24.7.09
LE BADINAGE
Marin Marais (1656-1728) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for 6 months. He was hired as a musician in 1676 to the royal court of Versailles. He did quite well as court musician, and in 1679 was appointed "ordinaire de la chambre du roy pour la viole", a title he kept until 1725.
He was a master of the basse de viol, and the leading French composer of music for the instrument. He wrote five books of Pièces de viole (1686-1725) for the instrument, generally suites with basso continuo. These were quite popular in the court, and for these he was remembered in later years as he who "founded and firmly established the empire of the viol" (Hubert Le Blanc, 1740). His other works include a book of Pièces en trio (1692) and four operas (1693-1709), Alcyone (1706) being noted for its tempest scene.
As with Sainte-Colombe, little of Marin Marais' personal life is known after he reached adulthood. Marin Marais married a Parisian, Catherine d'Amicourt, on 21 September 1676. They had 19 children together.
Marais and his music were featured in the film Tous les matins du monde (1991), an atmospheric, meticulously imagined life of Monsieur de Sainte-Colombe. Marais' music figured prominently in that film, including his longer work Sonnerie de Ste-Geneviève du Mont-de-Paris (1723). A recording of the Sonnerie performed on a Fairlight synthesizer was used in the cult classic film Liquid Sky.
15.7.09
PROXIMA EXPOSICION
EDUARDO ALVARADO
30 de julio - 29 de agosto
Sala de Exposiciones José Hierro
Centro de Ocio Playa Dorada - Avda. de Ris, 79
39180 Noja (Cantabria)
39180 Noja (Cantabria)
942 628 040
fetiche 2009 óleo/lienzo 24,5 x 30
fetiche 2009 óleo/lienzo 24,5 x 30“Hacia finales de la década de los cincuenta, refiriéndose a la escena de arte de Nueva York, el poeta y crítico James Schuyler evocaba “las corrientes de pintura entre cuyas estrepitosas olas todos nos mecemos”. Los pintores de Nueva York encauzaron aquellas olas y cambiaron el mundo del arte para siempre. Redefinieron completamente la línea entre representación y expresión. Mantuvieron la creencia en la integridad formal, a la vez que buscaron nuevos niveles de emoción y espontaneidad. No es de extrañar que Schuyler empleara la metáfora de olas que rompen: fue un momento de absoluta excitación. Y olas similares rompían en la costa oeste también, donde al mismo tiempo, el Movimiento Figurativo de Bay Area tuvo lugar. […] La mayoría de los artistas fundadores, incluyendo a David Park, Richard Diebenkorn y Elmer Bischoff, estaban interesados en la expresión, el gesto y la factura. Pero sentían que las pinturas de temática no objetual, aunque fascinantes, no eran lo suficientemente personales. En lugar de eso, estos artistas de la costa oeste comenzaron a pintar la figura y el paisaje de otra manera. Crearon trabajos potentes y espontáneos, que aún vigentes hoy, aguantan la comparación con lo mejor de
[…]
“Un aspecto crucial del diálogo entre los pintores de Nueva York y los de Bay Area, y entre los que han aprendido de estos, es el concerniente al tema de la figura. Nadie ha contribuido tanto en este esfuerzo, como Nathan Oliveira, pintor de éxito internacional y miembro fundador del movimiento de Bay Area. La figura, además de conectar al artista y al espectador con toda la tradición de la pintura, también ofrece la oportunidad de alterar esta tradición con nuevas aproximaciones, incluyendo aquellas que aprendieron de los artistas abstractos. Oliveira, que también ha trabajado la escultura, parece dar forma en sus figuras a su más pura presencia. Se aparecen desde el vacío ante nuestra vista con toda la singularidad de su ser. […] Por ejemplo, un desnudo femenino que apoya su mano sobre el rostro, parece mirarnos inténsamente, cuestionando lo visible, con una corporeidad hecha de pintura.”
[…]
“En los trabajos de Eduardo Alvarado encontramos un compromiso igualmente único con la autonomía del medio. […] Construye la composición con variadas series de expresivas pinceladas que provocan sutiles, o a veces fuertes, variaciones tonales. Proyecta con habilidad sus imágenes de figuras en la superficie, mientras que a la vez permite a la pintura mantener su propia vida.”
Fragmento del texto de Peter Campion, introducción al catálogo editado con ocasión de la exposición "Painterly Painting: The Next Level", que tuvo lugar entre el 11 de diciembre de 2008 - 27 de febrero de 2009 en el Museo de Arte de Los Gatos (California / USA).
escultura 2009 óleo/papel 32 x 36,5 cm
CARDBOARD TOWN
The 700 billion dollar bailout. People living on the streets with stolen grocery store shoppingcarts for homes. Years of greed and lies. Years of money sucking speculation. The editor of The
Wall Street Journal warns that bailout plans steal from future generations. He calls it “child
abuse” to focus attention, compares it to telling a bed time story to his children:
“Someone is going to take your piggy bank.”
The greed advocates blame people who can’t pay their home mortgages.
I teach in expensive art schools that are surrounded by homeless people. I’ve seen this
contrast for over a decade. I decided to draw these things, these people, the greed. Started in
Las Vegas where greed should have been evident. It wasn’t. Gamblers there were petty. At
home in San Francisco, I began to study the shopping cart people. They were zombie like, the
living dead. They were poor, it seemed to me, though I’m told that most are mentally
disturbed, many are drug addicted. It doesn’t matter. I’ll draw them.
“Homeless zombies are coming to take your piggy bank”, I heard the man saying to his child.
I knew where those people lived. In the trash strewn lots behind my art schools. Places where
the homes had no mortgages because they were made of cardboard. A song had tuned me in
to cardboard towns. “…writes the last shall be first and the first shall be last… on a cardboard
box beneath the underpass”. Bruce was right about cardboard boxes. I saw them everywhere
the homeless people congregated. Cardboard towns. I heard the Wall Street man’s bed time
story again.
“Homeless zombies from cardboard town are coming to take your piggy bank, Charlie.”
Charlie asked his dad to give his piggy bank to the zombies. “Why, Charlie?”. “I like zombies”,
Charlie said.
This was in my imagination; but the cardboard towns were real. I had seen them. Almost every
day. When I was fortunate enough to be asked by Bert Green to do some drawings, it seemed
like they should deal with these subjects that had been on my mind. I called the whole group
of them… Cardboard Town.
By Barron Storey
NITRATE AND KINOGEISTS
Century Guild brings legendary multi-media artist Dave McKean to America for an extremely special and extremely limited engagement, presented at the historic Portage Theatre in Chicago! "Nitrate and Kinogeists" will display both Century Guild's inventory of historically significant and undeniably beautiful silent film posters, most of which have been lost and unseen by the public before now, as well as McKean's latest paintings from his haunting current body of work, Nitrate, inspired by the silent era of cinema.
The two-day event features screenings of silent films that have inspired McKean, live performers, and other special surprises to be revealed. Friday the 17th begins with an artist's reception at 6pm and concludes with a showing of F.W. Murnau's 1926 Gothic masterpiece, Faust at 9pm. On Saturday, there will be a special screening at 9pm of Dave McKean and Neil Gaiman's feature film for the Jim Henson Company MirrorMask with McKean himself introducing. McKean's rarely seen short films will precede. Admission is $18 day/$30 for the weekend, 6pm- midnight.
Original artworks and limited edition prints of both Dave McKean's artworks and the rare silent film posters on display will be available for sale, as well as the exhibition catalogue "Kinogeists", with text by Thomas Negovan and introduction by Dave McKean.
VENEZIA
Mattotti e VeneziaScavando nell’acqua
Fondazione Bevilacqua La Masa
Galleria di Piazza San Marco
April, 18 to 17 May, 17 2009
14.7.09
JUAN CRUZ UNZURRUNZAGA
El responsable de la galería de arte de San Sebastián "Ekain Arte Lanak" Juan Cruz Unzurrunzaga ha fallecido esta madrugada a los 69 años tras una larga enfermedad.
LE SIEUR DE SAINTE-COLOMBE
"Pieces de viole seule" - Suite for solo viola da gamba
1. Allemande
2. Courante
Performed by John Dornenburg
*Monsieur de Sainte-Colombe was a French composer and gambist.
It is speculated by various scholars that Monsieur de Sainte-Colombe was of Lyonnaise or Burgundian petty nobility; and also the selfsame 'Jean de Sainte-Colombe' noted as the father of 'Monsieur de Saint Colombe le fils'. This assumption was erroneous as proved by subsequent research taken on by Jonathan Dunford in Paris [1] In fact he was probably from the Pau area in southernmost France and Protestant; his first name was "Jean". His two daughters were named Brigide and Françoise. Sainte-Colombe was vastly celebrated as a veritable master of the viola da gamba, for he did not merely master the instrument, but also improved upon it: he is acclaimed as having added the seventh string (AA) on the bass viol.
In accordance with the celebrated aloofness of Monsieur de Sainte-Colombe, he is claimed to have performed only occasional concerts and exclusively at his home, in consort with his two daughters, whom he had trained. Aside from them, Sainte-Colombe's students included the Sieur de Danoville, Desfontaines, Méliton, Jean Rousseau, and, most notably, Marin Marais, who wrote, Tombeau pour Monsieur de Sainte-Colombe in 1701 as homage to his instructor.
Amongst the extant works of Sainte-Colombe are sixty-seven Concerts à deux violes esgales, and over 170 pieces for solo seven-string viol, making him the most prolific of French viol composers before Marin Marais.
In 1991, Alain Corneau directed a film inspired by the life of Monsieur de Sainte-Colombe entitled Tous les matins du monde, with Jean-Pierre Marielle as Sainte-Colombe and Gérard Depardieu as the aged Marin Marais.
12.7.09
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