de peindre une esquisse vraiment artistique, il faut être capable de peindre un tableau bien dessiné, totalement achevé et peint, et d'y ajouter une beauté indéfinissable, en ne le finissant pas ! Ce n'est pas donné à tout le monde.
Le flou peut n'être qu'une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu'à la signature d'un grand nom.
Il est vrai que l'esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l'inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l'art du flou ne peut pas être systématique.
Le flou, c'est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L'esthétique de notre époque est un peu trop focalisée sur l'esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l'Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l'artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n'est pas question d'Argent, mais de l'Artiste, de la Liberté de Création, du Progrès des Arts, d'une "sensibilité nouvelle", de "vivre avec son temps" etc...
Cette omniprésence de l'esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L'Art du Flou est devenu aussi l'Art de faire, vite, de l'Argent. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?
En partant de l'art du flou et de l'art suggestif, évocateur, allusif de l'esquisse, l'esprit de système, la soumission à la mode, ont conduit beaucoup d' artistes à l'art facile, à l'art bâclé.
FROM THE SKETCH AND THE ART OF BLUR TO BOTCHED ART
Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away intentionally, deliberately, of the exact representation of reality.
The painters of the Modern Art tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist no longer reproduces the real, he dreams it, or invents it. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
But the sketch was especially in the history of painting a project, a preparatory study, which allowed the artist to ensure the coherence and balance of his finished painting. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, of a singular atmosphere, particularly suggestive, carrying a singular poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, to the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique who first, the most precocally , pushed him, above all, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
Europe has discovered with the Romantics (Delacroix, Turner Constable) and the Impressionists the art of sketch and its particular charms, but today we see the sketch in profusion, to the point that we can ask the question: How about we go back to the art that finishes his paintings? Like the artists of the MEAM from Barcelona? How many artists since the Impressionists have sketched for ease ?! In fact, to be able to paint a really artistic sketch, one must be able to paint a well-designed, completely finished and painted picture, and add an indefinable beauty to it, by not finishing it! It's not given for everyone.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of the look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, this economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc
This omnipresence of the sketch reflects not only habits of gaze but ethical values. The Art of Blur has become also the Art of making money fast. We live in a world a little too hurry !! To go where ?
Starting from the art of blur and suggestive art, evocative, allusive of the sketch, the system spirit, the submission to fashion, led many artists to the sloppy art, to the botched art.
Des motifs intéressants le long du Danube.🌾🐑🌱🐄 Une chose qui m’a particulièrement marqué pendant cette mission, c’est l’incroyable diversité de formes et de couleurs des champs d’agriculture et des pâturages de par le monde. 🌍🌏🌎 Peut-être que devenir ambassadeur de la FAO m’y a rendu plus attentif… Leur omniprésence sur Terre est évidemment liée au besoin de sécurité alimentaire des populations, et malgré leur immense variété, une chose ne change pas : on a besoin de faire pousser de la nourriture. Des champs et des prairies ronds, carrés, autour des rivières, dans les creux des vallées, dans les déserts, qui transforment le paysage. À mesure que notre climat change, nous devons nous adapter et apprendre à cultiver différemment pour garantir une alimentation saine pour tous. #WorldFoodDay #ArtGriculture
Nice interplay between human and nature along the Donau. 🌾🐐🌱🐄If there is one thing I have noticed this mission it is that agriculture and pastures come in all shapes and sizes, maybe being @FAO good-will ambassador made me more aware of the #CropArt in the 🌍🌏🌎. It is logical because humans all over the world need food security, and throughout our changing landscapes the need to grow food doesn't change. Crop fields and pastures come in many shapes and sizes: round, square, in-between and landscape-changing or river-diverting, and in deserts. As our climate changes we need to adapt and farm differently as necessary to ensure healthy food for all.
Credits: ESA/NASA–T. Pesquet
532B4913
Provinciaal Groendomein Rivierenhof
www.provant.be/vrije_tijd/domeinen/rivierenhof/
Kasteel Rivierenhof
Satellite view of Rivierenhof Park
Looking toward Level +1
Image captured from Shops' Level situated between Level +1 and Level 0.
Antwerp Railway's Central Station (4 Levels, 14 Platforms)
Antwerpen-Centraal railway station
en.wikipedia.org/wiki/Antwerpen-Centraal_railway_station
Antwerp Central Station
The Antwerp Central Station is one of the world's most impressive railway stations. Dubbed the 'Railway Cathedral', it is one of the main landmarks in Antwerp.
www.aviewoncities.com/antwerp/centralstation.htm
Centraal Station Antwerpen gaat uit zijn dak!
www.youtube.com/watch?v=0UE3CNu_rtY
Satellite view of the place
Le fleuve Amou-Daria, en Asie centrale, observé avec différents niveaux de zoom. On devine que les habitants voisins utilisent avec reconnaissance cette 💧 pour l’agriculture : la zone semble très fertile au milieu d’une zone plutôt désertique. 🌾🐑🌱🐄 Une chose qui m’a particulièrement marqué pendant cette mission, c’est l’incroyable diversité de formes et de couleurs des champs d’agriculture et des pâturages de par le monde. 🌍🌏🌎 Peut-être que devenir ambassadeur de la FAO m’y a rendu plus attentif… Leur omniprésence sur Terre est évidemment liée au besoin de sécurité alimentaire des populations, et malgré leur immense variété, une chose ne change pas : on a besoin de faire pousser de la nourriture. Des champs et des prairies ronds, carrés, autour des rivières, dans les creux des vallées, dans les déserts, qui transforment le paysage. À mesure que notre climat change, nous devons nous adapter et apprendre à cultiver différemment pour garantir une alimentation saine pour tous. #WorldFoodDay #ArtGriculture
A fertile area in a desert region, by the Amu Darya river. Rivers bring water, and water brings life and food. 🌾🐐🌱🐄If there is one thing I have noticed this mission it is that agriculture and pastures come in all shapes and sizes, maybe being @FAO good-will ambassador made me more aware of the #CropArt in the 🌍🌏🌎. It is logical because humans all over the world need food security, and throughout our changing landscapes the need to grow food doesn't change. Crop fields and pastures come in many shapes and sizes: round, square, in-between and landscape-changing or river-diverting, and in deserts. As our climate changes we need to adapt and farm differently as necessary to ensure healthy food for all.
Credits: ESA/NASA–T. Pesquet
608D0703
Anna Ancher 1859-1935 Skagen
The entrance to our garden L'entrée de notre jardin 1903
Skagens Museum. Denmark
L'ESQUISSE ou L'ART DU FLOU
L'Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L'Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l'Art Moderne, s'éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l'interprétation du réel l'emporte sur sa reproduction.
L'artiste moderne ne reproduit plus guère le réel, il le rêve, ou l'invente. Ces tendances ont abouti à l'art non figuratif, autrement appelé l'art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d'expression artistique.
Parmi les techniques développées au cours du 19è siècle l'Esquisse a été une des meilleures expressions de l'Art du Flou.
L'Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d'une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d'art du flou.
L'Esquisse a été dans l'histoire de la peinture un projet, une étude préparatoire, qui permettait à l'artiste de s'assurer de la cohérence et de l'équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n'est qu'une approximation, un brouillon, le témoin d'un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l'esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C'est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n'est pas une définition mathématique, mais c'est la meilleure.
L'esquisse n'est une oeuvre achevée que lorsqu'elle est créatrice d'une atmosphère singulière, particulièrement suggestive, porteuse d'une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l'imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l'imaginaire, alors que le flou qui caractérise l'esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c'est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l'a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l'art de l'esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d'autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L'Art de l'esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu'en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d'art.
L'Europe a découvert avec les romantiques (Delacroix, Turner Constable) et les impressionnistes l'art de l'esquisse et ses charmes particuliers, mais nous voyons de nos jours de l'esquisse à profusion, au point que l'on peut poser la question : Et si on revenait, aussi, à de la peinture finie, comme celle des artistes du MEAM de Barcelone ? Combien d'artistes depuis les impressionnistes on fait de l'esquisse par facilité ?! En fait pour être capable de peindre une esquisse vraiment artistique, il faut être capable de peindre un tableau bien dessiné, totalement achevé et peint, et d'y ajouter une beauté indéfinissable, en ne le finissant pas ! Ce n'est pas donné à tout le monde.
Le flou peut n'être qu'une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu'à la signature d'un grand nom.
Il est vrai que l'esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l'inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l'art du flou ne peut pas être systématique.
Le flou, c'est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L'esthétique de notre époque est un peu trop focalisée sur l'esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l'Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l'artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n'est pas question d'Argent, mais de l'Artiste, de la Liberté de Création, du Progrès des Arts, d'une "sensibilité nouvelle", de "vivre avec son temps" etc...
Cette omniprésence de l'esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L'Art du Flou est devenu aussi l'Art de faire, vite, de l'Argent.
Valeurs morales positives ou négatives. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?
THE SKETCH OR THE ART OF BLUR
Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away all so very intentional, deliberate, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist is hardly reproduces reality, it's dream or invent. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
Europe has discovered with the Romantics (Delacroix, Turner Constable) and the Impressionists the art of sketching and its particular charms, but today we see the sketch in profusion, to the point that we can ask the question: What if we came back to finished the painting, like the artists of the MEAM from Barcelona? How many artists since the Impressionists have sketched for ease ?! In fact, to be able to paint a really artistic sketch, one must be able to paint a well-designed, completely finished and painted picture, and add an indefinable beauty to it, by not finishing it! It's not given for everyone.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success, physical, material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, what economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc ...
This omnipresence of the sketch reflects not only the look but the habits of ethical values.
positive or negative moral values. The Art of the blur has also become the Art to do, quickly, of the money.
We live in a world too pressed !! To go where ?
Sachsenhausen was created in 1936 and is located 35 km north of Berlin. Since is was close to Berlin, it was used to house political prisoners and was the site of many executions of those prisoners. Its proximity to Berlin made it the administrative center for all concentration camps. Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. It was, therefore, the training ground for all SS who were to be assigned to administer other camps, making it the epicenter of the brutality that would ensue from here. It was also the training center for all canines that would be sent to guard the concentration camps. When visiting here, in every direction there is the omnipresence of barbed wire and guard towers to make sure no one escapes the horrors therein. This image captures the essence of that overpowering perimeter security.
Royal Yacht Club of Belgium, Antwerp / Left Bank division.
Scenery captured on February 06, 2012 @ 15:22:48 hrs.
Scenery captured on March 28, 2012 @ 16:38:57 hrs.
www.eurorivercruises.com/index.php
Provinciaal Groendomein Rivierenhof
www.provant.be/vrije_tijd/domeinen/rivierenhof/
Kasteel Rivierenhof
Satellite view of Rivierenhof Park
The Sounion Peninsula is the southern most point of Attica, (69 kilometres - 43 miles from Athens).
In the background the Poseidon Temple can be seen.
Photo taken Sunday, June 3, 2012.
© ALL RIGHTS RESERVED
This photograph has achieved the following highest awards:
* THE GOLDEN ALBUM
* OMNIPRESENCE CERTIFICATE OF EXCELLENCE
en.wikipedia.org/wiki/Soon_Valley
The 'Soon Valley' (Urdu: [[وادئ سون)]] or Soon Sakesar is one of the famous valleys of Pakistan situated in the central Punjab province. The Valley is situated in the north west of Khushab. Naushera is the main town of the Valley. The Valley starts from Padhrar village and end to Sakesar that is the highest peak of Salt Range. The length of Soon Valley is 35 miles (56 km) and average width is 9 miles (14 km). The area of Soon Valley is 300-square-mile (780 km2). Although not as coold as the valleys up north, Soon valley consists of beautiful lakes, waterfalls, jungles, natural pools and ponds. Soon valley is also blessed with ancient civilization , natural resources, and fertile farms. There are some special features of this valley that distinguish it from other areas, without knowing about them it is very hard to understand its importance. Sabhral, Khoora, Naushera, Kufri, Anga, Ugali, Uchali and Bagh Shams-ud-Din are important towns in soon valley. Kanhatti Garden, Sodhi Garden, Da'ep and Sakesar are resorts to visit. Awan[1] tribe is settled in Soon Valley.[2]
Located at a height of 5,010 feet (1,530 m) above sea level, Sakesar was once the summer headquarters for the Deputy Commissioners of three districts - Campbelpur (now Attock), Mianwali and Shahpur (now Sargodha). It is the only mountain in this part of the Punjab which receives snow fall in winters. In view of Sakesar's ideal location and height, the PAF selected it in the late-50s as the site for a high powered radar which would provide air defence cover for the northeastern part of the western wing. Pakistan Television's re-broadcasting center has been installed to provide terrestrial transmissions coverage to adjoining areas.
Har do sodhi
(sodhi bala and sodhi zarien), Naushahra, Jabbah ,Ugalisharif, Kotli, Mukrumi,Kaamrh,Dhadhar, Mardwal, Kufri, Uchali, Chitta, Khoora,Anga,Khabbaki, kuradhi, Uchhala, Mustafaabad (Bhukhi), Sodhi Jai Wali, Sabhral, Shakarkot, Sirhal, Manawan, Surraki, Jahlar, Anga, Ahmadabad
•Distance from Islamabad: 290 km
•Distance from Sargodha: 110 km
•Lakes : Uchali, Khabbaki, Jahlar, Khura
•Shrines :Sultan Mehdi sahb, sultan Haji Ahmed sahb in Uchhala, Baba Shikh AkbarDin Ugalisharif, Pir Baba Sakhi Muhammad Khushhaal in Khabbaki, Amb Shareef, Baba beri Wala in Naushera, Abul Hameed & Aziz Ahmedabad
People
The main tribe of the area is the Awan of ancient repute. This tribe came in this area with Qutab Shah and settled in the Soon valley. The other sub branches and small tribes are Shehal, Ardaal, Mirwal, Adriyal, Shenaal in Kufri, Latifal, Jurwal, Radhnal, Sheraal in Naushehra, Pirkal in Jallay wali, Majhial in Mardwal,Bazral, Chhatal,Ghadhyal,Phatal,Yakial, Maswal in Ugalisharif, Phatwal and Bhojo khail, Sheral, Mianwaddal , Alyaral, Sher Shahal in Khabbaki and so on. In the valley Awan's are known by their clans. In old time the head of clan in each village was known as Raees, and the head of a tribe was known as Raees-Azam. The most famous Raees Azam were Pir Naubahar Shah of Pail,Malik Ameer Haider of Kufri, Qazi Mazhar Qayyum of Naushera and Lumberdar Syed Gul peer Shah of Sodhi,Baba Hafiz Ilyas of Chitta.
A majority of the people are serving in the armed forces of Pakistan. Many loyal brave soldiers and officers belong to this land who even laid down their lives for their homeland.[4]
Other professions like education, business, transportation and agricultural are also adopted by the locals. The people are hard working and agriculture used to be the main profession. Per person square footage of land decreased, as population increased. Consequently the people have migrated to large cities for jobs.
There are famous writers[5] like Ahmad Nadeem Qasimi, and journalist[6] from this area. Famous Physicians and Surgeons like Dr. Muzaffar-ul-Haq, Dr. Ghaus Malik neurosurgen (USA), Dr. Javaid Malik (USA), Dr. Nazir Ahmed Malik (Child Specialist) and Hafiz Habib Sultan (Eye Specialist) and Shaukat Memud Awan, general secretary Adara Tehqiqul Awan pakistan also belong to this land.
FARMING: Our farmers are also not behind to make their real contribution in agricultural growing corps like wheat , dalls , jawar and bajra including makaee crops .In this way our farmer is also playing a remarkable roll to full fill the local food requirement at large level , i remember that our local production of wheat including other eatable plus abandant quantity of vegitable for our local use with addition we are meeting the requirement demand of vegitable up to Lahore , Gujranwala , Sargodha , Talagang and Rawalpindi Districts for their people at large quiantiy hence our small population is never dependant on any one else . We are self sufficient .
Review on “My celestial Dreams” written by Abdul Ghaffar Aamir Ghufri Valley Soon Sakaser khushab AAMIR’S POETRY AND MONTOMERY
By Allama Muhammad Yousuf Gabriel
I opened the book, here and there, and my cursory glance met with certain spurts of genius. There was before me the vision of a bud that could blossom one day into fascinating flower to adorn the garden of English poetry. To reach that pinnacle, however, sincerity, purity, fortitude, patience, perseverance and learning, besides the general pre-requisites, such as imagination, wit, faculty of expression and command over language were necessary. The first two poems are hymns about the omnipresence of God. Quite naturally my thought went to a poem “The Omnipresence of Lord”, written by Montgomery. My acquaintance with this poem was due to its review written by Lord Macaulay in 1830. Literary Essay of Lord Macaulay) the review indeed was horrible. Shaking his fierce trident, the enraged critic fell upon the author with deadliest attack and would not cause till the victim lay dead. This was the work of blind fury; we have seen only such part of poem which were exhibited by the critic and faulty. Yet despite Macaulay’s total condemnation of the work, we think that criticism as a preplanned act of cruel murder. We are not in a position to challenge of defy the points raised by Macaulay, yet we cannot hesitate to assert that the work after all was not so bad and also, that besides flaws. It contained point of merit, for example it’s them, which Macaulay had internationally refuse to see. This certainly meant the violence of the rule of criticism. On the whole we think this Macaulay’s criticism as a tragedy in the annals of criticism itself. It is the blemish on the name of both of the critic and the criticism. Montgomery fell as the victim of illuck before the trident of Macaulay, who himself tells us in his article, that the practice of puffing of worthless literary works was the vogue in England. Macaulay called upon every one who was anxious for the purity of the national taste or for the honour of the literary character to join in this discountenancing the practice that of puffing which according to him was then so shamefully and so successfully carried on in the country. It was on this point that Montgomery appeared as the target, because Montgomery’s work had run into eleven editions. It is thus in his effort to discountenancing the practice of puffing that Macaulay fell headlong upon a poet whose work despite flaws had certain points of merit and was purchased and read with rapture in eleventh edition by the public of England. The whole article of Macaulay is interesting, but due to the considering of space, we shall have to be content with only one instance of Macaulay’s criticism. Say, he: “The all pervading influence of the Supreme being is then described in a few tolerable lines borrowed from Pope and a great many intolerable of Mr. Robert Montgomery’s own. The following may stand as a specimen.”. : Upon thy Mirror earths majestic view, : To paint thy presence and to feel it too, These last two lines contain and excellent specimen of Mr. Robert Montgomery’s Turkey carpet style of writing. The Majestic view of the earth is the mirror of God’s presence. And on this mirror Mr. Robert Montgomery paints God’s presence. The use of a mirror submit is not to be painted upon”. Says Macaulay:
We do not mean that this couplet is the specimen of high class English poetry, but the word paint of the mirror put easily be some substituted by the word canvas and show. We, however, want to make it clear that we are not going to judge the work of our point. Aamir on the standard of poet like Montgomery. Our poet shows the signs of genius that could rise to the highest of high class poetry in English.
Now before we leave Macaulay and Montgomery to rest in their graves, we intend to show some identity of thought and view between Montgomery and Aamir and not at all with a view to evaluating their works in comparison. Monitory’s work can stand no comparison. His verse is slow, sluggish, unwidely and lacks the qualities of high class poetry. While the works of Aamir is brist, precise, to the point and expressed with strong effect. Aamir’s thought a beginner in a language which is quite foreign to him, yet he shows the sign of rising to highest maintain while the great English poet. Montgomery says : : There is not a blossom fondled by the breeze, : There is not a fruit that beautify the trees, : There is not a particle in sea or air, : But nature own thy plastic influence there” Aamir says: : I feel your hand wherever I look in every flower, tree or brook, Montgomery says : : Yet not alone created realm engage, : Thy faultless wisdom, grand primeval sage: For all the thronging woes of life allied, Thy Mercy Tempers and Thy cares provide” Aamir says:- All kingdoms are yours, all crowns for you, You are the greatest, perfect and true When we suffers sorrow and decay, Your blessings see us through all the way: Montgomery says: : The dew that on the violet lies, Mocks the dark luster of thine eyes” Aamir says:- : All this beauty, charms and grace, Is just a lovely glimpse of your face”. We have given the above-quoted verse to see the identity of the views of the two poets, and to see also the difference between the rim odes of expression. Surely the verses of Aamir taken from his Hymn must be his earliest, yet his styles who was sort of precision which lacks in Montgomery’s verse. But Aamir has to be judged by the second part of his work, “My Celestial Dreams”. Therein we can have the audacity to show his work in comparison to greatest English poets. And he is as yet so young. As for as Montgomery’s work is concerned we can agree with Macaulay when he says:
His writing bears the same relation to poetry which a Turkey carpet bears to a picture. There are colours in the Turkey carpet out of which a picture might be made. There are words in Mr. Montgomery’s writing which, when disposed in certain corders and combinations, have made, and will again make, good poetry:
Yet our complaint is that Macaulay’s treatment of Montgomery was ruthless. Ruthless beyond any bounds, Montgomery was taken as a scrape-goat. As far as Aamir’s work is concerned, he himself says:
This humble effort of mine is not meant to stir your imagination towards the poetic proness of my pen, but just to apprise you of the fact that I have drunk deeply at he fountain of God’s love for human souls”.
While reading the work of Aamir, “My celestial dreams”, novice though he is, the eye meets everywhere some expression which sounds like the voice of some great English poet, such as Keats, Shelly, Wordsworth etc. to reach the pinnacle, however, means constant flight. Aamir is not so unfortunate as Montgomery was. He is in better times, and in a better environment. The world now sick of materialism, has begun to take interest in religion. And thus the product of his mind has every probability acceptance and appreciation all over the world. His work, “My celestial Dream” could a well be divined into two distinct parts, that is before the poem. “Hero of the land”, and after that to etched end. The second part has distinctive superiority over the first. The poet appears to be blossoming fast and has reached a remarkable standard of efficiency. His thought share sacred. His expression is origin and sublime. He certainly does not appear like a foreigner who has learned English languages. He rather composes his poetry like the aboriginal English poet. His themes are simple yet deeply touching and indeed great. Judging by this religious trend, he might be taken by some European critic as a bigot, which he certainly is not. Milton and Bunyan both poets of Christianity have long since been thrown into oblivion due to surging waves of modern materialism. Whereas Aamir stands a real chance to make his mark in the world as poet of Islam. The credit of eulogizing the Holy Prophet (Peace be Upon Him) in English poetry goes to him. He has emerged as a pioneer in that field. We will now quote some of his waves to see and urge the prowess of his pen. He might deny it, yet his pen is impressive beyond expectations:-
“O! Crescent star flag! I pray you fly, With honour so high, Above this world, And azure sky, “Sons of Turkey, the tigers of Kamal Brave courageous handsome and tall “In sweet sleeps of night I see your dreams, My love for your flows like rivers and streams. O! Father come back Wipe my eyes Kiss me. Come and grace my beautiful world, Which I made for you, And be my love Part of eternity. For my love is true and eternal Born in heaven, reared an earth, Pulling you from the burning sun. It will fill you with joy and mirth. So my love, now we separate, Let time and fate on love operate, With flaming passion we shall meet, Our souls, then pure rejoice, for ever greet, Today it is corpse But yesterday it was, A paragon Wistfully recalled the golden day’s When I was like a flower, Like a delightful nightingale, I felt as if truly, I had come to what I was again You shall be forever sought, By the one who shall not? See you again Your sketch I adored it, In the temple of my soul, And worshipped it, All my life. These are some examples of Aamir’s verse which we have quoted. And we wish him good and good speed. May he blossom one day into and an eminent literacy figure, and be our pride. Dated: 14th January 1986.
Allama Muhammad Yousuf Gabriel C/O Khalid General Strores, Main Bazar, Nawababad, Wah Cantt. Distt. Rawalpindi, Pakistan.
www.oqasa.org www. soonvalley.com www.soonvalley.pakistan www.alturka.com www.likedone.pakistan
Martial Race
The Awans of the Soon Valley were also amongst those the British considered to be "martial race".[7] The British recruited army heavily from Soon Valley for service in the colonial army, and as such, the Awans of this area also formed an important part of the British Indian Army, serving with distinction during World Wars I and II. Of all the Muslim groups recruited by the British, proportionally, the Awans produced the greatest number of recruits during the First and Second World Wars. Contemporary historians, namely Professor Ian Talbot and Professor Tan Tai Yong, have authored works that cite the Awans (amongst other tribes) as being looked upon as a martial race by not only the British, but neighbouring tribes as well. The army of Pakistan also heavily recruits Awans from this area. Awans occupy the highest ranks of the Pakistani Army.[8] DHAHDHAR :- This is one of the most important village of this soon valley , which is producing wheat and vegitable at large quantity for offording local population as well as upto the range of Lahore , Gujranwala, Sargodha , Talagang & Rawalpindi Districts .
LIVE STOCK :- Our village is producing live stock breeding at large scal hence contributing a major roll for production of various type of animal like bufaloos , cow' , oxen, sheep and goats to full fill the requirement of general publc in case of meet , milk and skins for manufecturing of leather shoes and leather garments .
Lakes
There are two well-renowned Uchhali Lake and Khabikki Lake lakes in Soon valley. Uchhali is a salt water lake in the southern Salt Range area in Pakistan. This lake is formed due to the absence of drainage in the range. Sakaser, the highest mountain in the Salt Range, looms over the lake. Due to its brackish water the lake is lifeless. But it offers a picturesque scenery. Khabikki Lake is a salt water lake in the southern Salt Range area in Pakistan. This lake is formed due to the absence of drainage in the range. The lake is one kilometer wide and two kilometres long. Khabikki is also the name of a neighbouring village. Boats are also available and there is a rest house beside the lake. A hill gently ascended on the right side of the lake. The lake and the green area around provide a good scenery. These lakes attract thousands of migratory birds each year and are ideal haven for the bird watchers.
Tucked in the southern periphery of the Salt Range and hemmed in by its higher cliffs, is a cluster of natural lakes — Ucchali, Khabbeki and Jhallar in district Khushab. These lakes are said to be 400 years old, maybe more. The lakes are a prime sanctuary for the migratory birds and were declared a protected sanctuary for the native and migratory avifauna on the appeal of World Wildlife Fund. Nestled at about 800 meters above the sea, lakes have some marsh vegetation and are mostly surrounded by cultivated land, which is picturesquely intersected by hillocks. The lakes are fed by the spring, seepage from adjacent areas, and run off from the neighbouring hills of the historic Salt Range. The lakes are one of the most important wintering areas for the rare white-headed ducks (Oxyura leucocephala) in Pakistan that comes here from Central Asia. Locals believe that there is a volcano hidden beneath the surface of the Ucchali Lake due to which the colour of the water keeps changing. The appearance of a vert broad and brightly coloured rainbow in 1982 for consecutive 15 days is also attributed to this analogy. in 1982, a strange phenomenon was observed in the villages Ucchali and Dhadhar. The lakes’ water is also said to cure gout and skin diseases. People have been taking the water from the lakes as far as Lahore and Karachi. People think that a pure white winged creature called Great egret, from Grus family, found in the area is a symbol of longevity.
Town and Villages
•Naushera
•Sakesar
•Jabbah
•Uchalla
•Pail-Piran
•Sodhi
•Kalial
•Sirhal
•Shakar Kot
•Unga
•Khabbaki
•Dhadhar
•Mardawal
•Khewra
•Kufri (now its name is sadiq abad so called with this new name)
•Sabhral
•Koradhi
•Uchhali
•Shakarkot
•Anngah
•Ugalisharif
•Makrumi
•Kamrah
•Dhadar
•Ahmadabad
har do sodhi soon become union consil
Different Villages Location
Villages west of Naushehra are Sabhral, Kufri, Koradhi,Uchhali, and Chitta before reaching the Pakistan Air Force Base of Sakesar.
Villages to the north west of Naushehra are Sirhal, Shakarkot Anngah and Ugalisharif.
Villages to the north east of Naushehra are Mardowal, Makrumi,Kamrah,Dhadar, Ahmadabad, Khabakki and Jabah.
Villages to the south west of Naushehra are har do sodhi , Surraki and Jahlar.
Villages to the south of Naushehra are Chamraki and Sodhian villages.
Villages to the east of Naushehra are Dhakah, Mirokah Dhakah, Jalay Wali, (Uchhalah is not on the main road), Sodhi Jai Wali, Kaliyal, Khurrah, and Kathwai.
Padhrar and Pail-Piran are not the part of soon valley but these villages are in the same election area and fall on Chakwal-Khushab road.
There are scattered colonies of certain families which are called Dhok. Usually at each Dhoke there are two to ten houses.
Historical Places
•Lakes: Ugalisharif & Uchalli Lake, Khabikki Lake and Jahlar Lake.
•Waterfalls at Kufri.
•Ambh Sharif is a historical place in Hinduism.
•Kanahti Garden, Sodhi Garden, Khabakki Jheel,Ugalisharif & Uchali Jheel, Sakesar and Daip Shareef and the hiking experiences of hills
•Anga, an important village.
•Sodhi village has waterfalls, a Rest House, and wild animals like Cheetah, Rabbit, Deer, Teetar (Urdu name of a bird).
•Shrines of Babashikh Akbar Din Darbar-e- aaliah Chishtiah Akbariah UGALISHRIF, Makan Sharif Kufri sajadh nashin Sahibzadh Muhammad Hamid Aziz Hamidi, Pir Khawja Noori and Pir Sahib Acha (Hacha)- descendents of Baha Ud Din Zakkariyya Multani(Hazrat Baha Ul Haq)in Pail-Piran
•Ganji Pahari, Baba shikh Akbar Din Darbar-e- aaliah Chishtiah Akbariah UGALISHRIF. Baba Sewu Beri Wala and Baba Mari Wala in Naushera.
•Baba shikh Akbar Din Darbar-e- aaliah Chishtiah Akbariah Ugli Sharif and Pir Khawaja Noori in Pail jant
•Mahala Jurwal, is the biggest and most densed street of Naushahra. Malik Sultan Mubaraz, a well knw transporter of last dacade belongs to this street
•Mahala Qazian Wallah, is also a famous street of Naushera, where the famous qadis of Naushera used to live.
•Graveyard of qadi family
•Sodhi Jai Wali is also famous for its natural Water falls and Garden as well. The Garden is located near a Historical Rest House, It is said that this Rest House was gifted by Syed Family of Sodhi Jai wali to the British Rulers.
Hans Hartung 1904-1989
Composition 1958
Parme Fondazione Magnani Rocca
Les derniers tableaux de la Fondation Magani Rocca mettent bien en évidence le fossé qui sépare l'Art Moderne de l'Art Contemporain officiel. C'est l'intérêt des petits musées généralistes que de permettre de voir se dérouler en quelques salles une histoire de l'art sur plusieurs siècles. Et de comprendre ainsi les évolutions, de rendre manifestes les différences d'idéologies, de thèmes et de styles.
The latest paintings from the Magani Rocca Foundation highlight the gap between Modern Art and official Contemporary Art. The interest of small general museums is to allow a history of art spanning several centuries to take place in a few rooms. And thus to understand the evolutions, to make manifest the differences in ideologies, themes and styles.
Today we conceive of no other art than of contestation, it is one of the signs of our decomposition. After all there was great art on command, there was even only art on command : Egypt, Mesopotamia, Greece, Byzantium, Maya, Chinese Art, India, our Christian West, Renaissance, Baroque and even classic. It was beautiful, it was ordered, but the artists believed in him.
Jean DUCHE. The Shield of Athena.
"You can make to people swallow anything," says one expert: MARCEL DUCHAMP (interview on the express 23 July 1964) Under the name of art, for more than a hundred years now, people have been made to swallow anything. We are in the midst of unreality, what is officially considered to be the art of the 20th century and the beginning of the current century has no connection with art, it is anti-art, non-art, hoax.
JEAN LOUIS HARROUEL Contemporary Art, Great Falsification Jean Cyrille Godefroy 2009
Art is what you believe in. And art makes you believe in what you believe. Art also makes you believe in what you wouldn't believe if you were free to believe. What if you don't believe in anything anymore? Not even in man? Only in yourself, in defiance of all others? That's official contemporary art.
The ugliness and absurdity of Official Contemporary Art are deadly viruses, destroying collective cultures and persons. It'is Covid-Art. It is self-confined in magnificent buildings where no public goes, except for a few vaccinated, constrained, adventurous or naive people.
Official contemporary art is an anti-art, commissioned, globalist, state and supra-state, public and private, which combines seven constants found in almost all European museums:
He is ugly, absurd, provocative, botched, sad, uprooted, obsessional, and as a result of all this, totally artificial.
1° The Ugly Art
This is what art historian Ernst Gombrich notes: "Western art has become an adventure on the edge of the impossible, and the art of the ugly".
The ugly Art is a major invention of the West in the second half of the 20th century. Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) and Modern Art, which goes from 1830 to 1950, have occasionally paint the ugliness of life and death. The ugliness of the Passion of Christ, the Devil, the Underworld, War, disease and epidemics, madness, death etc..... But the ugly was never a goal in itself, it was only a way to express the ugliness of certain realities.
In official contemporary art, this imperative of the ugly concerns both abstract and figurative art.
When the Ugly becomes a criterion of official art, a goal of the painter, and a necessary condition for entering a museum of painting, or sculpture, then the era of Contemporary Art undoubtedly begins.
The ideological, doctrinal, systematic adherence of Contemporary Art to ugliness is a very banal observation, which has been made many times, and which has been fully claimed by its theorists and practitioners.
The art critic Michel Tapié (1909-1987) noted in the 1950s and 1960s that "Modern Art - understand Contemporary Art - was born the day the idea of Art and Beauty were separated". Michel Tapié does not criticize this disjunction, on the contrary he notes it and justifies it. "we have changed our values". Indeed, ugliness has become a positive value in aesthetics!
It is very significant that Europe and the West of Museums distinguish, the Museums of "Fine Arts" (Belle Arti, Schönen Künste, Fine Art), from the "Museums of Contemporary Art". It is the officialization of the divorce of Art and Beauty. This institutionalization, this systematization of the anti-esthetic is a first in the history of civilizations.
It is imperative not to confuse Modern Art (1830--1950) with the Contemporary Art, that prevails in the West in official circles from the 1950s onwards. The essential difference, but very simple to understand, is this: Modern Art is an aesthetic, Contemporary Art is, and proclaims to be, an anti-aesthetic.
A few questions are in order:
Should man be proud of having renounced beauty in his official art?
Is it mandatory to consider that this is a necessary and inevitable evolution? A Progress even?
What if ugly art was, on the contrary, a degrading art, a regression? An Involution?
2° The Absurd Art.
During the whole period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never absurd. He always had a meaning, he was the bearer of a teaching very clearly perceptible by the greatest number, even by the illiterate, especially in religious art. From the Renaissance onwards, an art inspired by Greco-Roman antiquity appeared, the meaning of which was only accessible to a cultivated elite of European society. But art continues until the contemporary era to be meaningful, to hold a clear discourse designed to convince and bring peoples together.
In modern times, around 1900, with non-figurative, abstract art, a novelty appeared: the art of non-sense. The non-sense, understood as the lack of meaning, the absence of an intelligible discourse, carrying a precise message, easily identifiable by the populations or by the elites. This is when works "without title" or with meaningless titles appear: "Composition N°..."
But it is only with official contemporary art, after the Second World War, that nonsense, the absence of significant discourse, evolves, is exacerbated, and becomes synonymous with absurdity.
Abstract modern art is a blue triangle and a red dot on a white background.
Official contemporary art is a pair of shoes wearing glasses, a pile of stones, a bed suspended from the museum ceiling, or a mop...
This characteristic of absurdity, unlike that of ugliness, is not explicitly claimed by the dogmatics of the Anti-Art. On the contrary, the theorists of Official Contemporary Art absolutely want to make believe that Anti-Aesthetics is superiorly intelligent, carrying a highly subtle counter-discourse, superlatively "conceptual", that only a visitor initiated to the mysteries of contemporary thought could understand. Hence the importance in contemporary art museums of the Discourse on Art, which is sometimes displayed in a larger format than "works of art". In reality, the truly informed public, not the falsely enlightened public, must understand that there is nothing to understand about each of these "works of art". The discourse on art is there to deceive the public, to amaze them, to intimidate them, to prohibit them from contesting. On the other hand, it is necessary to understand the why this "art", which one, at the same time, displays its absurdity and hides it behind a whole justification discourse. It is also necessary to understand the global, political, ideological and social significance of this totally sophistic aesthetic and ethical deconstruction. We are in the presence of a Sophist art, to which we must firmly oppose the wisdom of Socrates. At the risk of having to drink hemlock, after condemnation by a misguided "Republic".
3° The Provocative Art.
Throughout the period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never provocative. Art's function and aim was to transmit a clear educational message, understandable by the majority, and its means were to seduce populations as a whole, or more specific clienteles, by carrying a consensual discourse, which brings the recipients together around a collective culture, and a common ideal. Art was a sharing between the members of the whole society conceived as a centripetal community. Art was inter-social, that is, it had to be suitable for all classes of society, to be accepted by them as a common good and to foster communication within the community.
With the official Contemporary Non-Art appears a systematic reverse doctrine, of a total intolerance: the dogma of art that must disturb the peoples. Art is no longer made to induce the adherence of the populations, but to disturb them, to provoke negative reactions of opposition, of rejection. The official discourse on art constantly proclaims the alleged need to "question" all traditions. Thus the "initiate" will distinguish himself by spreading praise on this so-called catharsis, and the uninformed, the zombie, will be stigmatized when he dares to criticize the absurdity of dogmatic violence made to beauty and meaning.
This dogma of "the art that must disturb" has all the characteristics of the intolerant language of certain religious doctrines of which fanatics are unable to admit and understand that a faith in a true God can pass through paths other than their own, and expose truths other than those in which they believe.
There is no longer any question of faith in a revealed God for the supporters of the "Enlightenment", but this doctrine of art, which has the duty to disturb peoples, is in reality the expression of a faith in a higher and revealed Human Reason, requiring a secret initiation. This doctrine is the translation in the field of aesthetics of an elitist, sectarian and dogmatic ideology. Fanaticism has desacralized itself in the West, but it remains identical to itself, and it is still as dangerous to freedom
Provocation is one of the founding principles characteristic of official contemporary art. If we want to understand official contemporary art and even a certain street art (that of vandal tags) we must think on the same ground as him. Oppose provocation and explicit contempt to the provocation and implicit contempt for peoples that is characteristic of official contemporary art. This is why official contemporary art, state art and even supra-state art, globalist, an art characteristic of our current Western civilization, reveals a worrying state of mind of the elites, an obvious overestimation of themselves, and poses a very real social and politic problem.
4° The Botched Art.
The botched Art starts from the sketch, it is born from its abusive systematization.
The Sketch was essentially a preparatory study in the history of painting, which allowed the artist to ensure the coherence and balance of his finished painting. In this case, most often, the approximation of the drawing, the blur of the representation is only a draft, a project, an incomplete art that needs to be completed.
Many artists, over the past centuries, have fully understood that the sketch could, sometimes, exceptionally, be a finished work. In other words, a work about which a large majority of spectators, experts or not, felt compellingly that NOTHING should be added to it. It is not a mathematical definition, not even philosophical, but it is the best, as in the case of beauty: the common feeling, the majority, enlightened by the opinion of the elites, but widely shared within a society.
The sketch is a finished work only when it creates a singular atmosphere, particularly suggestive, carrying a poetry of its own, unique. When it becomes clear that more precision in drawing would close the doors to the imagination, to mystery, and would destroy a subtle balance between dream and reality.
But it is an alchemy whose secret can only be penetrated by great artists.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of the unfinished. An expressive force that the painting, well finished, well drawn and well painted, well finished, can indeed lose. But the poetic magic of the art of the blur cannot be systematic and loses all its seduction when it becomes a habit of doing and a conformity of the gaze.
Since the Impressionists, how many artists have blurred sketchs and paint stains, without art and for ease?
The aesthetics of our time has focused far too much on the sketch. The blur, the sketch, the stain have become a fashion, an obligatory culture. Always the same observation: good ideas, innovative and creative practices, become bad and sterile when they become systematized
In reality, artists are not the only ones responsible for this situation. In the 19th century Western society entered a culture that made of the material and economic success , and of the money, its main values. Since then, sketches, which would not have come out of the artist's personal files in previous centuries, have become commodities for profit. These goods are even found in museums.
Picasso, a painter in transition between modern and contemporary art, had a very good understanding of this economic mechanism.
Of course this evolution is dressed in Great Principles: It is not about Money, but about the Artist, the Freedom of Creation, the Progress of the Arts, a "new sensitivity", "living with the times" etc....
This omnipresence of the sketch, the blur and the tachism reflects not only habits of the gaze but also ethical and cultural values. The Art of sketching, blurring and symbolic and poetic suggestion has become, by spirit of both system and provocation, and also much by convenience and conformity to fashion, the easy Art, and the botched Art. The art of making a reputation and money as quickly as possible. We are at the opposite of the painting of previous centuries, at a time when art was a profession. A profession that could be learned at length, with difficulty, and that required infinite meticulousness.
5° The Sad Art
For centuries, European painting, European art in general, was designed to make peoples dream, or of an important part of a population: aristocracy, bourgeoisie or popular classes. When European painting painted monsters, diseases or war, it was only what was necessary to formulate a reminder to the realities of the world.
Apollo skinned Marsyas alive, Prometheus had his liver eaten on Zeus' orders, Adonis died, Orpheus failed to bring Eurydice back from the underworld. But Europe was not unhappy to be kidnapped, Aphrodite (Venus) was born and have loved, and spring regularly came back, like Persephone from the Underworld.
The Crucifixions, Burials, and Pietas were always accompanied by an Annunciation, a Nativity and a Resurrection. And after the Death of the Virgin come her Assumption and Coronation.
17th century Dutch art, secular and secular, untiringly proclaims the simple joys of family life, the seascape, the changing skies, village festivals, wedding dances and material abundances: meat, vegetables, cheese and flowers in abundance. A profusion that the skulls could not hide. Even without their teeth, farmers sang, certainly by drinking a little too much.
All the neoclassical, romantic and impressionist art of the 19th century has made you dream with landscapes from Italy or Europe: meadows dotted with poppies, fresh and friendly rivers, forests full of favourable shadows, mysterious castles, herds of sheep and cattle, shepherds musicians...... And apart from a few shipwrecks in a rough sea, on the whole, European painting was joyful and inspiring the peoples.
Dream of God, dream of spiritual or sensual Love, dream of eternal life, dream of goodness, purity and beauty, dream of motherhood, dream of paradise, on earth or in the air, dream of idyllic landscape, dream of successful hunting, dream of abundance. The Dream is not lacking in European painting during centuries, which are much more than a thousand years old. And this dream is still perceived today, even when it no longer corresponds to beliefs that are currently alive and shared. It is when ideologues and politicians, who impose on artists what art must be, have decided to paint a world that does not make peoples dream, that contemporary art has started: The Urinal of Marcel Duchamp is one of the archetypes of this "revolution".
The "Enlightened" have indeed invented the sad art. They are entirely wrong, once again despite their conviction that they are the Eye that illuminates the entire social pyramid from above: Art is what makes peoples dream. Not what gives them nightmares.
There is no doubt that during the 20th century in Europe, then in the West, a pessimistic, tragic and absurd view of life became widespread in the field of painting and sculpture
Are contemporary artists happy to have to produce this New Mandatory Art?
We do not see in the Contemporary Art rooms an art that breathes the Joy of Living and the Blossoming of Self.
Fra Angélico's works testify that this painter was happy to paint as he did. All in all, he was free! The same goes for the works of Pierre Paul Rubens or the Impressionists.
Looking at Van Gogh's works, one thing is certain: this tormented painter had the joy of freeing himself through his art from his difficulties in living.
What is the purpose of Art, if not to make people happy, or at least help them to live?
What is an Art that is not an enchantment?
Why a disenchanted Art? Systematically and ostensibly disenchanted?
The Hell of Enguerrand Quarton or Hieronymus Bosch was full of flames and horrible demons.
The Hell of our contemporary world has rationally evacuated all the obscurantist horrors of religion: it is as smooth, sad and absurd as white, yellow or black squares, plywood boxes, coal piles, cement beams, papier-mâché, piled up or suspended clothes and dirty cardboard.
It is the art of a globalist elite who refuse to communicate with their fellow human beings, and who are also unable to feel and make positive emotions feel. No beauty, no joy, no good. The art of making people dream has become the art of making them nightmares. It's more than sad, it's alarming. Would Democritus himself still be able to laugh about it?
6° The Rootless Art
The attendance at the Museums of Contemporary Art reveals a phenomenon that quickly becomes obvious and haunting, from the moment the visitor becomes aware of it: the past of mankind and the history of civilizations are totally absent. It is once again the same observation: it is the opposite of Fine Arts (Belle Arti, Schönen Künste, Fine Arts). An atemporal Anti-Art, where all memory of the past is absent, is displayed in the Museums of Contemporary Art.
Official Contemporary Art is a cluster of diverse "things" that constitute a display case of present, an omnipresent present, totally cut off from any spatial or temporal environment:
Plain canvases, coloured or not, lines, dots, strokes and circles, squares or rectangles of various colours, and of course stains, especially stains. Rubble, pipes, broomsticks, mops, ladders, beds, chairs and wobbly tables, piles of various things: coal, stone, cardboard, paper, plastics. Rusty, twisted, broken, bent, broken beams, assembled cardboard boxes, stacked clothes and rags, open or closed boxes, broken or crushed machinery, pipes, cement beams, rubble, cinder blocks, tiles, whole or pulverized bricks, neon tubes, empty bags or full bags (it seems that conceptually it is very different), all kinds of pipes (iron, cement, plastic), rubber, buckets, jugs, pots; fences, telephones, typewriters, packaged or not, sinks, urinals, bicycles, fruit and vegetables, a whole variety of flea markets, but absurd where they are exposed: in the art museums.
A multitude of art schools claim to be inspired by contemporary society, especially its sciences and techniques: Conceptual art, video art, computer art, digital art, bio art, there is no shortage of names, but the resulting installations, apart from their systematic ugliness, far removed from the reality of today's laboratories or factories, are totally devoid of any meaning actually related to the human sciences and techniques as they are practiced. In the same way that these installations are in no way related to the actual urban life of a large part of the Western population. Fortunately, our cities do not resemble our museums of contemporary art.
Objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
Contemporary art museums are a accumulation of objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
nor the context of utility, because the objects presented are totally out of their real use.
nor the geographical context, as they are not representative of any culture characteristic of a region of the planet.
nor the historical approach, because these objects have no connection with the history and past of human societies.
There is nothing in these museums that can root the visitor in the history of his or her community or a particular community.
By observing Institutional Contemporary Art, by studying its discourse, it is clear that Western man is not either on the path of rapprochement with Nature. Nature, animals, and humanity - except when it is ugly and absurd - have almost totally disappeared from Western institutional art. The rapprochement with Nature is however a theme that all Western media aimed at the general public regularly develop. The theme of the animal has not disappeared from street art or from local, regional or national private commercial art either. It is omnipresent in photography.
Why this divorce between the Official Globalist Art, art reserved for the enlightened elite, totally artificial and counter nature, and the arts or media aimed at the general public?
Why is this Institutional Art uprooted not only from the different human cultures, but also from Nature?
The spectator is locked in a constant, haunting, terrifying present by his anonymity and his absence of any identity reference point. Contemporary art is Alzheimer's disease on the scale of the whole society: each moment follows one another without being connected to the moment before, and even less to a distant past. An anthill art in which generations succeed one another without any memorable link, only the chain of instinct remains active.
The official contemporary art is obviously designed to erase the memory of men and be better able to guide the remains of intelligence that will survive this treatment. It is easy to understand why the main audience of these contemporary art museums are students from schools, colleges and high schools.
This situation is indeed not the result of chance but of a political will based on a perfectly identifiable ideology: The "Enlightenment" ideology contained some important, timely, creative and living truths. But these truths have been interpreted in paroxysm of their extremism, and settled in absolute, systematic, unique and universal Truth, denying all the values and experiences of past civilizations. This new totalitarianism carries, like all totalitarianisms, tragic Shadows, and finally Death. When man claims himself to be the "Lights"", the lights of his only reason, it is quite consistent that he ends up in the deep shadow of error, of ignorance, ugly and absurd. What official contemporary art demonstrate.
Official contemporary art, that of the museums that bear this name, puts into practice, in the field of aesthetics, a fundamental principle of the Enlightenment ideology: "La Table Rase" (the clean slate). The European past and that of all civilizations is retrograde and obscurantist, it is the time of the Shadows. He must disappear completely so that the new Humanity can flourish in the Modernity, that the "Lights" alone represent. In the USSR, in Maoist China, this ideology of the "Table Rase" was imposed by an explicitly violent democratic totalitarianism, a single party claimant as legitimate "the dictatorship of the proletariat". In the capitalist countries the methods are different: totalitarianism is hidden behind the appearances of the supposedly plural liberal democracy. His methods are those of a disguised violence, underlying, inspired and organized by organizations hidden from the eyes of the general public: those of the manipulation of the opinions and the spirits.
The roots of peoples, the links of nations with their past must be totally severed in order to allow only the true and only doctrine to remain, that to the glory of universality. According to the High Priests of Globalism, this would be the price to pay to guarantee, through the disappearance of nations, ethnic and cultural groups and the creation of a single government on a global scale, a bright future, peace and paradise on earth. The disappearance of human roots is indeed the same project as the disappearance of nations. From the forgetting of the roots to the destruction of the roots, the distance is minute: this is what the officially involuntary fire of Notre Dame de Paris shows. The centuries-old oaks frame of Notre Dame de Paris can burn, as accidentally, it is not at all a disaster, it is even an interesting opportunity. She will be rebuilt in a few years. She will even be better: it will be made of concrete, and brand new. She can always be kept on the World Heritage List. What are the retrograde spirits complaining about who are obscurely attached to the past?
Official contemporary art is an art specially designed for uprooted, emigrated, immigrant, mixed peoples: Nothing reminds of their origins, their specific cultures, their former territories. Their symbols, even the most expensive ones, will be destroyed, intentionnaly burned down. It is the globalist project whose ideology and politics are reflected in the official contemporary anti-aesthetics.
7° The Obsessional Art.
The obsession we are talking about here is that of Modernity, the New, Change, Revolution, Progress. It is mandatory to paint, sculpt, install, everything and anything, on the sole condition that it has never been done before! Toilet paper rolls on the floor? That's a great idea! On one condition: you have to be sure that this has not already been done! And if this has been done, it is possible to do the same thing, but with real or artificial soiling, in addition. It will be even more novel and a real improvement!
This obsession with novelty here too is in line with the dogma of the "Table Rase" and is inspired by the doctrine of the denial of the Past, which is a fundamental point of the catechism of the extremist Enlightenment. The direct consequence of this monomania is obviously the over-valuing of the present and the future: a permanent agitation, a feverish irritation, without any real purpose, without prudence, without good sense, a sterile effervescence and even destructive of the major balances needed. It is "le Bougisme" (The Febrile Agitation), by Pierre André Taguieff (Résister au Bougisme. Fayard 2001). In inventing this neologism, Pierre André Taguieff rightly denounced the morbid cult of change for change. This absurd ideology of mandatory novelty, at any price, obviously causes its devastation in art, as elsewhere in Western society.
Even if the beginning of the 21st century is beginning to raise alarm bells about human nuisance, the obsession with Change and Progress through human action remains a constant in all official speeches and one of the first commandments of ideological and "artistic" catechism.
Conclusion: The Artificial Art. The Dead Art.
The seven-point specifications that are imposed on contemporary artists determined to build a reputation in official art have an obvious consequence: Official Contemporary Art is a totally no sincere art, a summit of artifice and conformity. European art as well as universal art has always been commissioned art for thousands of years. In the entire history of civilizations, indeed, art has only existed on commission. It is always the ideological and political elites who have inspired, guided and financed the art of different civilizations. With one notable exception, in Europe, during the Modern Art period. We have said why in other texts: in a word, ideological diversity. But art on commission, in ancient times, even when a single ideology dominated, did not exclude that artists could create with sincerity, and therefore freely, an art that was commissioned, but authentic and shared. The entire history of European painting since medieval times is proof of this
This is what has obviously changed with official contemporary art since the second half of the 20th century. To be forced to create the ugly, the absurd, the sad, to be forced to provoke and disturb the peoples at the base of the pyramid, is obviously very overwhelming for the official artists themselves. Even when honors and profits are at the end of the road. Their art is artificial, it does not carry any living truth. An art on command, but a dead art.
The sincerity, the good faith, of the artist is a condition, certainly not sufficient, but absolutely necessary for art. We see well in the ancient arts, when the painter, even talented, no longer believes in what he paints. This feeling is very clearly found in religious art, at certain times, in some artists even of great talent. In ancient art, it is an individual or cyclical phenomenon.
On the other hand, in official contemporary art museums, the lack of sincerity, inauthenticity, falsity, duplicity is general and structural: the spectator is immersed in an atmosphere of constant lies, constrained artifice, hypocritical affectation, deadly boring complacency. This is exactly the meaning of the title of Aude de Kerros' book "L'Imposture de l'art contemporain" Eyrolles 2017.
Official Contemporary Art is an Imposture because it is an imposed posture, an obligatory behaviour, a deadly constraint for the freedom of creation.
A Beautiful art that is understandable by peoples, the sharing of a living and positive emotion with the public, this is not the problem of the "artists" of official contemporary art. Their only interest, obvious to the visitor, is their social success. These artists paint, sculpt or "install" to enter the museums. All sincerity is dismissed as dangerous for the success of this company. It is necessary to meet the conditions to be accepted by decision-makers : to do at all costs, the new one and ugly, and to achieve the most absolute provocation.
It is clear that authenticity, sincerity, remain alongside of this road imposed on artistic creation. Some opportunists are perfectly comfortable with these constraints , because it is a demanding set of specifications, but it does not require any strictly artistic talent. Others many artists are constraining themselves, in order to obtain public recognition. Still others refuse to play this game and do not enter the great museums. These constraints and refusals certainly have an aesthetic cost at the level of the global society.
Sincerity was a criterion of the European aesthetic of the past. It did not matter whether the belief was false or true, or more or less true, not in conformity with rationality as we understand it today. It is a historical fact that all the great religions have been, for millennia, at the origin of authentic, sincere, beautiful, significant arts, shared with peoples and recognized by time. The evidence is that with Official Contemporary Art, authenticity is dead, and the sharing it with it of course. The attendance of contemporary art museums shows that there is no current between artists, their official patrons and the majority of the public, who can freely decide on its activities.
"The majority of opponents of contemporary art are totally invisible and voiceless. Artists and amateurs who compose it act as if Contemporary Art does not exist. They consider it so void that it is not necessary to pay any attention to it, nor to make any critical effort."
Aude de Kerros L'Art Caché. Eyrolles 2013.
These opponents are right about the aesthetic nullity of official contemporary art. But they are wrong to remain speechless, because this art is a revelation of the state of mind of the ruling elites. The governed must pay very close attention to the visions of art, and therefore of the world, of their rulers, because they concern them directly. The "Massacre of the Innocents" is a current situation, not just an anecdote from the New Testament. An ideological and political elite that has made a profession of faith to massacre beauty, meaning, sincerity, art in general, and proclaims its right to disturb peoples, is suspect. The massacre of painting, the massacre of art is the announcement, the prefiguration of the massacre of peoples (the "Yellow Vests") by their ideological and political elites. Recent history has shown that explicitly totalitarian, Nazi and communist, genocidal societies have been unable to create an authentic and sincere art. The vast majority of artists have fled them.
The liberal capitalist society, triumphant in our time, has acted in a much more politically subtle way by creating an Official Mandatory Anti-Art. Is it an effective and sufficient antidote against totalitarianism, that this society has allowed reserves for beauty, meaning, sincerity in other fields such as photography or street art, or in a private art not accredited, adventitious? It would be wise to seriously doubt this.
Joan Llimona. 1860-1926. Barcelone. La carta. The letter. La lettre. vers 1905.
Barcelone Museu Nacional d'Art de Catalunya (MNAC)
***** L'ESQUISSE ou L'ART DU FLOU
L'Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L'Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l'Art Moderne, s'éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l'interprétation du réel l'emporte sur sa reproduction.
L'artiste moderne ne reproduit plus guère le réel, il le rêve, ou l'invente. Ces tendances ont abouti à l'art non figuratif, autrement appelé l'art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d'expression artistique.
Parmi les techniques développées au cours du 19è siècle l'Esquisse a été une des meilleures expressions de l'Art du Flou.
L'Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d'une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d'art du flou.
L'Esquisse a été dans l'histoire de la peinture un projet, une étude préparatoire, qui permettait à l'artiste de s'assurer de la cohérence et de l'équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n'est qu'une approximation, un brouillon, le témoin d'un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l'esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C'est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n'est pas une définition mathématique, mais c'est la meilleure.
L'esquisse n'est une oeuvre achevée que lorsqu'elle est créatrice d'une atmosphère singulière, particulièrement suggestive, porteuse d'une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l'imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l'imaginaire, alors que le flou qui caractérise l'esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c'est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l'a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l'art de l'esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d'autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L'Art de l'esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu'en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d'art.
Le flou peut n'être qu'une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu'à la signature d'un grand nom.
Il est vrai que l'esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l'inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l'art du flou ne peut pas être systématique.
Le flou, c'est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L'esthétique de notre époque est un peu trop focalisée sur l'esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l'Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l'artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n'est pas question d'Argent, mais de l'Artiste, de la Liberté de Création, du Progrès des Arts, d'une "sensibilité nouvelle", de "vivre avec son temps" etc...
Cette omniprésence de l'esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L'Art du Flou est devenu aussi l'Art de faire, vite, de l'Argent.
Valeurs morales positives ou négatives. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?
THE SKETCH OR THE ART OF BLUR
Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away all so very intentional, deliberate, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist is hardly reproduces reality, it's dream or invent. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success, physical, material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, what economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc ...
This omnipresence of the sketch reflects not only the look but the habits of ethical values.
positive or negative moral values. The Art of the blur has also become the Art to do, quickly, of the money.
We live in a world too pressed !! To go where ?
Melanie Bonajo 1978-
Future bondage : Hanna 2007
Bonnefantenmuseum. Maastricht.
ABOUT THE PRIMITIVE PAINTERS. A PROPOS DES PEINTRES PRIMITIFS
L'idée du jour est d'alterner quelques tableaux d'un des grands "Primitifs Flamands", Hans Memling, avec quelques œuvres de "Primitifs Contemporains" tels qu'ils sont présentés dans les Musées européens, dans une sorte de concours pour la Primitivité la plus achevée. Et aussi de tenter de comprendre les causes techniques, idéologiques, politiques et les finalités des Arts Primitifs. Les Peintres "Primitifs Flamands" sont en effet une belle occasion de s'interroger sur l'histoire de l'art, d'une manière différente des Encyclopédies et des Histoires de l'Art. Qui est primitif et qui ne l'est pas ? Qui est Primitif et qui est Progressiste ? Pour qui et pourquoi ? Et même peut être une occasion de s'interroger sur l'histoire de l'homme. Il est possible d'apercevoir depuis le début du 21è siècle que les progrès scientifiques et techniques, tels que l'homme les a mis en oeuvre, ont développé des régressions universelles, graves, des atteintes irrémédiables. La comparaison entre Memling et l'Art Officiel Contemporain montre aussi que "le progrès en art" a développé des régressions graves de la beauté et du sens partagé, une régression esthétique formidable.
The idea of the day is to alternate a few paintings by one of the great "Flemish Primitives", Hans Memling, with a few works by "Contemporary Primitives" as presented in the European Museums, in a kind of competition for the most accomplished Primitivity. And also to try to understand the technical, ideological, political causes and the purposes of the Primitive Arts. The "Flemish Primitive" Painters are indeed a great opportunity to question the history of art, in a different way from Encyclopedias and Art Histories. Who is primitive and who is not? Who is Primitive and who is Progressive? For whom and why? And even can be an opportunity to question the history of man. It is possible to see since the beginning of the 21st century that scientific and technical progress, such as man has implemented them, have developed universal, serious regressions, irremediable damage. The comparison between Memling and Official Contemporary Art also shows that "progress in art" has developed serious regressions of beauty and shared meaning, a formidable aesthetic regression.
UNDERSTAND CONTEMPORARY ART (3) THE ART OF THE BABEL TOWER
Today we conceive of no other art than of contestation, it is one of the signs of our decomposition. After all there was great art on command, there was even only art on command : Egypt, Mesopotamia, Greece, Byzantium, Maya, Chinese Art, India, our Christian West, Renaissance, Baroque and even classic. It was beautiful, it was ordered, but the artists believed in him.
Jean DUCHE. The Shield of Athena.
"You can make to people swallow anything," says one expert: MARCEL DUCHAMP (interview on the express 23 July 1964) Under the name of art, for more than a hundred years now, people have been made to swallow anything. We are in the midst of unreality, what is officially considered to be the art of the 20th century and the beginning of the current century has no connection with art, it is anti-art, non-art, hoax.
JEAN LOUIS HARROUEL Contemporary Art, Great Falsification Jean Cyrille Godefroy 2009
"Why do we see little more in modern art museums than insignificance, formalism, empty intellectualism or derision and above all, above all, this overwhelming mass of abstract works, emptied of all substance, desolate, emaciated that we are obstinately, however, to buy, to exalt, to comment, to expose under the indifferent eye of visitors that this does not concern? "
Jean CLAIR (Considerations on the State of Fine Arts. Critique of Modernity. GALLIMAR NRF 1983)
We must understand here "modern art" by "contemporary art".
Art is what you believe in. And art makes you believe in what you believe. Art also makes you believe in what you wouldn't believe if you were free to believe. What if you don't believe in anything anymore? Not even in man? Only in yourself, in defiance of all others? That's official contemporary art.
The ugliness and absurdity of Official Contemporary Art are deadly viruses, destroying collective cultures and persons. It'is Covid-Art. It is self-confined in magnificent buildings where no public goes, except for a few vaccinated, constrained, adventurous or naive people.
Official contemporary art is an anti-art, commissioned, globalist, state and supra-state, public and private, which combines seven constants found in almost all European museums:
He is ugly, absurd, provocative, botched, sad, uprooted, obsessional, and as a result of all this, totally artificial.
1° The Ugly Art
This is what art historian Ernst Gombrich notes: "Western art has become an adventure on the edge of the impossible, and the art of the ugly".
The ugly Art is a major invention of the West in the second half of the 20th century. Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) and Modern Art, which goes from 1830 to 1950, have occasionally paint the ugliness of life and death. The ugliness of the Passion of Christ, the Devil, the Underworld, War, disease and epidemics, madness, death etc..... But the ugly was never a goal in itself, it was only a way to express the ugliness of certain realities.
In official contemporary art, this imperative of the ugly concerns both abstract and figurative art.
When the Ugly becomes a criterion of official art, a goal of the painter, and a necessary condition for entering a museum of painting, or sculpture, then the era of Contemporary Art undoubtedly begins.
The ideological, doctrinal, systematic adherence of Contemporary Art to ugliness is a very banal observation, which has been made many times, and which has been fully claimed by its theorists and practitioners.
The art critic Michel Tapié (1909-1987) noted in the 1950s and 1960s that "Modern Art - understand Contemporary Art - was born the day the idea of Art and Beauty were separated". Michel Tapié does not criticize this disjunction, on the contrary he notes it and justifies it. "we have changed our values". Indeed, ugliness has become a positive value in aesthetics!
It is very significant that Europe and the West of Museums distinguish, the Museums of "Fine Arts" (Belle Arti, Schönen Künste, Fine Art), from the "Museums of Contemporary Art". It is the officialization of the divorce of Art and Beauty. This institutionalization, this systematization of the anti-esthetic is a first in the history of civilizations.
It is imperative not to confuse Modern Art (1830--1950) with the Contemporary Art, that prevails in the West in official circles from the 1950s onwards. The essential difference, but very simple to understand, is this: Modern Art is an aesthetic, Contemporary Art is, and proclaims to be, an anti-aesthetic.
A few questions are in order:
Should man be proud of having renounced beauty in his official art?
Is it mandatory to consider that this is a necessary and inevitable evolution? A Progress even?
What if ugly art was, on the contrary, a degrading art, a regression? An Involution?
2° The Absurd Art.
During the whole period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never absurd. He always had a meaning, he was the bearer of a teaching very clearly perceptible by the greatest number, even by the illiterate, especially in religious art. From the Renaissance onwards, an art inspired by Greco-Roman antiquity appeared, the meaning of which was only accessible to a cultivated elite of European society. But art continues until the contemporary era to be meaningful, to hold a clear discourse designed to convince and bring peoples together.
In modern times, around 1900, with non-figurative, abstract art, a novelty appeared: the art of non-sense. The non-sense, understood as the lack of meaning, the absence of an intelligible discourse, carrying a precise message, easily identifiable by the populations or by the elites. This is when works "without title" or with meaningless titles appear: "Composition N°..."
But it is only with official contemporary art, after the Second World War, that nonsense, the absence of significant discourse, evolves, is exacerbated, and becomes synonymous with absurdity.
Abstract modern art is a blue triangle and a red dot on a white background.
Official contemporary art is a pair of shoes wearing glasses, a pile of stones, a bed suspended from the museum ceiling, or a mop...
This characteristic of absurdity, unlike that of ugliness, is not explicitly claimed by the dogmatics of the Anti-Art. On the contrary, the theorists of Official Contemporary Art absolutely want to make believe that Anti-Aesthetics is superiorly intelligent, carrying a highly subtle counter-discourse, superlatively "conceptual", that only a visitor initiated to the mysteries of contemporary thought could understand. Hence the importance in contemporary art museums of the Discourse on Art, which is sometimes displayed in a larger format than "works of art". In reality, the truly informed public, not the falsely enlightened public, must understand that there is nothing to understand about each of these "works of art". The discourse on art is there to deceive the public, to amaze them, to intimidate them, to prohibit them from contesting. On the other hand, it is necessary to understand the why this "art", which one, at the same time, displays its absurdity and hides it behind a whole justification discourse. It is also necessary to understand the global, political, ideological and social significance of this totally sophistic aesthetic and ethical deconstruction. We are in the presence of a Sophist art, to which we must firmly oppose the wisdom of Socrates. At the risk of having to drink hemlock, after condemnation by a misguided "Republic".
3° The Provocative Art.
Throughout the period of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) art was never provocative. Art's function and aim was to transmit a clear educational message, understandable by the majority, and its means were to seduce populations as a whole, or more specific clienteles, by carrying a consensual discourse, which brings the recipients together around a collective culture, and a common ideal. Art was a sharing between the members of the whole society conceived as a centripetal community. Art was inter-social, that is, it had to be suitable for all classes of society, to be accepted by them as a common good and to foster communication within the community.
With the official Contemporary Non-Art appears a systematic reverse doctrine, of a total intolerance: the dogma of art that must disturb the peoples. Art is no longer made to induce the adherence of the populations, but to disturb them, to provoke negative reactions of opposition, of rejection. The official discourse on art constantly proclaims the alleged need to "question" all traditions. Thus the "initiate" will distinguish himself by spreading praise on this so-called catharsis, and the uninformed, the zombie, will be stigmatized when he dares to criticize the absurdity of dogmatic violence made to beauty and meaning.
This dogma of "the art that must disturb" has all the characteristics of the intolerant language of certain religious doctrines of which fanatics are unable to admit and understand that a faith in a true God can pass through paths other than their own, and expose truths other than those in which they believe.
There is no longer any question of faith in a revealed God for the supporters of the "Enlightenment", but this doctrine of art, which has the duty to disturb peoples, is in reality the expression of a faith in a higher and revealed Human Reason, requiring a secret initiation. This doctrine is the translation in the field of aesthetics of an elitist, sectarian and dogmatic ideology. Fanaticism has desacralized itself in the West, but it remains identical to itself, and it is still as dangerous to freedom
Provocation is one of the founding principles characteristic of official contemporary art. If we want to understand official contemporary art and even a certain street art (that of vandal tags) we must think on the same ground as him. Oppose provocation and explicit contempt to the provocation and implicit contempt for peoples that is characteristic of official contemporary art. This is why official contemporary art, state art and even supra-state art, globalist, an art characteristic of our current Western civilization, reveals a worrying state of mind of the elites, an obvious overestimation of themselves, and poses a very real social and politic problem.
4° The Botched Art.
The botched Art starts from the sketch, it is born from its abusive systematization.
The Sketch was essentially a preparatory study in the history of painting, which allowed the artist to ensure the coherence and balance of his finished painting. In this case, most often, the approximation of the drawing, the blur of the representation is only a draft, a project, an incomplete art that needs to be completed.
Many artists, over the past centuries, have fully understood that the sketch could, sometimes, exceptionally, be a finished work. In other words, a work about which a large majority of spectators, experts or not, felt compellingly that NOTHING should be added to it. It is not a mathematical definition, not even philosophical, but it is the best, as in the case of beauty: the common feeling, the majority, enlightened by the opinion of the elites, but widely shared within a society.
The sketch is a finished work only when it creates a singular atmosphere, particularly suggestive, carrying a poetry of its own, unique. When it becomes clear that more precision in drawing would close the doors to the imagination, to mystery, and would destroy a subtle balance between dream and reality.
But it is an alchemy whose secret can only be penetrated by great artists.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of the unfinished. An expressive force that the painting, well finished, well drawn and well painted, well finished, can indeed lose. But the poetic magic of the art of the blur cannot be systematic and loses all its seduction when it becomes a habit of doing and a conformity of the gaze.
Since the Impressionists, how many artists have blurred sketchs and paint stains, without art and for ease?
The aesthetics of our time has focused far too much on the sketch. The blur, the sketch, the stain have become a fashion, an obligatory culture. Always the same observation: good ideas, innovative and creative practices, become bad and sterile when they become systematized
In reality, artists are not the only ones responsible for this situation. In the 19th century Western society entered a culture that made of the material and economic success , and of the money, its main values. Since then, sketches, which would not have come out of the artist's personal files in previous centuries, have become commodities for profit. These goods are even found in museums.
Picasso, a painter in transition between modern and contemporary art, had a very good understanding of this economic mechanism.
Of course this evolution is dressed in Great Principles: It is not about Money, but about the Artist, the Freedom of Creation, the Progress of the Arts, a "new sensitivity", "living with the times" etc....
This omnipresence of the sketch, the blur and the tachism reflects not only habits of the gaze but also ethical and cultural values. The Art of sketching, blurring and symbolic and poetic suggestion has become, by spirit of both system and provocation, and also much by convenience and conformity to fashion, the easy Art, and the botched Art. The art of making a reputation and money as quickly as possible. We are at the opposite of the painting of previous centuries, at a time when art was a profession. A profession that could be learned at length, with difficulty, and that required infinite meticulousness.
5° The Sad Art
For centuries, European painting, European art in general, was designed to make peoples dream, or of an important part of a population: aristocracy, bourgeoisie or popular classes. When European painting painted monsters, diseases or war, it was only what was necessary to formulate a reminder to the realities of the world.
Apollo skinned Marsyas alive, Prometheus had his liver eaten on Zeus' orders, Adonis died, Orpheus failed to bring Eurydice back from the underworld. But Europe was not unhappy to be kidnapped, Aphrodite (Venus) was born and have loved, and spring regularly came back, like Persephone from the Underworld.
The Crucifixions, Burials, and Pietas were always accompanied by an Annunciation, a Nativity and a Resurrection. And after the Death of the Virgin come her Assumption and Coronation.
17th century Dutch art, secular and secular, untiringly proclaims the simple joys of family life, the seascape, the changing skies, village festivals, wedding dances and material abundances: meat, vegetables, cheese and flowers in abundance. A profusion that the skulls could not hide. Even without their teeth, farmers sang, certainly by drinking a little too much.
All the neoclassical, romantic and impressionist art of the 19th century has made you dream with landscapes from Italy or Europe: meadows dotted with poppies, fresh and friendly rivers, forests full of favourable shadows, mysterious castles, herds of sheep and cattle, shepherds musicians...... And apart from a few shipwrecks in a rough sea, on the whole, European painting was joyful and inspiring the peoples.
Dream of God, dream of spiritual or sensual Love, dream of eternal life, dream of goodness, purity and beauty, dream of motherhood, dream of paradise, on earth or in the air, dream of idyllic landscape, dream of successful hunting, dream of abundance. The Dream is not lacking in European painting during centuries, which are much more than a thousand years old. And this dream is still perceived today, even when it no longer corresponds to beliefs that are currently alive and shared. It is when ideologues and politicians, who impose on artists what art must be, have decided to paint a world that does not make peoples dream, that contemporary art has started: The Urinal of Marcel Duchamp is one of the archetypes of this "revolution".
The "Enlightened" have indeed invented the sad art. They are entirely wrong, once again despite their conviction that they are the Eye that illuminates the entire social pyramid from above: Art is what makes peoples dream. Not what gives them nightmares.
There is no doubt that during the 20th century in Europe, then in the West, a pessimistic, tragic and absurd view of life became widespread in the field of painting and sculpture
Are contemporary artists happy to have to produce this New Mandatory Art?
We do not see in the Contemporary Art rooms an art that breathes the Joy of Living and the Blossoming of Self.
Fra Angélico's works testify that this painter was happy to paint as he did. All in all, he was free! The same goes for the works of Pierre Paul Rubens or the Impressionists.
Looking at Van Gogh's works, one thing is certain: this tormented painter had the joy of freeing himself through his art from his difficulties in living.
What is the purpose of Art, if not to make people happy, or at least help them to live?
What is an Art that is not an enchantment?
Why a disenchanted Art? Systematically and ostensibly disenchanted?
The Hell of Enguerrand Quarton or Hieronymus Bosch was full of flames and horrible demons.
The Hell of our contemporary world has rationally evacuated all the obscurantist horrors of religion: it is as smooth, sad and absurd as white, yellow or black squares, plywood boxes, coal piles, cement beams, papier-mâché, piled up or suspended clothes and dirty cardboard.
It is the art of a globalist elite who refuse to communicate with their fellow human beings, and who are also unable to feel and make positive emotions feel. No beauty, no joy, no good. The art of making people dream has become the art of making them nightmares. It's more than sad, it's alarming. Would Democritus himself still be able to laugh about it?
6° The Rootless Art: The Art of the Tower of Babel
The attendance at the Museums of Contemporary Art reveals a phenomenon that quickly becomes obvious and haunting, from the moment the visitor becomes aware of it: the past of mankind and the history of civilizations are totally absent. It is once again the same observation: it is the opposite of Fine Arts (Belle Arti, Schönen Künste, Fine Arts). An atemporal Anti-Art, where all memory of the past is absent, is displayed in the Museums of Contemporary Art.
Official Contemporary Art is a cluster of diverse "things" that constitute a display case of present, an omnipresent present, totally cut off from any spatial or temporal environment:
Plain canvases, coloured or not, lines, dots, strokes and circles, squares or rectangles of various colours, and of course stains, especially stains. Rubble, pipes, broomsticks, mops, ladders, beds, chairs and wobbly tables, piles of various things: coal, stone, cardboard, paper, plastics. Rusty, twisted, broken, bent, broken beams, assembled cardboard boxes, stacked clothes and rags, open or closed boxes, broken or crushed machinery, pipes, cement beams, rubble, cinder blocks, tiles, whole or pulverized bricks, neon tubes, empty bags or full bags (it seems that conceptually it is very different), all kinds of pipes (iron, cement, plastic), rubber, buckets, jugs, pots; fences, telephones, typewriters, packaged or not, sinks, urinals, bicycles, fruit and vegetables, a whole variety of flea markets, but absurd where they are exposed: in the art museums.
A multitude of art schools claim to be inspired by contemporary society, especially its sciences and techniques: Conceptual art, video art, computer art, digital art, bio art, there is no shortage of names, but the resulting installations, apart from their systematic ugliness, far removed from the reality of today's laboratories or factories, are totally devoid of any meaning actually related to the human sciences and techniques as they are practiced. In the same way that these installations are in no way related to the actual urban life of a large part of the Western population. Fortunately, our cities do not resemble our museums of contemporary art.
Objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
Contemporary art museums are a accumulation of objects without a real identity, without "personality", without empathetic capacity, because they do not fit into any credible context.
nor the context of utility, because the objects presented are totally out of their real use.
nor the geographical context, as they are not representative of any culture characteristic of a region of the planet.
nor the historical approach, because these objects have no connection with the history and past of human societies.
There is nothing in these museums that can root the visitor in the history of his or her community or a particular community.
By observing Institutional Contemporary Art, by studying its discourse, it is clear that Western man is not either on the path of rapprochement with Nature. Nature, animals, and humanity - except when it is ugly and absurd - have almost totally disappeared from Western institutional art. The rapprochement with Nature is however a theme that all Western media aimed at the general public regularly develop. The theme of the animal has not disappeared from street art or from local, regional or national private commercial art either. It is omnipresent in photography.
Why this divorce between the Official Globalist Art, art reserved for the enlightened elite, totally artificial and counter nature, and the arts or media aimed at the general public?
Why is this Institutional Art uprooted not only from the different human cultures, but also from Nature?
The spectator is locked in a constant, haunting, terrifying present by his anonymity and his absence of any identity reference point. Contemporary art is Alzheimer's disease on the scale of the whole society: each moment follows one another without being connected to the moment before, and even less to a distant past. An anthill art in which generations succeed one another without any memorable link, only the chain of instinct remains active.
The official contemporary art is obviously designed to erase the memory of men and be better able to guide the remains of intelligence that will survive this treatment. It is easy to understand why the main audience of these contemporary art museums are students from schools, colleges and high schools.
This situation is indeed not the result of chance but of a political will based on a perfectly identifiable ideology: The "Enlightenment" ideology contained some important, timely, creative and living truths. But these truths have been interpreted in paroxysm of their extremism, and settled in absolute, systematic, unique and universal Truth, denying all the values and experiences of past civilizations. This new totalitarianism carries, like all totalitarianisms, tragic Shadows, and finally Death. When man claims himself to be the "Lights"", the lights of his only reason, it is quite consistent that he ends up in the deep shadow of error, of ignorance, ugly and absurd. What official contemporary art demonstrate.
Official contemporary art, that of the museums that bear this name, puts into practice, in the field of aesthetics, a fundamental principle of the Enlightenment ideology: "La Table Rase" (the clean slate). The European past and that of all civilizations is retrograde and obscurantist, it is the time of the Shadows. He must disappear completely so that the new Humanity can flourish in the Modernity, that the "Lights" alone represent. In the USSR, in Maoist China, this ideology of the "Table Rase" was imposed by an explicitly violent democratic totalitarianism, a single party claimant as legitimate "the dictatorship of the proletariat". In the capitalist countries the methods are different: totalitarianism is hidden behind the appearances of the supposedly plural liberal democracy. His methods are those of a disguised violence, underlying, inspired and organized by organizations hidden from the eyes of the general public: those of the manipulation of the opinions and the spirits.
The roots of peoples, the links of nations with their past must be totally severed in order to allow only the true and only doctrine to remain, that to the glory of universality. According to the High Priests of Globalism, this would be the price to pay to guarantee, through the disappearance of nations, ethnic and cultural groups and the creation of a single government on a global scale, a bright future, peace and paradise on earth. The disappearance of human roots is indeed the same project as the disappearance of nations. From the forgetting of the roots to the destruction of the roots, the distance is minute: this is what the officially involuntary fire of Notre Dame de Paris shows. The centuries-old oaks frame of Notre Dame de Paris can burn, as accidentally, it is not at all a disaster, it is even an interesting opportunity. She will be rebuilt in a few years. She will even be better: it will be made of concrete, and brand new. She can always be kept on the World Heritage List. What are the retrograde spirits complaining about who are obscurely attached to the past?
Official contemporary art is an art specially designed for uprooted, emigrated, immigrant, mixed peoples: Nothing reminds of their origins, their specific cultures, their former territories. Their symbols, even the most expensive ones, will be destroyed, intentionnaly burned down. It is the globalist project whose ideology and politics are reflected in the official contemporary anti-aesthetics.
7° The Obsessional Art.
The obsession we are talking about here is that of Modernity, the New, Change, Revolution, Progress. It is mandatory to paint, sculpt, install, everything and anything, on the sole condition that it has never been done before! Toilet paper rolls on the floor? That's a great idea! On one condition: you have to be sure that this has not already been done! And if this has been done, it is possible to do the same thing, but with real or artificial soiling, in addition. It will be even more novel and a real improvement!
This obsession with novelty here too is in line with the dogma of the "Table Rase" and is inspired by the doctrine of the denial of the Past, which is a fundamental point of the catechism of the extremist Enlightenment. The direct consequence of this monomania is obviously the over-valuing of the present and the future: a permanent agitation, a feverish irritation, without any real purpose, without prudence, without good sense, a sterile effervescence and even destructive of the major balances needed. It is "le Bougisme" (The Febrile Agitation), by Pierre André Taguieff (Résister au Bougisme. Fayard 2001). In inventing this neologism, Pierre André Taguieff rightly denounced the morbid cult of change for change. This absurd ideology of mandatory novelty, at any price, obviously causes its devastation in art, as elsewhere in Western society.
Even if the beginning of the 21st century is beginning to raise alarm bells about human nuisance, the obsession with Change and Progress through human action remains a constant in all official speeches and one of the first commandments of ideological and "artistic" catechism.
Conclusion: The Artificial Art. The Dead Art.
The seven-point specifications that are imposed on contemporary artists determined to build a reputation in official art have an obvious consequence: Official Contemporary Art is a totally no sincere art, a summit of artifice and conformity. European art as well as universal art has always been commissioned art for thousands of years. In the entire history of civilizations, indeed, art has only existed on commission. It is always the ideological and political elites who have inspired, guided and financed the art of different civilizations. With one notable exception, in Europe, during the Modern Art period. We have said why in other texts: in a word, ideological diversity. But art on commission, in ancient times, even when a single ideology dominated, did not exclude that artists could create with sincerity, and therefore freely, an art that was commissioned, but authentic and shared. The entire history of European painting since medieval times is proof of this
This is what has obviously changed with official contemporary art since the second half of the 20th century. To be forced to create the ugly, the absurd, the sad, to be forced to provoke and disturb the peoples at the base of the pyramid, is obviously very overwhelming for the official artists themselves. Even when honors and profits are at the end of the road. Their art is artificial, it does not carry any living truth. An art on command, but a dead art.
The sincerity, the good faith, of the artist is a condition, certainly not sufficient, but absolutely necessary for art. We see well in the ancient arts, when the painter, even talented, no longer believes in what he paints. This feeling is very clearly found in religious art, at certain times, in some artists even of great talent. In ancient art, it is an individual or cyclical phenomenon.
On the other hand, in official contemporary art museums, the lack of sincerity, inauthenticity, falsity, duplicity is general and structural: the spectator is immersed in an atmosphere of constant lies, constrained artifice, hypocritical affectation, deadly boring complacency. This is exactly the meaning of the title of Aude de Kerros' book "L'Imposture de l'art contemporain" Eyrolles 2017.
Official Contemporary Art is an Imposture because it is an imposed posture, an obligatory behaviour, a deadly constraint for the freedom of creation.
A Beautiful art that is understandable by peoples, the sharing of a living and positive emotion with the public, this is not the problem of the "artists" of official contemporary art. Their only interest, obvious to the visitor, is their social success. These artists paint, sculpt or "install" to enter the museums. All sincerity is dismissed as dangerous for the success of this company. It is necessary to meet the conditions to be accepted by decision-makers : to do at all costs, the new one and ugly, and to achieve the most absolute provocation.
It is clear that authenticity, sincerity, remain alongside of this road imposed on artistic creation. Some opportunists are perfectly comfortable with these constraints , because it is a demanding set of specifications, but it does not require any strictly artistic talent. Others many artists are constraining themselves, in order to obtain public recognition. Still others refuse to play this game and do not enter the great museums. These constraints and refusals certainly have an aesthetic cost at the level of the global society.
Sincerity was a criterion of the European aesthetic of the past. It did not matter whether the belief was false or true, or more or less true, not in conformity with rationality as we understand it today. It is a historical fact that all the great religions have been, for millennia, at the origin of authentic, sincere, beautiful, significant arts, shared with peoples and recognized by time. The evidence is that with Official Contemporary Art, authenticity is dead, and the sharing it with it of course. The attendance of contemporary art museums shows that there is no current between artists, their official patrons and the majority of the public, who can freely decide on its activities.
"The majority of opponents of contemporary art are totally invisible and voiceless. Artists and amateurs who compose it act as if Contemporary Art does not exist. They consider it so void that it is not necessary to pay any attention to it, nor to make any critical effort."
Aude de Kerros L'Art Caché. Eyrolles 2013.
These opponents are right about the aesthetic nullity of official contemporary art. But they are wrong to remain speechless, because this art is a revelation of the state of mind of the ruling elites. The governed must pay very close attention to the visions of art, and therefore of the world, of their rulers, because they concern them directly. The "Massacre of the Innocents" is a current situation, not just an anecdote from the New Testament. An ideological and political elite that has made a profession of faith to massacre beauty, meaning, sincerity, art in general, and proclaims its right to disturb peoples, is suspect. The massacre of painting, the massacre of art is the announcement, the prefiguration of the massacre of peoples (the "Yellow Vests") by their ideological and political elites. Recent history has shown that explicitly totalitarian, Nazi and communist, genocidal societies have been unable to create an authentic and sincere art. The vast majority of artists have fled them.
The liberal capitalist society, triumphant in our time, has acted in a much more politically subtle way by creating an Official Mandatory Anti-Art. Is it an effective and sufficient antidote against totalitarianism, that this society has allowed reserves for beauty, meaning, sincerity in other fields such as photography or street art, or in a private art not accredited, adventitious? It would be wise to seriously doubt this.
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Scenery captured on March 28, 2012 @ 16:37:16 hrs.
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Le fleuve Amou-Daria, en Asie centrale, observé avec différents niveaux de zoom. On devine que les habitants voisins utilisent avec reconnaissance cette 💧 pour l’agriculture : la zone semble très fertile au milieu d’une zone plutôt désertique. 🌾🐑🌱🐄 Une chose qui m’a particulièrement marqué pendant cette mission, c’est l’incroyable diversité de formes et de couleurs des champs d’agriculture et des pâturages de par le monde. 🌍🌏🌎 Peut-être que devenir ambassadeur de la FAO m’y a rendu plus attentif… Leur omniprésence sur Terre est évidemment liée au besoin de sécurité alimentaire des populations, et malgré leur immense variété, une chose ne change pas : on a besoin de faire pousser de la nourriture. Des champs et des prairies ronds, carrés, autour des rivières, dans les creux des vallées, dans les déserts, qui transforment le paysage. À mesure que notre climat change, nous devons nous adapter et apprendre à cultiver différemment pour garantir une alimentation saine pour tous. #WorldFoodDay #ArtGriculture
A fertile area in a desert region, by the Amu Darya river. Rivers bring water, and water brings life and food. 🌾🐐🌱🐄If there is one thing I have noticed this mission it is that agriculture and pastures come in all shapes and sizes, maybe being @FAO good-will ambassador made me more aware of the #CropArt in the 🌍🌏🌎. It is logical because humans all over the world need food security, and throughout our changing landscapes the need to grow food doesn't change. Crop fields and pastures come in many shapes and sizes: round, square, in-between and landscape-changing or river-diverting, and in deserts. As our climate changes we need to adapt and farm differently as necessary to ensure healthy food for all.
Credits: ESA/NASA–T. Pesquet
608D0674
Retour aux anciens Bains et Thermes liégeois transformés en Cité Miroir, un lieu de débat, d'éducation et de culture.
Il vous est loisible de visionner un premier album sur la Cité Miroir lors de l'inauguration de cette nouvelle affectation :
www.flickr.com/photos/claudiusbinoche/sets/72157640209900...
L’échevin liégeois Georges Truffaut lance le projet des Bains et Thermes. Il comprend deux bassins de natation, une station d'autobus, une section d'hydrothérapie, des locaux annexes, un café-restaurant, un dancing. L'architecte moderniste Georges Dedoyard sera désigné au terme d'un concours au règlement très strict.
Le bâtiment est achevé sous l’occupation nazie et ouvre ses portes au public en mai 1942. Georges Truffaut, décédé en résistant en Angleterre un mois auparavant, ne verra jamais son projet abouti.
Considéré comme l’une des plus importantes réalisations du style moderniste de l’entre-deux-guerres, le bâtiment de la Sauvenière adopte les formes d’un paquebot aux proportions majestueuses. A l’intérieur, l’élément le plus singulier est le grand hall des bassins qui s’étend sur 80 mètres de long et plus de 10 mètres de haut.
Dedoyard s’est inspiré du courant artistique et architectural allemand Bauhaus. Les formes élémentaires - ici le cube et la sphère - sont mises en valeur, la symétrie règne. Les murs nus, les lignes épurées, l’omniprésence du béton armé et du verre vont dans le sens de cette architecture essentiellement fonctionnaliste.
Return to the old Liège baths and thermal baths transformed into a Cité Miroir, a place of debate, education and culture.
You are free to view your first album on the Cité Miroir during the inauguration of this new assignment:
www.flickr.com/photos/claudiusbinoche/sets/72157640209900...
The Liège alderman Georges Truffaut launched the Bains et Thermes project. It includes two swimming pools, a bus station, a hydrotherapy section, additional premises, a café-restaurant, a dance hall. The modernist architect Georges Dedoyard will be appointed after a competition with very strict regulations.
The building was completed under the Nazi occupation and opened its doors to the public in May 1942. Georges Truffaut, who had died in resistance in England a month earlier, would never see his project succeeded.
Considered one of the most important achievements of the Modernist style of the interwar period, the Sauvenière building takes the form of a liner of majestic proportions. Inside, the most unique feature is the large pool hall which stretches 80 meters long and more than 10 meters high.
Dedoyard was inspired by the German Bauhaus artistic and architectural movement. The elementary forms - here the cube and the sphere - are highlighted, symmetry reigns. Bare walls, clean lines, the omnipresence of reinforced concrete and glass go in the direction of this essentially functionalist architecture.
From Arabic, "AIDA" means ( I am coming back {feminine} = عائدة )
M/S AIDA blu
www.seascanner.com/schiff.php?schiff=aida+blu
AIDAblu
AIDA Blu
cruise-international.com/aida-blu/
Current position of M/S AIDA blu
www.seascanner.com/schiffsposition.php?schiff=AIDA+blu
Images of C/S AIDA blu
www.google.com/search?q=aidablu&hl=en&biw=1069&am...
Satellite View of the place where photo was taken
Ces cercles d'irrigation sont en fait tous différents ! Zoomez pour vérifier si vous n'ên êtes pas convaincus ;) ➡️ www.esa.int/ESA_Multimedia/Images/2021/10/Crop_Art 🌾🐑🌱🐄 Une chose qui m’a particulièrement marqué pendant cette mission, c’est l’incroyable diversité de formes et de couleurs des champs d’agriculture et des pâturages de par le monde. 🌍🌏🌎 Peut-être que devenir ambassadeur de la FAO m’y a rendu plus attentif… Leur omniprésence sur Terre est évidemment liée au besoin de sécurité alimentaire des populations, et malgré leur immense variété, une chose ne change pas : on a besoin de faire pousser de la nourriture. Des champs et des prairies ronds, carrés, autour des rivières, dans les creux des vallées, dans les déserts, qui transforment le paysage. À mesure que notre climat change, nous devons nous adapter et apprendre à cultiver différemment pour garantir une alimentation saine pour tous. #WorldFoodDay #ArtGriculture
A fascinating thing about these crop circles in the desert is that they are all different! Don't believe me? Zoom in on this #BigPicture! www.esa.int/ESA_Multimedia/Images/2021/10/Crop_Art 🌾🐐🌱🐄If there is one thing I have noticed this mission it is that agriculture and pastures come in all shapes and sizes, maybe being FAO good-will ambassador made me more aware of the #CropArt in the 🌍🌏🌎. It is logical because humans all over the world need food security, and throughout our changing landscapes the need to grow food doesn't change. Crop fields and pastures come in many shapes and sizes: round, square, in-between and landscape-changing or river-diverting, and in deserts. As our climate changes we need to adapt and farm differently as necessary to ensure healthy food for all.
Expedition 65 earth observation composite of Wadi Al Dawasir, Saudi Arabia photographed by ESA astronaut Thomas Pesquet (created with iss065e143178 - iss065e143191).
GMT174_12_44_For ESA_Thomas Pesquet_Jersey Guernesey Geneva and lake Venice Adriatic sea some Greece - 1120mm day
jsc2021e045113-Wadi-Dal-Awasir
Taken for the 'Wardrobe Remix' pool.
* Dotti vest (eBay).
* Abercrombie and Fitch skirt (eBay).
* White puffy sleave button up top (Crossroads).
* White pirate skull scarf (gift).
* LK seamed nude fishnets.
* Brown boots.
Dionis Baixeras. 1862-1943. Barcelone. Haciendo calceta. Knitting. Tricot.1888.
Barcelone Museu Nacional d'Art de Catalunya (MNAC)
***** L'ESQUISSE ou L'ART DU FLOU
L'Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L'Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l'Art Moderne, s'éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l'interprétation du réel l'emporte sur sa reproduction.
L'artiste moderne ne reproduit plus guère le réel, il le rêve, ou l'invente. Ces tendances ont abouti à l'art non figuratif, autrement appelé l'art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d'expression artistique.
Parmi les techniques développées au cours du 19è siècle l'Esquisse a été une des meilleures expressions de l'Art du Flou.
L'Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d'une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d'art du flou.
L'Esquisse a été dans l'histoire de la peinture un projet, une étude préparatoire, qui permettait à l'artiste de s'assurer de la cohérence et de l'équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n'est qu'une approximation, un brouillon, le témoin d'un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l'esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C'est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n'est pas une définition mathématique, mais c'est la meilleure.
L'esquisse n'est une oeuvre achevée que lorsqu'elle est créatrice d'une atmosphère singulière, particulièrement suggestive, porteuse d'une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l'imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l'imaginaire, alors que le flou qui caractérise l'esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c'est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l'a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l'art de l'esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d'autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L'Art de l'esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu'en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d'art.
Le flou peut n'être qu'une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu'à la signature d'un grand nom.
Il est vrai que l'esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l'inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l'art du flou ne peut pas être systématique.
Le flou, c'est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L'esthétique de notre époque est un peu trop focalisée sur l'esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l'Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l'artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n'est pas question d'Argent, mais de l'Artiste, de la Liberté de Création, du Progrès des Arts, d'une "sensibilité nouvelle", de "vivre avec son temps" etc...
Cette omniprésence de l'esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L'Art du Flou est devenu aussi l'Art de faire, vite, de l'Argent.
Valeurs morales positives ou négatives. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?
THE SKETCH OR THE ART OF BLUR
Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away all so very intentional, deliberate, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist is hardly reproduces reality, it's dream or invent. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success, physical, material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, what economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc ...
This omnipresence of the sketch reflects not only the look but the habits of ethical values.
positive or negative moral values. The Art of the blur has also become the Art to do, quickly, of the money.
We live in a world too pressed !! To go where ?
The London Guarantee Building, formerly known as the Stone Container Building,[1] is a historic building located in the Loop community area of Chicago, Illinois. It is known as one of the four 1920s flanks of the Michigan Avenue Bridge (along with the Wrigley Building, Tribune Tower and 333 North Michigan Avenue). It stands on part of the former site of Fort Dearborn. It was designated a Chicago Landmark on April 16, 1996.
In 2001, the building was acquired by Crain Communications Inc. and is now referred to as the Crain Communications Building.
The top of the building resembles the Choragic Monument of Lysicrates in Athens, but it is supposedly modelled after the Stockholm Stadshus.[3] It is located in the Michigan–Wacker Historic District. The building stands on the property formerly occupied by the Hoyt Building from 1872 until 1921
Michigan-Wacker Historic District
NRHP #78001124
The Bahá'í House of Worship
The Lotus of Bahapur - A magnet for the heart.
There is one God; mankind is one; the foundations of religion are one. - Bahá'í Holy Writings
"...the purpose of places of worship and edifices for adoration is simply that of unity, in order that various nations, divergent races, varying souls, may gather there and among them amity, love and accord may be realized.
In the heart of New Delhi, the bustling capital of India, a lotus-shaped outline has etched itself on the consciousness of the city's inhabitants, capturing their imagination, fuelling their curiosity, and revolutionising the concept of worship. This is the Bahá'í Mashriqu'l-Adhkar, better known as the "Lotus Temple". With the dawning of every new day, an ever-rising tide of visitors surges to its doorsteps to savour its beauty and bask in its serenely spiritual atmosphere.
Since its dedication to public worship in December 1986, this Mother Temple of the Indian sub-continent has seen millions of people cross its threshold, making it one of the most visited edifices in India. From its high-perched pedestal, this 'Lotus' casts its benevolent glance over vast green lawns and avenues covering an expanse of 26 acres of land. Its soothingly quiet Prayer Hall and tranquil surroundings have touched the hearts of the Temple's numerous visitors, awakening in them a desire to trace its inspirational source and capture a bit of its peace for themselves.
As an evocative symbol of beauty and purity, representative of divinity, the lotus flower remains unsurpassed in Indian iconography. Rising up pure and unsullied from stagnant water, the lotus represents the manifestation of God. The architect used this ancient Indian symbol to create a design of ethereal beauty and apparent simplicity, belying the complex geometry underlying its execution in concrete form. Twentieth-century architecture has been characterised by a high degree of technological prowess; however, it has been, by and large, unexceptional in aesthetic value. The Lotus Temple provides one of the rare exceptions with its remarkable fusion of ancient concept, modem engineering skill, and architectural inspiration, making it the focus of attention amongst engineers and architects the world over. In the absence of sophisticated equipment, the extremely complex design called for the highest order of engineering ingenuity to be implemented by means of traditional workmanship. No wonder, then, that the Lotus Temple, as a symbol of faith and human endeavour expended in the path of God, became the recipient of accolades and world-wide acclaim.
Early international recognition came its way soon after completion, when the International Federation for Religious Art and Architecture, based in the United States, conferred upon Mr. Sahba the award for "excellence in religious art and architecture for 1987". In 1988, the edifice received its second international award, this time for its structural design, from the Institute of Structural Engineers of the United Kingdom. The citation award reads: "For producing a building so emulating the beauty of a flower and so striking in its visual impact". That same year, the Illuminating Engineering Society of North America conferred its international award on the Temple for the excellence of its outdoor illumination. In 1990, the American Concrete Institute presented an award to the Temple as one of the most finely built concrete structures. In 2000, GlobArt Academy of Vienna, Austria, granted its "GlobArt Academy 2000" award in recognition of "the magnitude of the service of [this] Taj Mahal of the 20th century in promoting the unity and harmony of people of all nations, religions and social strata, to an extent unsurpassed by any other architectural monument world-wide".
The value of beauty and symmetry in architecture by itself is not sufficient to immortalise a building. What is important is the response the structure evokes in the hearts of the people. Ravi Shankar, the sitar maestro, recalls that he was "so deeply moved visiting this great beautiful place, that I find no words to express my feelings". All that Dizzy Gillespie, the late renowned Baha'i jazz musician, could exclaim was: "I cannot believe it! It is God's work". An Indian diplomat was moved to describe the Temple as a "symbol of spiritual refinement of mankind". Indeed, the construction of the Baha'i House of Worship of Bahapur was a significant chapter in the making of Baha'i history on the Indian sub-continent.
Obedient to the command of Baha'u'llah enshrined in the most holy book of the Baha'i religion, "0 people of Creation, build ye houses as perfect as can be built on earth in the Name of Him who is the Lord of Revelation...", Baha'is have endeavoured to their utmost to build houses of worship as beautiful and distinctive as possible. They have been inspired by the divine outpourings from the pen of Baha'u'llah and His son 'Abdu'1-Baha, and by the noble example set by Shoghi Effendi, the Guardian of the Baha'i Faith, who initiated the process by raising up the magnificent edifices at the World Centre of the Baha'i religion in Haifa, Israel. The houses of worship in North and Central America, Europe, Africa, Australia, and Western Samoa each reflect a pristine beauty and freshness of approach. This flowering of Baha'i architecture was further perpetuated by the blossoming of the 'Lotus of Bahapur'.
The Bahá'í Temple in New Delhi, however, occupies a unique position. Not only does it embody the spiritual aspirations and basic beliefs of the world-wide Bahá'í community, but, significantly in a land of myriad religions, it has begun to be seen as providing a unifying link, bringing divergent thoughts into harmony by virtue of its principle of oneness - of God, religion, and mankind. This, perhaps, is the secret of its unabated popularity.
Against the backdrop of a religious milieu which encourages the fragmentation of the Supreme Reality into innumerable gods and goddesses, each personifying a specific attribute of the Almighty, the Bahá'í Temple, with its total absence of idols, elicits bewilderment as well as favourable response. When the main entrance gate was first opened to the general public on 1 January 1987, visitors flocked to the 'Lotus Temple' out of sheer curiosity. The vast lawns, the massive white structure, the high-ceilinged Central Auditorium and a Temple without idols standing so near the ancient 'Kalkaji Temple' aroused the interest of all.
Indian visitors, from the most urbane to the simplest rural folk, expressed perplexity at the absence of any deity. Explaining the all-pervasive nature of the Creator which defies deification became a challenge. Many times guides helping to maintain decorum inside the Prayer Hall were startled by the astonished exclamations of visitors wondering aloud where the object of adoration was. Some of them, in their simplicity, paid obeisance to the lectern, surreptitiously placing a flower or two - an amusing as well as a touching sight. Awed by the beauty and grandeur of the edifice, they struggled to grasp the spiritual significance of this material structure.
As understanding dawned, a typical response became: "Few temples radiate the atmosphere of sublimity, peace, and calm so necessary to elevate a devotee spiritually as the Bahá'í House of Worship". Other repeated comments included: "Where there is silence, the spirit is eloquent" and "One feels one is at last entering into the estate of the soul, the state of stillness and peace". The visitors were aided in their efforts by the serenity of the Prayer Hall and the assistance of volunteer guides and staff who explained the raison-d'etre of the Temple. The innate sense of reverence of the Indian for the Omnipresence often manifested itself in the act of reverently touching the steps leading into the Prayer Hall.
Visitors from the West often came to critically appraise a structure which had gained fame as a marvel of 20th-century architecture. For them it was sometimes a grudging, sometimes a spontaneous realisation that the phenomenon called faith transcends logic and that the universal ethic of love envelops all. They, too, were humbled at this altar of faith and love.
No matter what the identity of the visitors, from the Orient or the Occident, from North or South, of humble origins or exalted positions, all have been unanimous in their appreciation of both the physical grandeur as well as the lofty purpose of the House of Worship. One visitor commented: "The most beautiful experience. Its magnificence, charm and glamour are awe-inspiring. It reflects the dream of all humanity to bring together a new civilisation for all people." A renowned visitor from India opined, "Architecturally, artistically, ethically, the edifice is a paragon of perfection."
The aura of silence surrounding the Prayer Hall instills reverence. Some were moved by what they termed the 'eloquent silence'; others said that the 'divine atmosphere' inside touched the heart. All were affected in various degrees by the peace and beauty of the sanctum sanctorum.
One reason for the immense popularity of the House of Worship of Bahapur is the fact that media attention, both Indian and foreign, focused on it even before its completion. Construction News, a technical journal from the United Kingdom, was the first to give the Lotus Temple the appellation of Taj Mahal of the 20th Century' in its April 1986 issue, a description that has been subsequently used by many other publications. The comparison brings to mind the words of the famous Indian poet and philosopher, Rabindranath Tagore, who described the Taj as "a teardrop on the cheek of eternity". Considering that the Bahá'í House of Worship is an affirmation and a celebration of man's love for his Creator, and not a mausoleum, the Lotus Temple could be described as "a dewdrop on the brow of eternity". Indian Express, in its issue of 20 November 1986, aptly referred to the fact that "while the Taj is an expression of deep personal love, for the Baha'is the Temple symbolizes love between Man and God". In World Architecture 1900-2000: A Critical Mosaic, Volume 8, South Asia, the Lotus Temple appears as one of the 100 canonical works of this century. The book is part of a series of 10 books organised by the Architectural Society of China and endorsed by the International Union of Architects, in co-ordination with the XX World Architects Congress convened in June 1999 in Beijing, China. Part of the text reads: "A powerful icon of great beauty that goes beyond its pure function of serving as a congregation space to become an important architectural symbol of the city".
The physical sun, resplendent in its halo of light, has traversed the expanse of heaven from east to west in its fiery chariot. As it pauses awhile on the horizon before plunging out of sight, it casts its luminous shadow on a white 'Lotus', standing majestically on its red pedestal, giving it a warm glow. An intangible aura of fulfilment surrounds the 'Lotus'. Ark-like, it had ridden the waves of people swirling around it during the day with composure. The last ripples are slowly moving away, casting longing glances behind at the 'Lotus' as if beseeching it to take them back into its fold.
Image captured from Level 0.
Antwerp Railway's Central Station (4 Levels, 14 Platforms)
Antwerpen-Centraal railway station
en.wikipedia.org/wiki/Antwerpen-Centraal_railway_station
Antwerp Central Station
The Antwerp Central Station is one of the world's most impressive railway stations. Dubbed the 'Railway Cathedral', it is one of the main landmarks in Antwerp.
www.aviewoncities.com/antwerp/centralstation.htm
Centraal Station Antwerpen gaat uit zijn dak!
www.youtube.com/watch?v=0UE3CNu_rtY
Satellite view of the place
Ahora, para ella crece en él el valle
de hojas rojas cerrado por una montaña nevada
en el aire azul. Estoy demasiado cerca,
para caer del cielo. Mi grito
sólo podría despertarle. Pobre,
limitada a mi propia figura,
mas he sido abedul, he sido lagarto,
y salía de tiempos y damascos
mudando los colores de mi piel. Y tenía
el don de desaparecer de sus ojos asombrados,
lo cual es la riqueza de las riquezas. Estoy demasiado cerca,
demasiado cerca para que él sueñe conmigo.
(Wislawa Szymborska / Estoy demasiado cerca)
Royal Yacht Club of Belgium, Antwerp / Left Bank division.
Scenery captured on February 06, 2012 @ 15:33:46 hrs.
The Main Hall on level 0.
Antwerp Railway's Central Station (4 Levels, 14 Platforms)
Antwerpen-Centraal railway station
en.wikipedia.org/wiki/Antwerpen-Centraal_railway_station
Antwerp Central Station
The Antwerp Central Station is one of the world's most impressive railway stations. Dubbed the 'Railway Cathedral', it is one of the main landmarks in Antwerp.
www.aviewoncities.com/antwerp/centralstation.htm
Centraal Station Antwerpen gaat uit zijn dak!
www.youtube.com/watch?v=0UE3CNu_rtY
Satellite view of the place