FEELBERRY ANTIK FINLAND
PIUME ISSUE 1
Colour is my day-long obsession, joy and torment - Claude Monet
Dear Reader, There are many myths we like to believe about artists, ours is a romantic view. To us they represent an ideal. While we toil away at life doing stuff we don't really want to do, in order to put food on the table or because it seems expedient, artists appear to make no such compromises. They follow their own star; do their own thing, regardless of the circumstances, or the consequences. Artists are true and heroic - and necessarily selfish. They will withdraw into their garret (Georges-Pierre Seurat, 1859 – 1891), tie themselves to a ship's mast in the middle of a storm (Joseph Mallord William Turner, 1775 – 1851), or walk thousands of miles (Constantin Brâncuși, 1876 – 1957) in the name of art. Concessions are not made, the motivation is singular: to create a work of worth and meaning. Courage and nobility abound. Up to a point... This is where we have tried to fill in... PIUME (Plumage) by Feelberry Antik is dedicated to the promotion of artist from various spheres of life. This magazine has a global distribution and is read by all the Galleries and Collectors in our network. Through ages, selling art has always been an intricate business and runs in a closed society of art lovers that require individual attention and a personal touch. We extend our support to artist on every step of their personal and artistic journey. The I-AM (Individual Artist Management) program guides and supports Artists creating commercial value for their creations. We provide a global platform to reach out to Art Collectors and Buyers using our network of worldwide Art Dealers. Our services include the promotion of the paintings among Hotels, our Global Clients, associated Galleries and Museums in Europe. We feature the I-AM Program Artists through wall displays, exhibitions and Gallery outreach activities. The Gallery outreach features the collection of the Artists managed by us at our associated Galleries and Private Museums in Scandinavia and other European States. No matter what colours most appeal to you, you wíll find that the artists use them to fascinating effect in their collectible work. Light, emotion, character and beauty: PIUME is all about the wonderful artworks that capture these qualities. I hope you enjoy the vivid results and find it equally inspiring. Apart from painting, we also showcase Mosaic Art, Glass Art, Sculpture, Photography and many more. A warm welcome to this edition of PIUME. Fond Regards Rukhma Managing Editor
2. RENDEZVOUS WITH ARTISTS
3. FEELBERRY ANTIK
4. ARTISTS 4.1 THIS IS SHE
4.2 ADAM AND HIS INSPIRATIONS
4.3 MERMAIDS AND UNICORNS
6. COLLECTIBLES CATALOG
187 192 196 203 206 209
8.1 ROBIN HOOD
8.2 ALBERCHT DÜRER
19 - 30
This is She
31 - 46
47 - 52
53 - 58
59 - 64
65 - 70
71 - 82
83 - 92
ADAM & his inspirations 95 - 108
109 - 128
129 - 140
Mermaids & Unicorns 143 - 156
157 - 164
UME Feelberry Antik
THERE IS ALWAYS TIME FOR Whether the hours in your day are feeling interminable or they’re flying by - take a moment to stand and stare There is art everywhere and an artist in everyone.
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This is She
This is She... LET'S CEL
LEBRATE THE MOODS OF WOMEN
rpita Bhattacharya was introduced to the world of painting at the tender age of two. Although never formally trained, the inspiration was her mother from whom she learnt the basics of painting. What started off as a mere expression of her thoughts through picture and colours, later became a serious hobby. She gave her complete dedication and passion, so much so that it became an integral part of who she was and who she aspired to be – free, strong, bold and constantly evolving.
She herself admitted, painting to her was a form of meditation which allowed her to be with herself. In a sense, it was fundamental to her and made her a more sincere and honest person because she felt that “no art can be enjoyable if it is devoid of truthfulness”. In fact, her work can be described as an intimate expression of herself.
transcended it with incredible courage. Whether in art or in her life she reaffirmed her conviction, that life was to be celebrated and to be rejoiced in. Acute adversity seemed to have given her a profound serenity and a luminous vision that saw what lay behind the apparent. The element that defined a moment, a situation, a scene, or a message a posture could convey.
Although ravaged by a malignant tumour for twelve long years, Arpita Arpita's work is an affirmation of her looked at pain squarely in the eye. She undying spirit. PIUME | 19
Watercolour on Canvas (2000)
The unabashed outpouring of passionate energy
THE TRIUMPH OF THE SPIRIT Shakti... the mystical symbol of female power. A uniquely Indian Symbol interwoven with layers of meaning, both mythical and esoteric. In India, the Sun is the symbol of light and power, of Life itself. The Sun symbolizes energy, purity and knowledge. Hindus believe that by chanting the name of the Sun-God, all evil is banished... a faith shared in ancient times by most pagan religious. In this bold composition, Arpita has combined three symbols of power: the Sun, Woman and the Lion. The Woman, exemplifying the power of the Sun, exudes the same power as the lion, which she overpowers. This is one of Arpita’s last paintings. The colours she has used here are different from her usual palette... they are bold and brilliant, the colours of a rebel. The colours of courage. The colours of victory. As the demons of her physical condition shattered her physical strength, Arpita’s spirit grew stronger, ever more determined to resist the mindnumbing pain. Arpita gathered together all the resources of her magnificent, death-defying spirit and overcame her demons. Like Durga, she conquered the shadows of pain and death.
Watercolour on Canvas (2001) PIUME | 22
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Watercolour on Canvas (2001)
The many moods of women
Watercolour on Canvas (2001)
Arpita rarely painted a crowd. In this picture of migration or perhaps of a pilgrimage, the urgency of a large group of people is movingly conveyed
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A single swan shows the way to a lone lady
Watercolour on Canvas (2001)
A moment of serenity and hope
Watercolour on Canvas (2001)
Watercolour on Canvas (1994)
GOSSIP The mood is subtly different in this picture of gossiping women. Perhaps the older woman is relating the heart-rending tale of Draupadi's humiliation, an old story from the great epic, the Mahabharata. The young girls listen with rapt attention. It is through such moments of intimacy that the oral tradition of our culture is transmitted, the traditional values are taught and the bonds between women are strengthened.
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PRATIKSHA This is the cruelest of all waitingThe wait for rain
Watercolour on Canvas (1992) PIUME | 28
Arpita's work is activated with the colours, as well as the composition, the marriage between the colour and the form makes the work successful. She has succeeded the yellow, the reds, the greens of its kind as well as the black creating a kind of crescendo of force. It is remarkable that within a very short period of time she was able to evolve in a direction. There is repose in some of her works, but at the same time it had flurry of movement. The unity in her work is absolutely admirable. Arpita is a symbol of courage in the face of adversity which our society needs very badly. Late Keshav Malik (1924-2014) Keshav Malik was an esteemed Indian poet, scholar, art and literary critic.
FLIGHT Watercolour on Canvas (2001)
REFLECTION Oil on Canvas (2018)
PAINTER OF THE SPIRIT One really beautiful wrist motion, that is synchronized with her head and heart, and you have it. It looks as if it were born in a minute. These words can be said for Madhuri Bhaduri's painting. Her works are exceptional for imbuing the refreshing spontaneity of direct observation from nature. They uphold a fresh simplicity, bold treatment and remarkable choice of colours, embodying lightness and elegance. She uses colour skillfully to create a sense of depth and space, particularly, her extensive application of white is remarkable in its evocation of transparency, whether used in isolation or in combination with other hues, as can be seen in 'Reflection'. Again, her later works convey a propensity to maintain a balance between the atmospheric qualities of light and the density of figures.
What is done in Love is done well – Vincent Van Gogh
Initially, Madhuri started with traditional paintings but soon shifted her focus to the outdoor, natural settings, which remained her primary subject in most of her works. Her intention was to represent nature in its purest form. Her impression of the rustic countryside found expression in her paintings. Critics believe that she can even paint the smell of nature. Exaggeration or distortion of the natural is never encouraged by the artist's brush. In her, Romanticism found a passionate and profound champion who could perceive and empathize with the spiritual and emotional gravity of nature, and tie it with the progress of the human
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soul by the means of her art. Her rendering of everyday phenomena – sunrise, moonlit sky, the tranquil ambience of a forest, the seasonal cycle - is intensified by her masterful and transcendental use of light, something unrivalled in the annals of art. Her feathery brushwork and rich sense of colour contribute to the enduring popularity of her paintings. Her reputation grew steadily and by 2002 she had very important patrons from India, including Jamshed Bhaba, Aditya Birla, Sadruddin Daya, Ajay Piramal, Tata Group of Companies, The Leela Hotel, Kirloskar Group, Bajaj Auto, Bharat Forge & Kalyani Industries and Kirloskar Cummins to name a few.
HORIZON Oil on Canvas (2016)
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HORIZON Oil on Canvas (2019)
Some of Madhuri's best known works and most easily recognizable paintings include the Reflections, Horizons and Seascape Series. In such paintings, the artist's mood and love of nature cannot go unnoticed. Like Monet, Madhuri is concerned with the effects of natural light as it falls on the surfaces of the boats and the water. In her painting, 'Horizons', she has shifted the field of vision down from the predictable snapshot that would include more of the sky. Instead she concentrates on the contrast between the hull of the boats at the center and the water - which, through its reflection, cleverly reveals the fair weather in the blue sky. Madhuri's work here is also innovative as it emphasis on the juxtaposition of the different regions of colour using abbreviated, loose brushwork to achieve a more luminous effect. As a result, the regions of strong colour - the water and the hulls - appear as more brilliant, prominent elements within the work than they might with a smoother, more homogenous application of colour. She shows us a slice of water closed off from the view of vast space. The painting epitomizes Madhuri's landscapes and seascapes that are mostly composed of broken patches of paint loaded in both the dark and light areas. Such painterly treatment is an inspiration to the budding Impressionists. PIUME | 38
Oil on Canvas (2019)
e h EXHIBITIONS
1990 - Taj Art Gallery Mumbai 1998 - Private Show London 1998 - Private Show New York 1999 - Meghraj Art Gallery London 2004 - Naya Art Gallery Atlanta, U.S. 2004 - Naya Art Gallery Washington, U.S. 2004 - Indian Art Unbound I Nitanjali Art Gallery Mayfair, London 2004 - Private Show Singapore 2006 - Mandarin Court - Timeless Art Singapore 2014 - Verandah Gallery Singapore 2016 - Rotterdam International Art Festival Rotterdam 2016 - Red Dot Art Fair, Art Basel Week Marie Gallery5 Miami 2018 - Art Stage Singapore, Marina Bay Sands, Easel Stories Singapore 2018 - Battersea Spring Art Fair Artquest Gallery London 2018 - NewYork Art Fair Studio3 New York 2019 - Art Show at Conrad Hilton Pune, Maharashtra
e h AWARDS
Oil on Canvas (2014)
Amrita Shergill Rashtriya Kala Puraskar in 2018 by National Institute of Fine Arts (NIFA) in New Delhi (National Award) "Exceptional Woman of Excellence" in Art (2018) by the Women's Economic Forum (WEF) at The Hague, Netherlands
Oil on Canvas (2015)
DR. PHEROZA GODREJ “Madhuri's canvases bring out the beauty of her work in every possible hue, tone and shade. She speaks with her brush and formulates her many experimentations on space, flora and fauna, figures including nude studies, landscapes and seascapes, rooftops, and abstract elements to a well-rounded presentation. She focuses for hours with her favourite medium which is oil, and her canvases are swathes of colour, line and figure, defining either light, water, shadow, or sun, moon and clouds, starting from the centre and spreading evenly over the surface." (Dr. Pheroza J. Godrej is an art historian, curator and was the chairperson of the advisory committee of National Gallery of Modern Art, Mumbai.)
Oil on Canvas (2018)
DR. SARYU DOSHI “As a painter, Madhuri has traversed different trajectories: the representational, the abstract, and often a combination of both. She has experimented with landscapes and figurative compositions. While her figurative works tend towards stylisation, her landscapes display a preoccupation with colour and its varied nuances. In her early works she was intrigued by the effects of light and shade: of sunlight filtering through foliage, the shadow patterns on a group of buildings on a street, or the shimmering expanse of the ocean as it stretches towards the horizon. Gradually, however, her paintings evinced a move from that which was recognisable to that which was intangible and amorphous. The paintings became the substance of dreams and memories.” (Dr. Saryu Doshi is an Indian art scholar, historian and curator. She was the founder director of the National Gallery of Modern Art, Mumbai.)
JAROSLAWSKA Painting, for Karolina, is a thought, a path, a vision, depth, content, sacrum, mystery, something unreadable, which she still wants to explore and discover. What is hidden is invisible to the eye, but in the sphere of guesses. Does something exist for the recipient only when he can observe it? But when he cannot observe it, he cannot be sure if it still exists, because it may be hidden. This secret is hidden in the picture, it is not shown directly. The observer has to discover it himself. Find it between the stains, lines, concrete and abstract things. What he finds will
be his secret, his sphere unknown to the rest. Nature has become a stimulus for Karolina to work creatively. To look for her own way, style, and subject in which she felt best. Nature was, for her a field for action, a topic that was very wide and gave many paths to choose from. Karolina’s inspiration for painting is "water", not as a part of the landscape, but a fragment of various shapes and colors. C. D. Friedrich rightly said, "To be able to look at nature and understand it, I must lose myself in what surrounds me."
Oil on Canvas (2018)
Oil on Canvas (2018)
Oil on Canvas (2017)
SHORE 1 Oil on Canvas (2017)
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Oil on Canvas (2016)
THE LADY WITH A MAGIC BRUSH
race, elegance and a welcoming manner, these words might as easily describe the personalities portrayed in the portraits by Manasi Sose, as the artist herself. Starting out by doing watercolors and drawings, she eventually transitioned to oil painting, for which she developed a style characterized by rapidly applied, sinuous stokes. Manasi gives a weight to the human subject and deity especially women, along with landscapes and the occasional rural scene. She often
employs extreme lines of perspective which gives her paintings a jittery dynamism that is sometimes at odds with the subject. Once an art critic truly said "They are Impressionists in the sense that they render not the landscape but the sensation produced by the landscape". Manasi derives fascination in capturing fleeting atmospheric effects, and her paintings of the mountains of Manali series are concerned largely with the evocation of the play of light on surfaces. Painting in a series, or making any kind of artwork with subtle changes from one piece to the next has been staple for Manasi. Not only has it been a way for her to explore the subtle difference between subjects, but also refers Monet directly in some of her series works.
LOOK UP WRITE AND REWRITE YOUR STORY 'TIL YOU REACH THE ENDING YOU WISH
SURRENDER IN LOVE PIUME | 55
Watercolour on Cotton Paper (2009)
BLUE GREEN WATERFALL
Watercolour on Cotton Paper (2009)
WHITE LILY STABLE
Watercolour on Cotton Paper (2008) PIUME | 56
manali Watercolour on Cotton Paper (2011)
Acrylic & Ink on Cotton Paper (2010)
Oil on Canvas (2018)
Klaudia Ka Painting is mute poetry. A visual artist is as much a poet or a storyteller as an author. One such storyteller is Klaudia Ka, a narrative painter. In her work she explores the themes related to the relationship between humans and nature. The main character in most of her paintings is her alter-ego, the woman and her ambiguous relation with the environment. The inside and the physicality is represented by the portrait or human flesh. The external world, sometimes protecting, sometimes threatening is usually represented by plants, leaves or branches entwining the figure. She often paints natural structures of trees or plants, seeking in it the truth about the perception of reality and of her own self. A forest symbolizes both the unconscious state of mind but also the need of returning to nature, a place where every being regains the balance and connection with its original instincts. Klaudia also employs the use of autobiographical themes by painting self-portraits, objects or scenes associated in a symbolic way with the important events of her life. Her working method is a continuous struggle between a realistic approach and the need of synthesis. She seeks universal and symbolic representations of complex issues from the fields of psychology and biology.
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BOY IN THE FOREST Oil on Canvas (2019)
Oil on Canvas (2018)
Vaishnavi Sose A line, color, shapes, spaces, all do one thing for and within themselves, and yet do something else, in relation to everything that is going on within the four sides [of the canvas]. A line is a line, but [also] is a color... It does this here, but that there. The canvas surface is flat and yet the space extends for miles. What a lie, what trickery - how beautiful is the very idea of painting. At first glance, it's hard to know what to make of Vaishnavi Sose's heaving, atmospheric painting, Red Sand and Rivers. Is its subject what the title suggests - a landform of some kind with certain emblematic associations? Is the red sand mass floating amid the blue water body and cream border meant to stand for something beyond itself? With many Abstract Expressionist paintings, it's important not to get too caught up with possible social and historical contexts and biography. The focus must be on what's before us - the physical elements of the work itself, because those elements can tell
us so much about the painting. Vaishnavi has developed her own unique style – a combination of the abstract and realistic. Through her work, she does not just want to show how something looks but uses colours, shapes and brushmarks in unexpected ways to express meanings, ideas and feelings. Her work is characterized by precise and boldly delineated geometric shapes and strong colors. She focuses on channeling the unconscious mind to unveil the power of the imagination. In many of her works, Vaishnavi has built up cumulative layers of non-representational painting. She begins with brushing big swaths of primary colours onto paper or canvas. The paintings evolve in stages, based on her responses to the picture's progress – the incidental details and the emerging patterns. She often challenges the boundaries of artistic style with her paintings, which combines abstraction and representation. Almost Beautiful is one such work.
Red Sand and Rivers Gouache on Paper (2016)
Perfect Just The Way It Is Pastel on Paper (2018)
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Almost Beautiful Oil Paint on Cardboard (2016)
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A M R I T
Art is not a way to make a living. They are a very human way of making life more bearable. Practising an art, no matter how well, is a way to make your soul grow.
She paints object as she thinks them, not as she sees them.
A shy and sometimes reclusive figure, Amrit Khurana did not belong to any particular school, but rather adopted stylistic elements from the individual artists she admires. She approaches portraiture with a more humanistic outlook that encourages the spectator to consider something of the personality of her subject. Amrit's imagination often remains ambiguous, while the delicate attention to detail in her painting allows for a much greater intimacy to form between her subjects and
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the spectators. Amrit's ingenuity is evident both in her choice of subject matter and in her technique. Most of her work presents individual or scenes in non-naturalistic settings, oftentimes without any contextual basis, inviting the viewer into a more philosophical experience rather than a literal reading of the work. The paintings reflects her interest in psychological introspection and her belief in a shifting impermanent visual reality.
Acrylic on Paper (2017)
Acrylic on Paper (2016)
Acrylic on Paper (2016)
Acrylic on Paper (2018)
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LAUGH THERE'S NO TOMORROW
The Beijing International Art of Autism Exhibit China - 2015
"Kaleidoscope" a solo show at Gallery Romain Rolland Alliance Francaise de New Delhi, India - 2016
"Colour Revelry" a solo show at the India Habitat Centre New Delhi, India - 2016
AUCTION "Inner Dimensions" a solo show at Art Life Gallery
Noida, India - 2017
"Beyond Paradigms" a solo show at Open Palm Gallery, India Habitat Centre New Delhi, India - 2017
"Metro Diaries" solo exhibition at Open Palm Gallery, India Habitat Centre New Delhi, India - 2018
Oil on Canvas (2018)
“SHE IS THE
ONLY PAINTER WHOSE WORKS ADORN THE DELHI OFFICE BRANCH.
Bill and Melinda Gates foundation New Delhi, India
R oL e
Rekha Goyal harnesses her lively energy and intuitive style to forge a path of her own in India's ceramic art and pottery community.
he has a memorable style and surprisingly makes her own glazes, rare among even the most seasoned potters. Each piece is thoughtful, character-driven, and designed to fit in seamlessly with innovative decor. For Rekha, the quality which appears fundamental in all her creations is life in one or more of its modes; inner harmony, nobility, purity, strength, breadth and generosity, or even exquisiteness and charm. Instead of aiming for perfection, she wants you to see the personality and one-of-a-kind details of each made-to-order piece. Her collection now includes everything from colordrenched handmade basins to stackable serving dishes; Hand crafted tablewares like mugs, plates and bowl forms to murals.
She explores the 'completeness' of an object, and produces sophisticated objects by interpreting classical forms through a modern lens of measured, delicate precision and a bold chromatic approach. Each is a variation on a simple theme with sgraffito markings and surface perforations being relatively used. She has always seen the form as a three dimensional canvas, and to that extent, the form dictates the surface, but it is the translation of the intuitive response she has to her surroundings and her experiences that makes her work so compelling.
FLIGHT OF THE BIRD Glazed Stoneware (2018)
The Moods of Water Coloured Stoneware (2018)
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TIME Glazed Stoneware (2009)
EVENTUATE Glazed Stoneware (2008)
THE MEMORY OF WATER Coloured Stoneware (2018)
EXHIBITIONS ▪ Grand Hyatt and Park Hyatt Hotels Goa, India Mural and Ceramic artwork (INSTALLATION) 2011 ▪ India Habitat Centre New Delhi, India TILES FOREVER
▪ Hermes Foundation Paris Kutch Pottery Project 2014 ▪ Godrej Design Center Bangalore, India 'LUNAR' EKHO
▪ Piramal Museum Mumbai, India Ceramic Sculpture 'TIME' 2017
ADAM & his inspirations
HELLO FROM THE OTHER SIDE Exploring the Surreal – The mastery of RAVI TRIVEDY
core stream of unconsciousness. He tries to make forms grow. He puts his trust in the example of stars, clouds, plants, animals, men, and finally in his innermost being. Ravi plays a pivotal role in the abstraction of the body and nature through his involvement with Surrealism. He is known for organic abstraction: bringing the Ravi is an innovative artist, steeped in both Dada and Surrealism, who mined his abstract, organic forms of Dada towards unconscious for imagery meant to provoke more biomorphic Surrealist images and sometimes mock social convention. He and further obscuring their possible meaning through his choice of titles. feels that the modern world is irrational; Transformation, growth, fecundity, and An idea that forms the basis for much of metamorphosis are common themes in his his work. He even created an alter ego work. called "Napoleon, The one eyed cat" that would find itself in many of his works; One such work is the Napoleon guides the He wishes to question the very notion of art and the adoration of art by presenting explorer (Ceramic, acrylic 2017). objects in an indifferent fashion. This is in direct opposition to what we know as He is inspired from the worlds of the "retinal" art, or art intended merely magical folklore, literature, philosophy, anthropology, metaphysics and spirituality to visually please the viewer. Clearly he wants to put art back into the service of in accord with Surrealist elements and archetypes of the unconscious to create his the mind. He takes a pre-existing object work. The effect on the spectator becomes and alters it. The Temptations of Señor rich with symbolic connotation, pulling on Salvador (Ceramic, Wire, 2017), Bapu Conquers the World (Ceramic 2018), both the personal and universal points of The War was won on a Strategic Choice resonance. (Ceramic 2014) are few such examples. Seller of dreams (Ceramic 2016), is from a The combination of these objects is series of sculptures made by Ravi spanning odd, creating a surreal feel yet when we delve deeper we find the concept of both Dada and Surrealist genres and transformation and metamorphosis in the marks his transition from the former to objects.... it is worth nearly all the tricks of the latter. Loosely literal and mysterious, the piece points to its conception within a art put together.
Ravi Trivedy is the trickster of the Surrealist art, which is evident in this interpretation of Issac Newton Defines the Gravitational Constant (2019) Medium: Ceramic
Napoleon Guides the Explorer (2017) Medium: Ceramic and Acrylic
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The Temptations of Señor Salvador (2017) Medium: Ceramic
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INSIDE THE Forging the Modern Man (2018) Medium: Ceramic, GI Pipes
t is what it says it is - a man with GI pipes, a classic example of a Surrealist object made from the conjunction of two objects not normally associated with each other. The individual objects are unaltered yet the power is in their unexpected blend - an absurd dream made manifest. The viewer is first compelled to imagine how it feels to be a modern man. It offers a jarring visual clash between a modern human being and pipes. Although, seemingly playful this duality hints at darker origins if we too, like the Surrealists, follow Freud's theories on dreams. The deviant brilliance of Ravi is exorcised in this piece where we glimpse his fears, anxieties, and obsessions of the modern world. This work is originally titled Forging the Modern Man, which reflects the meeting of lust and fear in the artist's mind that the pipe represents. His brand of surrealism, although centered on subjects is never without a hearty dose of the jester, portrayed with dramatic humor.
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Seller of Dreams (2016) Medium: Ceramic
Bapu Conquers the World (2018) Medium: Ceramic
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The War was won on a Strategic Choice (2014) Medium: Ceramic
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K A peek at the artisanship of a maestro – Metiers d'Art paintings masterminded by Kashmiri Khosa
hen a painter like Kashmiri Khosa approaches the canvas, he views this as a personal encounter, wherein the process of painting itself reveals the personality of the artist, and all the drama and emotion that comes with it. For him, painting is an existential exercise, a brutally honest form of self-expression. Mankind is defined by universal qualities. His essence, in other words, is everywhere the same, and essence precedes his existence in the world, which is contingent on external factors such as history and environment. This theme has played an important role in Existentialism. Kashmiri Khosa has maintained the importance of the individual, and his duty to determine the meaning of life. His paintings demonstrate art's interest in subjective perceptions and experiences – indeed the first level of those experiences, before the mind had time to process and reflect upon them. In this sense it can be
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suggested that art is opposed to science, which is more interested in analyzing and rationalizing those experiences. A Flight Within, Boat of Life, Imprints of the Past might serve as an opening on to themes of Existentialism and Phenomenology. Through his work, he insisted on the distinctiveness of personal experience. In the decades that followed, Existentialism grew into a philosophy that placed stress on individual ethics and on the authentic experience of selfhood, on freedom and choice as can be seen in Transmutation. Here the painter's creative process is displayed as an act of necessary self-assertion, an expression of freedom and authenticity. His focus on individual experience made it a perfect tool to interpret abstract art. Some of his work from the Mountains of the Mind series addresses the uneasy coexistence of mind and body on which human beings rely, and Existentialism's interest in sensory perception offered a means to negotiate the sometimes difficult divide. His work is a visualization of our "universal horror of being-in-theworld," our fascination with the "otherness" of worldly phenomena. Transcendence is a key example of the artist's emotional relationship and response to the canvas, and it exemplifies Existentialism's stress on subjective experience.
Acrylic on Ten Canvas Boards (2001)
e h EXHIBITIONS
1982 - Contemporary Indian Paintings at Hirshhorn Museum Washington D.C. 1983 - “Seven Indian Painters” selected by M.F. Hussain at Maurya Sheraton New Delhi 1984 - Contemporary Indian Art Tokyo, Japan 1984 - Jehangir Art Gallery Mumbai 1985 - Second Biennale Bangladesh 1990 - “Words & Lines”- A programme of Indo-German poetry in counter-point with the artists paintings by Max-Mueller Bhavan New Delhi 1992 - Exhibited at Design Art Gallery Dubai 1992 - Exhibited at Gallery 7 Hong Kong 1993 - ‘'Seven Indian Artists” Hungary 2006 - “In search of the Soul” Sponsored by the Arts Trust of Mumbai at Jehangir Art Gallery Mumbai 2013 - “Mind and Mountains” exhibition of paintings at India Habitat Centre New Delhi 2014 - "50 Years of Celebrating" by Camel Art Foundation at Jehangir Art Gallery Mumbai 2014 - An international exhibition of “Global Village” Netherlands, Germany and Denmark 2019- Art Show at Conrad Hilton Pune
e h COLLECTIONS
Boat of Life
Acrylic on Canvas (2007)
The paintings are in the important collections of The National Gallery of Modern Art New Delhi Sahitya Kala Parishad The Cultural Wing of the Government of National Capital Territory of Delhi (NCT) New Delhi
e h AWARDS
Imprints of the Past Oil on Canvas (2016)
President of India's Silver Plaque in 1974 (All India Fine Arts and Crafts Society) National Award by Lalit Kala Akademi in 1981 (The highest honour for the fine arts conferred by the Government of India given to eminent artists for their lifetime achievement in the field of visual arts)
ashmiri Khosa appears to have made the most serious attempt to come to terms with the ideas of Existentialism. He is particularly preoccupied with problems of perception, and how the phenomenon of spatial distance might be registered. These problems go to the heart of Existentialism since they not only touch on our faculties of perception and thought, but also speak to how we relate to one another as isolated human beings separated by physical space. But Khosa's art also captures the melancholic tone of Existentialism: This painting shows a fragile subject, isolated and exposed to the elements, which consequently have begun to ravage his very being. The man is also emaciated, suggesting that he is slowly withering away, yet he still moves forward, presumably in search of something. Khosa's Towards Unknown is a portrait of man in the throes of an existential crisis.
Oil on Canvas (2011)
THIS PAINTING EXEMPLIFIES KHOSA'S SKILLFUL USE OF PERSPECTIVE
Oil on Canvas (2009)
ART IS NOT AN EXACT SCIENCE BUT A MEANS OF CAPTURING THE COMPLEXITIES OF WHAT THE EYE OBSERVES.
MOUNTAINS OF THE MIND SERIES
Oil on Canvas in miniature format (2011)
Oil on Canvas (2010)
Kashmiri Khosa performs his painterly alchemy in Transcendence
Temenos He has been featured in “Temenos 13“ (A journal devoted to the art of the imagination) by Temenos Academy, London
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Mindscape/Suspence Oil on Canvas (2009)
LATE KESHAV MALIK (1924-2014) “The figures that K. Khosa draws are as if sculpted rather than painted. There is no attempt to show off painterly skill but merely the anxiety to explore the timeless dimension, for his art is not that of a perfectionist and performer but of one in favour of regeneration of deeper self.” “Here the artist is one who has some quintessential personal knowledge of humane existence; one who has unified himself sufficiently enough; or who has sensed that the empirical or pragmatic reality is coloured by the prism of eternity.” “The figures – angelic or serene – in Khosa’s work seem to float in ether – that sacred postulate of deep self communings.” (Keshav Malik was an esteemed Indian poet, scholar, art and literary critic. He is a Padma Shri and National Lifetime Achievement awardee.)
Oil on Canvas (2010)
LATE KATHLEEN RAINE (1908-2003) “So seldom am I moved by the work of some new painter, poet or musician that I am tempted to conclude that I have with old age grown insensitive to the language of the arts. Khosa’s majestic paintings reassure me – they restore to our sick human world great life-giving presences of the Imagination.” (Kathleen Raine was a renowned British poet, scholar and literary critic. She was conferred the title of Commander of the Most Excellent Order of the British Empire and L'Ordre des Arts et des Lettres, France.)
M I N I REVOLUTION Spotlight on PIUME's newest addition celebrating Amrish Malvankar
urrealism suggested ways to describe the unconscious; and Cubism guides his understanding of picture space. As with many of Amrish's paintings, he begins it with a linear framework of diluted black paint which in many areas soaked through the unprimed canvas. Over this he applies more skeins of paint in various colours - lines thick and thin, light and dark, straight and curved, horizontal and vertical. Amrish often works with a limited palette, yet the colours he uses are bold and expressive. His chromatic explorations, which emphasizes the potential of fields of unblended colour to respond to one another, as well as his flat backgrounds with mild gradations of color, are valuable resources, providing inspiration for Colour Field painters. Via his own Surrealism-inspired
exploration, Amrish has invented a new kind of pictorial space in which carefully rendered objects issuing strictly from the artist's imagination became juxtaposed with basic, recognizable forms. His use of interior emotion to drive abstract expression would become a great influence on the Abstract Expressionists. As the title suggests, the colouring, horizontal orientation, and sense of ground and space in Serenity are strongly evocative of nature. The balance between control and chance that Amrish maintains throughout his working process produces composition that can have as much calm tranquillity as some works by Rothko. Amrish has fused abstraction, figuration, and landscapes in various ways. His unceasing journey to find new forms and subjects have made his overall output more eclectic.
Acrylic on Canvas (2019)
Acrylic on Canvas (2019)
Acrylic and Oil on Canvas (2018)
Acrylic on Canvas (2016)
Acrylic on Canvas (2015)
Acrylic and Oil on Canvas (2018)
Vivid Strokes Gallery at Volvo Art Loft Singapore - 2015
Miami Art Week
Florida, USA - 2016
Lalit Kala Akademi New Delhi - 2016
"Aqua Art Miami" Art Fair
Miami, Florida, USA - 2017
Ceramic Center Gallery Chicago, USA - 2017
ITIONS Nehru-Wangchuk Cultural Centre Thimphu, Bhutan - 2017
Exhibition at The Nehru Centre London, UK - 2017
The ArtBox. Project | Art Basel 1.0 Switzerland - 2017
The ArtBox. Project | New York 1.0 USA - 2018
Karnataka Chitrakala Parishath
Bangalore - 2019
Mermaids & Unicorns
The Boy who goes to the Moon every night.
The Happy Space
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vineer (Dodo) Rakshit is all of 12 years. He loves Xbox, his collection of cars and he really loves Asterix. His favorite holiday is Christmas, and his birthday is April 13th. He doesn’t love school much except for some classes, like Chemistry and Mathematics. And lunch and recess. He mostly dreams of going into the outer space to visit the planets one day.
Like any other boy of his age, he too is mischievous with an active imagination and unflagging energy. He has a real zeal for drawing (Pencil Sketches) with a focus on automobiles, air craft, ships and submarines only. He is a self taught child and has been sketching since the age of 1.5 years. He follows his impulses as a result his sketches walk the line between surrealism and realism.
Friedrich Wilhelm Heinrich Alexander von Humboldt (1769 - 1859), more simply called Alexander von Humboldt, was a notable Prussian geographer, explorer, and naturalist. He is widely recognized for his works on botanical geography which laid the foundation for biogeography. His last name is something many animal lovers may already be familiar with, as the Humboldt squid that lives in the Humboldt Current of South America, is named after him.
About the Painting Alexander von Humboldt and amé Bonpland in the Amazonas jungle. (Alexander von Humboldt und Aimé Bonpland in der Urwaldhétte) Oil by Eduard Ender (c.1850) in the Berlin-Brandenburgische Akademie der Wissenschaften.
Pencil Sketch on Paper
About the Sketch
Alexander von Humboldt is a German sailing ship originally built in 1906 by the German shipyard AG Weser at Bremen as the lightship Reserve Sonderburg. She was operated throughout the North and Baltic Seas until being retired in 1986. Subsequently, she was converted into a three masted barque by the German shipyard Motorwerke Bremerhaven and was re-launched in 1988 as Alexander von Humboldt.
Pencil Sketch on Paper
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Focke-Wulf 190 A8
Pencil Sketch on Paper
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Pencil Sketch on Paper
Ferrari 250 GTO (1964)
Pencil Sketch on Paper
THE BRITISH COLLEGE OF ANDORRA ELISE RENÉE
Let me begin by mentioning Avineer's undeniable talent for drawing. I applaud his skills and encourage him to continue nourishing his ability and artistic gift.
DULWICH PICTURE GALLERY WASHIELA PASSEY
Thank you for sharing Avineer's gift of art, his sketches are flawless and very meticulous. His parents must be very proud of him, as at such a young age his ability to sketch such difficult objects with so much finesse. Congratulations and please continue in your support for him. He is simply brilliant and should continue with his work.
VANCOUVER ART GALLERY Thank you as well for sharing Avineer's work with us - it is wonderful to see! We very much encourage him to continue drawing as he clearly has an interest in the arts and is driven to learn. We wish Avineer much success!
CARTOON MUSEUM LONDON ANITA O'BRIEN
Avineer clearly has a talent and passion for drawing machines. I do hope he continues to develop his art.
Don't just discover my world. Discover ME!
Acrylic on Canvas (2018)
ADVAIT KOLARKAR Advait's creations begin and end with looking. His inspiration could be spurred by seeing a color or a mark or a gesture, sometimes in a dream, sometimes in another one of his works. Who will say what precise moment a canvas is finished? Art does not proceed without a certain incompleteness, the life it reproduces is in perpetual transformation. Young Advait paints to the point where he thinks a painting is finished. He believes that you can make changes forever, but even then, are you really "finished"?
the philosophy of Abstract Expressionism. Using brushes, he engages in vibrant, physical motion, creating huge energetic compositions. His lines and forms are unrelated to any entity but that of their own existence.
Magic is possible in art, but that we rely first on magic being present during the act of creation. Advait has taught himself to seek that magic in the light and color of natural world. He does not care whether his work is representational or abstract in its approach, nor does he bother about the validity of such labels. We are proud that he The visual language created by respects the purity of aesthetic elements like color, luminosity, Advait is unlike anything we have seen before. His techniques and the composition and balance, for spirit with which he paints embody their own merits.
Acrylic on Canvas (2018)
This four-year-old is an amazing artist whose work has sold for £2,000 a pop BBC NEWS Updated: 4 May, 2018
Four-year-old New Brunswick art prodigy is taking the art world by storm THE CANADIAN PRESS Updated: April 29, 2018
Pune Boy, 4, Stuns Art World. His Paintings Sell For Thousands Of Dollars NDTV Updated: May 01, 2018
Acrylic on Canvas (2018)
EXHIBITIONS ▪ ArtExpo New York, USA MAGNIFY April, 2018 ▪ Art Centre, New Brunswick, Canada COLOUR BLIZZARD January, 2018
Everything has beauty, but not everyone sees it. Confucius
There is exhibitiona playful energ y i exper ienc . Collaborations mbued throughou t e the freedo that through Ka o warmly embrac t Feelberr y Antik ' s individua m of expression in hmir i Khosa's dis e that freedom of s Ar t Moments p Bhadur i l br illiance of ar ti the method of sket lay of few of his expression; we s c b a collection nd collective sync ts like Ravi Tr ived hing by Avineer R est creations to all else, s of talent with the hronicity, inspired y, Arpita Bhattac akshit. Without h e a exhibition rendipity against bility to interpret vision and team i ar ya, Madhur i t i ar tists an . This thank you he odds, there wou deas on another le nventiveness (a g spir it of Ad Conrad, Pune w oes out to each an ld have been no e vel), and above xc h r t, and re d flecting it o suppor t the Ar t ever y individual itement to this M , back thro ugh word oments ethos, of team, media, h s, picture s and cre arnessing the ative ene rg y.
AUTUMN 19 Location Courtesy: Conrad, Pune
Artworks by (L to R): Kashmiri Khosa Arpita Bhattacharya Avineer Rakshit Madhuri Bhaduri Ravi Trivedy
KABANA CORIANDER KITCHEN LOBBY
RAVI TRIVEDY COLLECTION
CATALOG 1. DENMARK
1.1 Bjørn Wiinblad 2.1 Pied Piper of Hameln 3.1 Cat Got Our Tongue 4.1 Our Beloved Granny 5.1 The Blue and White Saying 6.1 The Vikings, The Valour and The Valhalla
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BJØRN WIINBLAD From illustrator to cosmopolitan multi-artist
jørn Wiinblad was born in Copenhagen in 1918. At a very early age, he began to show signs of his talent for drawing and creating imaginative worlds. Aged 17, he began an apprenticeship as a typographer, but soon realised that his heart was set on following the path of an artist. He has a high profile worldwide as a painter, stage and poster designer, designer of tapestry, pottery, metalware and ceramics. He is regarded as one of the most imaginative and versatile artist. Next to many other things, he illustrated the 16 volume Danish edition of ‘Arabian Nights’. His work has been widely shown in Europe, the United States (since 1954), Japan, Australia and Canada (since 1968). He was attached to the US Embassy in Paris in 1947 as a poster designer. Later his playful posters illustrated Copenhagen’s famous Tivoli Gardens and many other activities and events
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in Denmark, as well as the Paralympic Summer Games in Seoul, the New World Symphony Orchestra Academy in Miami, and the Royal Danish Ballet at the Metropolitan Opera House, all in 1988. His textile work was used for costumes for numerous ballets and stage presentations. Characteristics of Wiinblad’s work include whimsical round-faced people, dressed in vaguely 19th century costume. They are often surrounded by natural elements;
Product Details Period: 1980s Style: Danish Modern, Scandinavian Artist: Bjørn Wiinblad Brand: Bjørn Wiinblad Materials: Delft, Pottery Origin: Denmark, EU
twining vines, floral wreaths, and fantastical trees. When Wiinblad employed colour, he did so with great assurance. His colour choice is saturated and strong, sometimes almost psychedelic and often supplemented with gold or silver tones. Museums around the world have Wiinblad’s work in their collections and he has received many awards. Among these are the V&A in London, MOMA in New York and Stockholm’s National Museum. His large series of ceramics and tapestries have been used for hotel decorations in Japan and the US. For the World Trade Center in Dallas he designed a large Scheherazade tapestry.
very special. As a rule, they looked out with openness and curiosity - but with traces of dejection, melancholy and mysticism. The eyes meant something very special to Wiinblad, so even though he employed a large number of people, he always painted the eyes himself. The personality of the women also found expression through unusual heads and strange, sprout-like ears, short arms, small breasts and angular noses. In other words, the women were intensely “Wiinbladian”.
His Inspiration Women were a consistent theme in the Wiinblad universe and production. His women displayed a wide range of emotional nuances, and their eyes specifically, their gaze - were always This is a mid-century Bjørn Wiinblad’s blue and white lady figurine/candle holder. This piece is around few decades old and would look fun resting in a bookcase or on a center table. Very modern and a great piece to add interest and a pop of colour to your unique décor. This piece is marked with Bjørn Wiinblad’s signature at the bottom. PIUME | 191
WAGNER & APEL
THE PIED PIPER OF HAMELN Deep within the children’s section of the local library, is an old dusty copy of classic fairy tales. Behind the faded cover lives stories of heroism, nobility, and true love; stories that eagerly fill the minds of young dreamers everywhere. However, dwelling amongst the “once upon a times” and “happily ever afters” is a far more sinister tale of rat infestation, broken promises, and the disappearance of an entire city’s children.
he story of 'The Pied Piper of Hameln' goes back to the year 1284. It was said that there was a rat plague in Hameln and the people did not know what to do. A stranger appeared on the scene, dressed in pied (multicoloured) clothing. He claimed to be a rat-catcher and that he could rid the town of all the rats and mice in exchange for a certain fee. The mayor agreed to pay him the reward and the rat-catcher produced a small pipe which he played. Soon, all the rats and mice came crawling out from everywhere and gathered around the piper. When he was sure that none remained behind, he walked out of the town and to the River Weser. The whole pack followed after him and fell into the water and drowned. When the mayor and the town's people found that they had been delivered from the plague, they rejoiced but regretted their promise of a reward and they reneged on their payment to the piper. He was furious and left the town in anger, vowing to return to seek revenge. On 26 June, the piper returned to Hameln, this time dressed as a hunter, with an odd red hat. While everyone
had gathered in church on St. John and St. Paul’s Day, he once again let the sound of his pipe ring through the alleys. Soon, not rats and mice, but children – boys and girls aged four and older – came running out in great numbers. Playing all the while, the piper led them out the eastern gate and into a mountain where he vanished with them. In all, it is told that one hundred thirty boys and girls followed the piper out of the town. Depending on the version of the tale, it is said that three children were left behind – one was deaf and didn’t hear the music, one was blind and couldn’t follow and the third was lame and could not keep up with the piper and the others. As with all forkloric tales, there are many versions, conclusions and theories on the origin of the legend. But in spite of the darkness of the tale and regardless of the details, the Pied Piper of Hameln is considered the most famous of German legends in the world. It attracts millions of visitors to Hameln each year and in summer an average of 3,500 visitors each day watch actors in historic costumes perform the story of the procession of the Hameln children on the terrace of the Hochzeitshaus. The secrets of the Pied Piper can also be learned at the Hameln Museum in Osterstrasse, Hameln. PIUME | 194
Wagner & Apel When the Berlin Wall fell in 1989, it not only liberated those Germans who had been dominated by Communist rule for 28 years, it also revealed artistic treasures that had long been hidden. One of those treasures is a small family business, porcelain manufacturer, “Wagner & Apel 1877". Located in Lippelsdorf, a tiny village in the Thuringian Forest, W&A has been run by the Wagner family since 1883. Their line of exquisite, fine porcelain figurines gained fame throughout Germany in the early part of the century. All the figures were designed exclusively for the company and hand-painted, as they still are. After WWII, East Germany took over the plant as a state-run property. The original family owners and their descendants were allowed to work there, but only as employees! Consequently, they were able to maintain their skills as artisans and designers. When Germany was reunited in 1990, the owners were given back their firm. Product Details Period: 1877 Brand: Wagner & Apel Material: Porcelain Origin: Germany, EU PIUME | 195
Today, “Wagner & Apel 1877" carries on its proud tradition with a staff of only 15 people. The small output and high quality of the product makes the line extremely collectible. Pieces are marked with the W&A blue bottom-stamp.
CAT GOT OUR TONGUE
The Strange History Behind Kattenshoet, Belgium's Cat Throwing Festival
t the moment, the best place in Belgium to be a cat might be Ypres, where every three years a large folkloric parade is held in the animal's honor. However, a peculiar part of the activities, the flinging of plush cats from the city's bell tower, hints at the festival's less feline-friendly origins. Once upon a time, being a cat in Ypres on the second week of Lent equaled certain death. That Wednesday, a day that became known as "Cat Wednesday," PIUME | 197
marks a dark page in feline history as the city's cats were rounded up and thrown off of the highest tower. Written records show the tradition goes back as far as the 12th century. In the Middle Ages, Ypres - now mostly known as a major battlefield of the Great War was a merchant town with a thriving cloth industry. Bales of wool would be shipped in from England and kept at the large 'Lakenhalle,' or Cloth Hall, along with already processed sheets, a paradise for mice and rats. The people
Modeled in unglazed ceramic, this black sculpture of a cat is sitting in a relaxed pose with ears pointed slightly to the side and slightly forward. This indicates contentment and sense of well-being. She's neither fearful nor aggressive in her posture.
This is an antique ceramic cat figurine and a fine example of black pottery belonging to the 18th century. It has a hand painted maker's mark at the bottom as can be seen and is quite finely potted. This is virtually a single and rare find from a place called Malle in Belgium, with no defects or markings.
of Ypres enlisted cats to eat the mice and keep them from gnawing holes in their livelihoods, a solution that worked perfectly at first - until their micecatchers, presented with a veritable smorgasbord, started to breed like bunnies themselves. Coupling their cat surplus with an already widespread belief that the animal was in cahoots with evil spirits, witches, and the devil, the Ieperlingen made throwing tabbies off of their 70-meter-high Belfry a mass spectacle. And while lots of other Belgian cities, such as Bruges, thought up cruel cat-torturing techniques in those superstitious days, Ypres has its modern festival to thank for reminding people of its cold-blooded past. That said, the last live feline to be chucked off the tower in 1817 did his species proud by surviving the fall and dashing off. On that hopeful note, the people of Ypres changed their ways. They wouldn't throw another cat off the bell tower for over a century, and when they finally decided to revive the age-old tradition in the 30s, they did so with stuffed toys instead of the real thing. In fact, Ypres has been making amends to the feline race for over 80 years now. May 13, 2018, was the 44th edition of the triennial "Kattenstoet," or "Cat Parade," a folkloric festival that attracts tens of thousands of cat lovers from PIUME | 201
around the globe. The afternoon sees an impressive parade with floats, giant cats, and about 2,000 local volunteers dressed in medieval garb. The highlight of the day comes when the procession arrives at the bell tower, and the jester throws plush cats into the sea of people on the market square below - whoever catches a toy gets to make a wish, even a non-catrelated one. International cat lovers come from far and wide to witness the feline splendor.
Origin of Black Pottery Malle is located in the Campine (Dutch: Kempen) region, which historically was not densely populated, and consisted of enormous heaths and marshlands, interrupted by woods and swampland. Since the Middle Ages the majority of the land in the Campine has been cultivated. Until the 18th century Oostmalle was known for its black pottery, such as "Lollepotten" which were small stoves used for room heating in winter.
Product Details Period: 18th Century Materials: Handmade Black Pottery Origin: Belgium, EU
UNITED STATES OF AMERICA
Our Beloved Granny Emma Webster, better known as Granny, is a Warner Bros. Cartoons character created by Friz Freleng, best known from Looney Tunes and Merrie Melodies animated shorts of the 1950s and 1960s.
he is the owner of Tweety (and more often than not, Sylvester and Hector). Her voice was first provided by Bea Benaderet from 1950 through 1955, then by June Foray for almost 60 years. Granny is a good-natured widow who is extremely protective of her beloved canary, Tweety. Granny's overprotectiveness becomes apparent whenever Tweety is threatened, usually by Sylvester. Although having the appearance of a kindly old woman, Granny has demonstrated her cleverness in many cartoons. At least until the mid-1950s, Granny is depicted as an elderly spinster who wears spectacles, a gray bun and a late 19th-century-like schoolmarm dress; other old fashioned characteristics include her mode of transportation (usually, a Ford Model T or a horse and buggy) and her inability to relate to present fads (such as her telling Tweety she's about to try on a new "bikini bathing suit", which turns out to be a full one-piece outfit from the turn-of-the-20th century).
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The Blue & White Saying
elftware is frequently used to describe any blue and white ceramic item. Authentic Delftware, made in The Netherlands, is hand painted by experienced artists and glazed in a centuries-old process. The results are one-of-a-kind items treasured for generations. The painting of Delftware requires high craftsmanship. Professional painters paint the beautiful and very detailed designs by hand. The entire collection is hand-painted. The result can be admired in the show and salesroom at the factory. The collection consists of the blue and white pottery but also the popular multicolored (polychrome). PIUME | 208
The Vikings came from three countries of Scandinavia: Denmark, Norway and Sweden. The name 'Viking' comes from a language called 'Old Norse' and means 'a pirate raid'. People who went off raiding in ships were said to be 'going Viking'. Historically, the Viking era began with the attack on Lindisfarne monastery in AD 793, and ended with the Battle of Stamford Bridge in 1066, when the English army successfully repelled the Viking invaders led by King Harald Hardrade. The Vikings' seaworthiness and impulsiveness led to the development of new areas along the Norwegian coast, westward to Iceland, the Faroe Islands, Shetland, Orkney, Scotland, Ireland and Greenland. The Norwegian Vikings also discovered Vinland, present-day America, long before Columbus. Think of the Vikings and it's not poetry, wood carving and storytelling that spring to mind, but colourful
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VALOUR images of horned helmets, berserkers, longships, Valhalla, the one-eyed god Odin and men dying sword in hand or drinking out of skulls. And it's true, the Vikings were pirates who came to plunder and kill, and they spread terror along Europe's coasts. But their reputation is not entirely fair: They were not just ruthless warriors, but also skilled traders, administrators and craftsmen in metal and * Product Details on Request wood, producing beautiful jewellery and artefacts that survive to this day. They were courageous, cunning and had a fatalistic outlook which made them natural risk takers. Viking raiding parties seem to have had an amazing ability to shrug off losses, whether in battle or in dangerous sea voyages. Many men were lost in battles in continental Europe, and in 876, the Vikings lost as many as 4,000 men and 120 ships in a great storm off the south English coast. There was also much infighting between Danish and Norwegian Viking bands, especially in Ireland, where losses were extremely high in relation to the Viking population. Despite all of this, their appetite for conquest and exploration remained high.
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ODIN Odin (Old Norse inn) is a God and ruler of Asgard in Norse mythology. Odin is the most powerful God in Asgard and he lives in the house called Valaskialf. In this house Odin has a tall tower and in the top of the tower he has a throne called Hlidskialf, from here Odin can see throughout all the nine worlds.
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Odin is associated with healing, death, royalty, wisdom, battle, sorcery, poetry, and the runic alphabet, but also the day 'Wednesday' is known as Odin's day and he is thought to be "the leader of souls". Odin looks like a sorcerer, and may have been an inspiration to Gandalf from J.R.R Tolkien's books Lord of the Ring and the Hobbit. Odin is able to shapeshift just like Loki, into any animal shapes at will. Odin mostly speaks in phrases and riddles, and Odin's voice is so soft that all who hear him speak think all he says is true. Odin can also just say a single word and blow out the flames of a fire, or tone down waves of the sea.
SLEIPNIR Sleipnir (Old Norse 'Slippy' or 'The Sliding One') is a gray eight legged horse, this horse is a magical horse, and the most beautiful of all horses. Sleipnir is the symbol of the wind, and has the marks of hell upon it. Sleipnir can just as easily gallop through the air as on land. Sleipnir was born by the God Loki when he
mythology, he is the son of Odin and Fjörgyn. Thor is associated with the day thursday which is named after him. He has red hair and a beard, and is also known to be very ill tempered. He is associated with thunder, lightning, storms, oak trees and strength, Thor is the strongest of all the Gods and the protector of mankind in Midgard. While Thor is the strongest of the Gods, he is not the smartest or the most wise of the Gods, and many giants tease or fool him as much as they can. When the giants make fun of him it makes him furious, and when Thor grabs his hammer Mjölnir while enraged, it makes loud noises with sparks and lightning. This makes the giants crumble in fear and sends chills down their spines. Thor loves to fight the giants, and with his hammer Mjölnir, his powerbelt Megingjörð and his iron gloves Járngreipr, he always has the upper hand.
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shape-shifted into a mare and used the stallion of the giant builder to become pregnant. Sleipnir was later on given to Odin as a gift from Loki.
One day Thor discovered that his hammer was missing, and Loki found that the Giant Thrym had stolen it. Thrym wanted to marry Freya in return for the hammer, but the goddess Freya loathed the idea. So it was decided that Thor would go to Thrym's hall disguised as Freya. Thor took Loki with him. Thrym was astonished at how much
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the bride ate and drank, but Loki told him "she" had not eaten or drunk for nine days in her anxiousness to join the Giants. Thrym then went to kiss his bride and was amazed that she had a red complexion and eyes that flashed fire. Again Loki explained she was feverish from lack of sleep in her joy at joining Thrym. In a hurry to get the marriage over with, Thrym ordered that the hammer be placed on the bride's knees according to custom. Thor laughted in his heart, and having regained his hammer he struck all the Giants in the hall dead.
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that in the case of the bigger vessels with crews of 70 men, to keep them going for a sailing season lasting four months would require the surplus from 460 farms. But not all Viking boats and ships were meant for sailing across the open ocean. Some Vikings used their vessels to sail up the mighty rivers in Russia and beyond. This would take them to the mysterious lands in the East, where they could find riches beyond their wildest dreams.
For centuries the secret of Viking success was their ships. To sail in them was to be a Viking. The Vikings built fast ships for raiding and war. These ships were 'dragon-ships' or 'longships'. They were built from shaped, wooden planks held together with iron rivets and wooden frames. Any gaps were sealed with animal hair to make them waterproof. These ships meant they could sail all round Scandinavia, and then on to Ireland, England and Scotland, transporting people, animals, weapons and tools. It's been estimated
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A dead person was buried or cremated (burned) with some of their belongings, to take into the next world. Some Viking chiefs were given ship-burials, with treasure, weapons, and favourite dogs and horses buried with them. Vikings believed that a warrior killed in battle went to Valhalla, a great hall where dead heroes feasted at long tables. Odin sent his warrior-maidens, the Valkyries, riding through the skies to bring dead warriors to Valhalla. * Product Details on Request
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WHAT THE VIKINGS LEFT BEHIND...
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Archaeologists find the remains of Viking houses, burial sites, treasure hoards, carvings on stones, and writing carved in runes. Vikings left their mark on Britain in other ways too, such as language, Lots of familiar English words originally came from the Vikings' Norse language. Examples are 'husband', 'egg', 'law' and 'knife'. Place names show where Vikings once lived. A place with a name ending in -by, -thorpe or -ay was almost certainly settled by Vikings. The Vikings also left behind many stories about real people, called 'sagas'. Scotland has its own saga from the Viking Age, called 'Orkneyinga Saga' or 'The History of the Earls of Orkney'.
The Vikings have earned their place in history as a seafaring warrior culture with a fine eye for design and a good ear for storytelling.
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Who was the real Robin Hood? Just as Robin Hood eludes the Sheriff of Nottingham, pinning down the folk hero's exact origins challenges scholars. Artist: Daniel Maclise (1806 - 1870) Robin Hood and his Merry Men Entertaining Richard the Lionheart in Sherwood Forest (1839) Medium: Oil on Canvas Nottingham City Museums and Galleries, Notingham, England.
Stealing from the rich
to give to the poor,
and his Merry
are a permanent part of popular
culture. Set in England during the reign of King Richard the Lionheart, the adventures of Robin Hood follow the noble thief as he woos the beautiful Maid Marian and thwarts the evil Sheriff of Nottingham. The story has been around for centuries, but its most familiar elements are also the most recent additions. Like the roots of Sherwood Forest, the origins of the Robin Hood story extend deep into English history. His name can be found all over the English map: Robin Hood's Cave and Robin Hood's Stoop in Derbyshire; Robin Hood's Well in Barnsdale Forest, Yorkshire; and Robin Hood's Bay, also in Yorkshire. When the story is traced back to its 14th century beginnings, the figure of Robin Hood changes with time. The earliest versions would be almost unrecognizable when compared to the green-clad, bow-wielding Robin Hood of today. As the centuries passed, the tale of Robin Hood evolved as England evolved. With each new iteration, the Robin Hood legend would absorb new characters, settings, and traits - evolving into the familiar legend of today.
In 19th-century England numerous scholars embarked on a search for Robin Hood after the publication of Sir Walter Scott's Ivanhoe in 1820. Set in 1194, Scott's novel takes place in England during the Crusades. One of the featured characters is Locksley, who is revealed to be Robin Hood, the "King of Outlaws, and Prince of good fellows. Scott portrayed Robin as an
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honorable Englishman loyal to the absent King Richard; this popular characterization renewed modern interest in the figure of Robin Hood and the question of whether or not this "King of Outlaws" was based on a real person. Historian and archivist Joseph Hunter discovered that many different Robin Hoods dotted the history of medieval England, often with variant spellings. One of the oldest references he found is in a 1226 court register from Yorkshire, England. It cites the expropriation of the property of one Robin Hood, described as a fugitive. In 1262, in southern England, there is a similar mention of a man called William Robehod in Berkshire. The previous year there had been a reference to William, son of Robert le Fevere member of a band of outlaws believed to be the same person. In 1354, farther north in Northamptonshire, there is a record of an imprisoned man named "Robin Hood" who was awaiting trial. Because Hunter and other 19th-century historians discovered many different records attached to the name Robin Hood, most scholars came to agree that there was probably no single person in the historical record who inspired the popular stories. Instead, the moniker seems to have become a typical alias used by outlaws in various periods and locations across England.
A Gest of Robyn Hode, one of the most popular ballads about the outlaw, was printed in the 16th Century. Many of its events show up in later tellings of Robin Hood, such as the 1917 work written by N.C.Wyeth, whose vivid artworks, reproduced here, brought Robin Hood to life.
COLORFUL CAST OF CHARACTERS
When historical records failed to yield a definitive personage behind the noble outlaw, scholars then turned to the popular culture of medieval England: folklore, poetry, and ballads. These three formats all grew out of an oral tradition. Some theorize that they originally derived from troubadours' songs that reported news and events. The first known reference in English verse to Robin Hood is found in The Vision of Piers Plowman, written by William Langland in the second part of the 14th century (shortly before Geoffrey Chaucer wrote The Canterbury Tales). In Langland's work a poorly educated parson repents and confesses that he is ignorant of Latin: I kan noght parfitly my Paternoster as the preest it syngeth, But Ikan rymes of Robyn Hood... The Middle English translates roughly to "Although I can't recite the Lord's Prayer (Paternoster), I do know the rhymes of Robin Hood. Putting Robin Hood's name in an uneducated character's mouth demonstrates that the legend would have been well known to most commoners, regardless of whether they could read or write. By the 15th century the Robin Hood legend took on its first trappings of rebellion against the ruling class. One of the oldest known written ballads about the forest outlaw, "Robin Hood and the Monk," dates to around this time. It is the only early ballad to be set in Sherwood Forest near Nottingham, and it features Little John, one of the best-known members of the band of Merry Men. In the tale Robin Hood ignores the advice of Little John and leaves the safety of the forest. He travels to Nottingham to attend Mass and pray to the Virgin Mary. At church Robin is recognized by a monk who turns him over to the sheriff. The monk then
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sets off to tell the king of the outlaw's capture, but before he can arrive, Little John and Much, another of Robin's men, overtake the monk on the road and murder him and his servant. Posing as the monk and his page, Robin's men deceive the king. They deliver the news of Robin's capture to him and are rewarded with money and titles. They return to Nottingham and free Robin from prison. The sheriff is humiliated but survives the story, while Robin, Little John, and Much return to the forest with the forgiveness of the king. In this story the monk- not the sheriff or the king- is the true villain. The monk is a corrupt figure who violates the sanctity of the church by betraying Robin's presence to the sheriff. This version of the legend visits extreme violence on the villain, delivered by Little John and Much. The killing of the monk is justified because of his corruption, while the death of the monk's page, to avoid leaving a witness, is also accepted, despite the page's innocence. Later versions of Robin Hood stories would move away from these deaths that appear as collateral damage, but medieval audiences did not seem overly troubled by them. Medieval crime and punishment often centered around brutality and violence. Kings, lords and their representatives used it often to punish rebellious peasants. Bodies hanging from the gallows or displayed as a warning at crossroads were familiar sights during this time. These early Robin Hood ballads begin to show a turning of the tables, in which the lower classes are able to punish the upper classes through trickery and violence. In the 15th century more ballads about Robin Hood spread across England. One of the longest, A Gest of Robyn Hode, originates during this time. In this work is one of the first iterations of Robin Hood's edict of stealing from the rich to give to the poor. In the poem Robin says, "If he be a pore man, Of my good he shall have some."In these tales Robin belonged to the lower classes and was considered a yeoman. The medieval English ballads use this term to describe a status higher than a peasant but
AN OUTLAW'S GEOGRAPHY The ballads name two English forests as Robin's haunt Sherwood and Barnsdale. Other locations across England appear in the legend's history, strengthening its Enlish pedigree.
lower than a knight. In its original sense 'yeoman' meant a young male servant, applied to servants of standing within a noble house. In the Gest Robin is depicted as a Yeoman of the King who, despite his privileged position, misses the forest and so chooses to abandon the court. Robin Hood takes on a role as an administrator of justice for the underclass in the Gest. When Little John consults his leader for guidance on whom to beat, rob, and kill, Robin Hood provides him with a code divided along the lines of rich and poor. No peasants, yeomen, and virtuous squires were to be harmed. On the other hand, the Merry Men were allowed to 'beat and bind' bishops, archbishops, and, above all, the loathed Sheriff of Nottingham. In the Gest the type of villains has widened to include more figures at odds with the lower classes. The Robin Hood legend also takes a bloodier turn than in previous versions as vengeance is delivered to villains. In the Gest Robin shoots the sheriff with an arrow and then slits his throat with a sword. In a 15th-century manuscript of Robin Hood and Guy of Gisborne, Robin is not content with just killing his opponent, Guy. He also mutilates the corpse with a knife, a deed he carries out with considerable relish. Scholars sometimes explain these recurring themes of duping and punishing corrupt people in power as reflecting a struggle between dispossessed Saxons of the countryside and the powerful Norman rulers in the cities. In the centuries when the Robin Hood legend was taking shape, the English government was beset by a number of crises that upended the social order. A civil war in the 12th century, later known as the Anarchy, led to a catastrophic breakdown in law and order. In the 14th century the Black Death and Hundred Years' War with France placed a huge burden on the lower classes, who, in 1381, launched the Peasants Revolt.
Class Act In the 16th century Robin Hood lost some of his
dangerous edge as he and his men were absorbed into celebrations of May Day. The English would herald in every spring with a festival that often featured athletic contests as well as electing the kings and queens of May. As part of the fun, participants would dress up in costume as Robin Hood and his men to attend the revels and the games. It is during this period that Robin Hood also became fashionable among the royalty and even associated with nobility. One story from 1510 claims that Henry VIII of England, then barely 18, dressed up like Robin Hood and burst into the bedchamber of his new wife, Catherine of Aragon. There, accompanied by his noblemen, he entertained the queen and ladies-in-waiting with his exuberant dancing and high jinks. In 1516 King Henry VIII and Queen Catherine took part in May Day festivities. Two hundred of the king's men dressed in green and one dressed as Robin Hood led the monarchs to a feast. Several more characters begin to appear in the Robin Hood stories at this point. One is Maid Marian, and the other is Friar Tuck. The two enter into the legend at around the same time. Like Robin Hood, these two were also popular figures at the May games, and they begin appearing in literary works as well. One of Friar Tuck's earliest appearances is in the play Robyn Hod and the Sheryff off Notyngham, which dates to approximately the late 15th century. His popularity grew in the coming years, and he appeared more frequently in later works, such as Robin Hood and the Friar from the 1560s. This work features an episode where the monk bests Robin Hood and tosses him in a stream. In the Elizabethan era Robin Hood became a popular presence in plays staged for the upper classes. Several playwrights, such as William Shakespeare, featured him in their works. Most notable was Anthony Munday, who wrote two plays centered around Robin Hood. Munday reinvents the outlaw as an aristocrat: Robert, Earl of
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Huntington, whose uncle disinherits him. Robert flees to the forest where he becomes Robin Hood. There he meets Maid Marian, and the two fall in love. No longer was Robin Hood a yeoman; he had been gentrified for new audiences. Munday sets his works during the reign of Richard I, the Lionheart. The king has left England to fight in the Holy Land, and his younger brother John rules in his stead. Although Munday's Robin Hood plays are regarded by modern critics as poorly constructed and a bit dull (most of the action had to be written out to avoid censorship), their influence has been considerable. Setting the tale during King Richard I's reign became popular with other authors when they interpreted the legend for themselves. Munday's decision to make Robin Hood a nobleman also recurred in later tellings.
Drawing on the medieval foundations, authors would continue to reinvent Robin Hood for their own times over the centuries. Walter Scott repackaged Robin Hood for Ivanhoe in the 19th century, while Howard Pyle most famously recreated the legend for a children's book, The Merry Adventures of Robin Hood of Great Renown in Nottinghamshire, in 1883. Pyle's work gained a new audience for Robin Hood in the United States, which seemed to hunger for more tales of the Prince of Thieves in years to come. In 1917 author Paul Creswick teamed up with notable illustrator N. C. Wyeth to create a colorful Robin Hood, one of the most visually striking renditions of the tale. In the early 20th century Robin Hood migrated from the page to the cinema, and the tale was reinvented and retold time and again with stars like Douglas Fairbanks, Errol Flynn, Sean Connery, and Daffy Duck all taking their turn in the lead role. In each version, glimmers of the original ballads and poems remain visible as each new version adds more to the legend of the Prince of Thieves.
Edmund George Warren’s 1859 painting of Robin Hood and his Merry Men in Sherwood Forest. The outlaws gathered in the greenwood under the great tree reflect a set of idealized symbols of old England many centuries in the making.
THE PERSISTENCE OF MEMORY
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HAVE NO FEAR OF PERFECTION, YOU’LL NEVER REACH IT
- SALVADOR DALI
A Renaissance printmaker with visions for the ages Had Albrecht Dürer lived in the 20th century, he might have been a great filmmaker - imagine a blend of Ingmar Bergman, Stanley Kubrick and Steven Spielberg. Instead he was born in the 15th century, and he remains the greatest printmaker - rivaled only by Rembrandt - the Western world has ever seen.
supremely gifted and versatile German artist of the Renaissance period, Albrecht Dürer (1471 - 1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries. He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking. Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications. An admirer of his compatriot Martin Schongauer, Dürer
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revolutionized printmaking, elevating it to the level of an independent art form. He expanded its tonal and dramatic range, and provided the imagery with a new conceptual foundation. By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498; 19.73.209, 18.65.8), the Large Woodcut Passion cycle (ca. 1497 - 1500), and the Life of the Virgin (begun 1500). He went on to produce independent prints, such as the engraving Adam and Eve (1504; 19.73.1), and small, self-contained groups of images, such as the so-called Meisterstiche (master engravings) featuring Knight, Death, and the Devil (1513; 43.106.2), Saint Jerome in His Study (1514), and Melencolia I (1514; 43.106.1), which were intended more for connoisseurs and collectors than for popular devotion. Their
technical virtuosity, intellectual scope, and psychological depth were unmatched by earlier printed work. More than any other northern European artist, Dürer was engaged by the artistic practices and theoretical interests of Italy. He visited the country twice, from 1494 to 1495 and again from 1505 to 1507, absorbing firsthand some of the great works of the Italian Renaissance, as well as the classical heritage and theoretical writings of the region. The influence of Venetian color and design can be seen in the Feast of the Rose Garlands altarpiece (1506; Narodni Galerie, Prague), commissioned from Dürer by a German colony of merchants living in Venice. Dürer developed a new interest in the human form, as demonstrated by his nude and antique studies. Italian theoretical pursuits also resonated deeply with the artist. He wrote Four Books of Human Proportion (Vier Bücher von menschlichen Proportion), only the first of which was published during his lifetime (1528), as well as an introductory manual of geometric theory for students (Underweysung der Messung, 1525; 125.97 D932), which includes the first scientific treatment of perspective by a northern European artist. Dürer's talent, ambition, and sharp, wideranging intellect earned him the attention and friendship of some of the most prominent figures in German society. He became the official court artist to the Holy Roman Emperors Maximilian I and his successor Charles V, for whom Dürer designed and helped execute a range of artistic projects. In Nuremberg, a vibrant center of humanism and one of the first to officially embrace the principles of the Reformation, Dürer had access to some of Europe's outstanding theologians and
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scholars, including Erasmus (19.73.120), Philipp Melanchthon, and Willibald Pirkheimer, each captured by the artist in shrewd portraits. For Nuremberg's town hall, the artist painted two panels of the Four Apostles (1526; Alte Pinakothek, Bayerische Staatsgemaldesammlungen, Munich), bearing texts in Martin Luther's translation that pay tribute to the city's adoption of Lutheranism. Hundreds of surviving drawings, letters, and diary entries document Dürer's travels through Italy and the Netherlands (1520 - 21), attesting to his insistently scientific perspective and demanding artistic judgment. The artist also cast a bold light on his own image through a number of striking selfportraits - drawn, painted, and printed. They reveal an increasingly successful and self-assured master, eager to assert his creative genius and inherent nobility, while still marked by a clear-eyed, often foreboding outlook. They provide us with the cumulative portrait of an extraordinary Northern European artist whose epitaph proclaimed: "Whatever was mortal in Albrecht Dürer lies beneath this mound." He had one of the most famous signatures in art Dürer was keenly aware of what today we'd call his own branding. In the mid1490s, he started signing his works with his initials. Indeed, the 'AD' monogram became so esteemed and valuable that it was routinely forged by artists copying his work. Dürer even took one of these, Bolognas Marcantonio Raimondi, to court, prompting the first copyright action in art history.
Knight, Death and the Devil Date: 1513 Medium: Engraving Classification: Prints Credit Line: Harris Brisbane Dick Fund, 1943 Accession Number: 43.106.2
His depiction of a rhinoceros is one of the most celebrated animals in art history. Dürer was alive at the time Hernan Cortes and his conquistadors were claiming the New World for Spain. The exotic booty they brought back to King Charles V (weapons, jewellery, textiles and much else besides) was the talk of all Europe. Dürer saw a selection of Meso-American treasures on a trip to Brussels in August 1520. According to an entry in his travel diary, he had 'not seen anything in [his] whole life that delighted [his] heart as much as these marvellously artistic things'.
Woodcut with letterpress text, 1515 Sold for $866,500 on 29 January 2013 at Christie’s in New York
It was around this time that Portuguese adventurers caused an even greater sensation by transporting a rhinoceros to Europe from India for their king, Manuel I. Dürer never saw the animal himself, but cashed in on the furore about it - producing a woodcut image of the rhino, based on a sketch by a German merchant in Lisbon. Dürer's version came with numerous fanciful additions, intended to fire the viewer's imagination - including folds of skin that looked like armour.
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Date: 1504 Medium: Engraving Classification: Prints Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.1
ADAM AND EVE Throughout his life, Dürer was in thrall to the idea that the perfect human form corresponded to a system of proportion and measurements and could be generated by using such a system. Near the end of his life, he wrote several books codifying his theories, including the Underweysung der Messung (Manual of measurement), published in 1525, and Vier Bücher von menschlichen Proportion (Four books of human proportion), published in 1528 just after his death. Dürer's fascination with the ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and with one arm angled slightly upward from the elbow and somewhat away from the body. The figure of Adam is reminiscent of the Hellenistic Apollo Belvedere, excavated in Italy late in the fifteenth century. The first engravings of the sculpture were not made until well after 1504, but Dürer must have seen a drawing of it. Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is from the forbidden Tree of Knowledge. Four of the animals represent the medieval idea of the four temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, and the elk melancholic.
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THE HOLY FAMILY Dürer created only three prints in the medium of drypoint. Since the other two are dated 1512, this drypoint is presumed to date from the same time. The print was thus produced at the height of the artist's career, just prior to such famous "master prints" as the Melancholia and Knight, Death, and the Devil. Yet the composition harks back to one of the artist's earliest engravings, produced when Dürer was under the influence of the most prolific drypoint artist of the Renaissance, the Housebook Master. Produced by scratching the surface of the metal with a sharp needle, the image has the character of a delicate drawing. Apparently conceived in an experimental mode and never completed, the print is nonetheless highly evocative. The three ghostly figures who press into the space behind the Virgin and Child - Saint John, the Magdelene, and Nicodemus - do not belong to the story of Christ's childhood but, as witnesses to the Crucifixion, are a presentiment of his future suffering. The soft shadow produced by the drypoint burr shrouds the figures and deepens the melancholy atmosphere.
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Date: 1512-13 Medium: Drypoint Classification: Prints Credit Line: Fletcher Fund, 1919 Accession Number: 19.73.51
Date: ca. 1505 Medium: Oil on linden Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.64
SALVATOR MUNDI This picture of Christ as Savior of the World, who raises his right hand in blessing and in his left holds a globe representing the earth, can be appreciated both as a painting and as a drawing. Albrecht Dürer, the premier artist of the German Renaissance, probably began this work shortly before he departed for Italy in 1505, but completed only the drapery. His unusually extensive and meticulous preparatory drawing on the panel is visible in the unfinished portions of Christ's face and hands.
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INDEX A Flight Within Kashmiri Khosa
Hope Amrit Khurana
Horizon Madhuri Bhaduri
A.V.Humboldt Avineer Rakshit
Horizon Madhuri Bhaduri
Bapu Conquers the World Ravi Trivedy
Horizon Madhuri Bhaduri
Imprints of the Past Kashmiri Khosa
Almost Beautiful Vaishnavi Sose
Isaac Newton... Ravi Trivedy
Boat of Life Kashmiri Khosa
Journey Arpita Bhattacharya
Boy in the Forest Klaudia Ka
Landscape Klaudia Ka
Cave Karolina Jaroslawska
Laugh Amrit Khurana
Cave 2 Karolina Jaroslawska
Manali Manasi Sose
Blue Green Waterfall Manasi Sose
Delftware Bjørn Wiinblad
McLaren F1 Avineer Rakshit
Memories Amrit Khurana
Memories 2 Amrit Khurana
Eventuate Rekha Goyal Ferrari 250 GTO Avineer Rakshit
Mindscape/Suspence Kashmiri Khosa
Flight Arpita Bhattacharya
Mountains of the Mind Kashmiri Khosa
Flight Arpita Bhattacharya
Napolean Guides... Ravi Trivedy
Flight Arpita Bhattacharya
Northrop F-5E Tiger II Avineer Rakshit
Flight of the Bird Rekha Goyal
Perfect Just The Way It Is Vaishnavi Sose
Focke Wulf 190 A8 Avineer Rakshit
Pratiksha Arpita Bhattacharya
Forging the Modern Man Ravi Trivedy
Red Sand and Rivers Vaishnavi Sose
Reflection Madhuri Bhaduri
Reflection Madhuri Bhaduri
Go Within Manasi Sose
Reflection Madhuri Bhaduri
Gossip Arpita Bhattacharya
Reflection Madhuri Bhaduri
Frenzy Blue Arpita Bhattacharya Glimpse Amrish Malvankar
Remnant Amrish Malvankar
Winter 3 Karolina Jaroslawska
Winter Sleep Klaudia Ka
Seascape Madhuri Bhaduri
Seller of Dreams Ravi Trivedy
Serenity 05 Amrish Malvankar
Serenity 06 Amrish Malvankar
Shakti Arpita Bhattacharya
Spinosaurus Fossil Advait Kolarkar
Storm Karolina Jaroslawska
Surrender in Love Manasi Sose
Synthesis Amrish Malvankar
Synthesis Amrish Malvankar
Time Rekha Goyal
The Memory of Water Rekha Goyal
The Moods of Water Rekha Goyal
The Pied Piper of Hameln Wagner & Apel 193 The Temptations... Ravi Trivedy
The Vikings, The Valour and The Valhalla
The War was won... Ravi Trivedy
Thought Waves Kashmiri Khosa
Towards Unknown Kashmiri Khosa
Transcendence Kashmiri Khosa
Transmutation Kashmiri Khosa
Triassic Rainforest Advait Kolarkar
Tulsi Arpita Bhattacharya Ultraviolet Creature Advait Kolarkar
Vespa Romance Amrit Khurana
White Lily Stable Manasi Sose
THE EMOTIONS ARE SOMETIMES SO STRONG THAT I WORK WITHOUT KNOWING IT. THE STROKES COME LIKE SPEECH
- VINCENT VAN GOGH
We feel art plays an important role in the journey of self discovery. Piume (Plumage) is a publication dedicated to exploring the intersection of various artists, their art and culture from around the world.
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