forno de cerâmica com mais de 1300 anos em Atzompa, México

ATZOMPA.- Specialists from the National Institute of Anthropology and History in Mexico found a prehispanic furnace that was used to elaborate ceramics. The furnace is thought to be more than 1,300 years old and was found at the archaeological zone in Atzompa, Oaxaca. Photo: JAIME VERA / INAH.

Abertura de Fornada no Carnaval em Cunha

  Ilha em mar de morros, joia encravada na Serra do Mar, a Estância Climática de Cunha é cenário de rara beleza em paraíso natural e oferece pérolas ao turista não predatório, que aprecia a natureza, o ar puro das montanhas, o ritmo lento da vida no campo e o sossego e a tradição de um povo simples e hospitaleiro. Ao visitante mais atento, que valoriza o que é feito com carinho, dedicação e criatividade, a cidade é uma revelação cultural com cerâmica de renome nacional e crescente atividade artística nos espaços culturais e ateliês dos artistas e artesãos da cidade. A cidade oferece também artesania em doces caseiros e guloseimas nos cafés e docerias e um roteiro gastronômico que inclui comida caseira de tradição caipira e especialidades com trutas, carnes, massas artesanais, shiitake e outras delícias em vários restaurantes qualificados para um bom passeio pela arte da culinária. Mantendo a tradição de hospitalidade característica do modo de vida no campo, a hospedagem em Cunha é diversificada e conta com alguns bons hotéis-fazenda de amplos espaços, várias pousadas com aconchego e lazer e, na área urbana, hospedagem conveniente e econômica. Para passeios e caminhadas pela Mata Atlântica, o Núcleo Cunha do Parque Estadual Serra do Mar oferece apresentação ambiental e opções de trilhas. Trânsito para Paraty instável e apenas para veículos leves com tração.

Conheça todas as opções que a cidade oferece em

www.cunha.sp.gov.br/turismoecultura.asp

(12) - (12) 3111-2630 - turismoculturacunha@yahoo.com.br

Cunhatur  - www.cunhatur.com.br  (12) 3111-2634 contato@cunhatur.com.br

Portal de Cunha - www.portaldecunha.com.br

Atelier Suenaga Jardineiro

Cunha  SP

            Cerâmica de Alta Temperatura em Cunha

Em 1975 um grupo de jovens artistas monta em Cunha ateliê de cerâmica de alta temperatura com a construção do primeiro forno Noborigama, constituindo a 1ª Fase da cerâmica de alta temperatura de Cunha: os ceramistas trabalhando e queimando juntos e vendendo a cerâmica fora da cidade.

Em 1980 tem início a 2ª Fase com cada ceramista montando seu próprio forno e ateliê. A cerâmica produzida na cidade é vendida no eixo Rio-São Paulo e enviada para algumas capitais.

Em 1985 Kimiko Suenaga e Gilberto Jardineiro chegam do Japão e montam ateliê com forno Noborigama de 4 câmaras. Em 1988 realizam sua primeira Abertura de Fornada, iniciando a 3ª fase da cerâmica em Cunha: ateliês abertos para visitação e venda das cerâmicas diretamente ao público.

            Em 1995 com o aumento do fluxo de visitantes promovendo o desenvolvimento da cidade como estância climática, a 3ª. Fase da cerâmica na cidade se consolida: Aberturas de Fornada e a vinda de outros ceramistas com outros tipos de fornos.

            Atualmente em sua 4ª. Fase, com associação dos ceramistas e instituto cultural da cerâmica e quase 20 ateliês produzindo alta e baixa temperatura em fornos elétricos, a gás e a lenha, a maioria atendendo o público no próprio ateliê e vários realizando aberturas de fornada, a cerâmica de Cunha atravessou fronteiras e é reconhecida como importante polo de cerâmica artística no país.

Kimiko Suenaga

Nascida no Japão, manteve atelier de cerâmica com forno a gás em Tóquio até 1984, quando se mudou para o Brasil. Montou atelier em Cunha e influenciada pela exuberância da natureza e diversidade cultural, passou a desenvolver pinturas e esculturas. Prêmio Salão Nacional de Cerâmica de Curitiba. Exposição Individual Galeria SESC Paulista. Exposição Individual Galeria Yamanashi, Japão. Exposição Comemorativa do Centenário da Imigração Japonesa no Brasil na Assembleia Legislativa de São Paulo, 2008

Gilberto Jardineiro

Ceramista, astrônomo amador e astrofotógrafo, nascido em São Paulo, foi músico, redator e assistente de direção de cinema. Viveu três anos na Suécia e iniciou-se em cerâmica no Japão, onde permaneceu por cinco anos. Em 1985 construiu forno Noborigama de 4 câmaras e ateliê em Cunha e a partir de 1988 passou a realizar as Aberturas de Fornada, apresentando a cerâmica de alta temperatura e exposição das cerâmicas ao pé do forno, atraindo público culturalmente interessado. Foi Secretário Municipal de Turismo e Cultura em 2001/2004, participando do desenvolvimento da Estância Climática de Cunha.

            Cerâmica de Alta Temperatura

Esmaltes formulados e preparados com cinza de casca de arroz, cinza de eucalipto e minerais decantados. Queima a cada 2 meses em Forno Noborigama de estrutura refratária composta de fornalha na parte mais baixa, 4 câmaras interligadas dispostas em aclive e chaminé na parte superior, obtendo temperaturas acima de 1.400ºC, sinterizando a argila com superfície vitrificada de grande resistência e rara beleza visual

            Forno Noborigama

Originado na China e aperfeiçoado no Japão, o forno Noborigama foi introduzido em Cunha em 1975 e hoje é o maior centro de cerâmica de alta temperatura do Brasil com 5 fornos Noborigama em atividade.

Enfornamento

O posicionamento das peças dentro das câmaras de acordo com a circulação das chamas explora a reação da soda das cinzas com a sílica da argila e o efeito de redução e oxidação causado pelo controle das brasas e disponibilidade de oxigênio para a combustão da lenha, interferindo na definição das tonalidades das cores e provocando resultados surpreendentes a cada queima.

Queima

Lenha resinosa de eucalipto reflorestado utilizada para liberar calor sem acumular brasas, em queima que pode durar 28 horas seguidas, com fogo de lenha grossa no esquente inicial, lenha média para levantar a temperatura na fornalha e lenha fina nas câmaras para atingir o ponto de fusão dos esmaltes. Depois de 3 dias de esfriamento lento, as cerâmicas são retiradas do forno durante as Aberturas de Fornada e são expostas permanentemente ao pé do forno.

Abertura de Fornada

Uma fornada de cerâmica é o conjunto de trabalho modelado em argila durante várias semanas que é pré-queimado, pintado, esmaltado e finalmente vitrificado. Introduzindo leigos e aficionados na ancestral arte da cerâmica, a Abertura de Fornada é momento ilustrativo da maestria e caráter excepcionais das cerâmicas queimadas à lenha no forno Noborigama e a retirada das cerâmicas depois de esfriamento lento é uma experiência inesquecível, sempre coroada de surpresas, júbilo e encantamento compartilhado. A participação é aberta ao público, a entrada é franca e as cerâmicas são expostas permanentemente ao pé do forno.

Cerâmicas

Argilas extraídas na região e envelhecidas com textura e plasticidade adequadas para a modelagem de esculturas, painéis, mosaicos, objetos cerâmicos, recipientes para arranjo floral, vasos e potes com pintura floral azul cobalto e ferro, travessas refratárias e cerâmicas de mesa que valorizam a culinária e gastronomia e que podem ser utilizadas no forno e microondas com segurança e sem restrição de tempo.

Esculturas

            Carregando na bagagem a forte influência técnica, estética e ética da cerâmica japonesa, Kimiko Suenaga encontra na exuberância da natureza tropical e na rica diversidade cultural e ambiental do Brasil, campo profícuo e inspirador para incorporar na argila modelada a sensação de liberdade e espontaneidade, e ao mesmo tempo, comedimento e simplicidade

Cerâmica em Cunha

Considerado o maior núcleo de cerâmica artística do país, o leigo e o aficionado descobrem em Cunha um roteiro surpreendente e inesquecível para o apreciador que se encanta com a arte da cerâmica e a excepcional qualidade e variedade dos ateliês. Influências da tradição oriental (introduzida em 1975 com o forno Noborigama), mescladas com a tradição indígena-ibérica das paneleiras e condimentadas mais recentemente com a presença da cerâmica de estúdio, compõem a formação da identidade contemporânea dos ceramistas e da cerâmica como arte de expressão.  Nos ateliês abertos à visitação podem ser encontradas cerâmicas queimadas da baixa à alta temperatura para endurecer a argila e torná-la cerâmica. Altas temperaturas são atingidas com os fornos Noborigama de várias câmaras em várias horas de queima à lenha para vitrificar a argila a 1400ºC com pedras moídas, minerais decantados, cinza de casca de arroz e cinza de lenha de eucalipto, originando cerâmicas surpreendentes.  Esculturas, painéis, mosaicos, objetos, cerâmicas para a mesa, para o olhar e para fazer parte do dia-a-dia; cada ateliê cultiva sua própria identidade e característica e possui o seu próprio espaço onde o ceramista pode ser artista, artesão, escultor, artista plástico, arquiteto, pintor, o que for.  Para conhecer todos os ateliês de Cunha, visite

www.cunha.sp.gov.br/turismoecultura.asp

Estância Climática de Cunha SP

Ilha em mar de morros, joia encravada nas dobras da Serra do Mar, a Estância Climática de Cunha é cenário de rara beleza em paraíso natural e com roteiro de arte e história oferece pérolas ao turista não predatório, que aprecia a natureza, o ar puro das montanhas, o ritmo lento da vida no campo e o sossego e a tradição de um povo simples e hospitaleiro.

Ao visitante mais atento, que valoriza o que é feito com carinho e dedicação, a cidade revela pequenos segredos nas visitas aos ateliês de cerâmica, na artesania em doces caseiros, biscoitos, chocolates laticínios, defumados e guloseimas nos cafés e docerias e um roteiro gastronômico que inclui comida caseira de tradição caipira e especialidades criadas no sabor e no charme com trutas, carnes, massas artesanais, shiitake e outras delícias em vários restaurantes qualificados para um bom passeio pela arte da culinária.

Mantendo a tradição de hospitalidade característica do modo de vida no campo, Cunha oferece hospedagem diversificada, em boa parte derivada do sítio que se converteu ao atendimento do visitante, e conta em sua estrutura com alguns bons hotéis-fazenda de amplos espaços, várias pousadas com aconchego e lazer e, na área urbana, hospedagem conveniente e econômica. 

Para desfrutar de magnífico panorama do litoral, um bom programa é subir até a Pedra da Macela de 1840 m, a 31 km da cidade. Entre as várias cachoeiras, merecem destaque a do Pimenta e a do Desterro. Para passeios e caminhadas pela Mata Atlântica, o Núcleo Cunha do Parque Estadual Serra do Mar oferece apresentação ambiental e as trilhas do Rio Paraibuna e Rio Bonito. Trânsito para Paraty instável e apenas para veículos leves com tração.

resultado - OCUPAÇÃO DOS ESPAÇOS EXPOSITIVOS DA PREFEITURA DE PORTO ALEGRE

ATA DA REUNIÃO DO JÚRI DE SELEÇÃO PARA A OCUPAÇÃO DOS ESPAÇOS EXPOSITIVOS DA PREFEITURA DE PORTO ALEGRE - EDITAL 2012.

Ao primeiro dia do mês de Dezembro de dois mil e onze, na sala da Coordenação de Artes Plásticas, na Usina do Gasômetro, 6º andar, sala 605, reuniu-se a Comissão de Seleção, composta por Ana Zavadil, Mestre em Artes Visuais pelo PPGART da Universidade Federal de Santa Maria, Dirnei Prates, artista visual e arquiteto, Fernando Bakos, Professor da Escola Superior de Propaganda e Marketing / ESPM e Mestre em Poéticas Visuais pela Universidade Federal do Rio Grande do Sul / UFRGS.

 Deliberaram sobre a seleção dos inscritos à ocupação dos espaços expositivos da PMPA.

Estiveram presentes ainda, Maria Beatriz Caruso de Almeida como representante da Coordenação de Artes Plásticas e Jaime da Costa Pereira como representante da Galeria do DMAE.

O júri decidiu o que segue:

1)      Galeria Iberê Camargo:

Inscrição n°13: Kelvin Koubik

Inscrição n°18: Marli Amado de Araújo

Inscrição n°26: Nathalia Garcia

2) Quarto Andar da Usina do Gasômetro:

Inscrição n°7: Rikardo Dias

Inscrição n°46: Roberta Hammel Tassinari

Inscrição n°31: Leandro Machado dos Santos

Inscrição n°8: Nato Silva, Selir Straliotto

Inscrição n°40: Carla Rosane

Inscrição n°3: Felipe Góes

3) PORÃO DO PAÇO MUNICIPAL:

Inscrição n°36: Marcelo Armani

Inscrição n°21: Antônio Augusto Bueno

Inscrição n°9: Arlete Santarosa

Inscrição n°11: Eneida Ströoher

Inscrição n°30: Juliano Ventura

Inscrição n°12: Vinício Giacomelli – Coletivo [in]vasão

Inscrição n°14: Jussara Moreira de Azevedo

4) SALA DA FONTE – PAÇO MUNICIPAL:

Inscrição n°6: Jander Rama

Inscrição n°37: Betina Frichmann

Inscrição n°42: Letícia Lampert

5) GALERIA DO DMAE:

Inscrição n°39: André de Miranda

Inscrição n°41: Jandora Jakobson

Inscrição n°22: Coletiva – O não – lugar enquanto criação

Inscrição n°23: Heloisa Marques

Inscrição n°20: Clóvis Vergara de Almeida

Inscrição n°2: Leonardo Loureiro

6) CENTRO MUNICIPAL DE CULTURA:

NÃO OUVE SELECIONADOS

Os trabalhos da comissão julgadora foram concluídos no dia primeiro dia do mês de Dezembro de dois mil e onze. Nada mais havendo a constar, lavro a presente ata a qual segue assinada por mim, Amanda Medeiros Oliveira, matrícula. 1080849, assistente administrativo, pela Coordenadora de Artes Plásticas, Anete Abarno Peres, matrícula 7169.1 e por cada um dos componentes da Comissão de Seleção.

20° Salão Internacional de Desenho para Imprensa

Os artistas interessados em participar do 20° Salão Internacional de Desenho para Imprensa poderão fazer suas inscrições de 30 de janeiro a 29 de fevereiro, pelo e-mail salao.press.portoalegre@gmail.com.

O concurso destina-se a profissionais e amadores, nas modalidades: Cartum, Charge, Caricatura, História em Quadrinhos e Ilustração Editorial (para jornal, revista, livro, capa de disco, cartaz, etc.).

O evento ocorrerá de 22 de março a 06 de maio de 2012 na Galeria dos Arcos na Usina do Gasômetro, visando estimular e divulgar, de forma abrangente, a expressão gráfica aplicada à imprensa.

regulamento e ficha inscrição: http://www2.portoalegre.rs.gov.br/smc/default.php?reg=296&p_secao=184

The Wrong Leonardo? - Charles Hope

Musée du Louvre, Paris (left); National Gallery, London (right)

The Louvre’s Virgin of the Rocks by Leonardo da Vinci, 1483–1490 (left); the National Gallery’s version of Leonardo’s Virgin of the Rocks, circa 1508 (right)

Exhibitions of drawings by Leonardo, almost always based on the uniquely rich collection in the Royal Library at Windsor, are relatively common. But outside the Louvre, which owns four of Leonardo’s pictures, it is rare indeed to have the opportunity of seeing more than a couple of his paintings together. The museums that possess such works are understandably reluctant to loan them, both because of their fragility and because of their fame; and apart from the Louvre, only the Hermitage in Saint Petersburg can make a plausible claim to possess more than one finished picture by him. Yet the exhibition currently at the National Gallery in London includes, according to the sponsor of the exhibition, Credit Suisse, “around half of the 15 or so paintings by Leonardo which are known to be in existence, as well as 50 of his original drawings,” including thirty-three from the Royal Collection. For most of those fortunate enough to have acquired tickets, for which demand vastly exceeds supply, this is an experience that is unlikely to be repeated.

To have brought together such a remarkable group of works is a diplomatic triumph, made possible by the generosity of the Louvre in lending the largest surviving completed work by Leonardo, The Virgin of the Rocks, which, certainly for the first time in centuries and possibly for the first time ever, is shown in the same room as another version that belongs to the National Gallery. The relationship of the two pictures has long been debated, and this exhibition provides an unprecedented opportunity to examine the problem afresh, and to see the pictures in the presence of others produced during the main period of Leonardo’s activity in Milan, between about 1482 and 1499. This was the longest time he spent in any city as an adult, but while he was there he was not working full-time as a painter. The only paintings that he is known to have certainly produced in these years are The Virgin of the Rocks, The Last Supper, now a total ruin, and the Portrait of Cecilia Gallerani—sometimes called The Lady with an Ermine—from Kraków, which is also in the present exhibition, and the decoration for a room (the Sala delle Asse) in the castle of the Sforza in Milan, which is almost entirely repainted.

As the sponsor hinted in the foreword quoted above, although Leonardo is among the most intensively studied of all European artists, the status of many of the pictures most often associated with him, and especially those supposedly painted in Milan, remains highly controversial. In particular, his relationship with several Milanese artists obviously much influenced by him, such as Boltraffio and Ambrogio de Predis, is still not fully understood. Fortunately, the selection of works in the exhibition is notably intelligent, including not just the works by Leonardo most often assigned to the Milanese period, but also paintings by other artists in the city. The usually unsympathetic display area in the basement of the Sainsbury wing has the great advantage of permitting very precise adjustment of light levels. This has made it possible to show paintings in close proximity to drawings related to them.

At the heart of the exhibition are the two versions of The Virgin of the Rocks, facing one another at either end of the main room. Although the compositions are very similar, each creates a very different impression. The figures in the Louvre version, which is universally considered the earlier of the two, are slightly smaller than those in the London picture, as well as livelier and more individualized. But the most obvious difference comes from the fact that the Paris picture is covered with a layer of dark varnish, which softens the contours and adds a sense of mystery to the landscape, whereas the version in London is brighter, with all the forms more precisely indicated and more easily visible.

This is in part the result of the very different cleaning policies of the two institutions. The varnishes available to Leonardo were naturally colored, and tended to become darker and more opaque over time. In the years after 1945 the chief restorer of the National Gallery, Helmut Ruhemann, entirely removed the varnish from a number of paintings in the collection, including The Virgin of the Rocks. This practice led to an acrimonious international controversy, with museums in Belgium and the United States siding with Ruhemann, and those in France and Italy opposing him. The critics believed that Renaissance artists took account of the characteristics of varnish when they applied it, and also argued that the removal of varnish inevitably carried the risk of eliminating at the same time the subtler layers of original finish applied by the artist.

One of those who contributed to the debate was E.H. Gombrich, who drew attention to a well-known passage of Pliny the Elder about the celebrated Greek painter Apelles, who had supposedly added a layer of dark varnish (atramentum) to pictures, in order to protect them and also to reduce the strength of the underlying colors. Gombrich suggested that Renaissance artists might have tried to do something similar. This was impossible to demonstrate, of course, since very few old paintings retain their original varnish. But some support for his position was later provided by a picture in the National Gallery by Giampetrino, who worked in Milan, but mostly after Leonardo’s extended stay in the city. This picture, which falls outside the scope of the exhibition, includes a thin overall layer of dark oil paint, which may well have been intended to have an effect similar toatramentum.

Whatever the truth of the matter, in 1961 Ruhemann published a response to Gombrich’s Art and Illusion, in which he took issue with Gombrich’s view that the term sfumato, which is particularly associated with Leonardo and refers to imperceptible changes in tone introduced by artists, also implied the blurring of outlines. Ruhemann evidently saw Gombrich’s claim as a criticism of his restoration of The Virgin of the Rocks, but Gombrich was able to justify his position by a careful and entirely convincing analysis of texts by Leonardo and others. In fact, Giampetrino’s painting includes much sfumato in the Gombrich sense.

Going around the exhibition, the differences in finish of the individual pictures, reflecting their different histories, are very evident. This applies even to the two portraits that have the best claim to be by Leonardo, that of Cecilia Gallerani and the so-called Belle Ferronière (sometimes called Portrait of a Woman; see illustration on page 12) from the Louvre, with its more opaque varnish. It is of course impossible to say what any of them looked like originally, and for this reason attempts to distinguish between the works of Leonardo and those of his contemporaries and imitators are particularly open to question.

Fortunately, the drawings do not raise comparable problems, because Leonardo, who was left-handed, consistently drew parallel strokes of hatching, to indicate shadows, sloping downward from left to right, whereas the hatching of his right-handed contemporaries slopes down from right to left. But this raises other difficulties, especially in the case of the Madonna Litta from Saint Petersburg. The head of the Virgin corresponds very closely to a beautiful drawing by Leonardo nearby, but the head of the child corresponds equally closely to a drawing by Boltraffio, which is also in the exhibition. In the catalog entry, written by a curator of the Hermitage, the picture is unreservedly attributed to Leonardo himself, but elsewhere in the catalog it is equally unreservedly, and I think correctly, claimed as a work of Boltraffio, albeit based in part on a drawing by Leonardo.

It is perhaps not surprising that in the catalog it is argued at length that the London version of The Virgin of the Rocks, which in the past has often been doubted, is “fully autograph,” like the one in the Louvre. But it is exceedingly unusual for any Renaissance artist to produce two almost identical versions of the same altarpiece, and it is certainly very surprising that Leonardo, who, by all accounts, only painted when he felt inclined to do so and was remarkably cavalier about the wishes of his patrons, should have done such a thing. I believe that the history of the commission, which is unusually well documented, cannot be reconciled with the claims made in the catalog.

The basic facts are straightforward enough. In April 1483 the Confraternity of the Immaculate Conception in the main Franciscan church in Milan signed a contract with Leonardo and with Ambrogio and his half-brother Evangelista de Predis to paint and guild an elaborate new structure behind their altar, and to supply some pictures for it by the end of the year, one showing the Virgin and Child with angels, and two others showing pairs of music-making angels. The structure included a number of carvings, the most important of which was a statue of the Virgin. There was also a representation of God the Father. The painters were to receive 800 lire, plus a sum to be assessed by one of the Franciscans and two members of the confraternity, one chosen by the confraternity and the other by the artists. There is nothing unusual about this contract, and it was recorded in 1506 that Leonardo and the de Predis brothers had received—by the end of 1490—730 lire, and that a further payment of 100 lire had been made to the brothers alone, but nothing more.^*

Sometime after Evangelista’s death in late 1490 or soon after Leonardo and Ambrogio submitted a petition, probably to the Duke of Milan, in which they complained that the painting of the Madonna was worth 400 lire, and they knew of people willing to buy it at that price; but the patrons had suggested a valuation of only 100 lire. Accordingly, the painters asked that the estimators be compelled to give their views under oath, or agree to the appointment of two experts, one to be chosen by each party, or give the picture back. Evidently nothing came of this, because in 1503, when Leonardo was in Florence, Ambrogio submitted a new petition, saying that the patrons had refused to come to a new agreement or pay the price or return the picture; and once more he asked that they be compelled either to fix the price or give the picture back.

In April 1506 the patrons, after consulting experts, declared that the picture was unfinished. They said that Leonardo and Ambrogio were obliged to finish it or have it finished within two years, provided that Leonardo returned to Milan. In that case, they would pay 200 lire.

Leonardo returned to Milan shortly afterward, and in the following year the two painters were paid 100 lire. In August 1508 Leonardo informed Ambrogio that he would agree to a final settlement with the patrons on the condition that they agreed to take down the picture from the altar and deposit it in a chapel or another room of the monastery so that he could have a copy made by Ambrogio. This they would sell, sharing the proceeds. Two months later a further 100 lire was paid by the confraternity.

The most obvious puzzle is that the London picture was in the church until the late eighteenth century, but it seems impossible that this was the earlier of the two. It has been argued therefore that the Paris picture was removed from the church, probably in the 1490s, and that the London picture was a substitute. But the documents exclude this possibility. They make it clear beyond reasonable doubt that the picture commissioned in 1483 was still in the church in 1508. Had the patrons disposed of it before that time, the painters would have had no contractual obligation to provide a new version, and no payment was made to them for one. Equally, the documents indicate that the patrons did not return the picture to Leonardo. In order to make a second version, he needed access to the original, and this was not provided before 1508. Accordingly, one picture, evidently the one in the Louvre, was supplied between 1483 and 1490, and the London version cannot have been painted before 1508.

It is difficult to accept that such an acrimonious dispute should have dragged on for a quarter of a century, if it could have been resolved by Leonardo completing a picture that, for unspecified reasons, he had delivered unfinished, and that had remained on the altar in that state. This suggests that the real problem was something different, namely that when the patrons said that the picture had not been finished, they meant that it had not been completed according to the terms of the contract. Instead of showing the Virgin and Child with angels, as was required, it showed the Virgin and Child with an angel and Saint John. But why did Leonardo not follow the contract, and why did this matter?

The patrons had a particular devotion to the Immaculate Conception, the doctrine, championed by the Franciscans, that the Virgin, the mother of God, alone of all humans had been conceived without acquiring the stain of original sin. The altar was constructed before a standard way of illustrating this doctrine had been developed, but like all early representations of the subject, it showed a statue of the Virgin standing, without the Child, and a carving of God the Father. It is often claimed that Leonardo’s painting also alludes to the doctrine in subtle ways. But this would have been redundant, and it seems unlikely.

Musée du Louvre, Paris

Leonardo da Vinci: Portrait of a Woman

Instead, the picture shows the Virgin as the mother of God, with her divine child worshipped by John and accompanied by an angel. In the context of the altar as a whole, the imagery would have been entirely appropriate. But the subject specified by the patrons, the Virgin and Child with angels, also had a particular significance in a Franciscan setting, because Saint Francis had founded his order and later died at the church of Santa Maria degli Angeli, just outside Assisi.

We do not know how the patrons financed their altarpiece, but it is even possible that some of the funds were given on the condition that this particular subject was represented. If so, that would explain their extreme reluctance to accept what Leonardo had provided, beautiful though it was. As Ambrogio de Predis stated in his petition of 1503, they were not willing to consider an alternative. But it is easy enough to understand why Leonardo was unwilling to finish his picture as the patrons required, because this would have involved changing the composition very radically.

Leonardo and the de Predis brothers had hoped to receive at least 400 lire, and the patrons initially offered only 100. In 1506 they raised this figure to 200, on the condition that the picture was finished. Had this happened, Leonardo would evidently have considered himself out of pocket, even though after 1506 he and Ambrogio did indeed receive 200 lire. Although the documents are silent on this point, it looks as if the patrons finally accepted the second version, for a reduced fee, and returned the original to Leonardo, who was able to recoup his full fee, including Ambrogio’s share, by selling it to a third party. How and when it entered the French royal collection has been much debated. But it may well be relevant that in 1508 Milan was under French control and that Leonardo had been given a salary by Louis XII. Although he had proposed to Ambrogio that they should sell the copy and share the proceeds, it is certain that the copy remained in the church, and it is this copy that was later acquired by the National Gallery.

The London picture does not look much like the independent work of Ambrogio known to us today, but we have no idea of his competence as a copyist. Leonardo’s own involvement, if there was any at all, is likely to have been very limited. It seems entirely out of character that he should have made a copy of one of his own works, but on occasion he certainly allowed others to do so. In comparison with the Louvre version, there is a lack of individuality and inner life in the figures, which now have a strangely gray complexion. Although much of the modeling is of great delicacy and skill, it seems obvious, now that the two pictures can be seen together, that they are not by the same hand.

The kind of differences we see between the two paintings is also evident in many of the drawings in the exhibition. Other artists in Milan, and especially Boltraffio, were able to achieve remarkable subtlety in their representation of the structure of heads and the fall of light, but only Leonardo was able to capture movement and the play of emotion, whether in his metalpoint drawings of young women or in the equally marvelous chalk studies for the apostles in The Last Supper. No artist before him, and none of his contemporaries, ever matched his complete mastery of the drawing medium. And as Gombrich long ago pointed out in a famous article, Leonardo was the first to understand how to use the sketchy, spontaneous possibilities of drawings to develop coherent and lively compositions in his paintings.

But when they lack the kind of finish that only he could provide, Leonardo’s compositions have a frozen and artificial appearance, as can be seen in all the many copies of The Last Supper, the best of which, by Giampetrino, is in the London exhibition. If one compares this with the preparatory drawings, or with the famous cartoon of The Virgin and Child with Saint Anne, also in the exhibition, one can see how much has been lost. The only paintings on display that really show the qualities that made Leonardo so outstanding are The Virgin of the Rocks and La Belle Ferronière—both from the Louvre—and the Portrait of Cecilia Gallerani, although parts of the costume of the latter have evidently suffered, giving the hand of Cecilia a rather troubling prominence.

In the past, La Belle Ferronière has occasionally been doubted, but it seems far superior to the work of any other artist represented in the show. In the catalog the proposal is made that it may show Beatrice d’Este, the wife of the ruler of Milan, Ludovico il Moro. But the resemblance to other representations of her is not close, and if she indeed had been the subject, it is surprising that the portrait did not inspire poems by courtiers, in the same way as that of Ludovico’s mistress Cecilia Gallerani. Leonardo, of course, did not only paint the high nobility. His most famous portrait, the Mona Lisa, showed the wife of a Florentine silk merchant.

Compared with these pictures, the unfinished portrait of a man holding a sheet of music, from the Pinacoteca Ambrosiana in Milan, seems static, pedantic, and slightly lacking in character. This is the only male portrait regularly attributed to Leonardo, and I share the reservations that have often been expressed about it. Much more suspect, however, is a recently cleaned painting of Christ as Salvator Mundi from a private collection. This was recorded in a print of the mid-seventeenth century, and the composition is known in other versions. But even making allowances for its extremely poor state of preservation, it is a curiously unimpressive composition and it is hard to believe that Leonardo himself was responsible for anything so dull.

These comments, of course, do not detract from my admiration for this memorable exhibition, which provides a unique occasion for thinking about one of the most problematic periods in Leonardo’s career. To see his works along with those of some of his Milanese contemporaries, and to see the paintings next to so many of his most beautiful drawings, allows the visitor to appreciate how much the other artists learned from him, and also how far, even at their best, they were from matching his achievements. (‘The Belle Ferronnière’), circa 1493–1494

http://www.nybooks.com/articles/archives/2012/feb/09/wrong-leonardo/?page=1

Tutta una città per l'arte. A Bologna torna Arte Fiera Art First

ARTE FIERA ART FIRST 2012

27/30 gennaio 2012 | quartiere fieristico | bologna

Arte Fiera Art First apre il calendario internazionale degli eventi dedicati al mondo dell'arte e si conferma vetrina privilegiata per l'arte moderna e contemporanea richiamando collezionisti, direttori di musei e galleristi da tutto il mondo.

Grazie alla stretta collaborazione con tutte le istituzioni culturali cittadine, offre una straordinaria opportunità per "vivere l'arte in fiera e in città".

I visitatori di Arte Fiera potranno, presentando il biglietto della manifestazione, entrare gratuitamente in tutti i Musei Civici cittadini (MAMbo-Museo d'Arte Moderna di Bologna, Museo Morandi, Museo Archeologico, Museo Medievale, Collezioni Comunali d'Arte, Museo Davia Bargellini, Museo della Musica, Museo del Patrimonio Industriale e Museo del Risorgimento), oltre che in quelli di Genus Bononiae, il percorso museale della Fondazione Carisbo (Palazzo Pepoli, San Colombano, Palazzo Fava, Biblioteca di San Giorgio in Poggiale, Santa Maria della Vita).

In fiera si potrà ammirare oltre un secolo di arte, attraversando i padiglioni 21-22 e 16, con un nuovo innovativo lay-out che avvicina i capolavori riconosciuti dell'arte moderna alle opere delle nuove generazioni di artisti presentate dalle giovani gallerie.

Da venerdì a domenica incontri, presentazioni di libri e dibattiti nello spazio Art Talks Gallery 21/22, e nello spazio Art Café al Centro Servizi.

Tra gli stand il progetto curatoriale On the Spot, ideato dal curatore spagnolo Paolo Barragàn, vuole porre una domanda e lanciare una sfida: è possibile, in un giorno solo, concettualizzare, selezionare, allestire ed inaugurare una mostra nel contesto di una fiera d'arte. Per 3 giorni un diverso curatore - Laura Pan, curatrice, Olivier Kielmayer, Direttore della Kunsthalle di Winterthur e Francesca Ferrarini, art advisor e Barragan stesso - sarà incaricato di allestire una mostra istantanea con opere esposte esclusivamente in fiera.

La 7 edizione di BOLOGNA ART FIRST, progetto di Arte Fiera in collaborazione con il Comune di Bologna, trasforma la città grazie alle installazioni site specific di artisti rappresentati dalle gallerie presenti in fiera, tracciando un percorso ideale alla scoperta di 11 luoghi e palazzi storici di Bologna. A bordo del Cuore d'Oro è il titolo preso in prestito dalla curatrice Julia Draganovic dal nome dell'astronave sulla quale il protagonista del romanzo "Guida Galattica per gli Autostoppisti" viaggiava per la Galassia.
Inserito nel circuito di Bologna Art First, a Villa delle Rose si terrà lo special guest event The Eye of the Collector, opere di Video Art dalla Collezione Manuel De Santaren.

Sono oltre 100 gli eventi organizzati a Bologna e in Emilia-Romagna: mostre, film, incontri, festival di arti, performance d'artista del circuito ARTE FIERA OFF.

Dopo Bill Viola e Marina Abramovic, venerdì 27 gennaio alle ore 21 in Sala Borsa, incontro con Luigi Ontani, in un confronto a tre con Renato Barilli e Aldo Busi. L'omaggio alla carriera di Luigi Ontani avverrà attraverso immagini e video delle sue storiche performances realizzate negli anni Settanta, fino alle sue più recenti produzioni.
Al MAMbo, giovedì 26 gennaio 2012 inaugura la mostra Marcel Broodthaers. L'espace de l'écriture, a cura di Gloria Moure, la prima retrospettiva completa in Italia dedicata all'artista belga; sabato 28 gennaio alle 18.00 viene presentata Contrappunti C (2011) opera di Marco Gastini recentemente donata dall'artista al museo.
Al Museo Morandi accanto alla mostra temporanea di Hollan sarà possibile ammirare un nucleo di quattro capolavori, tre nature morte e un paesaggio, appartenenti alla collezione privata di Luciano Pavarotti.
Tra i progetti della Fondazione Carisbo, il 28 gennaio inaugura il Museo della Storia di Bologna a Palazzo Pepoli, mentre a Palazzo Fava proseguono le mostre Le collezioni dei dipinti della Fondazione Cassa di Risparmio in Bologna. Da Pasinelli a Gandolfi. Le tempere della Sampiera e Quattro dipinti emiliani della Collezione Checcoli.
Alla Fondazione del Monte una mostra antologica di Luciano Minguzzi .
La Cineteca di Bologna presenta tre importanti iniziative: la rassegna Cinevino, ospite Jonathan Nossiter regista di Mondovino; un omaggio al videopoeta Enzo Minarelli e una mostra dedicata ai ritratti d'artista di Antonio Masotti .

A Palazzo Re Enzo, Da 0 a 100 Le nuove età della vita. Arte e scienza, due occhi su noi stessi, mostra d'arte contemporanea e scienza, promossa dalla Fondazione Marino Golinelli, per capire come e perché il nostro corpo e la nostra mente nelle diverse età sono cambiati rispetto a quelli delle generazioni precedenti e come svilupparne meglio le potenzialità.

Allo Spazio Carbonesi nella cornice di Palazzo Zambeccari Twin Mind, mostra di arte contemporanea a cura di Daria Khan, che indaga sul fenomeno delle coincidenze nell'arte attraverso le opere di Julia Zastava (Russia) e Emiliano Maggi (Italia).

A Reggio Emilia alla Collezione Maramotti una selezione di oltre duecento opere dagli anni '50 ad oggi acquisite in quarant'anni di passione collezionistica da Achille Maramotti; proseguono inoltre le mostre Fiamma pilota le ombre seguono, di Alessandro Pessoli (fino al 29 gennaio 2012) e The Poverty of Riches, di Andrea Büttner, vincitrice della terza edizione del premio Max Mara Art Prize for Women (fino al 29 aprile 2012).

ART WHITE NIGHT

Sabato 28 gennaio, una serata straordinaria grazie all'apertura gratuita fino a mezzanotte delle installazioni di Bologna Art First, dei musei cittadini, delle mostre, delle gallerie d'arte, dei negozi, a cui si aggiungono eventi, iniziative, videoproiezioni e party ovunque in città. Scegliere cosa vedere non sarà facile.

Il Dipartimento educativo del MAMbo inoltre dedica la Notte Bianca dell'Arte ai bambini: dalle ore 19 fino alle ore 23, i bambini saranno accompagnati in un percorso plurisensoriale dove immagini, musiche, cibi e letture celebreranno la notte dell'arte in un'atmosfera suggestiva e avranno l'occasione di vivere l'esperienza di una cena al Museo.

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ARTE FIERA ART FIRST
Quartiere fieristico di Bologna Ingresso - Ovest Costituzione
27 al 30 gennaio 2012
da venerdì 27 a domenica 29 gennaio, dalle 11.00 alle 19.00.
lunedì 30 gennaio dalle 11.00 alle 17.00
(Preview a invito - 26 gennaio 2012 - dalle ore 12 alle 21.00)
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Oficina de Gravura Carlos Oswald - Rio de Janeiro

Após uma pequena pausa de final de ano a Oficina de Gravura Carlos Oswald está em pleno funcionamento. Nosso atelier é um espaço dedicado a produção de gravuras em relevo, em côncavo e litografia.

Aproveito para convidá-los a conhecer nosso atelier. A Oficina fica no Liceu de Artes e Ofícios do Rio de Janeiro, na Rua Frederico Silva, 86, Praça XI, Centro. Seus contatos são: telefones  (21) 2277-7600 e (21) 9161-7270 / e-mail oficinacarlososwald@hotmail.com e gabrielvieira@hotmail.com. Funciona de quarta à sexta das 9h às 16h e sábados das 9h às 13h. 

Aguardamos sua visita!

Saudações Impressas

Gabriel Vieira

aquarelas paulistanas

INTERNATIONAL PRINT EXHIBITION YUNNAN 2012

INTERNATIONAL PRINT EXHIBITION YUNNAN 2012

Bidding for Participation
Authority Culture Ministry of People's Republic of China
Organizer China Artists Association
Yunnan Federation of Literary and Art Circles
Yunnan Provincial Cultural Department
Yunnan Foreign Cultural Exchange Association
Conductor   Artists Association of Yunnan Province

Dear Artists
We are pleased to invite you to participate in the INTERNATIONAL PRINTS EXHIBITION at Yunnan Museum in Kunming, the capital city of Yunnan    province. The main purpose of this exhibition is to promote and enhance both the academic values and trends in the art field. The theme of exhibition is the modern extension from the root of art, to contribute to enrich and maintain the contemporary world artistic diversity in regional, national characteristics and independent cultural position.
Hence, we are happy to inform that this program is granted by the Government.

Venue Yunnan Museum, Kunming City
Dates June 6 - 15, 2012
The Delivery Days from February 20 to March9, 2012
Last Day for Participant Delivery March9, 2012 ( post marked date )

Awards
All winners will receive a certificate and cash reward.
•Gold Prize ( 2 ): each one with cash award30,000 RMB, total pool of 60,000 RMB
•Silver Prize ( 4 ): each one with cash award 15,000 RMB, total pool of 60,000 RMB
•Bronze Prize ( 6): each one with cash award 10,000 RMB, total pool of 60,000 RMB
Notes
The delivered art pieces that win the Gold, Silver and Bronze prizes are to be retained by the Organizer for permanent holding. The winners shall receive the above cited cash awards as well as the Certificate and Diploma for Masterpiece Collection.

House Regulations on Participants
All submitted works shall be created in resent years. Each participant can submit his or her works no more than three pieces.
•All the works should be packed in sturdy and reusable flat boards or plastic tubes. Otherwise, we are not responsible for the damage to the works.
•Each artist will be required to provide three copies of biographical and chronicle background, plus a photo of 7 inches or 120 size.
•The organizations have the rights for publication and exposure of the submitted art works.   
•Each selected artist will get a Certificate of Participation to the Exhibition; and will get an Album of selected pictures.
•The artist will mark the base price for each piece of art work in dollars.
•All submitted works( except the Awards art works ) will return to the authors within three months after the Exhibition is over. The committee will pay the cost for international postage.
•The costs of coming to Kunming for the opening ceremony of the Exhibition and other related activities that will be paid by artists themselves.
•The organizing committee will enjoy the right of explanation to the selected and award-winning works.

Contact
Organizing Committee  International Print Exhibition, Yunnan 2012      
Addresses  Artists Association of  Yunnan Province
No. 25 North Green Lake Road, Kunming  City
Yunnan Province  650031  
Tel  86-0871-5155879
Contact Person   Yang Zebin ,Guo Liang
E-mail   ynmx001@163.com

Qualifications
Entry is to open all print artists around the world.
Entry forms may be downloaded and printed from www.ynaan.cn (site em chinês)

nesse link  http://www.ynaan.cn/DynamicLibrary/DynamicPics/200842113521616.doc

ART DUBAI 2012

ART DUBAI 2012

GLOBAL ART FORUM_6
The Medium of Media

March 18–19 Mathaf: Arab Museum of Modern Art, Doha
March 21–24 Art Dubai, Madinat Jumeirah, Dubai

artdubai.ae/globalartforum

The Global Art Forum, the Middle East, North Africa and South Asia (MENASA) region’s leading platform for cultural debate, expands to six days in 2012, and features commissioned projects and research, as well as live debates and presentations.

Now in its sixth year, the Global Art Forum is directed by writer Shumon Basar and is characterized by a particularly innovative and dynamic approach.

Art Dubai's Global Art Forum_6 presented by the Dubai Culture & Arts Authority and in partnership with Mathaf: Arab Museum of Modern Art (Qatar Museums Authority), starts in Doha March 18–19 before continuing to Art Dubai, Madinat Jumeirah, March 21–24.

Entitled 'The Medium of Media', the Forum is re–inventing itself this year. Along with the familiar array of lectures, conversations, discussions, and workshops, it includes a new roster of commissioned projects that precede and succeed the live days. Thematically, GAF_6 looks at the double meaning of the term 'media', both within the art world and referring to the world of publishing and reportage. Underpinning this is a look back at the past year in the Arab world, and how fundamental events have been both produced and consumed as media. GAF_6 is, effectively, a media production about media.

Over 50 contributors to Global Art Forum_6 include: LACMA director Michael Govan; Serpentine Gallery co-director of exhibitions and programmes and director of international projects Hans Ulrich Obrist; novelist and artist Douglas Coupland; writer/critic Sukhdev Sandhu; art market reporter Georgina Adam; film–producer Anna Lena Vaney; artists Wael Shawky, Shezad Dawood and Michael Rakowitz; curators Jack Persekian and Nat Muller; Demotix founder Turi Munthe; commentators Sultan Suood Al Qassemi and Yasmine El Rashidi; as well as filmmaker Sophie Fiennes with a special screening of Over Your Cities the Grass will Grow.

Commissioned projects include a series of PowerPointsTM by writers and artists, curated by Victoria Camblin, including Goldin & Senneby and Alexander Provan + Triple Canopy; a Dictionary of the Mediatized Gulf by Qatari artist-writer Sophia Al Maria; a publication entitled Some Medium Stories, edited by Michael Vasquez featuring Emily Dische-Becker, Tom Francis, Kristine Khouri; and a Media Archiving blog by Mariam Wissam Al Dabbagh. Two new collaborations between Art Dubai and Mathaf will be announced: an interactive Arabic Art Glossary, led by curator Lara Khaldi, and an Artist's Residency at Al Jazeera news network, Doha. These works will be made available, in both Doha and Dubai, at the new Forum–Forum resource space, which will include UAE research by Brusselssprout and blogger/photographer Hind Mezaina as well as works by artists Isak Berbic and Banu Cennetoglu.

The programme begins in Doha with presentations of the new commissioned projects as well as discussions on the relationship between news-makers and history-making in the Arab world, and the increasing phenomena of artists turning to the medium of feature film making.

The Forum subsequently moves on to Art Dubai, March 21–24. Here, continuing the theme of 'The Medium of Media', GAF_6 invites critics, historians and experts to discuss Marshall McLuhan's legacy; the Beatles' last ever concert; the past and future of 'Net Art'; how news shapes art and financial markets; the Crusades told through the medium of puppetry; archiving Emirati TV; and much more.

The Global Art Forum is also continuing Forum Fellows for the second year. Led by art-critic Kaelen Wilson-Goldie, the programme invites exceptional young writers from the Middle East, Asia and the UAE to interact with the rich themes and subtexts of the Fair, as well as the challenge of writing through past and present in times of political crisis.

The Global Art Forum is part of Art Dubai's discussion programme that includes Terrace Talks, a series of conversations on the relationship between the Gulf and wider Asia, and the fourth edition of The Big Idea, a dynamic, fast-paced forum for young UAE–based artists and designers.

The sixth edition of Art Dubai takes place March 21–24, 2012, at Madinat Jumeirah, and features 75 galleries from 32 countries, in addition to a new programme of artists' and curators' residencies, commissioned projects, performative tours, workshops, and the unveiling of the works by Abraaj Capital Art Prize winners.

artdubai.ae

Fonte: E_Fux