Rick Springfield's new cd "Songs For The End Of The World" has Awesome Rock n Roll tunes, inspirational songs and beautiful love songs. Just when you think you've heard the best song then you hear the next one. I love every song on the cd.
Leonardo da Vinci's drawing of a male figure perfectly inscribed in a circle and square, known as the "Vitruvian Man," illustrates what he believed to be a divine connection between the human form and the universe. Beloved for its beauty and symbolic power, it is one of the most famous images in the world. However, new research suggests that the work, which dates to 1490, may be a copy of an earlier drawing by Leonardo's friend.
Another illustration of a divinely proportioned man — the subject is Christ-like, but the setting is strikingly similar to Leonardo's — has been discovered in a forgotten manuscript in Ferrara, Italy.
Both drawings are depictions of a passage written 1,500 years earlier by Vitruvius, an ancient Roman architect, in which he describes a man's body fitting perfectly inside a circle (the divine symbol) and inside a square (the earthly symbol). It was a geometric interpretation of the ancient belief that man is a "microcosm": a miniature embodiment of the whole universe. Leonardo and other scholars revived this vainglorious notion during the Italian Renaissance.
After decades of study, Claudio Sgarbi, an Italian architectural historian who discovered the lesser known illustration of the Vitruvian man in 1986, now believes it to be the work of Giacomo Andrea de Ferrara, a Renaissance architect, expert on Vitruvius, and close friend of Leonardo's. What's more, Sgarbi believes Giacomo Andrea probably drew his Vitruvian man first, though the two men are likely to have discussed their mutual efforts.
Sgarbi will lay out his arguments in a volume of academic papers to be published this winter, Smithsonian Magazine reports.
The key arguments are as follows: In Leonardo's writings, he mentions "Giacomo Andrea's Vitruvius" — seemingly a direct reference to the illustrated Ferrara manuscript. Secondly, Leonardo had dinner with Giacomo Andrea in July 1490, the year in which both men are thought to have drawn their Vitruvian men. Experts believe Leonardo would have probed Giacomo Andrea's knowledge of Vitruvius when they met. And though both drawings interpret Vitruvius' words similarly, Leonardo's is perfectly executed, while Giacomo Andrea's is full of false starts and revisions, none of which would have been necessary if he had simply copied Leonardo's depiction. [Early Christian Lead Codices Now Called Fakes]
Other scholars find the arguments convincing.
"I find Sgarbi's argument exciting and very seductive, to say the least," said Indra McEwen, an architectural historian at Concordia University who has written extensively about the works of Vitruvius. "But [I] would opt for the view that Giacomo Andrea and Leonardo worked in tandem, rather than Leonardo basing his drawing on Andrea's."
Rather than competitors, the two Renaissance men were colleagues working together to bring a beautiful, ancient idea back to life.
"Whose was the 'original' drawing is a non-question as far as I'm concerned. Much as it is a preoccupation of our own time, I don't think it would have been an issue in Leonardo's day," McEwen told Life's Little Mysteries.
Patrice Le Floch-Prigent, an anatomist at the University of Versailles in France who has analyzed the anatomical correctness of Leonardo's famous work, noted that, for both drawings, "the source is Vitruvius."
Furthermore, regardless of their chronology, Leonardo's work is an improvement on Giacomo Andrea's, McEwen said: "Leonardo is by far the superior draftsman, with a far superior understanding of anatomy."
Leonardo's is also more faithful to the text, she explained.
"Nowhere does Vitruvius say that the man is positioned inside the circle and the square at the same time. 'A man lying flat on his back, can be circumscribed by a circle if his hands and feet are outstretched,' writes Vitruvius. Similarly, his height is equal to his arm span, 'just as in areas that have been squared with a set square.'"
Giacomo Andrea's figure has only one set of arms and legs, which are simultaneously circumscribed by a circle and outlined by a square, while "Leonardo deals with [the two propositions] by having the position of his man's arms and legs change. That, I would have to admit, makes his drawing a closer approximation to the textual description than Giacomo Andrea's," McEwen wrote.
One thing is certain. The better Vitruvian man gained international fame, while the simpler but possibly more original one was left to languish in a library for five centuries. That may have to do with the very different fates met by Leonardo and Giacomo Andrea. When the French invaded Milan in 1499, the former fled to safety and went on to achieve eternal renown. The latter stayed in Milan and was hanged, drawn and quartered by the French, and largely forgotten by history — until now.
My heart is utterly crushed. Today we lost another beautiful artist way too early.... and to what?..... drugs and alcohol. It makes me angry. And it makes me feel robbed...robbed of the beauty that her kind of talent gave to the world. Let's face it, this world can be an ugly place, and the more things we can find to make it more beautiful, the better. Music is beautiful. It gives people peace, comfort, joy and happiness. And to be robbed of more of what she could have given to so many people, yeah, it makes me angry. I am tired of the world losing beautiful people this way.....
To be honest, I never heard one of her songs until today and when I did, I was blown away. I have heard of her, but had not heard her music. How can it be that I have never heard the music of someone who won 5 Grammys? I've heard most everything! Maybe they don't play her music on the radio here, or maybe its because in the time of her rise and fall I have been painting and somehow missed out. But whatever the case, I am sad that I did not get to enjoy her music while she was alive, but now that I have discovered it, I realllllly love her music and I think I will be a fan for life.
I've been wanting to paint a portrait of Paris Hilton for a long time. I think she's so gorgeous and fun. I chose this Neo Pop Art Style for the first one. This is a large painting and I really love the burgandy wine color with the pink. I'm really happy with how it turned out. I had some trouble with this paint though. The burgandy was very opaque and I had to apply 5 or 6 coats of paint to get the color even. I love how the eyes, though somewhat abstract, follow you around the room. And from a distance it gives the impression of a photograph. Can't wait to paint the next one of Paris!
I am soooo excited about this painting of Van Gogh. An art god whom I worship. I don't always like most of what I paint but this one I love. I painted it from one of his self portrait paintings. But I rarely copy. If I reproduce another artist's work, I like to make it my own in some way. And I consider this to be pop art because of its implication of realism while incorporating flat color. Sometimes (or most often) I don't know exactly how I am going to construct a painting, but enjoy an intuitive process of letting the painting and its style reveal itself to me. I chose the colors as I went. And because I am such a huge fan of Van Gogh's I love bold color. I chose yellow as the background because it is a complementary color to blue. I think it sets off the painting so well I can't imagine any other color. I like this style so much I intend to paint more portraits in this style. It feels loose and quirky, has a sense of realism without being perfect. I don't like perfection in my paintings. (If I want perfection, I'll just take a photograph!) I sometimes find more interest in the quirks and like the 'impression' of an idea rather than the blatant statement of it. I am after all a fan/follower/worshiper of the Impressionists and Post Impressionists......so ode to Van Gogh. Can't wait to paint him again and other portraits in this style. :)
"Tete de Femme," a 1965 drawing by Pablo Picasso that was stolen July 5, 2011, from the Weinstein Gallery in San Francisco.
SAN FRANCISCO -- A New Jersey man who has worked in high-end restaurants in New York City flew to San Francisco on the Fourth of July, walked into a Union Square gallery the next day and stole a Pablo Picasso pencil drawing from the wall, police said Thursday in announcing his arrest.
Mark Lugo, 30, who lives in Hoboken, N.J., had Picasso's "Tête de Femme (Head of a Woman)" ready for shipment when San Francisco police arrested him at 9:30 p.m. Wednesday at an apartment complex in Napa, where he was visiting friends, police said.
The 1965 sketch by the Spanish artist was in Lugo's room there, missing the frame that had held it at the Weinstein Gallery on Geary Street but otherwise undamaged, Police Chief Greg Suhr said.
Police believe Lugo was working alone and had planned to ship the artwork, which the gallery was selling for more than $200,000, to an unknown party. In the meantime, said police Lt. Ed Santos, "he was enjoying an evening with friends."
His Napa friends, whom Lugo knew from New York, were unaware of the alleged scheme and have not been arrested, police said.
Just in time
"He had it very nicely and professionally boxed up," said Rowland Weinstein, who owns the gallery where the piece was stolen and viewed it Thursday. "If the police had waited just another day, it would have been in a FedEx box somewhere."
Lugo's arrest capped a series of events that began at about 11:40 a.m. Tuesday, when a man who witnesses noticed was wearing loafers but no socks walked into the gallery at 383 Geary St., lifted the pencil drawing from the wall and walked out.
The gallery had no security camera, but Lefty O'Doul's restaurant down the street did. Its footage showed a man in a dark jacket, light-colored slacks, loafers and no socks walking west on Geary with a framed artwork under his left arm, partly obscured by a newspaper. On Thursday, police said the man was Lugo.
How suspect got away
Police said Lugo got away by hopping into a cab that took him to the Hotel Palomar near Fourth and Market streets in San Francisco, where he had been staying. Investigators found the cabbie, and from there tracked Lugo to the hotel and to Napa, although they would not say how they followed the trail.
Police said Lugo had not talked to them and that they did not know what his alleged plans for the Picasso drawing ultimately were. Weinstein said he did not know the theft suspect.
Lugo does not appear to have a criminal history besides a minor alcohol-related arrest, authorities said. He flew into San Francisco on the Fourth of July, they said, and checked into the high-end Palomar.
Lugo is no stranger to such surroundings. He has worked as a wine steward at BLT Fish, an upscale seafood restaurant in New York City's Flatiron District. Before that, he worked for a year as a dining room expediter and kitchen server at Per Se, the East Coast version of Thomas Keller's Napa Valley restaurant, the French Laundry, a spokesman there said.
A manager at BLT Fish confirmed Lugo's employment, but declined to say how long he had worked there or whether he was still at the restaurant.
"We can assume he has good taste, and how he was going to finance that good taste, perhaps, was based upon his success in obtaining a valuable piece of art," said Capt. Stephen Tacchini, commander of Central Station, whose officers tracked Lugo down. "Now, his accommodations are certainly not on par with the Palomar."
$5 million bail
Lugo was booked on suspicion of burglary, theft, possession of stolen property and drug possession. Police said they were analyzing the substance to determine exactly what type of drug it was.
Lugo's bail was set at $5 million. He declined a request for a jailhouse interview.
Weinstein said it was "just a fluke" that the thief had been able to make off with the drawing.
The gallery hangs its artwork using two hooks, one on the bottom and one on top of the frame, so that if someone tries to pull a piece down, the top hook tugs back. However, the top hook that held the Picasso sketch was loose, and it came out when the thief yanked the drawing from the wall, Weinstein said.
Weinstein says he tries to make his gallery accessible to the public, envisioning it as a kind of free museum on the corner of Union Square. Now, he's planning to install surveillance cameras, have more employees on the floor and change the way the art is hung.
Weinstein said his reaction to the recovery of the Picasso piece was one of "tears. Just tears."
The district attorney's office will keep the sketch as evidence for a week or so, but when he gets it back, Weinstein said he may not put it up for sale.
"I might keep it in the gallery, though much more safely in the gallery, and well-protected," he said. "It feels like a piece of the community now."
This is Charlie Sheen Painting #2. The Charlie Sheen paintings came about by commission. As it turns out, someone I personally know is friends with him and asked me to paint his portrait as a gift for Charlie Sheen. I decided to paint 3 and let him choose which ones he would like to send to him.
I painted this one from one of his more recent photographs and decided to paint a simple black, white and grey pop art painting. I'm really happy with how it turned out and how the eyes are so distinctly "Charlie".
I painted this on video which will also be sent to Charlie Sheen so he can see how his painting was created!
I imagined a woman in love emits a kind of light, so here we have the painting "Paramour" or Lover. But I feel that what comes with love often is pain and hardship. She stands in a desert. Rocks represent the rocky relationship. The ivory tower in the distance stands to acknowledge how blind and deceptive love can be. To me she stands before her lover with her heart on her sleeve, open, vulnerable. She says here I am. This is how you make me feel. Here is all that I am and its all for you....
I didn't grow up doodling on napkins or creating art except for the occasional coloring book page just like every other kid. No one in my family knew I could draw or paint or would ever become an artist, least of all me. But I became interested in art while in college when I took an art appreciation class as an elective. When the professor began to explain how paintings held intricate meaning besides just being something pretty or interesting to look at, that's when I became fascinated with art, began studying art regularly and began collecting art. And it was the vision and meaning that artists put into their canvases that made me want to become an artist myself. I didn't want to be just an audience member looking at a work, I wanted to be a part of it, to be on the inside of the painting looking out, to have created something completely from my own imagination. That's why I became a painter.
For me, Surrealism is the most intriguing style of art, for its unique ability to be able to step completely outside of the box and be whatever it wants to be. I would say that Surrealism is not predictable by subject matter, but one knows it when one sees it. It is fantasy and curiosity, it can be meaningful and meaningless.
I enjoy attempting to figure out what the artist meant. I enjoy viewing it just as an oddity, leaving interpretation out of it completely.
My favorite Surrealist painting is by Rene Magritte, whose exquisite work fascinates me endlessly, is a piece called "Persian Letters".
To have taken two simple everyday objects and made them into such a fascinating and meaningful masterpiece blows me away. I have seen this painting in person. It is exquisitely painted by brushwork, depth and light. Then you figure in the subject matter, placement of the objects and the title of the work. Simply fascinating.
For that reason, I love creating Surreal paintings. In this new painting called "Breathe" I have painted a cloud, a half moon and a mask with a realistic face. The sky background was difficult to paint with acrylic. To merge the colors and give the sky a sense of depth took a lot of time (and frustration). As for defining or explaining this painting, I can only say that what I mean to convey is a positve inspirational message. And I feel that everything else about this painting must be left up to interpretation by the viewer. I want its meaning to be personal to the viewer. And while I am no Magritte, I hope you find it to be both intriguing and visually appealing.
ok. Hate me if you will. I understand some people will not like this video. They will think it is something self indulgent. And some people won't take me or the painting serously. But I'm not the type of person to care what people think. I believe everybody should do their own thing. And I honestly do these performance videos for my own fun and entertainment. Sometimes I hear a song and get an idea for a video and have a little movie of it running through my head. Its something creative I enjoy. I like painting and acting. When I do these I get to do both. And I was asked to paint this painting on video, so I decided why not make it fun?
As it turns out, someone I personally know is friends with Charlie Sheen and asked me to paint this portrait as a gift for Charlie Sheen. And I was asked to paint it on video so that the process of the painting could be sent to Charlie Sheen also. I've decided to paint 2 or 3 paintings of Charlie to choose from and this is the first one, from a picture of a young Charlie Sheen from the 80's. And I decided to choose an 80's song and theme of the video. In light of all the publicity Charlie Sheen has been getting, "Wild One" by Iggy Pop seemed like a fun and appropriate choice. The photograph I used as my model had a lot of light and dark and I thought it would be interesting to funk it up and give it an edge, give it a pop art feel using bold colors instead of what might be expected. In person, this painting with the lavender and yellow appears to glow. And I think it will be really beautiful shown under a soft spotlight. This painting actually took about 12 hours to paint. It required a lot of detail work that would have taken forever to film, so I worked out parts of it for filming. I had a lot of fun filming this, acting funny and having fun with 80's dancing like "Walk Like An Egypian" and dancing like Madonna and from the movie "The Breakfast Club". Hey, because that's what we should do whenever we can right? Live it up and have fun! :) Thanks for checking it out. :)
I never planned on painting Elvis, but this Elvis Pop Art Painting was by commision and the person who bought it wanted me to paint it on video. I made the background a little different by creating a two-toned effect. I like the face, but if I did it again, I might paint the background a little different.
ELVIS LIVE SPEED PAINTING VIDEO
POP ART PAINTING
16 x 20
ACRYLIC ON CANVAS
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