APERTE LE ISCRIZIONI AL PREMIO COMBAT PRIZE 2015
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sábado, 21 de março de 2015
PREMIO COMBAT PRIZE 2015 - Itália
sexta-feira, 20 de março de 2015
quinta-feira, 19 de março de 2015
Jenness Cortez imagina a progressão da pintura da MONALISA -
| Classical realist painter Jenness Cortez re-imagines Leonardo's 'Mona Lisa' | ||
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AVERILL PARK, NY.- After a year of scholarly research, internationally acclaimed artist Jenness Cortez announced her completion of a new painting that depicts Leonardo da Vinci’s “Mona Lisa” masterpiece as she believes it appeared at completion in the early 16th century. Commissioned by a private American collector, the Cortez work is said to incorporate several compositional elements from the recently restored Prado Museum copy.
Having fulfilled her assignment to convey the impression Leonardo’s painting made when it was newly completed, Ms. Cortez immediately distanced her accomplishment from the original work by noting, “The craftswoman in the current project makes no claim to have equaled the great subtleties of the master’s technique. However, my best scholarship, experience, intuition, imagination, passion and skills have gone into producing this conceptual reconstruction. Even though I’ve embraced Leonardo’s ‘obstinate rigor’ throughout this project, I like to think that there was also a little help from the same playful muse that whispered to Leonardo while he worked. I hope this imagined Lisa will be a pleasure to all who view her.” The challenges to her successful reconstruction of the world’s most iconic Renaissance image were many and varied. According to renowned researchers and conservators, numerous visible changes in the Mona Lisa have occurred over time as the results of one or more of five causes: 1. the darkening and yellowing of varnish, 2. the disappearance of fugitive pigments, 3. natural chemical changes that have altered pigments’ original hues, 4. overzealous cleaning, and 5. movement within the poplar panel (as the wood continually expanded and contracted in response to changes in humidity.) For an understanding of the science behind these and other factors Cortez closely relied on the findings of the French Center for Museum Research and Restoration (FCMRR) laboratory studies conducted in 2004. Their conclusions, together with historical records, a copy of the Mona Lisa made by a contemporary of Leonardo, and her own experience as a painter, have suggested the following alterations which Cortez has made from the present day appearance of the painting. 1. Many areas of the painting have been lightened and brightened to correct 500 years of varnish discoloration that disguises color and value, and obscures details. The FCMRR states that blues, browns and greens have suffered most, so they have been given special attention. 2. Slight color changes overall were made in accordance with FCMRR analysis of pigments, with an understanding of how these pigments would have responded to time, light and varnish. 3. The surface crackle patterns, which are primarily a result of persistent panel movement that has broken the paint film, have been eliminated. 4. Certain details destroyed in early, over-intense cleanings have been reconstructed. For example, in areas of the shadow between the bridge of the nose and the right eye and on the chin, glazes that have obviously been lost have been restored. Cortez believes it is likely that there have also been more subtle losses. Where the top of the bodice meets Lisa’s flesh, Cortez noticed faint paint traces. Their presence convinced her that the delicate white trim of the bodice, so visible in an Italian Renaissance copy (in the collection of the Prado Museum), does indeed record what Leonardo painted. That recently cleaned and restored copy was made by an anonymous painter during Leonardo’s lifetime and presumably documents the original appearance of the Mona Lisa. 5. The Prado Museum copy also shows highlights in the eyes, although none appear today in the Louvre painting. On that point Cortez quotes Giorgio Vasari, who wrote the earliest description we have of the Mona Lisa in his 1550 book, “Lives of the Most Eminent Painters, Sculptors and Architects.” Less than 50 years after Leonardo completed the Mona Lisa, Vasari commented that, “The eyes have that lustre and watery sheen which are always seen in life.” Cortez has returned the sparkle to Lisa’s eyes. 6. The painting’s monotone appearance today is likely due in part to Leonardo’s extensive use of fugitive, organic pigments in thin glazes. The FCMRR found most of the modeling of the face and hands to now consist of only burnt umber over lead white. However, Vasari refers to the “rosy and tender” nostrils, the “red of the lips,” and the lively skin tones that seemed to be “not colors, but flesh.” Certain reds, (“lakes”) made from the bodies and secretions of insects, were widely used in the Renaissance, but have often lost their color with time. In the Mona Lisa’s case that loss was perhaps accelerated by their use in Leonardo’s fragile glazes, which would have been especially vulnerable to insensitive cleaning. 7. The sleeves that now appear as a bronze color may have been glazed with one of those fugitive reds, as the Prado Museum copy suggests, or with another color. Red seems the logical choice to Cortez, although there is no specific mention of it in the FCMRR studies. 8. Lisa’s eyebrows (or lack thereof) contribute greatly to her enigmatic expression. Cortez has only slightly enhanced the brows, but we know they were once more visible. Their subtlety impressed Vasari: “The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural.” Cortez chose not to further speculate on the arch, size and color of the eyebrows, feeling that any misreading on her part would irresponsibly alter the Mona Lisa’s expression, and could seriously misrepresent Leonardo’s intention. 9. Lisa’s hair, which today appears to be nearly black, was probably a warm chestnut brown according to sophisticated technology the FCMRR used to approximate the colors as they would have appeared before the varnish blackened with time. The rendering of the hair was suggested by Leonardo’s technique in his two versions of The Madonna of the Rocks. (The lighter color and fine texture of her hair do make scanty eyebrows seem a definite possibility.) 10. All over the painting, small details that are now rendered invisible by the old varnish have been painted in accordance with the revelations accomplished by the FCMMR’s innovative imaging techniques. 11. Throughout the reconstruction process, Cortez chose to lighten, but not completely abandon the darkest chiaroscuro effects, believing that Leonardo consciously employed them in this painting (as he did in others) to enhance drama and mystery. Although the blackening of varnish has no doubt intensified the darks, Leonardo’s treatise on painting makes it clear how highly he valued the impact of soft, theatrical light and deep shadowing. Jenness Cortez was born in 1944 in Frankfort, Indiana. She received her B.F.A. from the Herron School of Art in Indianapolis, apprenticed privately with noted Dutch painter Antonius Raemaekers and later studied with Arnold Blanch at the Art Students League of New York. Her work is in numerous public and private collections including those of Presidents Ronald Reagan and Bill Clinton, HM Queen Elizabeth, II and the New York State Museum. Perlmutter Gallery in Averill Park, New York exclusively represents Jenness Cortez.
fonte: http://artdaily.com/news/77239/Classical-realist-painter-Jenness-Cortez-re-imagines-Leonardo-s--Mona-Lisa-#.VQrEAo7F98E
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desenhos do Piranesi à venda em benefício do Museu Sir John Sloane
| To benefit Sir John Soane's Museum in London, Special-edition of Piranesi drawings, now live on iGavel | ||
 NEW YORK, NY.- iGavel is offering a rare opportunity to view and purchase—now to March 31, 2015—special-edition reproductions of 15 Piranesi drawings of the Temple at Paestum from the collection of the Sir John Soane’s Museum in London. This singular set of reproductions, which will be sold in 5 lots, was produced by Britain’s National Gallery on behalf of the Soane, with all proceeds benefiting this prestigious museum. Says Lark Mason, president and founder of iGavel: “There is no other museum in the world like the idiosyncratic one Sir John Soane created in the early 19th century. He took infinite pride in having acquired the Piranesi drawings of Paestum. I want to thank Jonathan Burden for selecting iGavel to auction the 15 exact reproductions of the drawings, and I take pleasure in the fact that their sale will benefit Sir John Soane’s Museum.” “The Paestum drawings by Piranesi formed a key element of Soane’s famed Picture Room, and they also reflect the important influence that Piranesi had on Soane as a collector and as an architect,” says Abraham Thomas, the director of the Soane. “This auction is a wonderful opportunity to acquire Piranesi’s exquisite drawings and bring a bit of Soane’s signature into the home at accessible prices.” As an official licensee of Sir John Soane’s Museum, Jonathan Burden has the exclusive privilege to manufacture the Model Room Stands, which are part of the Jonathan Burden “Inspired by Soane” line. Says proprietor Jonathan Burden, “When we heard about the exhibition of the Soane’s Piranesi prints at the Morgan Library, we approached the Soane to see if we could do something in conjunction with it. That’s when this unique set of drawings was offered to us to sell, and we hope a designer or collector will seize this rare opportunity to acquire this outstanding collection of Piranesi drawings and at the same time help the Soane.” According to Burden, the drawings’ estimates range from $1,000 to $8,000, depending upon the lot. When the Picture Room was rehung to Soane’s original arrangement in 2012, it became apparent that the majority of Piranesi’s Paestum drawings and the three drawings by Francesco Galli Bibiena were hung too high and close to the skylights, which exposed them to the possible effects of light damage. Therefore, it was decided to replace them with facsimiles on fine art paper made by the well-known German firm Hahnemühle. One set was produced to hang on permanent display at the museum. The other set is being sold through this special auction. The production of the special set being auctioned was made possible by the generous contribution of Niall Hobhouse, a former trustee of the museum. Among the most significant examples of European graphic art, the 15 drawings of Paestum were part of Piranesi’s last great visual project, Différentes vues de Pesto, published in 1778. The drawings show views of the three outstanding Doric temples in the former Greek colony of Paestum in Italy, dramatically perched on a plateau not far from the coast of the Gulf of Salerno. Piranesi visited the site in 1777 and produced the 15 drawings. Extremely accomplished examples of his topographical observation, these powerful drawings revolutionized the understanding of early Greek Classical architecture. The original drawings are now on view at New York’s Morgan Library through May 17 in the exhibition Piraniesi and the Temples of Paestum: Drawings from Sir John Soane’s Museum. fonte:http://artdaily.com/news/77227/To-benefit-Sir-John-Soane-s-Museum-in-London--Special-edition-of-Piranesi-drawings--now-live-on-iGavel#.VQrDj47F98E |
BACKDROP GRAFFITI | Jerry Batista - São Paulo - SP
BACKDROP GRAFFITI | Jerry Batista | Sexta-feira, dia 20 de março às 14:00 | Entrada Gratuita
Em parceria com a galeria A7MA de arte e cultura, a Fundação Ema Klabin promove o Backdrop Graffiti onde diversas ações relacionadas ao universo do graffiti serão trazidas para o espaço da Fundação. A terceira edição do backdrop Graffiti, contará com a presença do artista Jerry Batista que pintará o fundo de palco do nosso auditório.
Jerry Batista tem 33 anos nascido em 1981 em São Paulo- Capital cresceu no Grajaú- SP – Em 1995 iniciou sua carreira como graffiteiro em 1 de dezembro de 1995, hoje Artista-plástico especializado na linguagem do graffiti e sendo uma das referências do graffiti Paulistano e Brasileiro e também é arte-educador onde ensina sobre a história do movimento e ações da arte urbana. Integrante do Coletivo 132 onde os mesmos dividem um atelier na rua Pero Correia 348 Vila Mariana. Já teve suas artes exposta em 2011 e 2013 na Alemanha (Munique, Berlim, Colonia) e na França – Paris – e em diversos Estados brasileiros como Rio de Janeiro, Curitiba, Florianópolis, Curitiba e Minas Gerais e Goiânia.
Já fez trabalhos comerciais para Ellus Jeans de luxe, CKone, Casas Bahia, Banco do Brasil. Já teve trabalhos divulgados na seguintes emissoras de comunicação: MTV, Rede Globo, Bandeirantes Sbt, Gazeta e Cultura, Jornal da Folha, Revista da folha, Estadão, Globo News, Woohoo Em seu trabalhos usa materiais desde da tradicional tinta a óleo , látex, spray, madeiras e atualmente se utiliza do ferro e da solda para executar e modelar suas artes.
Já fez exposições no MuBE, Pinacoteca, Stroke, Galeria A7MA, Aliança Francesa etc. Sua série de trabalhos artísticos tem o tema Séries Humanas ( onde o artista mostra sua visão do Mundo, Sistema Politico e a infância).
E outra série chamada Cidade dos Índios – o filme ( Arte lúdica que tem um personagem Oriental chamado Simplescião que tem como textura telas, graffitis e animação.} Jerry Batista hoje é micro empresário onde o mesmo tem uma Galeria A7MA com o Coletivo 132 e Full House que se localiza no Rua Harmonia 95 ao lado do Beco do Batman. Em julho de 2014 fez sua primeira exposição individual na Galeria A7MA
Fundação Ema Klabin
Contato: atendimento@emaklabin.org.br
Rua Portugal, 43
Jardim Europa | São Paulo | SP | Brasil
CEP 01446-020 | Telefone (55) (11) 3062-5245
Rua Portugal, 43
Jardim Europa | São Paulo | SP | Brasil
CEP 01446-020 | Telefone (55) (11) 3062-5245
quarta-feira, 18 de março de 2015
IMAGINE BRAZIL - São Paulo - SP
"IMAGINE BRAZIL" DESTACA A JOVEM PRODUÇÃO ARTÍSTICA BRASILEIRA NO INSTITUTO TOMIE OHTAKE
Rivane Neuenschwander e Cao Guimarães, The Tenant, 2010
O projeto teve início em 2013, com exposições no Astrup Fearnley de Oslo e no Museu de Arte Contemporânea de Lyon. Agora, "Imagine Brazil" chega ao Instituto Tomie Ohtake, destacando a jovem produção artística brasileira, sob curadoria de Hans Ulrich Obrist, curador da Serpentine Galleries, Gunnar Kvaran, diretor do Museu Astrup Fearnly, e Thierry Raspail, diretor do Museu de Arte Contemporânea de Lyon.
A mostra traz criações de jovens talentos, contemplando trabalhos que vão desde a pintura e a escultura até instalações, fotografias, vídeos e música. Para situar suas obras num contexto histórico, a cada um dos participantes foi solicitado escolher um artista considerado importante na cena artística contemporânea e para seu próprio trabalho, a fim de se construir uma exposição dentro da exposição.
Entre os jovens artistas (e seus convidados) estão: Deyson Gilbert (Montez Magno); Rodrigo Matheus (Fernanda Gomes); Adriano Costa (Tunga); Mayana Redin (Milton Machado); Jonathas de Andrade (Caetano Veloso);Rodrigo Cass(Rivane Neuesnschwander); Paulo Nazareth (JBorges); SofiaBorges (MariaMartins); Cinthia Marcelle (Pedro Moraleida); Sara Ramo (Cildo Meireles); Marcellvs L (Arrigo Barnabé); Gustavo Speridião (Carlos Zílio) Paulo Nimer Pjota (Adriana Varejão);Thiago Martins de Melo (Tunga).
"Imagine Brazil" permanece em cartaz até 3 de maio.
Imagine Brazil
ONDE
Instituto Tomie Ohtake
http://www.institutotomieohtake.org.br
Rua dos Coropés, 88
Pinheiros - Oeste
São Paulo
(11) 2245-1900 Estação Faria Lima ViaQuatro
VER NO MAPA
http://www.institutotomieohtake.org.br
Rua dos Coropés, 88
Pinheiros - Oeste
São Paulo
(11) 2245-1900 Estação Faria Lima ViaQuatro
VER NO MAPA
- de 13/03 a 03/05
- Terças, Quartas, Quintas, Sextas, Sábados e Domingos
- das 11:00 às 20:00
fonte : Touch of Class
https://catracalivre.com.br/sp/agenda/gratis/imagine-brazil-mostra-de-arte-contemporanea-chega-ao-tomie-ohtake/
BIENAL DE VENEZA APRESENTA SUA LISTA DE ARTISTAS PARTICIPANTES
BIENAL DE VENEZA APRESENTA SUA LISTA DE ARTISTAS PARTICIPANTES
Obcecada por retalhos e aviamentos, Sonia Gomes edifica suas obras sobre tecidos antigos, que são transformados e submetidos a bordados e torções se tornando esculturas de pano impregnadas de memória e significado. Seu trabalho vai levar o nome do Brasil à Bienal de Veneza, que acontece em maio.
Okwui Enzewor, diretor da próxima edição da Bienal de Veneza, anunciou recentemente mais detalhes sobre a programação do evento, que acontecerá entre os dias 9 de maio e 22 de novembro.
Sob o título "All the world's future", a Bienal reunirá 89 pavilhões nacionais, incluindo as recém-chegadas Grenada, Ilhas Mauritius, Moçambique e Seuchelles, enquanto Equador, Filipinas e Guatemala retornam após vários anos de ausência.
Na exposição principal, Veneza apresentará 136 artistas de 53 países diferentes, dos quais 88 participarão pela primeira vez. O grupo de artistas europeus é o maior, seguidos pelos artistas da América do Norte e Ásia. Artistas africanos também marcam uma presença importante, além do número recorde de sete artistas australianos. Sonia Gomes é a única artista brasileira da lista.
Paolo Baratta, presidente da bienal, disse que esta refletirá a "era da ansiedade" em que vivemos. "O mundo exibe hoje profundas divisões e feridas, pronunciadas desigualdades e incertezas face ao futuro. Apesar do grande progresso feito em conhecimento e tecnologia, estamos atualmente a negociar a "era da ansiedade". O nosso objetivo é estudar como as tensões do mundo exterior agem sobre a sensibilidade e as energias vitais e expressivas dos artistas, sobre os seus desejos e a sua "canção interior"."
Além de Sônia Gomes, outros quatro brasileiros estarão em Veneza: André Komatsu, Antonio Manuel e Berna Reale, no pavilhão brasileiro, e Tamar Guimarães, brasileira radicada em Copenhague, que terá uma obra no pavilhão belga.
Confira a lista completa dos artistas da exposição principal em nosso portal [clique aqui]
Com informações de Touch of Class, Artnews, The Art Newspaper e Artforum
segunda-feira, 16 de março de 2015
edital para seleção de um professor substituto na área de Gravura em Metal e Xilogravura na Escola de Belas Artes da Universidade Federal de Minas Gerais
edital para seleção de um professor substituto na área de Gravura em Metal e Xilogravura na Escola de Belas Artes da Universidade Federal de Minas Gerais. O prazo para as inscrições é até sexta-feira, 20/03/2015.
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