Westminster Bridge, 1898  
Frederick Childe Hassam
See archive for more:  HERE

Westminster Bridge, 1898 

Frederick Childe Hassam

See archive for more:  HERE


Robin McLaurin Williams - July 21, 1951 – August 11, 2014  
(Image via: gifstumblr)

Robin McLaurin Williams - July 21, 1951 – August 11, 2014  

(Image via: gifstumblr)

Masks
Hengki Koentjoro

Masks

Hengki Koentjoro


Hengki Koentjoro

Hengki Koentjoro


Hengki Koentjoro

Hengki Koentjoro


Hengki Koentjoro


Moonlight Path, 1941
Gertrude Abercrombie (American, 1909-1977)

From Wiki:  Gertrude Abercrombie (February 17, 1909 – July 3, 1977) was an American painter based in Chicago. Called “the queen of the bohemian artists”, Abercrombie was involved in the Chicago jazz scene and was friends with musicians such as Dizzy Gillespie, Charlie Parker, and Sarah Vaughan, whose music inspired her own creative work.

Abercrombie was born February 17, 1909, in Austin, Texas. Her parents, Tom and Lula Janes Abercrombie, were traveling opera singers who happened to be in Austin on the day of Gertrude’s birth. The family lived in Berlin in 1913 to further her mother’s career, but the beginning of World War I caused the family to move back to the United States. Upon their return the family lived in Aledo, Illinois before settling in Hyde Park, Chicago in 1916. She was raised in a strict Christian Scientist environment at home.

She earned a degree in Romance Language from the University of Illinois in 1929. After studying figure drawing briefly at the Art Institute of Chicago, she took a year-long course in commercial art at the American Academy of Art in Chicago, leading to her first job drawing gloves for Mesirow Department Store advertisements. She also worked briefly as an artist for Sears. In the mid-1930s she moved out of her family’s home and became active in the regional art scene.

In 1940 she married lawyer Robert Livingston, and in 1942 gave birth to their daughter Dinah. In 1948 the couple divorced. That same year she married music critic Frank Sandiford, with Dizzy Gillespie performing at the wedding. The couple were active in the bohemian lifestyle and jazz scene of Chicago hence their connection with Gillespie. They met musicians through Sandiford and through Abercrombie’s own skills as an improvisational pianist. The couple would divorce in 1964.”


Artemis:  Interesting.  
 

Moonlight Path, 1941

Gertrude Abercrombie (American, 1909-1977)

From Wiki:  Gertrude Abercrombie (February 17, 1909 – July 3, 1977) was an American painter based in Chicago. Called “the queen of the bohemian artists”, Abercrombie was involved in the Chicago jazz scene and was friends with musicians such as Dizzy Gillespie, Charlie Parker, and Sarah Vaughan, whose music inspired her own creative work.

Abercrombie was born February 17, 1909, in Austin, Texas. Her parents, Tom and Lula Janes Abercrombie, were traveling opera singers who happened to be in Austin on the day of Gertrude’s birth. The family lived in Berlin in 1913 to further her mother’s career, but the beginning of World War I caused the family to move back to the United States. Upon their return the family lived in Aledo, Illinois before settling in Hyde Park, Chicago in 1916. She was raised in a strict Christian Scientist environment at home.

She earned a degree in Romance Language from the University of Illinois in 1929. After studying figure drawing briefly at the Art Institute of Chicago, she took a year-long course in commercial art at the American Academy of Art in Chicago, leading to her first job drawing gloves for Mesirow Department Store advertisements. She also worked briefly as an artist for Sears. In the mid-1930s she moved out of her family’s home and became active in the regional art scene.

In 1940 she married lawyer Robert Livingston, and in 1942 gave birth to their daughter Dinah. In 1948 the couple divorced. That same year she married music critic Frank Sandiford, with Dizzy Gillespie performing at the wedding. The couple were active in the bohemian lifestyle and jazz scene of Chicago hence their connection with Gillespie. They met musicians through Sandiford and through Abercrombie’s own skills as an improvisational pianist. The couple would divorce in 1964.”

Artemis:  Interesting.  

 

The Stroll
Gertrude Abercrombie (American, 1909-1977)

The Stroll

Gertrude Abercrombie (American, 1909-1977)

Gertrude Abercrombie (American, 1909-1977)

Gertrude Abercrombie (American, 1909-1977)

Path of Beauty  on Vimeo


Path of beauty - Director’s Cut Version.

A women walks in the Musée du Louvre, alone.
The museum is completely empty.
We follow this young woman in her dreamlike journey through the different rooms of the museum, between amazement and beauty, art and poetry.

The woman : Eve Claudel

Director : Florent Igla
DOP : Benjamin Ramalho
Steadicam operator & Camera : Aymeric Colas
First AC : Sonia Bisch
Editor : Camille Guyot
Color Grader : Arthur Paux
Flame Artist : Gregg Langlois
Smoke Artist : Bruno Beaudouin
Production Company : O.I.
Client : Musée du Louvre de Paris & Nintendo

Music : Sigur Rós - “Suð Í Eyrum”

From  on Vimeo  ”This a director’s cut version of a movie I’ve made for clients Musée du Louvre and Nintendo.

This a personal version.
There’s no and there’ll not commercial exploitation with this movie.”


Artemis:  I’m pretty sure I posted this at some point but I can’t find it in my archive.

Beautiful…  posting again. Watch full screen.   


 Happiness or sorrow, whatever befalls you, walk on untouched, unattached.    ~Buddha
  Dhammapada
  Image via:  binekasadnani.com



Happiness or sorrow, whatever befalls you, walk on untouched, unattached.  

~Buddha

  Dhammapada

  Image via:  binekasadnani.com


artemisvoice:
Chet Baker, Los Angeles 1956
Ray Avery (via: Jazz Times)

artemisvoice:

Chet Baker, Los Angeles 1956

Ray Avery (via: Jazz Times)


La Nascita de Venus, 1992
Joan Fontcuberta (via: faz.net)

La Nascita de Venus, 1992

Joan Fontcuberta (via: faz.net)


Semiópolis - Odisea-Homero (from the Semiópolis Series)

Joan Fontcuberta (Barcelona, España, 1955)
 Museo Nacional Centro de Arte Reina Sofía

Fecha: 1999 
Técnica: Impresión cromogénica sobre papel y dibond
Dimensiones: Soporte: 180 x 120 cm
Edición/Nº de ejemplar: 2/2
Categoría:Fotografía 
Año de ingreso: 2001
Nº de registro: AD02340

Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.
The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.
The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: Museo Nacional Centro de Arte Reina Sofía

Semiópolis - Odisea-Homero (from the Semiópolis Series)

Joan Fontcuberta (Barcelona, España, 1955)


Museo Nacional Centro de Arte Reina Sofía

Fecha: 1999 

Técnica: Impresión cromogénica sobre papel y dibond

Dimensiones: Soporte: 180 x 120 cm

Edición/Nº de ejemplar: 2/2

Categoría:Fotografía 

Año de ingreso: 2001

Nº de registro: AD02340


Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.

The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.

The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: Museo Nacional Centro de Arte Reina Sofía


Semiopolis series: Semiopolis: Origin of Species (Darwin), 1999
Joan Fontcuberta (Barcelona, España, 1955)  (Image via: heise.de)

Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.
The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.
The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: heise.de

Semiopolis series: Semiopolis: Origin of Species (Darwin), 1999

Joan Fontcuberta (Barcelona, España, 1955)  (Image via: heise.de)


Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.

The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.

The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: heise.de