#ingrès

[astrologie-syncretique]

Mise à jour importante du pdf gratuit au 18 Juin 2025

18/06/2025 : Ajout d’informations sur la varga D-3 Drekanna et notamment l’approche de la gestion des agressions extérieures et de la pugnacité via les décans. Correction de nombreuses coquilles (quelques unes concernent l’astrologie initiatique). Modification de la traduction du sûtra concernant la nakshatra Purva Bhadrapada (la traduction initiale était très frustrante et insatisfaisante).…

[michelagiulia]

Romy Schneider

Jean Auguste Dominique Ingrès, "La Grande Odalisque".

[number5theboy]

☂ UMBRELLA ACADEMY APPRECIATION WEEK ☂ DAY 7 ☂ FREE CHOICE Number Five + canonical comparisons to mythological figures

Artworks Four Horsemen of the Apocalypse by Viktor Vasnetsov Ulysses by Jean-Auguste-Dominique Ingrès Sisyphus by Titian Eve with the Apple by an anonymous Italian master

[italianoldmasters-jlvieites]

Raphael and Raimondi’s The Judgement of Paris vs Manet’s Déjénenuer sur l’herbe, and Titian’s Pastoral Concert

It might look bizarre at first sight but there is always a link to be followed to understand much better the history of Art throughout time. On this occasion I wish to show what possible links might have ever existed between Rafael's The Judgement of Paris through Marcantonio Raimondi's engraving of the work (c.1510-20) and Édouard Manet’s Déjeneur sur l’herbe (1863), and Titian’s Pastoral Concert (1509).

The great humanist of the Renaissance, Pietro Bembo, was responsible for putting the perfection of Nature and Raphael’s art on the same level; the epitaph in Raphael’s tomb reads something like “Here lies Rafael. While he lived, Nature saw herself defeated. Now that he is dead, she is afraid to die with him."

His genius, indeed, was unique, so much so that many ulterior artists of all centuries strove to imitate or, at least, to be influenced by the artistry of the great old master: The classicist Baroque had him as his guide, from Annibale Carracci to Carlo Maratta and Velázquez, who resided for a time at the Vatican; or the Flemish masters, like Rubens and Van Dyck; and even the great Rembrandt. We could continue with Ingrès (in his portraits) to the compositions of Géricault and Delacroix, and to Édouard Manet, whose Breakfast on the grass was inspired by the stamp of Marcantonio Raimondi depicting the Judgement of Paris (as designed by Raffaello). Well, Rafael was the teacher to whom painters like Goya, or Picasso looked at.

In fact, our great old master, Raphael, was considered for centuries to come as the great teacher everyone studied and whose spatial conquests, grouping of figures and capturing of emotions and characters had to be thoroughly understood in order to achieve success themselves.

At the age of 17 Rafael was already signing as an independent artist, admired for the perfect imitation of his teacher. His painting stood out for the elegance and serenity or the delicacy and sweetness of the figures in the manner of Perugino, as well as for the beauty of the landscape backgrounds inspired by the Umbrian mountains; Rafael also achieved expressive depth and emotional vibration, which would increase in later years.

Being in Florence to learn from the great masters Leonardo and Michelangelo, Rafael, although he leaned towards Leonardo's proposals, since he would be attracted by his technique, color and chiaroscuro, and would not, however, be interested in delving into his sfumato nor did he use Michelangelo's pure white light with a sculptural effect. His command of space was overwhelming, as proved in his work School of Athens.

 Collaboration in Renaissance arts is best seen in this engraving of Marcantonio Raimondi with the design of Raffaello. The Trojan war lies at the centre of this historiated engraving: Paris being forced to decide which goddess—Juno, Minerva, or Venus—was the most beautiful. He chose Venus, seen receiving the golden apple upon promising to help him woo the most beautiful woman alive, Helen of Troy.

It is assumed that Marcantonio’s copperplate is executed from drawings that were produced for a Vatican fresco.

Due to the difficulty of distinguishing between the work of the two artists –Giorgione and Titian– who started to forge a kind of partnership in artistic terms, this painting was first attributed to Giorgone (1671) and then opinions on the author have been changing back and forth many times. Today, it’s commonly assumed to be the work of a young Titian. After the death of Giorgione in Venice because of the plague in 1510, the only true master left was Tiziano Vecellio as, perhaps, Giorgione’s natural heir.  

A most mysterious work in terms of allegorical interpretation (are the female nudes muses, or nymphs? Do they refer to Poetry? Is the composition a sort of Pastoral Poetry in painting?) which, perhaps, lacking in enough referents for the audience of the XXI century, however, there would probably be clues enough to the educated spectators of the Titian’s time to interpret the painting in the context intended by the artist and his time. In this regard, the setting of the whole composition evokes a kind of Arcadian context in which both man and nature lived in perfect harmony (see Theocritus, Virgil, Jacopo Sannazzaro). Thus, the two men figures, sitting on the grass surrounded by a great landscape –a shady hillside overlooking sunny glens and a distant mountain vista–, are accompanied by a couple of nude females who (supposedly) cannot be seen by either of them. And this seems so since the two men are amicably speaking to one another, oblivious to the two female nudes representing the idealized Renaissance beauty. This type of recourse has its origin in classical Roman times where it was a usual artistic tool in that art. Technically, Giorgione’s subject matter and style left his impromptu on Titian’s works; Giorgione would be the first Venetian to put aside Giovanni Bellini’s oil glazes in favour of a straightforward oil painting, that was to be apply with different densities and even allowing for the thick impasto seen in some canvasses, something that was followed suit by Titian.

Titian's poem to rural escape is famous for being parodied by Manet's Le Déjeuner sur l'herbe.

"Insults pour down on me like hail," Manet complained to Baudelaire after seeing the hostile reception of his work at the Salon des Refusés in 1863.

Manet’s painting introduces a motif the impressionists would love – the bourgeois picnic – but with a tough irony all its own. Manet deliberately evokes Renaissance paintings of sensual leisure – Raimondi’s engraving and Titian’s painting – but updates the idyll to show bohemian gents of his own class accompanied by women who may be prostitutes (what is a naked woman doing sitting in the company of two supposedly clothed gentlemen?) It's a scene of the outskirts of Paris daily life disguised as a rustic fantasy. Therefore, what Manet reflects is not any classical myth nor religious topic, just an ordinary scene but with the eyes of a XIXth century artist and a particular social milieu which love such representations.

As was the case at the time, female nudes were highly sought after and really appreciated, as long as they represented mythical personae or just goddesses; many viewers loved to contemplate the paintings that included nudes as if they were voyeurs; the point is, however, that Paris society (or French or European in general!) perceived the public exposure of  the naked body of a known woman (in real life or in canvas) as being a prostitute;  something which our main female character seems not to give importance to the voyeuristic gazes that she might be attracting; her pose is quite natural and she does not seem to be bothered or untroubled by the look of it. Furthermore, both she and the man are looking straightforward to the spectator in a certain nonchalant and confident way. One could even say that the naked woman (one of Manet’s most famous models, by the way, called Victorine Meurent) is nearly challenging the spectator’s gaze with her serene, jolly and carefree manner.

The Judgement of Paris, c. 1510-20. Engraving (29.1 x 43.7 cm). The MET. New York. Marcantonio Raimondi (c.1480-c.1534)

Pastoral Concert or Fête champêtre, c.1508-10. Oil on canvas. 105 x 137 cm.  Musée du Louvre, Paris. Tiziano Vecellio, (Pieve di Cadore, 1488/1490 - Venice, 1576)

 Le Déjenuer sur l’herbe, 1863 Oil on canvas. 208 x 264.5 cm. Musée d’Orsay. Paris. Édouard Manet (1832-1883)

 Jesús Lorenzo Vieites

#titian #tiziano #titien #leconcertcampêtre #fêtechampêtre #pastoralconcert #louvre #art_lovers #museum_lovers #landscape #venetian_school #venetian_painting #peinture_italienne #kunstgeschichte #mount_parnassus #poesie #giorgione #arthistorian #édouard_manet #manet #impressionism #marcantonio_raimondi #engraving #art_history #kunstgeschichte

[ars-caelestis]

Equinoxe de printemps 2017

Equinoxe de printemps 2017

Entrée du Soleil en Bélier le 20 mars 2017 à 10 h 28 ‘  TU

Astro-Cartographie

Projection des lignes planétaires au niveau mondial

  ESPACE LOCAL

[sczerbetto]

“Niente è più difficile da vedere con i propri occhi di quello che si ha sotto il naso.” Johann Wolfgang von Goethe (Jean Auguste Dominique Ingrès) #bibliobibuli #leitura #livros #leitores #frases #citações #pensamentos https://www.instagram.com/p/CUMvAK3rtpX/?utm_medium=tumblr

[officeatos-blog]

PUJADES SALARIALS PER TOTES I EQUIPARACIÓ DE CONDICIONS. SEGUIM!

Enviat a la plantilla el 30/11/2018

PUJADES SALARIALS PER TOTES I EQUIPARACIÓ DE CONDICIONS,

SEGUIM!

Dilluns 3, 18h, menjador de Pere IV ASSEMBLEA DE TREBALLADORXS

 Et recordem  que dilluns les plantilles d'Atos IT i Atos  Spain ens reunim en Assemblea  per decidir l'estratègia a seguir després del seguiment de la Vaga del 29N.

________________________________________

RECTIFICACIÓ DE LA IMPUTACIÓ

Ara toca  rectificar la imputació.

És  important que, si no vas venir a l'oficina o al client, imputis el dia com a  vaga.

Nosaltres  tenim la sensació que ha estat força secundada,ho veurem a l'assemblea  dilluns.

L'empresa  sí que comptarà amb les imputacions, nosaltres ho veiem al control de les  cotitzacions que ens envia RRHH cada mes.

________________________________________  

TELETREBALL NO ÉS FER VAGA

Fer  teletreball no és fer vaga i és enganyar als companys I companyes que sí han  sacrificat una 1/30 part del seu sou en la vaga per aconseguir una

Pujada       salarial per totes i

la defensa de l'Acord Marc en el cas d'Atos Spain i l'equiparació de condicions com el 24 i 31 de       desembre festius en el cas       d'Atos IT.

 ________________________________________

 CAIXA DE RESISTÈNCIA

Els afiliats i afiliades de la COS compartim part de la nostra Caixa de Resistència amb companys i  companyes no afiliades amb sous baixos.

Posa't en  contacte amb nosaltres.

I T’ANIMEM  A FER-TE DE LA COS, per coses com aquesta paguem quota.

També pots  aportar a la VAGA per les PUJADES SALARIALS fent un ingrès a la Caixa de Resistència pels companys companyes amb sous  més baixos.

$$$$$$$   ES98 3025 0001 1114 3351 0567    $$$$$$$

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[futuristicallyunabashedtale]

II Torneig de pàdel QRTTeam al Club Pàdel Vilablareix. Divendres 26 de Gener a partir de les 19:00 començarem amb un torneig Americà (16 persones) durant 2 hores, en acabar podrem gaudir d'un pica pica per recuperar forces, una bona dutxa i ens tindran preparat una genial BBQ i per acabar el sopar un Gin Tònic Seagrams. Tota això amb samarreta commemorativa per tots els participants, sorteig de premis i regals. I si voleu només venir a sopar, també ho podeu fer! El preu del Torneig és de 26€ tot inclòs i si només vols sopar 16€ Per apuntar-vos cal fer ingrès a ES34 0049 6059 9726 9521 3714. Indica el teu nom, toneig i talla samarreta o només sopar. Qualsevol dubte podeu contactar amb Seb M. 722 254 922 Us esperem per passar un divendres genial!! #Quartmola

[alessioguano-atelier97]

Omaggio ad Ingrès

Tecnica mista e collage su cartone

2016

[astrologie-syncretique]

Mise à jour importante du pdf gratuit au 12 Juin 2025

12/06/2025 : Ajout d’une page au pdf gratuit qui fait maintenant 1768 pages. Modification de la section sur l’horloge de vie de Huber avec corrections (notamment un contresens ennuyeux), ajout d’images et de videos de références et explication de la notion du point bas et du point d’équilibre liés à l’application du nombre d’or sur la progression du point d’âge sur les maisons. Corrections et…

[astrologie-syncretique]

Mise à jour massive du pdf gratuit au 1er Juin 2025

01/06/2025 : Ajout (15 pages) d’une section sur la noria des étoiles polaires du nord et du sud et leur interprétation en astrologie initiatique et ésotérique (message des guides de l’au-delà et missions collectives sur de longs cycles). Le pdf fait désormais 1767 pages. 31/05/2025 : Ajout d’une section sur les intercycles. Le pdf fait désormais 1752 pages. 30/05/2025 v2.0 : ajout de précisions…

[astrologie-syncretique]

Mise à jour massive du pdf gratuit au 29/05/2025

2e Mise à jour massive du pdf gratuit du 29 mai 2025 :Ajout de 40 pages supplémentaires (dans la section compendium).Ce dernier chapitre (compendium de techniques) a vu sa structure modifée et bénéficie de corrections et d’ajouts importants, d’illustrations supplémentaires, de regroupements par thématiques méritant que vous mettiez à jour votre fichier en téléchargeant sa dernière version. Il ne…