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December 1, 2022
View: 1

Ludmilla Tüting is a robust, well-read, emancipated, bespectacled Teutonic woman who makes no secret of the fact that she lives in a Berlin Hinterhof (backyard) in Kreuzberg (West Berlin) and yearns to see a horizon, especially with pagoda-silhouettes in the distance. It almost sounds as though Berlin is a city with the lost horizon.

She oscillates between Kathmandu and Berlin, and is very much active in the field of ‘sanfte’ (soft)-tourism, which means tourism with insight. She spent her 50th Birthday on 27th of May 1996 with her Nepalese friends in the monastery of Thangpoche. She is concerned about the negative aspects of tourism and write the information-service ‘Tourism Watch’. To potential tourists in the German-speaking world, she’s a Nepal-specialist, who cares about Nepal’s cultural and natural heritage, as is evident through her travel books.

I met her at the Volkerkunde Museum in Freiburg, the metropolis of the south-west Black Forest, and the occasion was one of a series of talks held under the aegis of ‘Contemporary Painting from Nepal’ to promote cultural and religious development in Nepal.

Ludmilla Tüting talked about ‘Fascinating Nepal, the Sunny and Shady Sides’ and belted out slides and information and described Nepal as a wonderful country.

And the other theme was: ‘Tourism with Insight isn’t in Demand: the Ecological Damage through Tourism in Nepal’ which was more or less what the interested Nepal-fan will find in ‘Bikas-Binas’, a thought-provoking book on Nepal’s ecological aspects, especially environmental pollution in the Himalayas, published by Ms.Tüting and my college-friend Kunda Dixit, a reputed Nepali journalist, who is the executive director of International Press Service since decades and also the chief editor and publisher of The Nepali Times.

Ms. Tüting’s talk, delivered with what the Germans are wont to call the Berlin-lip (Berlinerschnauze) has a pedagogic and practical value, and she tried not only to show what a tourist from abroad does wrong in Nepal, but also suggested how a tourist should behave and dress in Nepal. All in all, it sounded like the German book of etiquette called ‘Knigge’ for potential travellers to Nepal.

In the past there have been a good many transparency slide-shows and talks under the aegis of the Badische Zeitung, the Freiburger University and the Volkshochschule with jet-set gurus, rimpoches, meditations, experts on ‘boksas and boksis’, shamanism, Tibetan lamaism, tai-chi, taoism, yen-oriented-zen and what-have-yous. It is a fact that every Hans-Rudi-and-Fritz who’s been to Nepal or the Himalayas struts around as an expert on matters pertaining to the Home of the Snows.

Some bother to do a bit of background research and some don’t, and the result is a series of howlers. Like the bloke who’d written a thesis on traditions in Nepal and held a slide-show at the University’s eye-clinic auditorium maximum. The pictures of the Nepalese countryside were, as usual, breathtaking. Pokhara, Kathmandu, Jomsom, the Khumbu area and then a slide of Bhimsen’s pillar was shown and our expert quipped, ‘that’s the only mosque in Nepal.’

Or the time a Swabian expedition physician from Stuttgart held a vortrag (talk) at the university’s audi-max (auditorium maximum). A colour-slide of a big group of Nepalese porters flashed across the screen. The porters were shown watching the alpine expedition members eating their sumptuous supper, with every imaginable European dish and the comment was: ‘The Nepalese are used to eating once a day, so they just looked at us while we ate’ (sic). A decent German sitting near me named Dr. Petersen, who was a professor of microbiology, remarked, “Solche Geschmacklosigkeit!” (lack of taste or finesse), but it didn’t seem to disturb our Swabian Himalayan hero. Most Nepalese eat two big meals: at lunch and dinnertime, with quite a few snacks thrown in-between. And when you visit a Nepalese household you’re offered hot tea and snacks too, depending upon the wealth and status of the family.

Every time I heard such unkind, thoughtless remarks I’d groan and my blood pressure would shoot up and my ECG registered tachycardie and I’d probably developed ulcers. Oh, my mucosa. The remedy would be to avoid such stressors in the form of slide-shows, but I couldn’t. I had to tell myself: simmer down, old boy, the scenery is beautiful. And it is. If it weren’t for the ravishing beauty of rural Nepal and Kathmandu Valley’s artistic and cultural treasures… You just had to use ear-plugs (Oxopax) and relish the vistas of Nepal’s splendour: its uniqueness, its smiling people always with what the British call, a stiff upper lip, and what the Germans call ‘sich nie runter kriegen lassen,’ despite the decade old war between the government troops and the Maoists in the past.

Another time a European couple came to my apartment with a thick album full of photo¬graphs of images of Gods and Goddesses and the ‘experts’ wanted me to identify what, and where, they’d photographed in Nepal, for it was to be published as a pictorial book on the temples of Nepal. Some experts, I thought. The pair looked like the junkies in the Freak Street in the early seventies. Like the legendary Nepalese, one helped where one could, though I had to shake my head after they left.

Ludmilla has been going to Nepal since 1974. However, when you remind her of her ‘globe-trotter’ image in those days, she likes to forget it all, because she’d apparently made some mistakes and has learned from the mistakes of the past. And now ecology seems to be her passion. She wishes to ‘sensitise’ the potential tourists through her slide-shows, TV appearances and bring attention to the Nepalese rules of etiquette so as to feel at home in Nepal, despite the cultural shock and change.

‘Tourists are terrorists’ flashes across the screen, and Ludmilla explains that she’d photo¬graphed a graffiti on the Berlin Wall in Kreuzberg. Every time a tourist visits another country, they get a culture shock: the language barrier, the question of mentality, alien customs, and as a result they return to their countries loaded with a lot of prejudices. Then she shows a bus-load of tourists pottering about the Hanuman Dhoka Palace. She says that some of the tourists were angry at her when she photographed them. The tourists seem to reserve the right to photograph every country and its people as something normal, without bothering to ask them for permission. “Wir haben schon bezahlt!” is their line of argument. Doesn’t it smell of cultural imperialism, after the motto: I’ve paid in dollars, marks, francs and yen for the trip, so you natives have to oblige and pose for me. The point is the tourists have paid their travel agencies back in Frankfurt, Munich, Stuttgart or Kathmandu, and not the persons and objects they’re photographing. The payment allows one to land in a country, but how one behaves in a foreign country is another matter.

‘Today it’s possible to go around the world in 18 days’ she says, ‘and everywhere you have people perpetually in a big hurry. She talks about globe-trotters who travel around the on their own, and write books with secret insider tips on how to get the maximum out of a land with the minimum of your money. A poor porter with a mountain of load comprising cooking-utensils appears and that brings Ludmilla to talk about a certain expedition leader’s successful climb to the summit of a Himalayan peak, ‘we’d didn’t have any losses. Only a porter died’. Then she reminds the listeners that the porters don’t have any health-insurance or accident-insurance or pension in the German sense.

‘Funeral-pyres at Pashupatinath are an eternal theme for tourists’, says Ludmilla with a groan, and she describes tourists with camcorders at the ghats. ‘You wouldn’t want a foreign visitor to take the burial ceremony of your near and dear ones, would you?’ asks Ludmilla.

It was interesting to know that there’s a makeshift video-hut at Tatopani along the Jomsom trail for the benefit of the local Nepalese, the trekking-tourists and their porters. ‘I saw ‘Gandhi’ on this trek’ she said, thereby meaning Sir Attenborough’s film. You might even get to see the newest Hollywood and Bollywood films up there. Pico Iyer’s ‘Video Night in Kathmandu’ might still be interesting-reading for the Nepalophile, for he has ‘the knack of recording every shimmy’. A poster advertising ‘Thrilling Animal Sacrifices at Dakshinkali’ apparently from ‘Bikas-Binas’ (development-destruction) made one wonder about the so-called ‘sizzling, romantic, thrilling, action-packed’ box-office cocktails produced in Bollywood’s celluloid, DVD factories.

‘If you want to meet people and get to know them, you have to travel slowly’ says Ludmilla Tüting. Then she talks about the wonders of the polaroid camera at the Nepalese customs office. Men are ruled by toys. She says, ‘If you take a snapshot of a customs officer and hand him the photograph, you’ll pass the barrier with no difficulty.’

Does tourism mean foreign exchange for Nepal? Apparently not, according to her, with imported food from Australia, lighting from Holland, whisky from Scotland, air-conditio¬ning from Canada. She shows Pokhara in 1974. Corrugated iron-sheets are being transported on the backs of porters along the Jomsom trail for the construction of small mountain restaurants.

A Gurung woman in her traditional dress, frying tasty circular sel-rotis in her tea-shop in the open-air, appears and good old Ludmilla advises the audience about the advantages of acquiring immunity or fortifying it through gamma-globulin and the advantages of tetanus-shots prior to a trip to the Himalayas.

After the show I went with Ludmilla to a Freiburger tavern named Zum Störchen for a drink and a chat. Toni Hagen, a geologist-turned development-worker from Lenzerheide, who held a double Ph.D. and was billed to talk about the development of Nepal from 1950 to 1987 and the role of developmental-cooperation, also accompanied us. Toni Hagen was a celebrity in Nepal due to his geological pioneer work and publication. Alas, Hagen passed away sometime back after starring in an autobiographical film. Ingrid Kreide, who was in a hurry to return to Cologne, held a lecture on the history of Thanka-painters and the freedom of art in the Himalayan Kingdom of Nepal, and expressed her deep concern regarding the theft of Nepalese temple and ritual objects.

Ludmilla is a name to be reckoned with as a globetrotter, journalist, Nepal-expert in the German speaking world, and she criticises the alternative travel-scene. And she still fights for the rights of the underdogs in South Asia. She was for the Chipko-movement in India and decried the deforestation, ecological damage, fought for human rights of the Tibetans and Nepalese alike, wrote about development and destruction of so-called Third World countries. She once told Edith Kresta, the travel editor of the Tageszeitung (TAZ, Berlin): “My heart is Nepali, the rest is German.” Her base-camp in Catmandu is hotel Vajra run by Sabine Lehmann, a hotel with a theatre flair, and she’s working on a novel on climbing this time. She wants to emulate the characters of James Hilton’s novel The Lost Horizon, wherein people get very old and are not bothered with gerontological problems. She wants to live at least 108 years in this planet. One can only admire and wish her well in her endeavours and pedagogical critique.



Source by Satis Shroff

November 16, 2022
View: 35

A great popularity, as a variant of interior decoration, have acquired modular paintings. They can consist of two parts – a diptych, three – a triptych, and more – a polyptych.

Of course, today they can be purchased in many stores, but will not it be more pleasant to make a modular picture with your own hands? That’s why your attention is given a master class on creating such an element of decor. And for this you will need:

1. Fabric with a beautiful pattern (choose a pattern so that it harmoniously combined with the style of the room, which will decorate the picture). The pattern can be the same ornament, and maybe the plot. If you take as a basis the plot, then you will need to take measurements from the canvas, so that the divided parts are coordinated together on different parts of the modular picture.

2. Basis 1 – wooden slats and pieces of plywood.

3. Basis 2 – fiberboard or foam (even foam with a ceiling tile is suitable).

4. Glue PVA.

5. Scissors, hooks, furniture stapler, centimeter.

6. Pencil or chalk (for markings on the fabric).

It is quite easy to make a modular picture with your own hands and therefore we will consider this process step by step:

1. Finished base

It can be purchased in the store in the required quantity for your modular picture. They are sold with a fabric already stretched on the base. And then having studied in detail how to draw a modular picture yourself, you can use the ready-made framework. If you want to make a modular picture with your own hands, using the fabric or print you like, then you need to carefully remove the fabric from the stretchers.

2. Do the foundation yourself

And you can make your own base for a modular picture. The first option – the creation of stretchers using wooden racks. Here you will need to take the slats for stretchers of the same length in pairs, cut the ends and join them together using glue or a furniture stapler. In each corner from the wrong side you can fix pieces of plywood in the form of triangles, so you strengthen the frame for your picture. For a greater density on the stretcher, as an additional base, you can pull the fabric, also securing it with a furniture stapler.

The second option is that you can take the whole base – a piece of fiberboard or polystyrene, but then do not forget to process the edges. This is the simplest version of the basics, if you decide to make a modular picture with your own hands, and spend a minimum amount of time on this. Of course, making modular paintings with your own hands in any case will cost a certain amount of effort and time, but this option is especially recommended for female masters, because there is less work with tools.

3. Fixing the cloth

Further, we cut out and fix the sheet itself on the stretchers. Be sure to measure the size of the canvas on the base, taking into account the location for fixing on the back of the image with the help of furniture staples.

Distribute the web evenly, stretch it to avoid crumpling and wrinkling. Special attention and accuracy will require corners. First, fasten the long opposite sides, then short.

4. Decorate the interior!

As a result, you get an excellent decor element for your room. Now you can fantasize with placing the pictures relative to each other. Making your own modular paintings yourself can also bring you income if you achieve a certain level of skill.

If you are interested in how to draw a modular picture, then everything is simple. Everyone who did not miss drawing lessons at school will be able to do it themselves. Your final result does not need to be a work of art of the highest class – you can find pictures of patterns or colors and redraw them by distributing to the modules of your picture.

At the same time, remember that the arrangement of parts among themselves can depend on how you draw a modular picture. For example, the elements may not be located horizontally, but diagonally or even vertically or the middle part may be higher than the rest. The combination of the pattern will determine the location of the modular picture. An even easier option is to secure already printed images.



Source by Alex Kimeev

November 1, 2022
View: 60

Tapestries are becoming more and more popular as a home interior design component. Their versatility and many different sizes and styles mean that they can fit almost any décor. All you have to do is choose a tapestry that pulls your existing room together, or decide on a style you wish to build a whole new room together.

Remnants of tapestries have been found in ancient Egyptian tombs, the deserts of Greece and the frozen land of Norway. They depict historical events, mythological beings and royal families. The ancients used pictorial evidence to document great events and daily matters and founded an art that would endure for centuries.

Tapestries are weavings, strictly speaking, although there are some famous panels of embroidery and others of painting on cotton that have been referred to as tapestries. A true tapestry is woven on a loom, with colored warp and weft treads interlocking to form a pattern. Most ancient tapestries served a twofold purpose – to lend warmth to a cold room and to educate or remind people of certain events or deeds.

Tapestries Through The Ages

For some, the early Gothic designs of the medieval era are the most appealing. These look at home in almost any sumptuously decorated setting. They accent heavy dark furniture pieces and rich upholstery by adding height to the room. A large tapestry done in early medieval style can invite the viewer in and make a room seem even larger.

The Renaissance tapestries shifted focus from the darker royal hues to the softer richness of blue, gold and rose tints. Almost impressionist in nature, many of these portray riotous flowers, soothing landscapes and idealistic romantic portraitures. Knights in armor and ladies in waiting are common themes, with dragons and unicorns sprinkled in with a liberal hand.

The Orient has documented famous palaces of emperors and raging battlefields with equal fervor. Asian tapestries are woven with careful attention to detail, making birds seem extraordinarily lifelike and flowers seem ready to burst off of the wall. Depictions’ of royal princesses mingle with those of common farmers, and every fold in every garment is meticulously recorded.

Next to the exotic yet lifelike characteristics of Asian tapestries, those from India have a rounded, lavish appearance. Costuming again is handled with great detail, and historic events recorded for posterity. Famous places are skillfully rendered, and the use of color is precise. These tapestries go well in bright, colorful rooms; the fruit and flower themes are perfect for bedrooms and living areas alike.

In the New World and the Old

For homes with a southwestern flavor, Native American tapestries can lend that authentic touch. Traditionally woven by hand from a variety of materials, these tapestries are often fashioned from dyed wool yarn and have a heavier texture than that of finer European samples.

American Indian tapestries focus on symmetrical designs with an even amount of patterned and blank background space. The artist may use bold colors or muted earth tones, so the choices are nearly endless. You can pick a nearly square blanket style, or a long narrow tapestry suitable for hanging horizontally to break up a large wall.

French and English tapestries dated after the Renaissance tend to portray hunting scenes and coats of arms. Red hunting coats contrast sharply with the deep greens and browns of the forest, as the hounds give chase after deer, fox or hare. These portrayals of the wealthy at sport often hung over mantles or opposite fireplaces, and are perfect for homes with wood paneling.

Personal Tapestries

Coats of arms with the family motto were often commissioned for families of note in Europe, and many were brought to the Colonies later with their descendants. They are still popular among families who can trace their lineage back through generation after generation. These feature shields and backgrounds according to the family colors, sometimes with the addition of a lion or other animal as needed.

Many people prefer religious themes as subjects for their tapestries – biblical scenes abound, as well as angelic depictions of every imaginable style. Old Testament pictures such as Moses and the tablets or Daniel in the lion pit are common, as are New Testament ones of Christ knocking at the door or rising to the heavens. These are often hung in bedrooms as well as living rooms.

The common idea behind many tapestries is simply to tell a story through pictures; the color, texture and imagery are designed for maximum impact. These works of art are the perfect interior decorating solution, making a room go from boring to impressive in a matter of minutes. Find one that speaks to you, and it will give you enjoyment for years to come!



Source by Angela Dawson-Field

October 17, 2022
View: 101

Monday, September 10, 2001

It was mid-afternoon when I drove out to visit my friend, Ed Cain, on his five-acre parcel of land near Port Townsend, Washington. In a clearing of Douglas fir and white cedar, he’d built a modest two-room house and studio, a sizable vegetable garden, and several large pens in which he kept his prized chickens.

Ed had been married twice, with children from both marriages and even though his second family lived on the opposite corner of the acreage in a house he’d built for them, he preferred his solitude. He lived alone.

He greeted me at the door with his usual good-nature. “Get on in here,” he said, sweeping his right arm down and out into the room as if to say, “OK, you found me.” Ten feet into the room, we stopped and stood before one of his newest paintings, a large silver and black abstraction that nearly filled one wall. I smiled and nodded appreciatively. Then he led me across the room, around an old platen press, through his kitchen, and out the back door to a small porch where we settled down to a lengthy conversation. Trees towered above us on all sides.

We hadn’t seen each other in several weeks and, as usual, were soon discussing our inescapable, irresistible tether to art, the joy we found in making it, and the various ways in which it entered and affected our lives. Our newest topic, however, was Ed’s participation in several of my film projects.

Some months earlier, I had interviewed him for “Cadmium Red Light,” a documentary profile of Lennie Kesl, an eccentric painter and jazz singer and who had been my friend and mentor for nearly forty years. In the mid-1980s, I’d introduced both men and they too were quickly bonded by their creative worlds; it seemed fitting that Ed should add his two cents to the project’s already rich collection of interviews.

Ed was happy to do so. But what he ultimately offered surprised me. A different person emerged-not the gentle Ed I’d expected but an off-the-wall, slightly cantankerous character with sharp-edged humor. I was fascinated with what whirled out of his imagination and I immediately sensed another project blossoming. I asked him if he would be willing to let me continue the interviews, not about Lennie, but about himself or whichever “self” happened to appear.

What developed in this new project was a delightful fable. Ed, or Edward, split himself into fictitious identical twins: Edward and Edwin. In the reeling out of his enchanting yarn, Edward was serious and artistic, Edwin cranky and countrified, a man who loved his chickens.

Being interviewed first, Edward explained that family tradition dictated the first-born son be named Edward. When twin boys arrived, their parents decided to call one Edward and the other Edwin. Until they were older, they were simply known as the little ‘Eddys.’

“OK,” I said, smiling, “I’m game. Let’s see where the story drifts.”

Edward continued. He explained that Edwin had fallen off a horse while trying to jump over a feed trough, landing on his head. He was a bit slow. After their mother died, Edward took his brother in, allowing him to help around the yard; he tended the chickens and weeded the garden, just to keep him busy and out of trouble.

When I interviewed Edwin, however, the story changed. In this slant, it was Edwin who took care of Edward.

“Edward,” Edwin complained, “ain’t good for much. He can’t make a living. He don’t do nothing but write poetry. He never did. And those pictures? Hell, nobody can understand them things. If he’d get himself a decent job, he might do OK. I’ve been taking care of him since Mom passed.”

On the surface, this unfolding invention seemed like a delightful comedy, but there was also something unsettling in its ‘believability.’ I couldn’t quite put my finger on it.

After four or five interviews, the title of the film, conjured up by Edwin, asserted itself. It would be called “Ed and Ed.”

The Ed Cain I had known for eighteen years, of course, had no twin. He had grown up in the American West, part cowboy, part farmer, and eventually he tried his hand as a chef, a landscaper, and at general construction. He was a competent plumber and electrician-a true jack-of-all-trades. He even dug his own well with body and shovel.

He also was a remarkable poet and painter. He designed and handset the type for his own limited edition books, and printed them on that old printing press he had dragged around for years. His poetry is spare and elegant. His paintings are figurative abstractions of birds-mostly loons and crows-or the human female, often expressed in bold, child-like strokes of black and white.

A big, tall man, Ed was quiet spoken and possessed of a gentle, generous heart. He loved to tease his way through conversations. He made you feel comfortable.

Our conversation migrated from art in general to the specifics of setting up our next interview session.

As the afternoon passed, the sun had moved beyond the clearing and the air grew colder. Ed’s light bantering slowed, his usual bright disposition darkened. He seemed to slowly collapse in on himself as he leaned both arms on the table, clearing his throat as one might do when wanting to change the subject. He paused, looked over the table at me, and softly asked, “What do you think I should do with my work… with my paintings?”

“What do you mean?” I replied.

“Well, I don’t think anyone much cares about them one way or the other,” he said, looking down at his large hands clasped together, fingers twisting in fingers as if in agitated prayer. “I thought you might have some ideas.”

I looked at my friend, still unsure of what he was asking. I didn’t take his question too seriously, however, because, while generous to a fault with his friends, Ed was perhaps the most independent, self-reliant person I’d ever met. Returning a favor always required subtle ingenuity. I stuttered for an appropriate response until my awkwardness left a lengthy gap in our conversation. He felt my discomfort and quickly lightened the mood.

We stood and wandered back inside, through the kitchen, back around the press, toward the front door.

I explained that I would be leaving within a week for Thailand, to resume work on my elephant documentary. I told him I would think about his question and offer the best advice I could before leaving the country. I suggested I come back in a few days to get more material for “Ed and Ed.” I was excited by what we had, but we both agreed it wasn’t nearly enough.

He smiled broadly beneath his thick mustache and walked me to the door, switching on his ‘Edwinesque’ humor. We laughed and shook hands. I got into my car and drove home.

* * * * *

On Wednesday, like most every other person in the world, I was still staggering from Tuesday’s unimaginable destruction: planes crashing into the World Trade Center, bodies burning or falling from those iconic buildings, another plane crashing into the Pentagon, and yet another plunging into the wooded fields near ‘Shanksville,’ Pennsylvania.

No one had ever witnessed anything like it on American soil since the bombing of Pearl Harbor. 9/11 was a catastrophic event that irrevocably changed the way we think and feel and act as a culture; it spawned a completely new matrix of fear-technology, governmental invasion of privacy, unreasonable wars, and systemic hatred.

That early evening, I received a phone call from Ed’s estranged wife. She was in Oregon, traveling up to Port Townsend. She had been trying to reach Ed but without success. When she returned the next morning, having to go directly to her office, she phoned me again, still concerned, and asked if I would go check on him.

“OK,” I told her, “I’ll drive out.”

I tried his phone. No answer. So I drove the five miles back out Hastings Avenue, down Jolie Way onto his long, unpaved driveway through the trees, until I reached his house.

On the way out, I found myself crafting a rather dark what-if scenario. I don’t believe my turn of thoughts came from any feeling I left with after seeing him on Monday, but rather from being emotionally troubled from the disaster of 9/11.

If Ed were planning to do something to himself, he would first destroy all of his chickens. It was an odd thing to imagine but that’s the direction in which my mind was turning. If I heard his chickens as I approached the house, everything would be fine. If I heard nothing, I should worry.

When I arrived, his van was parked in its usual place. The front door to his house was open. I rolled down my window and listened. Silence. My heart raced a bit. Then I heard a few hens and the squabble of a rooster. I felt reassured. I got out, stood by my car, and called his name several times. No response. I called a bit louder. Still nothing. It was a lovely September morning, clear and sunny, with a slight breeze.

I walked up and stood at the bottom of his front porch. “Hey, Ed, are you there… are you inside?” The chickens started fussing the way they do when hungry.

I heard a voice coming from the interior. But it wasn’t Ed’s. It sounded as if it were coming from a TV. Then it hit me. I suddenly realized what I was about to walk into.

Though reluctant to step inside, I entered because I had no choice. “Just go in,” I said to myself, praying I wouldn’t find what I was afraid I might.

Entering, I could see dead leaves had blown into the room and were scattered about in small drifts across the floor. Between his front door and kitchen, the printing press stood in quiet obstinacy, waiting for the next book project to begin.

Little clay sculptures of diving birds lined the shelf beneath the windows. The large painting I’d seen on Monday loomed more intensely, its black and silver piercing the room’s dark interior from sunlight flooding through the open door.

I turned slowly to the right. Ed’s body lay on what seemed too small of a bed, his shoulders propped up on several pillows. He was wearing only a white undershirt that had gathered and risen above his stomach. A rifle lay near his side, his right hand curled over the stock.

A small portable TV sat on a crate next to his bed; it seemed like some strange intensive care device noisily attending the body that lay before it. The bullet had entered through his mouth, exiting the upper back of his head. The force of the projectile had exploded the skull’s parietal bone and left a large, irregular pattern of blood and flesh against the wall. Yet his face was strangely tranquil, as if he were merely in repose, eyes shut, calmly listening to the newscast. I stood transfixed in the aftermath of mayhem-the strange juxtaposition between Ed’s lifeless body and the television’s low droning, its constant spooling out of tragedy into the world.

I had entered into a wholly new kind of experience and seemed to be operating, almost autonomously, as if by script. I found his phone. It was on a table beneath the window that looked out into the yard. I knew I needed to dial 911, but first I called a friend, another artist. It seemed crucial I speak to someone I knew. I asked her to call a friend.

“Call Stephen,” I said. “Please ask him to come over.”

Then I dialed the emergency operator. I looked out of the window into the yard. I remember thinking how beautiful and green was his vegetable garden. I could hear the clucking and crooning of chickens. “I need to report a suicide.” I said to the operator.

“Are you certain he’s dead?”

“Yes, I’m sure of it. He’s dead.”

“How far are you from the body?”

“I’m close… maybe fifteen feet. It’s… it’s a small room.”

“Can you take the phone into another room?”

“No, I can’t.”

“OK. But I need you to stay on the line. Keep talking to me. Stay on the line. The sheriff is on his way. He should be there momentarily.”

“This is very difficult.”

“I know it is, sir, but I need you to stay on the line.”

After the initial shock-the mind’s processing of death, a friend’s death, of seeing what the force of a bullet does to flesh and bone, and of seeing his nearly naked body slumped against the wall on which his last creative expression was painted in blood-I turned away.

I suppose my being overwhelmed released some chemical that helped me defy my own frailty. The body mercifully does that. In fact, I felt somewhat emotionally disconnected to what lay before me. As I waited for the sheriff to arrive, I held the phone to my ear, my eyes wandering everywhere but to the bed.

“Yes, I’m still here,” I kept repeating, assuring the voice on the other end of the line.

On the windowsills and tables, lottery tickets had been scratched and tossed. Bills lay unopened. On a bedside table, a large wine bottle stood empty. Between the bed and a nearby closet, a dark-red upholstered chair lay on its side. Just beyond the chair, a closet door stood open.

I doubt an autopsy was ever performed on Ed’s body. There is no way to be sure exactly when he pulled the trigger. But during my wait and to help me refrain from bolting, which I literally had thought I might, I began to imagine his final moments.

I set the scene: A man is lying on a small bed, trying to swim out of his own darkness, desperate to ease a sorrow he cannot name. His entire world is sinking and a voice on TV confirms it. He makes a final decision. End it all. He must do it. No hesitating. He rises, stumbles toward the closet where he keeps his gun. He trips and, in his wobbling, drunken haste, knocks over the chair. He reaches into the closet, grabs the rifle, returns to his bed. Don’t think. He pulls the trigger.

“Are you still with me?”

“Yes, I’m still here.”

“The sheriff is heading up to the house now.”

“I’m here.”

“OK, now listen very carefully… what I need you to do, sir, is slowly put the phone down. Just place it on the table, OK? Then I want you to calmly and slowly walk outside with your hands-both hands-above your head. Do you understand?”

I did. I got it. Completely. Instantly. There was never a moment of indignant disbelief. I knew uncertainty surrounded me. I could have been the shooter.

I walked out calmly with arms raised. The sheriff approached warily, quite obviously trying to get a read on any possible and unpredictable move I might make. I thought I heard him say, “It’s OK.” I relaxed and let my hands down. Quickly he reached for his holstered weapon. Back up went my arms.

A moment later the county prosecuting attorney arrived; we’d known each for a few years. “He’s OK,” she said, moving between the sheriff and me, on into the house. The sheriff followed her inside and after a few more minutes, an emergency vehicle arrived. Two paramedics rolled out a gurney and they too went inside.

Ed’s wife and son suddenly appeared from behind me. I turned to see utter horror and disbelief on their faces.

They wanted to see Ed. I knew this could have devastating consequences, especially for the boy, so I absolutely forbade them.

“Go home,” I said. “You do not want to see this. You must not.”

Reluctantly they turned and left.

After a few minutes, the sheriff and county prosecutor reappeared, got into their cars and drove off. The medics soon followed with Ed’s remains encased in a black body bag on the silver gurney. They placed him inside the emergency vehicle and slowly drove away.

No bright yellow tapes cordoned off the house. The sheriff had given me no instructions of what to do and what not to do, and I stood in the yard stunned from the unfolding scenario, wondering what to do next. I assumed the county officials considered Ed’s death self-inflicted and that I was expected to simply depart as everyone else had. But how could I? How could I simply leave the house open and unattended?

I went back inside. Ed was gone, the rifle gone, the television switched off, the house silent.

I knew I couldn’t leave this place of pain and loss for the family to discover, so I searched around Ed’s kitchen for rags and cleaning supplies and set about scrubbing the floor and the wall behind the bed. I drug the mattress out into yard, searched through Ed’s studio and found paint thinner to pour over it; I set it aflame.

Very soon Stephen arrived and we did our best to put the place back into some kind of order, as if Ed were merely out for the afternoon. Stephen washed the dishes. I put the empty wine bottle and the stained towels and bedding in plastic bags. We set the dark red chair upright, shut the closet, and swept the dead leaves back out into the yard. We closed the front door and left.

A week later, I headed back to Asia.

* * * * *

In November 2006, I had finished “Cadmium Red Light” and had nearly completed the elephant documentary. I began to think about the scant video footage I had for “Ed and Ed.”

The mini-tapes had lain undisturbed in their tiny, plastic box on a shelf in my office, gathering dust. I had not looked at any of the material since before Ed took his life.

But those three one-hour tapes never let me forget them.

As winter drove on, each time I went into my office, I began to feel like a six-penny nail orbiting Jupiter. I was rapidly being pulled in; it was time to edit the twins.

Admittedly, I had somewhat helped define the two characters by shaping my interviews to accommodate either Edward or Edwin.

Nonetheless, as I began to study the raw material, I wondered to what extent I had actually participated. Ed had orchestrated the entire scenario. It was his invention, his fable. “Ed and Ed” was his. I was simply shadowing his imagination.

I began to assemble what material I had. There wasn’t much. I wanted to stay close to Ed’s Ed but I needed to understand why. I needed to know how. My job was to make sure the story would ultimately pass the honesty test. It did, after all, happen.

There’s a scene in which Edward talks about bringing his brother to live with him after their parents died. He talks about going to ‘Cenex,’ a local garden store, to buy fertilizer for his vegetables, and he takes Edwin with him.

When they have finished shopping and are back in the van, Edwin has a box of baby chicks on his lap. Edward says, “What do you have there?”

“Baby ‘Bafarmingtons,'” answers Edwin.

Now, as far as I know, Ed never studied the art of acting, yet he tells this simple fabrication with such conviction, his voice breaking, tears welling up in his eyes, that one cannot help but feel his brotherly love. It’s a remarkable scene. Is he recalling some distant childhood memory?

As I struggled to develop a narrative, it soon became clear that Edwin represented, in the real world of Ed Cain, everyone who couldn’t understand him, his paintings, his poetry-his need to make art. Edward suffered, in an inseparable way, the world of Edwin.

The challenge for me was weaving together a story with such limited material, achieving the necessary balance. It needed a beginning and an ending, and I wanted to make sure the purpose was clearly felt. And it also needed to be collaborative, to be what I imagined Ed would have wanted. For the viewer and the integrity of documentary, I had to finally stitch the brothers back together as one person, as Ed Cain, to resolve it as history. Getting it there needed the right questions and the right answers.

After completing a first draft, I showed the film to several test groups. I needed feedback. I wanted to know not only whether I had created the illusion of actual twins but, more importantly, whether the fable transcended itself to become reality. Would the film offer some lesson the viewer could grasp-a parable’s gift?

Of the ten viewers, only one was uncertain while the others fully believed they were actually watching identical twins until the ending, when the two Ed’s were made one.

In the film’s beginning, before Edwin appears, Edward reads one of his poems:

In winter one loon stays

just short of the farthest old piers.

Perhaps it is not always the same loon

The light in this sun-diminished season

seems continual and it makes

little difference if its dawn or evening.

In reflection, the loon seems not so cold.

The window mirrors my eyes against haze.

The loon stills the air between us.

In the final scene, Edward is sitting on a metal stool in front of his platen press. As interviewer, I explain that his brother Edwin has completely dismissed his version of their life together. That Edwin, in fact, had been taking care of him. Edward quietly laughs and says, “That’s amazing. I’m surprised you got that much out of him. He usually doesn’t talk that much. I don’t know whether I want to dispute what he says or not.”

He slowly stands, walks toward the viewer and disappears. We are left alone in the room with the printing press and the little clay sculptures in the window. We see a message scrolling up and over the final scene. From these few words we learn there was only Ed. The viewer now understands the truth in the fable’s revelation and the tragedy that befell Ed Cain.

In all probability, I was the last person to have seen him alive and the first to find what he’d left us. I would later ask myself, “Was I not listening well enough on that Monday afternoon? Was I overly concerned with my own projects, or with my preparations for travel?” Whatever clues he might have given me on that Monday, I missed them.

Eight years later, however, going back through my last day of filming, I discovered in one sequence, Edwin talking about their life together, his and Edward’s. He says, “We don’t have a desire to get involved with one another now.” He adds, “It’s almost ‘door-shuttin’ time.'” Does this unusual colloquialism refer merely to getting old and dying, or does it reveal darker thoughts? Ed was only sixty-six.

And was it possible, as Ed lay crippled in hopelessness, the news spewing out of the little TV became the proverbial straw that broke him beyond repair, another victim of 9/11?

It’s been fourteen years since he asked me about his art-what should he do with it? The question continues to haunt me. What can such a question mean?

I think he understood that durability of art as artifact is determined only by human capriciousness and the passage of time. But naturally, and rightfully, he was concerned with what might become of his paintings and poems. Perhaps, for him, they tethered one world to another.

Ed and I often talked about the communion of art, and how it nourishes and sustains generosity. We felt that the vitality of art is indelible and processional: conceiving, doing, and giving. We believed it then and I believe it now.

When I think back on that Monday afternoon, as we sat across from one another, beneath those magnificent trees, Ed wasn’t asking me a question at all, but rather offering an awkward and oblique farewell.

In the end, Ed left this world, Edwin’s world, in solitude, and as he did so, like his beautiful loon, he stilled the air between us.



Source by Galen Garwood

October 2, 2022
View: 106

Dear reader, this Ezine article has been written for perusal by over 6000 nano-scientists. Its theme suggests to the general public that ethical nanotechnology has an important role to play in bringing about a new age of global liberty and freedom. It can be argued that this can come about if nanotechnology is developed in liaison with a medical science, to guide ennobling government for the betterment of the global human condition. While the article is about the fractal nature of Mesopotamian mythological mathematics, it is fully realised that other ancient cultures, including Indian and Chinese civilisations, contributed infinite fractal mathematical concepts into the formation of the ancient 3rd Century BC Platonic tradition of Greek science.

Discussions about politics, sex and religion tend to provoke intense controversy. However, this paper is about a broad generalisation of all three of these contentious issues. They are so complex that only a supercomputer, given thousands of years of data could adequately explain their functioning in the great game of life, which is related to healthy human evolution.

During the 1990s, the Science-Art Research Centre of Australia had its supercomputer papers about seashell life-form energies reprinted by the world’s leading technological research institute, IEEE., and an American Institute for Basic Research. These papers were internationally acclaimed for the discovery of new mathematical and physics laws governing optimum biological growth and development through space-time. The aim of this article is to help in the construction of a second supercomputer program, which can be referred to as the Fuller-Snow ‘World Game Cooperative Theory’ for human survival.

China’s most highly awarded physicist, Kun Huang, provided the research methodology used to make the discovery of the new physics laws possible. He argued personally with Albert Einstein over the issue. Now, nanotechnology has confirmed that his seashell advice in 1979 applies directly to the human condition.

The ancient Egyptians used the sacred geometries of life to give an intuitive expression of the working of an infinite universe. Mainstream science now realises that they were using aspects of fractal geometrical logic extending to infinity. However, our present global science and technology forbids that geometrical logic to belong to any living evolutionary process. Einstein’s genius can now be truly immortalised by modifying it so that his universal energies of chaos are shown to entangle with these long lost ancient infinite life energies.

The 20th Century Einsteinian world-view was governed by a law of universal chaos that demands that all life in the universe must become extinct. Therefore, under these circumstances the living process cannot possibly extend to infinity. However, nanotechnology has demonstrated that the ancient Greek science was correct.

The human molecule of emotion, discovered in 1972, now part of quantum biology’s entanglement with Einstein’s quantum mechanics, is, in fact, an infinite fractal expression. Our emotions function in complete contradiction to the laws governing our present destructively imbalanced science and technology.

This means that, as was discovered only last century, emotions belong to Sir Isaac Newton’s more profound natural philosophy to balance his mechanical description of the universe. It is important that his world-view is freed from any further Christian classification of this being a criminally insane heresy. Newton held to his more profound concepts of an infinite universe, when he wrote his great theories of science. This is evident in his personal letters to Richard Bentley, in which he linked gravity with light, to provide evolutionary instruction to the human metabolism. It is unreasonable to insist that mercurial fumes from his alchemy laboratory resulted in a criminally insane mind, at the same time when he was accomplishing such things.

The modern day unbalanced scientific world-view constitutes a political nightmare of global proportions. With modification, this can be adequately addressed in the form of a medical supercomputer program, functioning to guide ennobling governments throughout the world. The resultant technology, for the betterment of the human condition, is beyond the conception of present unbalanced mainstream science. However, given the opportunity, there are enough learned scholars to compose the computer program, thanks to the scientist Kun Huang. It is now possible to extend the seashell research in order to obtain the quantum biological blueprint for human survival.

During the 6th Century BC the Greek geometer, Thales, travelled to Egypt to study political ethics. Following him in the 5th Century BC, the mathematician, Pythagoras, also studied political ethics in Egypt. They brought back to Greece the mathematical structure of Western Democracy. The Greek philosopher Anaxagoras had derived a theory of creation from the mythological-mathematical theories of the Egyptian creator god Atum (Atom), mentioned in the ‘Pyramids Texts’. Then, for over two hundred years the Platonic tradition of Greek philosophy fused ethics into Anaxagoras’ theory of creation. This was in order to invent science so that civilisation would not become extinct, as had other life forms discovered as fossils.

Aspects of nano-science show that the resultant science had successfully linked mathematics to the living process, in line with the workings of an infinite universe. This is contrary to the ethos of Einstein’s theory of relativity, which he derived from Babylonian mythological mathematics.

During the 3rd Century BC two Greek life-sciences came into existence. one was called the ‘Science for ethical ends’ incorporating atomic Platonic love and the other was the ‘Science of universal love’, based upon Epicurean emotional atomic theory. These sciences came about to guide ennobling government, so that humans could play their part within an infinite ethical universal purpose, thus avoiding extinction. Nearby, in the Mystery Schools of Babylon, worship of the sacred geometries was motivated by the teachings of Ishtar, the Goddess of sexual prostitution and warfare.

Plato understood that once a physical atomic science totally ruled civilisation, as it does today, the prehistoric arms race legacy would one day accelerate, triggering the emergence of the destructive properties of ancient Egypt’s understanding of primordial universal chaos. Plato’s concept ‘evil’ was about the anti-life properties of nuclear unformed matter spreading as an obsession into the psyche of civilisations. Various national governments, powerless to stop the nuclear arms race because of governmental national security laws, would eventually bring about the chaos of total destruction upon civilisation. Nanotechnology on the other hand, could step in to provide a medical science, free energy, food and water, across the globe, in order to prevent this nightmare situation from happening.

Harvard University Press advises that the rebirth of the lost Greek atomic sciences was instigated by Marcilio Ficino, during the 15th Century. He used the book, ‘Plato’s Theology’ to create what is now called the Great Italian Renaissance. Leonardo da Vinci, contrary to popular belief, was not a central figure to that Renaissance.

The mathematician, Fibonacci, taught Leonardo the sacred geometrical mathematical ethos belonging to the Mystery Schools of Babylon, which worshipped warfare. On the other hand, the inclusion of Platonic love as a property of the atoms of the soul (the molecule of emotion discovered by Candace Pert in 1972) had placed atomic ethics into the mathematical equations that Fibonacci obtained from the Babylonian Mystery Schools.

The American engineer, Buckminster Fuller, who wrote the book ‘Utopia or Oblivion’ fully understood the nature of Plato’s grim warning and realised that we must modify the Einsteinian understanding of universal energy, or perish. Harvard University’s Novartis Professor Amy Edmondson, in her on-line biography entitled ‘A Fuller Explanation’, wrote that in his excitement to write his theories, Fuller neglected to explain to the public that his ideas for humanity’s survival were derived directly from Plato’s mathematical research.

The molecular biologist, Sir C P Snow, also wrote a book about the need to save civilisation from collapse, due to the prevailing Einsteinian understanding of universal energy. He considered it imperative to link modern science back to the culture of the Platonic Humanities. In 2008 the Times Literary Supplement published that it considered Snow’s book to be among the 100 most important books written since World War II.

The Christian Church, during the 5th Century AD, destroyed the Great Library of Alexandria and murdered its custodian, the mathematician, Hypatia. Saint Augustine then banished Plato’s mathematics as being the work of the Devil, mistaking it for the mathematics associated with the teachings of Ishtar, the Babylonian Goddess of war and prostitution. Augustine had translated the evil of unformed matter in the atom as the evil of female sexuality, later used as an excuse for the horrific sexual rites that the Christian Church lather condoned.

The sadistic torturing and burning alive of countless numbers of women and girl children as witches was practised for three hundred years until the mid 17th Century. In the 18th Century the Church’s fanatical opposition to ancient Greek mathematical atomic science, as the work of the Devil, was transferred into the very fabric of the Constitution of the United States of America, without the American people realising what had happened.

Giordano Bruno, considered to be the father of modern science, taught about the science of universal love, at Oxford University. For doing this, upon returning to Rome he was imprisoned, tortured and burnt alive by the Roman Church in 1600. During the 20th Century, the unpublished papers of Sir Isaac Newton were discovered, in which Newton expressed his conviction that a more profound natural philosophy existed to complete the mechanical description of the universe. Newton’s model of the universe was infinite and its functioning was upheld by the same physics principles that upheld the ancient Greek science for ethical ends and the science of universal love. Newton’s balancing physics principles were exactly those used by the philosopher Schelling when he corrected Immanuel Kant’s electromagnetic ethic for perpetual peace on earth.

Isaac Newton, a contemporary of Bruno, aware of his fate, dared not publish those same ideas. As it was, his infinite universe theories remain classified today as Newton’s Heresy Papers. This may help explain why a 50 million pound research program at Cambridge University, to look for its associated technology, was cancelled outright by the British Government. Nonetheless, nanotechnology has revealed the incredible magnitude of that technology’s capacity to benefit the global human condition, well beyond the scope of entropic science.

The Constitution of the United States of America came into existence in 1787, based upon the ancient Platonic tradition of Greek philosophy. Within the Christian culture, Sir Isaac Newton’s banished heresy physics principles were completely omitted. Alexander Hamilton, during the framing of the Constitution, defined ‘Liberty’ as being ensured by the design of government based upon physics and geometrical principles. The physics principles used to construct the American Constitution belonged to the published physics of Sir Isaac Newton and the geometrical principles belonged to the geometry of Euclid. The current blockbuster film, ‘Lincoln ‘ depicts the President of America explaining that the abolishment of slavery was fused into Euclidean geometrical logic. In fact it was tied into the infinite geometrical logic upholding the functioning of the Platonic universe. If the will of the people wish it so, the American Constitution can now be amended to become the true symbol of liberty for all the world.

The ancient Greek intuitive understanding about the anti-life properties of nuclear chaos predicted the way our state of emotion interacts with physical reality. In 2011 two Chinese scientists used mathematics to prove how the Fullerene dance of life of protein enfolding in DNA, functioned outside the laws governing Einstein’s world-view. This was pre-empted ten years earlier when the Science-Art Research Centre published a lecture delivered at Yangzhou University in China. The paper stated that this protein dance of life in DNA caused Fullerene carbon-signalling to generate the geometrical construction of emotion-forming substances influencing mental functioning.

The Centre reasoned that because Einsteinian mathematics was unable to generate healthy seashell growth through space-time, it was innately carcinogenic. The 1937 Nobel Laureate in medicine, Szent-Gyorgyi, also argued that the scientific refusal to allow any interaction of consciousness with Einstein’s chaos energies, brought about an unnatural conflict between emotional intuition and unbalanced scientific rationalism, considered to be associated with cancer. In 1998, cancer researchers in America associated Szent-Gyorgyi’s theories to carbon signalling within DNA.

Be this as it may, the anti-life conflict within the human biological system, where natural emotional intuition is forced to conform to the dictates of our unbalanced science, does prevent healthy evolution from occurring. People at present are virtually powerless to prevent the effects of what Plato described as uncensored art, where mind pleasing forms along with irresponsible music, provides an illusionary belief in reality, while the entropic engineering mindset prepares for continual warfare.

Nanotechnology can provide us all with water, food, energy and raw materials from virtually nothing. Instead, we are contented to maintain a stock-market job enslavement obsession, in order to pollute the planet and the energy system belonging to the living process. The entropic dictatorship of global economic rationalism, obeying total chaos logic, might be considered rational for those controlling the money system, but it is certainly not based upon ethical scientific principles. If nanotechnology directs the function of artificial intelligence to wage war, then the deployment of invisible undetectable nano weapons of mass destruction will become humanity’s common enemy.

The mathematical sacred geometrical concepts of mercy, compassion and justice, can be found depicted in wall paintings of the Egyptian 1st Kingdom. These mythological-mathematics became political law in the 2nd Kingdom, explaining the origins of such things as modern hospitals and old age pensions. The ancient Greeks used these mathematical virtues to develop an infinite science for human survival, which we are forbidden to debate within the fixed confines of 20th Century science and technology.

The seriousness of a hidden fanatical religious act contaminating Newton’s physics principles during the framing of the American Constitution is easy to demonstrate. It prevented the Platonic spiritual (now holographic) optical human survival engineering technology from being developed.

Although Plato’s spiritual optical engineering principles were later corrected by ‘History’s Father of Optics’, Al Haitham, during the Golden Age of Islamic Science, the issue is quite obvious. Plato, Al Haitham, and other philosophers such as Philo, Plotinus and Hesoid, had warned that by using the senses, in particular the eye, as the source of cosmic knowledge, the destructive properties of unformed matter would emerge from the atom to destroycivilisation. Da Vinci, Descartes and Sir Francis Bacon, pivotal figures in bringing in the mechanistic industrial age, used the eye as the source of all knowledge.

Albert Einstein made exactly the same mistake. During 1924 to 1927 the world-view of quantum mechanics was that visual observation affects reality. Einstein’s E=Mc squared did indeed allow the ancient unformed matter to emerge from the atom. We are approaching the point where Humanity’s common enemy will be the anti-life ethos of artificial intelligence, masquerading as a benevolent Diabolis, the God of Chaos, that we now worship globally via the stock market.

The Science-Art Research Centre’s book ‘The 21st Century Renaissance’, points out that Einstein developed his world-view from the use of the sacred geometries associated with the mythological-mathematics used in the worship of ancient Babylon’s Goddess, Ishtar. Her sexual mathematics are very complex, but it appears that Einstein’s colleague, the Nobel Prize winner and mathematician Lord Bertrand Russell, was influenced by Ishtar’s teachings. During the 20th Century Russell became Britain’s best known advocate of free love and sex. His first three marriages became sordid sexual dramas in the British courts and in 1940 his professorial position at the College of New York was annulled by a police court order, as being immoral.

Bertand Russell’s most famous essay was entitled ‘A Freeman’s Worship’ in which Russell insisted that we have no other choice but to worship Einstein’s entropic death sentence upon all of life in the universe. In 1957 the New York University Library of Science, published a book entitled, ‘Babylonian Myth and Modern Science’, in which Einstein is shown to have developed his theory of relativity from the mythological-mathematics of ancient Babylon. Plato, on the other hand, had developed mythological mathematics from the Mystery Schools of ancient Egypt, which were about preventing the universe from reverting back into its original chaos. Nanotechnology proved that the Platonic atomic science was correct and the engineer Buckminster Fuller had adequately upgraded it. It is now possible to upgrade Fullers solution to the human survival theories of Sir C P Snow.

The solution to the global energy crisis is simple. Buckminster Fuller alluded to it with his ‘Cooperative World Game Theory’ for the betterment of the global human condition. In Fuller’s own words, ‘Make the world work, for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offence or the disadvantage of anyone’.

IBM’s supercomputer, Deep Blue, beat the world’s chess champions and their supercomputer Watson, beat America’s players of the more complex game Jeopardy. Such a computer game, based upon medical science ethics, will bring into human consciousness the methodology advocated by the Fuller-Snow cooperative world game of life.

The Science-Art Research Centre of Australia is now only interested in helping to create the Fuller-Snow super computer program. The new game containing thousands of years of relevant negentropic speculations, will instantly and collectively raise our chaotic consciousness into a comprehension of Fuller’s infinite synergistic universe. People can then play the game of life unimpeded with conflicting religious dogmas, in order to upgrade human survival consciousness. The governing Platonic Fullerene Chemistry medical science, given legal status, can then guide ennobling government based on the issue of global security and nanotechnology supra-wealth for all.

The three 1996 Nobel Laureates in Medicine, established a new medical chemistry based upon the negentropic properties of Fullerene carbon molecules. As Buckminster Fuller had derived his balanced model of universal reality upon the mathematics of Plato, the Science-Art Research Centre of Australia renamed it as Platonic Fullerene Chemistry, now influencing the education of chemistry throughout the world.

All revenue from Science-Art Paintings, sold through the Centre’s non-profit research organisation, goes to the project, to help bring the Fuller-Snow supercomputer into existence. This funding model of ethical science through the arts was published in 1993 by LEONARDO, the ‘International journal for the Arts,Sciences and Technology.

© Professor Robert Pope, Advisor to the President Oceania and Australasia of the Institute for Theoretical Physics and Advanced Mathematics (IFM) Einstein-Galilei



Source by Robert Pope

September 17, 2022
View: 145

Reus is situated in north east Spain on the Costa Dorada. It is a historic city with a number interesting sights to visit and when you need to take some time out there are a great choice of bars, restaurants and shops.

Reus Airport is just 2km from the city and about 80km south of Barcelona on the CN-420 road to Tarragona. From the railway station in Reus there is a daily train service to Barcelona which takes about 55 minutes.

The best way to explore Reus and the surrounding area is by car. It is easy to drive to positioned near the Autopista del Mediterraneo which the principal motorway going north to south along Spain’s eastern coast. From the Autopisto just follow the T-315 which runs directly into Reus. If you are approaching from western Spain drive along the major E-90 motorway and join the N-420 towards Baden.

Reus is probably most famous for being the home of the famous architect Antoni Gaudi, but it boasts no examples of his work and the finest Modernist creations are by Lluis Domenech I Montaner which include the Pere Mata Institute, the Casa Navàs, the Casa Rull and the Casa Gasull.

Reus has for many centuries been notable for the production of wines and spirits (particularly brandy). Other products include olives and hazelnuts. A recommended tour of Reus starts in the Plaza de Prim with its beautiful Theatre Fortuny along Calle de Monterols to Plaza del Mercadal with the modernist Casa Navas which still contains all its period furniture, coffered ceilings and lamps. Plaza de Sant Pere has a sixteenth century Gothic church with an octagonal bell tower from the top of which you can see the whole of the Costa Dorada.

In the old quarter of Reus you will find the Gothic San Pedro church (Antonio Gaudi was christened here on 26th June 1852), and the Prim-Rull Museum. The Reus Tourist Office offers scheduled excursions to buildings which are generally closed to the public plus free entrance to the Salvador Vilaseca Museum and the Art and History Museum with paintings and drawings by Maria Fortuny and Joan Rebull.

In the month of June Reus holds its biggest fiestas with live music in the squares every night and street entertainments including Castellers which are the famous towers made of men. Once you have seen the main attractions that Reus city has to offer, you might like to consider a day trip to Tarragona, Salou or Montblanc.

TARRAGONA

Tarragona is very full day of sightseeing. It is only a 15km drive from Reus along the N-420A, C14, T11 and A7 motorways. It is the capital of the Costa Dorada, standing on a hill overlooking the Mediterranean sea. Tarragona has a large number of tourist attractions concentrated in a small area.

It was invaded by the Romans in 218BC and most of the monuments forming the city’s cultural heritage were built during the Roman occupation including the amphitheatre, the aqueduct and the Escipions Tower. The Roman city wall was built in the 2nd and 3rd centuries BC with a good part of it still remaining along with three towers from the same period.

Its imposing Romanesque-Gothic cathedral has one of Spain’s finest cloisters dating back to the 13th century. Nearby are the archiepiscopal palace and the archaeological museum. You will find almost everything of interest within the old city walls. The most important street is Las Ramblas which leads to a great viewing point called the Balcón de Europa which overlooks the lower part of the city and fishing neighbourhood of Serrallo.

Tarragona is a port and commercial centre exporting some Spain’s finest wines which are produced in the nearby Priorat region. Also the Carthusian monks who were expelled from La Grande Chartreuse in France in 1903 settled in the city and still produce their famous green chartreuse liqueur.

SALOU

Is just 10km west of Tarragona and is 10km from Reus city centre along the C14 and C31B motorways.

Salou is fairly spread out and merges with the neighbouring resorts of La Pineda to the east and Cambrils to the west, all of which have l clean sandy beaches and secluded rocky coves. Salou is also packed with entertainment for all ages including watersports to an aqua park, go-karting and Universal’s Port Aventura which is a massive theme park modelled on Florida’s Busch Gardens.

Salou’s seafront promenade has beautifully landscaped gardens and parks with fountains which are lit up at night. It offers some very lively entertainment with a number of nightclubs, bars and British-style pubs.

MONTBLANC

Is a medieval town just 30km from Reus along the C14 and N240A motorways. Montblanc a former residence of kings and knights and is the place where St. George reportedly slayed the dragon. In the village there is a marker commemorating the deed.

The dukedom of Montblanc was created by King Juan I in 1387. In the Middle Ages Montblanc had its own fairs and markets and a notable Jewish community. It still have with two thirds of the primitive walled area from the 15th century, towers and the gates of Sant Jordi and Bover and it was designated a monument of historic and artistic value in 1947.

The majestic Gothic church of Santa Maria with its baroque façade has a stone altarpiece dedicated to saints Bernardo and Bernabe. You can also visit the 13th century churches of Sant Miquel with a Romanesque façade; the church of Sant Francesc and the church and hospital of Santa Magdalena with a Renaissance cloister.



Source by Linda Craik

September 2, 2022
View: 197

Hanging art has been and still remains an integral part of adorning our modern day man caves. We have always had an urge to make art an important element of our interiors dating as far back as the prehistoric wall cave paintings and base relief of the Egyptian tombs. Anthropologists have said ancient people thought art was magic that transported you from the mundane to the transcendent. I have to agree, because surprisingly, what we take in visually stays with us unconsciously, capturing us, and magically whisk us away to another place and time.

There are clues that will help you zero in on the type of artwork that compliments the scale and color of the room. Keep in mind the room’s scheme and try to match or contrast it. Is the room neutral, pastel, or vibrantly decorated? Don’t be intimidated when choosing art. It is nothing more than finding images that you like, ones that speak to you, perhaps stimulates reflection, relaxes your mind and uplifts your spirit framing your memories.

Art can be an anchor for a room’s theme; it relays a story of the occupant’s depth, style, humor and even their intellect. While hunting for the ideal pieces, keep in mind these images you are choosing will greet you on a daily basis. Others will be viewing it also, and the substance of your art has impact. If the impact is too much, it will drown out you theme but if it is too little, it will be lost. Discovering the art that reflects you and speaks to you can take some time to find, but once you have found the ideal pieces, how do you hang them and where?

Now that you found the coveted pieces of art, we need to find a way to properly display your artscape. This will involve identifying wall color, location, and framing/matting the artwork and then finally, highlighting each piece if needed with some accent lighting.

Wall Color:

-Consider a suitable backdrop against which to display your work.
-The wall color should not compete with your art.
-The color should either be neutral or in some way play off the colors in the art.
-Repaint the wall to compliment/accent the piece if needs be.
-Ensure back drop is smooth with unobtrusive textures.

Location:

-Allow generous amount of wall space around each work.
– Relate art to wall size-
(Choose smaller pictures for narrow walls and larger works for big wall spaces.)
-Relate Art to Furniture Size
(In general, when hanging art over a piece of
furniture it should not be longer than the width of the furniture- a general principle being about 75% of the table’s/sofa width.)
-Standard hanging height would be at eye level.
-Hang It Low-When hanging a large picture over a table for instance, the bottom of the frame should sit within 4-8″ of the tabletop
-Play with size for dramatic effects-try hanging large art pieces in small spaces such as a powder room.

Hanging art in groups to make a pattern:

-Stripes- symmetrically hung in a row to create a vertical or horizontal line of art
-Plaids- a square or checkered layout
-Herringbone/diagonal- an ascending slope/stepping rows up a stairwell adds excitement to the composition.
-Mosaic- a large cluster of works together serves to display many works in a limited space.
-Artful Grid- Use of the majority of the wall with pictures that are monochromatic, same in color, same frames (if not frameless), and of the same size this will create a dramatic wall of poetry.
-One vertically hung and one horizontal being aligned at the base of the frames.
-Oversized and hung low
-Horizontal lines tend to elongate, widen, and emphasize a casual decorating scheme.
-Vertical lines tend to be more formal giving the illusion of height; it can seem more elegant and refined.
-Avoid hanging matching pictures in a perfect line whenever you’d like to emphasize a casual atmosphere.
-Symmetrical Arrangements adds balance and formality to an arrangement and is generally pleasing and calming to the observer.
– Asymmetrical Arrangements create a very eye-catching grouping and is a casual fun look for informal settings.
-Juxtapose two artworks from different periods that have a common element (color, subject matter, etc.)
-Create a collage by grouping many small artworks together linking them visually in form, theme, or color. This will allow them to play off each other creating a harmonious single graphic effect.

Framing:

-Don’t choose frames/mattes that will overwhelm a piece or fails to set it off.
-Mix frames that differ stylistically and in color giving them a sense of this is a “collection”.
-Try framing several items in one mat and frame.
-Varying frame shapes add interest to a picture grouping by hanging pictures with differently shaped frames.
-Pictures will have greater impact if matted in a contrasting color to the wall. Choose a dark mat for a light wall and vice versa.
-A group of pictures framed alike and hung together can have big impact.

Shelves and Alternative Wall Hangings

-Place art on a shelf creating a more dimensional effect and allows you to exhibit framed work along with other collected art, figures/pots.
-Look for objects to hang on the wall that give the impression of art such as architectural features
-Iron art is very popular and adds a great deal of interest with its 3-dimensional effect.

Accent Lighting:

Note: Beautiful artwork can be lost unless it is well lit. Illuminating the work it gives it more importance.
-The entire surface of a painting should be should be evenly lit without glare
-To light an individual piece and direct light evenly mount a picture light that has a long arm from the back of the artwork as to not damage the piece.
-Use a color correct, ultra violet-free, low wattage bulb.
-Light sculptures to enhance their forms to create a dramatic effect that cast shadows onto walls or floors.
-Use uplights and downlights of various sizes that suits each piece.
-Using track lighting above a series of pieces that perhaps run down the length of a hallway will dramatically highlight the art and light the hallway simultaneously.
-Light bookshelves and cabinets with mounted lights or clip ons

Alas, you are now armed with a holster full of new hanging art arsenal and now are officially equipped to tackle any room with your new artscaping design guidelines. Stick to your theme by supporting it with art that’s repeating in colors, motifs, and style of the room’s interior. Use the art as inspiration, search for pictures that move you and use their themes and colors as the foundation for other room elements. Allow the art to be humorous, fun, unexpected and whimsical. Look for themes that fit your decorating style by bringing out the colors in other elements of the room. Just remember that art endures because it releases us from repetition of habitual thought and allows us a fresh perspective; so be sure to display your work respectfully and artfully by putting some extra thought into it.



Source by Wendy Machen-Wong

August 18, 2022
View: 186

Synaesthesia (sin-uhs-THEE-zhee-uh) an automatic involuntary sensation arising from a stimulus to a different sense organ

We all have this to some degree – a soft caress in one spot can tickle somewhere else, scents evoke flavours, and we turn cold on hearing on a blood-curdling screech. These experiences are ordinary ‘wiring’, but some people are ‘wired up’ differently from the rest of us. For example they might see specific shapes picked out in distinctive colours, or see specific colours on hearing distinctive sounds.

A century ago, scientists, musicians and artists alike were fascinated by whether sounds could stimulate colour imagery. They found the waters muddied for various reasons:

* Evidently it is specific sounds that cause the colours, rather than the music as a whole.

* Different synaethetes see quite different colours when listening to the same music.

* A repetitive sound may cause flashing that is disturbing or even temporarily disabling.

* Musicians have always used the language of colour to describe tones, chords, modes and keys.

* To cap it all ( and disappointingly for composers with grand holistic ideas) the vast majority of listeners see, well, nothing really.

Even so, there is still massive scope for artists with this rare neurological condition – let’s call it The Gift – to explore the potential of direct visual inspiration from music.

One such artist is Mark Rowan-Hull whose nifty tagline “Hearing Colour, Seeing Sound” and dramatic technique of “Performance Painting” really caught my imagination when I saw his work at a small local gallery. Mark’s abstract canvases dazzled from the whitewashed walls of a simple Jacobean barn. A video screen showed Mark painting swiftly and confidently. In the video musicians from the Royal Academy of Music improvised ‘live’, but we didn’t hear their tracks. To set the musical scene, the gallery sound-system played a typical CD of abstract atonal music.

I admit not everyone was impressed: ‘completely pretentious crap’, ‘the images are nasty, as is the music’, ‘I have seen better efforts produced in the infant classroom’, but many were enthralled, ‘I really enjoyed the exploration of expressing sensations in physical form!’, ‘I love the energy I feel in response to the vibrant use of colour’ – you get the picture, as it were.

One thing struck me above all else – although the whole Selling Point of the show was Art derived from Sound, the pictures themselves were curiously silent. Not entirely; my favourite had a subtle suggestion of music in rippling horizontal lines akin to a harmony flowing across a stave. That really appealed to me, though I suspect Mark might be appalled if anyone suggested he should deliberately include ‘musical motifs’ in every painting. That little ripple did more than just draw me to the painting. It showed me that I was unconsciously desperate to connect each picture with the music Mark had been hearing while he painted it – music that I could not even imagine.

So I got curious about how – if I could afford the painting – I might display it at home. If you take a look at Mark’s website, you’ll see that a stark white wall with strong uniform lighting would be essential to let the image speak for itself as an abstract painting. If I were buying into the concept (i.e. swopping a huge wad of banknotes for, let’s face it, a brief flurry of panchromatic choreography), I’d want all my guests to pick up on the distinctive Story behind the Picture as well – and whether they liked it or not! But how? A printed Artist Statement is vital for Galleries and maybe public spaces, but pretentious in a home – and still just as silent. If I had the urge to ‘hear the music’, at least once anyway, then it’s likely that my guests would too. I could play a video of its creation alongside the picture, complete with the original soundtrack. That would show how it had been painted and, crucially, how each colour choice synchronised with the sound world. Yet I felt that to be un-domestic and overly school-masterly, “Come along everyone. Can you all see? Hush while I press Play”.

On reflection, I think I’d like a middle way, making just the music available, and for only as long as people were concentrating on the picture. Maybe an MP3 speaker behind the canvas, with a small but insistent Play button for the curious. If I had a big enough stark white wall, that is.

As ever, Wikipedia neatly summarises The Science Bit

Some questions for you:

* Do you think that idea could adapt back to gallery exhibitions?

* If so, should it be the artist or the gallery that solves the problems and provides the equipment?

* And would it be a good idea to offer purchasers the options of a sound kit, pre-loaded with the right music, to go with each picture?



Source by David Halfpenny

August 3, 2022
View: 209

It was a sunny, twenty-third day of December while the redbrick grandeur of the University College of Art & Design building was basking in the comfy sunshine. An ambiance full of romance and adoration was all inviting to all who could feel a stir in their hearts in this immaculate gaze the sun was casting.

The faculty members of UCAD were loitering around in the best of their wardrobe in wait for the Vice Chancellor who was to be the chief guest for inaugurating a unique show titled as ‘Dimensions’ displaying the creative lust of painters who happened to be the teachers of UCAD as well.

Artists need space to display their creations while all galleries provide proper walls to the paintings to be hanged. Ana Molka Gallery at University College of Art and Design did the same for an array of exclusively rendered work not by anyone else, but the faculty members of this prestigious institution.

It is always considered a great opportunity when the young lot of any tradition is provided with the prospect of being alongside the older one. This was an exclusive feature of that show where the mature hands were to hold the flair of young ones.

Entering Ana Molka Gallery has always been a matter of pride for me since my student days at the corridors of UCAD that now has become a nostalgic intoxication after being indulged in earning bread and butter. But as I entered the door, a strong whisper of deja vu was more than noticeable. Undoubtedly, it was a precisely curated show with all the display requirements given priority but what one could smell straight away, was the presence of frames against the milky walls of the Gallery, which, had adorned some other walls of different Galleries as well. And ironically, mostly by the mature and renowned artists, an attitude that could be a false rope to hold on for the younger and neophyte generation of artists.

But never the less, the work displayed was somehow had something to talk about.

The snowy rooftops painted in a very designed composition by Zafar Ullah who happened to be the principal of the UCAD was just synchronized with the freezing temperature of Lahore. Despite the fact that this frame was not new to the viewers even then, the geometrically conceived and coherently painted, mostly in zinc-white and rusty-browns, canvas was forcing every one to think that why the painter behind that freezing atmosphere could not put his new canvases on fire when all the fire is there within the little master?

While the surface of a canvas by Kehkeshan Jafery titled as ‘Simmering Woods’, was ruthlessly blazed with burning reds and yellows; a typical Kehkeshan painting with warm feel and depth, around and within the central part of the painting. There were strokes of blues and greens in some patches across the canvas but they were identical to the blue and green part of a flame.

These flames get wild in ‘Heaven of Another God’ by Maliha Azmi Agha who, for the last three or four years, has been obsessed with pure blues, reds, and yellows which by overlapping each other, seem to create secondary tones of green and orange. The energy and direction of strokes was giving the impression that the painter was trying to break all the shackles and canons that had been in practice for academic or institutional requirements. But the composition and the style of applied paints were satisfactorily poised with previous works of the vigorous painter.

Adjacent to all these blazing and burning frames, was hanging the soft, subtle, and flexible delicacy of Rahat Naveed’s pastels. If Renoir is known for his rosy skins of his nudes, Rahat is known for rose-like skins of her portraits. Although we have come across the new and abstract style of Rahat in recent exhibitions in town but with the glowing skin of female face in one frame composed purposely with a red rose and with the shine of a male face, rendered on a handmade paper, in another frame was something serene and peaceful, reminding the classic tenet of tranquility, especially in the western world.

It was a soft tone as far as female painters are concerned as a whole regarding their displayed work. Anila Zulfiqar with her Impressionistic cityscape reminded the times of late nineteenth century when French painters were trying to capture the changing light. Anila with her juxtaposed brush strokes and hazy ambiance tried to create the mist across which, the typical Lahore Bazar was stretched to the maximum depth.

Anila’s memory regarding cityscapes is snowed under the narrow streets, jharokas and tapered shades, and when she puts these elements in her unique style, especially when the fog of December clad them warmly, the canvas gets the depth at its central part; a feature which the young painter has developed recently.

But Sumera Jawad, contrary to the supple and feeble fashion of female painters, came up with her typical images of women that traveled through time. Sumera takes her female images from mythology and relates them to the contemporary female. In her displayed painting, she arranged some mythical elements vis-à-vis to goddesses while the concealed and unconcealed eyes from the background were staring the onlooker. As always, she put a modern image of contemporary female in the frontal part of the composition, which was more like a film actress of musical melodies of 1960s.

Miniatures are what Khalid Saeed Butt has mastery in and in this show; he emerged with a very lyrically poised female in the center of the frame with tree branches around. The softness of the curves of the twigs of a leafless tree was orchestrated with the curvature of the female figure, which was, in its rendering, more like the ‘Pahari’ school figures. Khalid crafted the rare part of the figure so precisely that the eye of viewer seemed absorbed within the dark area while when it journeyed along the half moon of the pelvic arch was an obvious display of the keen surveillance the artist was blessed with. The apple in the left hand of the female figure was suggestive to the well-known Biblical theme.

Tanvir Murshad is a renowned designer who loves to paint. In this show he put on show his vertical canvas with acrylic paints thrown across. The energy and the dynamism he produced from blue to yellow were symptomatic of his control over compositional requirements, which he got through geometrical vision.

But Amjad Pervez used his all proficiency regarding geometry and balance within his cityscape in watercolor. The typical ‘Darwaza’ of old Lahore was very well crafted. But the inert feeling was obvious apart from the skill that was screening the emptiness that a professional painter always can fill up.

The younger lot was marked with Ali Azmat, Mughees Riaz, Tasadduq Amin and Shehzad Majeed. Ali with his typical male nude was looking repetitive. Mughees presented his favorite Ravi Scene with boat while Tasadduq’s landscape with outsized foreground was all inspired by Zulqarnain Haider School of landscape. Shehzad Majeed’s experiment on ‘vasli’with meticulous pencil drawing was inspiring as far as skill could go. The composition and tonalities were exploited with precision.

No doubt, it was an excellent effort by UCAD. Only frequentative shows of this nature can answer the problems, seen between lines. There’s a hope and expectation that this show was just the beginning of a hale and hearty tradition.



Source by Nadeem Alam

July 19, 2022
View: 184

I like Pompeo Batoni’s (1708-1787) paintings. I consider him one of my friends despite the distance in time and space. Pompeo Batoni was one of eighteenth-century Rome’s most notable citizens. He was considered by his peers the city’s most eminent and honored artist.

Popes, Europe’s Emperors and Kings, and many rich visitors were received in his studio. Pompeo Batoni supported his numerous children and family and a open house for musical evenings and painting academy by painting very appreciated portraits.

In subject paintings the rich effect of color and complex rhetoric behind the attitudes, gestures, and expressions create very dynamic compositions. His humanized saints, Holy Families, and Madonna express a meditative approach to religious emotion.

I appreciate him mostly for his thinking, for his representations in allegory of hard and abstract ideas. The allegory is a work of art in which a deeper meaning underlies the superficial or literal meaning.

I am starting with three examples: The Time unveiling the Truth, The Truth and Mercy, The Justice and Peace because the message encrypted in colors and forms is less complicated and may stimulate the reader’s thinking.

  1. The Truth is pure light and Time is a young seeker. After unveiling the Light we are no more innocents. It is supposed to know the difference between good and evil. Sinning after we received the True is different. In time, through experience and study at the school of hard knocks, we get the chance to bring the Light and more personal responsibility in our life.
  2. The Truth versus Mercy is a totally different allegory. The Truth is holding firm and up a more material symbol, a tragic shiny face. From his attitude we feel the Truth is very important and self-centered. The kneeling Mercy appears as if she is one with the viewer, she demands compassion. The material, more earthly Truth, cruel and unforgiving, is facing us and the Mercy’s humble request.

    Is judging more important than forgiving? The viewer is involved, a mature person may decide different than a young one.

    The National Gallery, Special Features, Paintings from the Exhibition, picture #6

  3. The Justice is not blind in Batoni’s work. She has the instrument to weigh the arguments and facts in her left hand. Temporarily she stopped judging, because Peace is unfolding on her side bringing comfort and warmth. Again, what is the value of judging and criticizing all the time over the peace of acceptance? I brought these examples to gradually introduce Batoni’s thematic to you.

The Madonna and Child in Glory” fascinated me. The original is at Toledo Museum of Art (Ohio).

“The Madonna and Child in Glory” is the only painting I know which represents the Divine and the evil relationship from humans point of view on the same canvas.

Central, in full light, the Mother is holding with grace the precious Son of God. She is focusing up beyond the angels. The top space of the painting is open by the left angel who is calling for attention. The angels from top are emotionally involved in what is happening down there, where the Jesus Christ’s cross – spear is agonizing the devil. The baby’s gesture and representation are very humanized. The devil is represented according to ancient description with wings and here is holding on the Earth’s sphere. The very childish angels on the bottom hold each other leaning aside to avoid the evil’s horrible breath.

A group of five musicians close to Madonna glorify the divine mission. We the humans can identify with scientists and artists. On a deeper level we can perceive the Christ body in the crucified pose in Mother’s hands. Mother is looking up for help and understanding.

The viewer is involved in many ways on different levels of emotion, stimulating the mind to pursue more work. The line “But deliver us from evil” was my first understanding from the very first second I have seen this masterpiece of materialized meditation.

The recent book “Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome” by Edgar Peters Bowron and Peter Bjorn Kerber (2007) contains all pictures discussed in my article.

This book is published in conjunction with the 300 years anniversary from Pompeo Batoni’s birth with exhibitions at:

  • The Museum of Fine Arts, Huston, 21 October 2007 – 27 January 2008;
  • The National Gallery, London, 20 February – 18 May 2008

You also may visit the winer4us.com website bottom link for more info and a mini movie I made at Toledo Museum of Art for you.



Source by Ernest Ionescu

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