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Earth of fire

Actualité volcanique, Articles de fond sur étude de volcan, tectonique, récits et photos de voyage

Articles avec #l'art sur les chemins du feu catégorie

Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

In other words "the Jet Nest" and "the Rainbow", both modern sculptures adorn the vicinity of the terminal Leifur Eiriksson, Keflavik Airport.
 

The two works at Keflavik Airport - photo © Bernard Duyck 03.2015

The two works at Keflavik Airport - photo © Bernard Duyck 03.2015

Þotuhreiður, or "Jet Nest" :

This is a big steel egg from whichis coming out the wing tip (or the beak) of a jet plane, the same way that a baby bird come out of the egg, breaking its shell. This work by Magnús Tómasson is symbolically placed on a Icelandic rock mound that takes the place of the nest in the middle of a pond, where it is reflected in good weather.

Born in Reykjavik in 1943, he exhibited in the early sixties, and is graduated from the Royal Academy in Copenhagen in 1969.

The designer said that the first idea came to him a few years ago ... "I was busy working on a series about avian story, citing a small egg which appeared the tip of the beak. I reworked the idea and the Jet Nest, my biggest piece came out. " He developed his idea about the airport, where the aircraft "live and were born, before learning to fly there."

Þotuhreiður, or "Jet Nest", the nest of aircraft:  This is a big steel egg from which the wing tip (or beak) of a jet plane, the same way that a baby bird out of the egg breaking its shell. This work by Magnús Tómasson is symbolically placed on a Icelandic rock mound that takes the place of the nest in the middle of a pond, where it is reflected in good weather.  Born in Reykjavik in 1943, he exhibited in the early sixties, and graduated from the Royal Academy in Copenhagen in 1969.  The designer said that the first idea came to him a few years ago ... "I was busy working on a series about avian story, citing a small egg which appeared the tip of the beak. I reworked the idea and the Jet Nest, my biggest piece came out. " He developed his idea about the airport, where the aircraft "live and were born, before learning to fly there."    Keflavik airport, the "Jet Nest" - photo © Bernard Duyck 03.2015

Þotuhreiður, or "Jet Nest", the nest of aircraft: This is a big steel egg from which the wing tip (or beak) of a jet plane, the same way that a baby bird out of the egg breaking its shell. This work by Magnús Tómasson is symbolically placed on a Icelandic rock mound that takes the place of the nest in the middle of a pond, where it is reflected in good weather. Born in Reykjavik in 1943, he exhibited in the early sixties, and graduated from the Royal Academy in Copenhagen in 1969. The designer said that the first idea came to him a few years ago ... "I was busy working on a series about avian story, citing a small egg which appeared the tip of the beak. I reworked the idea and the Jet Nest, my biggest piece came out. " He developed his idea about the airport, where the aircraft "live and were born, before learning to fly there." Keflavik airport, the "Jet Nest" - photo © Bernard Duyck 03.2015

Regnbogi, the rainbow of Thuridur Rúrí Fannberg :

The sculpture, made of stainless steel and tinted glass, is 24 meters high, placed on a natural stone base.

As Rúrí said, "I like to think this rainbow like an unfinished construction, and imagine that one day perhaps, after hundreds or thousands of years, someone might decide to continue this work. The construction would rise higher and higher in the sky, before going down to become a full rainbow "

The art on the way of fire - Keflavik Airport art: Þotuhreiður and Regnbogi.
Regnbogi the rainbow of Thuridur Rúrí Fannberg - Retail - photo http://ruri.is

Regnbogi the rainbow of Thuridur Rúrí Fannberg - Retail - photo http://ruri.is

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

In his series of paintings on the Great volcanologists after the evocation of Katia and Maurice Krafft, respectively, in " The anger of a gray " and " In the cauldron of the devil ", Jocelyn Lardy proposes in preview his latest work :

                                                 " Lava Hunter in Kamchatka "


 

  "Lava Hunter in Kamchatka" -  by Jocelyn Lardy - oil on canvas 110x85 cm.

"Lava Hunter in Kamchatka" - by Jocelyn Lardy - oil on canvas 110x85 cm.

In our correspondence, Jocelyn kindly offered me to make you live the different stages of its creation ...

As he explained ... " The longest and most important step is invisible, which is to create the painting " in his head ". Some paintings ripen for years. I had seen a magnificent lava flow's photo of  Tolbachik. Another snapshot of the Avachinski and Koriaksky and then returned to my mind as I was reading the book of Guy de St Cyr and one of his chapter in Kamchatka, and this was the trigger that I decided to combine these different views with the lava hunter who admire the show on a wall also imagination. Yet we are in Kamchatka, and this lava hunter looks can be Guy St Cyr ... "

 

"Lava Hunter in  Kamchatka" - Jocelyn Lardy - details - a click to open "Lava Hunter in  Kamchatka" - Jocelyn Lardy - details - a click to open

"Lava Hunter in Kamchatka" - Jocelyn Lardy - details - a click to open

Drawing is the first step, which involved the realization of thought, and the basic principles in painting, such as skyline, vanishing point ... to arrive at an overall aesthetic balance.
 

"Lava Hunter in Kamchatka.". - Steps 1 and 2: pencil (we guess the character left) and acrylic."Lava Hunter in Kamchatka.". - Steps 1 and 2: pencil (we guess the character left) and acrylic.

"Lava Hunter in Kamchatka.". - Steps 1 and 2: pencil (we guess the character left) and acrylic.

Then the "Acrylic" stage: a medium that dries quickly and allows a study of color harmony, with easier corrections. Then the painting is covered with diluted varnish ... then resume this time with  oil.
 

"Lava Hunter in Kamchatka" - the shadow of the lava hunter and projections at the top of the volcano still not accomplished (compare this photo to the finished painting below)

"Lava Hunter in Kamchatka" - the shadow of the lava hunter and projections at the top of the volcano still not accomplished (compare this photo to the finished painting below)

Jocelyn then restarts the whole picture " by adding layers of increasingly fat paintings layers, ie the paint is increasingly mixed with linseed oil for example, which allows for glazes - thin layers stretched on some parts of the canvas - but requires longer drying times ... ", and to reach this magical effect.
 

"Lava Hunter in Kamchatka" - by Jocelyn Lardy - the accomplished work.

"Lava Hunter in Kamchatka" - by Jocelyn Lardy - the accomplished work.

A perfectionist at heart, he is left to refine some details, such as Boileau commented in "Poetic Art" :

Hâtez-vous lentement, et sans perdre courage,

Vingt fois sur le métier remettez votre ouvrage,

Polissez-le sans cesse, et le repolissez,

Ajoutez quelquefois, et souvent effacez.

 

The artist, Jocelyn Lardy, at work in front of his large canvas.

The artist, Jocelyn Lardy, at work in front of his large canvas.

Some details:
 

"Lava Hunter in Kamchatka" - details ... a click to enlarge
"Lava Hunter in Kamchatka" - details ... a click to enlarge"Lava Hunter in Kamchatka" - details ... a click to enlarge

"Lava Hunter in Kamchatka" - details ... a click to enlarge

Jocelyn Lardy is going to make reproductions on paper art or canvas ... you will find all the information on its website: http://sjlardy.free.fr/

Many thanks to Jocelyn Lardy for his confidence and document sharing, and all the happiness he gives us to admire this volcanic canvas.

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu
The crater of Colima - Painting of Johann Moritz Rugendas 1831

The crater of Colima - Painting of Johann Moritz Rugendas 1831

This painting by Rugendas shows the smoking crater of the volcano de Colima as it was during the first scientific expedition to the summit of the volcano. It results from the major explosive activity of 15 February 1818 , a VEI 4 eruption that produced pyroclatiques flows and significant ash emissions, reported up to 440 km of the eruption site. (GVP)

Rich in color and dramatic contrasts style, a brush stroke in the impressionnistic way and characterized by movement, the play of light, sensationalism and monumentality of his compositions ... which makes comparing his work to that of Delacroix. (The Biography)

 

The crater of Colima volcano - Painting of Johann Moritz Rugendas.

The crater of Colima volcano - Painting of Johann Moritz Rugendas.

These paintings of Colima are part of a rich set of illustrations relating to Mexico and other Latin American countries.

They are works of Johann Moritz Rugendas (1802-1858), a German artist, descendant of a famous family of Augsburg engravers After having a first contact with the Americas, as rapporteur and illustrator of Baron Langsdorff to Brazil, he returned to Europe from 1825 to 1830, when he traveled to Italy, France and England ... with an intention, raise funds to create a work depicting America in all its aspects.

In 1831 he arrived in Mexico, where he remained three years, during which he traveled in different regions, and participates in the transition to a conspiracy against the President, Don Anastasio Bustamante ... which earned him the prison and his expulsion from the country.
Lake Zapotlan and Nevado de Colima. - By Johann Moritz Rugendas

Lake Zapotlan and Nevado de Colima. - By Johann Moritz Rugendas

Lake Zapotlan and Nevado de Colima. - By Johann Moritz Rugendas

He traveled then to Chile, where he made the best of his work and in Peru, before returning in 1846 in Europe.

His comments and notes, classified by geographic, his illustrations of archaeological and colonial monuments, as well as numerous portraits during his stay in Central and Latin America earned him the adjective of "Humboldt of painting" in America.

They will be edited to share in his book "Mexico: Landschaftsbilder Skizzen und aus dem Volksleben."

Sources :

- Global Volcanism Program - Colima

- The biography.us - Biography of johann Moritz Rugendas - link

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

Gina Ster began his artistic activity in Romania by integrating the Art738 group with colleagues  Gabi Agu and Zoita. While keeping their specificity, these artists have exhibited together, learn from each other ... they recommend exercise elsewhere.

She paints on canvas and other media, where inspiration takes him. She likes to do it alone, but also with other artist friends.


 

"Volcano getting mad" by Gina Ster & Dark - ephemeral work in the Cismigiu Park in Bucharest.

"Volcano getting mad" by Gina Ster & Dark - ephemeral work in the Cismigiu Park in Bucharest.

With his friend, Dark, they decided to paint a mural in Cismigiu Park, the oldest park in Bucharest, opened in 1860 and located in the city center.

A panel of 14 meters in length was made available to artists "a little crazy." They are launched to a summer morning around 8 hours in the morning and painted this mural with bomb and brush, they have called "Volcano getting mad", within eight hours.

Here are some pictures of this achievement in pairs:

 

"Volcano getting mad" by Gina Ster & Dark - 1 morning stage: the background.

"Volcano getting mad" by Gina Ster & Dark - 1 morning stage: the background.

"Volcano getting mad" by Gina Ster & Dark - Daily Progress

"Volcano getting mad" by Gina Ster & Dark - Daily Progress

"Volcano getting mad" by Gina Ster & Dark - Daily Progress

"Volcano getting mad" by Gina Ster & Dark - Daily Progress

"Volcano getting mad" by Gina Ster & Dark - the work in the late afternoon

"Volcano getting mad" by Gina Ster & Dark - the work in the late afternoon

As she says herself: "Adapting to something new is not an easy task, but I like it. This is an adaptation to my dream, and I see it as natural (..... ) my painting breathes the air of Holland, Sicily and Corsica, and only God knows what will follow. I have many ideas and desires. I just try to stay focused and continue to progress. "

Sources:

Art738 group - Ster Gina

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu
The eruption of  Garachico volcano (1706) - painting by Bordanova Ubaldo Moreno (1898) /  La pintura pertenece a la colección particular de D. Luis Lopez de Ayala y Aznar, XI Marques de Villafuerte. - A click to enlarge.

The eruption of Garachico volcano (1706) - painting by Bordanova Ubaldo Moreno (1898) / La pintura pertenece a la colección particular de D. Luis Lopez de Ayala y Aznar, XI Marques de Villafuerte. - A click to enlarge.

The eruption of Garachico volcano in 1706 on the island of Tenerife by the artist from Madrid, Ubaldo Bordanova Moreno, is actually a copy and a free interpretation, conducted in 1898, of an earlier painting of an unidentified artist.
 

The eruption of volcano Garachico (1706) - author unidentified - the work is earlier than Ubaldo Bordonova.

The eruption of volcano Garachico (1706) - author unidentified - the work is earlier than Ubaldo Bordonova.

Ubaldo Bordanova (1866 - 1909) is a key figure of the Canarian art scene in the last third of the 19th century. Formed in Madrid and Paris, he moved in 1889 in the Canary Islands, where he worked as a painter and decorator, portraitist, landscape painter and engraver on Gran Canaria and Tenerife. In 1895, he moved to La Palma and marries it with a great bourgeois. As a trendy artist , it is highly solicited, and is renowned for its articles of opinion and his lithography. His bohemian life will finish prematurely because of his alcoholism.
 

Garachico - El volcán Arenas Negras - photo Miguel Bravo

Garachico - El volcán Arenas Negras - photo Miguel Bravo

in several successive stages.

The town of Garachico and its port were founded in 1496, just after the conquest of Tenerife, by the Genoese banker Christobal del Ponte. Garachico became the most important port of the island to the 16 ° and 17 ° centuries.

Its heyday ended with the eruption of a secondary crater of Teide, according to some sources the Montaña Negra volcano, according to others the Montaña Trebejo volcano, or Garachico volcano.

In May 1706, after several earthquakes, an eruptive fissure opens in the hills above the city ... in less than 15 hours, the village of El Tanque and part of the town of Garachico and its port, set in a beautiful natural cove, were buried under lava. A week later, another lava flow covered the village of San Juan del Reparo and what remained of Garachico. The eruption lasted a total of forty days between May 5 and June 13. Several eruptive vents are responsible of seven major lava flows in direction of Garachico area in successive stages.

 

Garachico - the natural pools of El Caletón - photo Xavigivax

Garachico - the natural pools of El Caletón - photo Xavigivax

Traders have settled in Puerto de la Cruz, after the catastrophe ... only a fort guarding the entrance to the old port, the Castillo de San Miguel, persists. At its foot, several natural pools formed by lava flows, have become a popular attraction. They are filled with the tides of very clear water, and after development by man, is a bathing place sheltered from the swell of the ocean.

 

Sources :

- article de Involcan

- Reconstruction of the 1706 Montaña Negra eruption. Emergency procedures for Garachico and El Tanque, Tenerife, Canary Islands – by M.C.Solana & A.Aparicio

- Global Volcanism Program - Tenerife - eruptive history

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

A little levity after this month fertile in eruptions ... with two silk paintings included Mount Fuji.

They are part of a group of landscapes painted on silk by Harumitsu in the 1950s.

On some works he mentioned the following: "This painting was made by Mr. Harumitsu Utagawa, who is the only survivor of the seven descendants of Toyokuni Utagawa, the famous world-renowned artist of old time, with Hiroshige, Utamaro and Hokusai ".

Utagawa Toyokuni, 1769-1825, was a pupil of Utagawa Toyoharu, the founder of the Utagawa school.


 

"Landscape with Mount Fuji and lake" - of Harumitsu UTAGAWA - Ink and color on silk (285 x 430 mm).

"Landscape with Mount Fuji and lake" - of Harumitsu UTAGAWA - Ink and color on silk (285 x 430 mm).

These artists have created or are part of the main Ukiyo-e schools, a Japanese pictorial form that extends from 17th to 20th century.

These schools founded by a master, and continued by his most talented student and his successors have coexisted, or have followed, each bringing their own style and the technical key. They produced paintings and prints.


 

"Payasage with Mount Fuji and torrent" of HARUMITSU UTAGAWA - ink and color on silk (285 x 430 mm).

"Payasage with Mount Fuji and torrent" of HARUMITSU UTAGAWA - ink and color on silk (285 x 430 mm).

The complexity of the artists' names Ukiyo-e:

Ukiyo-e artists have the first name of their school, until found theirs. They identify themselves by their own name of artist, (?) In Japanese, following the name of the school.

To further complicate the matters, the artists of the Ukiyo-e use several different names during their career ... and one of the best known examples is given by Hokusai, who used more than 55 different names throughout his life, changing of artist name at every major new work.
Hiroshige also illustrates this feature: Utagawa Hiroshige is the name given to it in 1812, a year after joining as a student his master Utagawa Toyohiro. His artist name, Hiroshige,   go down in history ... it is formed of the second character of the name of his master, Hiro, followed by the alternative reading of the first character of his first name. Taking the second character of the name of the teacher, not the first, reflects the humility of the student facing it.

 

Sources:

- Mattia Jona, Master Drawings and Prints, Japanese Prints - Piazzetta Guastalla 5, 20122 Milano

- Utagawa Toyokuni - wikipedia

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

A ring of fire surrounding the building of the Institute of Earth Physics of Paris.

The Institute of Earth Physics of Paris is an institution of higher education and independent research, a member of the Commonwealth of Universities and Institutions (COMUE) Université Sorbonne Paris Cité and associated with the National Centre for Scientific Research (CNRS ). It brings together 150 high-level researchers recruited worldwide, 170 engineers and managers and more than 190 doctoral students from all countries who share the same passion for the Earth Sciences and planets.

The broken red neon lines are visible on two sides at once, the corner of Jussieu and Cuvier streets, and reveals itself in all its beauty at the dusk. It illustrates scientific data  over 400 emerged volcanoes that dot the Pacific Ring of Fire .

 

Ring of Fire of  IPGP - photo Sylvain / kawa-no-kami

Ring of Fire of IPGP - photo Sylvain / kawa-no-kami

Ring of Fire of  IPGP - less visible during the day, it surrounds the historic building - photo IPGP Jussieu

Ring of Fire of IPGP - less visible during the day, it surrounds the historic building - photo IPGP Jussieu

It is the work of a couple of Brazilian artists Angela Detanico and Rafael Lain, born respectively in 1973 and 1974. They currently live in France, in Paris.

Their work can be linked to several artistic movements that gave life to the avant-garde modernist Brazilian movement, such as concrete art, or digital art. They build their work on a personal use, improper voluntarily, of the labor of encoding and decoding characterizing the movement of information in contemporary society.


 

Animation above: Dymaxion map - doc. Chris Rywalt - image below: the red line follows the way of the Pacific Ring of Fire of  Buckminster Fuller - Doc.Overblog / Archéologie du fiutur , archéologie du quotidien.
Animation above: Dymaxion map - doc. Chris Rywalt - image below: the red line follows the way of the Pacific Ring of Fire of  Buckminster Fuller - Doc.Overblog / Archéologie du fiutur , archéologie du quotidien.

Animation above: Dymaxion map - doc. Chris Rywalt - image below: the red line follows the way of the Pacific Ring of Fire of Buckminster Fuller - Doc.Overblog / Archéologie du fiutur , archéologie du quotidien.

Their neon broken line is based on the dynamic projection of Buckminster Fuller. This is a map projection of a map on the surface of a polyhedron; it was created in 1946 for projection onto a cuboctahedron (regular polyhedron with 14 faces, of which eight are equilateral triangles and six squares) and implemented in 1954 on an icosahedron (polyhedron with 20 faces) ... 20 triangles can be positioned differently, the resulting map with neither high nor low.

This card is called the Dymaxion map, Dymaxion is an acronym for Dynamic Maximum Tension.

Details of the Ring of fire of  IPGP and the pediment of the Faculty of Science of the University of Paris - photo Overblog / Archéologie du fiutur , archéologie du quotidien. Details of the Ring of fire of  IPGP and the pediment of the Faculty of Science of the University of Paris - photo Overblog / Archéologie du fiutur , archéologie du quotidien.

Details of the Ring of fire of IPGP and the pediment of the Faculty of Science of the University of Paris - photo Overblog / Archéologie du fiutur , archéologie du quotidien.

Sources :

IPGP – Institut de Physique du Globe de Paris - link 

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu
Lavaflow 7 / Hawaii - realization Craig Steely Architecture - photo JD Peterson

Lavaflow 7 / Hawaii - realization Craig Steely Architecture - photo JD Peterson

Lavaflow 7 is the house designed by architect Craig Steely on a land located in Pahoa , east of  Big Island / Hawaii .

This modern building was built on the slopes of the lava flow cooled now , and issued by the fissure eruption of Kilauea in 1955 in the east rift area.

Located on a few acres of dense forest of Ohia , endemic trees in Hawaii, and the first to settle on new lava flows, these trees have red flowers called Lehua , contrasting with the black lava ... mimicking these trees, the concrete house bursts this mineral landscape, to cut a background of tree and forming an oasis in an a'a lava field.

Lavaflow 7 - the lava flow in full frame - realization Craig Steely Architecture - photo JD Peterson

Lavaflow 7 - the lava flow in full frame - realization Craig Steely Architecture - photo JD Peterson

Ohia - photo geog.ucsb.edu

Ohia - photo geog.ucsb.edu

The challenge was great : building on lava and in self-sufficiency !

A huge concrete beam supported only by three small concrete walls, supporting a suspended roof made of laminated beams and planks , and allow a full vision of nature through fully glazed façades.

The fineness of the house offers passive cooling through cross ventilation, eliminating the  mechanical cooling . A system of rainwater collection provides all the water, filtered for drinking,  with a solar heating system for domestic hot water.

Lava enters the house of Cesar Manrique in Lanzarote - ph.Chalo84 Flickr

Lava enters the house of Cesar Manrique in Lanzarote - ph.Chalo84 Flickr

This achievement on Hawaii recalls another realizationof the painter and sculptor Cesar Manrique on Lanzarote . He turned five "bubbles" in a lava flow in rooms / or interconnected living rooms , some of which have a direct view of the lava eruptions of Timanfaya .

House of Cesar Manrique in Lanzarote - in a bubble of lava  - photo ATLC

House of Cesar Manrique in Lanzarote - in a bubble of lava - photo ATLC

Sources :

- ARCH Daily - Lavaflow 7 / Craig Steely Architecture - link

- César Manrique - le site - link

- HVO / USGS - The 1955 eruption: the first in lower Puna since 1840 - link

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu


Few large eruptions in the 19th century were responsible for emissions of ash and sulfur aerosols which are mounted in the stratosphere and made several trips around the world. These eruptions were thus responsible for climate impact , but also optical phenomena : the veil of aerosols was due orange and red colors of the sky

William Turner - " Dido building Carthage " - 1815 - National Gallery London .

William Turner - " Dido building Carthage " - 1815 - National Gallery London .

An explanation is given by Prof Zerefos and his colleagues , in an article in Journal of the European Geosciences Union: " In the coloring sunsets , this is the way the brain perceives the greens and reds which contains important information about the environment. "

The particles suspended in the air (dust and sulfuric acid microdroplets ) deflect a portion of the light emitted by the sun, changing shades of visible light spectrum visible by the human eye.

Masters of the 19th century , witnessed this phenomenon without understanding the cause , painted these specific colors.

Among them, William Turner, famous for his mastery of color , was alive in three major eruptions : that of Tambora in Indonesia in 1815 ( VEI 7) , that of Babuyan Claro in the Philippines in 1831 ( VEI 4 ?) , and the Coseguina of Nicaragua in 1835 ( VEI 5).

He painted spectacular sunsets , especially in his painting " Dido building Carthage " in 1815, held at the National Gallery in London, or in "The Lake, Petworth ."

William Turner - "The Lake, Petworth " 1829

William Turner - "The Lake, Petworth " 1829

This phenomenon is also readable in some paintings of  Edgar Degas, made ​​in the two years following the eruption of Krakatoa in Indonesia in 1883 .

Edgar Degas - " race horses " - 1885 - Norman skies - The Walter H. and Leonore Annenberg Collection // ratio R / G 1.65

Edgar Degas - " race horses " - 1885 - Norman skies - The Walter H. and Leonore Annenberg Collection // ratio R / G 1.65

Christos Zerefos and his colleagues analyzed hundreds of sunsets painted between the years 1500 and 2000 , potential witnesses fifty major eruptions listed around the world , seeking to identify the presence of air pollutants in these landscapes.

They argue in their study, regardless of the artist or style , have discovered " that the relationship between the proportion of red and green in the twilight painted by these masters corresponds with the amount of volcanic aerosols in the atmosphere ."

Observations of  Zerefos , an atmospheric scientist at the University of Athens, are consistent with the analysis of contemporary ice cores of these events and the findings at the site of eruptions.

Model validation : Photos above : paintings of Hydra by P.Tetsis, in  AOD - Aerosol Optical Depth - high conditions, to the left and in low conditions, to the right. Photos below : digital photos of the landscape in the same atmospheric conditions, taken in the middle of the time limit for implementation of the painting./ in the studies of Zerefos & al. of

Model validation : Photos above : paintings of Hydra by P.Tetsis, in AOD - Aerosol Optical Depth - high conditions, to the left and in low conditions, to the right. Photos below : digital photos of the landscape in the same atmospheric conditions, taken in the middle of the time limit for implementation of the painting./ in the studies of Zerefos & al. of

The validation of this model of paintings analysis for direct use in climate models to get a more accurate idea of how aerosols and atmospheric pollution have affected the climate over recent centuries, was made through the contribution of the artist Panayiotis Tetsis , a renowned colorist . He was asked to paint sunsets during and after the passage of a cloud of dust from the Sahara over the Greek island of Hydra in June 2010.The painter had not been notified of this passage cloud of dust, and the colorimetric analysis of the landscape corresponds to the atmospheric samples taken.

 

Sources :

- European Geosciences Union - Famous paintings help study the Earth’s past atmosphere - 25.03.2014 - link

- Further evidence of important environmental information content in red-to-green ratios as depicted in paintings by great masters - C. S. Zerefos & al. - link

- Zerefos, C. S., Gerogiannis, V. T., Balis, D., Zerefos, S. C., and Kazantzidis, A.: Atmospheric effects of volcanic eruptions as seen by famous artists and depicted in their paintings, Atmos. Chem. Phys., 7, 4027-4042, doi:10.5194/acp-7-4027-2007, 2007.

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Publié le par Bernard Duyck
Publié dans : #L'art sur les chemins du feu

Since 1985, in a shady copse facing the library of the Faculty of Law of the University of Liège , an open book, blue and white colors, offers us a world view of Alechinsky .

"Album and Blue " - a work of Alechinsky, in the Open Air Museum of Sart Tilman / Liège University - photo Nadine Govers

"Album and Blue " - a work of Alechinsky, in the Open Air Museum of Sart Tilman / Liège University - photo Nadine Govers

"Album and Blue" ... two vertical concrete panels , illustrated with 48 plates enamelled lava ,  give the forms and themes explored by the painter for fifty years: telluric themes (including erupting volcanoes ) , the planet orbits , plant spiral , images of Wallonia's legend (with the Lion of Waterloo , or Gille of Binche) . As a moral fable, the story ends , bottom right , with a skull ... remember that you are mortal !

Symmetrical in the provision of its two "pages" , the work is also deployed in a very elaborate set of mirrors . In the Middle Ages, the "mirror" ( speculum ) meant a kind of encyclopedia reflecting the world or even the ideal of the reader
.

"Album and Blue " by Pierre Alechinsky : detail of a panel of enameled lava to Earth theme. - Photo Open Air Museum of Sart- Tilman .

"Album and Blue " by Pierre Alechinsky : detail of a panel of enameled lava to Earth theme. - Photo Open Air Museum of Sart- Tilman .

"Album and Blue " Alechinsky - the story ends at the bottom right on a " memento mori " - photo Open Air Museum of Sart- Tilman

"Album and Blue " Alechinsky - the story ends at the bottom right on a " memento mori " - photo Open Air Museum of Sart- Tilman

On a slab , the work is signed twice ... legibly and mirror, as a double page , repeating the arrengement of the concrete walls and glazed lava .

The colors of the work - album ( white in Latin) and blue - is the result of a deliberate choice , not a technical constraint , as an allusion to the plates in Delft, the Portuguese "azulejos" , or simply popular ceramics . ( after Jean Housen and Yves Randaxhe )

"Album and Blue " Alechinsky - panel of enamelled lava, signing and dating the work - photo Open Air Museum of Sart- Tilman

"Album and Blue " Alechinsky - panel of enamelled lava, signing and dating the work - photo Open Air Museum of Sart- Tilman

Alechinsky , born in 1927 in Brussels , is a painter and printmaker , bringing in his work expressionism and surrealism . Left handed prevented , according to the fashions of the time , the educators leave him his left hand for minor works ... the drawing.

From 1944 to 1948 , he studied book illustration, typography, printing techniques and photography at the National Superior School of Architecture and Visual Arts of La Cambre in the Belgian capital . He discovered during these years the work of the Surrealists.

It becomes a major player in the Belgian art world of post-war and co-founded the Ateliers du Marais. He joined in 1949 the CoBrA movement , which brings together artists from Copenhagen , Brussels and Amsterdam. CoBrA advocates a return to a more challenging art  .

It will gradually abandon the oil in favor of materials that allow him to express a fluid style, as the ink. Fascinated by oriental calligraphy , he made several trips to the Far East.

Staying in New York in the 60s , he discovered acrylic paint , which is initiated by Wallace Ting . It opens in Central Park " the painting with marginal remarks ," where like the cartoon, the central image is surrounded on all sides by a series of vignettes filling  the painting .

Among its production, I pinned some etching and lithograph of the " erupting volcano " .

 " Bouche à feu." Original etching in colors, Alechinsky 1994 , very nice proof signed, dated , titled and numbered from an edition at 60 copies (50 + X). This print is printed on colored paper manuscript of the eighteenth century. Paper dimensions : 31.5 x 22 cm. Dimensions of the engraving : 22.5 X 16 cm - Doc. Galerie Michel Fillion .

" Bouche à feu." Original etching in colors, Alechinsky 1994 , very nice proof signed, dated , titled and numbered from an edition at 60 copies (50 + X). This print is printed on colored paper manuscript of the eighteenth century. Paper dimensions : 31.5 x 22 cm. Dimensions of the engraving : 22.5 X 16 cm - Doc. Galerie Michel Fillion .

" Dernier en date" - Original lithograph in colors, 1996 Alechinsky , very nice proof printed on Arches paper , signed, dated , titled and numbered from an edition of 90. Dimensions: 67 X 50 cm. - Doc. Galerie Michel Fillion .

" Dernier en date" - Original lithograph in colors, 1996 Alechinsky , very nice proof printed on Arches paper , signed, dated , titled and numbered from an edition of 90. Dimensions: 67 X 50 cm. - Doc. Galerie Michel Fillion .

Sources :

- Le Musée en plien air du Sart Tilman / ULg / Pierre Alechinsky - link

- Alechinsky et l'art contemporain entrent au Musée Granet - link

- Galerie Michel Fillion - Alechinsky : oeuvres, biographie - link

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