#oeuvre moderne

[jonathan-pradillon]

Peinture sur toile : Éclat de couleur rouge iridescent violet.

œuvre réalisée au couteau à la peinture acrylique sur châssis en bois entoilé en coton (100% coton). Couleurs iridescentes Rebords du châssis peint à la peinture acrylique noire. Protection : œuvre vernie à la bombe aérosol brillante.

Pour voir un aperçu vidéo de cette peinture, rendez-vous sur : https://youtu.be/0nHFiYXTPwA

Format : 50 cm x 50 cm x 1,5 cm.

Diagonale : 70,7 cm.

Poids approximatif : 0,500 kg.

Date de réalisation : 02/2023.

Artiste : Jonathan Pradillon

Pièce unique.

œuvre signée. Certificat d’authenticité fourni. Emballage soigné.

Prix : 150 Euros.

Pour acquérir cette peinture, rendez-vous sur : 

Artinsolite : https://www.artinsolite.com/product-page/tableau-design-%C3%A9clat-de-couleur-rouge-iridescent-violet

Artsper : https://www.artsper.com/fr/oeuvres-d-art-contemporain/peinture/1823460/eclat-de-couleur-rouge-iridescent-violet

Etsy : https://www.etsy.com/fr/listing/1412913786/peinture-sur-toile-eclat-de-couleur?click_key=a63ba538218e9a7e40dec5282498a5586d831ab3%3A1412913786&click_sum=ead71ef8&ref=shop_home_active_1&langid_override=3

Artmajeur : https://www.artmajeur.com/jonathan-pradillon/fr/artworks/16604848/eclat-de-couleur-rouge-iridescent-violet

Artfinder : https://www.artfinder.com/manage/jonathan-pradillon/product/red-iridescent-purple-shine/?utm_campaign=shareaholic&utm_medium=copy_link&utm_source=bookmark

Singulart : https://www.singulart.com/fr/oeuvres-d-art/jonathan-pradillon-%C3%A9clat-de-couleur-rouge-iridescent-violet-1793949

Saatchiart : https://www.saatchiart.com/art/Painting-Red-Iridecent-purple-color-shine/968246/10203949/view

Amazon : https://www.amazon.fr/dp/B0BWYZY2JV?ref=myi_title_dp

[enigma-boi]

Man I really need to watch Bamboozled, it's been on my to-watch list for a while.

[art-en-vrac]

La Vierge, l’Enfant Jésus et sainte Anne

Derrière le groupe, très ramassé, du premier plan, se déploie au loin un paysage dont les pics montagneux semblent s'évaporer dans une atmosphère bleutée qui noie tous les tons. Cette grâce à la fois aérienne et équilibrée s’appuie pourtant sur une mise en place précise de tous les plans, par une technique de glacis successifs qui créent un effet évanescent. Aux éléments en prisme des collines répond le groupe triangulaire des trois figures divines que surmonte le visage infiniment aimant de Marie. La pose doucement ployée de sainte Anne, de l’Enfant et de l’agneau est équilibrée par la verticalité de la Vierge, axe de la composition. La construction pyramidale des figures assoit le sujet principal dans le paysage qui, par sa douceur, fait écho aux sourires de la Vierge et de sainte Anne.

À la forme plastique et au modelé linéaire florentin, Léonard de Vinci substitue une grâce harmonieuse, le mystère et l’émotion. Ces visages souriants donnent l’impression de vie dans un paysage aux lointains bleutés et fondus, immatériels, résultant du clair-obscur, du sfumato, de la perspective aérienne associée aux teintes tendres et vaporeuses, baignées d’une douce lumière.

L’œuvre est un sommet de l’art, où la technique de construction, la science des matières picturales s’effacent derrière la poésie.

[vagabondageautourdesoi]

Brancusi - Centre Pompidou

Petit retour sur l'exposition de Pompidou sur Brancusi

L’art ne fait que commencer Voilà presque trente ans que Brancusi n’avait pas investi de nouveau le Centre Pompidou. Il était temps de faire honneur à ce Roumain qui dès 1904 avait choisi de s’installer à Paris et de léguer, à sa mort en 1957, au Musée d’Art Moderne, l’ensemble de son œuvre et son atelier. Celui-ci avait fait l’objet d’une reconstitution sur le parvis de Pompidou d’une surface…

[marina-greneau-decoration]

▪️ 3 styles, un intérieur 🏡

Objectif : Aménager l'espace intérieur dans 3 styles différents : "pop", "baroque" et dernier style libre de choix.

Pour le thème libre, j'ai décidé de partir sur le style Romantique, car, quoi de plus beau et inspirant que l'amour 😍😊⚘️.

Pour le petit cours d'histoire : la Farnsworth House est une œuvre architecturale emblématique. Située à Plano, dans l'Illinois, elle a été achevée en 1951 par l'architecte Ludwig Mies van der Rohe. Cette maison de verre et d'acier est renommée pour son design minimaliste, intégrant la nature environnante dans son esthétique. Commandée par Edith Farnsworth, c'est une référence de l'architecture moderne du milieu du XXe siècle et du style international. 🤩

----- Je suis Marina Greneau, Créatrice de coups de cœurs. Ensemble, créons le vôtre ! 👩‍💻🎨

Un projet ? envoyez moi un message, nous pourrons en discuter ensemble ! 💬

EI Marina Greneau Décoration 👩‍💻 Décoratrice d'intérieur et Événementielle 📧 marinagreneaudecoration@gmail.com -----

[prokopetz]

Do you happen to know the origin of the fantasy trope in which a deity's power directly corresponds to the number of their believers / the strength of their believers' faith?

I only know it from places like Discworld and DnD that I'm fairly confident are referencing some earlier source, but outside of Tinkerbell in Peter Pan, I can't think of of any specific work it might've come from, 20th-c fantasy really not being my wheelhouse.

Thank you!

That's an interesting question. In terms of immediate sources, I suspect, but cannot prove, that the trope's early appearances in both Dungeons & Dragons and Discworld are most immediately influenced by the oeuvre of Harlan Ellison – his best-known work on the topic, the short story collection Deathbird Stories, was published in 1975, which places it very slightly into the post-D&D era, though most of the stories it contains were published individually earlier – but Ellison certainly isn't the trope's originator. L Sprague de Camp and Fritz Leiber also play with the idea in various forms, as does Roger Zelazny, though only Zelazny's earliest work is properly pre-D&D.

Hm. Off the top of my head, the earliest piece of fantasy fiction I can think of that makes substantial use of the trope in its recognisably modern form is A E van Vogt's The Book of Ptath; it was first serialised in 1943, though no collected edition was published until 1947. I'm confident that someone who's more versed in early 20th Century speculative fiction than I am could push it back even earlier, though. Maybe one of this blog's better-read followers will chime in!

(Non-experts are welcome to offer examples as well, of course, but please double-check the publication date and make sure the work you have in mind was actually published prior to 1974.)

[clove-pinks]

A débardeur costume by Paul Gavarni, c. 1830s.

It is the year of our Lord 2024 and I am still not entirely sure what is a débardeur in Gavarni's oeuvre: but it is a type of stock character in the 19th century Carnaval de Paris.

The word translates as "dockworker" (and apparently can refer to a tank top in modern French), but it's a somewhat racy choice for usually female carnival goers, a very stylized get-up based on a working class man's clothing.

And I accidentally published this instead of saving the draft. I'll return to it after work if I can.

[art1for2the3masses]

"Gazelle bondissante" de Guido Balsamo Stella (Ca' Pesaro, Venise)

Figurine de gazelle bondissante sur socle façonné

Oeuvre de Guido Balsamo Stella (Italie, 1882-1941)

Éditeur : SAIAR Ferro Toso

1930

h: 33 cm

Verre de Murano, soufflé et irisé

Fondation Chiara et Francesco Carraro

Musée d'art moderne / Ca' Pesaro

Venise

[germanpostwarmodern]

In their time the brothers Hans & Wassili Luckhardt were spearheads of modernist architecture and technology: their experimental housing development on Schorlemerallee (1924-30) and the houses at Am Rupenhorn (1929-30), both in Berlin, are indelible parts of 20th century architecture included in the major surveys of the modern movement. In view of their historical significance it is remarkable that the last comprehensive survey of their work dates back to 1990 when the Akademie der Künste devoted an exhibition and publication to the work of the brothers. Almost three-and-a-half decades later Carsten Krohn dedicates the latest volume in his series of surveys of key modern architects to the Luckhardts. Again written together with Michele Stavagna and published by Birkhäuser, it collects their 40 realized projects and documents them, where still extant, in new photographs and plans that capture the impressive quality of their work.

The visual documentation is complemented by Krohn’s and Stavagna’s essays that provide artistic as well as technological insights into the Luckhardts’ varied oeuvre. They first received attention as contributors to the „Gläserne Kette“, the utopian correspondence initiated by Bruno Taut in 1919 to discuss and fantasize about architecture. In their drawings the brothers showed quite differing ideas about a future architecture: while Hans leaned towards expressive forms, Wassili focused on structural aspects as basis for his designs. But although in their first projects the expressionist forms dominated, in the long run rational forms prevailed. Their proving ground became a plot on Schorlemerallee where they experimented with brickwork, steel framing and concrete but also realized their own studio together with their partner Alfons Anker.

With the power grab of the National Socialists their career markedly slowed down and Alfons Anker had to flee to Sweden. In the years following they survived on private commissions but successfully continued their work after the end of the war.

With their latest book the duo Krohn/Stavagna provide a long overdue new survey of a significant German architectural practice. Highly recommended!

[personalmoshiakh]

hey, so— i’ve been ~officially writing a web serial since 2021 (unofficially, since at least 2014). Updates are currently very irregular, but i’m definitely still working on it!

✨🧿 THE BITTER DROP 🧿✨

modern fantasy romance about gay/trans Eastern Bloc Jews, set in a secondary world counterpart of early Soviet communes

The lounge is nearly empty tonight; all the action is downstairs at the grinding workshop — in the basement discotheque; you if I’m to have any hope of pulling, that’s where I ought to go but … ekh, I’m foggy tonight, between the psychosis and the laudanum for the pain what likes to haunt nefilim and the horse pills they made me take at the Mamka — nu okay, I skipped tonight’s dose so I can drink but like, neuroleptics don’t let go that quick — and as the brainfog settles on my thoughts, it turns to hoarfrost and my will seizes up like a rusty hinge.

Lev/Lyubov Morgenshtern, a queeny bigender flamer who’d once been one of the Pale’s youngest-ever ordained rabbonim, has just returned to the Talons Ghetto sovyet — an autonomous workers-and-peasants commune of the kind that directly preceded the Soviet Union (and indeed the thing that the USSR named itself after).

Lev is fresh off a stint on a psych ward that’d followed a far longer stint living in the tzarist-held half of Svet Dmitrin with a bougie respectability-obsessed ex-boyfriend — he’s got nowhere to sleep, no assurance her old friends, Red Guard and civilian both, would want to see them and the only workable plan she’s got is to find someone willing and soft-hearted to take him home for the night …

… and what luck if their rescuer, a medical necromancer by the name of Anzu Menelikov (Nyura to friends and lovers) is a beautiful trans flamer from a prominent rabbinical family! who better to welcome Lyubov home than a fellow hothouse flower and dedicated scholar? and does it matter if Nyura did anything the White Guard might still bear a grudge about? after all, most of the old Ghetto walls are still safely intact, and it’s not like Reb Doktor Menelikov personally set the Winter Palace on fire, right?

i’d say if you liked the Baru Cormorant series, Michael Chabon’s The Yiddish Policemen’s Union and Gentlemen of the Road, Fallen London and its associated games, China Miéville’s oeuvre, and Disco Elysium, this’d probably be your thing!

content warnings

(under the cut)

reclaimed homophobic slurs

the narrator has a history of psychiatric institutionalisation

homophobia, transphobia, transmisogyny and antisemitism are environmental hazards in the setting, though by far not the focus

[harvardfineartslib]

We had fun brainstorming for National Walking Day post yesterday, so here’s another one about walking. But we’re seeing some snow showers today here in Cambridge. Not a good day for walking. We can’t wait for the spring to arrive!

Francis Alÿs (b. 1959) is a Belgian-born, Mexico-based artist who creates a diverse body of artwork spanning from performance, social practice, video, and paintings. And walking has been an important element in his work throughout his career.

In 1991, Alÿs dragged a small magnetic toy dog on wheels throughout the streets of Mexico City to collect any metallic residue lying in its path (“The Collector”). In 1995, he took a walk after unravelling the sweater he has on, leaving an ever-lengthening, blue-thread trail in his wake. (“Fairy Tales”).

This small publication is a record of a unique series that has been described as a storyboard or archive of Alÿs’ oeuvre, polyptych of 111 paintings called le temps du sommeil. The intriguing images are paired with the words, or instructions, behind his past and future performances.

Le temps du sommeil Francis Alÿs ; catalogue editor, Catherine Lampert. Dublin : Irish Museum of Modern Art ; Milano : Charta, [2010] English HOLLIS number: 990123544680203941

[jonathan-pradillon]

Grand tableau contemporain : Vaste texture couteau or orange rose iridescente.

œuvre réalisée au couteau à la peinture acrylique sur châssis en bois entoilé en coton (100% coton, toile cloutée). Couleurs iridescentes. Rebords du châssis peint à la peinture acrylique noire. Protection : œuvre vernie à la bombe aérosol brillante.

Pour voir un aperçu vidéo de cette peinture, rendez-vous sur : https://youtu.be/sEZ-nLe0H5I

Format : 116 cm x 89 cm x 2,5 cm.

Diagonale : 146,2 cm.

Poids approximatif : 3 kg.

Date de réalisation : 02/2023.

Artiste : Jonathan Pradillon

Pièce unique.

œuvre signée. Certificat d’authenticité fourni. Emballage soigné.

Prix : 600 €.

(ŒUVRE VENDUE)

Pour acquérir cette peinture, rendez-vous sur : 

Singulart : https://www.singulart.com/fr/oeuvres-d-art/jonathan-pradillon-vaste-texture-couteau-or-orange-rose-iridescente-1795704

Artmajeur : https://www.artmajeur.com/jonathan-pradillon/fr/artworks/16633747/vaste-texture-couteau-or-orange-rose-iridescente

Artfinder : https://www.artfinder.com/manage/jonathan-pradillon/product/vast-iridescent-pink-orange-gold-knife-texture-6c2fc/?utm_campaign=shareaholic&utm_medium=copy_link&utm_source=bookmark

Saatchiart : https://www.saatchiart.com/art/Painting-Vast-iridescent-pink-orange-gold-knife-texture/968246/10231059/view

Etsy : https://www.etsy.com/fr/listing/1432247105/grande-peinture-sur-toile-vaste-texture?click_key=598a933d0d62afcea349203c8300e327339d807b%3A1432247105&click_sum=f1d8b7e7&ref=shop_home_active_1&langid_override=3

Artsper : https://www.artsper.com/fr/oeuvres-d-art-contemporain/peinture/1886796/vaste-texture-couteau-or-orange-rose-iridescente

Amazon : https://www.amazon.fr/dp/B0BXL98SN5?ref=myi_title_dp

[is-the-battlemech-cool-or-not]

Originally I wanted to ask how no one had given you the Yeoman to look at yet, but instead what's your take on the somewhat eclectic oeuvre of Curtiss Militech? They built the Wraith, Eagle, and Yeoman and one of these things is very much not like the others.

The FWL's most inscrutable company, taken from us by Regulan nuclear bombardment before their time 😔

It has no arms. 'Mechs are supposed to have arms, quiaff? It terrifies, disgusts, and sickens me. And it has too many missiles. -Marik/10. Thank you, I hate it. May Turkina take my eyes. Meanwhile, the Eagle lacks the maneuverability of a true Light 'Mech and does not boast the protection of a Medium 'Mech, all in exchange for a limited weapons array that does not serve it that well. But I suppose it is cheap. And as an ancient Terran despot once said, "Quantity has a quality all its own." 5/10, not great, not terrible. The Wraith, however, is a good 'Mech. Fast, jump capable, well-armored, and with a potent weapons array, especially as one moves through the variants list - the TR5 especially so, even if it struggles with heat management. 8.5/10, excellent at proving that a water cooler company can have a one-hit military wonder. Overall, I would rate Curtiss Militech a solid Stick To Water Filters/10.

That they were nuked was, perhaps, a mercy for us all; judging by how their product designs decreased in quality (and indeed, sensibility) over the years, whatever they may have come up with in the modern era would likely have resembled a modern art piece more than a BattleMech, and been just as functional as the art piece.

[librarycards]

hello!!! I've been trying to accept for myself the idea of bodymind and was wondering if you had any recommended reading on the subject? this is worded strangely I'm sorry I'm sleepy. thanks!!!

I do! <3 here are some for free online:

Begin with Margaret Price's classic paper which popularized the bodymind as core to critical disability studies, The Bodymind Problem and the Possibilities of Pain.

AND the paper it cites heavily, Rosemarie Garland-Thompson's Misfits: A Materialist Feminist Disability Concept.

I also wrote pretty recently about this in my essay, The Beholding and Beheld!

There's two modern classics, In Defense of De-Persons and Sick Woman Theory, both by the incomparable Johanna Hedva.

J. Logan Smilges (one of my mentors!)'s amazing article Traumasex: A Queercrip Erotic.

I feel like I'm constantly recommending Mel Baggs's oeuvre....because I am. Here's a good blog post of hirs to start with regarding the bodymind interface.

Some books to look at include:

Eli Clare, Exile & Pride and Brilliant Imperfection: Grappling With Cure.

Leah Lakshmi Piepzna-Samarasinha: Bodymap and Dirty River.

Audre Lorde, The Cancer Journals.

Stacey Waite, Love Poem to Androgyny and The Lake Has No Saint.

Adam Dickinson, Anatomic.

Hope these help get you started!

[francepittoresque]

9 novembre 1918 : mort du poète Guillaume Apollinaire ➽ http://bit.ly/Guillaume-Apollinaire Esprit moderne, ironiste, fantaisiste, voire paradoxal, âme de lyrique traditionnel, d’historien et d’érudit, voilà tel que, dans sa curieuse et attachante dualité, apparaît Guillaume Apollinaire à travers ses oeuvres, tel qu’il se révélait à certains de ceux qui l’ont connu

[serenabenson]

actually. a thought, re "classic svu" in the context of this brian eno quote about nostalgia from a year with swollen appendices:

“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”

and i'm wondering if we are actually beginning to see this happening for network procedurals, and svu is just WAY too early to the trend? (how many things of late have been billed as throwbacks to the precursors of this genre, like rian johnson's oeuvre with columbo and "classic" detective stories? though in this case svu is then like 20 years ahead of itself), only with svu having such an insanely (arguably anachronistically) long life, their version of it is actually them beginning to eat their own tail like an ouroboros.