Sunday 27 September 2015

Impressionism and Post-Impressionism in Paris

Dear All

In Paris, We have seen some artists also responded to their modern surroundings . Impressionism is a 19th-century art movement against tradition and norm.  The Movement in art and literature that rejected the subjective, emotional, exotic  sentiments  took Arts and human civilisation one step further.  Post-Impressionism movement in France  ushered in an era during which painting transcended its traditional role as a window onto the world and instead became a window into the artist's mind and soul and  personal meanings. 

We also visited the Centre Pompidou  in Paris  which rocked the architecture world when it opened in 1977, with its exposed ventilation ducts, brightly colored pipes,  the design to optimise natural lighting  and covered escalators crisscrossing the modern museums’ exterior, but we missed the exhibitions inside. 


Impressionism - Overview - Goodbye-Art Academy - YouTube
https://m.youtube.com/watch?v=kuOonogw-TM

Bill


Impressionism is a 19th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.
The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant(Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiricalreview published in the Parisian newspaper Le Charivari.
The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.
"Nature is not only all that is visible to the eye...It also includes the inner pictures of the soul."
In 1872, Claude Monet radically altered the path of painting, ushering in a revolutionary mode of visual expression in which artists responded to their modern surroundings. This was achieved in the painting Impression, Sunrise(1872). 

Post Impressionism at Musée d'Orsay

Impressionism - Overview - Goodbye-Art Academy - YouTube
https://m.youtube.com/watch?v=kuOonogw-TM

Impressionist art: from Musee d'Orsay to National Museum of Korea - YouTube
https://m.youtube.com/watch?v=PfVcJ52PAg4


The Impressionist Revolution short documentary - YouTube
https://m.youtube.com/watch?v=V2iX2NpWA7g

Post-Impressionism movement in France for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. All of these painters except van Gogh were French, and most of them began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.

Impressionism / Post-Impressionism Lecture - YouTube
https://m.youtube.com/watch?v=ucsjYz0FGj0

Musée d'Orsay : visite et tableaux impressionnistes - YouTube
https://m.youtube.com/watch?v=zSXy2vZYqI8

Post-Impressionism - YouTube
https://m.youtube.com/watch?v=eV_ZntDBlW4

Henri Matisse combined his paintings in the Rosaire chapel which remains a sacred art monument , unique in the world from 1948.   His masterpiece - the design of the Vence chapel. 
The white walls, floor and the ceiling contrast with the stain glass windows which each day allow the day light to penetrate through. The stain glass windows are composed of three colours : yellow (the light of the sun and of God), green (nature) and blue ( the Mediterranean sky). Three big paintings engraved on white ceramic decorate the walls of the chapel. Only the reflection of the stain glass windows project colour on the three compositions. “Saint Dominique”, “The Virgin Mary and Child” and the “Stations of the cross”.


The   Centre Pompidou  in Paris  is a cultural reference of the highest level, it rocked the architecture world when it opened in 1977, with its exposed ventilation ducts, brightly colored pipes,  the design to optimise natural lighting  and covered escalators crisscrossing the modern museums’ exterior.
The Architect Piano said the Pompidou  was about making culture more accessible — creating curiosity. As Europe's largest modern art gallery, visitors can enjoy over 50,000 works of art and masterpieces by Picasso, Duchamp, Ernst and Miró. As the largest and most important museum of modern art in Europe, and one of the most renowned in the world, Centre Pompidou is a must-see attraction when you’re visiting Paris. Featuring the late 19th-20th century art, explore its collections and galleries featuring over 50,000 works, including movements from Fauvism, Cubism, Surrealism and Abstract Expressionism.
Modern Art at Pompidou Center - Paris 2013 - YouTube
https://m.youtube.com/watch?v=9rFtzWCfOxs


Best Regards
Bill


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Friday 18 September 2015

Realism in Olympia, Some Painting in Musée d'Orsay, Paris

We visited Musée d'Orsay in Paris.  The museums provides an important integrator  to preserve Arts which can actually reflects how human culture has evolved and speaks about humanity. we met a museum  volunteer originally from Cameron in Africa , a student to be our  guide to elaborate and open us on  some artworks. 

 

I am not a fan of paintry, but I like Musée d'Orsay more as  it doesn't have the boring Renaissance art in the Louvre, it  focuses on French art in the 19th and early 20th century which is more lively.
Let's appreciate naturalism and Realism. 

Olympia, the painting by Édouard Manet


Regards
Bill

The Musée d'Orsay is a must- see Museum, 

 Lots of famous masterpieces talking lively to the audiences.  

In 1986, the Musée d'Orsay, a museum formed of a former railway station, was opened 

 and now the museum holds mainly French art dating from 1848 to 1915.  It speaks about the Salon of the eighteenth century,  and talks about Contemporary Cultures of Display. 

we met a museum  student (

Fred -study Marketing- 5. Yr. in France, living in one bedroom studio with girl friend paying $1200 rent per month , from Cameroon - 23M  people ,  south of Nigeria) 

volunteer originally from Cameroon in Africa ( 

France set up Cameroon as an autonomous state in 1957, and the next year its legislative assembly voted for independence by 1960) who was great to be our  guide to elaborate and open us on  some artworks. 

 

I like it more as  it doesn't have the boring Renaissance art in the Louvre, the d'Orsay focuses on French art in the 19th and early 20th century which is more lively.


 The Landscape of Humanity: Art, Culture, and Society
beauty should be one of the main aims of art; the attempt to understand ourselves and our place in the world from our subjective point of view is at the heart of culture (this in stark contrast with the aims of science); and artworks are essentially the products of human spirit and imagination, and could never be mechanically produced.
 to operate in an open and human way, there needs to be a sizable middle class committed to the traditions of liberty and humanity,  that more than Popperian openness is needed to hold a society together.
O'Hear considered  art and aesthetic experience point to something that transcends the material and evolutionary theory cannot give us a full account of human life and experience, however agreed that Art cannot function as a serious political gesture. 
 The Landscape of Humanity. 

Difference between Nude ( nature and not so real - classic ) and naked ( Realist-more real , not perfect as naturalism by Manet Edouard - later more concentrate on showing light on subject than the subject itself  ) 

Clark's insights and suggestions into the philosophy of the nude:   to "explain" the Greeks, Michelangelo, Botticelli, Renoir on the limited aspect of art history. He commented on the  changes in standards of beauty chronically ; the mathematical and detached nude of classical Greece decays with change in attitude toward the flesh, into the bulbous and ascetic shapes of medieval art.  "The very degradation the body has suffered as a result of Christian morality served to sharpen its erotic impact. The formula of the classical ideal had been more protective than any drapery; whereas the shape of the Gothic body, which suggested that it was normally clothed, gave it the impropriety of a secret." Ergo, a rebirth of interest in the human form as a subject of art in the Renaissance, although with a different view of man implicit in every muscle, for the Renaissance--especially the Michelangelo--nude was burdened with a soul."
These problems which he delinates seem to be most central to any study of aesthetics or culture, and his often quite modest conclusions, offer food for thought, though not to be taken without careful examination. The work seems sure to become something of a classic. It is richly rewarding and provocative reading which illuminates and makes explicit a part of the world too seldom looked at with the full light of intelligence and that is critical to an understanding of what we are in physical terms, an appreciation which seems very distant from us, and yet Clark's words ring true.
Discussing the distinction between "naked" and "nude," Clark insists that the nude must be an idealization, and that this ideal beauty is a tangible vision  that the nude is "a means of affirming the belief in ultimate perfection."

The nude, then, need not only hymn what a marvelous work is man, but also how pathetic.  The nude has the strength of both immediacy and severe truth--man as he really is. 

This "truth" of the nude is reenforced by the knowledge that human beauty is transitory. The Greeks felt that the human figure in its prime is the highest subject of art, but not, one suspects, from the unbalanced optimism about the powers of man for which they are often given credit, but from a sense of tragedy of the mortal before the immortal and of the fleetingness of youth and happiness.
Clark  added "No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling."
Clark's Analysis of Nude Balances Real and Ideal | News | The Harvard Crimson

Impressionism- 1874- 20th century. --how to present a thing , not drawing and detailing the material subject. 
Impressionism is the newspaper of the soul. The impressionists regarded Manet as their inspiration and leader in their spirit of revolution, 

For most of the nineteenth century then, the Salon was the only way to exhibit your work (and therefore the only way to establish your reptutation and make a living as an artist). The works exhibited at the Salon were chosen by a jury—which could often be quite arbitrary. The artists we know today as Impressionists—Claude Monet, August Renoir, Edgar Degas, Berthe Morisot, Alfred Sisley (and several others)—could not afford to wait for France to accept their work. They all had experienced rejection by the Salon jury in recent years and felt that waiting an entire year between exhibitions wastoo long. They needed to show their work and they wanted to sell it.
The Impressionists pooled their money, rented a studio and held eight exhibitions from 1874 through 1886.
Courbet, Manet and the Impressionists also challenged the Academy’s category  that only “history painting” was great painting. These young Realists and Impressionists questioned the long establiished hierarchy of subject matter and believed that landscapes and genres scenes (scenes of contemporary life) were worthy and important.  Their technique tried to capture what they saw. They painted small commas of pure color one next to another. When viewer stood at a reasonable distance their eyes would see a mix of individual marks; colors that had blended optically which ain. Their technique tried to capture what they saw. They painted small commas of pure color one next to another. When viewer stood at a reasonable distance their eyes would see a mix of individual marks; colors that had blended optically which created more vibrant colors than colors mixed as physical paint on a palette.  The Impressionists wanted to create an art that was modern by capturing the rapid pace of contemporary life and the fleeting conditions of light. They painted outdoors (en plein air) to capture the appearance of the light as it flickered and faded while they worked.



Best Regards
Bill

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Saturday 5 September 2015

Liberty, Equality, Fraternity and Democracy in EU

The Europe tour has broadened  us the views on the European culture and its societies. It is indeed a good course in life to walk ten thousand miles and read ten thousand books.  While the Italian Dolomites shows its charm of nature, Paris shows human strength to encounter human problems.  Hope to discuss some common issues with you guys.  

Liberty, Equality,  Fraternity   is the national motto of France , and   De Gaulle did openly criticised the U.S. intervention in Vietnam[3] and the "exorbitant privilege" of the U.S. dollar,[4] and withdrew from NATO's.  Paris  today has shown its ability  as a fabulously colourful mixture of Christians, Muslims, Jews, Buddhists, Hindus, atheists and a forerunner in such a complicated multiculturalism despite that  many Europeans are deeply uneasy with this diversity.

  However,  it is said that The EU polity  in Europe is constrained on political competition. Parties on the left cannot promise high social protection or expansionary spending policies, and parties on the right cannot promise labour market deregulation or tax cuts. The choice, then, is either to accept the constraints of the EU polity or to advocate radical reform of, or withdrawal from, the EU. Greece is an exemplar of the flaws in the European welfare model.

It is also said that The rise of Christian democracy in Europe has now shown that Catholicism can be Both Solution and Problem in Democracy. 

Bill

Liberty, Equality, Fraternity   is the national motto of France. This legacy of the Age of Enlightenment, the motto "Liberté, Egalité, Fraternité" first appeared during the French Revolution.  Although it was often called into question, it finally established itself under the Third Republic. It was rejected during the Second Empire, but finally became established under the 3rd Republic. There is still some resistance, even among partisans of the Republic: solidarity is sometimes preferred to equality, which implies social levelling, and the Christian connotation of brotherhood is not always unanimously accepted.
When the Constitution of 1848 was drafted, the slogan “Liberté, Égalité, Fraternité” was defined as a “principle” of the Republic.  Founded in 1792, the French Republic has been defined and redefined by a succession of regimes and institutions, a multiplicity of symbols, and a plurality of meanings, ideas, and values. Although constantly in flux, the Republic has nonetheless produced a set of core ideals and practices fundamental to modern France's political culture and democratic life to deal with  the press; immigration; decolonization; anti-Semitism; gender; the family; cultural policy; and the Muslim headscarf debates.   

France retreated from NATO as early as 1959. 

Charles de Gaulle - Wikipedia, the free encyclopedia

https://en.m.wikipedia.org › wiki › Charl...
Mobile-friendly - This article is about the Frenchstatesman. ... He was the leader of Free France ( 1940–44) and the head of the Provisional ... a policy of "national independence" which led him to withdraw from NATO's ...

 de Gaulle initiated his "Politics of Grandeur",[2] asserting that France as a major power should not rely on other countries, such as the United States, for its national security and prosperity. To this end, de Gaulle pursued a policy of "national independence" which led him to withdraw from NATO's military integrated command and to launch an independent nuclear development program that made France the fourth nuclear power. He restored cordial Franco-German relations in order to create a European counterweight between the "Anglo-Saxon" (American and British) and Soviet spheres of influence. 
De Gaulle openly criticised the U.S. intervention in Vietnam[3] and the "exorbitant privilege" of the U.S. dollar,[4] 

France and NATO: An History - Cairn International

Tony Blair: public can't be trusted to make 'sensible choice' on EU
‘privatization’ of religions as concomitant has been severe with modernization.1  religion reappears from the public arenas of their respective soci‐ eties or from the constitution of collective identities very forcibly. Indeed, one of the most important aspects of the contemporary scene was that of religions, which, relegated or confined in the classical model of the nation‐state and revolutionary state to private or sec‐ ondary public spheres, re‐entered the major political and cultural arenas and the central frameworks of collective identities of many societies. 

one of the most important changes in the contemporary global scene has been the development of transnational religious and/or ethnic virtual associations, communities and networks, among which diasporic communities and networks are most important. The most significant among such diasporic communities and networks are the Muslim one, or ones, especially in Europe and in the USA.

The unkindest cuts

Many countries face the difficult choice of upsetting the markets or upsetting their voters. Countries have long had a complicated relationship with their national debt.  

Greece is an exemplar of the flaws in the European welfare model. The state gets remorselessly bigger because political parties of the right and left have bought votes by providing supporters with jobs or subsidies.  the state must “remove benefits that have built up like a ship accumulates barnacles”. Public-sector workers were mollycoddled with pay for 13 or 14 months per year and arcane allowances.
Tax evasion is widespread. A report by the London School of Economics estimates that it reduced Greece's potential tax yield by 26%. It is normal to do deals under the table. 
In Greece spiralling debt costs also forced the government to turn to the IMF as well as to its EU partners. But it remains to be seen whether the population will tolerate the austerity needed to bring the debt burden down to a reasonable level. The most recent package of cuts provoked a wave of strikes and riots in which three bank employees died. 

As the European Union has expanded and its powers have grown, the need has emerged for a constitutional regime. From 2001 onwards great effort was invested in consolidating and adopting a common constitutional treaty. One of the first polemics regarding this treaty concerned the reference to God in the constitu‐ tional preamble. Given the symbolic weight attached to the formulation of such declarations, the discussion was contentious as many assumed that the consti‐ tution was intended to express the concepts and values on which the new politi‐ cal body would be based.While the preamble of the draft constitution did mention God, as well as the Christian values of Europe, the final version that was adopted omitted both and offered instead a compromise formulation: ‘inspiration from the cultural, religious and humanistic inheritance of Europe.’ Jun 24th 2010
The transformations of the religious dimension and the crystallization of new civilizational visions and relations
A far‐reaching resurgence or reconstruction of religions is taking place in the con‐ temporary world.This resurgence is manifest in many ways, including the rise of new religious (especially fundamentalist and communal‐national) movements; the crystallization of new diasporas with strong religious identities; profound transformations within the major religions; and the growing importance of reli‐ gious components in the constitution of contemporary public arenas and in the constitution of collective identities. All these developments have far‐reaching implications for the place of religion in the contemporary era, calling into ques‐ tion a basic assumption of public discourse which assumed the weakening and
‘privatization’ of religions as concomitant with modernization.1Indeed, in the early stages of the crystallization of the post‐WorldWar II social and political scene, it seemed as if several aspects of the development of religious organizations and behaviour in modern societies had become predomi‐ nant, attesting indeed to the continual secularization of modern societies.The most important of these aspects were: first, the growing specialization of the reli‐ gious sphere in the modern world and its differentiation from other institutional arenas – the religious sphere having become just one institutional and semantic sphere, among many others; second, the weakening or loss of the predominant place of religion in the modern world‐view as compared to earlier periods; and third, the growing deritualization both of the central public sphere and of many components of private life, and the weakening of official religious institutions.
Nor did religion disappear from the public arenas of their respective soci‐ eties or from the constitution of collective identities. In fact, religion started to re‐enter these arenas – very forcibly. Indeed, one of the most important aspects of the contemporary scene was that of religions, which, relegated or confined in the classical model of the nation‐state and revolutionary state to private or sec‐ ondary public spheres, re‐entered the major political and cultural arenas and the central frameworks of collective identities of many societies.
This new religious constellation that crystallized during the last two decades of the 20th century was characterized by the paradoxical combination of, first, grow‐ ing multiplication and privatization of religious orientations and sensibilities; the concomitant enhancement of possibilities of choice, for individuals and groups, between such visions, with utopian orientations becoming focused on the search for some creativity or authenticity within multiple dispersed social settings, con‐ nected with a growing trend to much more diversified, ‘multicultural’ orientations. Second, these new religious constellations were characterized by the weaken‐ ing of institutionalized religion and of the major official religious institutions and organizations and by the decline in their membership.Third, it was characterized by the resurgence of religious sensibilities and their transformation and transpo‐ sition into the centres of national and international political activity, and in the constitution of collective identities. 
The most significant among such diasporic communities and networks are the Muslim one, or ones, especially in Europe and in the USA. Also – though with significant differences – there are the Chinese and possibly Indian and Korean diasporas in East Asia, in the USA and in Europe, as well as Jewish communities, especially in Europe. It is true that diasporic communities such as ‘overseas’ Chinese or Indian ones have existed for long periods of history – as did, of course, transnational or trans‐imperial reli‐ gions such as the Catholic, ‘orthodox’ Christian and Buddhist ones, not to men‐ tion the Jewish religious ones. These have also brought about a far‐reaching transformation in the constitution of religious communities and their participa‐ tion in public spheres and in the constitution of collective identities.
2013/03/Religion-and-Democracy-in-Contemporary-Europe.pdf

Crossing the Gods: World Religions and World Politics

info-poland.buffalo.edu/NJD.html
Poland: Catholicism as Both Solution and Problem. There are .... returned to a more traditional religious role with the restoration of democracy in the mid-1980s.

Catholicism as Both Solution and Problem to Democracy

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A touch of Nice and Antibes , Matisse and Picasso



We Visited and swam at Nice, Verdon Gorge ,  Moustiers St Marie  ; Chapel du Rosaire at Vence  by Henri Matisse at his age of 77, the greatest project of his life. He  had not practiced the religion for many years, but designed the chapel as an artistic challenge. 
https://en.m.wikipedia.org/wiki/Chapelle_du_Rosaire_de_Vence
In this trip to France, I have eventually got a touch to the French Arts from Matisse and Picasso. 
 Matisse tried  to let his works  "not to take precedence over feelings".   He once said  " you must subject yourself to the influence of nature. You must be able to walk firmly on the ground before you start walking on a tightrope."
Bill 

 Matisse said  "drawing not as an exercise of particular dexterity…  which should speak without clumsiness, directly to the mind of the spectator." Pablo Picasso , a Spanish painter,   expressed anger and condemnation of Francisco Franco and fascists. He said "Learn the rules like a pro, so you can break them like an artist."
Henri Matisse ( 1869-1954 ) Initially trained as a lawyer, Matisse developed an interest in art only at age twenty-one. Matisse's underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it in his "Notes of a Painter" in 1908. 
Matisse explored and experimented throughout his lifetime with his  drawings.  Drawing in elegant, unshaded line, describing simplified forms of female figures or still lifes, often helped Matisse to work out compositional and stylistic problems or new ideas. . In the late 1940s and early '50s, his drawings become bolder, the contour line thicker, the forms even more simplified and devoid of detail; as in Blue Nudes (2002.456.58). Matisse commented to draw nature ,not personal feelings 
Henri Matisse is widely regarded as the greatest colorist of the twentieth century and as a rival to Pablo Picasso in the importance of his innovations. He emerged as a Post-Impressionist,  the leader of the French movement Fauvism.  he sought to create an art that would be "a soothing, calming influence on the mind, rather like a good armchair." 
Matisse once wanted his art to be one "of balance, of purity and serenity devoid of troubling or depressing subject matter,"  who looked to art to provide shelter from the disorientation of the modern world. "I have always considered drawing not as an exercise of particular dexterity… but as a means deliberately simplified so as to give simplicity and spontaneity to the expression, which should speak without clumsiness, directly to the mind of the spectator."

"Drawing is like making an expressive gesture with the advantage of permanence."
"If I trust my drawing hand it is because in training it to serve me, I forced myself never to let it take precedence over my feelings."  Still life and the nude remained favorite subjects throughout his career; North Africa was also an important inspiration, 

Quotes by Henri Matisse
There are always flowers for those who want to see them.
I have been no more than a medium, as it were.
You study, you learn, but you guard the original naivete. It has to be within you, as desire for drink is within the drunkard or love is within the lover.
Drawing is like making an expressive gesture with the advantage of permanence.
Impressionism is the newspaper of the soul.
In the beginning you must subject yourself to the influence of nature. You must be able to walk firmly on the ground before you start walking on a tightrope.
Chapel du Rosaire at Vence  https://www.google.com.au/search?q=Henri+Matisse&ie=UTF-8&oe=UTF-8&hl=en-au&client=safari#hl=en-au&q=Chapel+du+Rosaire+at+Vence++by+artist+painter+&imgrc=DHzISedlVnl0KM%3A
Matisse built the church ,  built in 1947 when he was 77. Cannot see through yellow (God), can see the blue and green. 
Movie - model for Matisse 2005   

Between Picasso and Matisse,  Matisse apparently said  that he was very much a man of northern France, Picasso was very much a man of southern Spain. .And both knew each other very well.  Matisse and Picasso may have been very important to each other, they  looked at each other's works very  carefully .

Pablo Picasso ( 1881- 1973 ) was a Spanish painter,  As a Spanish citizen living in France, Picasso was under no compulsion to fight against the invading Germans in either World War. In the Spanish Civil War, service for Spaniards living abroad was optional and would have involved a voluntary return to their country to join either side. While Picasso expressed anger and condemnation of Francisco Franco and fascists through his art, he did not take up arms against them.

In 1944 Picasso joined the French Communist Party,  But party criticism of a portrait of Stalin as insufficiently realistic cooled Picasso's interest in Soviet politics, In a 1945 interview with Jerome Seckler, Picasso stated: "But if I were a shoemaker, ...... I would not necessarily hammer my shoes in a special way to show my my politics."[56]
Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000.
Picasso painted mostly from imagination or memory. According to William Rubin, Picasso "could only make great art from subjects that truly involved him ... Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own."[74] 
https://en.m.wikipedia.org/wiki/Pablo_Picasso
Learn the rules like a pro, so you can break them like an artist.
I am always doing that which I can not do, in order that I may learn how to do it.

Pablo Picasso Quotes. 

in 1946 he settled in Antibes. The Picasso museum in Antibes was castle of 1385 to 1607. Officially dedicated to Picasso in1947, who painted 2 months there.  
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