Kodomotachi no yume mamore! Gekka no romansu! Usagi no hatsu kissu. Nagareboshi ni negai wo! Naru-chan no jun'ai. Zoisite intervient pour tuer Naru. Nefuraito ai no shi. Naru-chan ni egao wo! Usagi et Umino tentent de lui faire retrouver le sourire. Ami-chan e no koi!? Ses notes sont impressionnantes et il rivalise avec Ami.
Usagi et Mamoru se rapprochent? Koi no irasuto, Usagi to Mamoru ga sekkin?
Numéros en texte intégral
Guchagucha koi no shikaku kankei. Koisarete owarete! Runa no saiaku no hi. Zoisite et Usagi pensent que le possesseur du cristal arc-en-ciel violet est An Ohara, une petite fille des beaux quartiers de Tokyo. Umino no kesshin! Naru-chan wa boku ga mamoru. Usagi joue les entremetteuses et arrange un rendez-vous galant entre Naru et Umino. Voici la princesse de la Lune. Sailor Moon se transforme en la princesse de la Lune, Princess Serenity Yomigaeru kioku!
Usagi to Mamoru no kako. TV Usagi confuse! Usagi konran! Kunzite tente de retrouver Sailor Moon. Usagi est aux anges, mais quelque chose cloche. Comment devient-on une princesse? Mezase purinsesu? Usagi no chintokkun. Mako, reine de la glace. Usagi et les liens familiaux. Usagi kazoku no kizuna. Usagi et sa famille partent se reposer aux sources chaudes. Mou Koi kara Nigenai! Ami to Mamoru Taiketsu. Elle comprend finalement que Katarina et Alan sont en couple Usagi ga koritsu?
Ainsi, elles pensent duper le Dark Kingdom et persuader Kunzite de laisser Sailor Moon entrer dans leur repaire. Usagi no kakusei! Queen Beryl envoie les DD Girls, cinq monstres, pour les tuer. Usagi no omoi wa towa ni! Atarashiki tensei. Ai to seigi yue! Shiroi bara wa dare ni? Usagi no Kiki! Tiara Sadousezu Usagi en crise! La tiare ne fonctionne plus. Heureusement Sailor Moon veille, mais le frisbee lunaire semble ne plus fonctionner Atarashiki henshin! Il fusionne avec son ancienne broche, la Crystal Star. Nerawareta enji! La super performance de Venus. Bunkasai wa watashi no tame?!
Moeru Makoto-chan Seijuurou est-il le Chevalier du clair de Lune? Makoto tombe amoureuse. Makoto tombe amoureuse de Seijuurou. Mais l'attaque d'un nouveau monstre lui prouve le contraire. Mamoru no kisu ubae! Usagi est la cible. Surechigau ai no kokoro!
Le Makaiju devient furieux. Mezameru shinjitsu no ai! Le secret du Makaiju. Le Makaiju finit par raconter son histoire et Ail et An comprennent qu'il a besoin d'amour pour exister. Tout finit bien. Sailor Moon finit par comprendre que le Chevalier de Lune est Mamoru. Usagi daishokku! Au revoir Ami. Onna wa tsuyoku utsukushiku! La nouvelle attaque mortelle de Rei. La secte Black Moon s'attaque au temple de Rei et essaye d'y introduire son Cristal noir pour changer le futur.
Mais Rei et Usagi veillent pour combattre le mal. Ginzuishou motomete! Le secret de Chibiusa. Minako to Makoto ga tairitsu Une dispute sur l'amour! Confrontation entre Minako et Makoto. Usagi no oyagokoro!? Umi yo Shima yo Bakansu yo! Les vacances! Ses amies la rejoignent. Chibiusa wo mamore! Usagi apprend que Mamoru a une nouvelle petite amie. Chibiusa se fait attaquer par Petz et Calaveras.
Une bataille dans les flammes de l'amour. Confrontation entre Ami et Berthier. Esmeraude arrive du futur pour prendre la place de Rubeus. Rubeasu wo taose! Bataille finale dans l'espace. Ankoku no maryoku! L'invasion d'Esmeraude. Omoi wa onaji! Usagi et Mamoru sont de nouveau amoureux. Tout le monde tombe malade sauf Minako et Chibiusa.
Elles essayent d'aider, un peu maladroitement Hitoribocchi no Ami Une hallucination terrifiante! Mirai he no tabidachi! Bataille dans le couloir de l'espace-temps. Les sombres ambitions de Diamond. Waizuman no mashu! Waizuman no wana Saphir meurt! Ai to mirai wo shinjite! Usagi no kesshin Croire en l'amour et au futur!
La promesse de l'amour dans le futur. Usagi-tachi no ketsui! Atarashiki tatakai no jokyoku! Nazo no shin Senshi shutsugen. La nouvelle transformation d'Usagi. Usagi no shin henshin. Usagi no akogare! Pyua na kokoro wo mamore! Makoto en danger. Reikoku na Uranusu? Makoto no pinchi. Makoto est en admiration devant Haruka. Ami est prise pour cible.
Mizu no rabarinsu! Nerawareta Ami. Kaolinite a fait de Ami sa prochaine cible. Uranus et la Lune s'allient. Tomodachi wo sukue! Otoko no yasashisa! Les soucis de Minako. Minako no nayami. Pantoufle de verre pour anniversaire. Usagi namida! Mamoru se fait enlever et Usagi se fait voler sa broche de transformation. Usagi en danger de mort. Ubawareta pyua na kokoro! Usagi zettai zetsumei. Tomodachi wo motomete! Makoto-chan no mayoi michi. Les jours lointains d'Uranus. Unmei no kizuna! Le premier amour de Chibiusa.
Geijutsu wa ai no bakuhatsu! Chibi-Usa no hatsukoi. Usagi no dansu wa warutsu ni notte. Les masques tombent. Les talismans apparaissent. Uranusu-tachi no shi? Tarisuman shutsugen. Nouvelle transformation. Seihai no shinpi na chikara! Sailor Uranus et Sailor Neptune ressuscitent et le Graal apparait. Sailor Moon s'en empare et devient Super Sailor Moon. Hikari to kage no kaosu. Le secret de la jolie Hotaru.
Le cas de conscience de Mimete. Aidoru daisuki! Nayameru Mimetto. Chinmoku no kage!? Awaki Hotaru hi no yurameki. Arashi nochi hare! Usagi supportrice. Yori takaku yori tsuyoku! Hotaru l'admire beaucoup. Chinmoku no Meshia kakusei? Unmei no hoshiboshi. Sailor Uranus, Neptune et Pluto s'unissent pour la vaincre.
Ijigen kara no shinryaku! Mugen Gakuen no nazo. Mimete apprend que Tellu pourrait prendre sa place au sein des Death Buster. Ai wo shinjite! Ami, kokoro yasashiki Senshi. Ami doit y passer un examen. Hametsu no kage! Chinmoku no Meshia no mezame. Guo Yicong's preferred subject matters are flowers and birds; in this vertical composition, he depicts clusters of flowers using vivid hues of pink, green and blue. His technique consists of accentuating the outlines of the flowers and leaves, creating a pleasing decorative effect.
The presence of a light green color lining the lilies at the center of the composition adds originality to the work and makes the flowers stand out. Thanks to Guo Yicong's extremely subtle and delicate use of ink, going from deep black to faded grey, this work reflects a magical moment in nature: spring bloom after winter. This work depicts the Emei Shan Mountain; situated in the Sichuan province and culminating at a height of 3 meters, it is among the sacred mountains for Chinese Buddhists.
Beyond the pinegrove and exuberant vegetation spreading across the hillsides, the artist reveals the mountain summits which seem to rise over the thick fog - as if carried by it - typically found over the Emei Mountain. Guan Shanyue paints a Buddhist temple at the top of the mountain with precision, sensitivity and lightness of touch. It is in this serene landscape that the first Chinese Buddhist temple was built in the 1st century. The number of temples has since multiplied, making the Emei Mountain one of the major sacred places in Buddhism.
Inscribed on the UNESCO World Heritage List since , it is the largest representation of Buddha dating from before the 20th century; it was sculpted into the hillside in the 8th century. This Indian ink on rice paper evokes the close relationship between Chinese and nature. Guan Shanyue's approach pulls the spectator into the landscape. This painting may be read like poetry or calligraphy; the brushstroke must always be a living composition.
The famous saying by Confucius, "The man of heart is enchanted by the mountain, the man of mind enjoys water" illustrates Guan Shanyue's work. For the Chinese, landscape painting is said to be the "painting of Mountain and Water"; it is a question of interiorizing the outside world in order to portray man in a spiritual way rather than a physical one.
Zhu Qizhan favors the use of slender forms laid-down on rice paper which rapidly absorbs Indian ink and is usually used for Chinese calligraphy. In this work, two pines are represented slightly off-center, as if appearing from nowhere. The painted and empty spaces on the surface are both equally important and counter-balance each other. The tightened frame of the composition around both trees, contributes to the aesthetic effect of the work.
The spectator must penetrate the work both physically and intellectually in order to recognize the message rather than read the painting. According to the Chinese concept of happiness, longevity is among the greatest privileges. By referring to longevity, prosperity and purity, the pine is a very symbolic tree in China. Eternally green, it lives for hundreds of years. Its persistent foliage symbolizes immortality. The pine here seems to spread out freely; the vertical shape of the work emphasizes its ascending movement and the idea of longevity.
He offers the spectator an aesthetic experience. The fluidity of the ink is a question of technical training; the spirit of the brush is a question of life. An enthusiast for stylized representations of shapes, Liyolo here manages to give life to his semi-abstract, semi-real silhouette.
Anthologie des poètes français contemporains/Tome troisième
The bronze is worked minutely by Liyolo, who here creates a contrast between the hammered, almost rough, surfaces and the smooth, carefully polished ones. This careful attention to texture allows the light to play an active role in the work, as it reflects very differently depending on the area it falls on, hence bringing the sculpture to life. Certain anatomical elements - usually rarely accentuated in traditional sculpture - are particularly pronounced here.
This work illustrates perfectly the creative abilities of this prominent contemporary Congolese artist, who keeps in mind ancestral African traditions. An effect of scenography is created, and Buic manages to create the idea of an atmosphere simply with one tapestry. Jagoda Buic moreover carried out several set design and costume projects for theater, opera, ballet and cinema, starting in the s.
She has a clear preference for natural fibers which allow for a greater suppleness and precision than industrial ones when weaving by hand. Selecting these based on their natural textile characteristics is essential to her work. Not only is her palette extremely limited, but her use of it is minimal, even non-existent in certain works.
The tapestry imposes itself thanks to its composition and dimension, as well as the choice of natural, rough and expressive textile. This composition, made up of a variation of blues, is composed around a central, light-colored circle. Antagonistic sensations can be felt by the viewer; where some might experience a feeling of plenitude or tranquility, others might feel anxiety. Either way, this painting of indisputable force does not leave the spectator indifferent.
These therefore exist in the different styles used by the artist and expressed, through their representations, the different periods of his life. The rooster depicted here, tall, proud, head held high, is placed at the center of the composition and takes up a majority of the canvas. Rodriguez here used lively colors such as pinkish-red, green and yellowish-orange. The rooster is a universal symbol, particularly representative of virility, authority, strength, patriarchy, courage … ; it can also stand as a sexual symbol.
This Cypriot work, dating from the archaic period 6th century B. It would have been used for the storage or transport of merchandise, more specifically food commodities, and sealed by a stopper made of clay or a dried fig. These exchanges intensified throughout the centuries and were founded on the diffusion of this type of pottery that would have been filled with provisions.
The discovery of similar relics in Kilise Tepe south-central Anatolia , Ras Shamra northern Syria and Ezbet Helmi in the Egyptian delta , suggests a steady export of archaic Cypriot pottery to the continent. Due to its strategic position, Cyprus attracted Assyrian B. During the Archaic period, the island found itself at the meeting point of Oriental, Phoenician, Aegean, Syrian, Palestinian, as well as Egyptian cultures and techniques, through which an art specific to Cyprus would emerge.
Most of the discoveries of this type of turned bi-chromatic ceramic occur in Cyprus.
Fondation J.-E Berger
Mixed media - cement and mineral oxides on plywood, ink on Plexiglass, signed and dated '09' on the right - x cm. It is among the best preserved sites in the oriental region of the Mediterranean basin. Occupied from the 7th to the 4th millennium B. This is particularly striking when one has a global view of the site. He is inspired by such sites not only by their shape and composition, for which a parallel may be clearly made with the work at UNESCO, but also as a starting point for a more philosophical approach.
These scientific studies are the starting point for his painting, inciting connections between the invisible and visible world. His use of purely geometrical forms sphere, cone, cube which are both neutral and universal, allows him to blur the limits between the material and immaterial. After settling in Paris in , Robert Jacobsen, who initially worked in wood and stone, turned to welded metal constructions, such as this sculpture, made out of in sheet steel and bronze. All his creations however express a particular attention to rhythm and the importance of the empty space between shapes.
Spheric aluminium structure, height of 12,80 m and diameter of 15 m. Assemblage of 10 ultra-resistant aluminium rods and joints. Evoking the logo of the United Nations, the structure consists of an external transparent sphere that holds within it another smaller sphere, solid and golden. Though the work was initially put at the disposal of UNESCO by the Danish government for a period of five years, today it belongs to the Organization, having been donated by the government.
The immense structure, which is firmly anchored with cables, has a diameter of 15 metres and weighs four tons. His research focuses on functional structures using a minimum of material, and on the combination of material with new methods of construction. The Symbolic Globe is a tribute to the marriage of the functional and the aesthetic, an alliance which is suited to both public and private sectors because it can be applied to all sorts of constructions, from big buildings to small structures.
This photo is part of a series entitled "Interiores", created between and , which illustrate the interiors of Dominican working-class neighborhoods. Influenced by an aesthetic inspired by contemporary art movements of the 20th century, such as Cubism or Surrealism, Polibio Diaz continually tries to process the images differently. He thus juxtaposes three or four pictures showing the interiors from different angles, which leads to a multiplication of perspectives and vanishing points. This treatment of space also allows him to simultaneously show both the interior and the exterior of Dominican houses, and use natural light, giving the spectators the impression that they are crossing through the houses.
Diaz manages to assemble these images together so they form a coherent whole. The symmetrical composition and the use of color however show that Diaz does not seek to achieve something decorative. His use of color and light, and the accumulation of objects, give his interiors a baroque atmosphere. One finds in this photo a theme that has continuously interested the artist, namely the culture of the Dominican people, which he aims to photograph in their daily lives.
Some of these "Interiores" were presented at an exhibition at the Grande Halle de la Villette in Paris in On this occasion, Polibio Diaz presented his photos in the form of an installation with, in the background, a radio loudly set to AM station, which broadcasted "bachata" style music, which was born in the Dominican Republic.
Hence both, the visuals and sound reinforced the evocation of Dominican culture. He does not consider the body as an indivisible whole but rather as an assemblage of various parts that may be taken apart and then put back together as he wishes. Thus, his sculptures are comprised of different blocks combined with each other and composed of diverse materials metal, stone.
Recurring traits can be seen in his sculptures, such as the linearity of the plane, the graphic ornamentation, the volumes and also the representation of human heads or masks, without any cranial volume. As the last and definitive model, it is the one from which measurements were taken for the final work. Built in homage to the composer Jean Sibelius , the monument in Helsinki is also made of stainless steel, but measures 8,5 x 10,5 x 6,05 meters.
Adam became interested in tapestries in the 's, making black and white cartoons for tapestries woven in Aubsson worshops - such as this one - or in Beauvais and the Gobelins Manufactures. This work depicts a bouquet of flowers whose scattered stems are more or less held in a vase which is barely visible under the profusion of flowers. Interestingly, the artist has here represented an abundance of similar flowers, without diversifying the floral motifs, unlike the numerous Northern representations from the Golden Age.
During the nineteenth century there was an abundance of flower painters, to the point that B. Sabine van Sprang. This work coming from the Aschberg donation hence reveals the popularity of floral art during the nineteenth century, a notoriety which seems to have originated in the School of the Salon of Flowers in Lyons France. For this monumental work, Arp created an 'open' composition made up of four copper elements of x 85 cm, x cm, x cm and x cm, that hang freely and separately on the wall, "like hats that could be picked up", according to the artist. The wall upon which the sculpture is exhibited is therefore an integral, variable element of the composition, acting both as support and background to the artwork.
This sculpture was created around the same period as several other public commissions that Arp received during the s. The pieces are cut and set unequally in order to play with the light. Para-Perez who chaired a committee of artistic advisers responsible for guiding the choice of works, which also included Georges Salles, Shahid Subrawardy and Herbert Read. The monumental mosaic "Water Rhythms" was created in resonance with the Japanese garden.
When looking at the mosaic up close, one finds that each shape has been made using a range of colors: for example, in the red shapes there are also burgundy and purple tiles. This combination of different materials and colors gives the mosaic a vibrancy that may be likened to water. In Bazaine's own words, the density and scale of these rhythms are meant to transcribe "the great vital signs that are the truth of Man and the Universe.
For him, the essential resided in the "daily illumination, this eye open to the world, that is, increasingly, as we advance, but a glimpse inward, a self-examination. Metaphor of passing time but also unchanging time, water allowed Bazaine to play with different feelings anger, joy , material and techniques painting, drawing, collage, mosaic, etc. The original in gouache that this silk-screen print is done after is found at the Centre Pompidou National Museum of Modern Art, Paris, France , and is part of a portfolio that includes a series of 6 plates, one title page, 7 poems and a 'page de justification' in a canvased cardboard casing.
On occasion extremely sophisticated, these symbols are often accentuated by a clear and richly stylized representation. The solid black backgrounds of his compositions further accentuate the stylization of his drawing. This painting by Jean-Louis Paguenaud is a picturesque scene which takes place along the water of the Grand Canal in Venice.
Some areas are painted more thickly and give volume to this large-scale oil on canvas. His technique of accentuating and enhancing the work recalls that of his contemporaries, especially Fernand Maillaud. The date and signature allows us to confirm the affiliation of the painting to Jean-Louis Paguenaud. The date of execution, , corresponds to a specific artistic period, during which Paguenaud exhibited at the French Artists Salon in Paris. Wool tapestry, after a design by Prof.
Lammeyer Editors G. Mohrhart and I. Richter - x cm. Placed at the center of the composition, a child seems to take her first steps, under the caring, watchful eye of a young woman, probably her mother or sister. Diptych- acrylic and fine paper on watercolor paper, signed and dated This artwork is the result of the artistic collaboration between two painters of different origin and culture: the German artist Helga Schuhr and the Libyan artist Youssef Fatis.
It is within this context that Fatis and Schuhr met and built a friendship, expressed through these works they created together. One can admire the strong red hues which contrast with the light blues found mostly in the background. Silhouettes of various figures, delicately outlined in black, are found on both parts of the painting; they seem to subtly emerge from the contrasting colors, pulling the spectator into a variation of repeated patterns, of simultaneously musical and visual rhythms.
The close, intertwining silhouettes illustrate the feeling of proximity, dialogue and encouragement between human beings. It is possible to distinguish two distinct techniques used for the silhouettes, some being uniquely composed of an outline whilst others, more detailed, allow the spectator to make out specific aspects of the figure, such as the face, mouth, etc. The lekythos, according to its size, can serve various functions, and may be destined either for body care, or for funerary rituals, the latter being the case for this particular piece.
Extremely popular during the Archaic 6th and 5th centuries B. These would substitute the funerary steles in cemeteries, and help distinguish male tombs from female ones, female tombs being usually marked by amphorae with low handles. Some of these are still on location in the Ceramic Cemetery in Athens located in to the West of the city ; others may be found in certain museums, such as the Athens National Museum or Metropolitan Museum of Art in New York. On this lekythos are portrayed two women discussing, one sitting whilst holding her veil, the other holding a pyxis box and bringing her other hand to her chin in sign of mourning.
This type of lekythos may be left empty or, in the case of a cremation, contain the ashes. During the same period, another type of double-handled vessel, the loutrophorus, also served the same funerary purposes. There also exist lekythoi with an average height of 15 to 50 centimeters, dating as early as the Geometric period 8th and 7th centuries B. These lekythoi were manufactured extensively in Attica between the 6th and 4th centuries BC, with a large variety of shapes and decorations, themes and compositions. Traditionally they were narrow, with one handle, a long neck, wide mouth and small base, such as the lekythos presented here.
One variety of lekythoi however, the aryball, had a rounded vessel, a flat mouth and could be hung by a strap. Dimensions: Green sculpture: x x 31 cm Yellow sculpture no. Like a windmill, these mobile structures are in perpetual movement thanks to the wind. The minimalistic, simple shapes and primary colors of these sculptures are characteristic of his work. Takis studies immaterial sources of energy such as wind, sound, light The strong creativity developed by Takis gives poetic force to his work.
As of , he began creating large-scale "Signals" and installing them outdoors. Dating from , this work is a replica of a fifth-century mosaic found on the main arch of the Santa Maria Maggiore Basilica in Rome Italy illustrating the well-known passage where Jesus, at the age of twelve, is conversing with doctors Luke 2, At the center of the composition, the Christ is surrounded by the doctors, of which we see only hands and parts of their clothing. They are represented with tesserae — small cubic pieces of stone or marble — of light or reddish color in order to emphasize the Christ, depicted in more marked and diversified hues.
Even if the lines are still slightly awkward, there is a semblance of depth as well as thought-out movement, where the hand gestures animate the work and seem to answer each other. In this expressionist-style painting, he manages to create an oppressive and distressing atmosphere.
A smaller sculpture of 13 cm in height was offered as well to all the intellectual participants. The sculpture is part of a series commissioned in commemoration of the "Xacobeo ", and depicts Door of Forgiveness from the Church of Santiago de Villafranca del Bierzo. This work represents, in a frontal position, four young individuals wearing their traditional African clothes.
They are shown wearing different outfits, some decorated with a pattern of colored circles, other with more geometric patterns. They seem to gaze fixedly at the spectator, looking straight into their eyes. Their faces do not seem to express anything in particular and appear almost lifeless; only their eyes give any sign of expression. The flight of several doves is intertwined with these four figures. The five birds of peace move towards the left of the work. They are like mystical beings, almost unreal; they sparkle over the entire scene, lighting the painting and giving it a touch of mystery.
Tones of orange and ochre are predominant in this work. The sky, brighter than the rest, extends over the entire upper half of the painting. More pronounced forms appear in the lower part of the work, where one can imagine a village. The colors are browner and separated by lines. One of his major artworks has the same title and is installed at Donostia-San Sebastian, upon three rocks directly connected to the sea.
It is through his constructions, continually linked to the natural environment, that Chillida expressed his desire to be in total harmony with nature in order to find appeasement and rest. His art transcribes his utopic thoughts concerning a world at peace with itself. Through a play on shape, volume and voids, he wished to recreate the natural environment upon which he builds his works.
This was perhaps also a way for him to represent the feelings the landscape creates in him. The theme of the wind comb is in this sense quite symbolic.
Why build a comb for the wind? Is it to calm it down, control it, or disentangle it in order to bring back a lost harmony? One could then wonder if it is really the comb which controls the blowing wind, as it should, or if on the contrary, it is the wind that has shaped - with its comings and goings- the teeth of the comb depicted here? This lyricism is used by Chillida to show the spectator that the heritage built by Man really takes on its meaning in accordance with the landscape and nature that surrounds it.
One can see his fantasy-like world in which female figures are gradually transformed into natural elements. This metamorphosis of female characters into spirits, mythical creatures that seem directly taken from Ovid's "Metamorphosis", appears to be the most recurrent theme in Fenosa's work. He was furthermore particularly sensitive to mythology or to precious shapes which only nature is capable of creating.
The six statues also express the direction gradually taken by Fenosa, showing an increasingly important synthesis of form, even to the point of abstraction. The first album was published by the artist himself in - Several other editions followed. As of the third edition by Loizelet in Paris in , the series included seven additional plates, inventoried A to G. For this series, Goya had executed 50 preparatory red chalk drawings, which he engraved in two steps: first a few trial proofs taken from the pure etching state, then with the aquatint in order to vary lighting and dramatize the scene.
By basing his series on the historical text by Moratin to trace the evolution of these races from their origin until , Goya was addressing aficionados of the theme. He also depicted the exploits of the most famous bullfighters of his time: Pedro Romero, inventor of the classic rules, Ceballos, from Argentina, Martincho, well known for his acrobatics and Pepe Illo, illustrious for his exuberance. The look is first attracted to the central white pyramid-like mass structured by painted pieces of wood.
The background consists in patches of acrylic browns and ochers flats punctuated by black and white geometric shapes marked with chalk. The verticality of the wood in the center of the composition accentuates the monumental effect of the whole artwork. Initially placed outdoors, the works were later covered for conservation purposes. These works were conceived during a period when the artist was interested in ceramics and abstract painting.
His polychrome murals were meant to answer the coldness and rigidity of the buildings. The artist began his studies for the decoration of the new Parisian building in December and filled two notebooks with sketches of bathing figures and nudes, in the style of his series of Bathers from On January 29, , the artist completed the final scale model for this immense work. The mural is made up of forty wooden panels painted in acrylic, covering a surface of almost one hundred square meters.
It represents a beach scene, with standing and reclining figures, animated by a figure falling, arms and legs flailing, towards the imposing blue surface of the ocean. Country of origin - Spain. It was during an interview in the artist's studio that Mr. Rightly enough, his mix of techniques and materials, often said to be poor or elementary, create shock. Clay dust is used for the ochre background of the painting, against which the artist places neutral objects from daily life, including the broom on the left, which seems to have served as a paintbrush for the cross, or the lid from a can of paint - the only white element in the work.
Created in , it results from his in-depth thinking about the blending of shapes and colors into a traditional two-dimensional support. As an architect his logical mind drove him to think about how to combine shapes onto a limited space. In this case, the anthropomorphic sculpture formed by gathered pieces of wood, arises from the limited ground. This figure is composed by a wide and imposing torso with two arms and a head, looking like a primitive totem.
Alberto Giacometti created a filiform and stylized figure, whose limbs seem to stretch out endlessly, as a symbol of the human being. A combination both of strange fragility and strong determination is expressed in this unrealistic figure. Because of the lack of specific identification on his face, this figure exalts a universal impact which exerts an intriguing fascination on the spectator. Through this sculpture, Giacometti managed to capture the decisive moment where a man reveals an internal strength which stems from his own energy and momentum.
His gaze fixed on the horizon, he strides decisively, forward in order to discover, to understand, as if he has a goal to pursue. With an awakened conscience, he travels through time to observe the world. His feet, anchored in the ground, connect him inevitably to the earth with which he is one. It is the whole body which here moves through an oblique force, towards a future to be created.
Originating in Asia and North Africa, the art of tapestry-making is said to have been practiced in Aubusson from the 15th century onward, and was particularly renowned during the reign of Louis XIV, when the Prime Minister Colbert designated Aubusson as a royal tapestry manufacture. Its pure composition resembles the architectural works of Le Corbusier, who is particularly known for his efforts for refined and simple designs, rendering his style clear, organized, and orderly.
Le Corbusier here applies colors solidly, juxtaposing vibrant, pure hues in his composition. These colors are presented in the form of uniform layers. Side by side on the surface, they at once contrast violently with the neighboring colors and the white background. The lines on the tapestry, of varying thickness, alternate between straight and curved, giving the composition a balanced sense of construction and fluidity.
The forms seem to complete and respond to each other, and the observer perceives an alternation between the empty and filled spaces. Makonde culture currently extends along the Rovuma River, on the border between Tanzania and Mozambique. The Makonde people are today internationally renowned for their sculpture, thanks to the extremely contemporary style they have developed by moving away from traditional forms of sculpture yet keeping the cultural aspects of Central-African traditions in their themes.
Also known as Dimongo, Ujamaa designates all family duties that are shared and performed in common. This type of sculpture is characterized by the representation of intertwined human figures performing chores, presented in a tall, round shape. This composition is often organized around a central patriarchal figure; in some cases the center is hollowed out, and the silhouettes intertwine around a hollow centre instead of a figure.
These sculptures can also evoke more dramatic themes or allegories of social situations. The composition is organized according to the linear principles of perspective: the vanishing point, situated in the center of the composition, just above the mountain summit, is made clearly visible thanks to a series of portraits and the constructed, three-dimensional architectural elements. Although a great figure of Post-Impressionism, Vincent Van Gogh is also famous for the legendary image of him as a tortured and misunderstood artiste, a myth especially built up after his death.
This work can be placed within the school of Narrative Figuration, which started in France in the s. Son of Odin king of the gods and Jord incarnation of Earth , Thor is the god of physical strength and thunder. Protector of man against the giants, he was amongst the most worshipped of Nordic gods, and remains even today one of the most well-known. Clay tablets B. Clay tablets Shown in photo from left : - Rectangular clay tablet bearing an adminstrative text concerning state grain revenue, dating from the reign of Shu-sin B.
The apparition of clay tablets dates back to the 4th millennium B. These tablets are shaped like small square or rectangular occasionally round cushions and are flat on the front and rounded on the back. The technique consisted of tracing the cuneiform characters in the soft clay using a sharp reed.
The text was written either in squares or horizontal lines, laid out in one or several columns on the front, back and often sides of the tablet. These wood elements were offered by the Republic of Iraq in to decorate a door frame and two door panels. Through its undulating and stylized patterns which evoke a bird - probably a dove as symbol of Peace - nestled in a rhythmic network of foliage, this door gives off a sense of life and energy.
He transplanted an old olive tree in our garden and I grew up with it, it became my friend and has always accompanied me until today. In mythology, the bird is generally a symbol of the spirit, rebirth and light. Throughout history, humans have attributed to the bird a wide range of popular and lyrical imagery.
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Inside the "Meditation Space", the visitor can sit upon one of those identical cast-iron chairs with extremely high and steady backs. Once seated upon one of these chairs, the rigidity of the back forces one to keep straight, in a solemn posture. This incites a contemplation upon oneself.
This architectural structure was commissioned to symbolize peace and commemorate the 50th anniversary of the adoption of the UNESCO's Constitution. A self-taught architect, Tadao Ando has won several awards, among which the prestigious Pritzker Architecture Prize in , as well as receiving a gold medal from the French Academy for Architecture. Beyond the simplicity and refinement characteristic of his architecture, Tadao Ando here creates a symbolic work by using the irradiated granite coming from Hiroshima.
Through this, he invites the visitor to reflect on the horror of Hiroshima and hence to meditate upon the destructive power of human kind. Elements in relief include birds, some with wings outstretched, perching on thick branches, as well as foliage covering most of the feet and the branches. These pieces, previously part of the Vanderbilt estate, are truly rare examples of Japanese metalwork.
Usually reserved for Imperial commissions and world expositions, bronze pieces of this magnitude rarely ever appeared in the form of vases. Known, and costly for the sheer amount of material and work, as usually being made into large koros incense burners and decorative sculptures, is it very unusual for a workshop to choose the vase form. The high relief and detail on these vases add to the artistic value of this complex and unusual work. This miraculously salvaged sculpture previously adorned a cathedral in Urakami Shudo Nagasaki, Japan.
It was destroyed when the bomber B dropped an atomic plutonium bomb on August 9th, at am. At the time of the explosion, mass was taking place in the cathedral and many lives were lost as a result.
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Nevertheless, certain statues of saints and angels remained undamaged, as was the case for this particular face of an angel. This angel is a symbol of Peace and hope in Humanity's future. Nagasaki is famous not only for having been the target of the second atomic bomb at the end of the Second World War, but also for having remained, during two centuries, the point of contact between Japan and the rest of the world, as well as for its Christian minority that has remained active over time. Furthermore, the different colors present in the various layers of the "junihitoe" always have a meaning.
This type of dress dates from the Japanese 'Golden Age', the Heian period Today the "junihitoe" is still worn by the imperial princess during her wedding or at the coronation of the new emperor of Japan. H cm and diam. The bodies decorated with large pink and white chrysanthemums, brown and green foliage and grey stems worked in gold and silver wire against a dark blue ground. Applied with copper alloy rims and feet. These were usually made under Imperial patronage and received high praise and accolades in Industrial Expositions. It is rare to find pieces of this size due to the practicality of the enameling process, which, in this case, would have required very large kilns.
Mistakes and wasted material being costly on vases of this proportion, pieces of this type had to be worked out in fine detail in order to achieve the quality demonstrated here. On this occasion, Hamano proposed a new direction for his art. He managed to create with this work an original two-dimensional vision of this bird of peace, giving it force and a particular significance. The dove is here not only a symbol of peace, but also a means for the artist to incorporate an impression of plenitude thanks to his personal, esthetic way of representing this subject. He values reconciliation and harmony between different cultures, and hopes to be an instigator of a spirit of osmosis and understanding between peoples.
Oil painting on canvas, signed and dated " Imamura" lower left, annotated "Cambria " lower right - Imamura creates an optical illusion by using cold colors, metallic hues and an abundance of circular and irregular shapes covering the entirety of the canvas. He also painted two columns each made up of three circles in the middle of the canvas, one in pale pink and the other in a bright yellow.
The illusion is made more spectacular when moving away from the canvas, where the three-dimensionality appears much more clearly. Donated by the Morio Matsui in , this painting is characteristic of his work, whichcan be categorized both as figurative or abstract. Here, the background was first painted with projections of dark, grey shades and splatters of yellow and black. Matsui then used a very thin paintbrush to animate the canvas with white arabesques and ornamental patterns.
The detailed lines recall the art of calligraphy and also reinforce the impression of an abstract design. A feeling of plenitude dominates the atmosphere of this work by Junkyu Muto. The shades of blues and purples that are used and the indistinct form which begins to take shape fascinate the eye. The texture of the surface in a way defines the color. Indeed, every fraction of blue takes on a different texture and the subtle additions of yellow and red form a vaporous mass that seems to extend over the entire surface.
Muto, a sculptor by education, is able to create a third dimension within the flat plane of the painting. Thanks also to its imposing size, the work produces a certain surrounding, an atmosphere which pulls in the viewer, who becomes witness to the birth of light, and so his own birth. Muto hence depicts the timelessness of an event while incorporating a mixture of poetry and mysticism.
Para-Perez, who chaired a Committee of art advisers responsible for guiding the selection of works; this Committee included Georges Salles, Shahid Subrawardy and Herbert Read as members.
It offers a haven of peace and meditation in the heart of Paris. A stream, a lake, a bridge, shrubs and trees form this rigorous creation. The cherry trees, plum trees and magnolias were imported from Japan by specialized gardeners who assisted Noguchi in the realization of his work. It should be noted that every stone, every blade of grass, every river has its own place and is integrated within a whole through harmony and serenity. Every detail has been thought both for itself and in relation to the other element, and can but lead to contemplation.
Noguchi, primarily a sculptor, here plays with the empty and full space as well as the spatiality of isolated forms. This sculpture is made of gray granite rock and incised with the word "Peace" in Japanese characters, placed backwards so that it is correctly reflected in the water that flows at the foot of the fountain. Hands placed on her waist, she looks towards her left, with a gentle smile on her face. This sculpture is an image characteristic of a period during which women are attempting to find their place in modern society. Here, her tomboy look simply emphasizes her feminine shape.
Musical instrument with two chords and a bow, made of dark wood with silver elements, ivory inlay and animal skin. Made out of dark wood, this Kazakh string instrument rests upon a silver-plated base and is decorated with silver-work as well as ivory inlays and stretched leather. The kobyz is a double-stringed instrument that is played like the cello. It is carved out of the wood of a tree chosen by the shaman according to signs sent to him by the spirits. This musical instrument is an essential attribute of the baksy, which he plays in accompaniment of his songs. The baksy, or shaman, receives his strength and spirit thought family heritage; they are called upon to diagnose and cure illnesses.
These instruments may also be adorned with small bells or have a mirror placed inside the cavity, into which the baksy gazes while playing the kobyz. This instrument bears witness to the importance of music in the nomadic lifestyle of the Kazakh people. This sculpture is made of soapstone, or steatite.
This stone is close to both talc, which is however less dense, as well as serpentine or green marble. It bears its name because of the feeling one gets when touching the stone, and because it is easy to cut using a metal object. The smoothness of the stone enhances the fluidity of the lines cut by Ong'Esa and gives greater purity to the shape. The dimensions and composition of the work insist upon the horizontality of the space.
The stylization of the drawing along with the use of patterns emphasizes the idea of rhythm. The richness of the palette gives a powerful brightness to the work, culminating with the brilliance of the sun, at the center of the composition. The title of the work, "The Signs of Cadmus" refers to an episode of Greek mythology having as its central character Cadmus, or Kadmos, a prince from Phoenicia current-day Lebanon who, according to the estimations of Herodotus, would have lived around B. A semi-mythical character, and legendary founder of the city of Thebes, he is also known for having introduced the Phoenician alphabet in Greece.
The tapestry abstractly narrates the story of Cadmus and his adventures. The different elements of the composition — the half-horse, half-fish-like dragon, the choice of Phoenician characters, etc. Rich with meaning and symbols, his tapestry reflects a subtle blend of painting and poetry. Diptych- acrylic and fine paper on watercolor paper; signed and dated Model of a ship with three masts, made of light wood with mahogany-colored stain. The fresco was executed in situ. A preparatory sketch, kept in a private collection in Paris, showed how Tamayo meticulously prepared the composition of the two principal figures, Prometheus and man, geometrically drawn, but also of the substructure of well defined partitions to break up the different colours.
In , Rufino Tamayo painted his fresco : on the scaffolding installed in the Room of Commissions, he faced the wall and painted on the plaster while it was still wet. Ceramic mural - sandstone and polychrome glaze; signed and dated lower right "Albert Diato ". The Principality commissioned Albert Diato for a ceramic mural which, like a decorative panel, would occupy an entire wall.
Traditional Mongolian vielle of trapezoidal form with bow; varnished and un-varnished wood, with plant and foliage decor. Although they have different motifs, these three dishes correspond to a specific North African ceramic style. The decoration of these objects generally does not have a naturalistic origins, but is rather based on geometrical models of the Middle East, already used on the majolica dishes during the Renaissance and Hispano-Moresque lustered ceramics during the fifteenth century. This adorns various everyday objects in Morocco, such as plates, bowls, jugs, and oil jars.
A dominance of blue characterizes the pieces during the eighteenth century, later supplanted by emerald green in the following century. The decor of the circular surfaces follows a composition which radiates from a central star-shaped motif, and combines geometrical and plant-like elements. In the central ceramic, architectural details are also taken from oriental arcades Diour.
The floral interlacing and the tulip and carnation motifs reflect a probable Turkish, Chinese or Indian influence. We here have clay ceramics made on the wheel in workshops placed under the authority of a master craftsman. The shapes would undergo an initial firing at low temperatures before being immersed in a glaze which made them watertight. After drying, the designs were drawn with a brush usually made of mulehair, and then the color added and fixed thanks to a second firing.
The development of ceramic with a blue monochrome or polychrome decoration applied to an opaque white glaze consisting of an aqueous mixture of tin oxide, lead and sand is currently attributed to the seventeenth century. Such pieces, most of which were used for food, are, with a few exceptions, neither signed nor dated.
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