Bemposta - RJ
Coleção Privada
OST - 83x129 - 1886
Nota do blog: A segunda foto mostra a Fazenda em 1906. Por ela, nota-se o grau de fidelidade que o pintor imprimiu na obra.
quinta-feira, 30 de novembro de 2017
Fazenda Cataguá em Bemposta, Rio de Janeiro, Brasil (Fazenda Cataguá em Bemposta) - Johann Georg Grimm
Bemposta - RJ
Coleção Privada
OST - 83x129 - 1886
Nota do blog: A segunda foto mostra a Fazenda em 1906. Por ela, nota-se o grau de fidelidade que o pintor imprimiu na obra.
Represa do Toucinho, Serra da Cantareira, 1893, Estado de São Paulo, Brasil
Represa do Toucinho, Serra da Cantareira, 1893, Estado de São Paulo, Brasil
Estado de São Paulo - SP
Fotografia
Propaganda "Austin-Healey 100-6", Austin-Healey, Inglaterra
Propaganda "Austin-Healey 100-6", Austin-Healey, Inglaterra
Propaganda
Fazenda Recreio em Bemposta, Rio de Janeiro, Brasil (Fazenda Recreio em Bemposta) - Johann Georg Grimm
Bemposta - RJ
Coleção Privada
OST - 81x124 - 1886
Fazenda Glória do Mundo em Paraíba do Sul, Rio de Janeiro, Brasil (Fazenda Glória do Mundo em Paraíba do Sul) - Johann Georg Grimm
Paraíba do Sul - RJ
Acervo Prefeitura Municipal de Vitória, Brasil
OST - 76x110 - 1886
Fazenda Floresta em São José do Vale do Rio Preto, São José do Vale do Rio Preto, Rio de Janeiro, Brasil (Fazenda Floresta em São José do Vale do Rio Preto) - Johann Georg Grimm
São José do Vale do Rio Preto - RJ
Coleção Privada
OST - 61x82 - 1881
Rio Piabanha, Petrópolis, Rio de Janeiro, Brasil (Rio Piabanha) - João Batista da Costa
Rio Piabanha, Petrópolis, Rio de Janeiro, Brasil (Rio Piabanha) - João Batista da Costa
Petrópolis - RJ
Localização atual não obtida
Óleo sobre madeira - 38x46
Fazenda Aliança em Bemposta, Rio de Janeiro, Brasil (Fazenda Aliança em Bemposta) - Johann Georg Grimm
Bemposta - RJ
Coleção Privada
OST - 48x66 - 1881
Fazenda Calçado em São José do Vale do Rio Preto, São José do Vale do Rio Preto, Rio de Janeiro, Brasil (Fazenda Calçado em São José do Vale do Rio Preto) - Johann Georg Grimm
São José do Vale do Rio Preto - RJ
Fundação Maria Luisa e Oscar Americano, São Paulo, Brasil
OST - 56x75 - 1879
Iracema (Iracema) - José Maria de Medeiros
Iracema (Iracema) - José Maria de Medeiros
Museu Nacional de Belas Artes, Rio de Janeiro, Brasil
OST - 168x255 - 1881
O tema da pintura de Jose Maria de Medeiros vem de um poema brasileiro de José Martiniano de Alencar. Ambientado no século XVI, ele narra uma história de amor fictícia entre Iracema, uma mulher indígena Tabajara, e Martim Soares Moreno, um colonizador Português. Este trabalho de Medeiros é considerado a primeira imagem de Iracema e foi exibido no Rio de Janeiro em 1884. Embora tenha sido inicialmente recebida com desaprovação, a vívida descrição da paisagem pelo artista incitou a Academia Imperial de Belas Artes a adquirir o quadro. Posturas similares são observadas em outras obras que, como a pintura de Medeiros, procuraram retratar versões idealizadas dos povos indígenas da América do Sul.
Rochedo da Boa Viagem, Ilha da Boa Viagem, Niterói, Rio de Janeiro, Brasil (Rochedo da Boa Viagem) - Johann Georg Grimm
Rochedo da Boa Viagem, Ilha da Boa Viagem, Niterói, Rio de Janeiro, Brasil (Rochedo da Boa Viagem) - Johann Georg Grimm
Ilha da Boa Viagem - Niterói - RJ
Museu Antônio Parreiras, Niterói, Brasil
OST - 80x61 - 1887
Vista da Ponta de Icaraí, Niterói, Rio de Janeiro, Brasil (Vista da Ponta de Icaraí) - Johann Georg Grimm
Vista da Ponta de Icaraí, Niterói, Rio de Janeiro, Brasil (Vista da Ponta de Icaraí) - Johann Georg Grimm
Niterói - RJ
Coleção Privada
OST - 81x152 - 1884
Studebaker Coupe Express Truck 1937, Estados Unidos
Studebaker Coupe Express Truck 1937, Estados Unidos
Propaganda
Cartaz de Propaganda "Do You Know The Land?", Itália
Cartaz de Propaganda "Do You Know The Land?", Itália
Propaganda para fomentar o turismo na Itália em países de língua inglesa.
Elaborada pelo ENIT
Propaganda
Condenação Brutal 1989 - Lock Up
Estados Unidos - 109 minutos
Poster do filme
Vista do Morro do Cavalão, Niterói, Rio de Janeiro, Brasil (Vista do Morro do Cavalão) - Johann Georg Grimm
Niterói - RJ
Museu Nacional de Belas Artes, Rio de Janeiro, Brasil
OST - 110x84 - 1884
Palácio da Pena em Construção, Circa 1850, Sintra, Portugal
Palácio da Pena em Construção, Circa 1850, Sintra, Portugal
Sintra - Portugal
Fotografia
O Convento da Pena, Sintra, Portugal (Convent of Penha, Sintra) - George Vivian
O Convento da Pena, Sintra, Portugal (Convent of Penha, Sintra) - George Vivian
Sintra - Portugal
Coleção privada
Litografia - 1839
Palácio da Pena, Sintra, Portugal (Palácio da Pena) - Johann Georg Grimm
Sintra - Portugal
Museum Hofmuhle Immenstadt, Immenstadt, Alemanha
OST- 36x60 - 1877
Fazenda Marzagão, Sabará, Minas Gerais, Brasil (Fazenda Marzagão) - Johann Georg Grimm
Sabará - MG
Coleção Privada
OST - 51x80 - 1880
A Liberdade Guiando o Povo, Paris, França (La Liberté Guidant le Peuple / Liberty Leading the People) - Eugène Delacroix
Paris - França
Museu do Louvre, Paris, França
OST - 260x325 - 1830
Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X of France. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne.
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.
Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the romantic era.
The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.
The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.
Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.
The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime,
Champfleury wrote in August 1848 that it had been "hidden in an attic for being too revolutionary." Although Louis-Philippe's Ministry of the Interior initially acquired it as a gesture to the Left, after the uprising at the funeral of Lamarque in June 1832 it was never again openly displayed for fear of setting a bad example.
Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. It was exhibited briefly in 1848, after the Republic was restored in the revolution of that year, and then in the Salon of 1855. In 1874, the painting entered the collection of Palais du Louvre in Paris.
In 1974–75, the work was the featured work in an exhibit organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibit, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibit was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.
In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring 2.99 metres (9.8 feet) high by 3.62 metres (11.9 feet) long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device. In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription ("AE911") on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.
Amanhecer na UNESP, Estado de São Paulo, Brasil (Amanhecer na UNESP) - José Rosário
Amanhecer na UNESP, Estado de São Paulo, Brasil (Amanhecer na UNESP) - José Rosário
Estado de São Paulo - SP
Coleção privada
OST - 40x50 - 2015
Fazenda Retiro em Bemposta, Estado do Rio de Janeiro, Brasil (Fazenda Retiro em Bemposta) - Johann Georg Grimm
Fazenda Retiro em Bemposta, Estado do Rio de Janeiro, Brasil (Fazenda Retiro em Bemposta) - Johann Georg Grimm
Bemposta - RJ
Coleção Privada
OST - 60x82 - 1881
Vista Panorâmica de Sabará, Minas Gerais (Vista Panorâmica de Sabará) - Johann Georg Grimm
Sabará - MG
Coleção Privada
OST - 57x98 - Circa 1885
Propaganda "Now in America!", Austin-Healey 100-6, BMC, Inglaterra
Propaganda "Now in America!", Austin-Healey 100-6, BMC, Inglaterra
Propaganda
Nota do blog: Anúncio do carro feito pelo seu representante nos Estados Unidos (Hambro Automotive Corporation).
AC Cars Ace Bristol, Inglaterra
AC Cars Ace Bristol, Inglaterra
Produzido entre 1953-1963
Versão com motor marca Bristol
Propaganda
terça-feira, 28 de novembro de 2017
O Filme da Minha Vida 2017 - O Filme da Minha Vida
Brasil - 113 minutos
Poster do filme
Relíquia Macabra / O Falcão Maltês 1941 - The Maltese Falcon
Estados Unidos - 100 minutos
Poster do filme
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