Pina, Photographies et texte original de Walter Vogel
Pina, Photographies et texte original de Walter Vogel – Réalisation graphique: Susanne Gerhards – L’Arche éditeur – Parution: juin 2014. Prix: 32€
Auteur et photographe allemand de renom, Walter Vogel rend hommage à Pina Bausch au travers une série de photographies qui révèlent l’artiste sous un jour nouveau. Monographie intimiste et touchante, Pina fait défiler sous nos yeux le parcours incroyable de la fondatrice du Tanztheater Wuppertal.
Extrait: « Laisse moi à présent te dire merci. Il faut bien dire que grâce à toi j’ai pu savourer une pièce que je ne connaissais pas encore, même s’il me manque toujours une petite bouchée par-ci par-là. Ton apparition dans Danzon: extraordinaire! Tu parviens à puiser dans ton corps quelque chose de si rare et d’incomparable…Quelle tristesse que tu ne sois pas restée danseuse! quelle tristesse si tu étais restée danseuse! »
Amon Carter Museum of American Art Acquires Masterpiece by Raphaelle Peale in Memory of Ruth Carter Stevenson
Raphaelle Peale (1774-1825), Peaches and Grapes in a Chinese Export Basket, 1813, oil on panel, Amon Carter Museum of American Art, Fort Worth, Texas, acquisition in memory of Ruth Carter Stevenson, President of the Board of Trustees, 1961-2013, with funds provided by the Ruth Carter Stevenson Memorial and Endowment Funds.
FORT WORTH, TX.- The Amon Carter Museum of American Art announced today the acquisition of the painting Peaches and Grapes in a Chinese Export Basket (1813) by Raphaelle Peale (1774–1825). The first work by Peale to enter the collection, the still life painting was purchased in memory of the museum’s founder Ruth Carter Stevenson (1913–2013). The painting is on view beginning July 29 in the main gallery.
“Raphaelle Peale is considered the first American still-life artist,” says Andrew J. Walker, director of the Amon Carter. “His paintings established the tradition in this country, and they remain among the most magnificent images of their kind ever created. Adding this superb painting by Peale gives depth to the collection, and it also provides us an opportunity to tell the story of how still life became a respected art form.”
Raised within a large family of talented artists, Raphaelle differentiated himself from his younger brother Rembrandt (1778–1860) by refraining from the more lucrative career of portraiture. He also distanced himself from his father, Charles Willson Peale (1741–1827), by ignoring his disdain for the genre of still-life painting as an unsuitable pursuit for a professional artist. He did so at a time when the subject was at the bottom on the hierarchy of artistic genres.
“Raphaelle Peale’s work was the foundation for notable American artists such as William Harnett, William McCloskey and John F. Peto, all of whom are represented in the Amon Carter collection,” Walker says.
Peale often found objects for his compositions among the fruits growing at his father’s estate in Philadelphia. Peaches and Grapes in a Chinese Export Basket is one of the artist’s earliest signed and dated pictures. The carefully composed, well-balanced painting displays the artist’s skills at illusionism.
“Peale had the tremendous ability to replicate the uncanny physical presence of three-dimensional objects on a two-dimensional surface,” says Rebecca Lawton, painting and sculpture curator. “The objects depicted in this painting are so visually striking that they evoke our senses of touch, smell and taste. But, this painting, like so many of his works, is far from just an impeccably elegant picture that serves only the senses. It transcends a simple composition and expresses the moral tension between necessity and indulgence. It also reflects the social and cultural aspirations of a young republic after the American Revolution.”
The Amon Carter recently exhibited six paintings by Raphaelle Peale in the Art and Appetite exhibition organized by The Art Institute of Chicago.
“It whetted our appetites, so to speak, for a Peale painting of our own,” says Walker. “In addition to what this new acquisition brings to our collection, it’s also a wonderful tribute to Mrs. Stevenson. She had a special fondness for still-life painting, especially when the subject reflected her other passions, gardening and horticulture. And, like Peale, she was a trailblazer.”
Raphaelle Peale (1774–1825)
Born into an artistic Philadelphia family, Raphaelle was the eldest son of Charles Willson Peale and the nephew of James Peale, both artists. He and his siblings were named after famous Old Master painters. (His brothers were named Rembrandt, Titian and Rubens.) His father was a well-known portrait painter, naturalist and one of revolutionary America’s great cultural leaders.
Academic theory during Raphaelle Peale’s time relegated still life to the bottom of the hierarchy of painting subjects; portraiture was considered more admirable. But Raphaelle ignored its low status and pursued still life, creating some of the most beautiful American paintings of the 19th century.
Raphaelle was steeped in the ideals of the American Revolution. His father served in the war and painted portraits of the era’s great leaders, among them Benjamin Franklin, Thomas Jefferson and George Washington. He expressed the aspirations of the new republic through still life, by creating compositions characterized by crisp forms and balance. Most of his paintings portray food (mainly fruit), crockery and glassware arranged on a plain shelf, parallel to the picture plane.
Hedi Xandt
Hedi Xandt, The God Of The Grove, 2013. gold-plated brass, polymer, distressed black finish, marble.© 2014 Hedi Xandt
Hedi Xandt, The God Of The Grove (detail), 2013. gold-plated brass, polymer, distressed black finish, marble. © 2014 Hedi Xandt
Hedi Xandt, My Die-Cast Soul, 2013, gold-plated. © 2014 Hedi Xandt
Hedi Xandt, The Longer You Last, 2013 gold-plated cast of an 18th century skull with inserted nails, custom-made black-red perspex fixture. © 2014 Hedi Xandt
Hedi Xandt, The Longer You Last III, 2013 translucent red plastic cast of an 18th century skull with coated black nails, custom-made plastic fixture (in aluminum paint). © 2014 Hedi Xandt
Hedi Xandt, Blood Is The Vessel Of Love, 2014. © 2014 Hedi Xandt
Hedi Xandt, The Amperxandt, 2014. © 2014 Hedi Xandt
Hedi Xandt, God Of The Grove III, glazed porcelain, 2014. © 2014 Hedi Xandt
Hedi Xandt, A King's Bed, bronze and marble, 2014. © 2014 Hedi Xandt
Hedi Xandt, A King's Bed (detail), bronze and marble, 2014 © 2014 Hedi Xandt
Boucheron, Trésor de Perse
Boucheron. The Isfahan necklace and the splendid indigo mosaic tiles of the Great Mosque at Isfahan in central Iran.
Boucheron. Trésor de Perse necklace with white gold, diamonds, chalcedony, and sapphires.
Boucheron. Making the Trésor de Perse necklace.
Boucheron. Trésor de Perse Ispahan Bracelet.
Boucheron. Trésor de Perse Ispahan Earrings.
Boucheron. Trésor de Perse Ispahan Necklace.
Boucheron. Trésor de Perse Ispahan Earrings.
Boucheron. Trésor de Perse Ispahan Ring.
Boucheron. Trésor de Perse Ring.
Boucheron. Trésor de Perse Ispahan Earrings.
Boucheron. Trésor de Perse Ispahan Ring.
Le cocktail du jour: Lemon Basil Margarita
Ingredients:
1 1/2 oz Blanco Tequila
1 oz Cointreau
1/2 oz Fresh Lemon Juice
1/2 oz Fresh Lime Juice
1/2 oz simple syrup
3 Basil Leaves
For Garnish:
Sugar/salt combination for the rim
Lemon slice
Basil leaf
Preparation:
Rim the glass with a combination of sugar and salt or if using the Fresh Origins botanicals a combination of half sugar/salt mixture and half botanicals.
Tear the basil and combine it in a shaker with the rest of the ingredients. Add ice; shake well and then pour into an ice filled rocks glass over a strainer. Garnish with basil and a lemon wheel.
Courtesy of Creative Culinary
Two Lotus Sutra in the Peabody Essex Museum collections
Lotus Sutra, 1420, Ming dynasty (1368-1644). Woodblock print on paper. Museum Purchase © 2001-2014 The Peabody Essex Museum.
Lotus Sutra, 18th century, Qing dynasty (1644-1911). Ink on paper. Museum Purchase © 2001-2014 The Peabody Essex Museum.
The Lotus Sutra proclaims itself to be the Buddha’s ultimate teaching. First compiled at the end of the second century, the Lotus Sutra, has been printed and hand copied innumerable times. In these two examples, the brush’s movement and modulation is as apparent in the earlier Imperial printed copy (top) as it is in the manuscript, despite the fact that a brush was not employed in the creation of the woodblock printed version.
Temple Bell, 13th year of the reign of the Shunzhi emperor, 1657, Qing dynasty
Temple Bell, 13th year of the reign of the Shunzhi emperor, 1657, Qing dynasty (1644-1911). Bronze. Given in memory of Edward Cunningham by his descendants, 1968. E78689 © 2001-2014 The Peabody Essex Museum.
“Hundred Boys” Jar, 1522-1566, Ming dynasty (1368-1644), Jiajing period
“Hundred Boys” Jar, 1522-1566, Ming dynasty (1368-1644), Jiajing period. Porcelain with underglaze blue decoration. Gift of Mrs. Herbert Nadai and Thomas Beal Jr. in memory of Mr. and Mrs. Thomas P. Beal, 1982. E81696 © 2001-2014 The Peabody Essex Museum.
The theme of one hundred boys at play was a popular decorative motif on porcelain, textiles and paintings from the 12th to the 20th century. Conveying a wish for numerous male progeny, the roots of the hundred boys motif is traceable to China’s earliest literary compilation, the Book of Odes, and alludes to the story of King Wen who had ninety-nine male offspring (with 24 wives) and one adopted son. One of his sons, King Wu, founded the Zhou dynasty (1027-221 B.C.E.).
Two Shi Jianmin's Stainless steel works at the Peabody Essex Museum
Shi Jianmen. Chair, Stainless steel, 2005. © 2001-2014 The Peabody Essex Museum.
"This chair's graceful vertical line recalls a flowing line of calligraphy."
Table, Shi Jianmin (b. 1962), China, 2005, stainless steel © 2001-2014 The Peabody Essex Museum.
The Grand Water Terrace, Front Facade, Dashuifa Zhengmian, Yi Lantai
The Grand Water Terrace, Front Facade, Dashuifa Zhengmian, Yi Lantai (Chinese, fl. 1780s), copperplate print on paper © 2001-2014 The Peabody Essex Museum.
