Ko je vash/a najomiljeniji/a umetnik/ca?
Started by
Lavinia Amaldi
, Jun 08 2003 16:49
382 replies to this topic
#17
Lavinia Amaldi
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Posted 16 June 2003 - 11:49
Draga Darky,Gaudi jeste genijalac, bez daljnjeg (iako me ne pomera mnogo s aspekta estetike...nakindjuren je malko previse za moj ukus, pre"organichan" je).
Ono sto me odusevljava je da je projektovao 'naopacke', zapravo koristeci gravitacionu silu kao pomoc da bi razresio zaista komplikovane /inzenjerske/ probleme. Makete je pravio od kanapa i carsava (sluzeci se kesicama punim peska kao tegovima). Makete su bile povecih razmera (zauzimajuci prostor velicine manjih soba). Ne znam da li imas te imidze da nam prosledis (ja bih ti bila veoma zahvalna!)?
"Komplet" delim svoje odushevljenje sa Jamiem shto se na Forumu...itd.
Ne znam koje si struke, nije ni vazno, ali vidim da nismo daleko.
Za ovog Koreanca nisam znala, ali mi se bash dopao.
Mozda bi se i za Gaudija moglo napisati neshto slichno, jer u mnogim njegovim delima jedan detalj (a to je ono shto me odushevljava najvishe) je umetnost po sebi, koja umnozavanjem postaje deo vece celine koja je opet element koji je...
Neshto slichno kao Esher?, recimo...
(Pomisli samo - naprimer - na te keramichke plochice, razbijene u delove i sklopljene u celinu visheg reda... Ili gore fotografija koju sam stavila - detalj dimnjaka, to je vajarsko delo po sebi, pak samo dimnjak na jednoj nekolikohiljadakvadratnihmetara stambenoj zgradi...itd.)
NARAVNO da je njegova arhitektura "pomalo?" prenakindjurena, daleko od toga da je moj pristup projektovanju takav kao njegov (ja volim slobodne, shiroke, vishefunkcionalne, komunikativne, fleksibilne, cirkulatorne itd prostore, jednostavne po formi ali koje - eh, zao mi je shto se ovde ne moze staviti neka nasha fotka - vredi vidhe od 1000rechi...), ali Gaudi je ipak GENIJALAC, za ono vreme, za potpuno originalan pristup, inspirisan prirodom, pokreton, biljkama, morem, zmajevima, itd ... neprevazidjen u tom smislu.
Ako bih nabrajala druge arhitekte, bilo bi tu mnogo imena na chijoj sam se arhitekturi shkolovala, ali Gaudi mi je ipak nekako najblizi srcu. Te poshto je ovde bilo:NAJdrazi...
Njegove makete su naravno, posebna pricha, slichno kao i crtezi njegovih projekata...
Svaka maketa mu je oduzela po neznam ni ja koliko meseci zivota, to su uistinu bili "umanjeni" izokrenuti ali i potpuno verni objekti, u Sagrada Familiji u Barsi se nalazi prostor u kojem je sachuvano nekoliko maketa, imam dosta knjiga o njemu, ali na netu sam nashla evo samo ovu (ako budem nashla josh prilozicu rado kasnije)
O detaljima (dimnjacima, ventilacionim otvorima - neshto shto mnogi sagledavaju tek kao "nuzno zlo", ogradama, kapijama itd od kovanog gvozdja, etc) kojima se on bavio pridajuci im podjednaku vaznost kao i celini govore i sledece slichice:
Imalo bi toga josh mnogo, mnogo, nego, da je mogao da isprojektuje i elegantne prostore lishene svakog suvishnog detalja, ali opet zadobije tu neku uzvishenu lepotu u jednostavnosti, fotografija hodnika u koledzu sv. Tereze
.
#18
darky
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Posted 17 June 2003 - 05:07
Draga Darky,Gaudi jeste genijalac, bez daljnjeg (iako me ne pomera mnogo s aspekta estetike...nakindjuren je malko previse za moj ukus, pre"organichan" je).
Ono sto me odusevljava je da je projektovao 'naopacke', zapravo koristeci gravitacionu silu kao pomoc da bi razresio zaista komplikovane /inzenjerske/ probleme. Makete je pravio od kanapa i carsava (sluzeci se kesicama punim peska kao tegovima). Makete su bile povecih razmera (zauzimajuci prostor velicine manjih soba). Ne znam da li imas te imidze da nam prosledis (ja bih ti bila veoma zahvalna!)?
"Komplet" delim svoje odushevljenje sa Jamiem shto se na Forumu...itd.
Ne znam koje si struke, nije ni vazno, ali vidim da nismo daleko.
Za ovog Koreanca nisam znala, ali mi se bash dopao.
Mozda bi se i za Gaudija moglo napisati neshto slichno, jer u mnogim njegovim delima jedan detalj (a to je ono shto me odushevljava najvishe) je umetnost po sebi, koja umnozavanjem postaje deo vece celine koja je opet element koji je...
Neshto slichno kao Esher?, recimo...
(Pomisli samo - naprimer - na te keramichke plochice, razbijene u delove i sklopljene u celinu visheg reda... Ili gore fotografija koju sam stavila - detalj dimnjaka, to je vajarsko delo po sebi, pak samo dimnjak na jednoj nekolikohiljadakvadratnihmetara stambenoj zgradi...itd.)
NARAVNO da je njegova arhitektura "pomalo?" prenakindjurena, daleko od toga da je moj pristup projektovanju takav kao njegov (ja volim slobodne, shiroke, vishefunkcionalne, komunikativne, fleksibilne, cirkulatorne itd prostore, jednostavne po formi ali koje - eh, zao mi je shto se ovde ne moze staviti neka nasha fotka - vredi vidhe od 1000rechi...), ali Gaudi je ipak GENIJALAC, za ono vreme, za potpuno originalan pristup, inspirisan prirodom, pokreton, biljkama, morem, zmajevima, itd ... neprevazidjen u tom smislu.
Ako bih nabrajala druge arhitekte, bilo bi tu mnogo imena na chijoj sam se arhitekturi shkolovala, ali Gaudi mi je ipak nekako najblizi srcu. Te poshto je ovde bilo:NAJdrazi...
Njegove makete su naravno, posebna pricha, slichno kao i crtezi njegovih projekata...
Svaka maketa mu je oduzela po neznam ni ja koliko meseci zivota, to su uistinu bili "umanjeni" izokrenuti ali i potpuno verni objekti, u Sagrada Familiji u Barsi se nalazi prostor u kojem je sachuvano nekoliko maketa, imam dosta knjiga o njemu, ali na netu sam nashla evo samo ovu (ako budem nashla josh prilozicu rado kasnije)
O detaljima (dimnjacima, ventilacionim otvorima - neshto shto mnogi sagledavaju tek kao "nuzno zlo", ogradama, kapijama itd od kovanog gvozdja, etc) kojima se on bavio pridajuci im podjednaku vaznost kao i celini govore i sledece slichice:
Hvala Lavinia A.! (te fotke su prilicno retke = ali posto si gaudijevac mislila sam da imas bar neku!)
Pozdrav
#19
chandra
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Posted 17 June 2003 - 15:36
SRECAN VAM SVIMA ESHEROV RODJENDAN! (slavi se i na Googlu, obavezno pogledajte)Neshto slichno kao Esher?, recimo...
"Ako bih nabrajala druge arhitekte, bilo bi tu mnogo imena na chijoj sam se arhitekturi shkolovala, ali Gaudi mi je ipak nekako najblizi srcu."
Calatrava? (bacena udica)
#20
Double Trouble
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Posted 19 June 2003 - 19:40
...
Tower of Sculls, near Nish [1809]
quicklime, sand and skinned sculls
B) &
#21
Lavinia Amaldi
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Posted 11 July 2003 - 18:46
So, his crazy & weird majesty - Esher...
drawing hands...
...hand with sphere
...lizards
three worlds...
...
high and low
drawing hands...
...hand with sphere...lizards
three worlds...
...high and low
#22
matilda01
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Posted 11 July 2003 - 20:51
Nije bas da je citat, al' je pjesma koju nikako da zaboravim:)
"Jedan red napisah u pijesku, na obali,
pretocivsi u nj' sav svoj um i dusu.
U vrijeme plime, dodjoh da procitam zagonetku,
al' na obali ne vidjeh nista osim glupost svoju"
Halil Dzubran
(tako nesto)
Ziveli:)
Matilda
"Jedan red napisah u pijesku, na obali,
pretocivsi u nj' sav svoj um i dusu.
U vrijeme plime, dodjoh da procitam zagonetku,
al' na obali ne vidjeh nista osim glupost svoju"
Halil Dzubran
(tako nesto)
Ziveli:)
Matilda
#23
matilda01
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Posted 11 July 2003 - 20:54
E, a ovo nije, kao, onaj topic sa omiljenim citatima... Jao, potpuno sam se izgubila, nema veze, nek' ostane ako ga moderator ne skine
I to je neka umetnost
I to je neka umetnost
#24
Lavinia Amaldi
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Posted 12 July 2003 - 10:59
Hm, bash me zanima na kojem postu ce konachno "prelomiti" stranicu...
Evo eksperimenta...
Salvador Dali...(1904-1989)
"Spanish painter. Born into a middle-class family, he studied at the Academy of Fine Arts in Madrid, where he mastered academic techniques. Dalí also pursued his personal interest in Cubism and Futurism and was expelled from the academy for indiscipline in 1923. He formed friendships with Lorca and Buñuel, read Freud with enthusiasm and held his first one-man show in Barcelona (1925), where he exhibited a number of seascapes. He wrote the screenplay for Buñuel's Un Chien Andalou (produced in 1928), largely thanks to which he was adopted by the Surrealists. In Paris he met Picasso and Breton, and his involvement from 1929 onwards, his effervescent activity, his flair for getting publicity through scandal and his vivacity which counterbalanced the political difficulties encountered by the group, made him a particularly welcome addition...
Dalí devoted himself with passionate intensity to developing his method, which he described as 'paranoiac-critical', a 'spontaneous method of irrational knowledge based on the critical and systematic objectivation of delirious associations and interpretations'. ..
Believe it or not, the man was as strange as his art..." etc.
"elephants"...
"contemplating an invisible miror"...
zaboravih naziv…beshe neshto "lady with the flower head", ili?, stao mi mozak (ne pre dvadeset godina... )
"galathea of the spheres"...
a ovo samo kao link...Virgin Buggered by her own Chastity
Evo eksperimenta...
Salvador Dali...(1904-1989)
"Spanish painter. Born into a middle-class family, he studied at the Academy of Fine Arts in Madrid, where he mastered academic techniques. Dalí also pursued his personal interest in Cubism and Futurism and was expelled from the academy for indiscipline in 1923. He formed friendships with Lorca and Buñuel, read Freud with enthusiasm and held his first one-man show in Barcelona (1925), where he exhibited a number of seascapes. He wrote the screenplay for Buñuel's Un Chien Andalou (produced in 1928), largely thanks to which he was adopted by the Surrealists. In Paris he met Picasso and Breton, and his involvement from 1929 onwards, his effervescent activity, his flair for getting publicity through scandal and his vivacity which counterbalanced the political difficulties encountered by the group, made him a particularly welcome addition...
Dalí devoted himself with passionate intensity to developing his method, which he described as 'paranoiac-critical', a 'spontaneous method of irrational knowledge based on the critical and systematic objectivation of delirious associations and interpretations'. ..
Believe it or not, the man was as strange as his art..." etc.
"elephants"...
"contemplating an invisible miror"...
zaboravih naziv…beshe neshto "lady with the flower head", ili?, stao mi mozak (ne pre dvadeset godina...
)"galathea of the spheres"...
a ovo samo kao link...Virgin Buggered by her own Chastity
#25
tanjajedaska
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Posted 12 July 2003 - 17:54
Wu shuLavinia Amaldi
Antoni Gaudi i Cornet
Podsetila si me da pomenem "moje" arhitekte: Jern Ucon, onaj što je izmislio Operu u Sidneju, i koji je iako je 9. aprila napunio 85 godina, ponovo profesor arhitekture na jednom univerzitetu!
Evo ga -> Jørn Utzon.
A njegov učitelj, danski Bogdan Bogdanović, da je ovdašnji, bio bi Titoista, jeste Sten Ojler Rasmusen, a o njemu drugi put.
Načuo sam nešto o Abramovićki
Je l' to ona folirantkinja koja je u Veneciji naslagala cigle koje "simbolišu rušenje Jugoslavije" (!!!, kao što "vrane simbolišu da ljudi imaju težag život" ili "ovo je figurina lijepe mome koja prestavlja sedam seljaka koji bježe u strahu pred neprijateljem"), i, pošto je dobila nagradu, rekla nešto u stuli mrtav umetnik je dobar umetnik, a dobar kritičar je živ kritičar..." ili slično. zatim je neuspešno pokušavala da užicari 100 hiljada maraka za pozorišnu predstavu (!) sa istim ciglama u Amsterdamu, ali niko nije bio toliko lud da dotira kamione koji bi cigle vozili po lepim drumovima E.Unije.
Edited by tanjajedaska, 12 July 2003 - 20:08.
#26
Lavinia Amaldi
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Posted 12 July 2003 - 19:01
Pa sudeci po zivotu koji je ziveo ne bih se iznenadila, a i zasluzio je...Cuo sam da tog tvojeg hoce da proglase svecem!
Btw. A gde si to chuo?
#27
Iznogud al-Podvali
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Posted 13 July 2003 - 20:00
Морам да будем искрен и објективан и да признам да је моја ониљена уметница - Мерима Његомир. А ни Цунета не бацам. И поред силних обавеза, налазим по који слободан тренутак за оплемењивање.
#28
Lavinia Amaldi
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Posted 13 July 2003 - 20:12
Gustav Klimt (1862-1918)
...mother and child
..portret mlade zene
ova je super-mnogo mi se dopada - detalj…(Acqua Mossa)
detalj "medicine" - Higija
"Gustav Klimt first made himself known by the decorations he executed (with his brother and their art school companion F. Matsch), for numerous theatres and above all (on his own this time) for the Kunsthistorisches Museum in Vienna, where he completed, in a coolly photographic style, the work begun by Makart. At the age of thirty he moved into his own studio and turned to easel painting. At thirty-five he was one of the founders of the Vienna Secession; he withdrew eight years later, dismayed by the increasingly strong trend towards naturalism.
"The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar. Nothing could be further from the truth. Far from being acknowledged as the representative artist of his age, Klimt was the target of violent criticism; his work was sometimes displayed behind a screen to avoid corrupting the sensibilities of the young. His work is deceptive. Today we see in it the Byzantine luxuriance of form, the vivid juxtaposition of colors derived from the Austrian rococo - aspects so markedly different from the clinical abruptness of Egon Schiele. But we see it with expectations generated by epochs of which his own age was ignorant.
"For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death. Even the portraits, with their timeless aspect, may be perceived as defying fate. Sleep, Hope (a pregnant woman surrounded by baleful faces) and Death are subjects no less characteristic than the Kiss. Yet life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom, constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression. For the striking two-dimensionality with which Klimt surrounds his figures evokes the gold ground of Byzantine art, a ground that, in negating space, may be regarded as negating time - and thus creating a figure of eternity. Yet in Klimt's painting, it is not the austere foursquare figures of Byzantine art that confront us, but ecstatically intertwined bodies whose flesh seems the more real for their iconical setting of gold."
smrt i zivot
poljubac
ispunjenje (detalj)...
etc.
...mother and child..portret mlade zeneova je super-mnogo mi se dopada - detalj…(Acqua Mossa)
detalj "medicine" - Higija
"Gustav Klimt first made himself known by the decorations he executed (with his brother and their art school companion F. Matsch), for numerous theatres and above all (on his own this time) for the Kunsthistorisches Museum in Vienna, where he completed, in a coolly photographic style, the work begun by Makart. At the age of thirty he moved into his own studio and turned to easel painting. At thirty-five he was one of the founders of the Vienna Secession; he withdrew eight years later, dismayed by the increasingly strong trend towards naturalism.
"The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar. Nothing could be further from the truth. Far from being acknowledged as the representative artist of his age, Klimt was the target of violent criticism; his work was sometimes displayed behind a screen to avoid corrupting the sensibilities of the young. His work is deceptive. Today we see in it the Byzantine luxuriance of form, the vivid juxtaposition of colors derived from the Austrian rococo - aspects so markedly different from the clinical abruptness of Egon Schiele. But we see it with expectations generated by epochs of which his own age was ignorant.
"For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death. Even the portraits, with their timeless aspect, may be perceived as defying fate. Sleep, Hope (a pregnant woman surrounded by baleful faces) and Death are subjects no less characteristic than the Kiss. Yet life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom, constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression. For the striking two-dimensionality with which Klimt surrounds his figures evokes the gold ground of Byzantine art, a ground that, in negating space, may be regarded as negating time - and thus creating a figure of eternity. Yet in Klimt's painting, it is not the austere foursquare figures of Byzantine art that confront us, but ecstatically intertwined bodies whose flesh seems the more real for their iconical setting of gold."
smrt i zivot
poljubac
ispunjenje (detalj)...
etc.
#29
Gabriel
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Posted 23 July 2003 - 15:39
Na ovome pak topicu moram prijaviti Eda Murtića, moga najomiljelijeg hrvaškega slikara.Slike, retrospektiva, biografija. Ede Murtića sve to - ovde.
Uživajte, ako vam paše. B)
Uživajte, ako vam paše. B)
#30
elle
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Posted 24 July 2003 - 12:53
hej, pa svi se ovde slazu?! haha
ideja divna, mmmmm Gaudi, Shile.... Mikelandjalo, Mozart / ko ce? /
......
medju meni najomiljnijim je konceptualista, filozof
Braco Dimitrijevic
"There are no mistakes in history, all history is a mistake"
Braco Dimitrijevic, 1969
by Olivier Zahm
Cited from: Art Press 144, 1990, pages 25-27
In the origin of his works we can find a rejection of History as a
false and restricting scenario, and, in the background, the
essential conviction that this restricting relationship determines
our way of being in the world, here and now. To put it better, when
we receive History in a passive way, without a critical look, this
leads to a non-recognition of the present, thinking of it only as a
time that will pass, that has already passed, an anesthesia...
To Dimitrijevic the present is not an inconsistent event of a
History that pretends to be objective. He goes against a present
whose truth would be in History, that is to say, in a restraining
and false scenario restructured posthumously. This destitution of
history, however, does not make present an absolute value, a new
contemporary tenet to replace the former one and that must be
celebrated as such. The present is neither void nor glorious, but
needs to be constantly discovered, reinvented.
In his Tractatus post-historicus,1 essay written in 1974,
Dimitrijevic places in the core of his proposal the notion of
post-history, seen at the same time as a novel relationship with the
past and an opening towards contemporaneity itself in a developing
present. Post-history is not the end of History but an non
historical retrieval of time; it is the condition for the appearance
of a notion of contemporaneity. This theoretical and aesthetic
stance disbelieved, even before its intellectual success, the
postmodern thesis of the ę80s that makes from the end of History the
meaningless time of simulacrum, the event with no consequences,
virtuality. His position is also a reaction against the "modern" and
fervent supporters of History in their insolent and nostalgic
version of going back to the time of the Age of Reason, and
reinterpretation and the fact of rechecking everything....
On one side it is this fascination for a future free from historic
approaches; on the other, the nostalgia for origins....
.......
http://www.uol.com.b...iueobd.htm#Nome
DT, ima naucnih dokaza
si videla novu izlozbu?
Esher, Bach.... mmmmmmmmmm
hvala za Koranca, nikad cula, zaronicu!!
ideja divna, mmmmm Gaudi, Shile.... Mikelandjalo, Mozart / ko ce?
/......
medju meni najomiljnijim je konceptualista, filozof
Braco Dimitrijevic
"There are no mistakes in history, all history is a mistake"
Braco Dimitrijevic, 1969
by Olivier Zahm
Cited from: Art Press 144, 1990, pages 25-27
In the origin of his works we can find a rejection of History as a
false and restricting scenario, and, in the background, the
essential conviction that this restricting relationship determines
our way of being in the world, here and now. To put it better, when
we receive History in a passive way, without a critical look, this
leads to a non-recognition of the present, thinking of it only as a
time that will pass, that has already passed, an anesthesia...
To Dimitrijevic the present is not an inconsistent event of a
History that pretends to be objective. He goes against a present
whose truth would be in History, that is to say, in a restraining
and false scenario restructured posthumously. This destitution of
history, however, does not make present an absolute value, a new
contemporary tenet to replace the former one and that must be
celebrated as such. The present is neither void nor glorious, but
needs to be constantly discovered, reinvented.
In his Tractatus post-historicus,1 essay written in 1974,
Dimitrijevic places in the core of his proposal the notion of
post-history, seen at the same time as a novel relationship with the
past and an opening towards contemporaneity itself in a developing
present. Post-history is not the end of History but an non
historical retrieval of time; it is the condition for the appearance
of a notion of contemporaneity. This theoretical and aesthetic
stance disbelieved, even before its intellectual success, the
postmodern thesis of the ę80s that makes from the end of History the
meaningless time of simulacrum, the event with no consequences,
virtuality. His position is also a reaction against the "modern" and
fervent supporters of History in their insolent and nostalgic
version of going back to the time of the Age of Reason, and
reinterpretation and the fact of rechecking everything....
On one side it is this fascination for a future free from historic
approaches; on the other, the nostalgia for origins....
.......
http://www.uol.com.b...iueobd.htm#Nome
DT, ima naucnih dokaza
si videla novu izlozbu?
Esher, Bach.... mmmmmmmmmm
hvala za Koranca, nikad cula, zaronicu!!
