Music: India Arie - Raul Midon - Back to the middle NSJ 2007

Posted by ricardo marcenaro | Posted in | Posted on 14:31

1


India Arie






Music: India Arie - Raul Midon - Back to the middle NSJ 2007









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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)



 


Music: Indio Solari - Pabellon septimo

Posted by ricardo marcenaro | Posted in | Posted on 12:55

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Indio Solari 




Pabellon septimo







Ricardo Marcenaro
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Ricardo Marcenaro bitacora - Besos - 18-08-10

Posted by ricardo marcenaro | Posted in | Posted on 12:46

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Jugaba con las palabras me encontré con opúsculo, la definí al capricho, besos sonó, en tantas formas de besar siguió, me dije: ¡cuántas formas hay de besar y en cuantos lugares!

El beso es una cosa que no se puede empezar con un no, el beso es un sí o un tal vez, puede ser cruel, ser un nunca o un adiós, en todo caso, elijo los besos que son un sí, un si rotundo o un te quiero, que de a poco averigua y devora, querer es comer, comerse al otro, comérselo a besos.

Claro que sí, que dudas, cuando quieres devoras, un apetito del otro no se sacia, el querer es un interés en constancia, es un impulso para adentro, es la vía al logro del amor: el olvido de uno.

Besos, bellos besos, besos en seguidilla, sonoros, repicantes, silenciosos besos lentos llenos de jugo, besos en músculos, tendones, ojos, por cada centímetro del cuerpo, lentos, rápidos, alternados, intensos, apenas palpables, tenues, sutiles… ¡Besos!

Respirar fuego en el beso, y la mar esplendida donde luna y estrellas bailan en un titilar de corazón cósmico, besos que estallan como novas entonces, brindis de una atómica mineral, primitiva, que se descubre y forma, besos de amor.

El fresco de los besos que nos levantan el plumaje y en un mar de poros exaltados podrían alimentar las luces de todas las ciudades del mundo, besos de luz mi amor…, besos de llama de las almas que se funden en el beso cegando la oscuridad.

Beso de saludo, de ala de augurio, beso anular para que en el presente se ausenten los olvidos, todo vivo en el beso que salta el tiempo y de los pronósticos se despide, beso cándido, bien dispuesto beso, beso de hoguera con humo de paisajes.

Yo beso, yo amo, saludo, con el beso.

Si de besos hablar y decirlos todos, libros que lo digan todo diciendo nada.

Celebro el misterio de los besos misteriosos, el espacio de los besos, las congratulaciones de los besos.

Celebro a los besos con besos.

¡Besos!


Ricardo Marcenaro













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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Ricardo Marcenaro bitacora - Besos - 18-08-10



NASA: It is happening now - Está sucediendo ahora - 18-08-10 - Global Temperature Anomalies. July 2010

Posted by ricardo marcenaro | Posted in | Posted on 10:53

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Global Temperature Anomalies, July 2010

Global Temperature Anomalies, July 2010

Color bar for Global Temperature Anomalies, July 2010


In early August 2010, the NASA Goddard Institute for Space Studies (GISS) released its analysis of global temperatures for the previous month. In July 2010, GISS found, the global average temperature was 0.55 degrees Celsius (almost 1 degree Fahrenheit) warmer than climatology—defined as average temperatures for the same month from 1951 to 1980. July 2010 was practically in a three-way tie for the warmest July on record, tied with July 1998 and July 2005.
This color-coded map shows global surface temperature anomalies for July 2010 compared to average temperatures for the same time of year from 1951 to 1980. Above-normal temperatures appear in shades of red, and below-normal temperatures appear in shades of blue. Red-hued Greenland, for example, experienced above-normal temperatures while the blue-hued Pacific Northwest experienced below-normal temperatures. Gray patches indicate areas of insufficient data.
The GISS analysis found temperatures more than 5 degrees Celsius (about 10 degrees Fahrenheit) warmer than climatology in the region of Eastern Europe, including Moscow, and in Eastern Asia. (Both Moscow and Eastern Siberia faced severe wildfires and smoke in July 2010.) The eastern United States also experienced unusual heat, although not as severe as the heat in parts of Eurasia.
Substantial areas, however, showed below-normal temperatures, including central Asia and southern South America. Parts of South America suffered through sub-freezing temperatures and heavy snow, leading to hundreds of cold-related deaths, ruined crops and livestock, and contaminated rivers after millions of fish froze, said news reports. Temperatures were below normal across much of East Antarctica, although they were well above normal over the Antarctic Peninsula.
In the GISS analysis, the 12-month running mean temperature reached a record high in the Northern Hemisphere summer of 2010. The GISS release pointed out, however, that the nascent La Niña was moderately strong, would probably strengthen, and would likely affect temperatures throughout the remainder of 2010. (Note the long band of cooler-than-normal water over the Eastern Pacific, immediately off South America, characteristic of La Niña.) Just as a strong El Niño tends to nudge global temperatures upwards, La Niña can have the opposite effect. GISS anticipated that La Niña would cause the 12-month running mean temperature to decline over the rest of the year.
The extreme weather events in Russia and Pakistan have fueled speculation about the role of climate. The GISS release stated, “The location of extreme events in any particular month depends on specific weather patterns, which are unpredictable except on short time scales. The weather patterns next summer will be different than this year. It could be a cooler than average summer in Moscow in 2011.” The GISS release went on to explain, however, that global warming does affect the probability and intensity of extreme events. Climate can drive precipitation because temperature affects the amount of water vapor that air can carry. Likewise, in areas experiencing drought, global warming can increase temperature extremes that exacerbate wildfires.
  1. References

  2. NASA Goddard Institute for Space Studies. (2010, August 12). July 2010—What Global Warming Looks Like. Accessed August 17, 2010.
  3. UPI. (2010, August 5). S. America having bitter winter weather. Accessed August 17, 2010.
NASA image by Robert Simmon, based on GISS surface temperature analysis data including ship and buoy data from the Hadley Centre. Caption by Michon Scott.
Instrument: 
In situ Measurement











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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)





NASA: It is happening now - Está sucediendo ahora - 18-08-10 - Global Temperature Anomalies. July 2010




Music: 今治 Imabari - Material

Posted by ricardo marcenaro | Posted in | Posted on 10:31

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今治 Imabari 



Material








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Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)









Music: Mamady Keita - Tiriba

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Mamady Keita




Tiriba
















Music: Mamady Keita - Tiriba

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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)









Music: Luis Morera - La Piel De Mi Niña - Lyrics

Posted by ricardo marcenaro | Posted in | Posted on 22:51

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 Luis Morera 
 
 
 
 
 
 
La Piel De Mi Niña 
 
 
 
Lyrics


La piel de mi niña
huele a caramelo
y al mango dulcito
que se da en mi pueblo

La piel de mi niña
es mi propia piel
solo que en la vida
hay sudores viejos

Mi piel chamuscada
ardida en deseos
y la piel de mi niña
huele a caramelo

Si hay que hacer la guerra
la guerra se hará
para ver los niños
felices jugar

y a la gente vieja
hablar de la paz
que después la guerra
es para demás
que después la guerra
es para demás

pirulí, giraluna
pirulí, pirulero
que la piel de mi niña
huele a caramelo
dormite mi niña
despierten los viejos
busquen la alborada
por un mundo nuevo

pirulí, giraluna
por la misma tierra
pirulí, pirulero
por el mismo cielo

la piel de mi niña
es piel de mi pueblo
es mi propia piel
y del pueblo vengo

con sus niños viejos
sus niños obreros
sin un solo mango
sin un caramelo
sin un solo mango
sin un caramelo

pirulí, giraluna
pirulí, pirulero
que la piel de mi niña
huele a caramelo
despierten los niños
despierten los viejos
corral la alborada
por un mundo nuevo

es bravo tío tigre
pero tío conejo
dará a cada niño
un lindo lucero
y también mango
y un caramelo
pirulí, giraluna
pirulí, pirulero
que la piel de mi niña
huele a caramelo
pirulí, giraluna
por la misma tierra
pirulí, pirulero
bajo el mismo cielo.








Music: Luis Morera - La Piel De Mi Niña - Lyrics




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Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Photos: Carl Warner - Part 3 - Links

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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Photos: Carl Warner -  Part 3 - Links



Music: Lisa Ekdahl - Vem vet

Posted by ricardo marcenaro | Posted in | Posted on 21:31

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 Lisa Ekdahl 





Vem vet






Ricardo Marcenaro
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Engravings - Grabados: Ukiyo-e - Part 10 - Links

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Engravings - Grabados: Ukiyo-e - Part 10 - Links




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Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)






Music: Joni Mitchell - Moon At The Window (live 1994)

Posted by ricardo marcenaro | Posted in | Posted on 19:00

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Joni Mitchell 





Moon At The Window (live 1994)







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Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)











Ceramic - Ceramica: Argentina Precolombina - Pre-Columbian - La Candelaria

Posted by ricardo marcenaro | Posted in | Posted on 18:08

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Vasija antropomorfa femenina en cerámica gris con decoración incisa
Uno de los pechos actúa como pico vertedor
Epoca Temprana
Alto 200 mm Largo 140 mm




Vasija en cerámica gris con decoración antropo-zoomorfa y sapo modelado. 
Asa tipo trenza - La Candelaria




Vasija antropomorfa en cerámica gris con decoración incisa 
Epoca Temprana Alto 200 mm Largo 140 mm




Vasija globular zoomorfa en cerámica gris con patas en forma de pechos 
La Candelaria




Vaso zoomorfo en cerámica gris con decoración incisa 
La Candelaria




 Cerámica de la cultura La Candelaria - Argentina Precolombina




La Cultura La Candelaria se desarrolló entre el año 200 y el 1000 de nuestra era en el área centro-sur andina de la provincia argentina de Salta y centro y Norte de la de Tucumán en las llamadas selvas occidentales. Toma el nombre del departamento salteño de La Candelaria donde fue descubierta.

Los sitios arqueológicos pertenecientes a esta cultura son abundantes. En Tucumán, entre otros se pueden señalar a: Sierras de Medina, Trancas, El Cadillal, Vipos, San Pedro de Colalao, La Sala, Raco, Sierras de San Javier, Horco Molle y Yerba Buena.

La cerámica que produjeron es generalmente de color gris con trazos simples y figuras geométricas como rectángulos y triángulos que representan figuras humanas y de animales. Fabricaban también instrumentos musicales de viento con formas de animales.

Las viviendas son de planta circular, con piedras clavadas en el terreno a modo de zócalo, construidas con materiales perecederos.

Criaban llamas que utilizaban como alimento y para otros fines. El maíz parece haber sido su cultivo más importante.
 

Gracias a Wikipedia










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Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)




Ceramic - Ceramica: Argentina Precolombina - Pre-Columbian - La Candelaria 



Music: Lena Horne - Maybe

Posted by ricardo marcenaro | Posted in | Posted on 15:17

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Lena Horne 




Maybe









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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

Thanks :)

Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)



Painter: Magritte Rene - Part 2 - Wiki data en Castellano and English

Posted by ricardo marcenaro | Posted in | Posted on 14:45

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Annonciation, L'




Appel des cimes, L'




Magritte, Rene - Condition Humaine




Assassin menace, L'




Magritte, Rene - Homesickness



René François Ghislain Magritte[p] (21 November 1898 – 15 August 1967) was a Belgian surrealist  artist. He became well known for a number of witty and thought-provoking images. His intended goal for his work was to challenge observers' preconditioned perceptions of reality and force viewers to become hypersensitive to their surroundings.



Early life and career


Magritte was born in Lessines, in the province of Hainaut, in 1898, the eldest son of Léopold Magritte, who was a tailor and textile merchant,[1] and Régina (née Bertinchamps), a milliner until her marriage. Little is known about Magritte's early life. He began lessons in drawing in 1910. On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. She was later discovered a mile or so down the nearby river, dead. According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse.[2] Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several paintings Magritte painted in 1927–1928 of people with cloth obscuring their faces, including Les Amants.[3]

Magritte's earliest paintings, which date from about 1915, were Impressionistic in style.[2] From 1916 to 1918 he studied at the Académie Royale des Beaux-Arts in Brussels, but found the instruction uninspiring. The paintings he produced during the years 1918–1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger.[2] Most of his works of this period are female nudes.

In 1922 Magritte married Georgette Berger, whom he had met as a child in 1913.[1] From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922–1923, he worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie la Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group.

Galerie la Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[4] He and his brother, Paul, formed an agency which earned him a living wage.

Surrealist patron Edward James allowed Magritte, in the early stages of his career, to stay rent free in his London home and paint. James is featured in two of Magritte's pieces, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to be Reproduced.[5]

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir Period", as a reaction to his feelings of alienation and abandonment that came with living in German occupied Belgium. In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight.[6] During 1947–48—Magritte's "Vache Period"—he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques and Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul Magritte and fellow Surrealist and 'surrogate son' Marcel Marien, to whom had fallen the task of selling the forgeries.[7] At the end of 1948, he returned to the style and themes of his prewar surrealistic art.

His work was exhibited in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992.

Magritte died of pancreatic cancer on 15 August 1967 in his own bed, and was interred in Schaarbeek Cemetery, Brussels.

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist and conceptual art.[8] In 2005 he came 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.



Philosophical and artistic gestures


Magritte's work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "Ceci n'est pas une pipe" ("This is not a pipe"), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. It does not "satisfy emotionally"—when Magritte once was asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.[9]


Magritte used the same approach in a painting of an apple: he painted the fruit realistically and then used an internal caption or framing device to deny that the item was an apple. In these "Ceci n'est pas" works, Magritte points out that no matter how closely, through realism-art, we come to depicting an item accurately, we never do catch the item itself.


Among Magritte's works are a number of surrealist versions of other famous paintings. Elsewhere, Magritte challenges the difficulty of artwork to convey meaning with a recurring motif of an easel, as in his The Human Condition series (1933, 1935) or The Promenades of Euclid (1955) (wherein the spires of a castle are "painted" upon the ordinary streets which the canvas overlooks). In a letter to André Breton, he wrote of The Human Condition that it was irrelevant if the scene behind the easel differed from what was depicted upon it, "but the main thing was to eliminate the difference between a view seen from outside and from inside a room."[10] The windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif.[11]

Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new.”[12]

René Magritte described his paintings as "visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable."[13]

Magritte's constant play with reality and illusion has been attributed to the early death of his mother. Psychoanalysts who have examined bereaved children have said that Magritte's back and forth play with reality and illusion reflects his "constant shifting back and forth from what he wishes—'mother is alive'—to what he knows—'mother is dead' ".[14]



Artists influenced by Magritte

Contemporary artists have been greatly influenced by René Magritte's stimulating examination of the fickleness of images. Some artists who have been influenced by Magritte's works include John Baldessari, Ed Ruscha, Andy Warhol, Jasper Johns, Vija Celmins, Marcel Broodthaers, Jan Verdoodt and Martin Kippenberger. Some of the artists' works integrate direct references and others offer contemporary viewpoints on his abstract fixations.[15]

Magritte's use of simple graphic and everyday imagery has been compared to that of the Pop artists. Magritte's influence in the development of Pop art has been widely recognized,[16] although Magritte himself discounted the connection. He considered the Pop artists' representation of "the world as it is" as "their error", and contrasted their attention to the transitory with his concern for "the feeling for the real, insofar as it is permanent."[16] The 2006–2007 LACMA exhibition “Magritte and Contemporary Art: The Treachery of Images" examined the relationship between Magritte and contemporary art.[17]



In popular culture


The 1960s brought a great increase in public awareness of Magritte's work.[8] Thanks to his "sound knowledge of how to present objects in a manner both suggestive and questioning," his works have been frequently adapted or plagiarized in advertisements, posters, book covers and the like.[18] Examples include album covers such as Beck-Ola by The Jeff Beck Group (reproducing Magritte's The Listening Room), Jackson Browne's 1974 album, Late for the Sky, with artwork inspired by Magritte's L'Empire des Lumières, and the Firesign Theatre's album Just Folks . . . A Firesign Chat based on The Mysteries of the Horizon.

Tom Stoppard has written a surrealist play called After Magritte.

Douglas Hofstadter's book Gödel, Escher, Bach uses Magritte works for many of its illustrations.

Paul Simon's song "Rene and Georgette Magritte with Their Dog after the War", inspired by a photograph of Magritte by Lothar Wolleh, appears on the 1983 album Hearts and Bones.

Magritte's imagery has inspired filmmakers ranging from the surrealist Marcel Mariën to mainstream directors such as Jean-Luc Godard, Bernardo Bertolucci, Nicholas Roeg, and Terry Gilliam.[19][20]

The painting "The Son of Man" is a prominent motif in the 1999 film about an art theft titled The Thomas Crown Affair and in the 2006 film Stranger Than Fiction.[citation needed]

The painting "Not to be Reproduced" is imitated in "Secret Window", to illustrate the protagonist's psychological instability.

According to Ellen Burstyn, in the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film The Exorcist was inspired by Magritte's L'Empire des Lumières.



Magritte Museum


The Magritte Museum opened to the public on 30 May 2009 in Brussels. Housed in the five-level neo-classical Hotel Altenloh, on the Place Royale, it displays some 200 original Magritte paintings, drawings and sculptures[21] including The Return, Scheherazade and the Empire of Light.[22]

Another museum is located at rue Esseghem 135 in Brussels in Magritte's former home, where he lived with his wife from 1930 to 1954. A painting by Magritte was stolen from this museum on the morning of 24 September 2009 by two armed men. The robbery occurred just after 10 a.m., shortly after the museum opened. A man rang the doorbell, inquired if visiting hours had begun, and then pointed a gun at the museum attendant while an accomplice went inside. The thieves made museum workers and visitors kneel in a courtyard while they left on foot with a 1948 painting, Olympia, a nude portrait of Magritte’s wife. The two men, who spoke English and French, set off an alarm when they broke a glass plate that protected the painting, but had already escaped by the time the police arrived. The stolen work is said to be worth about $1.1 million.[23][24]

Belle captive, La




Blanc-seing, Le




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René François Ghislain Magritte (n. 21 de noviembre de 1898, en Lessines, Bélgica - 15 de agosto de 1967, en Bruselas, Bélgica) fue un pintor surrealista belga. Conocido por sus ingeniosas y provocativas imágenes, pretendía con su trabajo cambiar la percepción precondicionada de la realidad y forzar al observador a hacerse hipersensitivo a su entorno.
 

Magritte dotó al surrealismo de una carga conceptual basada en el juego de imágenes ambiguas y su significado denotado a través de palabras poniendo en cuestión la relación entre un objeto pintado y el real.



Biografía y obra


Poco se conoce acerca de los primeros años de Magritte. Nació en Lessines, provincia de Hainaut, en 1898, el mayor de los hijos de Léopold Magritte, sastre y comerciante de telas, y Regina (nacida Bertinchamps). Comenzó sus lecciones de dibujo en 1910. El 12 de marzo de 1912 su madre se suicidó ahogándose en el río Sambre. Éste no fue su primer intento, pues llevaba años intentando quitarse la vida, obligando a su esposo Léopold a encerrala en su dormitorio. Un día ella escapó y estuvo perdida por días. Más tarde fue descubierta, muerta, río abajo. De acuerdo a la leyenda, Magritte, que entonces tenía 13 años, estaba presente cuando el cuerpo fue recuperado del agua, pero recientes investigaciones han desacreditado esa historia. La imagen de su madre flotando, su vestido oscureciendo su cara, puede haber influenciado una serie de pinturas de 1927 a 1928, incluyendo Les Amants, pero a Magritte le disgustaba esta explicación.

Realiza sus primeros cursos de pintura en Châtelet. En 1915 comienza a hacer sus primeras obras en la línea del impresionismo. Entre 1916 y 1918 estudia en la Academia de Bellas Artes de Bruselas. Expone por primera vez en el Centro de Arte de Bruselas en 1920 junto a Pierre-Louis Flouquet, con quien comparte un estudio. Tras el servicio militar trabaja temporalmente como diseñador en una fábrica de papel. En 1923 participa con Lissitzky, Moholy-Nagy, Feininger y Paul Joostens de maria florecen una exposición en el Círculo Real Artístico.

Su obra del periodo 1920-1924, por su tratamiento de los temas de la vida moderna, su color brillante y sus investigaciones sobre las relaciones de la forma tridimensional con la superficie plana del cuadro, muestran las influencias del cubismo, del orfismo, del futurismo y del purismo.

En 1922 ve una reproducción de La canción de amor de De Chirico, que le impresiona profundamente, y a partir de 1926 se independiza de las influencias anteriores y basa su estilo en el de De Chirico.

En obras como La túnica de la aventura (1926) expresa su sentido del misterio del mundo por medio de la irracional yuxtaposición de objetos en una atmósfera silenciosa.

En El asesino amenazado (1926), el espacio perspectivo deriva de De Chirico y de los decorados de los primeros melodramas cinematográficos. En este mismo año se une a otros músicos, escritores y artistas belgas, en un grupo informal comparable al de los surrealistas de París.

En 1927 se establece en las cercanías de París y participa, durante los tres años siguientes, en las actividades del grupo surrealista (sobre todo, se relaciona con Éluard, Breton, Arp, Miró y Dalí). Aporta al Surrealismo parisino un resurgimiento del ilusionismo. A diferencia de Dalí, Magritte no usa la pintura para expresar sus obsesiones privadas o sus fantasías, sino que se expresa con agudeza, ironía y un espíritu de debate.

En 1928 participa en la exposición surrealista en la galería Goemans de París.

En 1930 regresa a Bruselas huyendo del ambiente polémico parisino, y allí pasa tranquilo el resto de sus días.




Realismo mágico


A partir de 1926 el estilo de Magritte, también llamado "realismo mágico", cambia poco; entre 1928 y 1930 investiga las ambiguas relaciones entre palabras, imágenes y los objetos que éstas denotan. En La perfidia de las imágenes (1928-1929) retrata meticulosamente una pipa, y debajo, con igual precisión, pone la leyenda Ceci n'est pas une pipe (Esto no es una pipa), cuestionando la realidad pictórica. El espejo falso (1928) explora la misma idea: el ojo, como un falso espejo, reflejando las nubes blancas y el cielo azul pintados de forma realista; en este cuadro introduce el tema del paisaje ilusionista, interpretado en clave pictórica, alejado de toda intención naturalista. Magritte explora en toda su obra el problema del espacio real frente a la ilusión espacial, que es el trasunto de la pintura misma.

Hace muchas variaciones sobre este tema, quizá la más clara de todas sea Los paseos de Euclides (1955), donde muestra un caballete con un cuadro frente a una ventana, a través de la cual se ve un paisaje; la escena pintada corresponde exactamente al fragmento de paisaje sobre el que se sitúa el cuadro, llevando el problema de la pintura, como confrontación naturaleza-ilusión, a la cuarta dimensión.

En 1933 hace una exposición individual en el Palacio de Bellas Artes de Bruselas y en 1936 su primera individual en Estados Unidos en la galería Julien Levy de Nueva York.

En ese mismo año su obra está presente en Arte fantástico, Dadá, Surrealismo en el Museo de Arte Moderno de Nueva York.

En los años cuarenta la obra de Magritte adopta una paleta y una pincelada impresionistas y en 1947-1948 desarrolla sus cuadros llamados fauvistas.

La respuesta de la crítica es, en general, hostil hacia estas obras, y Magritte vuelve a su acostumbrado estilo. Son característicos de los años cincuenta los cuadros en los que tanto figuras interiores como paisajes y objetos aparecen convertidos en roca.


"Las formas básicas y los temas, sin embargo, continúan la fantasía del lugar común durante los años sesenta. Una escena urbana nocturna a la que se le superpone un cielo azul con nubes de atardecer flotando; carreras de jockeys en coches y por habitaciones; o una elegante amazona paseando por un bosque mientras es segmentada por los árboles. Pero el mundo de Magritte contiene siempre al misterioso hombre invisible con bombín y abrigo negro solo o en grupos, como en Golconda (1953), donde una multitud de ellos desciende sobre la ciudad" (Arnason).

A lo largo de los años cuarenta expone asiduamente en la galería Dietrich de Bruselas.

En los dos decenios sucesivos recibe numerosos encargos para la ejecución de pinturas murales en Bélgica.

Desde 1953 expone frecuentemente en la galería Alexander Iolas de Nueva York, París y Ginebra. Se organizan retrospectivas sobre su obra en 1954 en el Palacio de Bellas Artes de Bruselas, y en 1960 en el Museo de Arte Contemporáneo de Dallas y en el Museo de Bellas Artes de Houston.

Viaja por primera vez a Estados Unidos en 1965, con motivo de una retrospectiva que el Museo de Arte Moderno de Nueva York le dedica.

Durante el año siguiente viaja a Israel.

Muere en Bruselas el 15 de agosto de 1967, pocos días después de la inauguración de una importante muestra de su obra en el Museo Boymans Van Beuningen de Róterdam.












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Painter: Magritte Rene - Part 2 - Wiki data en Castellano and English