Praça Charles Miller, Pacaembu, 1953, São Paulo, Brasil

Praça Charles Miller, Pacaembu, 1953, São Paulo, Brasil
São Paulo - SP
Fotografia

Eu Gosto Assim (I Like It This Way) - James Montgomery Flagg

Eu Gosto Assim (I Like It This Way) - James Montgomery Flagg
Coleção privada
OST - 122x71

Via Anchieta, Estado de São Paulo, Brasil

Via Anchieta, Estado de São Paulo, Brasil
Estado de São Paulo - SP
N. 91
Fotografia - Cartão Postal

Retrato do Dr. Gachet, Auvers-sur-Oise, Paris (Le Docteur Paul Gachet / Portrait of Dr. Gachet) - Vincent van Gogh

Retrato do Dr. Gachet, Auvers-sur-Oise, Paris (Le Docteur Paul Gachet / Portrait of Dr. Gachet) - Vincent van Gogh

Auvers-sur-Oise - Paris
Museu d'Orsay, Paris, França
OST - 68x57 - 1890

Inseparably entwined with the last period of Vincent van Gogh's life in Auvers, Dr Gachet was an original character. He was a homoeopathic doctor interested in chiromancy but his real passion lay with the arts. An accomplished engraver himself, he kept in touch with many different artists including Manet, Monet, Renoir and Cézanne. It was therefore logical for Van Gogh to go to him, on the advice of his brother Theo, when he was discharged from hospital in Saint-Rémy-de-Provence.

Specialised in psychiatry, the doctor did his best to help Vincent overcome his anguish while affording him the material comfort conducive to his well-being.

The portrait of the doctor was painted during this particularly intense creative phase. He was no ordinary model and is portrayed in a melancholy pose reflecting "the desolate expression of our time," as Van Gogh wrote. The only touch of hope in this severe portrait brushed in cold colours is the foxglove which brings a little comfort and relief through its curative properties.

Despite his devotion, Dr Gachet was unable to prevent Van Gogh's irremediable gesture; the artist committed suicide shortly afterwards.

Parque Estadual de Vila Velha, Ponta Grossa, Paraná, Brasil

Parque Estadual de Vila Velha, Ponta Grossa, Paraná, Brasil
Ponta Grossa - PR
N. 231
Fotografia - Cartão Postal

O Parque Estadual de Vila Velha é um sítio geológico situado no município brasileiro de Ponta Grossa, do qual é a principal atração turística. Está localizado a vinte quilômetros ao sudeste do centro da cidade e a cem quilômetros de Curitiba, capital do Estado do Paraná.

O conjunto de formações lembra uma cidade medieval com seus castelos e torres em ruínas, daí o seu nome. A altura média das colunas de pedra e muralhas é de vinte metros e pode chegar a trinta metros ou mais em alguns pontos, em função do terreno acidentado.

Criado pelo Departamento do Patrimônio Histórico e Artístico do Estado do Paraná em 1966, para proteger seus 18 km² de formações rochosas, classificadas como um dos sítios geológicos brasileiros pela SIGEP, devido suas impressionantes esculturas naturais, esculpidas pelas erosões eólica e pluvial nos arenitos do Grupo Itararé.

Composto de três sítios vizinhos: os Arenitos; as Furnas e a Lagoa Dourada.

Enquanto os arenitos são uma enorme coleção de grandes blocos esculpidos em formas exóticas, as Furnas são três crateras com paredes verticais, erodidas no solo, a maior delas com cerca de 100 metros de profundidade, metade da qual coberta de água. Todas são ligadas entre si e à Lagoa Dourada, assim chamada pelo efeito criado pela água cristalina e a coloração de suas areias nos poentes.

A formação arenítica de Vila Velha remonta ao período Carbonífero (há aproximadamente 340 milhões de anos), quando o mar interior que existia no local começou a ser drenado, expondo o material arenoso que acabou cimentado com óxido de ferro (daí a cor avermelhada).

Nos milênios seguintes o terreno gradativamente se elevou e foi vagarosamente erodido pela ação dos ventos e da chuva que atuaram nas zonas mais frágeis das rochas, desgastando-as de forma diferencial e até mesmo isolando-as em diversos blocos.

Algumas das formações parecem animais como a "Tartaruga" ou o "Camelo", outras lembram cogumelos dos mais diversos tipos e tamanhos, ou formas como a "Taça", símbolo de Vila Velha; a "Bota"; a "Esfinge"; a "Cabeça de índio"; paredes de pedra que lembram muralhas de castelos, torres de diversos formatos e alturas de geometria variável com formas e paisagens distintas, além de fendas cujo formato interno lembram garrafas. Há duas grandes pedras pendentes no alto entre dois paredões rochosos, sempre prestes a desabar e parecendo flutuar desafiando as leis da gravidade.

Os arenitos de Vila Velha tem a cor basicamente avermelhada como um tijolo, cujos matizes variam conforme a hora, luz do Sol e da época do ano, criando uma atmosfera surreal.

Palácio da Alvorada, Brasília, Distrito Federal, Brasil

Palácio da Alvorada, Brasília, Distrito Federal, Brasil
Brasília - DF
Foto Postal Colombo N. 107
Fotografia - Cartão Postal

Segure-me, Frajola (Hold Me, Sylvester) - David Spiller

Segure-me, Frajola (Hold Me, Sylvester) - David Spiller
Coleção privada
Serigrafia - 93x94 - 2016

Amor Jovem, Margarida (Young Love, Daisy) - David Spiller

Amor Jovem, Margarida (Young Love, Daisy) - David Spiller
Coleção privada
Serigrafia - 88x88 - 2011

Para Sempre Jovem, Donald (Forever Young, Donald) - David Spiller

Para Sempre Jovem, Donald (Forever Young, Donald) - David Spiller
Coleção privada
Serigrafia - 88x88 - 2011

Templo de Al Khazneh, Petra, Jordânia (El Khasne Petra) - Frederic Edwin Church

Templo de Al Khazneh, Petra, Jordânia (El Khasne Petra) - Frederic Edwin Church
Petra - Jordânia
Olana Historic Site, Hudson, Estados Unidos
OST - 153x127 - 1874

El Khasné, Petra is an 1874 oil painting by American landscape artist Frederic Edwin Church. It is a depiction of the Al-Khazneh temple in the historical city of Petra, Jordan, which Church visited during an extended trip to the Middle East and Europe in 1867 and 1868. He visited the tomb with American missionary D. Stuart Dodge in February 1868 and made sketches there. The painting is located at Olana State Historic Site, the preserved homestead where Church lived in his later years. It may be the last canvas that he painted entirely with his right hand, owing to worsening rheumatoid arthritis.

The mausoleum is carved out of sandstone and at the time was only approachable by the depicted passageway, called the Siq. Church composed the painting as he would have first glimpsed the temple; he frames it with the dark rock in a manner that is unconventional for its time. Church found the site "astonishing" and wrote in his diary of a "beautiful temple ... shining as if by its own internal light", which he described as a salmon color. The composition is unlike those of the paintings that had made Church famous; there is no panoramic view, no conveyance of a "greater whole", and little sense of depth. The narrow passage has a stream running through it, and the two Bedouin figures at left, barely discernible, provide a sense of scale.

Church set out for Petra from Jerusalem with a large entourage of 21 men who provided meals and protection, and got on well with them. The area was popular with artists but considered dangerous; Church reported that an artist had been shot before him. Taking sketches of sacred locales was not necessarily seen as an innocent activity. As Church wrote:

“We went straight to the famous Khasné, first as being the best of all the temples at Petra—I saw it, was astonished and then deliberately opened my three legged stool, sat upon it, opened my sketchbook, spread out the paper, sharpened the pencil, took a square look at the Temple and an askant one at the Bedawins and made my first line—they made no motion and after a few rapid touches, I felt that the mystery was solved in my favor—I could sketch without let or hindrance, a freedom unaccorded before.”

The painting was a gift to Church's wife. He designed it, along with its frame, for the sitting room in which it still hangs at the Olana site. Its salmon color is reflected in the interior decoration. It was shown at the National Academy in 1874.