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Das Kunsthaus Zürich präsentiert einzigartige Ausstellung, die die künstlerischen und biografischen Parallelen zwischen dem chinesisch-kanadischen Maler Matthew Wong und Vincent van Gogh beleuchtet. Im Fokus stehen 40 imaginäre Landschaften und Interieurs von Matthew Wong, die erstmals in der Schweiz zu sehen sind, ergänzt durch ausgewählte Meisterwerke von Vincent van Gogh.
Matthew Wong malte dynamisch und farbintensiv, wobei sein Schwerpunkt auf Landschaften von expressiv-lyrischer Kraft lag. Als Autodidakt kam er erst mit 27 Jahren zur Kunst, schuf jedoch in nur acht Jahren ein beeindruckendes Œuvre. Wongs Werke sind stark von der euro-amerikanischen und chinesischen Kunst beeinflusst. Er bezog Anregungen von Künstlern wie Vincent van Gogh, Henri Matisse, Shitao, Gustav Klimt, Yayoi Kusama und Alex Katz. Trotz vieler stilistischer Anspielungen bleiben seine imaginären Landschaften und Interieurs ausserordentlich persönlich und originell.
Van Gogh ist in Wongs ausdrucksstarkem Farbgebrauch und Malstil als Vorbild besonders präsent. Beide Künstler brachten ihre emotionalen Zustände direkt und ungefiltert in ihren Werken zum Ausdruck. Ihre Lebensgeschichten weisen auffällige Parallelen auf: Beide litten unter psychischen Herausforderungen und nahmen sich letztlich das Leben. Wong, der an Depression, Tourette-Syndrom und Autismus litt, starb 2019 mit 35 Jahren. Van Gogh, der unter psychotischen Anfällen und Halluzinationen litt, beging 1890 im Alter von 37 Jahren Suizid.
Nur noch bis zum 26. Januar 2025!
From the rooftop of the European Journalism Centre in Maastricht. Each block of flats has two trees in front of it. I was quietly wondering if the inhabitants of each floor have the same job, or if they were organized by block.
Earth 1 Wonder Woman: The New God of War
Earth 2 Wonder Woman: Good. Slightly Dead
Earth 3 Superwoman: EVIL
Camera: Canon 40D
Lens: Tmaron 17-50mm@50mm
That's my 200 photo at Flickr) Hooray!
© 2009 Kvasov Andrey
Just one tiny section of a highway of American Coots -- against a backdrop of Interstate 80 at Davis, California. There were hundreds upon hundreds, we couldn't count them all. Photographed at Yolo Bypass wildlife area, near Sacramento (February 2014).
Image Title: PARALLELS UNPARALLELED
Looking down at the intersection, parallels unparalleled ...
©2016 Fernando Lopez Arbarello - All Rights Reserved
Fine Art Photography by Fernando Lopez Arbarello
Plugin Parallel Hybrid Hyper Car
Prototype CX03 used for chassis testing
5 ex.
Jaguar Heritage Trust Collection
British Motor Museum
Gaydon
Warvick
England - United kingdom
November 2018
Here I am standing on the 45th parallel, halfway between the Equator and the North Pole.
I bet you're surprised that we took a long weekend to celebrate our 21st wedding anniversary, and (here's the surprising part), we decided to head north! I mean it's not like we ever find an excuse to do this as often as possible or anything like that ;)
For some reason that I have never been able to explain, I have always wanted my picture taken here. What usually happens, or has at least the first 41 years of my life, is we forget it's coming up until we're already past it. Then I make some kind of comment like, 'bummer, we forgot about the sign again...maybe we'll remember on the way home this time'. Unfortunately we have a tendency to push our play time to the last possible minute and any stops outside a life threatening physical emergency on the way home are a pipe dream at best.
This time should have been no different. I followed the same script as always and was engrossed in something (cleaning my camera lens) and forgot it was coming up. All of a sudden the car slowed and pulled off, and immediately I thought oh shit... are we breaking down or being pulled over... Why else would you stop on the shoulder of an interstate highway? Hmmm maybe because your husband remembered and was thrilled that you didn't, just so he could surprise you? :)
We had a great trip taking in Lake superior, Grand Marias, and a small piece of the Pictured Rocks National Lake shore. It was an awesome day, looong and draining, but awesome.
Two modes of transportation parallel each other down New Brown Street in Duryea, Pennsylvania. Both EMDs will be paired together after working Mariotti Building Products, located about a mile up the line.
Hmmm. It seems walking around with your camera is the 2nd best way to spend a beautiful afternoon. Ok, maybe third. :D
MAX FLEISCHER
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.
Is it All a Dream....
Or do we Phanta-Size Reality... :)
Exploring New Country Sights.. :)
'Parallelic Worlds..' On Black
The first EP from Ardhon is available in the iTunes store now!!
I Remember a Room...
May we invite you on our tour..
I'm wondering if my photos are showing up....it's gone so quiet for me on here :(
magnumlady.wordpress.com/2010/03/25/another-week-nearly-o...
Parallel Vienna 2015 (Altes Postamt, 23.9. - 27.9.2015, Eröffnung) esel.at/termin/79300 | Foto: eSeL.at
"Lose your dreams and you might lose your mind."
In Kansas for a music academy. Everyone is so incredibly talented and here I am taking pictures on the bus ride there. The landscapes are gorgeous here and I was lucky enough to capture this one as we drove past.
Read more about this, or download a HD version at: steveczajka.posterous.com/pilot-parallel-calligraphy-pens