1 Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour
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God and the Atom: Salvador Dalí's Mystical Manifesto and The
©Michael Taylor 2007 & 2016 God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting by Michael R. Taylor In December 1951, Salvador Dalí announced his newfound interest in the pictorial possibilities of nuclear physics and molecular chemistry at a press conference in London, where he declared himself to be the “First Painter of the Atomic Age” and dismissed all the works he had produced up until this point as “merely evolution.”1 The devastating destruction of the Japanese city of Hiroshima by a nuclear fission bomb with a yield of 15 kilotons – equivalent to the force of 15,000 tons of TNT - had forced Dalí to re-think both the subject matter and spatial complexities of his subsequent paintings. On August 6, 1945, at 8.15 am, a flash a thousand times brighter than the sun illuminated the sky above Hiroshima. It was immediately followed by a wave of incandescent heat and, a few minutes later, a ferocious hurricane that swept away everything in its path. The terrifying heat turned the city into a gigantic inferno, which in turn generated a violent wind followed by black rain. By mid-afternoon the entire city was destroyed. At least 80,000 people were killed in the explosion, and almost as many suffered serious, life-threatening injuries. In the weeks that followed many more were to die in terrible agony from the burns they had sustained after the initial blast, or from the effects of radiation, which caused internal bleeding, cancer, and leukemia.2 How could an artist like Salvador Dalí, whose work was based on an intuitive, paranoiac-critical understanding of the social and political events of his times, not be profoundly affected by the tragic events at Hiroshima, which had revealed the seemingly unlimited destructive capacity of nuclear weapons, as well as the near impossibility of protecting oneself against their pernicious effects, including the long-term consequences of ionizing radiation. -
Salvador Dalí and Science, Beyond Mere Curiosity
Salvador Dalí and science, beyond mere curiosity Carme Ruiz Centre for Dalinian Studies Fundació Gala-Salvador Dalí, Figueres Pasaje a la Ciencia, no.13 (2010) What do Stephen Hawking, Ramon Llull, Albert Einstein, Sigmund Freud, "Cosmic Glue", Werner Heisenberg, Watson and Crick, Dennis Gabor and Erwin Schrödinger have in common? The answer is simple: Salvador Dalí, a genial artist, who evolved amidst a multitude of facets, a universal Catalan who remained firmly attached to his home region, the Empordà. Salvador Dalí’s relationship with science began during his adolescence, for Dalí began to read scientific articles at a very early age. The artist uses its vocabulary in situations which we might in principle classify as non-scientific. That passion, which lasted throughout his life, was a fruit of the historical times that fell to him to experience — among the most fertile in the history of science, with spectacular technological advances. The painter’s library clearly reflected that passion: it contains a hundred or so books (with notes and comments in the margins) on various scientific aspects: physics, quantum mechanics, the origins of life, evolution and mathematics, as well as the many science journals he subscribed to in order to keep up to date with all the science news. Thanks to this, we can confidently assert that by following the work of Salvador Dalí we traverse an important period in 20th-century science, at least in relation to the scientific advances that particularly affected him. Among the painter’s conceptual preferences his major interests lay in the world of mathematics and optics. -
Marlana Dugger
Dugger 1 East Texas Baptist University School of Humanities Department of English Infinite Perception: William Blake‟s Marriage of Heaven and Hell By Marlana K. Dugger Dugger 2 Introduction William Blake is often referred to as the first of the British Romantics. The Romantic period was relatively short (1785-1830) and was fueled in part by two of the most important movements for independence in history, the French and American revolutions. The self-assertion that provided the foundation for the Romantic period led to the questioning and eventual rejection of long-established social hierarchies, political institutions, and religious traditions and organizations. The Romantic artists, too, rejected the established literary forms and thematic concerns of their predecessors and sought new ways of expressing themselves. These artists emphasized the nobility and importance of common experiences and, to a certain extent, a common language accessible to all, not just the educated classes. By extension, they championed the imagination as the higher faculty and believed the natural world more moral, spiritual, and ordered than the world of men. William Blake was this movement‟s English pioneer. He was born in London, England in 1757 and was reared in a middle-class family. Blake did not receive a formal academic education although he did attend the royal Academy of Arts and made a fairly good living as an engraver. It is also important to note that from the age of four, Blake experienced visions, most of which were religious in nature. These visions inspired most, if not all, of Blake‟s literary and artistic pieces. -
Fictional Illustration Language with Reference to MC Escher and Istvan
New Trends and Issues Proceedings on Humanities and Social Sciences Volume 4, Issue 11, (2017) 156-163 ISSN : 2547-881 www.prosoc.eu Selected Paper of 6th World Conference on Design and Arts (WCDA 2017), 29 June – 01 July 2017, University of Zagreb, Zagreb – Croatia Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples Banu Bulduk Turkmen a*, Faculty of Fine Arts, Department of Graphics, Hacettepe University, Ankara 06800, Turkey Suggested Citation: Turkmen, B. B. (2017). Fictional illustration language with reference to M. C. Escher and Istvan Orosz examples. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 4(11), 156-163. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ayse Cakır Ilhan, Ankara University, Turkey. ©2017 SciencePark Research, Organization & Counseling. All rights reserved. Abstract Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches. -
Salvador Dalí D1
Sketching the Artist: A Lecture on painter Salvador Dalí Part 1: 1904-1944 PART 1 Family mother: father: younger sister: elder brother: wife: Family Portrait (1920) Family mother: Felipa Domènech i Ferrès father: younger sister: elder brother: wife: Untitled Portrait of the Artist’s Mother (1920) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: elder brother: wife: Portrait of My Father (1920) Portrait of my Father (1925) Family Portrait (1920) The Invisible Man (1932) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother: wife: Figure at a Window (1925) Seated Girl Seen from the Back (1928) Portrait of My Figure at a Table (1925) Sister (1923) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother (deceased as toddler): Salvador Galo Anselmo Dalí wife: Portrait of My Dead Brother (1963) Family mother: Felipa Domènech i Ferrès father: Salvador Dalí i Cusí younger sister: Ana María elder brother: Salvador Galo Anselmo Dalí wife: Gala (Helena Diakianoff Devulina) Paranoiac Metamorphosis of Gala’s Face (1932) Leda Atomica (1947-49) The Angelus of Gala (1935) Dalí from the Back Painting Gala from the Back Eternalized by Six Virtual Corneas . (1972-73) Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: Cadaqués: Cap de Creus Port Lligat: exterior of Dalí Theatre- Museum in Figueres, Spain Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: flat, fertile plain; frequented by Tramuntana Cadaqués: Cap de Creus Port Lligat: Rock ’n Roll (1957) Spanish Spaces & Places Figueres: town in Catalonia Empordàn Plain: flat, fertile plain; frequented by Tramuntana wind Cadaqués: fishing village east of F. -
Salvador Dalí
Salvador Dalí Contents Introduction to Dalí ....................................................................................................................................... 2 Diminutive Biography ................................................................................................................................... 2 Chronology of Select Works & Contributions ............................................................................................... 2 Theatre ...................................................................................................................................................... 3 Film ............................................................................................................................................................ 3 Painting ..................................................................................................................................................... 3 Writing ...................................................................................................................................................... 5 Photography .............................................................................................................................................. 5 Fashion ...................................................................................................................................................... 6 Architecture ............................................................................................................................................. -
Rajgor Auction 54 Inside DR
Highlights of the Auction 11 93 43 94 53 306 Bidding Methods Internet Bids - Get Registered on www.Rajgors.com (Internet Bidding closes on 23 September 2016 at 1:00 pm onwards) Fax Bids to +91-22-23870 647 (must be received on or before 23September by 2:00 pm) Postal Bids to the Regd. Office (must be received on or before 23 September by 2:00 pm) SMS Bids on +91 90040 82585 (must be received on or before 23 September by 2:00 pm) Email Bids to [email protected] (must be received on or before 23 September by 2:00 pm) Rajgor’s Upcoming Auctions Rajgor’s Auction 55 Rajgor’s Auction 56 Friday, 28 October 2016 Saturday, 5 November 2016 Dhan Teras Auction 6:00 pm onwards Internet Indore Maha-Mudra Utsav 2016 3:00 pm onwards Sajan Prabha Garden, Vijaynagar Square, Indore Auction 54 Nudes & Crowns The Manoranjan Mahapatra Collection of Artistic Nudes & Old World Crowns Part 2 Friday, 23rd September 2016 3.00 pm onwards In association with 14th Annual Coin, Banknote & Philately Fair 2016 VIEWING Monday 19 September 2016 11:00 am - 6:00 pm at Expo Center, Arcade, Tuesday 20 September 2016 11:00 am - 6:00 pm World Trade Center Wednesday 21 September 2016 11:00 am - 6:00 pm Cuffe Parade, Thursday 22 September 2016 11:00 am - 6:00 pm Mumbai 400005 At Rajgor’s SaleRoom Category Lots 605 Majestic Shopping Centre, Near Church, 144 JSS Road, (A) Artistic Nudes 1-361 Opera House, Mumbai 400004 Ancient Coins 1-16 Modern World Coins 17-239 Friday 23 September 2016 11:00 am - 2:00 pm Tokens 240-254 At the World Trade Centre, Mumbai Medals 255-307 Paper Money 308-361 DELIVERY OF LOTS Delivery of Auction Lots will be done from the Mumbai Office of the Rajgor’s. -
An Exploration of Salvador Dalí's “Society Portraits”
©Rev. Robert Keffer, 2021 Moguls, Matrons, and Aristocracy: An Exploration of Salvador Dalí’s “Society Portraits” from the 1940’s Through the 1960’s By Rev. Robert Keffer, OSB What is the Society Portrait? How do art critics and historians define the society portrait? The first definition that might come to mind may be pejorative: a slick, glossy and flattering depiction of an unattractive person, who happened to be blessed with money and pedigree. Many would consider the society portrait a hack job; something the artist creates to pay the bills and/or to gain entré into a higher level of society. This criticism has been applied especially to the portraiture styles of the late 19th century, and the continuation of their style to the current time: portraiture that is academic/realist, and follows mainly the techniques of John Singer Sargent and his imitators. Current revisionist criticism, however, will show that the society portrait can and often does have lasting artistic merit. Consider, for instance, the famous Portrait of Consuelo, Duchess of Marlborough and Her Son, Lord Ivor Spencer-Churchill (1906), by Giovanni Boldini. Grace Glueck in her New York Times article, “Society Portraits of Giovanni Boldini”, considers this famous work nothing more than “a frothy meringue… an almost erotic tableau in which a beautiful small boy sprawls against the slender body of his vivacious mother, who is regally ensconced on a Louis XV settee, and clad in a long splash of shimmering satin.”1 However, Ms. Glueck, in the same article, states that Boldini could also do work of real character with “his vibrant 1897 rendering of a world-weary Whistler, for instance, lounging against a chair back, his head supported by an eloquently ‘artistic’ hand and a wonderful self-portrait of 1911 in which, his portly little body half-turned to the viewer, he seems to regard with jaded eyes a rogue's gallery of subjects visible only to him.”2 Boldini aside, history refutes the theory that the society portrait has always been and always will be empty flattery and vain show. -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 10-27-2003 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2003). The George-Anne. 3032. https://digitalcommons.georgiasouthern.edu/george-anne/3032 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ^^H ■■■^^■■i ^^^mm HB^^BHHH 1 •.siannsnc Covering the campus like a swarm of gnats I he (Mficial Student Newspaper of Georgi iniversit Volleyball wins trio of matches to stay perfect at home SPORTS ^ Page 6 NEWS More on the events www.stp.georgiasouthern.edu that shaped Homecoming 2003 Page 9 or * or et THE END 11- 4 ■ J OF AN ERA By Eli Boorstein [email protected] Iff s the old adage says, "All good things must come I to an end." 7 The only problem is, that phrase is not supposed > » i to apply to Georgia Southern. The No. 19 Eagle football team, after storming back to take the lead, saw The Citadel respond late to win 28-24, spoiling Homecoming festivities at Paul- son Stadium Saturday afternoon. :ss With the loss, their fourth of the season, the Ea- • gles' streak of six straight postseason berths will likely :ss be coming to an end. -
Dali Keynote
Dali’s father, Salvador Dali i Cusi, was a notary. His mother, Felipa Domenech Ferres, was a homemaker. Salvador Domingo Felipe Dali was born in 1904. His older brother with the same name died a year before his birth. At five, Dali’s mother told him that he was a REINCARNATION OF HIS BROTHER. Dali believed this. At five, Dali wanted to be a cook. At six, Dali painted a landscape and wanted to become an artist. At seven, Dali wanted to become Napoleon (they had a portrait of Napoleon in their home). Dali’s boyhood was in Figueres (Fee-yair-ez), Spain, a town near Barcelona. This church is where Dali was baptized and eventually where his funeral was held. Summers were spent in the tiny fishing village of Cadaques (Ka-da-kiz). Dali loved the sea and the image of it shows up frequently in his paintings. Local legends suggested that the howling winds and twisted yellow terrain of the region in Catalonia would eventually make a man mad! With sister Ana Maria Later with his wife With poet friend Lorca Photos from Cadaques Dali attended drawing school. While in Cadaques, he discovered modern painting. His father organized an exhibition of his charcoal drawings in his family home. At 15, Dali had his first public exhibition of his art. When he was 16, Dali’s mother died of cancer. He later said that this was the “greatest blow I had experienced in life. I worshipped her.” Dali was accepted into the San Fernando Academy of Art in Madrid. -
Some Common Themes in Visual Mathematical Art
BRIDGES Mathematical Connections in Art, Music, and Science Some Common Themes in Visual Mathematical Art Robert W. Fathauer Tessellations Company Tempe, AZ 85281, USA E-mail: [email protected] Abstract Mathematics and art are two seemingly disparate fields according to contemporary views, but there are a number of visual artists who make mathematics a focus of their work. There are several themes that have been widely used by mathematical artists. These include polyhedra, tessellations, impossible figures, MObius bands, distorted or unusual perspective systems, and fractals. Descriptions and examples are provided in this paper, which is intended to some degree as an fntroduction to the Exhibit of Visual Mathematical Art held as part of Bridges 2001. 1. Introduction Historically, mathematics has played an important role in visual art, particularly in perspective drawing; i.e., the means by which a three-dimensional scene is rendered convincingly on a flat canvas or piece of paper. Mathematics and art are two seemingly disparate fields according to contemporary views, the first often considered analytical and the second emotional. Mathematics does not play an overt role in most contemporary art, and in fact, many artists seldom or never employ even -perspective drawing. However, there are a number of contemporary visual artists who make mathematics a focus of their work. Several notable figures in history paved the way for these individuals. There are obviously no rules or limits on themes and ideas in mathematical art. However, there are a number of themes that have been widely used by mathematical artists. Some of these are described here, with examples. -
Estimular El Crecimiento De Bacterias Para Mejorar Los
BIOLOGÍA Los investigadores vieron el cambio de contar con los dedos Los hallazgos permiten un soporte empírico más fuerte para la en el momento de empezar a basarse en la memoria cuando existencia de teorías sobre el desarrollo de las matemáticas, en repitieron el experimento un año después con los niños. En palabras de Jessica Cantlon, neurocientífica cognitiva en la esta segunda vez, los niños contaban menos con los dedos y Universidad de Rochester, en Nueva York. Pero añade que: “no APRENDIENDO A SUMAR hacían menos movimientos labiales (como contando en voz sabemos qué información es la que pasa entre el hipocampo alta) que la primera vez. Para poder saber qué pasa realmen- y el neocórtex”. Una manera de demostrar esta cuestión sería DE CABEZA: ¿QUÉ OCURRE te en el cerebro mientras se efectúa una tarea así, se recurrió extender el estudio a niños con el hipocampo dañado o con a la imagen por resonancia magnética funcional (FMRI, por alguna discapacidad en el aprendizaje de las matemáticas. EN EL CEREBRO? sus siglas en inglés). Básicamente, con esta técnica se puede Por Cristóbal Rodero ver qué zonas del cerebro se utilizan más en un determinado Menon sugiere que la maduración del hipocampo y sus conexio- momento en función de la cantidad de sangre que llegue, y nes esconden probablemente no solo el desarrollo de habilida- Recuerdo que en el colegio, para sumar primero me enseñaron en el caso del experimento que estamos comentando, el ele- des matemáticas basadas en la memoria, sino también algún otro con objetos físicos, de ahí a escribir palitos en el papel, lue- gido fue el hipocampo.