Volkswagen Gol GTI 1994, Brasil

 

Volkswagen Gol GTI 1994, Brasil

Fotografia

Nota do blog: Branco Nacar.

Minha Mãe / Soldado com Mulher Francesa (My Mother / Soldier with French Woman) - Norman Rockwell

 

Minha Mãe / Soldado com Mulher Francesa (My Mother / Soldier with French Woman) - Norman Rockwell
Coleção privada
OST - 51x45 - 1918


Featured on the December 19, 1918 issue of Life magazine, Norman Rockwell’s My Mother (Soldier with French Woman) captures the zeitgeist of a victorious nation still in the emotional throes of war. Undertaken when Rockwell’s prominence was on the rise with his popular Post covers from 1916, the present work demonstrates the more expressive and painterly execution that characterizes his works through the 1930s, before he incorporated photography into his technical process.
Published two weeks after President Woodrow Wilson departed for the Paris Peace Conference, My Mother (Soldier with French Woman) captures the tensions still felt by a nation whose boys were not yet home. Of the period, Rockwell remarked “everyone in the country is thinking along the same lines, the war penetrates into everyone's life…in 1917 I couldn't read a newspaper without finding an idea for a cover.”
In the present work, Rockwell depicts a Doughboy infantryman, Pvt. Sammy Smith, avidly presenting a photograph of his mother. Rockwell used Sammy Smith, whose first name is visible on the envelope he holds, as the subject of They Remembered Me in the December 22, 1917 issue of Leslie's magazine. The return address is from Philadelphia, and the postmark is dated Jul 4 6 pm 1918. Identified as a French woman in Rockwell’s titling, the woman shown here is wearing traditional French dress of the period—as interpreted by Rockwell’s artistic imagination—and presumably represents the mother figure of a family with whom Sammy was staying in France. Women and girls in similar dress appear in a number of Rockwell's World War I paintings, such as A Tribute from France (Soldier and Little French Girl), which appeared on the August 10, 1918 issue of Judge Magazine. Sammy’s mother, styled with a loosely tied kerchief collar and knowing smile, bears a striking resemblance to Martha Washington.
As different as these representations of women—and of mothers specifically—are, Rockwell ensured that this was a woman Americans could identify with. She pauses her knitting to view the soldier’s photograph, a pastime that seemingly signified a woman’s anxious anticipation of a loved one’s return. In Till the Boys Come Home (Women Sitting by Edge of Sea) from the August 15, 1918 issue of Life, Rockwell has littered the scene with abandoned knitting projects as the act of waiting, gazing hopelessly out across the ocean, takes precedent. An apt espousal of his storytelling abilities, it is what Rockwell has not presented in the scene, but what the viewer brings to the narrative that belies his reputation as the quintessential storyteller of 20th century American life. Undoubtedly awaiting news of her own child’s return home, Rockwell’s French Woman is positioned as the art historical trope of the mother and child: her lap is at once bereft her own child and supporting “our American boys” overseas.
In his composition, Rockwell both anticipates Pablo Picasso’s classical renditions of Mother and Child in the early 1920s as well as recalls J.M. Whistler’s Arrangement in Grey and Black, No. 1 (The Mother), 1871, Musée d’Orsay, Paris, which became the first American artwork ever purchased by the French state in 1891. Sitting in stark profile and gazing beyond the picture plane, she is the embodiment of patience and dignity, qualities that should characterize a Mother who has sacrificed for her country. And yet, in Rockwell’s revisioning of this iconic portrait, he has subverted Whistler’s own espousal of what art should be and do: “Art should be independent of all clap-trap, should stand alone and appeal to the artistic eye or ear without confounding it with emotions entirely foreign to it, as devotion, pity, love, patriotism and the like.”
My Mother comes to auction from the formidable collection of storied television producers Thomas Miller and Robert Boyett, who found an affinity with Rockwell’s virtuosic knack for visual narrative. The legendary couple behind Miller-Boyett Productions developed some of the most influential and iconic sitcoms in television history—from Happy Days to Laverne & Shirley to Full House. The Rockwell pictures that Mr. Boyett and Mr. Miller, who died earlier this year, collected betray a compelling dialogue between three great American storytellers.
Not only testifying to the artist’s role as a compelling storyteller of American life, My Mother exemplifies Rockwell’s idiosyncratic style which has become a source of inspiration for countless contemporary artists. “When this last half century is explored by the future, a few paintings will continue to communicate with the same immediacy and veracity that they have today,” Thomas S. Buechner, the former director of the Brooklyn Museum, wrote. “I believe that some of Mr. Rockwell’s will be among them.”

Nota do blog: The present work on the cover of Life, December 19, 1918.

Igreja Nossa Senhora do Carmo, Ouro Preto, Minas Gerais, Brasil

 

Igreja Nossa Senhora do Carmo, Ouro Preto, Minas Gerais, Brasil

Ouro Preto - MG

Fotografia - Cartão Postal

Vista Interna da Autopista / "Carrinho de Batida" / "Bate-Bate" / "Carrinho de Trombada", Playcenter, São Paulo, Brasil

 

Vista Interna da Autopista / "Carrinho de Batida" / "Bate-Bate" / "Carrinho de Trombada", Playcenter, São Paulo, Brasil
São Paulo - SP
Fotografia - Cartão Postal




Os bate-bate ou carrinhos de choque, ou ainda carrinhos de batida, são um tipo de brinquedo de parque de diversão, consistindo de vários carros em movimento constante o qual se chocam uns com os outros para se divertirem, guiados pelos participantes, alimentados através de energia elétrica.
Os carros são protegidos por um borracha grossa e produzem uma colisão elástica ao se chocarem, simulando uma batida de carro.
O inventor do carro bate-bate convencional é Victor Levand, que trabalhou para a G.E.
Nota do blog: Uma das melhores lembranças que tenho da infância, especialmente quando estávamos brincando em turma, eram "batidas" para todos os lados...rs.

Cristo Redentor / Corcovado / Lagoa Rodrigo de Freitas, Rio de Janeiro, Brasil

 

Cristo Redentor / Corcovado / Lagoa Rodrigo de Freitas, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
Fotografia - Cartão Postal

Caixa Econômica Estadual, 1923, Ribeirão Preto, São Paulo, Brasil

 

Caixa Econômica Estadual, 1923, Ribeirão Preto, São Paulo, Brasil

Ribeirão Preto - SP

Fotografia

O imóvel ainda existe, atualmente (2024) abriga uma loja de calçados.

Localizado na rua General Osório com Barão do Amazonas.

Nota do blog: Autoria não obtida.

Convento Nossa Senhora da Conceição, Itanhaém, São Paulo, Brasil

 

Convento Nossa Senhora da Conceição, Itanhaém, São Paulo, Brasil
Itanhaém - SP
Fotografia - Cartão Postal


Registro vivo da história do País, o Convento Nossa Senhora da Conceição será reaberto para a comunidade. De uma pequena ermida de barro até a igreja erguida em homenagem à padroeira de Itanhaém, o Convento é templo de fé e devoção há mais de 480 anos. É tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) e representa um dos bens mais memoráveis do litoral paulista.
No alto do Morro do Itaguaçu, local que hoje abriga o Convento Nossa Senhora da Conceição, foi erguida uma das primeiras edificações da história do Brasil. Provavelmente no mesmo ano de fundação de "Conceição de Itanhaém", em 1532, o povoado deu início à construção de uma pequena capela dedicada a padroeira da nova vila. É considerada uma das primeiras igrejas do Brasil.
Foi também o primeiro templo dedicado a Nossa Senhora da Conceição erguido no País. Na época, o local se tornou um dos principais pontos de peregrinação do Brasil, recebendo romeiros de todas as vilas do litoral paulista, e também da capital, interior e de outros estados.
Somente em 1553 foi encomendada a imagem da padroeira, conhecida como a Imaculada Conceição ou "Virgem de Anchieta”. O eminente padre Jesuíta José de Anchieta esteve pelo litoral paulista entre 1563 e 1595. De acordo com historiadores, o padre escreveu o poema ‘Virgem de Anchieta’ ao passar pela segunda cidade mais antiga do Brasil.
Segundo relatos do Frei Basílio Röwer, publicado no livro Páginas de História Franciscana no Brasil (1941), “a pequena ermida no morro de Itanhaém tornou-se célebre já no século XVI por causa da imagem miraculosa que nela se venerava”. Entre as histórias marcantes, conta-se que em 1610 o Jesuíta P. Banhos foi curado por Nossa Senhora da Conceição, na ermida, após sofrer enfermo por 20 anos. Outra história relatada afirma que a ermida foi palco do armistício entre as tribos Tamoios e Tupis, em 1563, que selaram a paz em um abraço fraternal.
Até 1752, a subida do Santuário era feita por meio de uma escadaria bastante íngreme de 83 degraus. De acordo com relatos do Frei Basílio Röwer, era muito comum fiéis subirem o convento de joelhos. “Assim homens como mulheres, e meninos, quando se veem em trabalhos, pela muita fé que têm nesta Senhora de Conceição”, escreveu.
A Igreja Nossa Senhora da Conceição com a forma como conhecemos nos dias atuais teve sua conclusão em 1713, portanto, sua estrutura atual completa exatamente 300 anos. A Igreja começou a ser erguida entre 1699 e 1713. Apesar disso, a data considerada de fundação oficial do Convento é 2 de janeiro de 1654, quando o título de posse do local foi dada a Ordem Franciscana.
Entre 1733 e 1734, o local foi ampliado por frei Rodrigo dos Anjos, com a construção do Convento Nossa Senhora da Conceição. A construção marcou não apenas a história da Cidade, como também passou a ser popularmente a denominação do local. O convento foi erguido à frente do edifício da Igreja, do lado direito, onde suas ruínas podem ser vistas atualmente.
Ainda segundo relatos de Frei Basílio Röwer, nesta época, o Convento era muito estimado pelos antigos frades, não somente por ser de Nossa Senhora, como a calma e a solidão tornavam o local apropriado para ser casa de noviciado. O Convento Nossa Senhora da Conceição se tornou assim também um retiro para religiosos que quisessem levar uma vida de oração e penitência.
Em março de 1833, um grande incêndio destruiu grande parte do Convento. O Guardião local, Frei Manuel de Santa Perpétua, que além de sacerdote era uma espécie de professor particular para menores e adultos (não havia escola pública na época), costumava com seus alunos adultos afugentar os morcegos e suindaras que infestavam o local.
Porém, em uma das caçadas, o Frade e seus alunos usaram de modo imprudente tochas com folhas secas de bananeiras. A madeira empregada na construção do local há mais de um século se achava ressecada e carcomida pelo cupim, o que tornou combustível para que as chamas se propagassem e destruíssem o primeiro templo construído no Brasil sob a invocação da Virgem da Conceição.
Por mais de 20 anos, as ruínas da Igreja e do Convento ficaram em completo abandono. A situação muda com a criação da Irmandade Nossa Senhora da Conceição, em 1860, com o fim de restaurar a Igreja. A entidade tomou posse do local em 1862.
Com a ajuda do povo e de contribuições que vieram de São Paulo, a Igreja foi reconstruída em 1865. Em 12 de dezembro daquele ano, as imagens, que haviam sido transladadas para a Matriz de Sant'Anna, foram recolocadas nos seus respectivos altares. O convento, porém, não foi reconstruído.
Em 1916, a Igreja e as ruínas do Convento Nossa Senhora da Conceição passaram para a propriedade da Diocese de Santos, que a mantém até os dias atuais. Em 1921, Washington Luís, então presidente do Estado de São Paulo, realizou uma restauração parcial, renovando o madeiramento do telhado e o assoalho.
Nesta época, outra história curiosa marcou o histórico lugar. Soube-se que um dos vigários tinha enterrado há muito tempo diversas imagens do Convento, logo atrás da Igreja Matriz de Sant'Anna. A busca teve êxito e quatro dessas imagens ainda são conservadas no Convento.
Em 1948, outro episódio infeliz ocorre na Igreja. Parte do telhado e do forro ruiu por um raio, destruindo completamente a torre. O monumento histórico, a partir de 1952, foi objeto de restauração, executada então pelo órgão de preservação federal, porém foi optado por conservar parte dos edifícios conventuais arruinados. O Convento passou ainda por muitas pequenas restaurações e, em 1941, foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional (Iphan).
Em 23/11/2013, após quase dois anos sem receber missas e religiosos, o Convento Nossa Senhora da Conceição foi reaberto para a população. O local passou por manutenção no telhado, troca de toda a fiação elétrica e pintura interna e externa.

Google 12th Birthday Cake (Google 12th Birthday Cake) - Wayne Thiebaud

 

Google 12th Birthday Cake (Google 12th Birthday Cake) - Wayne Thiebaud
Doodle - 2010


It was an amazing experience collaborating with painter, Wayne Thiebaud. Known for his paintings of dramatically lit cakes and pastries, we thought a birthday cake doodle for Google's 12th birthday by this living legend would be fun and delightful for art enthusiasts and lovers of sweet things alike.

Planície do Rio, Califórnia, Estados Unidos (Flatland River) - Wayne Thiebaud

 

Planície do Rio, Califórnia, Estados Unidos (Flatland River) - Wayne Thiebaud
Califórnia - Estados Unidos
San Francisco Museum of Modern Art, San Francisco, Estados Unidos
OST - 96x147 - 1997

Rio Sinuoso, Califórnia, Estados Unidos (Winding River) - Wayne Thiebaud

 

Rio Sinuoso, Califórnia, Estados Unidos (Winding River) - Wayne Thiebaud
Califórnia - Estados Unidos
Coleção privada
Acrílica sobre canvas - 182x152 - 2002


Lyrical and vertiginous, real and imagined, Wayne Thiebaud’s Winding River encapsulates the artist’s longstanding reverence for the Sacramento River Delta in California. An arresting example of the artist’s Delta paintings, Winding River marks a critical juncture in the artist’s ambition towards this body of work by its monumental scale and is among the largest of Thiebaud’s riverscapes. Immersing the viewer into an expansive vista, upon closer inspection, thick bold strokes at once curve with the movement of the river and straighten with the organized rows of crops as the fantastically rich Impressionist and Fauvist tones infuse the scene with a gleaming tranquility. Capturing a sinuous river meandering through the agricultural valleys of the California landscape, Winding River situates Thiebaud within the rich lineage of contemporary painters who found their muse in America’s Golden State, while showcasing his mastery of referencing myriad sources from the art historical tradition in his virtuosic handling and singular painterly language.
A striking departure from his San Francisco cityscapes, Thiebaud’s captivating riverscapes are drawn from the artist’s early life experiences farming in Southern Utah and his boyhood memories of living on his grandfather’s farm. “I plowed, harrowed, dug, and hitched up teams....and planted and harvested alfalfa, potatoes, corn,” Thiebaud recalled. “It was a great way to grow up. These paintings have something to do with the love of that and in some ways the idea of replicating that experience.” Although the artist turned to portraying the Sacramento River Delta beginning in the late 1990s, his sustained interest in the subject has become a lifelong endeavor continuing through the present day. Much like his well-known still lifes of delicious confections, his rural landscapes of California emanate a sense of nostalgia and an embrace of Americana, but stand apart from Thiebaud’s baked treats by conjuring the serenity of nature undisturbed. He described of his painterly relationship to landscape, “In addition to representing forms like rocks, trees, or riverbanks, the manipulation of paint can be made to build and carve the forms in bas-relief, creating a kind of painted sculpture.”
On the series comprising the present work, his son Paul Thiebaud elucidated that the larger scale “had introduced several challenging new ideas. This suggested, perhaps, the idea of a series that could explore more fully some of these discoveries.” Describing the development he had seen as his father embarked on the six paintings, Thiebaud’s son reflected, “Each was, in fact, unique, guiding the artist along a path of idiosyncrasy leading to the power of their individuality. They were ever-changing in a chameleon-like frenzy…I watched as horizons asserted themselves one week only to disappear the next, as geometry was replaced with lyricism only to go back on itself later, and as tension was swept away at one stage and reintroduced at the next and so on.” As Scott Shield observed, “It’s almost like he’s tending the fields with his brushwork, echoing the shape of the cultivated land.”
Speaking of his large body of riverscapes inspired by the Sacramento Delta, Thiebaud explained, “The idea of taking on the later delta pictures had quite a different idea...The San Francisco pictures being a kind of composite of several different things at once. I thought: I wonder if we can do that with landscapes, in a sense. I'd been going to the Metropolitan, looking at Chinese painting, the way in which that perspective is so different.” Marking the achievement of Thiebaud’s investigations on coalescing various invented perspectives into a cohesive character, the present work recalls the tradition of Chinese landscape painting that Thiebaud had seen while embodying his much deeper sensibility on the relational dynamics between subject and object, exteriority and interiority. “I was intrigued by what I could do to try to get some kind of image or self-relationship, which I hadn't seen so much,” he expressed. “As a consequence, I tried to steal every kind of idea—Western, Eastern—and the use of everything I could think of—atmospheric perspective, size differences, color differences, overlapping, exaggeration, linear perspective, planal and sequential recessions—and to do that with the kind of vision I talked about before, with as many ways of seeing in the same picture—clear forms, hazy, squinting, glancing, staring and even a sort of inner seeing.”
Synthesizing a striking range of contrasting tonalities into a chromatic symphony, Thiebaud orchestrates a sense of atmosphere that exudes light from the canvas through pure color as Claude Monet had done with his landscapes of the French countryside. In the present work, Thiebaud’s displays a psychedelic fusion of Post-Impressionist verve, not least by alluding to Vincent van Gogh’s sprawling fields but just as much in palette, recalling the artist’s admiration for Pierre Bonnard as well as Henri Matisse’s Corsicon Landscape, 1898. Displaying Thiebaud’s signature halo effect, Winding River showcases the glowing hue along the river contrasted with both muted and vibrant pastel tones that render the trees and plains. This technique lends itself to the vibrant, staccato pulsations throughout the composition that work together with the melancholic pastel hues to emanate a sensuous, serene sense of nostalgia. At the same time, it also showcases how Thiebaud adeptly composites various seasons and times of day within a single image to instill the character of nature into the painting. As he explained, “Going out on the delta on those levies and looking, making direct paintings, some drawings....The only added thing was to think a little bit more about the experience in that world. Various seasons, for instance. Sometimes you'd get this very brown, black, dark, baren atmosphere and environment. And then spring, of course, you get these great spring greens and the sort of flourishing, almost flower-like colors of the crops, the yellows and oranges. So the pictures try in some way to anthologize or balance, bring that together.”
In Thiebaud’s view, “Various kinds of brushes containing paint that physically smear, dart, swipe, drag, crawl, or hesitate can suggest an orchestrated composition of movement, rhythm, and tempo.”

Through the dynamic interplay between striking impasto, bold curving lines and monosyllabic strokes, the present work manifests a visual tension between realism and abstraction, simultaneously evoking Thomas Cole’s reverent American landscapes and the abstracted Californian landscapes of Thiebaud’s contemporary, Richard Diebenkorn. By suggesting the sensuous surfaces of his pastries into his rendering of the vast American terrain, Winding River presents Thiebaud’s Sacramento Delta as a vision of the sublime that is entirely his own. In the artist’s words, “I no longer wish to invest the landscape with total pictorial content, but, if at all possible, I want to replicate those natural forces into the nature of the paint...I would be able to give the painting, in terms of abstraction and compositional power, the same kind of internalized structure of the nature of the landscape.”