Showing posts with label photographie. Show all posts
Showing posts with label photographie. Show all posts

Wednesday, 16 October 2013

"I NATT" The EBOOK of Alberto Oliver



When sensitivity, skill and commitment meet each other, it comes out marvelous works.
The love and the bond with a city that "wraps" him with heart, becoming his best friend.
Stockholm lived and seen through Alberto Oliver emotions.
Personally "I NATT" has given me great emotions, the emotion that is unleashed with an atmosphere, a light, a color, which gave me a sense of immensity and made me feel alive and not alone in this world.

www.albertooliver.com





Wednesday, 4 April 2012

Rainy day


Rainy days, melancholia... soft and plush blanket

Rivapiana - Lago Maggiore, from my pics diary


Friday, 18 November 2011

Collecting: romance or speculation? Here's the most expansive photograph in the world


© ANDREAS GURSKY, COURTESY OF CHRISTIE'S
Rhein II, by artist Andreas Gursky.



I don't want absolutely discuss about the quality of the photos of Andreas Gursky.
This Photo is perfect for me, here there is no doubt and I don't want to discuss his work.
I just want to try to understand the reason... well I wonder which spirit has moved the anonymous person that, at the Christie's auction last week, won the photo of Andreas Gursky, Rhein II, for the record-breaking of $4.34 million beating Cindy Sherman's selfshot (1981) sold for $3.89 million in 2011 and beating all price records achieved so far.

This anonymous is a romantic or a speculative mind? And yet, the true collector is driven by economic interest or by personal romance? Or it is simply a publicity maneuver?
I really don't know.
There are several types of arts collectors: those who identify with the artist and live his achievements as if they were their own, transforming them into real promoters of the artists who have bought, there are those who sponsor galleries or direct them in person, and other participating actively in the auction, ensuring that the achievements are their favorite record, or otherwise not remain unsold. Then there are the speculators who buy real view of the short or even very short period. They treat artworks as if they were buying shares of a diversified portfolio of works, including some artists are consolidated and a stable return, and some are emerging artists, whose performance increased risk is offset, in theory , the yields of the first. This mechanism is the same that happens in the stock market with junk bonds.

Luca Arnaudo said:
"That art is a rigged market. Because the pricing depends on arbitrary rules so that if traders sell stocks in this sector, rather than works, they would all be in jail for fraud or insider trading"






Wednesday, 20 July 2011

Some news and new paintings

Hello everyone! ...I'm not very present on the blog lately, I know.I'm working on a book that will publish in the winter, besides that I'm always painting, I must confess to you that it is also a period in which I am very intimate with myself and I'm rediscovering a lot of good things that too long I had been missing... my life has led me to take important decisions in recent times
I Always take a look at your blogs when I connect to internet it's seem that you are always wonderful, writing, painting, photographing, creating... I'm often thinking that if the world there were no creative people all would be lost.What would the world be without music, literature, photography, painting??
See you all my friends







Paintings and photo by Laura Tedeschi



Monday, 23 May 2011

Nostalgia... indefinable word

            




 Vienna - The Türckenschanzpark in a rainy day on April 2011
Shot by laura Tedeschi



In greek "nostos" means "return" and "álgos means "suffering". So nostalgia is the suffering caused by the unfulfilled desire to return. For this fundamental notion most Europeans can use a word of Greek origin (nostalgia) and other words that have roots in the national language;
the apaniards say "añoranza", the portuguese say "saudade". In each language these words have a different semantic nuance. Often mean only the sadness caused by the inability to return home. Longing for their homeland. Regret the home country, which, in inglish, is said "homesickness", or, in german, "heimweh" in dutch "heimwee". But these words are all a reduction of this great concept. One of the oldest European languages, Icelandic, distinguishes the two terms: "söknudur" nostalgia in the broadest sense, and "heimfra" longing for their homeland. For this notion the Czechs, next to the word "nostalgia" taken from greek, they all have a particolar noun: "stesk", the most movingly czech sentence of love is: "styská se mi po tobe" I miss you, I can not bear the pain of your absence. In Spanish, "añoranza" comes from the verb "anor" nostalgic, which comes from the Catalan enyorar, in turn derived from the latin ignore.

Given this etymology, nostalgia seems to be the suffering of ignorance. YOU ARE FAR AWAY, AND I DON'T KNOW WHAT IS ABOUT YOU.
My country is far away, and I do not know what's going on there. Some languages ​​have some difficulty with nostalgia: the French can not express it except with the noun of greek origin and not on the verb, they can say: je m'ennuie de toi (I miss you "), but the verb s'ennuyer is probably too small for a feeling so bad. The Germans rarely use the word "nostalgia" in its greek form and prefer to say "sehnsucht" the desire for what is absent, but the sehnsucht can be applied to what it was like to that which has never been (a new adventure ) and therefore does not necessarily imply the idea of ​​a "nostos" to include in sehnsucht the obsession of the return should be added a complement: sehnsucht nach der vergangenheit, nach der verlorenen kindheit, nach der ersten liebe (longing of the past, 's lost childhood, first love ").

From the preface of the book "Ignorance" of M. KUNDERA:
"How old were you?".
"Only twenty. And then the games were made, once and for all. That's where I made a mistake, an error is difficult to define, subtle, but from which stemmed all my life and I have never succeeded to remedy. "
"An irreparable mistake committed in the age of ignorance."
"Yes."
"It 's at that age that people get married, you have the first baby, you choose a profession. Then comes the day when you know and understand many things, but it's too late, because your whole life has been decided at a time when you did not know anything. "














    
    

Tuesday, 17 May 2011

Half a person




This is a self-shot digitally processed, completely random, you know I'm not a photographer, but I really like this stylized and essential expression...
I'm so sorry because in the last time I have not enough time to follow all your news as I like to do, but will be better time soon



Pic by Laura Tedeschi








Monday, 2 May 2011

The tree and I - Spring

... from my last journey to Italy

                                                   Asiago, April 2011













Thursday, 14 April 2011

Escape from the ordinary prison



Dream, dream, dream
and dream of the mice that eat cats
or robins eating hawks and then ...

steal the wind to a kite
crying for no reason
strong run like mad
barefoot on the rocks

live now and not tomorrow
such as gypsies on the lawn
drinking the rain from the hands ...
timeless ... 


Work by Gianni Tedeschi - 1967







Shots by Laura Tedeschi - 2010-2011















Wednesday, 16 March 2011

The arrogant-ignorant

The prototype of this species is characterized by an inability to listen and difficulty of understanding what is being said.
His words denigrate people, diminishing the problems these people are living.
Arrogance and sense of superiority reveal the low cultural level of the arrogant-ignorant.
But in addition to the low cultural heritage, what there is behind the arrogant-ignorant?
Who is aware of its value does not need to declare it.
Very often in the prototype lies a insecure about his social position and her own identity.
Usually inside the arrogant-ignorant, hides a sense of inferiority, emphasizing what he has.
The prototype can not admit his own limitations, trying to belittle the other person, without listening and without giving him a chance to talk.



Shot by Laura Tedeschi 


Il prototipo di questa specie é caratterizzato da incapacitá di ascoltare e  difficoltá di comprensione di ció che viene detto.
Le sue parole denigrano le persone e sminuiscono le problematiche che esse vivono.
Straffotenza e senso di superioritá rivelano il basso livello culturale dell'arrogante-ignorante.
Ma oltre allo scarso patrimonio culturale cosa c'é dietro all'arrogante-ignorante?
Chi é ralmente consapevole del proprio valore non ha bisogno di dichiararlo.
Molto spesso dentro al prototipo si cela un insicurezza sulla propria posizione sociale e sulla propria identitá.
Solitamente l'arrogante-ignorante nasconde un senso di inferioritá, esaltando quello che
possiede o quello che si é conquistato. Il prototipo non riesce ad ammettere i propri limiti, nascondendosi dietro a frasi fatte e cercando di sminuire e non ascoltare l'interlocutore.













Wednesday, 9 March 2011

My photographic tribute to the great James Ensor

Il mio omaggio fotografico al grande James Ensor



Shot by Laura Tedeschi - Ramatuelle, september 2010




Paint by James Ensor - Les masques fantastiques



Paint by James Ensor - Self Portrait and the masks



Paint by James Ensor - La mort et les masques











Thursday, 3 March 2011

The tree and I - L'albero ed io












Fotos by Laura Tedeschi - Asiago - Italy -  December 2010



When my last day on earth will come, after my last glance at the world
I do not want any stone on my grave, for it too heavy would seem to me
Look for a tree, a young and strong tree, that’s the right stone for my grave,
I want to lie even after my death under that sky people say it’s of God.

And in winter, during the long rest, under my tree I will lie still alive
As if I were sleeping I’ll trustfully wait till I’ll awake one day or another
And in spring we’ll hear thousands of voices and that will be our rebirth
And I willl raise my fingers like boughs to that sky so full of mystery.

And in summer, if the wind does accept what ev’ry sprout is inviting to do
We’ll wave leaves like flags in the air and we shall sing songs of life
And so, together, we’ll live forever, but here on Earth, I and my tree
Always standing out in summer and winter against that sky people say it’s
of God

Francesco Guccini


Quando il mio ultimo giorno verrà dopo il mio ultimo sguardo sul mondo,
non voglio pietra su questo mio corpo, perchè pesante mi sembrerà.
Cercate un albero giovane e forte, quello sarà il posto mio;
voglio tornare anche dopo la morte sotto quel cielo che chiaman di Dio.

Ed in inverno nel lungo riposo, ancora vivo, alla pianta vicino,
come dormendo, starò fiducioso nel mio risveglio in un qualche mattino.
E a primavera, fra mille richiami, ancora vivi saremo di nuovo
e innalzerò le mie dita di rami verso quel cielo così misterioso.

Ed in estate, se il vento raccoglie l'invito fatto da ogni gemma fiorita,
sventoleremo bandiere di foglie e canteremo canzoni di vita.
E così, assieme, vivremo in eterno qua sulla terra, l'albero e io
sempre svettanti, in estate e in inverno contro quel cielo che dicon di Dio

Francesco Guccini




















Monday, 7 February 2011

Playing with the Japanese umbrella and painting after Kirchner

painting and photographs by Laura Tedeschi










Laura Tedeschi - After Kirchner




Tuesday, 1 February 2011

Ernst Ludwig Kirchner through shadow, light and colors

As one of the first artist ever, produced Kirchner eloquent dialogues and oppositions between painting and printmaking as a classical art forms and photography. He photographed famous models such as his addition to his sculptures and his beautiful portraits. Kirchner staged in such a comparative look between the real 'template' and the finished image. He reveals his personal system of expressive stylization of reality. At the same time he calls just by comparison with the 'reality' the freedom of art from any traditional imperative of mimetic fidelity.
Often, Kirchner was inspired directly from photographs. He developed such as in self-portraits of shadow and light areas in the color photography alienated dissections of physiognomy. Just as he composed figure scenes - as the famous sensual depictions of the couple Hembus of 1930



In general, Kirchner developed in the paintings from the 1920s of contrasts, overexposure and transitions of light, shadow, contour and color, dissolve the image of objects. It created abstracted, flat images with enigmatic image areas and new degrees of freedom. For these image patterns Kirchner himself coined the term "new style".
















All Paintings, Photos and the one sculpture are from Ernst Ludwig Kirchner