#Local Painters South Africa

[etasker]

Effortlessly Refresh Your Home Discover ETasker’s Painting Services in South Africa

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Whether you're looking to transform a single room or undertake a larger project, ETasker connects you with experienced local taskers who can bring your vision to life. By visiting ETasker.com, you can easily browse through a network of vetted professionals, ensuring that your painting project is completed with the highest quality standards.

ETasker’s global expertise combined with local service ensures that no matter where you are in South Africa, you have access to top-tier painting services. From initial consultation to the final brushstroke, ETasker’s taskers are dedicated to delivering exceptional results that meet your budget and timeline.

Don’t leave your painting project to chance. Visit ETasker.com today and discover why it’s the go-to platform for hiring taskers for painting services in South Africa. Your space deserves the best, and with ETasker, that’s exactly what you’ll get.

[mybeingthere]

Keith Henderson, 1883–1982, British.

Painter, muralist and illustrator of great individuality, educated at Marlborough College. Studied art at Slade School of Fine Art, then in Paris. Initially he was principally a portrait painter. After Army cavalry service in World War I Henderson travelled widely, including Africa and South America, the local plants and wildlife finding their way into his often colourful work. Official War Artist attached to Royal Air Force in World War II. Among books that Henderson illustrated are W H Hudson’s Green Mansions, 1926, and The Purple Land, 1929, and he published several titles himself, including Palm Groves and Humming Birds, 1924. Exhibited RA, Fine Art Society and RWS extensively, as well as ROI and RSW. Pelter/Sands, Bristol gave him a solo show in 1980.

[cazzyf1]

Lauda had left his long standing fiancé, Mariella von Reininghaus, and taken up with a new girl called Marlene Knaus. Knaus was an actress and sometimes model. She belonged to one of the most respected families in Austria. Her grandfather was a renowned gynaecologist, Ns her father a famous Austrian painter.

It was their first public appearance at the Kyalami Ranch Hotel and Lauda introduced her by saying, simply: "This is my lady." Remarkably, for Lauda, the sudden dumping of his companion of right years and the women he intended to marry did not seem to merit any further explanation than that. It turned out he had already been seeing Marlene for at least six months during the close season and Mariella had already been long gone from his life.

Lauda had kept his new relationship entirely secret until Kyalami, where he introduced everyone to her for the first time.

Lauda had met Marlene the previous summer at the Salzburg home of Hollywood actor Carl Jurgens. At the time, Marlene was Jurgens girlfriend. She and Lauda hit it off straightaway and got together after the US grand prix in Watkins Glen, in October 1975. Lauda had been away in America for three weeks and, upon his return to the apartment he shared with Mariella, his feelings suddenly struck him. As he later revealed:

"I draped my jacket over the back of a chair and looked at Mariella and suddenly it hit me: this won't work."

He drove away that night into Marlene's arms never to return. Lauda proposed to her that night and they went away to Ibiza on Lauda's private plane.

Back in Austria, Lauda told Mariella a pack of lies. He told her he was stressed and, because of that, demanded they end their eight years together, he had coldly dumped her in a few minutes' conversation. Mariella was a lovely woman and had been very popular on the Formula One scene. David Benson, the Daily Express motoring editor, who was a close friend, later tried to explain saying,

"Lauda had simply removed the fuse on the emotional circuit in his brain."

But in Kyalami, Benson could sense that Marlene was more than a casual fling - although he had no idea how much more. It later emerged that Lauda had wanted to get married to Marlene straightaway, merely days after meeting her. But he wanted it kept a secret as he did not wish Mariella and her friends to know he already had a new girlfriend. So, the previous November, he had flown to England and met secretly with John Hogan. When he arrived at Hogan's home in Reading, he told him:

"You know what I'm missing? A wife. Where can I get married in England?"

It was almost comical, as Hogan rememberes:

"I was living out in Reading in those days, so I said: Let's try Reading registry office to see what happens. So we drove up to the Reading registry office; Niki, myself and Marlene. And this very nice gentleman said: I'm terribly sorry. I'd love to but I can't."

Do Lauda's plans were thwarted and he hid away in Ibiza with Marlene over the winter. Then, three months later, they turned up in Kyalami. Lauda figured he could test the water in South Africa, away from the full glare of European journalists. But he hadn't figured on the Hunt-Burton-Taylor story making a news a complete non-event. Such was the buzz surrounding Hunt hardly anyone noticed Lauda and Marlene.

Only David Benson relayed the story back to his newspaper, which was barely interested. It was easy to see why Lauda had become so transfixed. Marlene Knaus was a very beautiful girl and wore her hair in a sever brushed back bbun and the top of her head. Benson said:

"I established a friendly relationship with Marlene when the other people on the racing circuit cold-shouldered her, thinking she was merely some local pick-up"

Lauda was distressed by this and decided he must make an honest woman of Marlene quickly as he could. Meanwhile the wives and girlfriends of other drivers had different ideas and completely sided with Mariella as news of the relationship leaked out in Europe's tabloid newspapers. There was still a great deal of speculation about whether Niki and Mariella would get back together again.

At a party hosted by Nina Rindt, the window of Jochen Rindt, ther was an attempt to bring Lauda and Mariella together again. Helen Stewart offered to get in touch with both Mariella and Lauda and to try try heal the breach. And she was nominated by others to directly intervene. But they were labouring under the impression that Lauda and Marlene had just met, and had no idea what had occurred the previous year in Reading.

But when the news of the women's summit at Lake Geneva reached him the next day, Lauda decided to take action. He didn't want a media circus, and he knew the Austrian and German press would take Mariella's side against his. So Lauda went quietly as he could to a registry office in Vienna-Neustradt and married Marlene. The registrar agreed to a secret marriage out of hours and astonishingly, it remained a secret for nearly a month, by which time journalists accepted it as gait accompli, making further speculation effectively unnecessary." - Shunt, The story of James Hunt, page 249-251

[abwwia]

Bertina Lopes, Africa. I tre momenti [Africa. The Tree Moments], 1988, oil on canvas, © Bertina Lopes

Bertina Lopes

Untitled

Color lithograph

80x60cm

Bertina Lopes (July 11, 1924 – February 10, 2012) was a Mozambican-born, Italian painter and sculptor. Lopes' work displays a deep African sensibility with saturated colours and bold compositions of mask-like figures and geometric forms. She has been acknowledged for highlighting 'the social criticism and nationalistic fervour that influenced other Mozambican artists of her time'.

Lopes was born in Maputo (formerly known as Lourenço Marques), Mozambique, on July 11, 1924 to an African mother, whose family was locally known, and a Portuguese father, who was a fieldworker.

Lopes' work was influenced by multiple sources, including Mozambican art and Portuguese modernism. Between 1946 and 1956, she embraced the art of Western painters and South American graffiti artists.

Lopes’ work was also deeply influenced by the political events that affected her home country, in particular during the period that followed the independence and the civil war between FRELIMO and RENAMO. Much of Lopes' work featured African fairy tales and stories that relate to the political events occurring at the time of production. via Wikipedia

[mishinashen]

Saint Augustine in Ecstasy by Bartolomé Esteban Murillo

When seen in the most impressive gathering of seventeenth-century Spanish painting outside of Spain in the collection of Marshal Soult, Dr. G.F. Waagen singled out the present painting by Murillo as 'the finest [single-figure picture] I know of the master': The intense longing for [Saint Augustine's] Lord, expressed in the fine features and beautiful eyes and the speaking gestures of the admirable hands, render the following inscription almost superfluous--'Inquietum est cormeum donec perveniat ad te' [My heart is restless until it comes to you]. As respects pictures of single figures, this is the finest I know of the master; for the grandly expressed moral intention is here combined with unusual decision of forms, with a light and transparent golden coloring in the flesh-tones, with a fine arrangement of harmoniously and powerfully colored drapery, which is lined with a beautiful cherry brown, and, finally, with a solid and sustained execution in a rich body. The general dark tint of the background, with only a curtain, sets off the striking effect of the figure. I have already seen and admired this chef-d'oeuvre in the collection of Marshal Soult at Paris. The Marshal Jean de Dieu Soult collection included masterpieces by Murillo and Francisco de Zurbarán and provided many French artists with their first important contact with Spanish painting. Among them was the Romantic painter par excellence, Eugène Delacroix, who, on 30 November 1853, emphasized the quality of the Murillos above the work of any other painter in the renowned group: 'I was talking to [Paul Delaroche] one day about Marshal Soult's wonderful Murillos, and he was willing to allow me to marvel at them'. Marshal Soult amassed his impressive collection while serving as Napoleon's commander of the French army of the South during the Peninsular War (1808-14). Seville, renowned for its artistic treasures, was of particular interest for the French; and on 1 February 1810 Soult entered the city and established his residence at the archbishop's palace (fig. 1), a sumptuous Baroque building housing paintings by Valdés Leal and Francisco da Herrera the Elder as well as Murillo's Virgin and Child (Walker Art Gallery, Liverpool). Subsequent military victories contributed to Soult's acquisition of paintings from local religious institutions and from the city's depository in the Alcázar. Soult returned to Paris in 1812 with approximately 180 Spanish paintings, including Murillo's iconic Immaculate Conception (Prado, Madrid). Apart from a magnanimous donation of works by Murillo and Zurbarán to the Louvre (then Musée Napoléon) in 1813, Soult housed his pictures in his Paris town house on the rue de l'Université, which became an unofficial academy of Spanish painting. It was immediately the most important private collection of Spanish paintings outside Spain. (The posthumous sale of the Soult collection in 1852 listed seventy-eight paintings from the Seville school alone). For further reading on Marshal Soult's collection of Spanish paintings, see I.C. Rivero, 'Seville's Artistic Heritage during the French Occupation', in Manet/Velázquez: The French Taste for Spanish Painting, New York, 2003, pp. 93-113. Bartolomé Esteban Murillo was the leading exponent of the seventeenth-century Sevillan school, which was known for its seamless blend of realism and sentimental beauty in painting. Murillo was born and trained in Seville, where he learned the rudiments of his art from Juan del Castillo, a vital contact for the city's leading artists, including Alonso Cano. In 1645 Murillo received his first important religious commission, scenes illustrating the miracles of Franciscan saints for the convent of San Francisco in Seville. At the time he was influenced by the tenebrism associated with Francisco de Zurbarán. In 1658, at the height of his career, Murillo travelled to the royal court at Madrid, where he befriended Diego Velázquez. As court painter to Philip IV, Velázquez was the key to the city's most important collections, which included works by Titian and Rubens. By 1660 Murillo had successfully appropriated both the compositional grandeur of cinquecento Venetian painting and the technical brilliance of Rubens. The artist's last two decades represent his period of greatest activity, during which time his tonal range was simplified and his use of colors limited primarily to shades of gray and brown. Between 1666 and 1670 Murillo painted his monumental Saint Augustine contemplating the Virgin and the Crucifixion (Prado, Madrid; fig. 2) for the altar of the church of San Agustín in Seville. The present version, dated 1665-75 by Angulo Iñiguez, is a reverse of that composition and concentrates on the emotional immediacy of Augustine's vision. Saint Augustine (354-430) served many roles throughout his life, including Bishop of Hippo (North Africa) and one of the four Latin Fathers of the Catholic Church (along with Saints Ambrose, Gregory and Jerome). In the visual arts, he is identified by the dress, mitre and crozier of a bishop and by a short, dark beard. However, Augustine's principal attribute is a flaming heart, a symbol of his religious fervor and one particularly appropriate for Counter-Reformation Spain. For further reading on the legend of Saint Augustine, see J. and P. Courcelle, Iconographie de Saint Augustin, Paris, 1972. In the present work Murillo faithfully depicts the Christian saint surrounded by the appropriate attributes, viz. the bishop's crozier and mitre on the right and the flaming heart surrounded by the following inscription on the upper left: 'INQUIETUM EST COR MEUM DONEC PERVENIAT AD TE', yet under his pluvial Murillo's Augustine wears the black cowl of the Augustinian hermits, who believed that this was the saint's own dress as opposed to the white robe sanctioned by the Augustinian Canons. Murillo appropriates the pose of his figure from Anthony van Dyck's Ecstasy of Saint Augustine (c. 1628; Antwerp, Koninklijk Museum voor Schone Kunsten; fig. 3), a composition well known in Seville through numerous engravings. Murillo's Saint Augustine in Ecstasy was last sold at auction at Christie's, London, in 1933, along with Murillo's iconic Christ healing the Paralytic at the Pool of Bethesda (National Gallery, London; fig. 4), both from the estate of George Pretyman of Orwell Park, Ipswich.

[steliosagapitos]

     Charles Edward Perugini (British painter) 1839 - 1918 The Ramparts, Walmer Castle; Portraits of the Countess Granville, and the Ladies Victoria and Mary Leveson-Gower, 1891

Oil on canvas; 124 x 184 cm. (48.75 x 72.5 in.). Catalogue Note Christie's Exhibited at the Royal Academy in 1891, this attractive triple portrait shows the second wife and two daughters of one of the great Whig magnates of the Victorian age. Granville George Leveson-Gower, second Earl Granville (1815-1891), entered Parliament in 1837, moving to the Lords, where he headed the Liberal party for many years, on his father's death in 1846. During a long political career serving four prime ministers - Palmerston, Lord John Russell, Lord Aberdeen and Gladstone, he held numerous high offices of state and was associated with some of the most important events and significant issues of the day. As colonial and foreign secretary, posts he held for long periods between 1868 and 1886, he was beset by imperialist crises in India and South Africa, Canada and New Zealand. He also had to cope with the Franco-Prussian War and the ambitions of Bismarck, the aftermath of the great Eastern Question of the 1870s, and the occupation of Egypt that ended so tragically with the death of Gordon at Khartoum in January 1885. His urbane, cosmopolitan outlook was an undoubted asset to his party, while his London house in Carlton House Terrace gave it a social centre in much the same way that Holland House, Kensington, had done earlier in the century. Lord Granville's first wife died without issue in 1860. On 26 September 1865, he married Castalia Rosalind (1847-1938), youngest daughter of Walter Frederick Campbell of Islay, Scotland, and a full thirty-two years younger than her husband. It is she who appears on the left in the picture, now forty-four and looking remarkably youthful for her age. Their marriage was to be blessed with five children: Victoria and Sophia, who always seems to have been known as Mary, are the two girls depicted here. Victoria is seated beside her mother, holding a fan behind her head and an open book, from which she has perhaps been reading aloud, on her lap. Her younger sister approaches with a spray of dog-roses. Victoria was now twenty-four and would remain a spinster for some time, marrying Harold John Hastings Russell, a barrister, in 1896. Sophia married Hugh Morrison of Fonthill House, Tisbury, in Wiltshire. For many years he was prominent in local affairs, serving as High Sheriff of the county, a J.P., and Tory member of Parliament for the Salisbury division from 1918. Both sisters produced children, and both outlived their spouses. The ladies are seen on the Kent coast, looking out over the English Channel. Lord John Russell had made Earl Granville Lord Warden of the Ports in 1865, thus enabling his family to use Walmer Castle as a country retreat. Servants have brought out a wicker sofa, furnished with cushions, together with a side-table, books and newspapers, a footstool for Lady Granville and even a carpet, but to the left looms a large cannon as a reminder of the Castle's original purpose. The juxtaposition of this potent symbol of aggression, cast in uncompromising bronze, and the display of femininity represented by the three aristocratic women, fashionably dressed and indulged with every luxury, does much to give the picture its piquancy and edge. The artist Charles Edward Perugini was aged 52 at the time of the picture's exhibition in 1891 and was at the height of his career, this the picture being one of his most ambitious. He had lavished his utmost skill on depicting the dresses, particularly Lady Granville's grey silk gown, and had devised an enchanting colour scheme in which pearly, iridescent tones are set off by bold touches of lacquer-like red, distributed across the canvas from the table in the left foreground to the geraniums in the right middle-distance. In the past Perugini's speciality had been idealised genre subjects, but these were beginning to go out of fashion and it is hard to resist a suspicion that with The Ramparts, Walmer Castle he was making a bid for greater recognition as a painter of society portraits. Perugini had been born in Naples, the son of a singing-master, but had grown up in England since the age of eight. By 1853 he was in Rome, where he met the young Frederic Leighton, the future president of the Royal Academy and undisputed head of the late Victorian art establishment. Perugini became one of Leighton's many protégés, continuing to receive his financial support well into the late 1870s possibly as payment for studio assistance. Certainly Perugini's style as an artist was greatly influenced by Leighton's, and he explored a similar range of subject-matter, operating, as it were, on the borders between modern life and an idealism in the classical-cum-Aesthetic taste. His Girl Reading, shown at the R.A. in 1878, is a perfect example. Like Leighton, moreover, he was loyal first and foremost to the Academy, where he showed almost every year from 1863 to 1915. In 1874 Perugini married Kate Collins, the younger daughter of Charles Dickens and widow of the Pre-Raphaelite painter Charles Allston Collins. (She was hence the sister-in-law of another novelist, Wilkie Collins). She herself was a talented artist, although she is probably best known to posterity as the model for the distraught young woman in Millais' popular painting The Black Brunswicker of 1860. Perugini too was intimate with the great ex-Pre-Raphaelite. Perugini's portrait of the Granvilles vividly reflects these artistic allegiances. Its high degree of finish and polished surfaces are eminently Leightonesque, while the subject evokes comparison with Millais' Hearts are Trumps, his portrait of the three Armstrong sisters shown at the Royal Academy in 1872, which in turn owes a debt to Reynolds's Ladies Waldegrave. Similarly, if a little more subtly, Perugini's portrait seems to echo Three Ladies adorning a Term of Hymen, Sir Joshua's portrait of the three Montgomery sisters that had been in the National Gallery in London since 1837. The mingling of standing and seated figures in Perugini's design, their conversational interaction, and the part played by flowers (the bouquet in the Countess's lap, the garlands held by Sophia) in linking them together, all suggest that the artist had found inspiration in this monumental work. Only a few portraits Royal Academy were noticed by the critics. F.G. Stephens, the veteran critic on the Athenaeum thought the picture 'pretty and excessively polished, somewhat flat and hard, yet bright, studious, and pure. The ladies are marvellously attired, and beautiful according to the standard of the Book of Beauty'. Stephens felt it was 'Mr Perugini's best work', exhibited to date. The masterpiece to which the artist had so clearly aspired had been achieved.

[puremoroccotrips]

8 Days Private Tour And Magic Morocco Tour From Casablanca

8 Days Private Tour And Magic Morocco Tour From Casablanca

Day 1: Casablanca – Rabat – Meknes

Upon your arrival at the Mohamed V Airport in Casablanca, we will start 8 Days Private Tour From Casablanca by visiting the Hassan II Mosque in Casablanca, the third-largest mosque in the world. After that, you will drive to Rabat where you will visit the best sites of this city such as the Hassan Tower, Mohammed V Mausoleum, and the Oudayas Kasbah overlooking the Atlantic. Then travel to Meknes, one of Morocco’s ancient imperial cities, where you will have a break for drinking some coffee and strolls in its busy square and Medina (Lahdim).and you will end your day with dinner at your riad in Meknes.

Day 2: Meknes – Volubilis – Moulay Idriss Zarhoun – Fes

In the morning devoted to discovering this magnificent Imperial city. Sightseeing of Meknes includes Mosolum Moulay Ismail, Bab Mansour, Sahrij Souani. After lunch, you will continue to Volubilis, the best example of an ancient Roman city in Morocco. After that drive through Moulay Idriss Zerhoun, the holiest Islamic town in the Kingdom of Morocco, where thousands of the Moroccan faithful come on pilgrimage every August to pray at the tomb of this descendant of the Prophet Mohammed. Then you will continue to Fes and ending your day with dinner at your riad in Fes medina.

Day 3: Fes sightseeing – Ifran – Azrou – Midelt

The whole day is devoted to touring this UNESCO World Heritage City. Sightseeing of Fes includes the medieval Medina with its Attarine and Bou Anania Medersas, the Nejjarine fountain, the Moulay Idriss mausoleum, and the Karaouine mosque. Afternoon travelling via Azrou, where you can see Barbary apes in the forest of the Middle Atlas and then continue to your hotel in Midelt, the apple capital at the foot of the Ayachi Mountain.

Day 4: Midelt – Valley Ziz – Merzouga

Departure from Medilt at 9 o’clock to Merzouga desert. We will pass over the Tizi-n-Talremt pass and through the Ziz Valley, which is particularly well-known for its palm trees and the length of the oasis. All along the road, there are innumerable ksars, small villages of individual houses. From here we reach Er Rachidia and then Erfoud, famous for its date festival and fossils. Then continue to Merzouga, where you will meet your camel guide to ride into the dunes to the bivouac(camp). Dinner and overnight will be under the nomad tent. The trek will start right into the desert at 1:30. We will spend the night in an equipped camp in the middle of the Sahara desert. This is a great opportunity to take lovely pictures of the sunset and sunrise when you arrive at the camp you walk to the high dunes to see the sunset. It will be a magical night when the sky is clear of cover and stars sparkle and shine with intensity. There will be a wonderful dinner around a campfire, you will spend the night in a luxury camp in the desert. Hot shower & bathroom inside your own tent.

Day 5: Merzouga – Rissani – Todra Gorge – Dades Valley

In the morning after a hot shower and breakfast in a luxury camp in the desert, you will ride the camels back to Merzouga

. Today we will leave the desert toward Rissani where you can visit the souk (the biggest market in the area). Then continue to Tinghir and Todra Gorges, the highest, narrowest gorges in Morocco. After lunch in the heart of the gorge, we will drive through the Dades Valley, where you’ll see the majestic sand castles and the amazing rock formations known as “monkey toes”. Overnight accommodation will be in a fancy hotel overlooking the Dades Valley.

Day 6: Dades Valley – Ouarzazate – Marrakech

After breakfast, departure to Ouarzazate passing through the Dades Valley, the line of kasbahs that give this extremely popular route its nickname as a valley of a thousand kasbahs. Just before the town of Skoura, visit Kalaa Mgouna, the rose city, where you can purchase local rosewater. We will continue to Ouarzazate, “The Hollywood of Africa”. Go through the “Road of the thousand Kasbahs” – the fascinating “sandcastles”. After 30 kilometres from Ouarzazate, we will stop at the famous Kasbah Ait Benhaddou. The kasbah is one of the most intriguing red earth castles lining the ancient road of the Kasbahs and is a UNESCO world heritage site. Lunch by the Kasbah and continue on our way to Marrakesh through the famous Tizi-in-Tichka pass over the High Atlas Mountains. The range has snow on its peaks most of the year. Appreciate the beauty of the timeless landscapes on the twisted roads through Berber villages. After arriving in Marrakech you will be accommodated overnight in a hotel or riad.

Day 7: Marrakech sightseeing day

Marrakech is the second oldest imperial city, known as the pearl of the south. After breakfast, we visit the historical Marrakech: the Menara garden, the Saadian tombs, the Bahia Palace, the Koutoubia Minaret and the Majorelle Gardens named after the famous French painter, who constructed here his art deco villa and started the botanical gardens. In 1980 it became the residence of Yves Saint Laurent. Afternoon: visit the famous Djemaa El Fna square with its surrounding souks and handicraft quarters. In the evening check into your Riad.

Day 8: Marrakech – Casablanca

After breakfast is a transfer to Casablanca’s Mohammed V International airport for your return flight. End of our services.

https://www.puremoroccotrips.com/product/8-days-private-tour-and-magic-morocco-tour-from-casablanca/

[buhlenkalashe0]

Something you must know about South African Art Paintings

South African art has always captured on the distinctiveflavour of the country, from the 4 000-year-old cave paintings of the San Bushmen – the widest collection of rock art in Africa – to the home-based theoretical art movement that jumped up as apartheid came to an end in the 1990s.

The San Bushmen, Africa’s erstwhile hunter-gatherers, survived in the enormous Drakensberg range of mountains from 4 000 years ago until they were thrown out by colonialists in the 19th century. Over a period of time, they created an enlarge pool of art on the walls of caves and rock shelters – the largest and most focused group of rock paintings in sub-Saharan Africa.

This dynamic collection of South African art painting prompted Unesco to inscribe the Drakensberg as a mixed natural and cultural world heritage site in 2000. The paintings, Unesco said, “represent the spiritual life of the San people” and are “outstanding both in quality and diversity of subject”.

“The San people lived in the mountainous Drakensberg area for more than four millennia, leaving behind them a corpus of outstanding rock art, which throws much light on their way of life and their beliefs,” according to UNESCO.During the early colonial era, white South African painting artists inclined to focus on depicting what they saw as a “fresh world”, in precise detail. Artists such as Thomas Baines travelled the country recording its flora, fauna, people and landscapes – a form of reporting for those back in the metropolis.

Towards the end of the 19th century, painters Jan Volschenk and Pieter Hugo Naude and the sculptor Anton van Wouw began to set up a locally rooted art. Their work – the first glimpse of an artistic vision that engaged with life as lived in South Africa – marked the moment the country began to capture its own national identity, with the 1910 Union of South Africa marking the formal end of the colonial era.

In the early decades of the 20th century, the Dutch-born painter JH Pierneefintroduced a coolly geometric responsiveness to the South African landscape; he also, in a way that nourished into Afrikaner nationalist ideology, discovered it bereft of human inhabitants.

By the 1930s, two women artists, Maggie Laubscher and Irma Stern, came with the techniques and sensibilities of post-impressionism and expressionism to South African art painting and mixed media on canvas art. Their strongcolour and composition, and extremely personal viewpoint, rather scandalised those with old-fashioned theories of acceptable art. Yet younger artists such as GregoireBoonzaier, Maud Sumner and Moses Kottler were rejoicing in this fresh spirit of cosmopolitanism.

Today, there many art galleries in Cape Town that boast of wonderful South African art paintings.

[rockofeye]

I'm curious about what I've seen around the general make-up of Haiti and I guess who lives there. Is Haiti mostly rural farmers and people who live in poverty? How does that interact with Vodou? Is Vodou (and Haiti?) different in different areas and how does that get affected by what media says, knowing that the media is always biased?

Hi there,

This is an interesting and complex question!

Haiti is a pretty diverse country. Most media portrayal focuses on poverty and illustrations of what that looks like via photo/video of densely populated areas of folks living in really challenging circumstances. This is certainly a part of Haiti and a not-insignificant part, but it is not all of Haiti.

Haiti has burgeoning tech sectors and a recovering local business and entrepreneur community. A lot of localized business has struggled in the face of foreign aid and as a result of the earthquake, but its rebounding and growing quickly. Locally-owned hospitality-oriented businesses are huge in Haiti and focus in on the tourist and Diaspora communities, and it's something that Haiti is quite known for worldwide.

Haiti has a HUGE artisan community with a really well-known heritage of painters, sculptors, metal artists, traditional musicians, and artisans creating textile items with sacred themes. Haitian art and music is known worldwide...Haitian artists are some of the most widely sold artists in the world.

And, Haiti has a significant agrarian community. Farmers have been hit hard by foreign involvement, the earthquake, and the various hurricanes that have rolled through, but a lot of history and culture is tied into farming as a means of carrying a living memory of life in Haiti. Some farmers are subsistence farmers, who grow vegetables and raise animals to feed their families either directly or via selling at the marketplace, and there is a growing community of farmers who provide raw material to develop food items or goods for sale in country and via export. Haitian chocolate is a delicacy as is Haitian coffee, and products like cocoa butter, castor oil, and moringa are super popular. Haiti is also fairly well known for producing unique furniture from old growth hardwood and bamboo.

Vodou is connected to all parts of Haiti and all parts of how life plays out in Haiti; it doesn't privilege one way of life over another but it speaks to different parts of life in different ways. The religion is as diverse as the country is, and varies widely based on where you are physically in the country (Vodou from the mountains is different than Vodou from the north which is still different from Vodou from the south, Vodou from near the border, Vodou all the way out on the arm of Haiti, and on), what your local area is known for (for example, the area the lineage I am born from was founded is very heavily Kongo influenced and that is very visible in our ceremonies, and there are other parts of Haiti influenced similarly by other rites and cultural pieces from Africa), what rites are present and/or available to you, how you came to know Vodou, and a million other factors. Vodou and the larger religious foundations encompassing all the different Vodou and Vodou-adjacent rites speak to all those things. As diverse as the country is, Vodou is as diverse as well. There are some common agreements held among practitioners in general, but Vodou is not a monolith because Haiti and Haitians are not a monolith.

From my perspective, the only way Vodou gets affected by media is when Vodou gets blamed for a disaster or a situation where someone was harmed or was perceived to be harmed. Those things can have real, literal consequences; a rumor in Haiti that you 'sent Vodou' or sent spirits or had work done to someone can get you killed. That kind of seriousness ripples out culturally in the country; police harass and arrest vodouizan because they can, landlords turn people out of their homes if they think they are sèvitè, and Protestants attack folks on the street.

That kind of stuff alongside media overemphasis on animal sacrifice and possession can make a hard road. But, the religion itself keeps on doing its thing. Vodou as a whole has lived through a lot of stuff and media portrayal while damaging isn't going to change much of how the granmoun teach us to serve the lwa.

I hope this answers your question--it's broad strokes, so let me know if I can dial it down further in any areas.

[willkommen-in-germany]

Am Pferdemarkt in Grabow

Grabow is a town in Mecklenburg-Vorpommern, Northeastern Germany, situated on the river Elde, 7 km from Ludwigslust, and 34 km from Wittenberge. The name is of Slavic Polabian origin. Pope Urban III. mentions castle Grabow for the first time in a letter from 1186. The city received city law in 1252. In 1725, it was destroyed by a great fire. The local palace was never rebuilt. The historical center is distinguished by its close core of timber-framed houses.

Otto Plath, the father of writer and poet Sylvia Plath, emigrated from Grabow to the USA. The painter Wilhelm Langschmidt was born in Grabow and settled in the Elgin valley in South Africa. The town which grew around his trading store there still bears the name Grabouw, after his hometown.

[peckhampeculiar]

Painter man

TOM PHILLIPS IS A HIGHLY ACCLAIMED, PECKHAM-BASED ARTIST WHO HAS BEEN ACTIVE FOR MORE THAN 50 YEARS.

Here, he talks about his fascinating and varied career and calling up his friend Brian Eno on the phone

WORDS: SEAMUS HASSON;  PHOTO: LIMA CHARLIE

Tom Phillips is a local artist who has led a rather extraordinary life. A painter and sculptor of con­siderable renown, he is also a composer, set de­signer and writer. He has received commissions to produce artworks for the likes of Westminster Cathedral and Westminster Abbey and has held high-profile positions at some of the country’s most prestigious cultural institutions.

While Tom is an artist of international acclaim, he is also known locally as the bloke who de­signed the mosaics and iconic curved lamp posts on Bellenden Road.

I arrange to meet him at the Peckham Pelican on the August bank holiday, but on arrival we dis­cover it is closed for the day. After a brief discus­sion about how to proceed, we hop on the 345 to­wards Camberwell and settle for a greasy spoon a few stops down. Perhaps not the most distin­guished setting to interview one of the country’s most esteemed artists and a trustee of the British Museum, but Tom is without pretension.

“I’m a south London boy,” he says. “I’ve lived all of my life in south London and most of it in Peck­ham.”

Tom was born in Clapham in 1937, where he spent his early years and attended Henry Thorn­ton Grammar School. From there he achieved his ambition of going to Oxford. “I wanted to go there because I wanted to act in plays and things like that,” he explains. “So, I went and studied – as they call it – English, for about half an hour a day.

“[While there] I was drawing all the time and looking at art and reading about art and wanted to go to art school. Luckily enough the one I chose was about 100 yards from where my mother had bought a house.”

Tom went to the Camberwell School of Arts and Crafts, where he was taught by German-Brit­ish painter Frank Auerbach. Fortuitously for him, his mother had bought a house on Talfourd Road some years earlier.

“We were going bankrupt I think as a family and she bought the house in Peckham because they didn’t cost anything, about £500, and let it out to art students ironically enough. I was the last art student to occupy it and took it over bit by bit.”

The property is the studio where Tom contin­ues to work, producing pieces that have been shown across the world. “My art school life was here in Peckham,” he says. “When I left Oxford, I had to get a job like people do, so I did teaching. I taught in a school in Brixton and went to evening classes here at the Camberwell School of Arts and Crafts as they called it then.

“The only artist I knew about who was teaching was Frank Auerbach so I joined his class and that was the deal done as far as my life was concerned. I think you always need someone who passes the baton on, you know, it’s a race that we’re all run­ning one after the other.

“So, I followed lots of his advice and learnt a lot from him as well as other people who were there who were interesting.”

It wasn’t long before the art world was taking notice of Tom’s work. His first solo show was in 1965 at the Artists’ International Association Gal­lery in London, followed by an exhibition at the Angela Flowers Gallery in 1970.

“Right away I was doing my own work, I won a prize or two and got noticed a bit,” he says. “Even­tually it seemed possible to do it as a living, which I managed to do in the end. I’m still managing.”

In 1966 he began a project that is still occupy­ing him today. “A Humument” came about when he set himself the task of finding a book for three­pence and altering every page with painting, col­lage and cut-up techniques to create an entirely new version.

The book he chose (at random) was an 1892 novel called A Human Document by WH Mallock. “It was an old Victorian novel. I picked it up by chance actually on Peckham Rye, on the exact spot where Blake saw his first angels,” he says. “I got it in a big shop called Austin’s, which is gone now.”

Although the final edition of A Humument was published in 2016, Tom has found it difficult to leave it behind. “I thought I’d work on that for a bit and I ended up working on it for 50 years,” he says.

“And I’m still working on it actually; although I’ve published a final edition. I can’t stop, it’s too interesting. It leaves a black hole in your life when you’ve been doing something for 50 years and then suddenly you say stop.

“I certainly was lucky in the book that I chose. It’s got an undertext and a sort of darkness and is full of interesting things you can find. Even the other day I was thinking how there are things in modern life that don’t crop up, when I suddenly saw in the middle of a page I was going to work on the words, ‘me too’.

“I thought, ‘Well, me too didn’t mean anything in the 1890s but now it’s got a relevance to it’, so I moved around that idea.”

A Humument was shown in an exhibition at the Royal Academy, where Tom has been chairman of the exhibitions committee since 1995.

It was also exhibited in a museum in Massachu­setts and the book illustrating the work is avail­able on Amazon.

A renowned portrait artist, Tom’s subjects have included the likes of the cast of Monty Python as well as personal friends such as Iris Murdoch and Salman Rushdie.

In 1989, he became only the second artist to have a retrospective of his portraits shown at the National Portrait Gallery (his portrait of Iris Mur­doch is still on display there).

Another of his subjects was Irish playwright Samuel Beckett. “I spent a couple of weeks paint­ing his portrait when he was rehearsing a play here,” says Tom.

“He was interested in A TV Dante [a television series that Tom directed for Channel 4] and I was showing him what I was doing. I was doing a translation of Dante with pictures and he was rather kind about it. He was just a nice, lovely man.”

Locally, Tom is involved in a photographic pro­ject called 20 Sites n Years, where he takes pho­tographs in and around Peckham of the same site, on or around the same day, at the same time each year.

It has been going since 1973 and has been made into a film by Jake Auerbach, Frank Auer­bach’s son.

Another area of the arts that has played a big role in Tom’s life is music. As a young man he sang in the Philharmonia Chorus, which he describes as being “rather grand”.

“I did singing at school of course and played in­struments very badly, which I continue to do. But I could sing without having the skill of playing an instrument, so I then joined the leading choir in the country it seemed to me.”

In the late 1960s, he gained recognition for his experimental opera, Irma, and during his teach­ing career, he taught and befriended the avant-garde musician and producer, Brian Eno.

“He was a student. I can’t name many students who have done anything because I’m not a very good teacher,” he laughs. “But with someone like Brian it was difficult not to get things going.

“We worked together a little here and there. He made versions of things that I had done, and we were both associated with something called the Scratch Orchestra. He’s a person who always has the same phone number, which rather impresses me. I mean I don’t belong to a glamorous world like he does, but still the same old phone number gets Brian. Perhaps I’m the only person left who has that number.”

Talking to Tom, all sorts of brilliant anecdotes pop up. A keen ping pong player, he once played a tournament with the author Howard Jacobson and Salman Rushdie round at Charles Saatchi’s house. Then there was the time he got on the wrong side of the authorities in South Africa.

“I did the curation at the big African art exhibi­tion at the Royal Academy,” he says. “It all came through travelling in Africa and originally in South Africa. But then I sort of wondered how I could get involved as an artist. So, I joined a group called Artists Against Apartheid and we showed all over the world.

“I got into trouble slightly in South Africa itself because I overprinted banknotes with a slogan. In South Africa there were notices all over benches and things saying ‘slegs vir blankes’, which means reserved for whites.

“So, I made up this rubber stamp that said ‘slegs vir almal’, which means reserved for every­body and I put a rubber stamp upon every note that came through my hands. After that I was told that I wasn’t very welcome here in South Africa. It then became a little known as a slogan.”

With his days of political activism in the past and A Humument beginning to wind down, what does a typical day now look like for Tom Phillips, the artist?

“I’m doing everything I always did,” he says. “I was very lucky in the things that I did. They inter­ested me. I can’t think of anything that I want to do that I could do that I haven’t done. Not really. It filled the time – I’m 82.”

[vinaldaschileanlitblogthings]

“Five interesting nonfiction books”

The Savage Detectives by Roberto Bolano

The Savage Detectives recounts the history of avant-garde poets from 1975 in Mexico City until 1996 in Africa. Their literary movement, visceral realism, begins with a mischievous revolutionary fervor but later spins apart through jealousy, murder, flight, despair, insanity, and, in a very few cases, self-discovery. Although the underlying plotline is straightforward, the narrative structure and multiple points of view belong uniquely to this novel. It is divided into three sections that present the story out of chronological order.

“Mexicans Lost in Mexico” concerns the last two months of 1975 and takes place wholly in Mexico City. It is told through the diary entries of Juan García Madero, a seventeen-year-old whose ambition is to study literature and become a poet. He encounters two older poets, Arturo Belano and Ulysses Lima. Belano and Lima are poètes maudits, the founders of visceral realism, which is defined mostly by its vigorous opposition to mainstream Mexican literature. They gather about them a variety of younger poets, painters, and dancers, publish magazines, organize or invade poetry readings, and migrate from one dive to another in endless discussion. To finance their literary work they peddle marijuana. By chance, the pair discovers that a previous poet also used the term visceral realism to describe a literary movement. This poet is Cesárea Tinajero, a shadowy figure from the 1920’s known for a single published poem. Belano and Lima decide to track her down.

https://www.enotes.com/topics/the-savage-detectives

The house of spirits by Isabelle Allende

On the day that the priest accused her of being possessed by the devil and that her Uncle Marcos's body was delivered to her house accompanied by a puppy, Barrabás, Clara del Valle began keeping a journal. Fifty years later, her husband Esteban and her granddaughter Alba refer to these journals as they piece together the story of their family.

Clara is a young girl when Barrabás arrives at the del Valle house. Her favorite sister, Rosa the Beautiful, is engaged to Esteban Trueba. Clara is clairvoyant and is able to predict almost every event in her life. She is not able to change the future, only to see it. While Esteban is off in the mines trying to make his fortune, Rosa is accidentally poisoned in the place of her father, Severo del Valle. Rosa dies. Clara is so shocked by the events that she stops talking. Nine years later, Esteban has made a fortune with his family property, Tres Marias, thanks to his hard work and to his exploitation of the local peasants. On top of exploiting their labor, Esteban exploits all of the young girls of the peasant families, notably Pancha, for his sexual satisfaction. In addition to the peasant girls, Esteban also has sexual relations with prostitutes, including Transito Soto. Transito and Esteban become friends, and he lends her money to move to the city. Esteban's mother is about to die, and he returns to the city, where he pays a visit to the del Valle home. Esteban and Clara become engaged and marry. They move into the big house on the corner that Esteban built for them. Esteban's sister Ferula moves in with them.

https://www.sparknotes.com/lit/houseofspirits/summary/

The Shrouded Woman by María Luisa Bombal

As Ana María lies dead in her coffin, her transition into the afterlife is haunted with vivid memories and surreal sensory experiences. Surrounded by the people closest to her that mourn her death, the protagonist relives some of her most defining moments as the reader slowly discovers her complex relationships and identities.

https://theculturetrip.com/south-america/chile/articles/an-introduction-to-chilean-literature-in-10-books/

Seeing Red by Lina Meruane

Seeing Red, by Chilean writer Lina Meruane, is an exemplary autobiographical novel. At a party in New York City, the main character, Lina, suffers from a stroke, which causes the blood vessels behind her corneas to burst. According to her, this stroke was inevitable and doctors forewarned her of this fate. Her vision disappears behind what she describes as “black blood.” Rather than panicking, Lina walks back out into the party she’s attending, acting as normal as she can while threads of blood float across her eyes.

https://www.worldliteraturetoday.org/2016/may/seeing-red-lina-meruane

Curfew by José Donoso

This is the political novel Donoso was unable to write while in exile from Chile. Unlike the allegorical A House in the Country, his seventh book provides a gritty, realistic, yet eloquent vision of the author's beleaguered homeland12 years into Pinochet's dictatorship. Manungo Vera, a pop singer who has had some success in Europe but is now on the way down, returns to Santiago and is swept up in preparations for the funeral of Matilde Neruda, widow of the poet. Vera meets an old lover, Judit Torre, at a bar. The radical daughter of a wealthy father front-page headline called her a "Debutante Turned Criminal'' Judit symbolizes elitist alienation. After a near brush with death, the two join the huge crowd that has gathered at the cemetery for the funeral, now an anarchic battleground as both the left and right try to manipulate the event to their own advantage. Time is compressed into 24 hours, giving a heady urgency to the lovers' plans. Donoso's powerful vision of contemporary Chileseen through the grotesque optic that is his trademark makes Curfew an important literary event.

https://www.publishersweekly.com/978-1-55584-166-9

[jurnaltalking]

The Beautiful Wonder Of Art How To Incorporate Art Handmade Paintings Into Your Home Decor

One of the best ways to bring colour, light, and happiness in your home is to add art.

Handmade paintings online can bring your home a one-of-a-kind piece of art.

Buy canvas paintings online to have the perfect piece of art that will last years, and fill your home with wonder.

The many types

There are many types and mediums used to make homemade paintings — oil, tempera, and watercolours, to name a few.

Each paint comes with its own canvas and techniques.

The variety doesn’t stop with paints.

There are abstracts like Picasso's or art from the famous Vassily Kandinsky.

Art based on nature has been popular for many centuries, and even to this day.

When it comes to canvas art, you will typically find oil paintings, acrylic, or tempera.

Making it fit into your decor

Art is subject to the opinion of the viewer and artist. Each person sees slightly or totally different meanings in each piece.

The best way to think of fitting art into your home decor is to use your sense of style.

Think how you want the space to feel. Do you want to evoke curiosity or an uplifting effect?

Some good tips if you are still lost, though, are grouping art pieces with common themes.

This could mean you have a series of nature paintings or a painting of food in the kitchen — it is truly a personal taste thing.

Maybe you have been wanting an abstract art for your home office or bedroom.

Play with the types and position of the art. Have fun with it!

Some famous local artists to check out

When it comes to art, buying local pieces can be a wonderful thing, not only for the artist, but for you and the community as well.

Local artists often tell stories and emotions behind their work when you buy a painting online.

Some famous local artists in New Zealand to check out are:

Colin McCahon — famous for large paintings with dark backgrounds, with religious text overlaid in white

Sofia Minson — a contemporary oil painter with a series of portraits of prominent figures in Māori culture

Kura Te Waru Rewiri — a contemporary artist known for her use of symbols and techniques from traditional art.

If you want to support upcoming local artists, look into art from Margeret Scott or Joan Oddy.

Margaret Scott describes her work as personal symbolism — it is based on her experiences of life and the environment.

Joan Oddy, originally born in South Africa, has lived in New Zealand for at least 43 years. She enjoys painting bush, beach, river and mountain scenes.

No matter if you choose a painting from a local artist or renowned artist like Picasso, handmade paintings online can bring that special flair to your home.

When you buy canvas paintings online, you not only get a one-of-a-kind piece of work, you get the opportunity to support an artist.

When looking at art, it helps to let the masterpiece do the talking as well as using your imagination to determine where it will fit.

[drgreg]

Dr Gregory Images

She was not overvalued; she got to the nitty-gritties of the everyday existential crises of being an imaginative painter in a world of conscientious pragmatism. She took it without any consideration that we all wished to slay the plastic beast of portray, to search out the path and the truth and the way in which and the light. She was a shining example of the artist, the ham-fisted wrestler with the craft and sullen enterprise of discovering, but she was additionally one thing else, one thing so rare that it intoxicated.

The company&39;s dedication to privateness is reflected in its expertise. After working with South African legal professionals to not sure Figure 1 applies with local privateness legal guidelines, the corporate has added an automatic facial blocking device as properly as a draw characteristic which allows healthcare professionals to block out identifying markets. Medpages offers the contact data of healthcare providers as a free public service.

Be positive to inform your health professional in case you are wearing a patch. You may be able to have an MRI with an open machine that doesn't enclose your entire physique. This website is intended to help with patient schooling and should not be used as a diagnostic, treatment or prescription platform or service. Always refer any concerns or questions about analysis, therapy or prescription to your doctor. Register on HeraldLIVE at no cost to receive newsletters, learn exclusive articles & extra.

Your head, chest, and arms may be held with straps that can help you stay still. A gadget known as a coil may be positioned over or wrapped around the space to be scanned. A particular belt strap could also dr gregory images be used to sense your respiration or heartbeat. Heart and blood vessel units similar to a coronary artery stent, a pacemaker, an ICD (implantable cardioverter-defibrillator), or a metal heart valve.

As students send me footage I’ll publish onto this web site and onto the dedicated Greg Kerr Workshops 2017 Facebook page. Another 12 months of fantastic work from college students across the nation. This yr's theme was partly formal, involving the manipulation of various dr gregory images kinds of spaces, including environments, and a few Old Master images, all in the interests of extending particular person concepts and interests. The two items illustrated above are typical of the sorts of exploitations that college students tried.

This old story of love discovered, and love misplaced is told in a fresh and new manner. Cathy displays on their relationship from the tip to the first assembly, whilst Jamie’s story strikes chronologically. Three Social Work lecturers within the School of Applied Human Sciences, Dr Sibonsile Zibane, Dr Thembelihle Makhanya and Mr Livhuwani Ramphabana had been a part of World Social Work Month actions throughout March. UKZN’s Centre for Civil Society hosted a webinar to evaluate the Conference of the Parties’ position in addressing local weather change in Africa. The group notes that they're pleased to lastly launch the app in its seventh market as most of them have sturdy roots in South Africa.

In the late 1960's I was a student of Fine Arts on the University of the Witwatersrand. I was not a good scholar; I tended to take the lecturers without any consideration or to get into battle with them. I think I wasted some splendid opportunities to enhance myself.

[afrotumble]

Imani Roach is a Philadelphia based art-writer, visual artist and musician. Across disciplines, her interests include the surveillance, consumption and containment of black emotion, vulnerability and entitlement practices in urban space, gender and the public/private divide, and aging bodies in the American imaginary.

Her recent sculptural work uses everyday consumables like bread and candle wax to think through issues of gender, labor and the black body. In addition to being an active member of Vox Populi, she is the Managing Editor of Artblog (an online journal for local arts criticism), a co-founder of The Lonely Painter Project (a bi-coastal performance collaborative), and an instructor at the University of the Arts, where she teaches the art of Africa and the black diaspora. She performs regularly as a vocalist in the soul, folk and jazz idioms, and, as a doctoral candidate in African Studies and Art History at Harvard, continues to chip away at her dissertation on the first generation of black South African photojournalists under Apartheid.

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