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Mada Primavesi - Klimt

Primavesi Mada, 1912

Oil on canvas, 150 x 110.5 cm Gustav Klimt

, Metropolitan Mueum.

Haunting, mysterious and intelligent. Primavesi Mada's gaze almost defies us straight on that pose challenging, softened by his immaculate floral dress. And it makes us doubt that we are staring into the eyes of a child of 9 years. Klimt work quickly to deliver this time frame, and sketches seen previous experimental work with different backgrounds and poses. Finally, the fund is open, with a structure-by lines leakage that is the carpet that leads us inevitably to the body of Mada, and triangular composition pose drag the visual flow to your head, towards the apex, and there we met the piercing gaze, flushed cheeks, and thin lips and closed. Speaking at an ancient and powerful language. What we know and that is shrouded in mystery draws us beyond repair.

The mystery attracts, and the absolute mystery attracts quite

Mada Primavesi

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visual art - In tenebras spero lucem

Visual art is static in nature, necessarily what happened there belongs to a different reality. So the visual art world in general must be seen as an illusion. Clearly separated from the reality of action due.

The photography as visual art, tends to create confusion to this effect in the viewer, and even the operator-inexplicable but abundant, due to its high degree of realism. But that's just a Baroque facade.

"In tenebras spero lucem"

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Portrait 1668 - Rembrandt van Rijn

Self

, 1668

Oil on canvas, 82.5 x 65 cm

Rembrandt van Rijn, Wallraf-Richartz-Museum (Cologne)

Rembrandt

For each table is a new experiment and a process of evolution itself of a restless mind. We left an unusual amount of self-portraits, on 70 -, and there is no explanation in a cause of economic instability where he could not pay models, even at the stage where he was without money, because we have the precedent of previous period. Rembrandt show us a young man, middle age, and higher in the last stage, and also are not just a temporary witness, but it appears with the various expressions and gestures, are also a searching, almost psychological .. This shows his great interest in experimenting and finding new techniques to incorporate into his painting. Rembrandt is one of those unique artists that create a fascination for the effect of their works, also unique in the history of art.

This table Rembrandt achieved a meeting with the viewer. And here I'll talk a little bit of some relevant facts of his life. He was a painter who lived far from the world even knew Italy, unlike other artists, after learning at Leyden, he lived in Amsterdam the rest of his life. In an era of economic prosperity and success came to him a personal economic crisis following the death of his wife Saskia. From here the debts and borrowing are constant, even to its collections and auction house, although this is not allowed to fully repay their debts. But his later years he would reserve some tragedies, five years before this portrait Hendrickje his partner dies, and dies the same year his son Titus, who had reached the age of three years earlier, only one of his four children caught up . This is when we leave, in my point of view-that is the most mysterious portrait, great and full of humanity from all painted. The encounter with the observer is palpable, Sorry Rembrandt in the canvas itself, and beyond, we look directly, but not the front, we know of our presence, and communicates with us. That smile and that gesture of complicity, it's the last laugh after all I lived, and despite it. A fruit that only age can. About Todome Rembrandt again, and at the end of his life, makes us think again before his works. Why are you smiling?

Rembrandt van Rijn (1606 -1669) Dutch artist, a master of Baroque, and the greatest of painters, buried in an unmarked grave.

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The Night Watch - Rembrandt

The Night Watch, 1642

Oil on canvas, 363 x 437 cm

Rembrandt, Rijksmuseum

This

is a common task for a short stop is Rambrandt, recapitulation of the path and at the same time a new march forward. For the art world is the highest level: extreme virtuosity, only the execution of the details, fabrics, accessories and lighting effects-metals and quinésica of the characters are, in a sense high art. Formally, the work represents the moment when the young lord of Purmerlandt, serving as captain, orders his lieutenant, Mr. von Vlaerdingen, to train their civic guard company. The work was intended to hang together with six other paintings of other artists with the same subject in the ballroom Cloveniers shooters society. Later to hang the work in a small room in a hall in the early eighteenth had to reduce the size of the picture. The name "Night Watch" emerged in the early nineteenth century due to dirt and oxidation of the varnish that contained, it was decrepit and dark, after restoration work in 1947 we know that in reality it was a daytime scene.

Following his style, Rembrandt gives greater importance to the development of the action to the more formal in comparison with reality, we know that some of the sitters did not appear to be as expected. As the captain action appears to medium lift arm and open mouth while walking beside the lieutenant obeys the order. Behind all the company, left and right are talking more figures, under the dome raising the standard-bearer, swords and spears being sorted, a mosquito carrying his weapon, a boy with a helmet too big for him, turns around while running with a horn of powder in his hands empty, behind an old lieutenant blows the powder from the bowl, and next, between the captain and the lieutenant is a man who has just fire his musket, to the right of the picture a drummer scares a dog with his instrument, a woman, dressed in gold takes a hen and a belt pouch and a glass rustic hand behind it senses the figure of another woman. After this description we can easily realize that this time premium, the movement ultimately action. And the variety is superb, both equity and speed of them. The moment depicted is a second lieutenant before the company notifies the captain's orders to form, this gives us even greater dynamic effect and enhances the entropy of the action.

Light is a turning point in Rembrandt and in this picture, again, again a masterful look of pure genius. The shadows are not going in one direction, the lighting is not as full scene, but it is selective in intensity and quality, but the central point of the table where the captain and the lieutenant enhances the sense of uniform illumination to be projected the shadow of the captain's hand on lieutenant, and gives intensity and realism to the scene. In fact it seems so real that it becomes one part for the whole picture in terms of lighting. The female figures are illuminated in a special way, so that seems to derive their own light, they are wrapped in such mystery and the possibility of producing light. They look like girls but their clothes are women, and consistent with the colors of the flag, and also carry symbols. Allegorical figures might be typical of the baroque, but it remains a mystery. A truly beautiful and fascinating evening.

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Lesson anatomy professor Tulp - Rembrandt

profesorTulp Anatomy Lesson of , 1632

Oil on canvas, 169.5 x 216.5 cm

Rembrandt, The Hague (Mauritshuis)

The objective of box is a group portrait, commissioned by Nicolaes Tulp, a professor of anatomy at the Society of Surgeons of Amsterdam. One purpose of these lessons was to demonstrate the wisdom of God, through its construction: the human body.

Rembrandt portrayed gathers around the body, rather than, as has been customary, arrange them in a row. Professor Tulp sitting in a chair and a hat is different from others with this provision while lifting arm tendons of the body with forceps. But look beyond the box, hear the sound of the space created by Rembrandt. The looks speak for themselves alone, some still on the surgeon, other skeptical about the lifeless body, while listening to a professor's lecture flipping through the book at the feet of the corpse. And there looks lost, whose faces are concentrated in the sound of the voice, the meaning of words that are occurring. Is a joint action that presents a picture, and we participate without realizing this action. The fact is that there are eyes watching us! A doctor sticks his eyes lost in a frontal point, like going off the scene, looks at us, an exchange of glances, which is part of the typical behavior during a conference. That face high above the other heads invites us to participate in the activity that is occurring, and we-viewer-do the same thing there painted figures, look at the teacher, the tendons of the hand, the body itself, we look to the book, we exchanged glances with the other listeners and even lose our sight in a vacuum. What genius! And now let's go back 380 years and see that painting hanging in the meeting room of the society of surgeons, and fully recognize the portraits, Rembrandt's talent for playing their faces is sublime, and us-viewer, 1632 - we looks amazingly real. We recognize all the portraits, teacher, and even the corpse! That is a known criminal executed at the time. We can easily imagine the effect of the picture is highly immersive, and it would cause exceptional printing at the time.

think about it, forgetting all this to look at a curious detail. The fascination of this work, even today, is so powerful that goes unnoticed table space design. The scene is a montage impossible in reality. The figures do not surround the body, are clustered in the vicinity, it is impossible to discover if they are standing, sitting, or what are exact. In fact they are so close together the others it is impractical to move no more space! Moreover, the perspective is not clear, the room where the lesson runs does not seem close or drawings are small but completely filled with their bodies. The point of view, by looking at the figures, is in an inferior to them. But we have no clear where this place, and where are we-viewer-that we so cleverly included in the scene. In short, the realism of the action is such, and the effect that the viewer, the brain obvious question by the realism of the rest of the picture. In that space where you will find impossible figures, the likelihood of the action takes precedence over space. Rembrandt is a constant that will increase over the years, the action tends to absorb the other formal characteristics of the table.

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David Graux

The main purpose of the tables Graux is the beauty and mystery of women, expressed through sensual nudes and backgrounds are colorful, oriental and rich symbolism. The art of the painter suggests the last gasp of Romanticism, which has caught the hand of Symbolism. In conjunction there is a sense of impenetrable mystery in his paintings, which combine with special expertise as accessible as impenetrable. The nudes are soft, delicate and precious, but especially palpable and open. The pose is classic, intimate, revive the curiosity and mystery, but not desire. Oriental symbols from the artist's own subjectivity, and belong to their own language is impenetrable. Halfway between the abstract and the wicked will never fade in mere ornamentation, never become one in the background. Instead, they move across the surface of the table, and granting a leading role as a core housing. Perhaps

one of the most remarkable things is their inherent Graux philosophical sense. Through an important aspect of human existence capture an essence of poetic expression that reminds us how it looks more transparent, accessible, open, real-time and ultimately, is at once ethereal, illegible, distant, impenetrable and unattainable.

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Feast in the House of Levi - Paolo Veronese

Eating at home of Levi , 1573

Oil on canvas, 555 cm × 1280 cm

Paolo Veronese, Academy of Venice

Act tribunal of the Inquisition, Venice, July 18, 1573, subject to judge: The feast in Simon's house

The Inquisitor. - In this scene you have painted for the church of Santi Giovanni e Paolo, what does the man bleeding from the nose?

Veronese. - I wanted to represent a servant who had suffered an accident.

The Inquisitor. - And these armed men dressed as German and equipped with halberds?

Veronese. - We, the artists, we take the same liberties as poets and fools, I've painted, then, two spearmen, one who drinks, and another that eats the side near the stairs. They are there to serve the owner of the house, which, as I have said, was a wealthy man and probably had servants of this class.

The Inquisitor. - Why have you painted man wearing a clown and a parrot in hand?

Veronese. - As an ornament, is commonplace.

The Inquisitor. - About are sitting at the table of our Lord?

Veronese. - Twelve Apostles.

The Inquisitor. - What does Peter, the first one?

Veronese. - Cut the lamb to make it happen at the table.

The Inquisitor. - What does the apostle next?

Veronese. - a dish tends to take what he gives Peter.

The Inquisitor. - What next?

Veronese. - Cleans teeth. The

Inquisitor. - Who do you think actually attended this dinner?

Veronese. - I think there were Christ and his apostles, but when a box is empty space, add characters that suit the theme.

The Inquisitor. - What artists added to their pictures, should not be appropriate to the theme and main characters? Or do you put into your work, for your pleasure, just what comes to mind you, without discretion or discrimination?

Veronese. - I paint my paintings as I think and the best my talent let me.

This is one of the larger pictures of the sixteenth century, and its 12 meters long by 5 high are monumental. Of all the episodes from the life of Christ, Veronese prefers to paint those related to food. Transforms them into sumptuous feasts, moved to Venice's most contemporary of the author. The light is clear, the characters are well defined, the colors vibrate between satins, velvets and brocades. The attitudes and gestures are familiar and free. The Inquisition disapprove such painting, but what is the capacity of Venice against all and against an artist in this category? The Verona is the Venetian par excellence.

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Brisa - Xi Pan

Brisa

, 2008

Oil on canvas, 100 x 100

Xi Pan

"The worst that can happen to a man is to think ill of himself."

Women Xi Pan remind us to those of Modigliani, with a formal resemblance to Schiele. The bottom part that is a complement to your state, sometimes abstract forms and colors that can evoke Klimt, and sometimes to a place, empty, to give prominence to women. In this table, decorative abstraction deep open space, ranging from white and black fabric that covers part of women to the bottom, stretching into the distance and does not give the appearance of being simply a flat wall. That space is needed just for that part of the picture we do not see where the expression of women. If you look closely at his position and how you take the material, we see that it is not being placed, or with a gesture or be covered or removal process: it is in the position must be, stripping to the other part of the picture, in short, showing their privacy to that extent abstract is diluted in the distance. Perhaps to herself, and then head down, because there is nothing harder than being before oneself is an act of true value but is more difficult do it straight and steady gaze.

Xi Pan is a contemporary Chinese artist.

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Phryne before the Areopagus - Jean-Leon Gerome The Everlasting Hour

Phryne before the Areopagus , 1861

Oil on canvas, 80 x 128 cm

Jean-Leon Gerome, Kunsthalle Hamburg.

"The word has been given to man to conceal his thoughts"

Formerly Ares here were tried for killing the rapist of his daughter Alcippe, and Orestes had climbed the mountain to be subjected to the will of the gods for Clytemnestra's murder, his mother. First the gods, then men. The court had already lost their political power for some time, but today I had to deal with an issue that still competed. In that room were quite a few personalities, highlighting Praxiteles, the most gifted sculptors, and Hyperides, known to all Greeks, a disciple of Plato, and one of the ten speakers attics, who was there at the request of Praxiteles, to stand up for his muse. And all eyes fell on this, female role model and inspiration of the sculpture and Greek art, hetaira Phryne, EUTI accused of impiety and of revealing the Eleusinian mysteries. The war of words was relentless, and seeing Hyperides could not convince the judges tore the dress of Phryne in one fell swoop, revealing the nakedness of the woman, who had so often represented as a model for the sculptures of the goddess Aphrodite. And when he claimed before the judges could not deprive the world of such beauty. In itself the body of Phryne was a monument to the goddess.

not comment much more about this work. It represents the climax of the trial, and there is a stark contrast between the motion, shaking and skin tones and red palette used in the rulers, and quietness, modesty and clarity of the skin of Phryne, which only covers the eyes, leaving her body in view of the judges. After she Hyperides is the counterpoint to red to light blue dress of Phryne, and her own clothing of a cold blue.

"Before you, poor devil, unforgettable

I felt all peaks and all the jaws

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That in his time, both liked to shred my flesh .

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The religion of the Royal Academy of Spanish Language and the new rule

The English Language Academies, yes, yes, the 22 represent each country, we are speaking to a host sent everyone to a universe of entropy and confusion: only (the adverb for those who do not know) is no longer just difference (adjective), and worse almost force me to utter rogue script and with a diphthong, as from now will not have to stress, you already have from 99 balls, which was published a review of this standard (hiatus monosyllables with phonetic spelling) have now changed their minds, and we see in those words just a hiatus, we have to stop perceiving at least facto. There are more ghosts changes clothes. But I write bad - spelled - for honesty and eggs play a little.

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Pandemonium - John Martin

Pandemonium,

1841 Oil on canvas, 123 x 185 cm

John Martin, Musée du Louvre.

"It must be very great pleasure that provides the rule, since there are so many aspire to."

Pandemonium is the capital Hell, a term introduced by John Milton in his poem "Paradise Lost" which is described as a construction that beats all the places inhabited by human beings, designed by Mulciber, who once had designed the palaces of heaven. And John Milton Martin was inspired to paint this place, reminiscent of ancient cities as Babylon, Ur and Eridu. The theatricality of the scene is clear, it appears to our eyes today we were watching a movie frame.

The framework itself was designed by Martin and fortunately still wearing it. And retrieves elements of the painting itself, as the sculptures of snakes in the city pier.

was also as romantic Martin introduces his social and political criticism background, and the breathtaking landscape that has intended to conflict with delusions of grandeur Martin today's society, and hell scared but very much the man, almost more than anything after life.

"How do you know if the Earth is just another planet's hell?" Aldous Huxley

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Men and Angels - James Christensen

Men and angels,

James C. Christensen

"In tenebras spero lucem"

The shadows and light, men and angels. Christensen old style is the contrast between the divine and human; an angel is an unattainable ideal, neither male nor female, extremely close to God, or else the idea of \u200b\u200ba superior being. Inevitably after this comparison lies a vital thought: mortality in the world and the eternity of heaven. In this image angel's presence moves us humans to darkness, staring, almost empty and as bright to be absorbed. While we are in darkness is inevitable wait for the light.