Galocha Cultural

quinta-feira, 8 de abril de 2021

Interior da Igreja de Santo Antônio Ainda sem Acabamento, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Estação Ferroviária, 2020, Ribeirão Preto, São Paulo, Brasil

Estação Ferroviária, 2020, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia

Nota do blog: Como a maioria das coisas a cargo do poder público, encontra-se em péssimas condições. Abandono é o termo que melhor se adequa a situação...

Propaganda "Companhia Cervejaria Antarctica Paulista", Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Propaganda

"Campinho do República", Circa 1968-1970, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Nota do blog: Antigo "Campinho do República". Era a "casa" do time de futebol amador do bairro, o "República". Quando chovia, inundava, virando açude para diversão do pessoal. Nesse local, atualmente, é a Câmara Municipal de Ribeirão Preto.
No canto à direita, descida da Rua Guatapará no final da Rua Saldanha Marinho.

Obras e Asfaltamento do Bairro Castelo Branco Novo, Circa 1975-1976, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

Propaganda "Em Tempo de Guerra, o Petróleo Sempre Sobe, Fique Longe das Bombas", Honda CG Titan 125, Honda, Brasil

Propaganda

Propaganda "Troque sua Off-Road por um Lindo Carro de Passeio Toda Vez que for ao Lava-Rápido", Volkswagen Parati, Volkswagen, Brasil

Propaganda

A Costureira (La Couseuse) - René Magritte

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Óleo sobre painel - 66x74 - 1922

The 1920s were a period of intense creativity for the young Magritte who developed his style, drawing upon various influences. According to Mesens; "Magritte [...] painted under different influences: that of Matisse, the futurists, Albert Gleizes rather than Picasso. He knew most of these painters only through reproductions." (Mesens, in 'René Magritte', Peintres belges contemporains, Brussels, 1947, p.157). His meeting with Mesens in the 1920s was seminal. Together, the two artists consulted the exhibition catalogues of various movements, including first and foremost that of the Futurist and Cubist movements.
Magritte incorporated certain innovative precepts into La Couseuse, such as the use of plain colours and a manner that tended to combine form and content. By refining the subject matter, Magritte pushed Cubist principles to their limit, retaining only the basic structural lines. Magritte thus opened his style to a dreamlike dimension, foreshadowing later works. However much the works from this period are situated on the edge of abstraction, Magritte always wished to work on the real. "I ended up finding in the appearance of the real world itself the same abstraction as in the paintings, because despite the complicated combinations of details and nuance of a real landscape, I could see it as if it were only a curtain placed in front of my eyes." (Magritte, extract from the conference La ligne de vie, 1938)