ALONG THE RIVER (CHING-MING FESTIVAL)

Shen Yüan (fl. 1744-1747), Ch'ing Dynasty












Ch'ing Dynasty (1736)

















Ch'iu Ying (ca. 1494-1552), Ming Dynasty












Chang Tse-duan (fl. 12th century), Sung Dynasty













Chang Tse-duan (fl. 12th century), Sung Dynasty


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"Along the River During the Ching-ming Festival is a portrayal of prosperity and affluence along the Bian River in Kaifeng, capital city of the Northern Sung dynasty. The earliest extant version of this subject is a masterpiece by Sung artist Chang Tse-duan (fl. 12th century). It has been a popular motif throughout the generations. The National Palace Museum alone houses seven different versions. Among them, the one painted by five Ch’ing imperial court painters is arguably the most fascinating. This collaborative piece painted in 1736 measures 35.6 cm in height and 1152.8 cm in length. The meticulously rendered painting features unique customs of the Ming and Ch’ing dynasties, providing a wonderful first-hand account of contemporary lifestyles"

SARA FRANCO (Crash)

A minha amiga Sara Franco tem uma exposição na galeria Bernardo Marques que vale a pena espreitar, é mesmo ali no principio da D. Pedro V ao Príncipe Real. Vai lá estar a partir de 7 de Maio.

WILLIAM TURNER

Umas coisas puxam as outras e assim é também com a memória.
O Mark Rothko fez-me lembrar um outro que também gosto muito, 100 anos mais antigo, o William Turner.
















Sunrise with Sea Monsters, 1845.



















Snowstorm, 1842.



















The Great Western Railway, 1844.


















The Burning of the Houses of Parliament, 1834.



















Europa and the Bull, 1845.

MARK ROTHKO

Quando estava a colocar aqui as animações de Norman MacLaren lembrei-me dos quadros de um contemporâneo seu, Mark Rothko. Há quem diga que o Mark Rothko era muito apoiado pelo regime americano da altura porque a pintura figurativa era considerada de esquerda e propagandista, não sei se é verdade ou não, eu gosto muito dos quadros do Rothko.

"Rothko largely abandoned conventional titles in 1947, sometimes resorting to numbers or colors in order to distinguish one work from another. The artist also now resisted explaining the meaning of his work. "Silence is so accurate," he said, fearing that words would only paralyze the viewer's mind and imagination"