All about art & famous artists

http://www.digitaljournalist.org/issue0212/pt36.html
bức đầu tiên là một trong những bức tranh trong " vén màn bí mật về chiến tranh vùng Vịnh" ( chiến tranh vùng Vịnh năm bao nhiêu nhể )
"A US soldier takes prisoner an Iraqi soldier at the end of the ground war of the Gulf War. This scene was near the Mile of Death "
Bức thứ hai
http://digitaljournalist.org/issue0104/cm36.htm
A 14-year old Chechen, firing on Russian positons 20 meters away. Central Grozny, (1996)
source :
http://www.digitaljournalist.org/issue0212/pt_index.html
http://www.digitaljournalist.org/issue0104/morris_index.htm

Bức The Milk Maid của Vermeer ( tại bảo tàng Rijksmusem, Amsterdam. )
Comment : Bạn có cảm giác gì khi xem bức tranh này ? tâm hồn tĩnh lặng ? bình yên ? hay kì bí ? còn tôi thì có lẽ mỗi thứ một ít
Dòng sữa chảy từ miệng bình làm ta liên tưởng tới bí mật của sự sáng tạo ra thế giới ...


by Lawrence Gowing
Vermeer, London, 1950, pp. 109- 112
The Maidservant (The Milkmaid) has on the surface some resemblance to the painting of Vermeer''s predecessors, but both the plan of the picture and the refined style of representation belong to his maturity. The detail of life is rendered here as a bare map of the incidence of light. The optical vocabulary becomes at once so convincing and complete that it is not always recognized how deep is the change, how unexplained in this head for instance the accent of the cheek, how unexpected the omission of drawing at the base of the nose and across the expanse of shadow. There is a wide gulf between this confident manner and the head of the Laughing Girl. The maid''s left arm, as comparison with the passage in the Edinburgh picture demonstrates, draws from its contour neither form nor supporting detail; the record of tone is bare of the structural modeling of the Dresden Letter Reader. The other arm, equally independent of convention, of necessity relies more on its defining outline, and round it are visible, strangely, the pentimenti which rarely occur in the painter''s work
.
The Maidservant has been a favourite picture of those who have seen Vermeer as a simple precursor of Chardin and of Corot. It is perhaps largely in the interests of a uniform progression, in whichever direction, that it has commonly been counted among his early works. Few have followed Dr. Valentiner to the extreme, in dating the picture two years before The Procuress. There is in fact little reason in the view of Vermeer''s development as a steady and elegant decline. For all the weight and continuity of modeling in the Maidservant its beauty lies as much in the elements which contradict them. It is perhaps only the radical change of method, approaching an abdication of the tra***ional demands upon painters to know and understand, that allows the painter "here to make his single frontal assault on the problem of physical immediacy which lies at the heart of his development. We may imagine a mood of confidence, a liberation; the boldness does not quite agree with his temperament and it is possible to prefer the tender yet inflexible system of tone against which he balances the magnetism of the Lacemaker. In the Maidservant he treats a common subject of genre painting in previous decades, following precisely the pattern of Gerard Dou (upper right). The lustrous simplicity with which he handles the material of commonplace things pays another distant tribute to Carel Fabritius. But the vision that emerges is his own.
Vermeer''s deliberation and his reserve complicate greatly the study of his development. He often reverts to his sources or appears to repeat himself, and as often foreshadows elements of his meaning which are not to come to fruition until a later phase. His colour, his subject matter, even his handling of paint are so deliberately contrived that they may well mislead the historian accustomed to artists who readily reveal themselves. Nevertheless his technical evolution yields certain useful historical criteria and one in particular concerns us here. In the early pictures Vermeer''s touch is never without descriptive purpose. Even in the Street each fleck of paint palpably constitutes leaves or mortar. But in succeeding pictures the pointillé loses its function of represention; the touch which has embroidered the sleeve of the Letter Reader gains its independence. Granules of light are scattered irrespective of the textures on which they lie (lower right). There is no plainer sign of Vermeer''s direction, his movement of withdrawal from the substantial world. At some point, probably at a time a little after the completion of the Street, paint revealed its capacity to provide a glittering, barely relevant commentary of light. Once discovered, the device, so germane to the essence of Vermeer''s thought, is hardly used except in its fullest form.
There is no doubt that the Maidservant dates from after this crucial development. By how long we can hardly tell; the development may have been achieved in this very picture. In the Maidservant light collects into pearly globules. The surface of the bread is lost under a separate crust of incandescence. On the skirt, where it is gathered at the waist, the points of paint lie like jewels, lending the cloth an independent and immaterial luster. The picture must belong to Vermeer''s full development, as a broader view of it was enough *****ggest, to the phase, that is to say, of the View of Delft rather than that of the Street. For a more precise indication of its date we may compare it with the Berlin drinking scene, the first conversation piece in which points of paint have a similar independence. The clotted paint which is so conspicuous here appears again in the lady''s bodice. Her skirt shows just such forms as that of the Maidservant; they do not appear in Vermeer''s work again. Perhaps the two pictures were not , painted far apart.
The use of Vermeer''s pointillés continues with increasing economy and refinement in later works; they are absent only in the modest style in which the jeweled subjects of the pearl pictures are set. Finally even this concession to the natural world becomes flattened and elaborated into the symbolic, lucent; facets of the latest works. Some reflection of the Maidservant can perhaps be discerned in pictures by De Hooch in his style of the early sixties.
--------------------
by Rodney Nevitt Jr.
"Vermeer and the Question of Love." in The Cambridge Companion to Vermeer, e***ed by Wayne Franits, Cambridge, 2001, pp.100-102
Cupid reappears in Vermeer''s Milkmaid on the tile (lower right) between the maid''s skirt and the foot warmer, preparing to shoot his bow. (Another tile to the right seems to contain a figure with a walking stick.) We can confirm the identity of the Cupid here by comparing it to a seventeenth-century Dutch tile (upper right) that was clearly made from the same design. The Cupid tile in Vermeer''s painting may be deliberately juxtaposed with the foot warmer, the wooden box containing a ceramic bowl for hot coals. Arthur Wheelock has called attention to a pictura entitled "Mignon des Dames" (Servant of Ladies) from Visscher''s Sinne-poppen in which a foot warmer becomes a symbol of the attention paid by courting men to their ladies. Such metaphoric uses of the foot warmer occur in other genre paintings. An illustration from (Scoperos satyrae ofter Thyrsis'' minnewit (Scopus''s Satire or Thyrsus'' Wit of Love), a vryerijboek published in 1668, shows a young man kneeling to attend to his lady''s foot warmer the accompanying text compares men who are open about their desires to women who cloak them: "The burning of maidens can be hidden,/ The coals exist in the heart
..."
Similarly, Vermeer''s Milkmaid is absorbed in her work, a paragon of domestic virtue without any overt amatory meaning. Cupid, however, is the peripatetic messenger of love, mischievously cropping up where one least expects him. Thus his understated presence here may be precisely the point. For both servants and mistresses, household work was often set in opposition to more pleasurable activities. In the popular kluchten (farces), maids regularly seek to evade their chores for amorous pursuits, like Jannetje in Klucht van de koeck-vreyer (Farce of the Cake-Vrijer), who wishes to go out "to the vrijers''s path, to see and be seen."
This stereotype was grounded in a social reality; in the Dutch Republic, maids were often young women who hoped to marry rather than make a lifelong profession of domestic work. A similar dynamic of work and play obtained for their mistresses. The preface to Delft Cupidoos schighje, addressed to "the Delft song- loving young ladies," focuses on lacemaking as a duty: "Don''t throw this book away,/ When with your fingers/You weave nice, dense little'' laces." Put it in your lap, the author suggests, and enjoy it later. We do not know what book lies next to Vermeer''s Lacemaker, but certainly it represents another contemplative pursuit that will occupy her when the lacemaking is done.
--------------
Vermeer''s painting technique in the Milkmaid
One of the qualities of The Milkmaid that gives it its extraordinary power is the three-dimensional character of the image, an effect achieved by both the force of light entering from the left and the textural effects of Vermeer''s painting techniques. Although the milkmaid''s white cap, wide forehead, and full figure are vigorously lit by light from the window, Vermeer has further accentuated her body by manipulating the play of light against the rear wall of the room. Where the milkmaid''s body is illuminated by the sun, Vermeer has thrown the rear wall into shadow; where her body is shaded, he has painted behind her the full force of the sunlight. The play of light against dark and dark against light, however, appears so natural that one is unaware of the artificiality of Vermeer''s construct or of the fact that the pattern of light falling into the room is illogical. Too little light falls on the wall to the left of the figure and too much to her right. Vermeer also heightened the light-dark contrast of the milkmaid''s body against the wall by contouring her entire right side with a thin stroke of white paint. Given the realistic character of the scene, the artificiality of this contour line, which also gives the figure a slightly radiant quality, is striking. Its presence, however, is symptomatic of Vermeer''s willingness to manipulate light effects for expressive purposes.
The care Vermeer exerted in creating this three-dimensionality is particularly evident in the modeling of the woman''s head and body. Small touches of paint-light ocher, reddish brown, brown, greenish gray, and white dabs and specular highlights-are joined together to build the form of her face. Brushstrokes are boldly juxtaposed, with little or no effort to blend the various colors together. The buildup of paint is so pronounced that one has the feeling that Vermeer was trying to sculpt the woman''s form with it.
This technique could not be further from that found in his works of the mid-1660s. In Woman in Blue Reading a Letter; for example, the face is so subtly modeled that virtually no brushstrokes are visible. Although x-radiographs indicate that Vermeer did accent her head with some bold strokes of a lead-bearing paint, presumably lead white mixed with ocher, the thin glazes that he subsequently applied to model the face removed all evidence of individual brushstrokes. Eyes, nose, and mouth are indicated in softly modulated tones and never denoted with contours.
The vigor of Vermeer''s brushwork in The Milkmaid is evident not only in the impastos of the face and shoulders, where the paint is most densely applied, but also in his mastery of translucent glazes. In the greenish area of the sleeve, for example, Vermeer articulated folds by altering the thickness of his paint as well as the color tonalities. The deepest shadows are created by the black he used to block in the form. No added color was used in these areas. For the rest, he allowed the ocher ground to serve as the intermediate tone. He highlighted the ridges of the folds with yellow paint, and even more expressively rendered is the blue cuff by the woman''s left elbow. Although a freely brushed thin layer of blue defines the color, Vermeer used the ocher ground that shows through the blue to help model its form.
Given the expressive character of the brushstrokes in this area, it is not surprising that Vermeer made a number of modifications in the appearance of the sleeve during its execution. The image in the x-radiograph does not conform exactly to the final appearance of the sleeve, and the infrared reflectogram shows how boldly he blocked in shadows on the sleeve and below the arm. In particular he seems to have changed the shape of the blue cuff and extended it downward at the rear.
Perhaps the most fascinating demonstration of Vermeer''s masterful use of paint is the extraordinary still-life on the table. The sparkling character of this assemblage of baskets,. earthenware bowls, jugs, and bread has no equivalent in Dutch art. Its impact is unmistakable. The still-life has a luminosity and radiance that seems to elevate it beyond ordinary reality. With specular highlights from its surface glistening in the sun, the bread could be priceless treasure, created in part by the dedication of the woman who carefully measures its ingredients.
from:
Arthur Wheelock, Vermeer and the Art of Painting, London and New Haven, 1995, pp. 65.67
-----------------------------------
source:
http://essentialvermeer.20m.com/catalogue/milkmaid.htm
ai muốn tìm hiểu thêm về Vermeer style ...
"Vermeer is the best of the Dutch Masters. Where Rembrandt used contrast between light and shadow, Vermeer saw with a full spectrum and used color and light to evoke emotion."
http://essentialvermeer.20m.com/books/books_vermeer.htm

?oTôi có một ước mơ?, diễn văn bất hủ của mục sư Martin Luther King, năm nay tròn 40 mươi tuổi. Đúng 4 thập kỷ trước, tại Đài tưởng niệm Lincoln, Thủ đô Washington, lãnh tụ phong trào nhân quyền, người mở đường cho hoạt động chống phân biệt chủng tộc hùng hồn gửi gắm khát khao, ước mơ cháy bỏng của mình về một thế giới tự do, bình đẳng, bác ái. Ước mơ đó đến nay vẫn còn nguyên giá trị. ?oTôi có một ước mơ, rằng tới một ngày, trên những ngọn đồi vùng Georgia, con cái của nô lệ và chủ nô cũ có thể ngồi với nhau như anh em. Tôi có một ước mơ, rằng bốn người con của tôi sẽ có ngày được sống trong một đất nước, nơi chúng sẽ không bị đối xử bằng màu da mà bằng chính thực chất con người chúng. Hôm nay tôi có một ước mơ...? Tại cuộc tuần hành chống phân biệt chủng tộc được coi là lớn nhất trong lịch sử Hoa Kỳ, Martin Luther King nói với sự say mê, truyền tinh thần cho không chỉ 250.000 cử toạ có mặt mà cả hàng triệu người trên toàn thế giới đấu tranh cho quyền con người. Hai vấn đề chính mà bài diễn văn đề cập là quyền được làm việc và quyền tự do, bình đẳng của con người, đặc biệt là người da đen, tầng lớp đang bị phân biệt, đối xử và chịu đựng nhiều bất công. Ước mơ của King xuất phát từ thực trạng đen tối của hàng chục triệu người Mỹ gốc Phi. Vào thời điểm năm 1963, rất nhiều người da đen không có quyền bỏ phiếu; họ không được sử dụng chung nhà tắm, khách sạn, nhà hàng, trường học... cùng với người da trắng. Tệ hại hơn, cuộc sống khó khăn của họ càng bi thảm vì những kỳ thị trong các hoạt động kinh tế - xã hội. Đây là bức ảnh ghi lại bài phát biểu đã đi vào lịch sử của ông: I Have A Dream - Tôi có một ước mơ
Đây là bức ảnh nổi tiếng của King tại Đài tưởng niệm Lincoln
 
Dưới đây là file audio của I Have A Dream. King phải ngừng liên tục vì những tràng pháo tay tán thưởng, từng trái tim cùng nhịp đập với ông, cùng chia sẻ với ông (bandwidth hơn thấp, các bác đợi một lúc là nghe được)
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.......
 "Free at last! free at last! thank God Almighty, we are free at last!" I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal." .....
Tại nhà trắng hôm nay TT Bush cũng làm lễ kỷ niệm với chủ đề: Dr. Martin Luther King, Jr. at "Let Freedom Ring" Celebration

Bush đang nghĩ gì về một thế giới "tự do" mà ông đang cải tạo?
 
Source: http://www.whitehouse.gov/news/releases/2006/01/20060116-3.html http://www.mecca.org/~crights/dream.html
Được hugobosshn sửa chữa / chuyển vào 17:41 ngày 17/01/2006

Last Man on the Moon - Apollo 17
Tháng 12 năm 1971, hai phi hành gia Eugene Cernan và Harrison Schmitt của tàu con thoi Apollo 17 đã đi đi lại trên mặt trăng tới 75 giờ. Smith chụp cho Cernan bức ảnh này, phía sau là lá cờ Hoa Kỳ và một cái ăng ten thu phát với trung tâm. Khi quay trở về trái đất, con tàu Apollo đã mang trong mình tới
110 kg cả đất và đá từ mặt trăng. Đã hơn 30 năm, kể từ đó vẫn chưa có ai quay lại thăm chị Hằng.
Source: http://www.spacemartgifts.com/moonwalk_apollo17.shtml

Trở về quá khứ, vào ngày 20 tháng 7 năm 1969 Edwin Buzz'''' Aldrin đi trên mặt trăng và phi hành gia nổi tiếng Neil Armstrong chụp bức ảnh này cho ông. Chuyến bay này mang tên Apollo 11. NASA dự định sẽ cho người quay lại mặt trăng vào năm 2018
Source: http://www.orlandosentinel.com/news/custom/space/orl-asec-moon2pic073105,0,3551792.photo
Ước mơ chinh phục vũ trụ bao la vẫn còn là thử thách vô cùng thú vị và hàm chứa nhiều ước mơ cho loài người
Được axlrose_guy sửa chữa / chuyển vào 21:24 ngày 21/01/2006

chòi các bác nói kì wé!!!!
cai bức kissing the war goodbye ko fãi sắp đặt !
anh lính và cô y tá ấy giờ đây đã thành vợ chồng
hom kĩ niem ngày dó nam 2005 họ có tổ chức... cac bác trai thì mac áo lính các bác gái thi mặc y tá nhìu người hon nhau cùng 1 lúc còn anh linh trg ảnh gio` đây la 1 cụ gia` xin co y tá trong ảnh (cụ già lun) đc kiss nhung cụ hong^ choa ^^....

the fact is that, that picture belongs to history and very famous n'' they''re spadin'' some stories around it

I agree with Axl, it seems that people sometimes want to change the history just for fun
There are widespread rumours of famous pictures
Được hugobosshn sửa chữa / chuyển vào 18:35 ngày 22/01/2006

The kiss, Rodin ( 1888-1889 )
Tuy thuộc về tác phẩm điêu khắc nhưng tôi vẫn đưa vào đây vì dù nhìn bức chụp của nó cũng thấy hay , jk .
Bình luận của nhà sử học nghệ thuật : The kiss thể hiện một phần của bài thơ Gates of Hell, của nhà thơ Dante. " Hai thân thể như hoà quyện vào nhau, bức tượng tạo ra tầm nhìn nam tính: với cơ thể như căng ra của người phụ nữ đang hiến dâng là sự đáp ứng thánh thiện của người đàn ông"
Bình luận của nhà phân tâm học: "Hai cơ thể đầy nhục cảm đối nghịch với tấm đá xù xì! Để lại nguyên vẹn chất liệu thô ráp, Rodin như nhắc nhở ông đã tạo ra tác phẩm từ sự chắt lọc. Từ đó, ông cũng cho thấy sự khác nhau giữa hội hoạ và điêu khắc: một bộ môn sử dụng hết tính năng của vật liệu, còn một bộ môn chỉ sử dụng một phần. Tính đối chọi giữa sự bình thản của người đàn ông với niềm mê say của người đàn bà thể hiện tính bất đối xứng trong đam mê tình yêu: Vẫn luôn luon có một thời khắc nào đó mà một bên bị lôi cuốn đi còn bên kia thì không"
source : Ng.đán , Femme Actuelle
-----------------------------
The passionate love of Francesca da Rimini and Paolo Malatesta was a theme which Rodin used to inspire The Kiss. Although it was originally intended to be part of the Gates of Hell, Rodin did not feel that it fit and removed the figures to make them an individual statue. The form of the lovers emerges from the highlights and shadows of the statue. Light and shade were used by Rodin to create an impression of actuality. He did with modeling that which his contemporaries, the French impressionist painters, were doing with pigment. Notice the convulsive contraction of the toes on the man''s right foot and the tenseness of his hand in contrast to the woman''s thigh. Such details reveal much of the passion that inflames the lovers, but they reveal it with taste and refinement.
Wrote the poet Rainer Maria Rilke of this masterpiece: ?oOne has the impression of seeing the delight of this kiss all over these bodies; it is like a sun which rises and its light is everywhere.?
http://www.musee-rodin.fr/senf2-e.htm
-------------------------
http://www.nga.gov/collection/sculpture/noflash/zone2-1.htm

xem thêm về rodin
http://www.ibiblio.org/wm/paint/auth/rodin/

Theo tớ được bít thì 2ng đó sau này ko gặp lại nhau trong suốt mấy chục năm. Đến tận năm 2005, kỷ niệm 60 chiến thắng fát xít thì ng ta mới tìm lại 2ng này và giúp cho họ gặp lại nhau. Hiện nay mỗi ng đã có gia đình và cuộc sống riêng của mình.