Iana Salenko in La Sylphide
Photo © D&D
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Betina la Plante
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Designed by Roman Diaz and Daniel Naranjo
Folded from 37*37cm MC treated tissue
Finished with MC
Diagrams: Origami for Interpreters - Roman Diaz EmreAyar
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Infrared Reflectography of the Madonna of the Yarnwinder (The Lansdowne Madonna), 1501, private collection.
Attributed to Leonardo da Vinci and another artist.Description From Wiki: “The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of Lansdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of Lansdowne’s collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child’s genitals and the fingers of the Virgin’s left hand.
The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. He concluded that the Christ child and the landscape were by Leonardo and the remainder was by a Milanese pupil. During a loan to the New York World’s Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford’s family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna (as a Leonardo) to its current owner, an anonymous private collector, in 1999." via: wiki
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Beethoven’s Violin, Beethoven-Haus Bonn
Images and description via: Beethoven-Haus Bonn
Second Half of the 18th Century - Body length (ceiling): 359 (right) and 360 mm (left); Deckenmensur: 198 (right) and 198.5 mm (left); Halsmensur: 133.5 (r), and 135 mm (left); Drawer 30-31,5 mm back of flamed maple; ceiling: fine grained spruce
Inscribed: “.. Nicolaus Amati Cremonen / Hieronym Fili Antoni ac / Nepos fecit in 1676.”; Repair including printed label “Nicolaus Savicki Leopolitanus / reparavit Vienna Anno 18 [handwriting.] 48 / NS”
On the floor below the neck Beethoven sheet signet bearing the initials “LvB” and a big one in the paint is tarnished "B".
Second Half of the 18th Century - Body length (ceiling): 359 (right) and 360 mm (left); Deckenmensur: 198 (right) and 198.5 mm (left); Halsmensur: 133.5 (r), and 135 mm (left); Drawer 30-31,5 mm back of flamed maple; ceiling: fine grained spruce
Inscribed: “.. Nicolaus Amati Cremonen / Hieronym Fili Antoni ac / Nepos fecit in 1676.”; Repair including printed label “Nicolaus Savicki Leopolitanus / reparavit Vienna Anno 18 [handwriting.] 48 / NS”
On the floor below the neck Beethoven sheet signet bearing the initials “LvB” and a big one in the paint is tarnished "B".
From Beethoven’s Violin possession. Originally Sekundgeige of the string quartet, which was given in 1800 by Prince Lichnowsky Beethoven. The violin was still 1827 in Beethoven’s estate.
Work "German school” a master of. By Michael Baumgartner is the classification as "South German” unlikely. The body has a greater affinity to the work of Johann Schorn (+ 07.27.1718, Salzburg). However, a reliable assignment is not possible.
The write-up in the Amati label is erroneous.
Work "German school” a master of. By Michael Baumgartner is the classification as "South German” unlikely. The body has a greater affinity to the work of Johann Schorn (+ 07.27.1718, Salzburg). However, a reliable assignment is not possible.
The write-up in the Amati label is erroneous.
Cut into the floor plate and flush with red sealing wax filled the capital letter "E" as the owner of a previous brand (Furstenhof).
Provenance: Ludwig van Beethoven. November 1846 in the Journal of General Intelligence for Austrian Imperial privileged newspaper advertised for sale. Between buyer and owner unknown. Last Taussig family in Moultonboro, NH. Images and description via: Beethoven-Haus Bonn
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Benoit Courti
The Scream
Edvard Munch (queue)
From Wiki:
"The Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as “an icon of modern art, a Mona Lisa for our time."
1893, National Gallery, Oslo, Norway
Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one of two painted versions The Munch Museum holds the other painted version and a pastel version from 1893. These three versions have not traveled for years.
The fourth version (pastel) was sold for $119,922,600 at Sotheby’s Impressionist and Modern art auction on 2 May 2012 to financier Leon Black, the highest nominal price paid for a painting at auction. The painting is on display in the Museum of Modern Art in New York from October 2012 to April 2013.
1893, pastel on cardboard
1910
Also in 1895, Munch created a lithograph stone of the image. Of the lithograph prints produced by Munch, several examples survive. Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch’s absence.
1895, lithograph
The Scream has been the target of several high-profile art thefts. In 1994, the version in the National Gallery was stolen. It was recovered several months later. In 2004, both The Scream and Madonna were stolen from the Munch Museum, and recovered two years later.
The original German title given to the work by Munch is, Der Schrei der Natur (The Scream of Nature). The Norwegian word skrik usually is translated as scream, but is cognate with the English shriek. Occasionally, the painting also has been called, The Cry.
In his diary in an entry headed, Nice 22 January 1892, Munch described his inspiration for the image:
One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.
This memory was later rendered by Munch as a poem, which he hand-painted onto the frame of the 1895 pastel version of the work:
I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.
Among theories advanced to account for the reddish sky in the background is the artist’s memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream. This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. The scene was identified as being the view from a road overlooking Oslo, the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch’s manic depressive sister Laura Catherine was a patient at the asylum at the foot of Ekeberg. [citation needed]
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Munch’s friend Paul Gauguin: it stood as a model for the central figure in his painting, Human misery (Grape harvest at Arles) and for the old woman at the left in his painting, Where Do We Come From? What Are We? Where Are We Going?. More recently, an Italian anthropologist speculated that Munch might have seen a mummy in Florence’s Museum of Natural History, which bears an even more striking resemblance to the painting.
The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one’s self, and also facial pain…" - Read more on wiki: HERE Top image via: kArobbins/pinterest
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