Piazza del Viminale, 1938, Roma, Itália
Roma - Itália
Fotografia
domingo, 16 de maio de 2021
Ônibus da CMTC Para Levar Torcedores ao Estádio de Futebol, Anos 80, Vale do Anhangabaú, São Paulo, Brasil
Ônibus da CMTC Para Levar Torcedores ao Estádio de Futebol, Anos 80, Vale do Anhangabaú, São Paulo, Brasil
São Paulo - SP
Fotografia
Nota do blog: Vale do Anhangabaú, anos 80, domingo com jogo de futebol importante. Vários ônibus da CMTC estacionados para levarem os torcedores ao estádio. As torcidas embarcavam em lados opostos do Vale do Anhangabaú para não termos confrontos e as costumeiras faltas de inteligência. Destaque para a antiga passarela existente no local.
Relojoaria "A Hora Certa", Ribeirão Preto, São Paulo, Brasil
Relojoaria "A Hora Certa", Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia
Nota do blog: Supostamente, a primeira relojoaria de Ribeirão Preto, situada na Rua General Osório, início do século XX. Na foto Francisco Muller, o proprietário, os seus filhos ainda crianças, Roberto Muller e Oswaldo Muller, e funcionários. Certamente aprendeu o ofício na Europa e passou a exercê-lo por aqui. De qualquer forma, excelente nome para uma relojoaria...rs.
sábado, 15 de maio de 2021
Lancia Flaminia Sport 3C 2.5 Litre Coupé Coachwork by Carrozzeria Zagato 1962, Itália
Lancia Flaminia Sport 3C 2.5 Litre Coupé Coachwork by Carrozzeria Zagato 1962, Itália
Fotografia
One of the oldest and most respected of automotive design firms, Zagato was quick to exploit the popularity of the new GT racing category after WW2, supplying factory teams and catering for the privateer scene with roadable cars that could be driven competitively on the racetrack come the weekend. The creator of some of the most memorable designs of this, arguably Zagato's most productive period, was Ercole Spada. Favouring soft fluent, aerodynamic lines, Spada introduced the sawn-off tail on the Alfa Romeo Giulia Tubolare Zagato and was also responsible for the Alfa Romeo Giulietta and 2600 SZs. His creations on Lancia chassis included the Zagato Sport/Super Sport variants of the Flavia, Fulvia and Flaminia.
Introduced at the 1956 Turin Motor Show, Lancia's top-of-the-range Flaminia retained its Aurelia predecessor's mechanical layout, though Lancia's traditional 'sliding pillar' independent front suspension gave way to a more-modern double wishbone arrangement. Aurelia carry-overs were the 60-degree, 2,458cc, overhead-valve, V6 engine, and the De Dion rear transaxle with inboard brakes. The Zagato-bodied Sport and Super Sport models shared a shortened wheelbase with the Touring-styled GT/GTL coupés and the Convertible, and all featured disc brakes and increased power. A 2,775cc engine was introduced in 1962, by which time the sportier Flaminias were capable of around 200km/h (130mph).
Zagato made a number of styling changes over the years, though determining the configuration and specification of individual cars is extremely difficult. Faired-in headlamps under Plexiglas cowls featured on the first 99 cars, which were followed by a further 100 single-carburettor models with open vertical headlamps. Introduced in 1961, the 3C variant featured triple Weber 35DCN carburettors in place of the single Solex, which raised maximum power to 140bhp. Later Sport and Super Sport models were fitted with the 2.8-litre engine.
Featuring the Milanese carrozzeria's signature 'double bubble' roof, this example of the last word in old-style Lancia design is one of 174 Zagato Sport 3C 2.5-litre models built during 1962/1963. Chassis number '3311' had been in the same ownership since 1979 when it was purchased as a 'barn find' from its French owner by renowned marque specialists, Thornley Kelham. The Flaminia was subsequently sold to the current owner, who commissioned Thornley Kelham to undertake a complete 'last-nut-and-bolt' restoration to better-than-new condition. Final costs totalled £322,000 and all receipts are available.
Commencing in November 2015, this total restoration would take some four years to complete, during which all mechanical sub-assemblies were stripped and fully rebuilt. The car was rewired and fully re-trimmed, while over 1,200 hours were spent on painstakingly removing the body's aluminium panels, repairing the corroded steel chassis, and repairing and refitting the body. Every nut and bolt was removed, cleaned, and then either reconditioned or replaced before being repainted. The Flaminia is now finished in a very elegant silver/grey with a red leather interior, and has won several concours prizes since completion in 2019. The car has covered only some 4,000 kilometres over the last two years and, as one would expect, is presented in immaculate condition. Rarely do such exceptional examples come on the open market. Offered with a V5C Registration Certificate and the aforementioned restoration receipts.
Gato Félix (Felix the Cat) - Andy Warhol
Gato Félix (Felix the Cat) - Andy Warhol
Coleção privada
Acrílica e serigrafia sobre tela - 228x284 - 1985-86
Executed a year before his death, Andy Warhol’s Felix the Cat exemplifies the artist’s fascination with the aesthetic of pop culture that has placed him at the apex of art history. A portrait of the internationally recognized anthropomorphic black cat, the present work renders a comic book ad of Felix the Cat laughing and pointing outside the margins of the canvas. Running on television from 1923 to 1966, Felix the Cat became one of the first and most famous cartoon characters in comic strip and T.V. history. Warhol, who was born in 1928, was part of the first generation of children that grew up watching and reading cartoons. This would prove to be extremely influential in Warhol’s later life; his artistic career began as a commercial illustrator and cartoonist. Paying homage to his early youth while also honoring American consumerism and celebrity culture, the present work demonstrates Warhol’s ethos as a Pop Art icon.
As a child, Warhol suffered from Sydenham chorea, a neurological disorder characterized by involuntary movements. When the disorder occasionally kept him home from school, Warhol would read comics and watch daytime T.V. as a form of entertainment. Fueling his imagination, Warhol found himself lost in the world of fictitious characters, among them Felix the Cat. In his early twenties, Warhol moved to New York City and became a freelance illustrator, creating cartoons for Glamour magazine, Columbia Records, and I Miller. Evidently influenced by the cartoon world that surrounded him as a child, Warhol launches his career through this genre of illustration for which he is now internationally revered.
In the 1980s, Warhol had a re-emergence of critical and financial success. During this time, his works primarily consisted of reproductions of images of popular culture like the Chanel Number 5 perfume bottle, Santa Clause, Queen Elizabeth II, Superman, among others. These items, and specifically Felix the Cat, serve as fragments of Warhol’s psyche and his obsession with all things fame. Moreover, part of Warhol’s re-emergence in the 1980s was largely due to his friendships with a younger generation of artists, including Jean-Michel Basquiat. In one of his many collaborations with the artist, Warhol included Felix the Cat as one of his contributions to the joint painting. Undoubtedly, Warhol felt a deep fascination with this nostalgic cartoon character of his childhood.
A television star in his own right, Felix the Cat was one of the most famous cartoon characters of its time. Designed and written by the American master animator Otto Messmer, Felix was a mischievous yet good-hearted black cat that captured the heart of American children. Widely considered the world’s first animated film star, Felix the Cat revolutionized television and quickly became an international success, becoming the first cartoon to sell plush toys and other merchandise. Warhol, forever enamored by all things fame, was keenly aware of this fact and was fascinated by the mere existence of a fictional, imaginary drawing being one of the most famous personalities of the twentieth century.
Warhol’s portraits of popular culture are a testimony to his infatuation with the mythology of fame —even once he had achieved worldwide recognition himself. His enduring ability to pay homage to the everlasting notions of celebrity, consumerism, and the desire for materialistic bliss are a singular aspect of his practice that has reverberated throughout art history ever since. After recovering by his attempted murder by Valerie Solanas in 1968, the 1980s became the most productive years of Warhol's life, probably having to do with his preoccupation with his own mortality. It is no coincidence that during this time Warhol turned toward creating images of American culture that formed part of his childhood memories, exemplified in the present work. For Warhol, superficiality and the world of one’s imagination trumped reality, an aspect of his practice that is unequivocally unique. A peak into the world of Warhol, Felix the Cat offers a portrait of the artist's most important creative quests.
Natureza Morta, Maças e Peras (Nature Morte, Pommes et Poires) - Paul Cézanne
Natureza Morta, Maças e Peras (Nature Morte, Pommes et Poires) - Paul Cézanne
Coleção privada
OST - 38x46 - 1888-90
Few other painters are as synonymous with excellence in a single genre as Paul Cézanne stands in relation to the still life. With fastidious study and unwavering dedication, Cézanne elevated the humble academic genre to groundbreaking heights, forever altering the course of art history with a few pieces of fruit. Among his simplest yet most powerful still life arrangements, Nature morte: pommes et poires demonstrates an acute subtlety of emotion and stands as one of the purest distillations of the artist’s craft.
Such modest arrangements of apples, pears, tables and ceramics would fascinate the painter from his youngest days and chart the progression of his artistic development over his decades-long career. From the romantic and demonstrative early works like Sucrier, poires et tasse bleue, which aimed to challenge audiences through an ambitious and pronounced handling of paint, to the complex and carefully crafted compositions of his last decade, Cézanne continually reinvented his still lifes, bringing ever more nuance to each canvas.
Using a relatively narrow range of elements in each composition and often utilizing the same recognizable fabrics, baskets and pitchers, Cézanne rearranged and reimagined each ensemble resulting in new spatial relationships with radically different formal qualities. Nature morte: pommes et poires is a masterful exemplar of the artist’s mature still lifes of the late 1880s and 1890s, in which an assortment of simple fruits upon a tabletop are transformed into a pictorial statement of remarkable grandeur and sensitivity. Unlike some of his earlier works, which faithfully transcribed the appearance of the furnishings, paneling and wallpaper around him, the emphasis in the present work falls exclusively on the fruit.
Beyond the table surface is only a plain wall. In contrast to later still lifes in which the more flamboyant compositions are constructed with architectural white cloths or colorful drapes, the objects here are laid in a forward-facing arc which repeats the quiet ellipse of the plate. Upon closer examination, one notices the departure from conventional perspective; the table is tilted at a sharper, slightly diagonal angle compared to that of the plate, but such subtle juxtapositions are rendered less perceptible by the richly-colored fruits which surround it and draw the viewer’s eye. On either side of the composition, the bold hues of crimson and green are balanced by the soft yellows in the neighboring fruits and brought to attention against the bright, cool white of the plate at center. The visible stems of the pears and apples all splay in differing directions, directing the gaze in a circular motion around the center dish, and yet remaining bounded at nearly all angles by the table’s edge, save for the lone, piquing stem of the verdant pear. With these simple and delicate touches, Cézanne has achieved a painting of classic harmony while simultaneously exhorting his call to modernism through an understated yet unfaltering challenge of traditional perspective.
The artist, who proved notoriously difficult for his portrait sitters—often demanding dozens of lengthy studio sessions of his models—was perhaps best suited to such a genre which could afford him the time and quietude to master his examination of life. Cézanne’s ceaseless exploration of his craft was quite aptly and eloquently captured by critic Roger Fry, who stated: “Nothing else but still-life allowed him sufficient calm and leisure, and admitted all the delays which were necessary to him for plumbing the depths of his idea. But there, before the still-life, put together not with too ephemeral flowers, but with onions, apples, or other robust and long-enduring fruits, he could pursue till it was exhausted his probing analysis of the chromatic whole. But through the bewildering labyrinth of this analysis he held always like Ariadne’s thread, the notion that changes of color correspond to movements of planes. He sought always to trace this correspondence throughout all the diverse modifications which changes of local color introduces onto the observed resultant… It is hard to exaggerate their importance in the expression of Cézanne’s genius or the necessity of studying them for its comprehension, because it is in them that he appears to have established his principles of design and his theories of form” (R. Fry, Cézanne: A Study of His Development, Chicago, 1927, pp. 37 & 50).
It is masterworks like Nature morte: pommes et poires which have long been credited in inspiring the following generation of painters and helped usher the Modernist painting and sculpture which would define the twentieth century. A motivating force behind the revolutionary Cubist compositions of Picasso and Braque — who would demonstrate a similar dedication to the genre in the following years— Cézanne’s continual experimentation and the planar distortions best evinced in his still lifes directly challenged the way artists saw the world.
Contemporaries of Picasso like Matisse, whose focus never landed within the bounds of Cubism, also found great inspiration in the pioneering works of Cézanne, especially following his death in 1906. With its bold patterning, abundant fruit and starkly juxtaposed angles, Matisse’s Nature morte bleu from 1907 pays clear homage to the late master’s legacy. While Matisse particularly delighted in lush textiles, opulent designs and bright palettes, his choice of subject matter and precarious arrangement stand as a testament to his study of Cézanne’s work. Matisse’s illusory depth, bold outlines, unconventional scale and flat expanses not only recall but celebrate the technical ingenuity of the late painter and builds upon the foundation he created years earlier.
A poignant encapsulation of Cézanne’s greatest achievements, Nature morte: pommes et poires is a rare work of this caliber and emotional depth remaining in private hands. With an illustrious international exhibition history and provenance dating to epoque-defining dealer Ambroise Vollard, the present work stands unparalleled in today’s market. As Joachim Gasquet wrote of the artist a century ago, “To be a good worker, to fulfill his craft well, was the basis of everything for him. To paint well was to love well, for him. He invested himself fully, he lost himself with all his strength in every one of his brushstrokes” (quoted in The World is an Apple: The Still Lifes of Paul Cézanne (exhibition catalogue), op. cit., p. 228).
Jarro com Flores (Jarro com Flores) - Edgar Oehlmeyer
Jarro com Flores (Jarro com Flores) - Edgar Oehlmeyer
Coleção privada
OST - 64x50
Natureza Morta (Natureza Morta) - Edgar Oehlmeyer
Natureza Morta (Natureza Morta) - Edgar Oehlmeyer
Coleção privada
OST - 73x60
Rua de Santa Rosa, 1900/1916, São Paulo, Brasil
Rua de Santa Rosa, 1900/1916, São Paulo, Brasil
São Paulo - SP
Álbum Comparativo da Cidade de São Paulo 1862/1900/1916 - W. Luiz P. de Souza - Vol. 1
Fotografia
Nota do blog: Rua de Santa Rosa / Rua de Santa Rosa (Palácio das Indústrias em construção).
Largo do Piques e Ladeira de Santo Amaro, 1862/1916, São Paulo, Brasil
Largo do Piques e Ladeira de Santo Amaro, 1862/1916, São Paulo, Brasil
São Paulo - SP
Álbum Comparativo da Cidade de São Paulo 1862/1900/1916 - W. Luiz P. de Souza - Vol. 1
Fotografia
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