When Rabih Alameddine is struggling with his writing, he takes to Twitter, and posts pictures of works of art.
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上圖 The novelist Rabih Alameddine populates his Twitter feed with works of art, like this 1924 piece by El Lissitzky, “Proun 93. Floating Spiral.”PHOTOGRAPH BY FINE ART IMAGES / HERITAGE / GETTY
While writing “Invisible Man,” Ralph Ellison was said to have picked up his trumpet when he hit a snag so that he could sound out his thoughts in music and then right himself on the page. When the fifty-seven-year-old Lebanese-American novelist Rabih Alameddine is struggling, he takes to Twitter, and posts pictures of works of art. Signs of his inching progress appear in the images he shares while in the creative throes. “The more beautiful the image, the more frustrated I am in my writing,” he told me recently. “If I post a whole series of Matisse, then I’ve reached a dead end. If I do Monet, I’m going nowhere.”
Caravaggio was born #OnThisDay in 1571. Characterised by their dramatic, almost theatrical lighting, Caravaggio's paintings were controversial, popular, and hugely influential on succeeding generations of painters all over Europe. You can learn more about Caravaggio by watching our lunchtime talk here: http://bit.ly/2d0kwB1
His painting, 'Supper at Emmaus', will feature in our upcoming exhibition 'Beyond Caravaggio', opening on 12 October. Book now, Members go free: http://bit.ly/2d0kucy
The discovery of a painting found in the attic of a house in southwest France two years ago is being hailed as a great event in the history of art. See why: http://reut.rs/1S4m2dx
米開朗基羅·梅里西·達·卡拉瓦喬（義大利語：Michelangelo Merisi detto il ...
*****我弄不清楚書中的「知識份子」的原文，因為末篇用I. Berlin的用語「俗世教士」（The Secular Priesthood 譬如說，pp.196-97），不過你查它的出處之一：I. Berlin 《俄羅斯思想家》（彭淮棟譯，台北：聯經，1987，p. 156）強調的是「「知識份子階層」（intelligentsia）」。
字眼能談的還也許多，譬如說頁xxiv最後一句話：「我們希望….與羅馬街（Via Roman）…」
由於這可能是一般街道名，也可能是用羅馬的「羅馬大道」當象徵用。
【hc後補入：我們十七世紀的義大利寫實主義畫家卡瓦拉喬 （Caravaggio，1571-1610），就曾以溺水而死的妓女屍首為模特兒，完成宗教畫作〈處女之死〉（Death of the Virgin）【Dear Jo：這應該是「聖母」之誤解—我查哈佛大學出版社的 Circa1600: A Ｒevolution of Style in Italian Panting by S. J. Freedberg 一書，他畫了她的一生…..我們可以從台北市面上一本畫家專集了解Via Roman是他輝煌騰達之開始。】
Categories: Arts In Film, Best Arts In Film, Best Cinematography (Storaro)
Longoni's new bio-pic about Michalangelo Merisi da Caravaggio, the supremely great and more-famous-than-ever late sixteenth and early seventeenth-century Italian artist, premiered in a long version at Lincoln Center, is a glorious spectacle with a charismatic star. Marked by rich interiors, often lit as in Caravaggio's paintings, panoramic shots, sweeping music, and large cast, this is a pleasure to watch. Beautiful to look at and richly eventful, if conventional, the film never errs in tone,
The long-lost Caravaggio painting that the baroque master had with him when he died in 1610 has finally been identified, according to the world’s foremost authority on the artist.
Several copies of Mary Magdalen in Ecstasy are thought to exist. But now the Caravaggio scholar Mina Gregori has said she is confident of having made a “definitive” verification of the version that she has studied in a private European collection.
After years hunting for the real thing, the eminent art expert and president of Florence’s Roberto Longhi Art History Foundation, declared: “At last, it’s you”, after finding herself seemingly gazing at the Caravaggio original. If true, the discovery would be one of rare importance in Western art.
Ms Gregori said key characteristics of the painting, the first ever photograph of which was printed in La Repubblica yesterday, left no doubts in her mind regarding its provenance. “The creation of a body with varying tones, the intensity of the face. The strong wrists, crossed fingers and beautiful hair … the wonderful variations in light and colour – all show that it is Caravaggio,” she said.
She added that the discovery of a handwritten note attached to the back of the 103.5cm by 91.5cm painting, attributing it to Caravaggio, and denoting it is a commission by one of his important patrons, Cardinale Scipione Borghese of Rome, was the final proof. The family, who contacted Ms Gregori for the authentification, have said they have no intention of selling it.
The existence of a version known as the “Klein Magdalena” in Rome, which some experts have described as authentic, suggests that further controversy is not out of the question. Ms Gregori told The Independent she was pressing the owners of the version she says she has authenticated to make it available for some sort of public display. “Even by Caravaggio’s standards this is a beautiful and revolutionary painting,” she said. “The ultimate goal is that everyone should have the opportunity to see it. But for now all I can say is that it’s in Europe.”
Caravaggio, born Michelangelo Merisi, is celebrated for his revolutionary use of contrasting light and dark – chiaroscuro – that anticipated the work of later baroque giants including Rembrandt and Velazquez.
He was thought to have painted the Magdalen in 1606, shortly after fleeing Rome following his conviction for murder. It was during his return to the city in search of a papal pardon, carrying with him the painting, that he was believed to have become ill with fever, and died in Tuscany.
Revolutionary lost Caravaggio painting 'Mary Magdalen in Ecstasy' identified
Several copies of Mary Magdalen in Ecstasy are thought to exist
A filling station is a facility that sells fuel and engine lubricants for motor vehicles. The most common fuels sold in the 2010s are gasoline and diesel fuel. A filling ...
Many of you share our love for anything Frank Lloyd Wright but did you know he designed a gas station in Minnesota? It's still there and it's still a gas station!
The Secret Museum or Secret Cabinet of Naples is the collection of erotic art in Pompeii and Herculaneum, held in separate galleries in the National Archaeological Museum, Naples, Italy, the former Museo Borbonico. Wikipedia
Romans in general, and citizens of Pompeii and nearby Herculaneum in particular, had a robust appreciation for the erotic in art and everyday objects. The enormously well-endowed god Priapus was a common good-luck symbol, seen in everything from frescoes to penis-shaped wind chimes to perky oil lamps. (His huge member supposedly had little to do with sex: It served to scare off thieves.) Stories from mythology painted on walls were full of sexual encounters, secret trysts, and naughty satyrs. In some ways, this erotica was widely accepted on a level that even modern society would have trouble with, let alone Victorian Europe.
The looting of Pompeii began in the late 1700s under the direction of Charles of Bourbon, better known as Charles III of Spain, who was after fashionable antiquities for his private collections. When Napoleon's brother rolled into town in 1806, the French regime drew up the first organized plans to excavate the city in its entirety, and this process continued when control of Naples reverted to the Bourbons under Ferdinand I.
As was common for excavations of the period, frescoes were stripped from the walls, and small decorative objects, pieces of furniture, and statues were removed for safe storage, study, and display elsewhere. In this case, they were relocated to the National Museum (Museo Archeologico Nazionale di Napoli).
In 1816, a limited-edition French guide to the collection - with illustrations - began making its way around Europe. Most copies were confiscated and destroyed by the French authorities, and the guide eventually became a highly sought-after collector's item.
When Ferdinand's son, Francis I, visited with his wife and young daughter in 1819, he was shocked by the explicit imagery and ordered all items of a sexual nature be removed from view and locked in a secret cabinet, where access could be restricted to scholars (and male visitors willing to bribe the staff).
In Pompeii itself, metal shutters were installed over erotic paintings, making these two thousand-year-old images accessible to tourists for an extra fee - and to men only, of course.
All of this fervor only served to make the collection more famous, and it became a right of passage for European gentlemen to view the secret collection on their Grand Tours.
Among dozens of stone penises, phallic wind chimes, and naughty mosaics, one item became the most famous: The Goat. This piece de resistance is a detailed carving of a satyr having intercourse with a female goat, her cloven feet pressed up against his chest as she gazes back at him at him with some fondness.
In 1849, the collection was bricked off and remained famously off limits to women, youngsters, and the general public. For a century and a half the collection remained out of sight, on view only during brief liberal periods under Garibaldi and again in the 1960s.
The Gabinetto Segreto was finally opened to the public in 2000 and moved into a separate gallery in 2005.
In 1849, the collection was bricked off and remained famously off limits to women, youngsters, and the general public. For a century and a half the collection remained out of sight.
著名畫家崔如琢拍出後旋即不知去向的巨幅山水畫『山色蒼茫釀雪天』
