#Arpe in Villa

[parolequotidiane]

Al Castello di Padernello i dolci suoni delle arpe

a cura della redazione Dal 6 all'11 settembre 2024 ritorna Arpe in Villa, il festival internazionale di studio e di concerti d’arpa. Ogni sera uno spettacolo tra gli scenari del maniero quattrocentesco della Bassa Bresciana. Un evento unico, dedicato a uno degli strumenti più romantici ed emozionanti, in un percorso musicale ricco e appassionante: torna al Castello di Padernello (BS) dal 6…

[argan-g]

INDEX

CLASSICO E ROMANTICO

William Blake, Newton

Jöhan Heinrich Füssli, L'incubo

Étienne-Luoise Boullée, Progetto per il cenotafio di Newton

Claude-Nicolas Ledoux, Casa delle Guardie campestri

John Constable, La chiusa

e il mulino di Flatford

William Turner, Mare in tempesta

Francisco Goya, Fucilazione

Jacques-Louis David, La morte di Marat

Antonio Canova, Monumento di Maria Cristina d’Austria

Jean-August-Dominique Ingres, La bagnante di Valpingon

Théodore Géricault, La zattera della Medusa

Eugène Delacroix, La Libertà guida il popolo

Lorenzo Bartolini, Monumento funebre della contessa Zamoyska

François Rude, Rilievo dell'Arco di trionfo di Parigi Camille Corot, La cattedrale di Chartres

Théodore Rousseau, Temporale; veduta della piana di Montmartre

Honoré Daumier, Vogliamo Barabba

Constantin Guys, Per la strada

Honoré Daumier, Il vagone di terza classe

François Millet, L’Angelus

Camille Pissarro, Sentiero nel bosco in estate

LA REALTA' E LA COSCIENZA (l’Impressionismo; La fotografia; Il Neo-impressionismo; Il Simbolismo; L’architettura degli ingegneri)

Gustave Courbet, Ragazze in riva alla Senna (Estate)

Edouard Manet, Le déjeuner sur l'herbe

Alfred Sisley, Isola della Grande Jatte

Claude Monet, Regate ad Argenteuil;

Claude Monet, La Cattedrale di Rouen

Auguste Renoir, Le Moulin de la Galette 

Edgar Degas, L'absinthe

Paul Cézanne, L'asino e i ladri

Paul Cézanne, La casa dell'impiccato ad Auvers (Non Aversa)

Paul Cézanne, I giocatori di carte

Paul Cézanne, La montagna Sainte-Victoire 

Georges Seurat, Una domenica pomeriggio all’isola della Grande-Jatte

Paul Signac, Ingresso del porto a Marsiglia

Paul Gauguin, Te Tamari No Atua

Vincent van Gogh, Ritratto del postino Roulin 

Henri de Toulouse-Lautrec, La toilette

Henri Rousseau detto il Doganiere, La Guerra 

Odilon Redon, Nascita di Venere

Gustave Moreau, L'apparizione 

Pierre Bonnard, La toilette del mattino

Auguste Rodin, Monumento a Balzac

Medardo Rosso, Impressione di bambino davanti alle cucine economiche

I pittori della cerchia di Mallarmé

Edouard Vuillard, La pappa di Annette.

James MeNeill Whistler, Notturno in blu e oro: il vecchio ponte di Battersea

L' OTTOCENTO IN ITALIA, IN GERMANIA, IN INGHILTERRA

1. Giovanni Fattori, In vedetta

IL MODERNISMO (Urbanistica e architettura moderniste; Art Nouveau; La pittura del Modernismo; Pont-Aven e Nabis)

1. Antoni Gaudí, Casa Milá a Barcellona

2. Adolf Loos, Casa Steiner a Vienna

3. Antoni Gaudi, Il Parco Güell a Barcellona

L’ARTE COME ESPRESSIONE (Espressionismo; La grafica dell’Espressionismo)

1. Edvard Munch, Pubertà

André Derain, Donna in camicia

Ernst Ludwig Kirchner, Marcella

Henri Matisse, La danza

Emil Nolde, Rose rosse e gialle

Oskar Kokoschka, Chamonix, Monte Bianco

L’EPOCA DEL FUNZIONALISMO (Urbanistica, architettura, disegno industriale; Pittura e scultura; Der blaue Reiter; L’avanguardia russa; La situazione italiana; École de Paris; Dada; Il Surrealismo; La situazione in Inghilterra; La situazione italiana: Metafisica, Novecento, anti-Novecento)

Le Corbusier, Villa Savoye a Poissy

Le Corbusier, Cappella di Nötre-Dame-du-Haute a Ronchamp

Walter Gropius, La Bauhaus a Dessau

Ludwig Mies van der Rohe, Plastico di un grattacielo in verro per Chicago

Ludwig Mies van der Rohe, Seagram Buildings a New York

Tre progetti per il Palazzo dei Soviet. Le Corbusier e Pierre Jeanneret,

Walter Gropius, Bertold Luberkin,

Teo van Docsburg e Hans Arp, Cinema-ristorante L'Aubette a Strasburgo.

Thomas Gerrit Rietveld, Poltrona con elementi in nero, rosso, blu

Pier Mondrian, Composizione in rosso, giallo, blu

Aivar Aalto, Sanatorio a Paimio - Poltrona

Frank Lloyd Wright, Casa Kaufmann a Bear Run 

Pablo Picasso, I saltimbanchi; Les demoiselles d’Avignon; Natura morta spagnola

Georges Braque, Narura morta con l’asso di fiori

Robert Delaunay, Tour Eiffel

Juan Gris, Natura morta con fruttiera e bottiglia d’acqua

Georges Braque, Natura morta con credenza: Café-bar

Marcel Duchamp, Nu descendant un escalier n. 2

Umberto Boccioni, Forme uniche nella continuità dello spazio

Giacomo Balla, Automobile in corsa

Vasili; Kandinsky, Primo acquerello astratto; Punte nell'arco

Paul Klee, Strada principale e strade laterali

Anton Pevsner, Costruzione dinamica

Naum Gabo, Costruzione nello spazio; Il cristallo

Fernand Léger, Composizione con tre figure

Joan Miró, La lezione di sci; Donne e uccello al chiaro di luna

Giuseppe Terragni, Progetto dell'Asilo Sant'Elia a Como

Atanasio Soldati, Composizione

Constantin Brancusi, La Maiastra 

Amedeo Modigliani, Ritratto di Léopold Zborowski 

Georges Rouault, Cristo Deriso

Marc Chagall, A la Russie, aux anes et aux autres

Pablo Picasso, Guernica

René Magritte, La condizione umana Il

Man Ray, Motivo perpetuo 

Henry Moore, Figura sdraiata

Alexander Calder, Mobile

Ben Nicholson, Feb. 28-53 (Vertical Seconds)

Francis Bacon, Studio dal ritratto di Innocenzo X di Velázquez

Diego Rivera, L'esecuzione dell'imperatore Massimiliano

David Alfaro Sigueiros, Morte all'invasore

Giorgio De Chirico, Le Muse inquietanti

Carlo Carrà, L'amante dell'ingegnere 

Alberto Savinio, Nella foresta

Osvaldo Licini, Amalasunta su fondo blu

Giorgio Morandi, Natura morta con fruttiera

7. LA CRISI DELL'ARTE COME "SCIENZA EUROPEA" (Urbanistica e architettura; La ricerca visiva; La pittura negli Stati Uniti)

Ellsworth Kelly, Verde, blu, rosso

Morris Louis, Gamma Delta

László Moholy-Nagy, Composizione Q XX

Julius Bissier, 25 settembre 1963?

Josef Albers, Omaggio al quadrato

Arshile Gorky, Giardino a Sochi 

Jean Fautrier, Nudo

Jean Dubuffet, Orateur

André Masson, Les Chevaliers

Hans Hartung, Composizione 

Jackson Pollock, Sentieri ondulati

Mark Rothko, Rosso e blu su rosso

Albero Burri, Sacco B. 

Antoni Tápies, Bianco e arancione 

Giuseppe Capogrossi, Superficie 114

Lucio Fontana, Concetto spaziale: attesa 

Alberto Giacometti, Figura

Ettore Colla, Officina solare 

Mark Tobey, Circus transfigured

Georges Mathieu, Cast 

Victor Vasarély, Composizione. 

Kenneth Noland, Empireo 

Clyfford Still, 1962-D

Emilio Vedova, Plurimo n. 1; Le mani addosso 

Robert Rauschenberg, Letto

Mimmo Rotella, Marilyn 

Roy Lichtenstein, Il tempio di Apollo

Andy Warhol, Marilyn Monroe

[amazingarchitecturewebsite]

https://amazingarchitecture.com/houses/casa-rc-villa-allende-argentina-by-arp-arquitectos

[detournementsmineurs]

Collier "Tête Bouteille et Moustache" de Jean Arp (1970) présenté à l'exposition “Ornamentum : Bijoux d'Artistes | Collection Diane Venet” de la Fondation Boghossian dans la Villa Empain, Bruxelles, mai 2023.

[parisaimelart]

Une petite statue vieille de 27 000 ans, découverte il y a 100 ans dans la grotte des rideaux en haute-Garonne est la star de l’exposition Arts & préhistoire qui se tient au musée de l’Homme jusqu’au 22 mai 2023. La Vénus de Lespugue, véritable Joconde de l’art préhistorique sculptée dans l’ivoire de mammouth, est une icône de la représentation féminine. Sa silhouette stéatopyge, évoquant la Vénus hottentote, échappe aux canons de la beauté féminine actuelle. Pourtant, elle a inspiré de nombreux artistes comme Louise Bourgeois, Jean Arp, Brassaï, Yves Klein et Pablo Picasso. Il faut avouer que ses formes atypiques semble émaner d’un sculpteur cubiste avant l’heure. La célèbre sculpture est accompagnée d’une centaine de pièces exceptionnelles et de vidéos pédagogiques. L’exposition nous transporte à la naissance de l’art figuratif il y a 40 000 ans pour remonter jusqu’au foisonnement artistique du Solutréen il y a 20 000 ans. Les gravures ou les dessins pariétaux d’animaux étourdissent par leur raffinement. Le corps à corps avec la roche des artistes préhistoriques impressionne. La fascination est à son comble quand l’intention des artistes reste une énigme. Après cette exposition, vous ne résisterez pas à l’envie de visiter la réplique de la Grotte Cosquer qui vient d’ouvrir à Marseille à la villa Méditerranée. Vous appréciez mes idées de sorties culturelles ? Choisissez votre prochaine exposition en vous abonnant à mon compte Instagram paris_aimelart @museedelhomme @lascauxofficiel @grottechauvet2 @paris @timeoutparis @quefaireaparis @paris.explore @paris_art_com @artaparis @paris_culture @expositionparis.info @paris_love_street @parismusees #artprehistorique #venusdelespugue #grottecosquer #lascaux #grottechauvet #prehistoire #préhistoire #parisaimelart #paris_aimelart #parisexpos #parisexposition #exposparis #paris #exposition #parismusees #parisculturel #quefaireaparis #artparis #parisart #parisjetaime #parislife #parissecret #parisianlife (à Musée de l'Homme) https://www.instagram.com/p/ClZQ7TIr3Qa/?igshid=NGJjMDIxMWI=

[thesunlounge]

Reviews 356: Fulvio Maras, Alfredo Posillipo, Luca Proietti

In 1991, during Italy’s yearly Ferragosto holiday, the city of Rome was utterly empty, so much so that “you could die and not be noticed in the deserted streets.” Thus a trio of sympathetic and exploratory musicians named Fulvio Maras, Alfredo Posillipo, and Luca Proietti, who for their own varied reasons stayed behind, had full reign of a professional studio, which allowed them total freedom to create the music of their wildest fantasies. At this time, Maras was already a world traveller and veteran player, with credits extending at least back to the 70s and encompassing jazz, pop, theater, ballet, TV, film, and much more besides. Posillipo and Proietti, however, were newer to the scene…the former a horn player and producer who had worked with artists such as Jim Porto and Eddy Palermo and was in the group Gli Io Vorrei La Pelle Nera, the latter a guitarist, synthesist, and sound designer who, among many other achievements, eventually became the chief professor of music technology and sound engineering at the Saint Louis College of Music. And during that fateful summer holiday in Rome, with a studio overfilled with world instruments and futuristic gadgets, the trio combined their diverse backgrounds and myriad interests into a compelling and impossibly eclectic adventure called Sfumature, one which has just been reissued and lovingly expanded by Archeo Recordings, with the label including a remix, an unreleased track, translated liner notes, and remastered sonics.

Across the album, organic and machine rhythms blur together through fourth world rainforest rituals and broken beat funk and fusion groovers as colorful assortments of synthesizers and samplers merge together, equally reveling in textures of orchestral romance, filmic mystery, futuristic kosmische, and crystalline new age. Posillipo’s trumpet weaves solo songs of spiritual jazz over muted and equatorial hypno-jams while sometimes darting and dashing between an array of virtual woodwinds…all while synthesized basslines walk like a bebop stand up, slap like fusion funk, or squelch playfully towards acid. Angel voices presumably sourced from Maras’ ballet and theater performance archives sing through the mix, sometimes droning together with dark industrial synthesizer ceremonials while at other times alighting on operatic flights of wordless fantasy, which wrap the heart around with glowing threads of melancholic beauty as idiophones both real and imagined sparkle in the light of a setting sun. And the entire experience is awash in celebratory vibes born of creative freedom and imaginative spontaneity, with some the trio’s happy studio accidents even being detailed in the included liner notes, as Posillipo recalls his inspired choice to switch from trombone to trumpet and Proietti details the potential catastrophe of a forgotten a click track, only to have Maras perfectly nail the timing (a fact which is hilariously attributed to his lack of alcohol for that day).

Fulvia Maras, Alfredo Posillipo, Luca Proietti - Sfumature (Archeo Recordings, 2020) In “Gomma,” Maras’ marimba splashes through glowing tide pools while hand drums beat gently. Squelching basslines underly descending island melodies that see the marimbas merging with sampled steel pans…the whole thing radiating an irrestible Caribbean warmth. From here, the track ambles back and forth between instrumental choruses where idiophonic clouds alight on equatorial themes of sunshine joy, and more minimal stretches where Maras’ marimba wanders solo through worlds of seaside jazz tropicalia while hand percussions bop around acidic basslines. And at some point, shakers enter to guide the lackadaisical dance of island life fantasy. Splashing cymbals and cascades of metal begin “Panica iniziale” and timpanis roll like thunder beneath violent shaker motions. Dissonant swells of horror film drone surround militant drum rolls before everything recedes into a storm of cymbals, snake tails, and echo clicks. Cyborg choirs sing from the void and execute magisterial chord changes evoking Klaus Schulze’s Irrlicht…all while splattered symphonic percussion moves maniacally underneath. Choral layers recede to reveal pounding bass synthesizers that flub like rubber bands while martial drums and hissing shakers work the body. Then, towards the end, the layers of sci-fi dissonance return, as mysterious chord changes evoke terrifying landscapes of mist and shadow over a physical and ever-shifting panorama of bass sequencing and timpani terrorism. Then comes “Deserto” with metalloids bending and synthesizers blowing spectral clouds of darkness. Mysterious keyboard solos evoke slow motion explorations of mythical desert landscapes and clattering percussions surround tick-tock bass sequencing while melting wavefronts of sliding subsonic weirdness subsume the spirit. The mix is periodically disrupted by whip-crack bursts of sinister bass and machines moan in desperation as Latin percussion accents are subverted into an industrial drone jam…all until the rhythms disperse entirely, leaving resonant bass vibrations to coalesce with glacial themes of cosmic melancholia…as if dark and shadowy colorations are pooling together into an unsettled miasma.

For much of the remix of “Sotto la cascata,” you’d be forgiven for thinking it was the original version, for though this is a rather radical reworking, it doesn’t reveal its true magic until well into the song. Indeed, we start with the original’s throbbing contrabass motions and echo-soaked jazz filigree, with brushed snares working against sizzling cymbals. Berlin school sequences wash through aquatic fx hazes and a glorious voice sings wordless songs of mermaid majesty…the effect not unlike the work of María Villa or MJ Lallo. But whereas the original version ends on a stoned outro of contrabass and trapkit ghost notes, the remix brilliantly drops a boom bap breakbeat while arpeggiated synthesizers percolate through kosmische energy swells. At some point the haunting voice cuts away, with kick drums locking into a four-four heartbeat while ascending prog electronics evoke Pink Floyd. But we eventually drop back into the low slung drum groove, where the vocals are now a shadow of themselves as they swim around g-funk synth accents, future jazz basslines, and orchestral layers of space foam. Then in “Alla Casba.” zany pianos dance around forest flutes until a fat pounding basslines drops amidst smatters of equatorial hand percussion. After riding a tropical sunshine groove out, snaker chamer synth melodies start raining over the mix…their tones sitting somewhere between psaltery and crystal. Hand drums roll and hi-hats and tambourines lead a sensual island sway as fourth world melodies and cinematic ivories join together with exotic flute fantasias, resulting in a strain of magical Italo-balearica that encompasses vibes of esoteric darkness and romantic adventure. The crystallized string arps of “Dura Lex” follow, which execute an elven dance over a tribal ceremonial of wooden bass synthesis. Melodies of fairy fantasy intermingle with airs of classical grandiosity and solar swells of subsonic warmth float the soul while shakers sketch out airy rainforest rhythms. And as gemstone sequences and spiritual woodwind leads play off one another, their threads of paradise magic weave tightly around a joyous ethno-ambient percussion drift.

In “Trombe di Alfredo,” ticking tones of crystal overlay a manic string synth and percussion ritual as we sweep straight away towards a mysterious oasis of Arabian desert magic. Posillipo’s trumps is carried on a warming breeze as Maras and Proietti lock into a shamanic tribal trance, wherein hand drums from various cultures beat wildly, fourth world synthesizers drift towards the clouds, and tapped crystals hypnotize the mind. Bleary-eyed themes of cinematic romance swim deep in the background ether as drums continue their manic dance and occasionally, the string synthesizers rise to the surface to replace the exploratory trumpet solos with flowing songs of symphonic grandiosity and sorrowful desert mystery. “Amori,” which was inspired by Maras’ breakup at the time, sees harmonious waves of synthesizer billowing in…like a sea of neon pink crashing against a white sand shore. Cymbals sparkle and hand drums pound wildly alongside rimshot snaps while Posillipo paints cinematic trumpet leads over fusion-tinged fretless bass serenades. Enigmatic key changes plunge the mind into underwater landscapes and abandoned mermaid kingdoms, with the melding of exotic ambient and exploratory jazz bass reminding me of Motohiko Hamase. Swells of seaside ethereality wrap around the body as the basslines continue dancing alongside tapped cymbals and crazed percussions and all the while, Posillipo weaves in and out with warming wavefronts of bebop trumpet. A synthesized orchestra sways strangely in “Aura due”…as if swimming through an alien ocean while warming brass melodies swirl overhead. Sampled french horns play themes for a mist-shrouded dawn and oboes, bassoons, and clarinets weave together a tapestry of Italian 70s cinema romance, with the vibe like relaxing in a field of flowers and watching clouds drift across the great blue sky. Sprightly flute harmonies enter at some point as the virtual string orchestrations continue their drunken dream dance and as the reed instruments and aerophones intertwine, a summer shower of marimba begins falling…gentle at first…but then coming down like an overwhelming storm of hyperspeed chaos.

Violins saw through glowing reverberations in “Ballo accorto,” with the hypnagogic atmospheres interspersed by cymbal taps and hand drums. The track continues swelling with solar strength and emotional warmth as grandiose horn and flute themes flow down from the heavens, resulting in a dreamspace dance of tapped metals, rainforest drumming, and orchestral wonderment. At some point the strings recede, leaving space for tambourines jangles and tribal drum percolations, and once they return, the vibe is somehow even more epic than before, with Posillipo’s trumpet melding with currents of cloudland magic to lift the spirit towards a paradise sky. The original press of Sfumature ends with “Alfredo Fantasy” and its electronic and world percussion locking together for an exotica fusion jam, with chord stabs sitting somewhere between fusion and reggae floating overhead as the rhythms eventually settle into a stuttering and off-kilter funk break, which almost falls over itself each time it loops around. Snares and cymbals splash alongside the dubby melodics while distorto-basslines growl just out focus…their effect felt more than heard. And towards the end, the reggae riffs recede, leaving drums to work through an extended jam’n’slam, with touches of library funk, electro, and hip-hop merging while the basslines erupt towards jazz fusion slapping. Final track “Vertigini (Ambient Remix)” is exclusive to this Archeo Recordings reissue, and sees windchimes fluttering on an asymmetrical breeze and crystals conversing in cavernous spaces as a voice grows from pale mist into an all-consuming drone. Bubble clouds of inky synthesis billow up from seafloor vents, computronic diamond clusters rain down from an unsettled sky, and plucked string harmonics refract rainbow light through the rippling liquid atmospheres…as if a harp is being played in the middle of some celestial ocean. And later, mystical voices transmute towards angel opera flamboyance, ambient house chords incandesce in strange colorations, and metallic droplets fall into pools of liquified glass while pads modulate through resonating bodies of sonic shimmer as they move forwards and backwards in time.

(images from my personal copy)

[marcfarraspiera]

Hampstead, gloria de Londres

Igual que el perfumista guarda sus mejores fragancias para los clientes especiales, todas las ciudades esconden un barrio lejos de las masas y del mundanal ruido para ofrecer al turista exigente y bien informado la quintaesencia de su vitalidad. Su verdadera naturaleza. El alma. En el caso de Londres, locales y foráneos coinciden en su veredicto: Hampstead es lo más cerca de la plenitud que uno puede alcanzar.

Y no es para menos. Sus calles florecidas, con torres de ladrillo rojo y palacios rebozados de cal blanca son un escenario inmejorable para un largo paseo dominical. Sus restaurantes eclécticos y sus históricos pubs (conviene detenerse en The Holly Bush y The Flask, ambos a un palmo del metro), un gozo para los paladares más selectos. Y qué decir de Hampstead Heath, joya de la corona de los parques de Londres, con sus miradores, sus lagos, sus hayedos y sus umbríos senderos dignos de la Tierra Media.

Elegante como Kensington, bohemio como Bloomsbury, y exclusivo como Mayfair, Hampstead tiene esa mezcla irresistible de vieja aldea popular y de punto de encuentro de artistas, liberales y otros personajes incorregibles. Talento y dinero forman parte del ADN del barrio tanto como excursionistas y románticos. Ninguna otra zona del Reino Unido concentra tantos millonarios, pero tampoco hay constancia de otro punto en la capital donde arte, gastronomía y paisaje se fundan en un cuadro tan perfecto.

Para allanar el terreno en busca de una experiencia sensorial completa de Hampstead, bastan un puñado de breves visitas culturales en entornos íntimos y semidesconocidos para descubrir pinceladas singulares y evocadoras de un barrio con un patrimonio artístico y humano excepcional.

Keats House

Pocas veces un escenario ha sido tan crucial para la vida y la obra de un escritor – si es que éstas se pueden separar. El poeta romántico John Keats vivió en Wentworth Place (hoy Keats House) sólo 17 meses, pero fueron suficientes para consagrarse como uno de los grandes de las letras inglesas.

Keats House es un harmónico y pequeño complejo de dos casas semi-adosadas, una de las cuales perteneció a Charles Brown, amigo íntimo del poeta. Keats se la alquiló por la módica cifra de 5 libras mensuales (el precio actual de una pinta). Eran otros tiempos.

En su idílico refugio de Hampstead, y como buen romántico, Keats amó y escribió desesperadamente. No en vano, conoció al amor de su vida (Fanny Brawne, la vecina de al lado, hay cosas que no cambian) y fue su época más productiva.

La leyenda cuenta que compuso la mítica Oda a un ruiseñor bajo la sombra de uno de los ciruelos del jardín, aunque en el pub The Spaniards Inn, catedral etílica del barrio, aseguran que lo escribió en uno de sus bancos entre jarra y jarra.

La casa-museo guarda diversas pertenencias del poeta: cartas manuscritas, libros con anotaciones e incluso el anillo de compromiso con Brawne, noviazgo que se mantuvo en secreto hasta el descubrimiento de una carta en 1878. También se pueden admirar los vestidos de Bright Star, la excelente adaptación fílmica de la vida del poeta a cargo de Jane Campion.

La Keats House es de visita obligada para todo amante de la literatura y para los buscadores de inspiración. Las musas encontraron a Keats y le dieron la inmortalidad, igual que a la morera de 400 años de edad que alimentó al poeta en sus tardes de tinta y perfume y que aún hoy produce unas moras deliciosas.

Todo en la vida del poeta fue corto e intenso. También su estancia en Hampstead. Keats vivió aquí entre 1818 y 1820 antes de partir hacia Roma, donde moriría de tuberculosis pocos meses después, a los 25 años, dejando uno de los epitafios más deslumbrantes que se recuerdan: “Aquí yace alguien cuyo nombre fue escrito en agua”.

Al aterrizar de nuevo en la prosaica realidad, lectores, admiradores y traficantes de libros tienen cita obligada entre les estanterías y las lámparas verdes de Daunt Books, santo y seña de las librerías de Londres, justo a la vuelta de la esquina.

2 Willow Road

En el número 2 de Willow Road, en el extremo sur de Hampstead Heath, yace la única casa de estilo racionalista de Londres abierta al público, obra del arquitecto húngaro Ernő Goldfinger.

Diáfana, flexible y con una estructura simple y equilibrada de hormigón y ladrillo rojo, la que fue su última residencia familiar es un perfecto exponente de un movimiento funcional y estético que revolucionó el concepto del hogar.

El interior de la casa, habitado hasta 1987 y decorado con gusto exquisito, se ha mantenido intacto desde su construcción en 1939 y cuenta con obras de Max Ernst, Herny Moore, Jean Arp, Man Ray y Lee Miller, entre otros.

Goldfinger es también el padre de diversos edificios brutalistas en barrios tan alejados de Hampstead como Poplar (este) y Elephant and Castle (sur). Criticado en vida por promover una arquitectura “fría y desalmada”, Goldfinger es hoy uno de los grandes nombres del patrimonio moderno de Londres.

Los amantes de intrigas ya sabrán que el creador de James Bond, Ian Fleming, que fue vecino del barrio y enemigo íntimo del arquitecto, se opuso tan firmemente a los planes urbanísticos de Goldfinger que lo homenajeó bautizando con el mismo apellido a su malo malísimo.

El festín arquitectónico de Hampstead no se termina en el 2 de Willow Road, puesto que a un tiro de piedra se encuentran buena parte de los 18 edificios protegidos del barrio por su singular valor histórico y artístico.

Freud Museum

Los expertos aseguran que el siglo XX nació el diván de Freud. El sofá más famoso del mundo es la estrella de la casa-museo dedicada al padre del psicoanálisis, que pasó los últimos meses de su vida exiliado en Londres.

Esta magnífica mansión fue residencia de la familia Freud desde 1938, cuando Austria fue anexionada a la Alemania nazi, hasta 1982, cuando murió Anna, la hija pequeña, que heredó de su padre la casa, la vocación y el peso de los mitos griegos (su segundo nombre era Antígona).

Antes de instalarse en Hampstead, Freud puso dos condiciones innegociables: llevarse su biblioteca personal y su colección de 2.000 antigüedades egipcias, griegas y romanas. Ambos tesoros pueden contemplarse al completo, así como diversos objetos extravagantes relacionados con el psicoanálisis.

Ya en Londres, el austriaco recreó con precisión científica su estudio vienés, por el que desfilaron una lista infinita de neurosis, traumas y catarsis, y también algunos invitados de postín, como Stefan Zweig y Salvador Dalí, que le visitaron juntos en una conjunción de egos cuanto menos memorable.

Por fortuna, las estancias freudianas se conservan en un estado envidiable, como una instantánea en tres dimensiones de la Viena de los Habsburgo. Tal es el magnetismo del espacio y del mítico diván que si uno se descuida sale del museo con un complejo de Edipo como un templo o con la libido desbocada. En este caso, Hampstead ofrece diversas soluciones revitalizantes, como un helado en Oddono’s o un capricho de chocolate francés en La Crêperie de Hampstead.

Fenton House

El hechizo vienés no termina con Freud. Como abejas a la miel, los melómanos londinenses vuelven cada primavera a Fenton House atraídos por las melodías celestiales que emanan de los clavecines. Erigida en el siglo XVII por un comerciante báltico en estilo sobrio y compacto, con tejado normando y cierta influencia flamenca, es una de las casas más antiguas de Hampstead y una institución de la música británica. Entrar en sus dominios es como encontrarse de golpe en una escena de Amadeus llevando peluca y escuchando embelesado al genial Wolfgang.

Fenton House es un mundo en sí mismo, con un universo propio en cada habitación. En la primera planta se puede admirar un inmaculado salón de dibujo del siglo XVIII. La estancia principal se usa para conciertos y alberga el mayor clavicémbalo de Inglaterra. Tampoco hay que olvidar su ecléctica muestra de porcelana, bordados y ebanistería, ni una notable pinacoteca, con obras de artistas como Constable. Pero su principal reclamo es la inigualable colección de teclados e y clavicémbalos, la mayoría aún en funcionamiento. Lo que decíamos, arte para todos los gustos.

El otro gran atractivo del complejo es el jardín, un verdadero edén vegetal con zona de césped, un huerto, un rosal, una colmena (cuya miel se puede comprar al salir) y un vergel de 300 años de antigüedad con más de 30 variedades de manzanas. El mejor momento para visitar Fenton House es a finales de septiembre, cuando se celebra el Día de la Manzana y se ofrecen al diletante deliciosos jugos del fruto prohibido.

Todo en Fenton House está pensado para elevar el espíritu. Sea con los aromas de lavanda, romero y clavel o con los acordes de virginales y espinetas, las angustias terrenales se evaporan y uno tiene la impresión de sentirse lejos de todo y un poco más cerca de los dioses. Y todo ello a escasos 100 metros de The Holly Bush, uno de los pubs favoritos de los locales, con soberbios acabados de roble y unos asados dominicales para lamerse los dedos.

Kenwood House

Todo buen cinéfilo, sobre todo el adicto a comedias con mucho azúcar, habrá estado en Kenwood House unas cuantas veces, siempre en excelsa compañía, ya sea con Julia Roberts y Hugh Grant o con Emma Thompson y Kate Winslet. Ya se sabe que la ficción tarde o temprano se desvanece, pero ahí sigue el decorado. Y qué decorado.

Construido en el siglo XVII, transformado poco después en una villa neoclásica, y residencia histórica de grandes linajes británicos, hoy Kenwood House alberga una de las pinacotecas más prestigiosas del país, con 63 obras maestras de Turner, Rembrandt y Vermeer, entre otros.

Con unos interiores de ensueño dignos de un monarca – techos abovedados, muebles policromados, alfombras orientales, bustos de mármol y un sinfín de riquezas – Kenwood está considerado uno de los complejos arquitectónicos más completos de toda la ciudad.

Las maravillas del palacio (naranjería incluida) se integran en un espacio no menos privilegiado, en la parte alta de Hampstead Heath, cerca de Highgate. En la ciudad de los parques, ninguno alcanza la fuerza y el esplendor de Hampstead, tanto en las brumosas mañanas de invierno como en las toscanas tardes veraniegas.

Hay que volver al Heath una y otra vez para degustar con calma y profundidad todos sus placeres, ninguno como sus ponds (lagos aptos para el baño). Alimentados por el agua del río Fleet (sí, el mismo que discurre bajo la tierna barbería de Sweeney Todd), son uno de los últimos testigos de la Londres victoriana, ya que hombres y mujeres se siguen bañando separados. Pese a tal excentricidad, no hay excusa: la entrada es libre, están abiertos todo el año y cuentan con un regimiento de socorristas.

Después de visitar Kenwood House, nada como unas brazadas entre las aguas salvajes del pond, una comida campestre con mantel de cuadros, vino y quesos del país (cheddar, sin discusión) y una siesta sobre campos de trigo dorado. Y si aún os quedan fuerzas, contemplad en la hora bruja la ciudad a vuestros pies desde el mirador de Parliament Hill hasta que caiga el telón de la noche. Ya lo dijo Zadie Smith: “¡Hampstead Heath, gloria de Londres!”

[puntoelineamagazine]

FESTIVAL INTERNAZIONALE DI STUDIO E CONCERTI - Le arpe risuonano al Castello di Padernello

FESTIVAL INTERNAZIONALE DI STUDIO E CONCERTI – Le arpe risuonano al Castello di Padernello

Foto: Castello di Padernello, Arpa © Virginio Gilberti Tornano dal 17 al 23 luglio 2022 “Le Arpe in Villa” con musicisti che si esibiranno tra gli scenari del maniero quattrocentesco della Bassa Bresciana e in location del territorio Tra gli scenari del Castello di Padernello (BS), il suo borgo artigiano e i vicini paesi della Bassa Bresciana risuonano le melodie di “Le Arpe in Villa”, festival…

[travelertrip]

[unfoldingpavilion2020]

Part I: The Contessa

by Unfolding Pavilion

Contessa Luisa Albertina di Tesserata was the owner of a little private island in the Venetian lagoon.

Her family used to own shipyards in Pesaro and Catollica, and their fleet of cargo boats was envied by many. However, most of her family fortune had dried out because of a century-long series of mishaps and an endemic lack of management skills. She was the last of her line, having lost both her parents and only brother to the Spanish Flu.

In 1930 she had met Count J.B. d’Haussonville on the island of Lido, at a party organized by a famous British sculptress. The Count was an impoverished French aristocrat with no money, poor health, but a contagious passion for the arts. They married the next week.

The couple needed money, so at first they worked as aristocrats to hire. After being paid to attend the opening of several second-rate Ligurian casinos, they grew into a fascination with blackjack and became professional gamblers. The Contessa, naturally gifted with the capability to perform complex mathematical computation, had finally found a way to use her birth talent: she counted the cards with extreme ease. Very careful not to raise suspicion, they took great care in losing endless rounds before making the lucky bet that in the end won the table.

The couple spent the following years between Monaco and Paris. Having become intimates of the Parisian avant garde, they almost naturally developed into compulsory art collectors. All their gambling profits went into buying oeuvres by Brancusi, Duchamp, Picabia or Hans Arp.

Their crumpling Venetian little villa received little care. Each decaying room of the compound was consecrated for exhibiting just one artwork, be it a postcard-sized photograph by Man Ray or a half-finished, unsigned painting by Giacometti.

The couple lived in the single room that still had a functioning fireplace and all the glass in the windows.

Their few servants lived in little tents, scattered among the vegetable garden.

It was not the black mold of the rotten floors, but a new experimental chemical varnish in one of the artworks, that poisoned and prematurely killed J.B.

The Countess became a heavy drinker after the loss of her loved one, spending the next 6 years in solitude, just listening on the gramophone to Anton Webern’s twelve-tone Piano Variations, while consuming homemade absinthe of a very dubious quality. World War II passed by as if it never happened.

After the death of the Count, no visitor was allowed to the island. The Countess never replied to any letter or telegram. No-one could assess the state and the size of her art collection. Despite missing any hard proof, her private collection was inflated to mythical status among the post-war art connoisseurs.

It was only in the mid 50s that a strange woman, nicely dressed but obviously intoxicated, appeared at a casino in Nice, with one small Mondrian painting tucked under her arm. She deposited the artwork for chips and by early morning managed to win a little fortune. The next day, she booked a one-way flight ticket to the US. The Countess was back!

She never remarried. The next decades were spent between Nevada and New York. She lived very frugally. Everything she earned in the Vegas casinos was spent on buying art and opiates.

Once every two years she returned to Venezia. Her only two surviving servants cried every time the half-conscious Contessa made her appearance to the island, on a trabaccolo filled with increasingly-large wooden crates. The crates were never opened and kept piling up in the inner court of the house; the little villa just had no more artwork-free rooms. 

The Countess day-dreamed of building a new house on the island.

Each week, after watching ‘The Hollywood Squares’ on NBC, she felt this powerful urge to dwell inside of a structure similar to the scenography of that TV show. A simple, modern construction with many small rooms, where she could live next to her most beloved artworks; and many large windows, so that she could always see the serliana of the old stanza where she and her husband enjoyed the most precious times of their lives.

She even asked a powerful architecture curator (and fellow gambler) to recommend her a shortlist of architects fit to the task. She entertained long telephone talks with two of the suggested designers - one, a rigid German guy teaching at Cornell, stopped answering her calls after weeks of exasperating conversations that didn’t lead anywhere. The other, a more affable poet-architect with almost no building experience, sent her a few notebooks with sketches and some beautiful watercolor renderings, but didn’t manage to provide a budget quota.

The Countess failed to appear at all the meetings they had set and, eventually, their conversation also dried off.

Having lost her gambling discipline because of the decades-long abuse of spirits and narcotics, the Countess began to accumulate serious debt. By the 70s she was already on the major casinos’ blacklist on the count of counting cards. Foreign executors, teamed up with local carabinieri, started to arrive at the island to load the crates containing Contessa’s artworks (on the same cargo boat that brought them in the first place).

The servants were happy to exchange cordialities with the non-islanders and were relieved that they were not supposed to carry the heavy load themselves.

The last time the Countess exited a casino with money in her bag was in 1974. Excluded from all casinos in Western Europe and the Americas, she had to tour the poor countries behind the Iron curtain and, in under a month, she crushed all the gambling floors from Albania to Czechoslovakia.

She didn’t like Eastern European art, but arrived home not empty handed: in Belgrade she had met a desperate Romanian sculptor and helped him cross the border at Trieste, in promise of his future professional services. Since he didn’t speak any foreign languages, they only communicated through gestures and facial expressions.

With no official papers, the sculptor was stranded on the little Venetian island. To him, it felt like paradise. Only a few dozens of artworks escaped the executors; they had probably mistaken them for pure junk. Still, for him it was a fabulous first encounter with Western art.

He convinced the Countess to let him take care of the pieces. More than that, he promised to build single-handedly the new building she longed for; twelve small rooms for the most precious artworks, elevated from the ground to keep away from moisture. The American architect’s sketchbooks provided a good-enough guide for him.

He proved to be a fabulous craftsman.

In less than a year, he indeed finished the new building.

The Countess was very happy.

Confined once again to her room, this time because of an aggravated osteoporosis that severely restricted her moves, she could see from her window the glazed new little rooms for her artworks (“my most trusted friends”, as she used to call them). 

The sculptor then began to take care of the small family villa and started to restore it, room by room.

The restoration would have progressed on the same pace, if not for a tragic accident: when trying to replace a wooden beam on the upper floor, the scaffolding collapsed together with the masonry wall it was secured to. The sculptor and the two old servants were crushed to death.

The Countess lived a few more months in complete solitude, resorting again to a deadly regime of painkillers, alcohol and antidepressants.

Canned food and medicines were left at her door, once a month, by a delivery service paid a year in advance. 

The exact date of her death is not known.

What we do know is that when the police landed the island, alerted by the delivery man who noticed no change in the pile of supplies, none of her artworks were to be found anymore.

                                                                            Illustrations: 1. Shirley Jackson, 24 Portraits of the young Luisa Albertina di Tesserata, 1961. Video, 35 mm, 156 sec. Private collection, Los Angeles. Courtesy of: © Morris and Kay Greene Foundation.

[mchwx]

Public Information Statement for McHenry Co., IL

<pre>NOUS43 KLOT 131828 PNSLOT

Public Information Statement National Weather Service Chicago IL 128 PM CDT Wed Mar 13 2019

…Rainfall Reports through mid-morning of 3/13/19…

The following is a list of observed rainfall amounts between the late afternoon of 3/12 and mid-morning of 3/13/19 from volunteer observers and automated stations.

Location Amount Provider

…Illinois…

…Boone County… Capron 0.76 in COCORAHS Belvidere 0.67 in COOP

…Cook County… Barrington 0.49 in COOP Hoffman Estates 0.35 in COCORAHS 1 NNE Palatine 0.35 in COCORAHS 3 ENE Elgin 0.33 in COCORAHS Chicago OHare 0.32 in ASOS Rogers Park 0.29 in COCORAHS Wheeling – Chicago Exec. Arp 0.28 in ASOS Glencoe 0.25 in COCORAHS Midway 3 SW COOP 0.23 in UCOOP Oak Lawn 0.21 in COCORAHS Chicago Botanic Garden 0.20 in COOP Willow Springs 0.20 in COOP Park Forest 0.18 in COOP Lansing 0.16 in COOP Hyde Park 0.15 in COCORAHS Chicago Midway 0.15 in ASOS 1 WNW Bridgeview 0.12 in COCORAHS 1 WSW Navy Pier 0.11 in COCORAHS Lansing Airport 0.09 in AWOS

…De Kalb County… Genoa 0.91 in COOP DeKalb Airport 0.65 in AWOS 2 NE Somonauk 0.60 in COCORAHS DeKalb NIU 0.52 in COOP Cortland 0.40 in COCORAHS

…DuPage County… West Chicago – DuPage Arpt. 0.38 in ASOS Bloomingdale 0.38 in COCORAHS Medinah 0.35 in COCORAHS Naperville 0.34 in COCORAHS Glen Ellyn 0.31 in COCORAHS Morton Arboretum 0.28 in COOP Downers Grove 0.26 in COCORAHS Schaumburg Airport 0.23 in AWOS Elmhurst 0.23 in COCORAHS Westmont 0.19 in UCOOP

…Ford County… Paxton 0.10 in COOP 4 WSW Melvin 0.09 in COCORAHS 3 WNW Gibson City 0.06 in COCORAHS

…Grundy County… Coal City 4 NNW 0.37 in UCOOP 3 NNW Carbon Hill 0.36 in COCORAHS 4 S Lisbon 0.34 in COCORAHS Morris 1 NW 0.32 in COOP Mazon 0.30 in COCORAHS Minooka 0.28 in COCORAHS Morris Airport 0.23 in AWOS

…Iroquois County… 6 E Ashkum 0.14 in COCORAHS 2 N Crescent City 0.13 in COCORAHS Buckley 0.10 in COCORAHS 2 NW Watseka 0.10 in COOP

…Kane County… Elburn 0.53 in COOP 3 NNW Kaneville 0.52 in COCORAHS 4 NE Lily Lake 0.49 in COCORAHS 3 NNE Campton Hills 0.48 in COCORAHS 1 ENE St. Charles 0.43 in COCORAHS Sleepy Hollow 0.42 in COCORAHS Batavia 0.40 in UCOOP Sugar Grove – Aurora Arpt. 0.39 in ASOS Elgin 0.38 in COOP Aurora 0.30 in COOP

…Kankakee County… 3 N Aroma Park 0.26 in COCORAHS Bourbonnais 0.22 in COOP 2 SSE Manteno 0.20 in COCORAHS Kankakee 0.20 in COOP Momence 5 ENE 0.16 in COOP St Anne 0.08 in COOP

…Kendall County… 4 SE Oswego 0.35 in COCORAHS 5 NW Shorewood 0.34 in COCORAHS

…La Salle County… Mendota 0.55 in COOP 3 S Earlville 0.50 in COOP La Salle 0.43 in COCORAHS Ottawa 0.42 in COCORAHS Ottawa – Buffalo Rock SP 0.37 in COOP Peru Airport 0.30 in AWOS Marseilles 0.25 in COOP 1 WSW Streator 0.22 in COCORAHS

…Lake County… Fox Lake Hills 0.50 in COCORAHS Mundelein 4 WSW 0.46 in COOP 1 SW Lake Villa 0.42 in COCORAHS 2 NE Gurnee 0.41 in COCORAHS 1 NNE Mundelein 0.39 in COCORAHS Lake Zurich 0.38 in UCOOP 1 NNW Lake Forest 0.35 in COCORAHS Waukegan Airport 0.35 in ASOS Highwood 0.32 in COCORAHS 2 N Buffalo Grove 0.31 in COCORAHS 1 NNW Lincolnshire 0.28 in COCORAHS

…Lee County… Ashton 0.98 in COCORAHS Dixon 0.90 in COOP Amboy 0.86 in COOP 3 WNW Sublette 0.85 in COCORAHS Paw Paw 2 S 0.56 in COOP Steward 0.55 in COOP

…Livingston County… Chatsworth 0.19 in COCORAHS Dwight 0.16 in COOP Pontiac Airport 0.16 in AWOS Fairbury 0.10 in COOP

…McHenry County… Marengo 0.72 in COCORAHS Crystal Lake 4NW 0.68 in COOP Huntley 0.66 in COCORAHS Harvard 0.62 in COOP Cary 0.55 in COCORAHS Woodstock 5 NW 0.54 in COOP Algonquin 0.52 in COCORAHS 2 SSE Johnsburg 0.51 in COCORAHS McHenry Lock and Dam 0.50 in COOP Wonder Lake 0.42 in COCORAHS

…Ogle County… Mount Morris 1.15 in COCORAHS Rochelle 0.82 in COOP

…Will County… Plainfield 0.34 in COOP Romeoville – NWS Chicago 0.32 in NWS Joliet 2 N 0.31 in UCOOP Peotone 0.31 in COOP Midewin RAWS 0.31 in RAWS New Lenox 0.30 in COCORAHS Joliet Lock-Dam 0.30 in COOP 3 SE Channahon 0.28 in COCORAHS Manhattan 5 ENE 0.26 in UCOOP 2 WSW Mokena 0.24 in COCORAHS Monee Reservoir 0.24 in COOP Homer Glen 0.23 in COCORAHS Joliet Airport 0.23 in AWOS

…Winnebago County… Rockford Airport 0.81 in ASOS 3 ESE Loves Park 0.67 in COCORAHS Roscoe 0.62 in COOP 2 SE South Beloit 0.61 in COCORAHS

…Indiana…

…Jasper County… 3 ENE Roselawn 0.17 in COCORAHS DeMotte 0.11 in COCORAHS 5 ENE Mount Ayr 0.08 in COCORAHS Collegeville 0.08 in COCORAHS Rensselaer 0.07 in UCOOP Remington 0.03 in COCORAHS

…Lake County… Schererville 0.18 in COCORAHS 3 SSE St. John 0.18 in COCORAHS 2 N Hammond 0.17 in COCORAHS Dyer 0.15 in COCORAHS 1 WSW Crown Point 0.15 in COCORAHS Griffith 0.14 in COCORAHS

…Newton County… Morocco 0.15 in COOP 5 SE Lake Village 0.12 in COOP 4 W Brook 0.10 in COCORAHS 2 NNE Mount Ayr 0.07 in COCORAHS

…Porter County… 2 WNW Boone Grove 0.16 in COCORAHS 5 ESE Chesterton 0.15 in COCORAHS Porter 0.15 in RAWS 1 NW Hebron 0.14 in COCORAHS Hebron 0.12 in COCORAHS 1 S Burns Harbor 0.12 in COCORAHS Ogden Dunes 0.10 in COCORAHS 4 NNE Boone Grove 0.09 in COCORAHS 4 SW Valparaiso 0.09 in COCORAHS Porter 0.09 in COCORAHS Valparaiso Airport 0.08 in ASOS

Observations are collected from a variety of sources with varying equipment and exposures. We thank all volunteer weather observers for their dedication. Not all data listed are considered official. </pre>

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[reallyliteral]

sometimes 🤍 Handmade pieces at their finest. Earrings inspired by Jean Arp’s fluid artwork by Ally, silk masks made from up-cycled materials, and a luminous pearl bracelet made from recycled materials from fellow Vancouverite, Fiona ✨ ☁️ cloud silk washable face mask 😷 sustainably handmade from reusable silk materials 🕊 by Lea @kesnyc in nyc, new york 🦚 villa earrings 🫒 handcarved from organic sterling silver w malachite gemstone 📟 by Ally @cadettejewelry in toronto, ontario 🍨 mona bracelet 🍡 handmade w recycled metals, freshwater pearls & handblown glass beads 🍭 by Fiona @wolf_circus in vancouver, bc #slowfashion #ethicalfashion #locallymade #localartist #sustainablefashion #ecofriendly #circulareconomy #vintage #buyvintage #sustainablebloggers #sustainableliving #slowliving #locallove #shopsmall #handmade #kesnyc #nonewclothes #alexanderwang #wolfcircus #cadettejewelry #handmadejewelry (at Los Angeles, California) https://www.instagram.com/p/CPtY72ssQt_/?utm_medium=tumblr

[wikitopx]

A distant northwestern suburb of Paris, Pontoise is in the Cergy-Pontoise conurbation.

The new city of this city was built in the 1980s and became a reference for advanced urban design and architecture. The cityscape showed up in several movies in the 1980s, like Eric Rohmer’s Boyfriends and Girlfriends. And even Cergy-Pontoise can pack a punch, especially when you see Dani Karavan’s incredible Axe Majeur. In Pontoise, you can dip into the old side, where impressionist painters like Pissarro painted Oise and where there is a series of medieval tunnels under the street. And for day and night trips, Paris always takes only half an hour on the train.

[toc]

1. Axe Majeur

This gigantic monument is difficult to describe when many things are rolled into one. Ax Majeur was designed by Dani Karavan at the time when the new town of Cergy-Pontoise combined.

Beginning with a belvedere tower it’s a dramatic set of sculptures extending along a straight line more than three kilometers in length. A laser beam from the tower points out the route that descends the slope above the Oise and crosses the river.

This line passes through 12 stations, each one with a special meaning for the town: It includes the Oise riverbanks where the Impressionists painted, and a man-made island, built in the Cergy Pond on the other side of the Oise.

2. Gare de Cergy-Saint-Christophe

A train station is often included in the list of important attractions, but Gare Saint-Christophe is very special: It was inaugurated in 1985 and encapsulated in the bold design of this new town.

The clock above the entrance is the largest in Europe, a humungous glass cylinder ten meters in diameter and conceived by Philippe and Martine Deslandes, collaborating with the watchmaker Huchez.

Recently, the watch was integrated into the Ax Majeur, opening up the vision of the Belvedere Tour.

3. Musée Camille Pissarro

The Impressionist Camille Pissarro loved Pontoise so much he lived here for 17 years. This museum in a red brick Louis XIII villa on the plateau above the river has only one Pissarro. But this work depicts the river banks at La Roche-Guyon on the Seine so it is a great souvenir of the time when Impressionists escaped from Paris to paint rivers in the west.

4. Musée Tavet-Delacour

A lovely 15th-century gothic castle is the Pontoise town museum. The building was commissioned by the Bishop of Rouen for the Vicar of Pontoise, and is in great shape, with corner turrets and dormer windows. The exhibitions inside are varied, with 20th-century art and historic artifacts.

There’s quite a large exhibition of the Constructivist painter Otto Freundlich, along with artists like Matisse, Arp, Legros, and Signoret. See also a collection of medieval church sculptures and seven chinoiserie paintings that once belonged to Count Maupeou Ableiges.

5. Carmel de Pontoise

The oldest Carmelite convent in France was founded in 1605 just outside the center of Pontoise but now engulfed by the streets of the new town. The monastery is decorated with art from the 17th century, like the altar hanging made with embroidered red silk, a Spanish-style lace altar cloth and an array of paintings.

There’s also a precious reliquary that went missing after the Revolution but was rediscovered at an auction in Alençon and brought back to the convent. The Carmel de Pontoise is a working convent, so only the church is open to the public, but there’s a small shop here selling handicrafts and postcards to raise money.

6. Tour of Old Pontoise

Next to the river, the Pontoise architecture is more than a few centuries old and has a small set of attractions to add to your itinerary. Most of these are closed to the public, but should still be seen from the outside.

The Moulin des Patis is an old watermill that was painted by Cézanne. Hôpital des Enfermés is a historic site with a facade from the 18th century and has long been converted from a hospital to a school.

On the river, you can also see where Pontoise was fortified, and there are artillery terraces stepping up the hillside.

7. Souterrains de Pontoise

Beneath the old part of Pontoise by the Oise River is an underworld of cellars, vaults, tunnels, quarries, and caves. You can go down to see them every Sunday on a guided tour led by the tour office.

They were first dug for chalk and limestone in the 1100s and were expanded up to the 1600s. You’ll descend with a guide who will open up innocuous-looking hatches at street level that reveal surprising underground spaces. As you go you’ll be clued-in on the stories behind these chambers.

8. Église Notre-Dame

Although Pontoise’s main church was completed around the turn of the 17th century, it was built over a 13th-century basilica destroyed in the French Wars of Religion. The replacement was endowed with a set of fine paintings from the 17th and 18th centuries. The church was restored in the 1800s when a floor was laid with concrete.

And to do this, many funny stones dating back to the old gothic church have been ripped apart. You can spot their fragments in some strange places, like on the steps of the main portal and the stairs leading to the altar.

9. Île de Loisirs de Cergy-Pontoise

If you’re sporty in July and August you need only cross the Oise to a gigantic activity center. On a meander in the river is a 250-hectare site with some 150 lakes. When the weather’s good you’ll have a massive swimming area, combined with facilities for watersports like white-water rafting, canoeing, and sailing.

On land, there’s even more, including a mini-train for kids, tennis courts, a tree-top climbing course, hiking trails through the forest, cycle hire and a mini-golf course.

10. Église Saint-Christophe de Cergy

The best thing about this church next-door in Cergy is the part that will grab your attention as soon as you arrive: It’s the Renaissance portal, which is from a section of the church that was never completed.

So all that stands is a gateway leading to a courtyard that was meant to be the new church’s interior. Rising above this is the Romanesque bell tower that was built in the 12th century.

The interior of the church has been heavily reworked over hundreds of years, but hints of yesteryear remain, like the 11th-century arches and capitals under the tower.

More ideals for you: Top 10 things to do in Pomezia

From : https://wikitopx.com/travel/top-10-things-to-do-in-pontoise-709499.html

[empty-as-hell]

「艺考」｜ 教你如何成为顶级艺术大师的爱徒！

学艺术的童鞋们

“跨不过去的八大坎”

削铅笔

洗调色盘

被别人动过的白色颜料

画完素描的手

画完色彩的“限量版”外套

画不完的速写

永远猜不准的考题

永远要求你画的更好的老师

小编今天带大家认识一位

意大利雕塑家

也是

所有艺术生都希望遇见的老师

le sacre du printemps

马里诺·马里尼

（1901年2月27日 – 1980年8月6日）

意大利雕塑家

他于1917年入佛罗伦萨美术学院学习。虽然他从未放弃绘画，但马里尼从1922年开始，主要致力于雕塑创作。他的作品受到伊特鲁里亚艺术和马丁尼 Arturo Martini 雕塑的影响。 1929年，马里尼接替 Martini 担任米兰附近蒙扎的 Scuola d’Arte di Villa Reale 的教授，一直到1940年。在此期间，马里尼经常前往巴黎，在那里他与 Massimo Campigli 马西莫·坎皮利， Giorgio de Chirico 乔治·德·奇里科， Alberto Magnelli 阿尔韦托·马格内利和 Filippo Tibertelli de Pisis 菲利波·提拨特里·德·皮西斯。 1936年，他搬到瑞士提契诺州的 Tenero-Locarno; 在接下来的几年中，艺术家经常访问苏黎世和巴塞尔，在那里他成为艺术家 Alberto Giacometti

阿尔伯托·贾科梅蒂, Germaine Richier 和 Fritz Wotruba 的朋友。1936年，他斩获罗马四年展的大奖。 1938年与 Mercedes Pedrazzini 结婚。他于1940年成为米兰美术学院 Accademia di Belle Arti di Brera 雕塑专业的教授。

1943年，他在瑞士流亡，期间在巴塞尔，伯尔尼和苏黎世多次展出。1946年，艺术家在米兰永久定居。

1980年去世后，他被埋葬在意大利托斯卡纳皮斯托亚的公共墓地。

艺术生涯

他于1944年参加了纽约现代艺术博物馆的“二十世纪意大利艺术”展。1950年，柯伦瓦伦丁开始在纽约 Buchholz 画廊展出马里尼的作品。期间他参观了这座城市，遇到了Jean Arp，Max Beckmann，Alexander Calder，Lyonel Feininger 和 Jacques Lipchitz。在他回到欧洲后，他在伦敦停了下来，汉诺威画廊组织了一场他的作品的个展，在那里他遇到了亨利·摩尔。 1951年，马里尼从 Kestner-Gesellschaft Hannover 到汉堡的 Kunstverein 和慕尼黑的 Haus der Kunst 进行了巡回展。 1954年，他获得威尼斯双年展雕塑大奖和1954年罗马 Accademia dei Lincei 大奖的 Feltrinelli 奖。1959年，他的一件雕塑作品被安装在海牙。

一场关于他的回顾展的作品于1962年在苏黎世美术馆举办，1966年在罗马Palazzo Venezia 举办。1963-64年他的作品首次在米兰 Toninelli 现代艺术馆展出。 1973年，他的作品在米兰的现代艺术馆展出，并于1978年在东京的国立现代艺术博物馆展出。

在佛罗伦萨有一座他的专门博物馆（在 San Pancrazio 的前教堂）。他的作品也可以在其他诸多博物馆中找到，比如米兰现代艺术市民美术馆，泰特收藏馆，威尼斯佩吉·古根海姆博物馆的城市天使，诺顿·西蒙博物馆，Fundatie 博物馆和华盛顿的 Hirshhorn 博物馆和雕塑花园。

作品

马里尼在雕塑中发展了几个主题：马术，Pomonas（果蔬女神，裸体），肖像和马戏团形象。他利用伊特鲁里亚和北欧雕塑的传统来开发这些主题。他的目标是根据现代关注点和技巧，通过解释古典主题来发展神话形象。

马里尼因他的一系列个性的马术雕像而出名，雕像中骑士很个性的伸出双臂。作为马里尼作品中的主题和骑士的演变反映了艺术家对现代世界变化背景的回应。这个主题出现在他1936年的作品中。起初马匹和骑手的比例很纤细，都是“平静，正式和冷静的”。次年，马被描绘成饲养中和骑手做争斗装。到1940年，形式更加简单，气质更加古老。姿势更加下蹲。

第二次世界大战后，在二十世纪四十年代后期，这种马被固定，不动，脖子伸长，耳朵后翻，嘴张开。在威尼斯的佩吉古根海姆收藏品中，一个例子就是“城市的天使”，它的描绘“与性能力明确相关，明确而强力”。在后来的作品中，骑手越来越无视他的坐骑，“这表现了他的幻想或焦虑。”在这位艺术家的最后作品中，当马匹以“失控的世界末日形象”落入地面时，骑手失去了控制，这与马里尼对世界未来日益增长的绝望相似。

他从各种文化中汲取灵感和造型元素的同时，又能坚持自己的艺术方向，有意地把自己的真实生活感受与创作相连。更为可贵的是，他通过变换形式和材质，不断赋予他作品中几个永久主题新的含义。他的著名作品包括骑士和马的系列雕塑，简单的裸体人物雕像和人物半身像等。他的肖像雕塑富于动感，通常采用粗糙的材质作表面。

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图兰朵计划是意大利政府针对中国艺术生去意大利留学的政府计划，它是专门针对中国艺术、音乐、美术和设计类学生的官方计划，目的是让中国的艺术类学生能够顺利入读意大利大学，“图兰朵计划”可以说是艺术类学生的“马可波罗计划”。取得该项目资格的中国学生在意大利进行10个月或者11个月的语言课程结束之后，如果通过了最终的课程考试，可以在其选择的艺术或者音乐类学院注册学习。

申请条件：

��科：应/往届高中艺术类毕业生，高考成绩及艺考成绩换算后400分以上，艺术生换算公式：｛文化分+（艺术得分/艺术总分）*750｝/ 2 > 400（包括400分）

材料：

高中毕业证，高考成绩证明，艺考成绩证明，小初高毕业证（如没有小学初中毕业证，需提供教育局开具的证明）

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BERLIN, GERMANY – JANUARY 15: Alfons Kaiser and guest attend the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for Der Berliner Salon)

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

BERLIN, GERMANY – JANUARY 15: Christiane Arp and Philipp Bree attend the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for Der Berliner Salon)

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

Der Fashion Council Germany ist die Interessenvertretung für Mode designed in Germany. Im Januar 2015 auf Initiative nationaler Branchenexperten in Berlin gegründet, setzt sich der Fashion Council Germany für deutsches Modedesign als Kultur- und Wirtschaftsgut ein und fördert Designnachwuchs aus Deutschland.

BERLIN, GERMANY – JANUARY 15: the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for Der Berliner Salon)

BERLIN, GERMANY – JANUARY 15: A general view at the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Andreas Rentz/Getty Images for Der Berliner Salon)

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

Der Fashion Council Germany ist die Interessenvertretung für Mode designed in Germany. Im Januar 2015 auf Initiative nationaler Branchenexperten in Berlin gegründet, setzt sich der Fashion Council Germany für deutsches Modedesign als Kultur- und Wirtschaftsgut ein und fördert Designnachwuchs aus Deutschland.

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

BERLIN, GERMANY – JANUARY 15: during the Group Presentation during ‘Der Berliner Salon’ Autumn/Winter 2019 at St. Elisabethkirche and Villa Elisabeth on January 15, 2019 in Berlin, Germany. (Photo by Isa Foltin/Getty Images for Der Berliner Salon )

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