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Agora sim!! Fotos oficiais do visual novo do Adrian, ele ficou um charme rsrsrs.
É tão bom mexer neste cabelinho dele, e dá p/ fazer muitos penteados, adorooo. <3
Nem acredito que consegui decidir, já estava na terceira tentativa rsrsrs, totalmente satisfeita agora. :D
Adrian: Um bj p/ Kami, minha madrinha super especial.
Gente! Mañana estaré dando una charla en el primer Domo. Encuentro de diseño y comunicación visual.
La charla es la 1hs, y en realidad no estoy en la web ya que voy de suplente! jaja
Lo bueno es que quizas hago como palermo y meto un golazo en el ultimo minuto!
El evento se hace en la ciudad de los niños! uno de esos lugares con gran mitica! va a ser un increible flashback volver!
En fin....Los espero!
This doesn't violate the NDA, right?
(Full description for users with visual impairments: photo of an iPhone 4 in a Brickcase - which is a plastic clip-on case with Lego studs on the back - and Lego pieces making the shape of a large "5", for iOS 5, in the colours of the old traditional Apple logo. There's also a pile of extra 1x1 flat Lego pieces in assorted colours on the desk beside the phone.)
Imagen capturada desde la altura de la torre de Santiago del templo del Pilar, con una interesante vista panorámica del barrio del Arrabal, en la margen izquierda del río Ebro. La arboleda de Macanaz aparece inundada por la crecida de ese año. En el centro de la escena, la iglesia de Nuestra Señora de Altabás, la estación del Norte ye industrias como Maquinista y Fundiciones del Ebro, S.A., la Nueva Harinera de Solans, y la azucarera del Arrabal. Hacia el fondo y a la derecha, la rectilínea avenida de Cataluña se dirige al puente del Gállego.
Proyecto GAZA ("Gran Archivo Zaragoza Antigua"),
es un compendio de imágenes de la antigua Zaragoza (España), acompañadas de textos creados por José María Ballestín Miguel
y la colaboración de Antonio Tausiet.
Fuente visual de la imagen: fotografía de António Passaporte, Archivo Loty, en www.mcu.es/, descrita para el Gran Archivo Zaragoza Antigua (GAZA).
Foregrounding Métis history and aesthetic practices, this painting includes around150,000 to 250,000 bead-like dots and blends Belcourt’s knowledge of beadwork traditions with her expertise in medicinal plants. Various plants are represented, as well as insects, raindrops, dew and birds. The patterns have been adapted from nature, with several inspired by traditional Métis floral beadwork. A visual ode to water, the work recognizes the life that water brings to everything and everyone.
Dr. Who and the Daleks (Continental, 1966).
www.thedoctorwhosite.co.uk/dalek/spaceships/ The Doctor Who Website
youtu.be/WA0zenI7_H8 Dr. Who and the Daleks, Official Trailer
In 1965, Doctor Who was a bonafide success on the BBC so it should come as no surprise that a decision was made to put the Doctor on the big screen. However, despite thoughts to the contrary, it was a decision early on that any theatrical film would only use certain aspects of the television series. Therefore, Dr. Who and the Daleks was never intended to be part of what everyone was already watching but rather it could more appropriately be called an alternate universe version. Here, the Doctor is actually called “Doctor Who” and he is only an eccentric scientist (he isn’t a Time Lord, which technically we didn’t even know about on the TV version yet). Peter Cushing (Curse of Frankenstein, Horror of Dracula) plays Dr. Who as more comical instead of the irascible Doctor as William Hartnell was playing on TV. His granddaughter Susan is there but younger and played by actress Roberta Tovey. Barbara (Jennie Linden) is no longer a teacher but his granddaughter as well and Ian (Roy Castle, Dr. Terror’s House of Horrors) is just Barbara’s boyfriend and has become a bit of a bumbler. Dr. Who has created a time machine in his backyard called TARDIS and it resembles a blue police box. However, there is no explanation of why he would build it like that. It is bigger on the inside, just like the TARDIS we know but the interior looks unlike anything we ever saw on TV.Dr Who and the Daleks 2
First appearing on the Doctor Who television series in December 1963, the Daleks--squishy mutated alien globs contained within powerful robot-like travel machines--were an instant hit, and a wave of "Dalekmania" swept across England, with toys, games, books, and other ephemera being snatched up by the children of the day. Film producer Milton Subotsky, never one to ignore a popular trend, quickly bought the rights to bring the Daleks to the silver screen, pitted against a somewhat altered character called "Doctor Who," played by Peter Cushing.
The story has Dr. Who showing Ian his time machine when Ian accidentally causes it to transport them all to the planet Skaro, although we wouldn’t know that name until the sequel the following year. The story follows the original 7-part television episode fairly close with some differences. Our travelers encounter the Daleks in a city just outside a petrified forest. The planet has been devastated by a nuclear war and the Daleks are the mutated remains living inside a robotic shell. The Daleks here are bigger than what we had seen on TV up to this point. They are also more colorful along with red lights and some even had a claw instead of the usual plunger attachment. Outside of the city, the Thals, remnants of another race but looking more like normal humanoids, still exist but are in search of food. The Daleks cannot leave their city and plan to wipe out the Thals once and for all. However, Dr. Who and his companions work with the Thals to stop the evil plan of the Daleks.
To enjoy this film, a Doctor Who fan needs to leave all expectations at the door. With the subtle differences aside, it is a visual feast of 1960s goodness. Bright colors and a breezy soundtrack make for some lighthearted viewing. Granted, Peter Cushing gives a bit of an uninspired performance but it is fun seeing him match wits with the Daleks. And no, it does not pack the punch that the television series did at the time but at just 83 minutes, it moves along quickly in establishing this new Whovian universe.
The Doctor Who TV series was produced for 26 seasons by the BBC between 1963 and 1989 and relaunched in 2005. It holds the Guiness World Record as the longest running science fiction television series in history. Peter Cushing takes on the role of the Doctor in this film based on a story from the first TV season. The film has our time-travelers befriending future humanoids who are under nuclear attack from a foam-spitting race of robotic mutants.
my illustrations for Bezalel academy of arts and design Jerusalem graduate show
(design by Michal Sahar studio)
A wedding feature visual for a potential client.
Client wanted a visual on how a DPS would look in a wedding guide.
I gave them a very fresh, clean and elegant design. The curls were drawn first and the plants were vectorised from a photograph of leaves and plants.
They accepted and commisioned myself to design a wedding brochure for them - all be it, it wasnt as exciting as the design above but thats awkward clients for you!
Pilot Knob State Park - Iowa
Once in a while I find a simple object in nature that "intrigues" my visual curiosity. Tiny vines working their way around this small branch, finally reaching the leaf.
Subtle quiet nuances I call the "Art of Simplicity!"
Copyright 2014
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
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Exposición
"De la Semilla de Dios, al árbol y sus frutos"
Del 3 de diciembre de 2013 al 5 de enero de 2014
En honor al maestro Fernando Llort, Premio Nacional de Cultura 2013, Edición XXV, dedicado a la Gestión Cultura. El recorrido de la exposición inicia con una semblanza del maestro Llort a través de la cual el público puede conocer algunas interioridades de su vida personal, familia, amigos, gustos, creencias, y personalidad del artista visual, entre otros.Otras facetas de Llort que se muestran en la exposición son las del artista -su obra y evolución hacia otras formas y materiales-; su emprendedurismo al montar -primero en el garaje de su casa- su empresa El árbol de Dios en 1981, la cual se desarrolló, diversificó y está vigente.
La exposición se montó con el apoyo de los artistas visuales José Roberto Suárez y Salvador Llort; los textos han sido escritos por la investigadora cultural Astrid Bahamond; y el director de Publicaciones e Impresos, Eric Lemus; el diseño fue realizado por Salvador Vásquez de la Fundación Llort y el trabajo de museografía y montaje por Oscar Batres y Jesús Benítez.
BIOGRAFIA DE FERNANDO LLORT
Por Rodolfo F. Molina
Fernando Llort Choussy nació el 7 de abril de 1949 en San Salvador, El Salvador, uno de los seis hijos del hogar formado por Baltasar Llort y Victoria Choussy. Llort es de ascendencia española: su abuelo, Pablo Llort Angles, originario de España, se estableció en El Salvador en 1897.
Desde su niñez, Fernando mostró interés por el dibujo y las manualidades, y en su juventud, cuando todavía estudiaba en el Liceo Salvadoreño, en 1964, toma clases de cerámica con el maestro Cesar Sermeño. Al graduarse de bachiller, se inscribió en la Universidad Nacionalcon la intención de estudiar arquitectura, pero solo cursó las materias de áreas comunes pues luego decidió seguir otro camino y se retiró de la institución.
Fernando comenzó sus estudios religiosos en el Seminariola Ceja, Medellín, Colombia, en 1966. De allí, partió a estudiar Filosofía en la Universidadde Toulouse, Francia, donde permaneció por tres años. En este periodo, Llort comenzó a pintar, su primera exhibición tiene lugar en Francia y, según el artista, las obras de este periodo inicial, tienen una clara evocación a la cultura maya. Su interés por la idea de identidad está marcado desde muy temprano en su carrera, este interés se incrementó al alejarse de su tierra natal. Posteriormente, estudia teología en Lovaina, Bélgica, adonde permanece seis meses. Otro aspecto importante que se encuentra presente a lo largo del desarrollo del trabajo de Llort es el sentido religioso.
Después de estudiar en Lovaina, Fernando regresa a El Salvador y a la vida civil. Por un periodo de aproximadamente un año, Fernando forma parte de “La Bandadel Sol” un grupo de música interesado en hacer composiciones relacionadas con la religión, el amor, la unidad, intereses que corresponden a los ideales de la juventud de este periodo. A partir de mediados de los años sesenta, la cultura hippie, y el arte Pop habían ganado popularidad internacional, la música representaba una nueva fuerza de expresión que dialogaba con los nuevos valores de libertad, paz y amor. En la escena salvadoreña, surgen en ese momento varias bandas conformadas por jóvenes que de alguna manera sentían que su participación en dichas agrupaciones les permitía establecer un precedente en la conservadora sociedad salvadoreña. En “La Bandadel Sol” participaron, entre otros, Manuel Martínez Daglio, Max Martínez, Carlos Aragón, Ricardo Archer y Alejandro Bella Battle. Otro aspecto relacionado con la música, pero más privado, son sus textos, composiciones, frases y poemas, con los que a veces acompaña su trabajo.
Posteriormente, Llort es enviado por su padre a Louisiana State University, en Baton Rouge, a estudiar arquitectura, permanece seis meses en Louisiana estudiando arte. En esta etapa, se le ocurre la idea de regresar a su país y formar una “comunidad de arte”. Aunque entregado a su trabajo, Llort se sentía especialmente incómodo con las actitudes racistas de sus compañeros hacia las personas de color, recordemos que el problema racista aún pesaba mucho al final de los sesenta, especialmente en el sur de los Estados Unidos (Martin Luther King fue asesinado en 1968). Según Llort, de un día para otro decide regresar a El Salvador aprovechando que su amigo Roberto Sánchez viajaba en carro desde Louisiana. Durante esta travesía, el artista se plantea el regresar a la pintura, a la búsqueda de su propia identidad y a conformar un centro de arte.
Fernando Llort regresa a El Salvador en 1971. Para este momento, el país había alcanzado ciertos logros en el ámbito social, y la escena cultural se consolidaba.
Galería Forma, de Julia Díaz, se había convertido en un centro de actividad cultural y es notoria la apertura de nuevos espacios para exposiciones y de nuevas oportunidades para la música culta, como los festivales de música organizados por Pro Arte, y patrocinados por la empresa privada. La muy discutida reforma educativa de Walter Beneke y sus bachilleratos diversificados, con una política de reclutamiento en el interior del país trajeron nuevos impulsos para el Centro Nacional de Artes.
Sin embargo, en el ámbito político, la década de los setenta representa el periodo de gestación del conflicto armado que habría de abatir a la sociedad salvadoreña entre 1979 y 1992. El régimen militar que detentaba el poder desde 1932 veía acercarse su fin, y la represión desencadenada en este periodo vino a provocar reacciones incontrolables durante la siguiente década.
A su regreso a El Salvador, en 1971, Llort encuentra un país económicamente optimista, a pesar de la reciente guerra con Honduras (1969), con una escena artística que crecía y que acoge a Llort con una exposición en la Galería Forma.Con las ganancias de esta muestra, el artista decide marcharse de San Salvador, y establecerse en la población de La Palma en el departamento de Chalatenango, lugar que le traía buenos recuerdos ya que lo había frecuentado desde su niñez, gracias a que su familia tenía allí una propiedad.
Fernando Llort llega a La Palmaen 1972, a los 23 años, con la idea de pintar, y con un horizonte idealista, Caminando por las calles del pueblo encuentra a un niño que frotando una semilla de copinol conseguía una superficie blanca y dura. De esta semilla, que luego él transformaría en producto artesanal, viene el nombre de su primer taller: “La Semilla de Dios”.
Más tarde,La Semilla de Dios se transformó en una cooperativa-escuela, en la que Llort enseñaba a un grupo de habitantes de La Palmaa trabajar la artesanía en madera. Los diseños fueron desarrollados por el artista inspirados en el entorno del pueblo y en la naturaleza. En la exposición mostramos su libreta de apuntes donde se puede apreciar cómo los dibujos se fueron transformando y simplificando; a partir de los dibujos originales, el artista desarrolló plantillas que pudieran ser usadas por los artesanos, estableciendo una escuela que pronto fue creciendo La Fundación Fernando Llort cuenta con más de 6000 dibujos y plantillas que fueron utilizadas para el aprendizaje de los habitantes del Municipio dela Palma, durante los talleres desarrollados en forma gratuita por más de diez años. La cooperativa se formaliza en 1977, y luego se multiplicó en otros talleres.
En 1978, Carlos Cañas imparte un taller de grabado a Fernando en la Palma.
En 1973, el artista conoce a Estela Chacón, se casa con ella en la Palma, y forman una familia de tres hijos. Los Llort permanecieron en La Palma hasta 1979, año en que se establecen en San Salvador debido a la situación de inseguridad que se vivía en ese momento.
En San Salvador, el artista abre el centro Cultural “El Árbol de Dios” en 1981. Aquí Llort prosiguió con su labor de enseñanza y los artesanos, venían desde La Palma a entrenarse.
Paralelamente, el artista continuó desarrollando su trabajo. A este respecto es importante mencionar que la presente muestra no pretende ilustrar el desarrollo del proceso artesanal en la Palma, más bien intenta hacer un acercamiento, al trabajo personal de Fernando Llort, el cual a veces nos ha parecido esquivo debido a la maquinaria artesanal que lo rodea; sin embargo, es el propio Llort quien ha marcado como esencial la función social de su trabajo, que tan generosamente se ha convertido en herramienta para el beneficio de muchos.
Esta exposición representa el momento importante para hablar sobre el significado del trabajo de Fernando Llort como artista. En ese sentido, este ejercicio curatorial, intenta ofrecer una visión, ciertamente parcial, que ofrece al público la oportunidad de tener una mejor comprensión de la obra del artista, se trata de hacer visible su proceso de trabajo sus desarrollos paulatinos, sus intereses y su simbolismo. Desde los años setenta, los salvadoreños adoptamos esta simbología y la hicimos nuestra porque nos refiere a una identidad idealizada, limpia y alegre, exactamente lo contrario a la dura realidad de los años ochenta. Veamos ahora el verdadero simbolismo detrás de esas formas, líneas y colores.
INICIOS
El trabajo de Fernando Llort comienza a desarrollarse durante su estadía en Francia, cerca de 1968, con trabajos marcados por el interés por nuestras culturas ancestrales y el sentido de identidad. A su regreso a El Salvador, en 1971, su obra se distingue por el uso del collage, los materiales tridimensionales y cierta afinidad con la abstracción. Esto se hace evidente en el uso de piezas de madera, y tela, así como la utilización de texturas en algunas superficies. Este momento inicial en el trabajo de Llort representa una etapa de búsqueda especialmente interesante, en cuanto se encuentra apartada totalmente de los principios académicos que regían a otros artistas salvadoreños en ese momento. Las piezas tienen un carácter fresco, expresivo y desenfadado; en algunas ya se perfila el uso de simbología religiosa, la utilización de la línea, el dibujo, y de elementos de la naturaleza.
LA PALMA
La naturaleza, el ambiente rural y la sencillez de los habitantes del municipio deLa Palmaen 1972, contrastaban con el ambiente de desasosiego político que se estaba gestando en San Salvador y que después de un periodo complicado habría de estallar, al final de esa década, en el conflicto armado. Para Fernando Llort,La Palma representaba más que un escape de su cotidianeidad, una puerta que conducía a múltiples posibilidades que correspondían a sus deseos de desarrollo artístico, el de encontrar un propósito para su trabajo, y el poder sentirse libre de las ataduras tradicionales de la sociedad salvadoreña. En el contexto de El Salvador de los años setenta, la idea de que un joven de clase media decidiera apartarse de la sociedad y de su familia para irse a vivir a un pueblo, debió haber levantado más de alguna ceja, por decir lo menos. Este posicionamiento poco convencional vino a sentar precedentes en los que ahora ni siquiera pensamos cuando vemos el desarrollo turístico de otros pueblos como Ataco o Alegría.
DESARROLLO ESTILÍSTICO
Impulsado por el sentido de libertad, y renovado por el cambio de escenario, el trabajo de Fernando Llort experimentó una notable transformación a partir de su llegada a La Palma. Elartista comenzó expresándose en un nuevo lenguaje que implicaba la simplificación y estilización de las formas a un nuevo código, que logró conjugar ideas modernistas con un sentido de ingenuidad, de idealismo. Empezó entonces a trabajar en la insinuación de un sentido de lo local, con la introducción de casitas, techos o torres de iglesia, que en realidad pueden ser de cualquier pueblo. Esta simbología con colores alegres y formas limpias aparece de repente en un país que en ese momento, a pesar del régimen militar, de las injusticias y los atropellos políticos, tenía aspiraciones de progreso y desarrollo económico, de manera que este nuevo lenguaje ideográfico vino de alguna manera a abanderar la idea de un país “progresista”, y pronto fue adoptado como parte de la parafernalia de la simbología nacional. Este fenómeno no formaba parte de la agenda del artista, pero vino a proyectar su obra a nivel internacional, además del impulso que tomó la escena artesanal de La Palma.
LOS MEDIOS
Los materiales con que ha trabajado varían en diferentes momentos: A su regreso a El Salvador en el 71, el artista utiliza principalmente el collage y el ensamblaje. Una vez en La Palma, el artista comienza a experimentar con materiales locales como la madera de pino y las semillas de copinol para las artesanías. Ya establecida la escuela en “La Semilla de Dios”, que así se llamó el primer taller, se utilizaba la témpera barnizada sobre madera. También existe obra pintada del artista en la que ha utilizado esta técnica. Durante los años ochenta, Llort comienza a pintar sobre paneles hechos de estireno, también a producir grabados, y regresa a la cerámica, con la que había practicado cuando estudió con el maestro Se rmeño en su juventud. La variación de materiales así como el desarrollo en el trabajo de Llort ha ocurrido gradualmente. Actualmente, una nueva línea de trabajos está siendo realizada en vidrio con Vitrales de El Salvador, gracias a Margarita Llort de Saade y al técnico Salvador Vásquez Tamayo.
TEMÁTICA Y SIMBOLOGÍA
Las temáticas que han estado presentes a lo largo de la carrera de Fernando Llort son los temas de identidad, religiosidad e idealismo.
La identidad: está representada en la reinterpretación de la naturaleza: flores, animales y pájaros han pasado por un proceso estilístico y, como antes mencionaba, también se sugiere la celebración de lo local por medio de la utilización de simbologías específicas como grupos de casas o colinas. Debe destacarse que algunas de las formas utilizadas por el artista en las representaciones humanas, tienen también influencia de diseños precolombinos y algunos detalles como los ojos rasgados en las figuras femeninas simbolizan la belleza de la mezcla de razas. La cuma en posición vertical es un símbolo de la dignidad del trabajo.
El tema religioso: está contenido en una serie de símbolos que son utilizados por el artista para acentuar el escenario idealizado que presenta en sus obras: Las manos abiertas o hacia arriba son símbolos de alabanza, esperanza, acción de gracias, súplica y amor. El pájaro es visto como símbolo de la creación, y el sol como símbolo del Padre de la creación. El sol con doce rayos circundantes es Jesús con sus doce apóstoles. El fuego simboliza la unidad y la esperanza. Algunas figuras femeninas simbolizan directamente ala Virgen María.
El Idealismo: está representado por el paisaje que conforman los diferentes elementos de las composiciones: las casas, animales, plantas y personas, son plasmadas por el artista como un todo armónico, un paisaje limpio armonioso y feliz. Como si se tratase de la representación de una arcadia latinoamericana.
“El objetivo principal que persigo a través de mis pinturas y artesanías es reencontrarme con mis raíces como latinoamericano, y así contribuir a definir nuestra gente en su dimensión tanto humana como espiritual”. Fernando Llort
LA SEMILLA DE DIOS
El taller-cooperativa “La semilla de Dios” fue fundado enLa Palma en 1977; Fernando había comenzado con su esposa Estela, un taller conformado originalmente por diez personas. A este grupo original, Fernando le enseñó las técnicas de dibujo, pintura y acabado para las primeras artesanías, comenzó trabajando con semillas de copinol decoradas con tinta, coloreadas con marcadores, y barnizadas, también encontró en la zona madera de pino, con la que se comenzaron a trabajar objetos, estos se pintaban con témpera y luego se barnizaban. Debido al aumento de la demanda de productos artesanales, más personas se unieron a trabajar en el taller. La conformación dela Cooperativa en 1977 obedece a la necesidad de constituirse formalmente, y fue la manera de concretar el proyecto de Llort para beneficiar a la comunidad, ya que las ganancias se repartían de manera equitativa.
EL ÁRBOL DE DIOS
Fernando Llort regresó a San Salvador en 1979, debido a amenazas recibidas, se asume que de parte de delincuentes comunes. La situación política se complicaba, y la inseguridad comenzaba aprevenir a los clientes de ir ala Palma. A finales de 1979, el artista viaja a México, acompañado de su familia. Allá permanece por un periodo de unos seis meses, Llort regresa entonces a trabajar en San Salvador, y en 1985 funda “El Árbol de Dios”: un centro cultural con una colección de obras de Llort, una sala de exhibiciones, tienda, enmarcado y área de talleres. Aquí se continuó con la venta de la artesanía dela Palmay se organizaban exhibiciones de arte, charlas y conciertos.
LA FUNDACIÓN FERNANDO LLORT
El veinticinco de julio de 1989, Fernando Llort crea una fundación de utilidad pública, “Fundación Fernando Llort para el Fomento del Arte y la Cultura”, la que entra en funcionamiento en el año 2006, recibiendo formalmente el legado de Llort, y estableciendo como su función el fomento del arte y la cultura. Su misión es la de ser una entidad que promueva, a través de la pedagogía, del arte y la cultura, el bienestar y desarrollo integral del ser humano. Entre sus objetivos están el trabajar en gestión e investigación del área artesanal y artística, así como el ejecutar obras de beneficio social y cultural.
PROYECTOS ESPECIALES
Después de 1980, la obra de Fernando Llort fue exhibida en base permanente enla Galería1-2-3 de San Salvador y en la Galería SummaArtis en la ciudad de México, en la que expuso por primera vez en 1977.
Entre los proyectos especiales que el artista ha realizado podemos mencionar:
En 1980, realiza un mural de30 metros en el Hotel Presidente Hyatt (1980) (La obra fue destruida en una remodelación).
En 1983, con motivo de la visita del Papa Juan Pablo II, le fue encargado a Llort la decoración del templete para la misa pontificia. Así como el diseño de la estola Papal para la ceremonia.
En 1985, trabaja en la decoración dela Capilla Monseñor Romero en la UCA. San Salvador.
Ese mismo año, diseña el mural “Homenaje al Sol”, de 36 metros cuadrados para la fachada de El Árbol de Dios.
En 1997, diseña el mural y las verjas “El Camino Real de mi Pueblo”, en el Hotel Camino Real de San Salvador.
El mural dela Catedral: También en 1997, los arquitectos españoles Joaquín Lorda y Joaquín González, que habían sido contratados porla Comisiónde Reconstrucción de Catedral seleccionaron a Fernando Llort para que presentase alternativas al proyecto de un mural para la fachada de Catedral, con la idea de agregar elementos de color y estética que le añadiera carácter latinoamericano al edificio. Los diseños fueron aprobados porla Fundación Catedraljunto al Arzobispo Fernando Sáenz Lacalle, los arquitectos españoles y la Empresa Suárez Consolidados (que había sido contratada en 1995 para llevar a cabo la remodelación). La elaboración y colocación del mural duró un año entero, e involucró el trabajo de más de cien personas.
En 1998, la fachada principal dela Catedral Metropolitana de San Salvador estuvo terminada, la remodelación de catedral fue inaugurada el 19 de marzo de 1999,
En el mural de cerámica están representados alegóricamente el pueblo de Dios, el nuevo hombre y la nueva mujer con los instrumentos que utilizan para su trabajo, los ángeles guardianes, la paloma, símbolo de la paz y, coronándolo todo, una representación de la Última Cena y el símbolo de Dios.
En el año 2003, Fernando Llort recibe dela Asamblea Legislativa de El Salvador la distinción honorífica de Hijo Meritísimo de El Salvador, por sus aportes artísticos en pro de la identidad artesanal de El Salvador y por su trayectoria artística y humanística.
El mural de la fachada de catedral fue destruido en diciembre de 2011.
SOBRE EL TRABAJO DEL ARTISTA
No esperemos entender el trabajo de Fernando Llort de acuerdo a parámetros tradicionales. De manera independiente, el artista ha ido “abriendo camino” y se ha forjado un escenario propio, con prioridades diferentes orientadas a la función social, a la enseñanza y al beneficio comunitario. Su trabajo parece ignorar las fronteras entre arte culto, arte popular y artesanía; su obra tiene influencias modernistas y del arte POP, pero absorbe lo local y lo tradicional transformándolo a su propia dimensión, donde ha transpuesto con desenfado, y con gran sentido de libertad, lo étnico, lo local y lo religioso.
En relación con la distribución del espacio en el paisaje de sus obras, el artista parece hacer referencia a la pintura prerrenacentista y a los estilos precolombinos, con el uso de superficies planas y la ausencia de perspectiva.
Esta conjunción de influencias estilísticas, elementos con carácter ingenuo, simbología y formas naturales y arquitectónicas estilizadas conforman un mundo idealizado que de alguna manera emula la concepción de comunidad que el artista debe haber imaginado en La Palma. Los elementos religiosos han sido parte integral de su trabajo a lo largo de su carrera y las características de identidad también han sido importantísimas en el desarrollo de su obra.
El lenguaje desarrollado por Llort a partir de1972, ha sido interiorizado por los salvadoreños y forma ya parte de la cultura visual de la republica. En su afán por hacer arte y beneficiar a los habitantes dela Palma, Llort ha sentando precedentes importantes de cooperación y transversalidad entre el arte y la comunidad. Dejando del lado las convenciones, y auxiliado por una metodología clara y directa, logro establecer una iconografía para expresar sus ideas de harmonía paz y convivencia, en un momento en que el país se hundía en la vorágine de la guerra. Quizás sea esta coincidencia histórica la que confiere a su obra personal el atractivo y el misterio de lo utópico.
Es difícil pensar en el trabajo de Llort sin pensar en artesanía. La selección de trabajos que mostramos es una rara oportunidad de apreciar la obra de Fernando Llort en su dimensión original. Esperamos que esta muestra invite al público a reflexionar sobre el tema de la identidad cultural, y de un futuro construido por una sociedad pacifica, armoniosa y trabajadora como la que habita en los paisajes de Llort.
Funete: fernandollort.npo-index.net/
MUNA
Museo de Antropologia Dr. David J. Guzman
Dirección: Av. La Revolución, frente a Centro Internacional de Ferias y Convenciones, CIFCO, Col. San Benito, San Salvador, El Salvador Centroamérica
Teléfonos:(503) 2243-3750
Fax: (503) 2243-3927
E-mail: info@cultura.gob.sv
guias.muna@gmail.com
© Copyright Tommy Simms All Rights Reserved.
The Atlanta Botanical Garden provides many photo opportunites, especially the flower and insect macro. Atlanta Botanical Garden in Atlanta, Georgia.
Part of my Atlanta Botanical Garden set.
3-2491
Aiko Hikogawa
s09.radikal.ru/i182/1006/fe/4acc38cbb875.jpg in good quality without background
I'm entering this in a call for visual journals by the Brooklyn Sketchbook Library to be put in a time capsule for 50 years (!). I've decided the theme will be birds, with the Emily Dickinson quote in mind, "I hope you love birds too. It's economical. It saves going to heaven."
The first night up at Oreily's rainforest retreat had a spectacular sunset. I had only just got my stuff into the room before I was running off to try find a suitable place to capture this sunset. Settled on this slight panoramic crop. I called it visual digest as I thought the image had lots of interesting aspects for the eye to wonder through and digest. But I could just be full of it.. :)
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild