Claude Monet - "To begin with, it took a while for me to find my feet. I went to visit the artists to whom I had been introduced. I received some excellent advice but also some appalling suggestions. Was it not the case that Troyon had tried to make me attend Couture's workshop? Needless to say, how vehemently I had refused that idea. It even had the effect of cooling my estimation of Troyon, at least for a short while. I stopped seeing him and associated instead only with artists who were looking for something. At that time, I met Pissarro who had not yet thought of being a rebel and was simply working in Corot's style. I felt this to be a good model to emulate and I followed suit. Having said this, for the whole duration of my four years in Paris - which was interdispersed with frequent visits to Le Havre anyhow - it was mainly Boudin's advice that I adhered to, even given my inclination to enlarge upon nature . . . . " [Monet, on himself]
Treasured Painting and Calligraphy - "The National Palace Museum collects, preserves, and promotes the essence of Chinese art and crafts. Accumulated over a thousand years by Chinese emperors and royal families, its collections include ceramics, porcelain, calligraphy, painting, and ritual bronzes. In addition, the Museum also possesses many fine examples of jade, lacquer wares, curio cabinets, enamel wares, writing accessories, carvings, embroidery, rare books. The quality of its collections remains unparalleled anywhere throughout the world in the field of Chinese Art. The Museum was first established in 1925 at Beijing and finally relocated at Taipei, Taiwan after WWII. The Museum is now one of the most important museums as well as research institutions throughout the world, and it is also a 'must-see' for foreign visitors."
Art.In.Technological.Times - "While diverse in form, the artists' works have all been designed to exist within the virtual space of the Internet, a space where code, timing, sequence, and new forms of interactive movement become fundamental components of aesthetic experience. These works exist in a social dimension that is both public and private, and wholly unlike the traditional gallery space of the Museum itself. They take advantage of the numerous capabilities of the Net: its simultaneously linear and non-linear potential for movement, its ability to stream images, sound, and text, and, at times, the fact that Internet users have only provisional control of what comes across their screens . . . . " (San Francisco Museum of Modern Art)
NOTE: (On Guidelines)
"A guideline is a protection against the arbitrary. It is the crucial test by which any work done ardently gains legitimacy. It is the student's way of checking his answers, the logician's proof of his thesis.
A guideline is a spiritual appeasement that leads to a search for ingenious and harmonious relations. It confers eurhythmy to the work.
A guideline gives the work a mathematical aspect and a benign sense of order. Setting a guideline determines the fundamental geometry of the work, defining, therefore, one of its fundamental impressions. Setting a guideline is one of the decisive moments of inspiration, one of the main operations of architecture. "
[Le Corbusier, Vers une architecture . . . . (See Le Corbusier)
QUOTE:
"A Rock, A River, A Tree
But Today, The Rock Cries Out to Us, Clearly,
You, Created Only a Little Lower Than
Across The Wall of The World,
Each of you a Bordered Country,
There is a True Yearning to Respond to
They Hear the First and Last of Every Tree
Each of You, Descendant of Some Passed
Lift Up you Eyes Upon
Women, Children, Men,
The Horizon Leans Forward,
Here on the Pulse of This New Day
[Maya Angelou, 'On the Pulse of Morning']
Hosts to species long since departed,
Marked the mastodon.
The dinosaur, who left dry tokens
Of their sojourn here
On our planet floor,
Any broad alarm of their hastening doom
Is lost in the gloom of dust and ages.
forcefully,
Come, you may stand upon my
Back and face your distant destiny,
But seek no haven in my shadow.
I will give you no hiding place down here.
The angels, have crouched too long in
The bruising darkness,
have lain too long
Face down in ignorance.
Your mouths spilling words
Armed for slaughter.
The Rock cries out to us today,
you may stand upon me,
But do not hide your face.
A River sings a beautiful song,
It says, come, rest here by my side.
Delicate and strangely made, proud,
Yet thrusting perpetually under
siege.
Your armed struggles for profit
Have left collars of waste upon
My shore, currents of debris upon my breast.
Yet, today I call you to my riverside,
If you will study war no more. Come,
Clad in peace and I will sing the songs
The Creator gave to me when I and the
Tree and the Rock were one.
Before cynicism was a bloody scar across your
Brow and when you yet knew you still
Knew nothing.
The River sang and sings on.
The singing River and the wise Rock.
So say the Asian, the Hispanic, the Jew
The African, the Native American, the Sioux,
The Catholic, the Muslin, the French, the Greek
The Irish, the Rabbi, the Priest, the Sheikh,
The Gay, the Straight, the Preacher,
The privileged, the homeless, the Teacher.
They all hear
The speaking of the Tree.
Speaks to humankind today. Come to me, here
beside the River.
Plant yourself beside the River.
On traveller, has been paid for.
You, who gave me my first name, you
Pawnee, Apache, Seneca, you
Cherokee Nation, who rested with me, then
Forced on bloody feet, left me to the employment of
Other seekers--desperate for gain.
Starving for gold.
You, the Turk, the Arab, the Swede, the German,
the Eskimo, the Scot...
You the Ashanti, the Yoruba, the Kru, bought
Sold, stolen, arriving on a nightmare
Praying for a dream.
Here, root yourselves beside me.
I am that Tree planted by the River,
Which will not be moved.
I, the Rock, I the River, I the Tree
I am yours -- your Passages have been paid.
Lift up your faces, you have a piercing need
For this bright morning dawning for you.
History, despite its wrenching pain.
Cannot be unlived, and if faced
With courage, need not be lived again.
This day breaking for you.
Give birth again
To the dream.
Take it into the palms of your hands.
Mold it into the shape of your most
Private need, Sculpt it into
The image of your most public self.
Lift up your hearts
Each new hour holds new chances
For new beginnings.
Do not be wedded forever
To fear, yoked eternally
To brutishness.
Offering you space to place new steps of change,
Here, on the pulse of this fine day
You may have the courage
To look up and out and upon me, the
Rock, the River, the Tree, your country,
No less to Midas than the mendicant.
No less to you now than the mastodon then.
You may have the grace to look up and out
And into your sister�s eyes and into
Your brother�s face, your country
And say simply
Very simply
With hope
Good morning.
The Work Featured Above: "Iria - A sacred place of the Aegean with uninterrupted life and function from the 14th century B.C. up to our times. It is the cradle of the Ionic order of the monumental Greek architecture . . . . With the presentation of the Iria sanctuary the pioneering contribution of Naxos to the formation of Greek architectural forms can be examined in detail by the scholarly world and understood by the general public. At the same time it provides a unique picture of the unbroken continuity of a high civilisation for over three thousand years in the heart of the Aegean." (Hellenic Ministry of Culture).
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