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  1. When you stop chasing the wrong things,

    you give the right things a chance to catch you



    1. benres


      That is a good reminder to me and for everyone who appreciates what we personally have in our possession!

  2. Daily Quotes

    When you stop chasing the wrong things, you give the right things a chance to catch you
  3. Springs home of artist Jackson Pollock limits visitors after complaint The East End home of the abstract artist attracted as many as 350 visitors a day last year but is now limited to three tours of no more than 12 people each, officials said. Jackson Pollock and Lee Krasner in Pollock's studio in 1949. Photo Credit: Lawrence Larkin The Springs home that belonged to abstract artist Jackson Pollock — an international destination for art enthusiasts and the set of the 2000 film "Pollock" — has restricted the number of visitors after a neighbor’s complaint about traffic congestion and parking conditions. The 1.5-acre property contains a small shingle-sided home overlooking Accabonac Creek and the paint-covered studio where Pollack created some of his iconic works. He lived there until his death in 1956. His wife, artist Lee Krasner, continued to live there until she died in 1984. Pollock, the leader of the abstract expressionist movement of the 1940s and 50s, pioneered his “spontaneous paint pouring” technique at his Springs home, using turkey basters and other methods to spread paint on canvas. It is filled with the couple’s furniture and personal items such as Krasner’s surviving spider plant. The studio of artist Jackson Pollock at the Pollock-Kranser House and Study Center in Springs, seen here on Tuesday. Photo Credit: Gordon M. Grant The Pollock-Krasner House and Study Center, which is operated by the Stony Brook Foundation, the nonprofit fundraising agency of Stony Brook University, attracted hundreds of visitors per day to the Springs Fireplace Road site. A record 350 people visited the home one day last year, center director Helen Harrison said. Springs resident Martin Drew had complained publicly, and in emails to news organizations and town officials, about congestion in the residential neighborhood, where most visitors park along the road’s shoulder. Drew said the center was operating outside the limits of its site plan, originally approved by the town planning board in 1991. Organizers of the center indicated in their original application the property would only accommodate two groups of five per day, five days per week. Under a new agreement with East Hampton Town, the Pollock-Krasner House is limiting visitors to three daily tours of 12 people each Thursdays through Saturday. The site was previously open the same days from 1 p.m. to 5 p.m. with no limits on the number of people. Reservations will now be required. The town "wants the historic story of the location shared with the public, but has significant concerns about the traffic congestion and safe parking conditions that result from the expanded use of the premises,” reads a letter from East Hampton Town attorney Michael Sendlenski to Harrison confirming the agreement that went into effect Aug. 1. “All I was asking was to stop parking on our public right of ways,” Drew said. “They’ve been operating out of their use status for 28 years.” Sendlenski declined to say if Drew’s comments prompted to the town act. The Pollock-Kranser House and Study Center in Springs, seen here on Tuesday. Photo Credit: Gordon M. Grant The new rules mean the site will likely have to turn visitors away, cutting into the center’s roughly $300,000 annual budget, Harrison said. The Stony Brook Foundation, which owns the property, provides $185,000 and the rest is made up through admissions which is $10 for adults and $5 for children, gift shop sales, grants and other sources. Springs Citizen Advisory Committee chairwoman Loring Bolger said it was regrettable that access to the cultural instition had to be limited, but added the traffic situation was dangerous. "People may not be happy with this solution, but they understand something had to be done," Bolger said. The studio drew a record 9,996 people during the 2017 season and was on pace to attract even more in 2018, Harrison said. A sign at the entance of the Pollock-Kranser House and Study Center in Springs on Tuesday. Photo Credit: Gordon M. Grant Fewer visitors has one benefit for the site, where guests are asked to put on booties before stepping on the paint-splattered studio floor. “It will cut down on the wear and tear of the property and will preserve the studio,” Harrison said.
  4. Leonardo da Vinci scholar challenges attribution of $450m painting Matthew Landrus believes most of Salvator Mundi was by one of artist’s studio assistants Bernardino Luini is the ‘primary painter’ of the Salvator Mundi, says Landrus, joining others experts in expressing their doubts. Photograph: Anadolu Agency/Getty Images Months after the painting Salvator Mundi sold for a record-breaking $450m (£335m), a leading Oxford art historian is challenging its attribution to Leonardo da Vinci. Matthew Landrus, a Leonardo scholar, believes most of the painting is by the artist’s studio assistant Bernardino Luini, whose own work generally sell for less than £1m. “This is a Luini painting,” Landrus said. “By looking at the various versions of Leonardo’s students’ works, one can see that Luini paints just like that work you see in the Salvator Mundi.” He said between 5% and 20% of the painting was by Leonardo, and that Luini was the “primary painter” The picture, which portrays Jesus gesturing in blessing with his right hand while holding a crystal orb in his left hand, was sold last November by Christie’s New York as “one of fewer than 20 known paintings by Leonardo”. Acquired for the Abu Dhabi Department of Culture and Tourism, it will be unveiled in September at the Louvre Abu Dhabi before its inclusion in aLeonardo exhibition at the Louvre in Paris next year. Some of the world’s foremost experts confirmed the Leonardo attribution in 2011, when Luke Syson, the then National Gallery curator, included the painting ina Leonardo retrospective at the London gallery that year. But other leading experts have their doubts. Frank Zöllner, a German art historian at the University of Leipzig, believes the Salvator Mundi could be a “high-quality product of Leonardo’s workshop” or even a later follower, and Charles Hope, the Italian Renaissance specialist, has argued that accepted Leonardo paintings look “quite different”. Michael Daley, the director of ArtWatch UK, criticised the painting for its lack of Leonardo’s “greater naturalism and complexity of posture”, and said Landrus’s theory was “very interesting”. Sources say that some Louvre staff also have their doubts. They were surprised to learn that Vincent Delieuvin, the head of the museum’s 16th-century Italian art and one of the curators of its Leonardo Paris exhibition, declined to comment on the painting when the Guardian approached him. Landrus, a research fellow at Wolfson College, Oxford, has published numerous books on the artist. His latest, Leonardo da Vinci, is published in September. The book is a substantial update of his 2006 publication, which has sold about 200,000 copies in 15 languages. The Salvator Mundi had not yet surfaced then as a Leonardo Landrus said: “I can prove that Luini painted most of that painting. A comparison of Luini’s paintings with the Salvator Mundi will be sufficient evidence.” Describing Luini as one of Leonardo’s two most talented studio assistants (the other was Giovanni Antonio Boltraffio), he has compared Luini’s Christ among the Doctors in the National Gallery with the Salvator Mundi. The evidence has led him to conclude that Luini was “the only reasonable candidate for much of the authorship”. He added: “By traditional standards, we can call it ‘a Leonardo studio’ painting.” Landus highlighted stylistic similarities, including the depiction of the gold bands and the fabric on the robes, saying: “One sees a similar construction on both of those gold bands and on the way the drapery is done. Luini did other paintings that had very good gold tracery in them. Also Christ’s face in both paintings has very similar modelling and, while the hairstyles are slightly different, the approaches are quite similar. Also, the shoulders on Christ are very similar.” Pointing to a photograph of the Salvator Mundi before its extensive restoration, he said: “There’s a lot of missing paint in certain sections. So it really does add to the discussion about how overpainted it is.” Landus believes that, if Leonardo’s hand is there, it is in the sophistication of the “sfumato technique, the subtle gradations of shading that avoid perceptible contours or dramatic shifts in tonal values”. The Salvator Mundi was in fact attributed to Luini in 1900, when it was acquired by Sir Charles Robinson for the Cook collection. Landrus said: “It’s more accurate than just calling it a Leonardo.”
  5. Visibility for Artists and Authors

    Welcome to ArtByte Silvia <3 Love from India <3
  6. Leonardo da Vinci | Drawings

    Leonardo da Vinci | Drawings A man of genius and universal talent of the Italian Renaissance, he fully embodied the spirit of his era, bringing it to the greatest forms of expression in the most disparate fields of art and knowledge. Leonardo da Vinci was a painter, draftsman, sculptor, architect, engineer, set designer, anatomist, scholar, musician, designer and inventor. He is considered one of the greatest geniuses of humanity. FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  7. In Crown Jewels Heist in Sweden, 2 Thieves Escape by Speedboat ________________________________________________________________________________ Two 17th-century burial crowns stolen from a cathedral near Stockholm on Tuesday. One of the orbs was also taken in the theft, which happened at around midday STOCKHOLM, Sweden — Three national treasures of Sweden — two crowns and an orb made for the funerals of King Charles IX and his wife, Christina the Elder, in the 17th century — have been stolen in an audacious midday theft from a cathedral near Stockholm. The two thieves smashed a showcase at the cathedral in Strangnas, a town on Lake Malar, on Tuesday, according to its dean, the Rev. Christofer Lundgren. However, the criminals might be disappointed with their haul, because the crowns and orb were meant for burial purposes and have a relatively low intrinsic value, despite being made of gold. “The stones applied to these crowns are not diamonds, they are rock crystals and pearls,” Mr. Lundgren said. “The worst thing that could happen is that these thieves do not fully understand what these objects are and their value and the importance of them. And that they would be melted.” “If they would show up at any auction house in Europe, I’m sure they would be recognized,” he added. “These are not things that you can sell or show in Sweden or even Europe. They are well known. They are well documented.” When the theft occurred, Mr. Lundgren said, no one else was in the publicly accessible room where the artifacts were displayed, though four other people, including a priest and a janitor, were in the building. He said witnesses had seen the thieves make their getaway across the lake in a speedboat. The police dispatched helicopters, boats and officers on foot once alerted to the theft. But Lake Malar is one of the largest in Sweden, with more than 8,000 islands and skerries and several cities on its perimeter, including Stockholm to the east. “So you can head in several different directions,” Thomas Agnevik, a police spokesman, said on Wednesday. “We think it’s an incredibly limited market for this type of booty,” Mr. Agnevik added. “Either it’s a very advanced theft someone has ordered or they are people who don’t understand the value.” Investigations are continuing, he said. Lars Amreus, director general of the Swedish National Heritage Board, a government agency, said he was stunned by the theft. “This happened during the middle of the day in an open cathedral where there were people in the cathedral at the point of the theft,” he said. “They were kept in locked showcases with an alarm and they still managed to get away.” “Of course, it’s absolutely devastating. These are our national heritage items of great significance,” he added. The bishop of Strangnas, Johan Dalman, said in a statement issued to the Swedish newspaper Dagens Nyheter that the theft was a “disrespectful and callous act that strikes against all of us for whom the cathedral and its rich history means so very much.” It was “a theft of a piece of Swedish history,” he added, and “a blow against us as a nation.” The getaway method, though unusual, has at least one precedent in Sweden. In 2000, three armed robbers confronted guards at the National Museum in Stockholm and made off with two works by Renoir and a self-portrait by Rembrandt. Those thieves also escaped by speedboat, but they and their accomplices were later caught, and they were charged and sent to jail in 2001.
  8. free Sundays at cultural sites

    Italy scraps free Sundays at cultural sites like Pompeii and the Colosseum Move introduced by new culture minister sparks political backlash but museum directors express support Visiting the Colosseum will no longer be free on the first Sunday of the month Flickr/alljengi Follow The new culture minister of Italy’s populist coalition government, Alberto Bonisoli, has sparked mixed reactions with the announcement that a monthly free-entry initiative at the country’s museums and monuments is coming to an end. Since July 2014, more than 480 state-run cultural sites, including Pompeii, the Uffizi and the Colosseum, have been free to visit on the first Sunday of every month. Known as Domenica al museo (Sunday at the museum), the policy was one of many culture reforms introduced by Bonisoli’s centre-left predecessor, Dario Franceschini. At a press conference in Naples on 31 July, Bonsoli said the decision to abolish free Sundays will take effect “after the summer”. While the initiative “worked well as a publicity campaign”, he said, “we are going in a direction that nobody likes.” At Pompeii, for example, it was problematic to maintain the policy on the first Sunday of August “with thousands of foreign tourists arriving and thinking Italians are mad for letting them in free”. Bonisoli said that museum directors he had consulted were “unanimous” in supporting the move, but stressed they will have “freedom” to continue the initiative at their own institutions if they wish. Franceschini hit back on Facebook that the free Sundays have “involved around 10 million people from the summer of 2014 to today”, encouraging many first-time museum visitors. “Don’t make culture and Italians pay for a political desire to break with the past,” Franceschini urged. The former Italian prime minister Matteo Renzi, whose Democratic Party administration introduced the policy, criticised the new government for “dismantling all our good and useful initiatives”. He wrote: “They have activated the bulldozers against culture”. The news was welcomed in Florence, however, by Eike Schmidt, the director of the Uffizi galleries, and Cecilie Hollberg, the director of the Galleria dell’Accademia. “Perhaps it is time to change strategy, especially in high season,” Schmidt told La Nazione newspaper, adding that “more flexible” discounts would attract locals rather than tourists who would otherwise pay for a ticket. In an interview with Il Fatto Quotidiano, Hollberg said that “overcrowding” on free Sundays “created security problems” for the museum that holds Michelangelo’s David. But the mayor of Milan, Giuseppe Sala, pledged on 1 August that the city’s museums—including the Pinacoteca di Brera and the Cenacolo Vinciano, the museum of Leonardo da Vinci’s Last Supper—will remain free on the first Sunday of the month. “Milan is not stopping,” he wrote in a Facebook post. “We are going ahead with the joy of seeing so many citizens and tourists visiting our museums.”
  9. Daily Quotes

    A friend is like a song after we hear it, we still hum the melody as we live. You are one of the best songs that never runs out of tune. Happy Friendship Day
  10. A friend is like a song after we hear it, we still hum the melody as we live. You are one of the best songs that never runs out of tune.
    Happy Friendship Day
  11. Donkey Face

    Incredible..work... @Cxcow
  12. Ai Weiwei's Beijing studio razed by Chinese authorities The dissident artist posted on social media that he had been given no advance warning The walls of Chinese artist Ai Weiwei’s studio collapse during demolition. Photograph: Ng Han Guan/AP Chinese authorities are razing the Beijing studio of dissident artist Ai Weiwei, as his team race to remove years’ worth of his sculptures. “Farewell,” Ai wrote on Instagram, below footage of an excavator clawing at a hole in the concrete wall, as workers boxed artwork in the cavernous hall. Ai Weiwei. Photograph: Don Arnold/WireImage “They started to demolish my studio ‘Zuoyou’ in Beijing with no precaution,” he wrote in English. He posted a series of other images of the studio, a former car parts factory in Beijing’s outer suburbs, which has been his main base since 2006. Some images showed it being dismantled, others showed it filled with monumental works from exhibitions held in calmer days. Ai was once a favourite of the Chinese government, designing the much-admired “Bird’s Nest” stadium that was at the heart of the 2008 Beijing Olympic Games, and used as its symbol. But he became increasingly critical of the authorities, particularly after a devastating earthquake in eastern Sichuan province just ahead of the Olympics. Thousands of children were buried under schools that collapsed, and Ai became an advocate for the dead and their families, compiling names of students entombed in their schools, and later creating works to honour them. In 2011, he was detained for 81 days after being accused of tax evasion,charges that he said were politically motivated. He paid a $2.4m (£1.5m) fine partly with donations from supporters, but his passport was confiscated for several years, preventing him from travelling. It was only returned in 2015, and since then, he has lived in self-imposed exile in Berlin. Ai had been expecting to leave the studio soon, his assistant Ga Rang told AFP, because the rental contract on the space had expired last autumn. However, Ga said, it had not been possible to remove all the artwork stored in the space because there was so much of it, and the sudden destruction put some of it at risk. “They came and started knocking down the windows today without telling us beforehand. There’s still so much stuff inside.” It was not clear if the destruction was targeting Ai directly. Chinese authorities have been clearing swathes of suburban Beijing over the last year, and residents near the studio said the former factory area was slated for redevelopment, AFP reported.
  13. Hans Heyerdahl | Norwegian Realist

    Hans Heyerdahl | Realist painter Hans Olaf Halvor Heyerdahl (8 July 1857, Smedjebacken, Sweden - 10 October 1913, Oslo) was a Norwegian Realist painter. He was the son of Halvor Heyerdahl (1825-1900), a prominent engineer. In 1859, the family moved to Drammen, where his father took up the joint posts of City Engineer and Fire Chief. He began his education with the intent of following in his father's footsteps, but soon discovered that he was more attracted to drawing and art. In 1873, he entered the Norwegian National Academy of Craft and Art Industry and studied under Peder C. Thurmann, a landscape artist trained in Dusseldorf. The following year, he enrolled at the Academy of Fine Arts, Munich, where his professors were Wilhelm von Lindenschmit the Younger and Ludwig von Löfftz, who encouraged him to switch from landscapes to historical painting and portraits. From 1878-1882, he lived in Paris and won a third-place Medal at the Exposition Universelle for his painting of Adam and Eve's expulsion from Paradise, finished in 1877 under the guidance of Wilhelm Lindenschmit (1829-95). He made his début at the Salon in 1879 with a portrait of the composer Johan Svendsen. Léon Bonnat - Fille romaine à la fontaine While in Paris, he came under the influence of Léon Bonnat and took up painting en plein-air. In 1881, his work "Det døende barn" (The Dying Child) won the "Grand Prix* du Florence" at the Salon, which enabled him to spend two years studying in Italy. After finishing his studies, he returned to Norway and settled in Christiania (Oslo), where he gave private art lessons to support his studio. His summers were spent painting in Åsgårdstrand, where he inspired Edvard Munch, who was just beginning his career. In addition to his landscapes, he did scenes from Norwegian history and several portraits of notable people, including Frits Thaulow (1885), Knut Hamsun (1893) and Henrik Ibsen (1894). After 1900, he spent another six years in Paris, where his paintings took on a more melancholy tone. In 1904, he was named a Knight in the Order of St. Olav. Heyerdahl, Hans Olaf - Pittore, nato nel Dalarne in Svezia l'8 luglio 1857, morto a Cristiania il 10 ottobre 1913. Cominciò i suoi studî alla scuola pittorica di Morten Müller in Cristiania e nel 1874 si recò all'Accademia di Monaco. Acquistò la qualifica di colorista eccellente, come già dimostra Adamo ed Eva cacciati dal Paradiso (1877). Il suo successivo lavoro Bambino morente del 1882 fu comprato dal governo francese. Studiò a Firenze e le opere eseguite sotto l'influsso dell'arte antica si distinguono non solo nella ricca e variata produzione di Heyerdahl, ma in tutta l'arte norvegese, specialmente per la loro straordinaria qualità coloristica. Tra le sue molte opere notiamo; La Maddalena penitente e Due sorelle nella Galleria nazionale di Oslo. | © Treccani FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  14. Hating people takes too much time.
    Forgive them, not because they deserve it but because you are on a higher level than they are
  15. Daily Quotes

    Hating people takes too much time. Forgive them, not because they deserve it but because you are on a higher level than they are