To nie jest miłość, jeśli ktoś zobaczy piękną kobietę — i zapragnie jej, posłuszny oczom swym, umiejącym oceniać. Lecz jeśli ujrzy choćby brzydką — i nagle przeszyją go strzały, i miłuje, i serce pełne jest gorejącego szaleństwa — To jest miłość. Ta miłość jest ogniem. Piękność bowiem podoba się wszystkim, których oczy potrafią patrzeć, wszystkim jednakowo. przełożył Zygmunt Kubiak

Mademoiselle Pogany III by Constantin Brancusi 1933 Centre Georges Pompidou The atelier of Constantin Brancusi shows the culmination of the sculptor's work at the forefront of the French avant-guarde, reports Jeanne-Marie Cilento from Paris. "There are idiots who define my work as abstract; yet what they call abstract is what is most realistic. What is real is not the appearance, but the idea, the essence of things." ~ Constantin Brancusi Hidden away in the narrow streets crowding around Rue Rambuteau in Paris is the atelier of Modernist sculptor Constantin Brancusi. Italian architect Renzo Piano designed and recreated the sculptor’s studio as it was left in 1957 in a new building tucked in behind the soaring staircases of the Pompidou. Filled with Brancusi’s most evocative sculptures such as Bird in Space, A Muse and Infinite Columns, the studio is a way of experiencing the artist’s best work. He spent his last years grouping, regrouping and photographing his large works to achieve the ideal spatial arrangement. The Atelier Brancusi is the high-point of the artist’s work and an atmospheric way of viewing his famous sculptures exactly in the context he planned them to be seen. One of the great pioneers of modernism, he is considered the originator of modern, abstract sculpture. Today Brancusi’s work commands millions - the Yves Saint Laurent/Pierre Bergé sale in 2009 of Madame LR sold for a record 29.185 million euros - yet the sculptor started life as a poor Romanian peasant. While his parents labored in the fields near the Carpathian mountains, Constantin herded sheep and by nine years old was working in the local town at a public house. It is a remarkable leap from this rural, agricultural background to becoming a world-reknowned artist - in his own lifetime. But Brancusi’s natural aptitude for wood-carving stood him in great stead. As an eighteen year old lover of music and especially Romanian folk songs he created his own violin. It was so well done that a local businessman recognized his latent talent and enrolled him at the Craiova School of Arts and Crafts. He studied wood-working and graduated with honours in 1898. He then went on to receive his academic training in sculpture at the Bucharest School of Fine Arts. In 1904 he travelled to Paris and arrived amid the French capital's foment of new ideas, becoming part of the Parisian avant guarde of the 1910s and 1920s. The sculptor worked with Auguste Rodin for several months but decided that although he admired his work "nothing can grow under big trees". Brancusi was part of a group of artists and intellectuals that included Amedeo Modigliani, Pablo Picasso, Marcel Duchamp, Guillaume Apollinaire, Henri Rousseau and Fernand Leger. Although Brancusi remained based in Paris for the rest of his life, he still liked to dress simply like a Romanian peasant and his house and studio were filled with the rough-hewn furniture in wood and stone that was familiar from his childhood and that we see today in his atelier. Brancusi's philosophy valued "differentiating the essential from the ephemeral" and Plato and Lao-Tzu were great influences. An idealist and ascetic later in life, visitors to his studio noted its tranquil, spiritual atmosphere. The Atelier Brancusi has been moved from it’s original location in Impasse Ronsin in the 15th arrondissment but the studio still provides a calm respite from the Parisian hurly-burly outside. The four small studios and workshops are full of Brancusi's carefully arranged series of sculptures and all of his tools that he left to the Musee National D'Art Moderne in 1956. For more information visit: www.centrepompidou.fr. Click photographs for full-screen slideshow One of Brancusi's four interconnected studios with his sculptures carefully placed in groups, including Leda and Colonnes sans Fin Leda ~ polished bronze on a base of black stone and stainless steel ~ 1926 Yves Saint Laurent's Portrait of Madame LR that sold for 29.85 million euros Constantin Brancusi in his studio in 1934 The studio recreated (above) from the original (below) with Brancusi's series of large works ~ Colonnes sans fin and Grands Coqs. He didn't want to move these as he believed he had found the best arrangement for them to seen as the culmination of his life's work. Photograph taken in Brancusi's Paris studio in 1929 including the sculptures Léda, Colonnes sans fin I à III and Chimère. Sculptures organised by Brancusi around the great stone fireplace from his original atelier. Brancusi's workshop and studio as he left it in 1957 with the famous Bird in Flight in the foreground. Tools cover the work benches and walls near the forge in Brancusi's studio. The sculptor carved directly into his material whether it was wood, marble or plaster to try and reach the form within. He made or modified many of his own tools and used grindstones and sanders to give a highly polished sheen to his marble and bronze sculptures. One of Brancusi's studies for Muse. Sculptures from left to right are Mlle Pogany and studies for a Muse and Danaide. The Kiss sculpted in stone in 1923 www.centrepompidou.fr

Galleria Borghese

Peaceful Embrace - Briony Marshall

In the French town of Nogent-sur-Seine, the Musée Camille Claudel opened last month with 43 of the artist’s sculptures, the largest collection anywhere in the world.

Salve a Voi tutti e ben tornati , ci tengo ad esprimere la mia profonda gratitudine a tutti gli ammiratori, per l’attenzione registrata durante il battesimo della rubrica ” Destinazione parole a colori ” .

Choi Xooang es un artista cuyas esculturas hechas a partir de plastilina de polímero representan su preocupación por el aparente estado patológico de las

L'elogio delle passioni

Auguste Rodin - The Thinker at California Palace of the Legion of Honor (Fine Arts Museum of San Francisco CA)

Joana Vasconcelos is one of the names in this Pop art exhibition inaugurated on the 13th at the Bienal Museum in Cerveira.

Sátanas es un personaje que tiene muchos misterios inexplicables...¿De dónde vienes? Preguntó Jehová. "De rodear la tierra y de andar por ella", respondió

La historia de la pintura está plagada de obras en referencia a la Primavera, que se representa mayoritariamente con mujeres jóvenes, naturalezas floridas y sentimientos de alegría, felicidad, amor y bienestar. Rostro de la primavera pintado por Botticelli, estilo del renacimiento. Por supuesto, pintar la estación primaveral es un tema que da mucho juego. Implica muchas […]

Stephan Abel Sinding (1846-1922) was a Norwegian-Danish sculptor. He moved to Copenhagen in 1883 and had his breakthrough the same year. In 1890 he obtained Danish citizenship. In 1910 he settled i…

The first time I fought back against a man, it was a boy. I was twelve. It was snowing. The boy in question had been trying to force my friend’s face into a snowbank while she wept. I don’t remember his name, or what he looked like, or much about what happened save the rage I […]

Emission consacrée à l'œuvre de Rodin, "Ugolin et ses enfants".

Miquel Carbonell i Selva (1854-1896) - Safo, 1881

Explore KlickerChick's 8418 photos on Flickr!

Non è sulla terra che brucia di potere e crudeltà e nemmeno sulle nuvole in trincea echeggianti di spari e grida sanguinanti La Pace è oltre... queste labbra tormentate del cielo... ~ Catherine La Rose©2013 ~

The Grand Palais in Paris honors the late avant-garde artist Niki de Saint Phalle with a new retrospective.

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I'm fascinated by the way technology is changing and intertwining us as humans - a lot of my work explores the juxtaposition of organic, natural forms and mechanized technology. We're literally wired and connected to each other in so many ways... I also am very intrigued by the way we weave computing into our daily lives. I find myself bound to machines more than I ever would have imagined possible. I'm interested in conveying that connectivity and dependence. I work with a variety of media and love work...

Aquí hay ocho esculturas famosas tan realistas y detalladas que no podrás evitar admirarlas.

my-museum-of-art.blogspot.com/

Las macabras figuras de porcelana de Maria Rubinke

Texto de Carlos G. Navarro Lavandera. Guillermo Gómez Gil. 1896. Óleo sobre lienzo, 110 x 54 cm Colección Carmen Thyssen-Bornemisza en préstamo gratuito al Museo Carmen Thyssen Málaga. En el interior de un humilde patio doméstico una joven muchacha enjabona y restriega la ropa sobre una tabla de lavar y, concentrada en su labor, la sumerge en un lebrillo de barro apoyado sobre un viejo cajón de madera. La acción transcurre junto a la fachada de una vivienda muy modesta, descrita sintéticamente. El interés del pintor por el costumbrismo tardío se concentra en la descripción amable y conformista de los afanes cotidianos de las clases populares –del mismo modo que desarrolló cierto interés por la iconografía de la vida burguesa - sin mezclarse en absoluto con las reivindicaciones de la pintura social, ni tampoco con las corrientes regionalistas. Realizado con un vivo afán colorista propio del realismo decorativo del fin de siglo en España, en el que se concentra todo el atractivo de esta obra, Gómez Gil pone el acento en los tonos brillantes de color en el echarpe que se cruza al pecho de la lavandera, en las flores de su pelo, o en las que parecen nacer silvestres bajo la ventana de la casa. El cuadro es un ejemplo claro de la vocación de paisajista con la que Gómez Gil afrontó sus escenas con figuras. En ellas, el interés plástico principal está concentrado en la descripción, sumaria, pero efectiva, de la naturaleza, mientras el resto de la composición queda tan sólo abocetado. De hecho, su formación académica como pintor de paisajes le llevó en pocas ocasiones a afrontar escenas protagonizadas por figuras humanas como ésta, en las que siempre se delata su escaso interés por el dibujo anatómico y por la figura. Aunque esta pintura está realizada con una apariencia abocetada al gusto de la burguesía de finales del siglo XIX, Gómez Gil puso cierto interés en elaborar algunos detalles, como el efecto del enrejado de la ventana delante de las macetas, o la descripción de la jaula para gallinas y codornices que, al pie del árbol, permanece cubierta por un trapo y con un cacharro, detallando así el modo popular de engordar rápidamente a las aves para su posterior consumo. La obra apareció en el comercio madrileño junto a otra pintura de similares dimensiones, firmada y fechada en el mismo año, que representa a una joven alimentando a las gallinas, en un entorno que el autor repite a menudo en obras de este género, y que probablemente sea pareja de ésta .

Diógenes de Sinope (413 a.c _327 a.c), al igual que su maestro, Antístenes, formaron parte de una escuela de pensamiento llamada «los Cínicos» (o los canes… κύων, κυνός, ‘can’; de donde …

austrian artist mario dilitz is the creator of a series of highly detailed wooden sculptures whose lifelike facial expressions expose the human condition.