Tuesday, March 11, 2014

Assorted, pre-Spring, March 11th 2014








Jake Verdoza's Portraits of Karen Women in Chaing Mai, Thailand

Must post this poster around Hell's Kitchen for the cellphone zombies. Not that they'd notice.



The above is the Vanderbilt family's Doll House made by Paul Cumbie in 1883, the real building is 660, Fifth Avenue, NY


So cool. Mapping the connections artists had with others.
MOMA has this cool website where one can click on an artist's name and see the names of people with whom they were connected.



Have always liked this typically dark poem by Charles Bukowski, who calls his true self a blue bird in this instance.The poem describes the impact of alcoholism on a person's true self so aptly and poignantly.


Rudolf Balogh was an innovative Hungarian photographer, who was born in 1879 and died in 1944. These are a few of his images I like.




Rudolf Balogh: "Shepherd with his Dogs, Hortobágy". c. 1930
Hungarian Museum of Photography
Dangerous turn by Rudolf Balogh,1927
Lake Balaton and its surroundings are the most beautiful and varied region of Hungary. Balaton often called as the “Hungarian Sea” - the biggest lake in Central Europe.

Rudolf Balogh, 1909
Stud, Rudolf Balogh, Stud,1930 © Hungarian Museum of Photography
Six Cattle, Hortobágy, 1930 by Rudolf Balogh

The world of Victorian trade cards.









The following is pretty astonishing. It's a 30 minute film, called, The Idea. In French,

L'Idée (1932)

"L'Idee is an animated narrative on the theme of humanity's response to ideals. This film traces the story of an artist who sends his abstract ideal out into the world. His artistic conception (symbolized by the figure of a nude woman) is rejected and exploited by the ruling powers of business, religion and the military. As the titles make clear, Bartosch's conclusion is that "men live and die for an idea... the idea is immortal. You can persecute it, judge it, forbid it, condemn it to death. But the idea continues to live in the minds of men." 

Despite its heavy didacticism, the film is interesting for its unique style of animation. Bartosch utilizes two-dimensional figures posed at varying distances in relation to the painted backgrounds for diverse depth effects. 

The lighting creates a soft-focus halo around the figures and produces an overall muting of the painted decor. The history of the film's inception dates back to 1930, when Bartosch met Masereel in Berlin and agreed to make an animated version of the latter's book, Die Idee. The collaboration fell through, however, and Bartosch proceeded alone. 

The music was written expressly for the film by Honegger and added in 1934. It makes use of a new electrical instrument, "Les Ondes Musicales," played by Martenot. The female figure representing the artist's idea is always announced by notes from this instrument.

(Fonte: The Museum of Modern Art Circulating Film Library Catalog, New York, 1984)."

Berthold Bartosch (1893-1968)/ Arthur Honegger (1892/1955): L'Idee, film sperimentale di animazione di Berthold Bartosch con illustrazioni di Franz Masereel e musiche originali di Arthur Honegger (1932/1934).

In 1930 Bartosch moved to Paris and created the 30 minute film entitled "The Idea" to which he is most remembered for. It is described as the first serious, poetic, tragic work in animation.



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