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The Feminine Principle | The Indian Express

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The Feminine Principle | The Indian Express

The Feminine Principle

An exhibition chronicles the changing face of women in artist-pedagogue KG Subramanyan’s oeuvre.

Written by Vandana Kalra | Published: September 5, 2018 12:44:57 am
Untitled watercolours on paper from 2006.

I am by nature a fabulist. I transform images, change their character, make them float, fly, perform and tell a visual story. To that extent, my pictures are playful and spontaneous. I do occasionally build round a well-known theme, and give it new implications. The matysa avatar motif, for example, generates the vision of a fish goddess, symbolising elegance and grace or a conference of mermaids. It is unproductive to explain each image as it destroys the mystery of its birth,” said artist-pedagogue KG Subramanyan in conversation with art historian R Siva Kumar in 2014, two years before his death.
Placed as wall text next to his 2014 reverse painting Mermaids Face to Face, the words reflect his thought process from the very beginning of his engagements as an artist, especially in the manner in which his female protagonists altered over the years, which is the focus of the ongoing exhibition at Triveni Kala Sangam in Delhi. Titled “Women Seen and Remembered”, comprising the showcase are over 100 works, interspersed with poems on the walls. “I think there is a clear progression. He is going from women being just by themselves, more submissive at times or a more simplistic depiction, to an empowering nature with multiple layers,” says Tariq Allana, Associate Director, Art Heritage.
Curated primarily from the collection of the Seagull Foundation for the Arts, and with some works from the collection of theatre veteran and renowned art collector Ebrahim Alkazi, the chronological display commences from the early ’50s, when Subramanyan was a young art graduate from Santiniketan, who had recently joined as lecturer at the then newly established Faculty of Fine Art in MS University. The early drawings are studies of models. As Siva Kumar notes in the publication Women Seen and Remembered, “Their main aims being training in observation and an accurate rendering of the visible”.
In the following set, the female body is broken in numerous units, as if the master was developing a method of construction. “Subramanyan tends to underscore the joints and give a certain independence to the component parts, as if they were puppets or mannequins. This allowed him to manipulate each unit independently and with a certain freedom, especially the hand and its gestures,” notes Siva Kumar. In the 1970s, he adds, “The focus shifts from the language of art to the subject of art — in this case, woman, seen from the perspective of a male artist or male viewer”. So the watercolours have women more conscious of their bodies, moving to the ’80s, where the artist notes that a union between a male and female is not always pleasant or even suggests a non-platonic relationship between two women.
Born in Kuthuparamba, North Malabar, Subramanyan might be more known for his socio-political commentary through art, which bridged the traditional and the modern, but the exhibition testifies that he depicted the complexities of the female mind and their multiple roles. The references are wide — if she appears as Durga in a ballpoint pen on paper work from the late ’80s, in the ’90s his women become masked entities that seem to have stepped out from Geek theatre. “For Subramanyan, the mask allows his figures to hover disquietingly between the worlds of reality and artifice, illusion and reality, the known and the unknown, even male and female. The masked person presents him/herself as a not completely definable entity, floating in an amorphous space,” reads the wall text. Another set of drawings from 2005 to 2007 are more corporeal.
Allana directs us to a rather unique series by Subramanyan painted in 2006, where he experiments with the image of the Virgin Mary in gouaches that depict her Annunciation. Mary is not majestic, like she has been portrayed in Renaissance Art, but an “ordinary woman”and angel Gabriel “as a diminutive man with butterfly wings, hovering over her with mischievous intentions”. Subramanyan, after all, was always building connections and playing the role of an “artist-activist”.
The exhibition is on at Shridharani Gallery and Art Heritage, Triveni Kala Sangam, Delhi, till September 9


Los beneficios del festival ornitológico más importante del Mediterráneo se destinarán a estudiar las causas del declive de la tórtola europea

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Delta Birding Festival, del 21 al 23 de septiembre

Los beneficios del festival ornitológico más importante del Mediterráneo se destinarán a estudiar las causas del declive de la tórtola europea
 
  • Esta ave se ha convertido en una especie cada vez más escasa, en peligro de extinción
 
  • En el festival, Ecotur dará una charla donde serán explicados los principales criterios para practicar el ecobirding y los alojamientos que existen en España para ello
 
  • España es el país de Europa con mayor variedad de especies de aves

 
Tarragona, 5 de septiembre de 2018. La tórtola europea ha pasado de ser un ave muy abundante en zonas rurales de gran parte de Europa a estar en peligro de extinción. Para ayudar a evitar su desaparición, los beneficios del Delta Birding Festival 2018 serán dedicados a estudiar las rutas migratorias de las poblaciones estables de estas aves, en contraposición a las poblaciones en declive. El proyecto, que ha sido iniciado ya, consiste en marcar tórtolas con dispositivos de seguimiento a distancia, desde emisores de radio a GPS, y su duración será de varios años.

El Delta Birding Festival es el evento más importante del Mediterráneo para los amantes de los pájaros y la naturaleza. Organizado por la Fundació Catalunya-La Pedrera, el Institut Catalá de Ornitología (ICO) y la tienda de naturaleza ORYX, tiene lugar cada año, desde hace cinco, en el sur del Delta del Ebro. En esta ocasión, será celebrado del 21 al 23 de septiembre.

Entre las actividades de esta edición, la Fundación Ecoagroturismo mostrará en qué consiste el ecobirding y cuáles son los requisitos que han de cumplirse para realizar dicha actividad. Mireia Cabrero, responsable de la casa rural ecológica en el Pirineo Aragonés O Chardinet d´a Formiga y coordinadora del grupo ecobirding, dará una charla en la que explicará qué significa alojarse en una casa ecológica especializada en la observación de aves o ecobirding.

Esta ponencia, con el título “Ecobirding tour: prepara para ver aves de forma más responsable”, tendrá lugar el domingo 23 de septiembre a las 10 de la mañana.

La Fundación Ecoagroturismo-Ecotur contará con stand propio por tercer año consecutivo, expositor en el que los visitantes podrán obtener información sobre ofertas de observación de aves y conocer la red de alojamientos rurales y sostenibles especializados en la práctica del ecobirding.
 
Observar las aves de forma responsable

“España es el país de Europa con mayor variedad de especies -más de 500- y ecosistemas para disfrutar de la observación de aves”, comenta Mireia Cabrero. “Al observar animales silvestres, hay que tener en cuenta que el respeto por la fauna es lo más importante, por encima de una buena fotografía” añade la aragonesa.

Para la coordinadora de ecobirding, “al alojarse en una casa Ecotur especializada en turismo ornitológico el viajero tiene la certeza de estar realizando un viaje responsable y que el impacto medioambiental de sus vacaciones será más bajo gracias a las medidas que estos establecimientos efectúan para reducirlo”.

“El amante de la naturaleza es más coherente si viaja en estos alojamientos que con otros que no tienen en cuenta el consumo de recursos naturales para llevar a cabo su actividad o el desarrollo local, por ejemplo”, concluye.

Los alojamientos que forman parte del ecobirding de la Fundación Ecoagroturismo-Ecotur cumplen una serie de requisitos, entre los que destacan implementar horarios de desayuno y cena adaptados al observador de aves y proporcionar información hablada o escrita sobre los pájaros de la zona, además de seguir un código ético de respeto hacia los animales.
 
Un festival con numerosas actividades

Talleres, cursos, conferencias, concursos… forman la amplia oferta del Delta Birding Festival 2018. El evento incluye también salidas fotográficas para la observación de aves.  Y expertos internacionales también acudirán a esta edición para contribuir con su conocimiento al que constituye el único festival ornitológico que se celebra en Cataluña.

Sobre el proyecto Ceres Ecotur. La red Ceres Ecotur es una iniciativa pionera de la Fundación Ecoagroturismo, entidad española representante de ECEAT International (European Centre for Ecological and Agricultural Tourism). El proyecto surgió para unificar una red de alojamientos, empresas de actividades e iniciativas gastronómicas en el fomento de un turismo ecológico o ecoturismo en el medio rural en España. Se trata de una iniciativa dirigida a la preservación, a la conservación y a la difusión del patrimonio rural, etnográfico y del entorno medioambiental que lo rodea y le concede su razón de existir.

El proyecto Ceres Ecotur cuenta en la actualidad con una red de ecoagroturismos y establecimientos turísticos rurales, junto con empresas de actividades en la naturaleza, repartidas por toda España. Todos ellos han superado un proceso de certificación para obtener el ECOLABEL ECEAT, cumpliendo con los parámetros exigidos en cada uno de los grupos variables.
 

Para más información:
Ricardo Mariscal/Rafael González. 
Gabinete de comunicación Fundación Ecoagroturismo
Web Ecotur: https://www.ecotur.es/
Web oficial Delta Birding Festival: 
https://www.deltabirdingfestival.com/?lang=es
Tels.: 629 82 36 62/ 901 009 525

DREAMING :: Christa Zaat

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Christa Zaat

La imagen puede contener: una o varias personas y calzado

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3 
The Garden Court - Study, 1889
bodycolour and chalk on paper
58.8 x 89 cm.

signed and dated l.l.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

Burne-Jones's interest in the Sleeping Beauty story of the Briar Rose began as early as a tile panel in 1864. A small series of oil paintings for William Graham followed, and then a larger set of four oils, finally completed in 1890 before being bought by Alexander Henderson, later 1st Lord Faringdon, and installed in Buscot Park, Oxfordshire. Changes during this process to the Garden Court scene were worked out in this series of six large bodycolours, now in the Birmingham collection.

* * *
The Legend of Briar Rose is the title of a series of paintings which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK

* * *

In 1887 Burne-Jones redrew all the figures of the sleeping girls. The date on the painting (1889) may have been added when they have given backgrounds,to make them semi-independed pictures for the exhibition at the New Gallery in 1890.


To compare the final Garden Court version, watch: https://www.facebook.com/photo.php?fbid=10150569008742151&set=a.52146212150.66528.611812150&type=3&theater


La imagen puede contener: una o varias personas y calzado

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: perro

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3 
The Garden Court - Study, 1889
watercolour, gouache and chalk/pastel on paper, laid on linen, and attached to wooden strainer
91 x 60.6 cm.

signed and dated l.l.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

Burne-Jones's interest in the Sleeping Beauty story of the Briar Rose began as early as a tile panel in 1864. A small series of oil paintings for William Graham followed, and then a larger set of four oils, finally completed in 1890 before being bought by Alexander Henderson, later 1st Lord Faringdon, and installed in Buscot Park, Oxfordshire. Changes during this process to the Garden Court scene were worked out in this series of six large bodycolours, now in the Birmingham collection.

* * *

At a Christie's sale, on the 3 October 1995, lot 107 was a study in black chalk for 'The Garden Court' from the 'Briar Rose' Series. It is a highly detailed drawing of a sleeping attendant, in the same pose and similar details to this study, it may have been the original chalk study for this gouache.

* * *

The Legend of Briar Rose is the title of a series of paintings which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK

* * *

In 1887 Burne-Jones redrew all the figures of the sleeping girls. The date on the painting (1889) may have been added when they have given backgrounds,to make them semi-independed pictures for the exhibition at the New Gallery in 1890.


To compare the final Garden Court version, watch: https://www.facebook.com/photo.php?fbid=10150569008742151&set=a.52146212150.66528.611812150&type=3&theater


La imagen puede contener: perro

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 1 persona

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3 
The Garden Court - Study, 1889
bodycolour and chalk on paper
59 x 89 cm.

signed and dated l.l.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

Burne-Jones's interest in the Sleeping Beauty story of the Briar Rose began as early as a tile panel in 1864. A small series of oil paintings for William Graham followed, and then a larger set of four oils, finally completed in 1890 before being bought by Alexander Henderson, later 1st Lord Faringdon, and installed in Buscot Park, Oxfordshire. Changes during this process to the Garden Court scene were worked out in this series of six large bodycolours, now in the Birmingham collection.

* * *

The Legend of Briar Rose is the title of a series of paintings which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK

* * *

In 1887 Burne-Jones redrew all the figures of the sleeping girls. The date on the painting (1889) may have been added when they have given backgrounds,to make them semi-independed pictures for the exhibition at the New Gallery in 1890.


To compare the final Garden Court version, watch: https://www.facebook.com/photo.php?fbid=10150569008742151&set=a.52146212150.66528.611812150&type=3&theater


La imagen puede contener: 1 persona

DREAMING | Christa Zaat

0
0
Christa Zaat

No hay texto alternativo automático disponible.

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3 
The Garden Court - Study, 1889
watercolour, gouache and chalk/pastel on paper, laid on linen, and attached to wooden strainer
60.8 x 91 cm.
signed and dated l.l.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

Burne-Jones's interest in the Sleeping Beauty story of the Briar Rose began as early as a tile panel in 1864. A small series of oil paintings for William Graham followed, and then a larger set of four oils, finally completed in 1890 before being bought by Alexander Henderson, later 1st Lord Faringdon, and installed in Buscot Park, Oxfordshire. Changes during this process to the Garden Court scene were worked out in this series of six large bodycolours, now in the Birmingham collection.

* * *

The Legend of Briar Rose is the title of a series of paintings which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK

* * *

In 1887 Burne-Jones redrew all the figures of the sleeping girls. The date on the painting (1889) may have been added when they have given backgrounds,to make them semi-independed pictures for the exhibition at the New Gallery in 1890.


No hay texto alternativo automático disponible.

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: personas sentadas, calzado e interior

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3 
The Garden Court - Study, 1889
bodycolour and chalk on paper
89 x 59 cm.

signed and dated l.r.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

Burne-Jones's interest in the Sleeping Beauty story of the Briar Rose began as early as a tile panel in 1864. A small series of oil paintings for William Graham followed, and then a larger set of four oils, finally completed in 1890 before being bought by Alexander Henderson, later 1st Lord Faringdon, and installed in Buscot Park, Oxfordshire. Changes during this process to the Garden Court scene were worked out in this series of six large bodycolours, now in the Birmingham collection.

* * *

The Legend of Briar Rose is the title of a series of paintings which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK

* * *

In 1887 Burne-Jones redrew all the figures of the sleeping girls. The date on the painting (1889) may have been added when they have given backgrounds,to make them semi-independed pictures for the exhibition at the New Gallery in 1890.


To compare the final Garden Court version, watch: https://www.facebook.com/photo.php?fbid=10150569008742151&set=a.52146212150.66528.611812150&type=3&theater


La imagen puede contener: personas sentadas, calzado e interior

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 1 persona, sentado

Edward Burne-Jones (British painter and designer) 1833 - 1898
The second "The Legend of Briar Rose" series, 2 of 4, Buscot Park
The Council Chamber, 1890
oil on panel
49 x 98¼ in.

Buscot Park, Oxfordshire, United Kingdom

The Legend of Briar Rose is the title of a series of paintings by the Pre-Raphaelite artist Edward Burne-Jones which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas.
There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

This panel contains:
"The threat of war the hope of peace
The Kingdoms peril and increase
Sleep on and bide the latter day
When fate shall take his chain away.

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The Third Briar Rose series was completed after the Buscot Park series. The three paintings have been split between three collections. The Garden Court is in Bristol City Museum and Art Gallery, The Council Chamber is in the Delaware Art Museum, Wilmington and The Rose Bower is in the Hugh Lane Gallery of Modern Art, Dublin.

To compare the other The Council Chamber versions, watch: http://www.facebook.com/photo.php?fbid=10150569722937151&set=a.10150564406602151.372101.611812150&type=3&theater and http://www.facebook.com/photo.php?fbid=10150569007257151&set=a.10150564406602151.372101.611812150&type=3&theater


La imagen puede contener: 1 persona, sentado

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 1 persona, exterior

Edward Burne-Jones (British painter and designer) 1833 - 1898
The second "The Legend of Briar Rose" series, 1 of 4, Buscot Park
Briar Wood, 1870-1890
oil on panel
49 by 98¼ in.

Buscot Park, Oxfordshire, United Kingdom

The Legend of Briar Rose is the title of a series of paintings by the Pre-Raphaelite artist Edward Burne-Jones which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

The painting depicts the discovery of the sleeping soldiers by a Knight. In their slumber they have become completed entwined by the barbed thorns of the Briar rose. Running beneath each of the major panels is an inscription of a poem by William Morris, under The Briar Wood the inscription reads:
"The fateful slumber floats and flows
About the tangle of the rose.
But lo the fated hand and heart
To rend the slumberous curse apart."

Burne-Jones created two other series of paintings on the same subject. The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The Third Briar Rose series was completed after the Buscot Park series. The three paintings have been split between three collections. The Garden Court is in Bristol City Museum and Art Gallery, The Council Chamber is in the Delaware Art Museum, Wilmington and The Rose Bower is in the Hugh Lane Gallery of Modern Art, Dublin.


To compare the other The Briar Wood version, watch: http://www.facebook.com/photo.php?fbid=10150568335452151&set=a.10150564406602151.372101.611812150&type=1&theater


La imagen puede contener: 1 persona, exterior

DREAMING | Christa Zaat

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Christa Zaat

La imagen puede contener: una o varias personas y personas sentadas

Edward Burne-Jones (British painter and designer) 1833 - 1898
The second "The Legend of Briar Rose" series, 3 of 4, Buscot Park
The Garden Court, 1890
oil on panel
49 x 98¼ in.

Buscot Park, Oxfordshire, United Kingdom

The Legend of Briar Rose is the title of a series of paintings by the Pre-Raphaelite artist Edward Burne-Jones which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas.
There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

The sleeping beauty lies on her bed surrounded by her slumbering attendants. The rose is seen encircling the drapery in the background
Under The Rose Bower, the inscription reads:
"Here lies the hoarded love the key
To All the treasure that shall be
Come fated heart the gift to take
And smite the sleeping world awake."

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The Third Briar Rose series was completed after the Buscot Park series. The three paintings have been split between three collections. The Garden Court is in Bristol City Museum and Art Gallery, The Council Chamber is in the Delaware Art Museum, Wilmington and The Rose Bower is in the Hugh Lane Gallery of Modern Art, Dublin.


To compare the other The Garden Court version, watch: http://www.facebook.com/photo.php?fbid=10150569008742151&set=a.10150564406602151.372101.611812150&type=3&theater


La imagen puede contener: una o varias personas y personas sentadas

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: una o varias personas y personas sentadas

Edward Burne-Jones (British painter and designer) 1833 - 1898
The second "The Legend of Briar Rose" series, 4 of 4, Buscot Park
The Rose Bower, 1890
oil on panel
49 x 98¼ in.

Buscot Park, Oxfordshire, United Kingdom

The Legend of Briar Rose is the title of a series of paintings by the Pre-Raphaelite artist Edward Burne-Jones which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

The sleeping beauty lies on her bed surrounded by her slumbering attendants. The rose is seen encircling the drapery in the background
Under The Rose Bower, the inscription reads:
"Here lies the hoarded love the key
To All the treasure that shall be
Come fated heart the gift to take
And smite the sleeping world awake."

Burne-Jones created two other series of paintings on the same subject. The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The Third Briar Rose series was completed after the Buscot Park series. The three paintings have been split between three collections. The Garden Court is in Bristol City Museum and Art Gallery, The Council Chamber is in the Delaware Art Museum, Wilmington and The Rose Bower is in the Hugh Lane Gallery of Modern Art, Dublin.


To compare the other The Rose Bower versions, watch: http://www.facebook.com/photo.php?fbid=10150569723682151&set=a.10150564406602151.372101.611812150&type=3&theater and http://www.facebook.com/photo.php?fbid=10150569009332151&set=a.10150564406602151.372101.611812150&type=3&theater


La imagen puede contener: una o varias personas y personas sentadas

DREAMING | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 2 personas

Edward Burne-Jones (British painter and designer) 1833 - 1898
The third of the "The Legend of Briar Rose" series, 2 of 3
The Garden Court, 1893
oil on canvas
49 x 98¼ in.
Bristol Museum, UK

The Legend of Briar Rose is the title of a series of paintings by the Pre-Raphaelite artist Edward Burne-Jones which were completed between 1885 and 1890. The four original paintings - The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower - and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, United Kingdom. Each major panel measures 49 by 98¼ inches but the ten joining panels vary in width.

Burne-Jones drew his inspiration for the Briar Rose Series from the Sleeping Beauty fairy tale, which had been retold in the eighteenth century by Charles Perrault in his Contes du Temps Passé and by Tennyson in his 1842 poem Day Dream. Burne-Jones chose to focus on a single moment from the famous story - when the brave prince, having battled through the briar wood, first comes upon the bewitched court and the princess he is to awake with a kiss.

Burne-Jones carefully composed the series so that the eye passes naturally from the prince standing on the left in the first scene to the object of his quest, the sleeping princess on the right of the final canvas. There is no narrative progression in the cycle, for Burne-Jones' primary concern was to create a hermetic world far from the problems of the modern world and to suggest a mood of langour.

He did this through the lazy arabesques of the briars, the abandoned poses of the sleeping figures, the shallow perspective, the intense but modulated colours and the verses inscribed beneath, which were written by William Morris expressly to be read in conjunction with the paintings.

The painting shows the weavers having fallen asleep at their loom. The walls of the castle form the backdrop to the painting as do arches of roses. Under The Garden Court, the inscription reads:
"The maiden plaisance of the land
Knoweth no stir of voice or hand
No cup the sleeping waters fill
The restless shuttle lieth still."

Burne-Jones created two other series of paintings on the same subject.
The Small Briar Rose series was completed before the Buscot Park series. All three paintings - The Briar Wood, The Council Chamber, The Rose Bower - are now in the Museo de Arte de Ponce, Puerto Rico.
The second Briar Rose series is the the Buscot Park series. They are all at Buscot Park, Oxfordshire, UK


La imagen puede contener: 2 personas

¿USTED LO VIÓ? | Christa Zaat

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0
Christa Zaat

La imagen puede contener: 3 personas

Edward Burne-Jones (British painter and designer) 1833 - 1898
John Henry Dearle (Apprentice to Morris & Co., trained as a weaver. Later managed the tapestry workshop) 1860 - 1932
William Morris (British poet, craftsman and socialist) 1834 - 1896
Quest for the Holy Grail Tapestries - Panel 3, designed 1890-91; woven 1895-96
The Failure of Sir Gawaine; Sir Gawaine and Sir Uwaine at the Ruined Chapel
wool, silk, mohair and camel hair weft on cotton warp
289 x 244 cm.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

This sequence of tapestries was originally designed for William Knox D'Arcy, for the dining room of his house, Stanmore Hall in Middlesex. Several further versions were woven later. Birmingham's 'The Failure of Sir Gawain' is one of three tapestries commissioned in 1895 by the industrialist Laurence Hodson, for his house Compton Hall near Wolverhampton.

The subject matter is based on the 15th century text Le Morte D'Arthur (The Death of Arthur) by Sir Thomas Malory. It tells the story of the spiritual quest by the knights of King Arthur's round table for the Holy Grail, the cup from which Jesus and the disciples drank at the Last Supper.

Here the third scene depicts two knights who failed in their quest because they had previously led sinful lives. The story told how after many days of riding they stopped to rest and pray at a deserted chapel, but were told that they could not enter. Sir Uwaine is shown on the left, and Sir Gawaine is nearest the angel, who is barring the entrance to the chapel. A brilliant light shines from within, suggesting the presence of the Holy Grail.

The next scene in the series showed the failure of Sir Lancelot, but this subject is not in Birmingham's collection.


La imagen puede contener: 3 personas

¿LO HAN VISTO POR AQUÍ? | Christa Zaat

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0
Christa Zaat

La imagen puede contener: 7 personas

Edward Burne-Jones (British painter and designer) 1833 - 1898
John Henry Dearle (Apprentice to Morris & Co., trained as a weaver. Later managed the tapestry workshop) 1860 - 1932
William Morris (British poet, craftsman and socialist) 1834 - 1896
Morris & Co
Quest for the Holy Grail Tapestries - Panel 2, designed 1890-91; woven 1895-96
The Arming and Departure of the Knights
wool, silk, mohair and camel hair weft on cotton warp
360 x 244 cm.
Birmingham Museums and Art Gallery, Birmingham, United Kingdom

This sequence of tapestries was originally designed for William Knox D'Arcy, for the dining room of his house, Stanmore Hall in Middlesex (see black and white image). Several further versions were woven later. Birmingham's 'Arming and Departure' is one of three tapestries commissioned in 1895 by the industrialist Laurence Hodson, for his house Compton Hall near Wolverhampton.

The subject matter is based on the 15th century text Le Morte D'Arthur (The Death of Arthur) by Sir Thomas Malory. It tells the story of the spiritual quest by the knights of King Arthur's round table for the Holy Grail, the cup from which Jesus and the disciples drank at the Last Supper.

Here the second scene depicts the virgin ladies of King Arthur's Court assisting the knights in preparation for their quest. On the far left, Queen Guinevere hands Sir Lancelot his shield, in an allusion to their adulterous relationship, the cause of Sir Lancelot's impending failure. Sir Gawaine, who will also fail in the quest, appears mounted on the right of the picture, identified by his shield, which bears a double-headed eagle.

Burne-Jones based the costumes loosely on those of the twelfth century. Throughout the series Morris designed the heraldry, and Dearle designed the flowers in the foreground.


La imagen puede contener: 7 personas

TE HA ALCANZADO EL SUEÑO | Christa Zaat

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0
Christa Zaat

La imagen puede contener: 1 persona

Edward Burne-Jones (British painter and designer) 1833 - 1898
Sir Lancelot at the Chapel of the Sangreal (aka The Failure of Sir Lancelot), 1890
bodycolour
51 x 61 cm.
private collection

The subject matter is based on the 15th century text Le Morte D'Arthur (The Death of Arthur) by Sir Thomas Malory. It tells the story of the spiritual quest by the knights of King Arthur's round table for the Holy Grail, the cup from which Jesus and the disciples drank at the Last Supper.


La imagen puede contener: 1 persona

AQUÍ NO ESTÁ | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 2 personas, exterior

Edward Burne-Jones (British painter and designer) 1833 - 1898
Sir Gawaine and Sir Uwaine at the Chapel of the Sangreal, 1890
bodycolour and goldpaint
51 x 61 cm.
private collection

The subject matter is based on the 15th century text Le Morte D'Arthur (The Death of Arthur) by Sir Thomas Malory. It tells the story of the spiritual quest by the knights of King Arthur's round table for the Holy Grail, the cup from which Jesus and the disciples drank at the Last Supper.

Here the third scene depicts two knights who failed in their quest because they had previously led sinful lives. The story told how after many days of riding they stopped to rest and pray at a deserted chapel, but were told that they could not enter. Sir Uwaine is shown on the left, and Sir Gawaine is nearest the angel, who is barring the entrance to the chapel. A brilliant light shines from within, suggesting the presence of the Holy Grail.

It is a preparatory work for Panel 3 from the Quest for the Holy Grail Tapestries.


La imagen puede contener: 2 personas, exterior

TODOS OYEN, NADIE ESCUCHA | Christa Zaat

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0
Christa Zaat

La imagen puede contener: 3 personas

Edward Burne-Jones (British painter and designer) 1833 - 1898
Sponsa de Libano (Bride of Lebanon), 1891
gouache and tempera on paper
332.5 x 155.5 cm. (130.9 in × 61.2 in.)
Walker Art Gallery, Liverpool, United Kingdom

This scene is based on the biblical 'Song of Solomon'. It shows the North and South winds blowing, as requested by King Solomon, on his bride of Lebanon. Despite this being a rather voluptuous biblical episode, Burne-Jones emphasizes the languorous dream-like and chaste nature of the bride. She is shown surrounded by lilies, symbolic of virginity.

Burne-Jones's figure style is inspired by Botticelli, the Italian Renaissance artist. The flat, decorative and linear treatment is similar to stained glass or tapestry. In fact, an earlier design for a tapestry was the basis of this painting.

* * *

The painting is based on extracts from the Song of Solomon in the Bible.
"Come with me from Lebanon, my spouse ..."
"Awake, O north wind; and come thou south; blow upon my garden ..."

It shows the bride walking in the garden with female personifications of the two winds blowing towards her. On each side of the bride are white lilies, symbolising her virginity. The pose of the bride is inspired by Botticelli's figures. The painting is based on an earlier design by Burne-Jones for a tapestry.

The model was a twelve-year old Jewish girl, who modelled for both winds, and was told to "look wild and blow with your lips". The study is now held by the Lady Lever Art Gallery in Port Sunlight, Merseyside.


La imagen puede contener: 3 personas

SEÑALES SON LAS QUE SOBRAN | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 3 personas, calzado

Edward Burne-Jones (British painter and designer) 1833 - 1898
The Days of Creation - Days 1 & 2, ca. 1893-98
stained glass, made by 'The Firm' (Morris, Marshall, Faulkner & Co.) 
Chapel of Manchester College, Oxford, United Kingdom

Angels hold globes representing the Creation of the Light and Darkness, and the Separation of the Waters.

* * *

In 1872, Burne-Jones began work on the paintings, a gouache watercolor with shell gold and platinum paint on linen panels more than twice the size of the pencil drawings. He worked on the paintings off and on through 1876. Once completed, the panels were framed in a huge Renaissance revival contraption designed by Burne-Jones specifically to hold all six Days.

In May of 1877, Edward Burne-Jones exhibited The Days of Creation painting in his comeback show at Grosvenor Gallery in London.

Days was so popular that stained glass versions of it were commissioned by a variety of churches for years even after Burne-Jones’ death. Morris & Co made a neat version in Della Robbia ware ceramic between 1893 and 1906 for Dyfrig Chapel at Llandaff Cathedral in Cardiff, Wales.


La imagen puede contener: 3 personas, calzado

SOBRAN LAS SEÑALES | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 6 personas, interior

Edward Burne-Jones (British painter and designer) 1833 - 1898
The Days of Creation - Days 3 & 4, ca. 1893-98
stained glass, made by 'The Firm' (Morris, Marshall, Faulkner & Co.) 
Chapel of Manchester College, Oxford, United Kingdom

Angels hold globes representing the Creation of the Earth & Vegetation, and the Sun, Moon & Stars.

* * *

In 1872, Burne-Jones began work on the paintings, a gouache watercolor with shell gold and platinum paint on linen panels more than twice the size of the pencil drawings. He worked on the paintings off and on through 1876. Once completed, the panels were framed in a huge Renaissance revival contraption designed by Burne-Jones specifically to hold all six Days.

In May of 1877, Edward Burne-Jones exhibited The Days of Creation painting in his comeback show at Grosvenor Gallery in London.

Days was so popular that stained glass versions of it were commissioned by a variety of churches for years even after Burne-Jones’ death. Morris & Co made a neat version in Della Robbia ware ceramic between 1893 and 1906 for Dyfrig Chapel at Llandaff Cathedral in Cardiff, Wales.


La imagen puede contener: 6 personas, interior

NO HAS ENTENDIDO NADA | Christa Zaat

0
0
Christa Zaat

La imagen puede contener: 1 persona

Edward Burne-Jones (British painter and designer) 1833 - 1898
Launcelot at the Chapel of the Holy Grail, 1895-96
oil on canvas
138 x 169 cm. (54.33 x 66.54 in.)
Southampton City Art Gallery, United Kingdom

Edward Coley Burne-Jones was a key figure in the Pre-Raphaelites and the Aesthetic Movement. He once defined a painting as ‘a beautiful romantic dream of something that never was, that will never be…’.

This painting is typical of Burne-Jones’s mature work with its dream-like quality, languid and androgynous figures, and Arthurian subject-matter. It depicts a scene from the search for the Holy Grail, the sacramental vessel used by Christ at the Last Supper. Here, an angel appears to the knight Launcelot in a dream. She tells him that he will never attain the Grail because of his destructive affair with Guinevere, wife of King Arthur.

Burne-Jones’s fascination with Arthurian legends was greatly inspired by Tennyson’s poetry and Malory’s medieval tale Morte d’ Arthur. By the late 19th century, King Arthur had become a potent national myth. This concern with a mythic past and chivalry, coupled with Christian virtues, was also part of a wider reaction against Victorian materialism and industrialisation.


La imagen puede contener: 1 persona
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