nouvelles coleurs

About trees

2012-01-26T15:50:00.001+01:00

Laura Tedeschi - Oil painting

“For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow.”

Hermann Hesse - Wandering

“Om is the bow, the arrow is soul” ― Hermann Hesse

2012-01-25T13:28:00.000+01:00

“Om is the bow, the arrow is soul,”
Hermann Hesse - Siddhartha

Laura Tedeschi - Lake front Locarno

Driving me crazy

2012-01-19T15:30:00.000+01:00

Snow effect through trees, driving me crazy...

Rivapiana lake front - Snow effect

Some pics of my 2011 diary

2012-01-03T17:50:00.000+01:00

Asiago (where my parents are living) with my new shoes in the snow - January

The Vienna woods, where I used go walking to inspire me - February

A very nice little house on the Sieveringerstrasse in a late afternoon at the end of winter

One May morning in the Vienna's Türkenschanzpark

Relax, me and Theo on Cobenzl

Looking forward - Vienna Wood

The shoes which have accompanied me during my summer's long walks

The Danube

Preparing for the move to Switzerland

A barge on the Danube

The comfortable seats of my Father's car - Asiago

Salettl Pavillon - Vienna

Cobenzl's grape garden

Theo playing ball - Vienna Wood

The garret window of my room in Vienna just before I moved

Crossing Austria - It was snowing on September in Tirol

Austria-Lichtenstein border

Start in my new place - Locarno

Two rabbits in the yard of a house in Ticino

Locarno

Piers on the Lake Maggiore

Apple falls from a tree

Theo running along the Maggia Valley

The stones of the bed of the river Maggia

Rocking horse

Happily Theo

Making New Year's Day dessert

Me Smiling

2012

2012-01-01T22:25:00.001+01:00

Happy 2012!

Thank you for reading my blog this year and be here to the start of another one!

Shot by Laura Tedeschi

About soul - Loving Expressionism

2011-12-29T15:30:00.005+01:00

A sequence of visions of human soul: the doubt, hanging by a thread, on the border.

Paintings are by Laura Tedeschi

About loss

2011-12-21T21:23:00.000+01:00

Loss by Laura Tedeschi

Panic by Laura Tedeschi

A Listening Thing by William Michaelian

2011-12-19T21:33:00.001+01:00

“All night, into the morning and here it is one o’clock in the afternoon and I’m still sitting here in my underwear, bleary eyed in quiet awe of this book.”

This book is William Michaelian’s powerful first novel, A Listening Thing. In it, Stephen Monroe, a romantic misfit and underground man, is no one’s hero. But his intensely personal narrative rings true on a vast social scale, and his quiet life of desperation is a clear indictment of a culture that has lost its way. Noted for its dignity and humor, A Listening Thing does more than shed light on our human predicament. It goes to the heart of love and teaches us how to live.

The text in this special edition is identical to that published online by the author in 2003 after it was examined and corrected. It replaces the unauthorized version distributed to the book trade in bound un- corrected galley proofs in 2002, which were later sold online at collectible prices. Extra materials from the original unpublished and online editions of the novel are included for the record. The author’s Preface, Afterword, and revealing in-depth Interview are new, and here published for the first time. Extra materials from the original unpublished and online editions of the novel are included for the record. The author’s Preface, Afterword, and in-depth Interview are new, and here published for the first time.

A Listening Thing by William Michaelian

Speaking silence, everything else is boring

2011-12-16T15:28:00.000+01:00

Laura Tedeschi - Oil on Canvas - Everything else is boring

Laura Tedeschi - Oil on Canvas - About child

Laura Tedeschi - Oil on Canvas - About girl

Just thinking

2011-12-13T16:51:00.000+01:00

Interrogative - Oil on canvas by Laura Tedeschi

No, it's not easy for anyone to tell something, there are those who studied for years and those who allow themselves to go on intuition, but the effort of telling, whether played on the keys of a piano, or wrote on a white paper, or break down on a block of clay or leaves the tubes of color, are needed determination and intuition.It takes strength, the strength of a knight who throws himself wildly galloping against the current.How tired I have got, how convoluted body and soul behind the empty white canvas, but in most cases to bring out only the shadow of an inspiration, but holy god I did not think so !!!!! Good will, together with mediocre results, is still worse, a glimpse of the potential is one orribile thing. It's as, if the teacher at school had said your mother: 'the boy engage himself, but he can not apply'. All attempts at pretending to myself that I made something beautiful... it's always like this, the thrill is short .. already after a short time, my attempt appears to me very poor (so that I can see in this all my fear, I can see me as a teenager in the little town where I grew up, I can see me walking on the streets without ease, with my satchel in my hand, dreaming of being courageous and hoping to not meet anyone because my shyness prevented me from socializing like everyone else, I see myself as child running away from the villagers who might ask me questions). Well, why I'm always trying to express my self in this way?Well, maybe is the old habit of wasting time with people who, perhaps love us and tell them all, but you can not deny that this is very pathetic, with the hope that one day even the positions of this forms could be proud to show their uneasiness.

Gabriella Mirollo - Studies in Contrast

2011-12-07T15:15:00.001+01:00

Gabriella Mirollo, a photographer who speaks in the art's language of the exploring her own ego.With her book "Studies in Contrast" we must imagine her as a poet-photographer who wellcomes us in her studio, where the images leaning against the walls, are looking at you from every side.These speak for itself, but even more than others, are speaking her deeper emotions which are present in all his work.
Gabriella redesigned in front of you, according to his criteria of values, all the past of its history and make you well imagine his conception of photography, interrelated with emotions and life, which belongs only to her and therefore is opposed, in a totally natural way, to the poetry of other photographers.

Now you have the feeling to come down, full of wonder, in the hold of our own story now you're deciding where the future is taking shape, where the past become future, including disputes, struggles and conflict.

The great gift of Gabriella resides in the effort and desire, in the inner need, that every single image takes to get as close as possible to her specificity, to her essence, this is also the essence of art itself.Art does not exist to record, as a large mirror, all the ups and downs, changes and endless repetition of history. Gabriella Mirollo with her book "Studies in Contrast" is telling us that art is not a choir following the march of our history. Art exists to create their own story.

Gabriella Mirollo is a poet and photographer originally from Manhattan and now living in Vermont. "Studies in Contrast" is a project that emerged from a January 2011 blog post called “Face the Enemy"

Melancholy, spice of life

2011-12-02T21:47:00.000+01:00

Laura Tedeschi - Lungolago

A ordinary day in "the place to have sun"

2011-11-25T17:52:00.001+01:00

Laura Tedeschi, Oil on Canvas - Rivapiana, lungolago

Less thinking and more painting

2011-11-23T16:38:00.001+01:00

Laura Tedeschi - View of Lake Maggiore

... at least be content, being happy is only for stupid people

Collecting: romance or speculation? Here's the most expansive photograph in the world

2011-11-18T15:28:00.004+01:00

Rhein II, by artist Andreas Gursky.

I don't want absolutely discuss about the quality of the photos of Andreas Gursky.
This Photo is perfect for me, here there is no doubt and I don't want to discuss his work.
I just want to try to understand the reason... well I wonder which spirit has moved the anonymous person that, at the Christie's auction last week, won the photo of Andreas Gursky, Rhein II, for the record-breaking of $4.34 million beating Cindy Sherman's selfshot (1981) sold for $3.89 million in 2011 and beating all price records achieved so far.

This anonymous is a romantic or a speculative mind? And yet, the true collector is driven by economic interest or by personal romance? Or it is simply a publicity maneuver?
I really don't know.
There are several types of arts collectors: those who identify with the artist and live his achievements as if they were their own, transforming them into real promoters of the artists who have bought, there are those who sponsor galleries or direct them in person, and other participating actively in the auction, ensuring that the achievements are their favorite record, or otherwise not remain unsold. Then there are the speculators who buy real view of the short or even very short period. They treat artworks as if they were buying shares of a diversified portfolio of works, including some artists are consolidated and a stable return, and some are emerging artists, whose performance increased risk is offset, in theory , the yields of the first. This mechanism is the same that happens in the stock market with junk bonds.

Luca Arnaudo said:
"That art is a rigged market. Because the pricing depends on arbitrary rules so that if traders sell stocks in this sector, rather than works, they would all be in jail for fraud or insider trading"

Wellcome in my new place

2011-11-16T16:04:00.002+01:00

“... I would like, if possible, to move to Ticino. It is best suited for my work, and I must think of my work, for I have been thrust away from it for so long.”
So wrote Hans Purrmann, famous german Painter, (Speyer 1880 - Montagola 1966) and great master of colours.
Hans Purrmann chose as place to live the Swiss canton Ticino, as well as his friend Hermann Hesse who said about this place:
"Here the sun is more intense and warmer, the mountains are redder, here grow chestnuts, grapes, almonds and figs. The people are good, well-mannered and friendly ..."

Well, I have chosen the same, and now I'm here in the Swiss canton Ticino in Locarno between lake and mountains, rivers, waterfalls and golden sunsets , as I like to define "the place to have sun".

Locarno - Lago Maggiore, October 2011

In balance - Lago Maggiore, november 2011

PS: I postponed the publication of my book, my moving me totally busy and then you know that the relocation is always an earthquake for the soul, for better or for worse, then it is right to follow the heart.
I set up my new studio and I hope to publish it later this year or early next year at most.
I set up my new studio and started to work at new paintings and at the book, I hope to publish it later this year or early next year at most.

Hans Purrmann and Hermann Hesse in Ticino

Some news and new paintings

2011-07-20T08:12:00.000+02:00

Hello everyone! ...I'm not very present on the blog lately, I know.I'm working on a book that will publish in the winter, besides that I'm always painting, I must confess to you that it is also a period in which I am very intimate with myself and I'm rediscovering a lot of good things that too long I had been missing... my life has led me to take important decisions in recent times
I Always take a look at your blogs when I connect to internet it's seem that you are always wonderful, writing, painting, photographing, creating... I'm often thinking that if the world there were no creative people all would be lost.What would the world be without music, literature, photography, painting??
See you all my friends

Paintings and photo by Laura Tedeschi

About eyes

2011-07-03T12:13:00.000+02:00

All paintings are by Laura Tedeschi

About face - again

2011-06-17T19:09:00.001+02:00

Hello everyone, I'm not gone, I just took some break time, I'm always painting and always about faces in this time, it is all part of a project.

I hope you are all well and that you enjoed these my new paintings,

see you soon on yours blogs, I'm really curious whats it's new by you...

"The Cure" by Laura Tedeschi

"Childhood" by Laura Tedeschi

"Selfconscious" by Laura Tedeschi

Nostalgia... indefinable word

2011-05-23T12:26:00.004+02:00

Vienna - The Türckenschanzpark in a rainy day on April 2011

Shot by laura Tedeschi

In greek "nostos" means "return" and "álgos means "suffering". So nostalgia is the suffering caused by the unfulfilled desire to return. For this fundamental notion most Europeans can use a word of Greek origin (nostalgia) and other words that have roots in the national language;
the apaniards say "añoranza", the portuguese say "saudade". In each language these words have a different semantic nuance. Often mean only the sadness caused by the inability to return home. Longing for their homeland. Regret the home country, which, in inglish, is said "homesickness", or, in german, "heimweh" in dutch "heimwee". But these words are all a reduction of this great concept. One of the oldest European languages, Icelandic, distinguishes the two terms: "söknudur" nostalgia in the broadest sense, and "heimfra" longing for their homeland. For this notion the Czechs, next to the word "nostalgia" taken from greek, they all have a particolar noun: "stesk", the most movingly czech sentence of love is: "styská se mi po tobe" I miss you, I can not bear the pain of your absence. In Spanish, "añoranza" comes from the verb "anor" nostalgic, which comes from the Catalan enyorar, in turn derived from the latin ignore.

Given this etymology, nostalgia seems to be the suffering of ignorance. YOU ARE FAR AWAY, AND I DON'T KNOW WHAT IS ABOUT YOU.
My country is far away, and I do not know what's going on there. Some languages have some difficulty with nostalgia: the French can not express it except with the noun of greek origin and not on the verb, they can say: je m'ennuie de toi (I miss you "), but the verb s'ennuyer is probably too small for a feeling so bad. The Germans rarely use the word "nostalgia" in its greek form and prefer to say "sehnsucht" the desire for what is absent, but the sehnsucht can be applied to what it was like to that which has never been (a new adventure ) and therefore does not necessarily imply the idea of a "nostos" to include in sehnsucht the obsession of the return should be added a complement: sehnsucht nach der vergangenheit, nach der verlorenen kindheit, nach der ersten liebe (longing of the past, 's lost childhood, first love ").

From the preface of the book "Ignorance" of M. KUNDERA:
"How old were you?".
"Only twenty. And then the games were made, once and for all. That's where I made a mistake, an error is difficult to define, subtle, but from which stemmed all my life and I have never succeeded to remedy. "
"An irreparable mistake committed in the age of ignorance."
"Yes."
"It 's at that age that people get married, you have the first baby, you choose a profession. Then comes the day when you know and understand many things, but it's too late, because your whole life has been decided at a time when you did not know anything. "

Half a person

2011-05-17T13:43:00.004+02:00

This is a self-shot digitally processed, completely random, you know I'm not a photographer, but I really like this stylized and essential expression...
I'm so sorry because in the last time I have not enough time to follow all your news as I like to do, but will be better time soon

Pic by Laura Tedeschi

The Hand That Rocks The Cradle

2011-05-10T11:38:00.002+02:00

Painting by Laura Tedeschi

ps: ... I want to thank you all for the support you give to me

The tree and I - Spring

2011-05-02T15:50:00.000+02:00

... from my last journey to Italy

Asiago, April 2011

About Face

2011-04-21T09:24:00.003+02:00

Paint by Laura Tedeschi

The silence of noise, the most terrible loneliness

2011-04-19T09:30:00.007+02:00

Painting by Laura Tedeschi

Unfortunate Milan's children, so fragile, so unhappy,

unfortunate Milan's children, also robbed of hope,

sad Milan's children, with handkerchiefs as gardens,

unfortunate Milan's children with the horizon always covered,

thirst for freedom forced to live in the desert.

unfortunate Milan's children with the most terrible loneliness,

the silence of the noise.

Unfortunate Milan's children, children of worrying fathers

Unfortunate Milan's children, how many minutes,

travelers of fixed destinations, spectators always sit ...

from: "Poveri bimbi di MIlano" Francesco Guccini

Escape from the ordinary prison

2011-04-14T16:00:00.002+02:00

Dream, dream, dream

and dream of the mice that eat cats

or robins eating hawks and then ...

steal the wind to a kite

crying for no reason

strong run like mad

barefoot on the rocks

live now and not tomorrow

such as gypsies on the lawn

drinking the rain from the hands ...

timeless ...

Work by Gianni Tedeschi - 1967

Shots by Laura Tedeschi - 2010-2011

I Will Give You a Rose

2011-04-11T14:38:00.000+02:00

Painting by Laura Tedeschi

I will give you a rose

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

My name is Antonio and I’m mad

I was born in 1954 and I’ve lived here since I was a baby

I believed I could talk with the devil

So they closed me in a mental home for forty years

I’m writing you this letter because I don’t know how to talk

Forgive the handwriting of a school child

And I’m astonished I’m still feeling emotions

But it’s the fault of my hand that won’t stop shaking

I’m like a piano with a broken key

The dissonant chord of an orchestra of drunks

Day and night seem the same

In the dim light the pierces the opaque glass

I’m still pissing myself because I’m afraid

To the sane, we have always been rubbish

Smelling of piss and sawdust

This is mental illness and there is no cure

I will give you a rose

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

Mad people are like question marks with no sentences

Thousands of spaceships that never return home

They are snowmen spread out under the sun

Mad people are messengers of a God that doesn’t want them

I build snow for myself out of polystyrene

My illness is that I’ve been left alone

Now take a telescope and measure the distance

Look between me and you – who is more dangerous?

We loved each other secretly in a hospital ward

Finding a corner that would be ours alone

I remember the few moments when we felt alive

Not like the medical records crammed in the archives

Of all my memories, you’ll be the last to disappear

You were like an angel tied to a radiator

In spite of everything I’m still waiting for you

And when I close my eyes I feel your hands caressing me

I will give you a rose

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

My name is Antonio and I’m on the roof

Dear Margherita, I’ve waited for you for 20 years

We go mad when no one understands us

Also when your best friend betrays you

I leave you this letter, now I must go

Forgive the handwriting of a school child

Are you astonished I’m still feeling something?

Surprise yourself again because Antonio knows how to fly

Simone Cristicchi

Hope and life's dreams

2011-04-04T16:23:00.003+02:00

Painting by Laura Tedeschi

And now we are living in half season,

crushed and hurt for days in agony and despair,
where we turn the world without history,
seeking only a moment sincere
with the unconscious desire to get deeper
to be more true.

from "Le pioggie d'aprile - April's rains" Francesco Guccini

The forty years woman

2011-03-28T15:45:00.000+02:00

Painting by Laura Tedeschi

... does not always tell how it goes

our lady of forty years ...

is not here that

we would have committed the heart

Considerations on color and texture

2011-03-25T10:54:00.005+01:00

Colors, like features, are following the changes of emotions. (Pablo Picasso)

I colori, come i lineamenti, seguono i cambiamenti delle emozioni. (Pablo Picasso)

Painting by Laura Tedeschi

Reality is illusory relative and subjective expression

2011-03-21T12:21:00.002+01:00

The knowledge that others have of us is stereotypical, but our identity is fluid, constantly evolving, and our personality is not uniform. Each of us is absolutely alone, unknown even to himself.

Painting by Laura Tedeschi - Selfportrait, as uninspired artist

Painting by Laura Tedeschi - Selfportrait as uninspired artist (detail)

Painting by Laura Tedeschi - Smiling Marina

Painting by Laura Tedeschi - Smiling Marina (detail)

Playing with water

2011-03-17T15:33:00.001+01:00

Painting by Laura Tedeschi - Mixed media, acrylic and tempera

The arrogant-ignorant

2011-03-16T12:43:00.004+01:00

The prototype of this species is characterized by an inability to listen and difficulty of understanding what is being said.
His words denigrate people, diminishing the problems these people are living.
Arrogance and sense of superiority reveal the low cultural level of the arrogant-ignorant.
But in addition to the low cultural heritage, what there is behind the arrogant-ignorant?
Who is aware of its value does not need to declare it.
Very often in the prototype lies a insecure about his social position and her own identity.
Usually inside the arrogant-ignorant, hides a sense of inferiority, emphasizing what he has.
The prototype can not admit his own limitations, trying to belittle the other person, without listening and without giving him a chance to talk.

Shot by Laura Tedeschi

Il prototipo di questa specie é caratterizzato da incapacitá di ascoltare e difficoltá di comprensione di ció che viene detto.
Le sue parole denigrano le persone e sminuiscono le problematiche che esse vivono.
Straffotenza e senso di superioritá rivelano il basso livello culturale dell'arrogante-ignorante.
Ma oltre allo scarso patrimonio culturale cosa c'é dietro all'arrogante-ignorante?
Chi é ralmente consapevole del proprio valore non ha bisogno di dichiararlo.
Molto spesso dentro al prototipo si cela un insicurezza sulla propria posizione sociale e sulla propria identitá.
Solitamente l'arrogante-ignorante nasconde un senso di inferioritá, esaltando quello che possiede o quello che si é conquistato. Il prototipo non riesce ad ammettere i propri limiti, nascondendosi dietro a frasi fatte e cercando di sminuire e non ascoltare l'interlocutore.

Two sisters

2011-03-15T11:59:00.000+01:00

Painting by Laura Tedeschi - Mixed media: acrylic, oil, tempera grassa

Painting by Laura Tedeschi - mixed media: acrylic, oil, tempera grassa

Hope

2011-03-14T16:21:00.008+01:00

Painting by Laura Tedeschi

For ever yours, Cyrano!

2011-03-11T11:43:00.006+01:00

Cyrano - Paint by Laura Tedeschi

The last song os Sir Cyrano (Cyrano) - Francesco Guccini

Come on all ye, come on, my paint’d ladies all
so prettie and snooty, come on, I can’t bear ye any more,
my pen it will be driven into your boundless pride
for with this brand o’ mine I can kill ye at my ease.
Come on all ye, come on, ye all paltry poetasters,
ye uselesse singers of this calamytous time
ye fools who live on your spineless verses
ye have gold and glory, yet ye are big nothings.
Enjoy your success, ye fools, get the most out of it,
ye certaynlie will not feare your sheepe-like audience,
God only knoweth where ye flee to escape taxes
so arrogant, as if ye were the tops of the class,
hearken! I’m only a poore cadet o’ gascoyne
but I swear I can’t stand those who have no dreams
I won’t be taken in your nerve and tinselries
and, to end my licence, no pardon and I touch ye,
no pardon shall ye have and I touch ye!
hearken! Let’s break it off, so come on ye alle,
ye foole rabble-rousers, the leaders of our time,
come on all canvassers and second-rate poolitickers,
you alle cruel masters of false ceremonies,
who have so often turn’d laissez-faire into art,
come on, out with the truth and don’t cheat any longer,
ye know that some one will burden all expenses
In this most bless’d land ravaged by nonsense,
I know I’m always wrong, but I don’t give a damne,
displeasing is my pleasure, I love to be hated,
with bullies and slyboots have I play’d my whole life,
and, to end my licence, no pardon and I touch ye!
No pardon shall ye have and I touch ye!
But when I am alone, with my nose down to my feet,
that walks ten yards befor’ me since I came to light,
my anger it does abate, I remember with payne
that heaven it forbade me the sweet dream of love,
How many I did love, how many I did have,
I don’t know, I lost them alle by my fault or by fate,
but when I feel the burden of always being alone,
I shut my door and write, writing’s my solace.
And yet I feel, I do feel that life’s love it exists
with no sin do I love, I am so sad yet I love,
my Roxanne she’s so fair, but, alas! we’re so diff’rent
I can’t talke with her, I'll speake with my verses!
I'll speake with my verses!
Come on all ye, vacuous people, let’s break it off right now,
Ye priestes, who sell us alle the dreame of the other world,
If there’s, as ye do say, a God in the endless heaven
then look into your heart, ye’ve betrayed him!
And ye material people, ye who never give up saying
that God is dead and man is alone in this abysme,
ye looke after your truth on the ground like swines,
ye may keepe your acornes, but please leave me my winges,
go back home, ye dwarfes, get out of my way,
for mine immense rage I need ettins and giantes,
I’ve never been caught in any reveal’d truth,
and, to end my licence, no pardon and I touch ye!
No pardon shall ye have and I touch ye!
With my nose and my brande my enemies I do touch.
But nowe in mine Life I cannot find my way,
I should not give up and resign to my badness,
thou only canst me save, thou only and I do write it.
I do feel it must be a place in heaven or on earthe,
where we any more won’t suffer and all it will be right,
don’t laugh, I beg thee, don’t laughe att my wordes,
for I am only a shadow, and thou art the sun, Roxanne!
Yet I wat thou’rt not laughing, I wat, my sweetest lady,
and I won’t hide my selfe under your balcony,
for I do feel it right now, my pain’s not been in vain
If you love me as I am,
and I remain your servant, for ever yours, Cyrano!

My photographic tribute to the great James Ensor

2011-03-09T11:54:00.005+01:00

Il mio omaggio fotografico al grande James Ensor

Shot by Laura Tedeschi - Ramatuelle, september 2010

Paint by James Ensor - Les masques fantastiques

Paint by James Ensor - Self Portrait and the masks

Paint by James Ensor - La mort et les masques

We, who in the 80 were kids

2011-03-07T15:38:00.006+01:00

painting by Laura Tedeschi

We, who were playing hide and seek at all times.
We, who the roller skates had four wheels and stretched when the foot was growing.
We, who those of us who left the longest trail in the braking with the bike was the coolest.
We, who went on the bike in two.
We, who thought to had secrets.
We, who really had secrets.
We, who were doing a competition to see who chewing more chewing gum at the same time.
We, who adopted stray cats and dogs that we were never attacked any fatal disease although later, after have caressed them, we put our fingers in our mouth.
We, who did not know to read the fever thermometer.
We, who break off fever thermometers, and balls of mercury were wandering through the house.
We, who the Rubik's cube, we never finished, at least without cheating...
We, who exchanged with each other stickers before the lesson (and during and after)...
We, who with a willow branch did bow to feel like Orzowei.
We, who had the "secret place"with the "secret passage".
We, who in the meadows in the dark between the chirping of cicadas can still see the fireflies (and we did not know were the latest).
We, who sometimes quarreled.
We, who five minutes after it was all forgotten...
We, who "if you do this you are no longer my friend".
We, who the tape player ate the music cassette , and we had to rewind the tape with the pen.
We, who had the black and white TV.
We, who watched on TV "The little House on the Prairie " Even if this put sadness.
We, who looked at Christmas "Little Lord Fauntleroy", because it gave fixed on TV.
We, who laughed if a friend was laughing.
We, who our new shoes remained clean only an hour!
We, who are so excited for a kiss on the cheek.
We, who phoned in secret.
We, who did not have the mobil-phone to go talk in private on the terrace.
We, who write short messages on bits of paper to pass to the class partner.
We, who there was the Polaroid, and we waiting to saw the photo.
We, who when, pick up the photos from the photographer, were curious to see them.

The tree and I - L'albero ed io

2011-03-03T13:07:00.004+01:00

Fotos by Laura Tedeschi - Asiago - Italy - December 2010

When my last day on earth will come, after my last glance at the world
I do not want any stone on my grave, for it too heavy would seem to me
Look for a tree, a young and strong tree, that’s the right stone for my grave,
I want to lie even after my death under that sky people say it’s of God.

And in winter, during the long rest, under my tree I will lie still alive
As if I were sleeping I’ll trustfully wait till I’ll awake one day or another
And in spring we’ll hear thousands of voices and that will be our rebirth
And I willl raise my fingers like boughs to that sky so full of mystery.

And in summer, if the wind does accept what ev’ry sprout is inviting to do
We’ll wave leaves like flags in the air and we shall sing songs of life
And so, together, we’ll live forever, but here on Earth, I and my tree
Always standing out in summer and winter against that sky people say it’s
of God

Francesco Guccini

Quando il mio ultimo giorno verrà dopo il mio ultimo sguardo sul mondo,
non voglio pietra su questo mio corpo, perchè pesante mi sembrerà.
Cercate un albero giovane e forte, quello sarà il posto mio;
voglio tornare anche dopo la morte sotto quel cielo che chiaman di Dio.

Ed in inverno nel lungo riposo, ancora vivo, alla pianta vicino,
come dormendo, starò fiducioso nel mio risveglio in un qualche mattino.
E a primavera, fra mille richiami, ancora vivi saremo di nuovo
e innalzerò le mie dita di rami verso quel cielo così misterioso.

Ed in estate, se il vento raccoglie l'invito fatto da ogni gemma fiorita,
sventoleremo bandiere di foglie e canteremo canzoni di vita.
E così, assieme, vivremo in eterno qua sulla terra, l'albero e io
sempre svettanti, in estate e in inverno contro quel cielo che dicon di Dio

Francesco Guccini

Youth - Gioventú

2011-02-28T13:15:00.003+01:00

This work of mine is from a few years ago and unfortunately the picture quality is not so good...

Painting by Laura Tedeschi - Gioventú

Democracy, tyranny, and when democracy becomes a paradox - Democrazia, tirannia, e quando la democrazia diventa paradosso

2011-02-17T13:15:00.013+01:00

The paintings in this post are by the painter Luca Palazzi, a good friend of mine.

"The question on everyone's mind was always"who should govern? "This question led to definite answers sterile, like, the best, the philosophers, an enlightened ruler, the people, the superior race. It is also an answer false because it assumes good and honest leaders. Karl Popper To be rid of this question, surpassing it with another: "How can we organize political institutions in order to prevent the bad and incompetent rulers do too much damage?"
It serves institutional control of governments. Only for implementing solve the paradox of democracy is the paradox of a people who choose tyranny.

Popper drew a line between freedom and totalitarianism that is expressed in a clear distinction between dictatorship and democracy.
In a democracy the powers of the governors should be limited and the criterion of democracy is this: the rulers in a democracy - that the government - can be dismissed without bloodshed. So if the people in power do not safeguard those institutions which provide the minority the opportunity to work for peaceful change, their government is a tyranny."

"Credere, obbedire, consumare" Painting of Luca Palazzi (From the serie "Berlusconeide & Co.")

"Shining" Painting of Luca Palazzi (From the serie "Berlusconeide & Co.")

"2010 Odissea e basta" Painting of Luca Palazzi (From the serie "Berlusconeide & Co.")

"La questione che tutti si pongono è stata sempre: "chi deve governare?" Questa domanda ha provocato risposte definite sterili, tipo: i migliori, i filosofi, un sovrano illuminato, il popolo, la razza superiore. Si tratta anche di una risposta falsa perché presuppone governanti buoni ed onesti. Per Popper occorre liberarsi di questa domanda, superandola con un'altra: «Come possiamo organizzare le istituzioni politiche in modo da impedire che i governanti cattivi ed incompetenti facciano troppo danno?»
Serve un controllo istituzionale dei governanti. Solo attuandolo risolveremo il paradosso delle democrazie, ovvero il paradosso di un popolo che sceglie la tirannide.

Popper tracciò una linea di demarcazione tra totalitarismo e libertà che si espresse in una netta distinzione tra dittatura e democrazia.
In una democrazia i poteri dei governanti devono essere limitati ed il criterio della democrazia è questo: in una democrazia i governanti - cioè il governo - possono essere licenziati senza spargimenti di sangue. Quindi se gli uomini al potere non salvaguardano quelle istituzioni che assicurano alla minoranza la possibilità di lavorare per un cambiamento pacifico, il loro governo è una tirannia".

ESP Gallery - Marrickville, Sydney. Small works show opening

2011-02-15T14:09:00.012+01:00

Do you remember the small works I did for the exhibition in Sydney?
Well the time has come, the exhibition was inaugurated in the ESP Gallery, on Saturday, February 12, in Marrickville, a Sydney suburb, from the local Mayor Fiona Bryne.
As you can see there was a big presence of people and many works have been sold.

Show opening on ESP Gallery, on Saturday, February 12

Fiona Bryne, Marrickville's Mayor, inaugurated the Show

Featuring Marrickville's Mayor Fiona Bryne

The Exhibition's poster - Picture of Andrew May

Show opening on ESP Gallery, on Saturday, February 12

Vi ricordate i piccoli lavori che ho fatto per l'esposizione a Sydney?
Bene il momento é arrivato, la mostra si é aperta Sabato 12 febbraio, alla ESP Gallery di Marrickville, un quartiere di Sydney, dal sindaco locale Fiona Byrne.
Come potete vedere c'é stata una grande presenza di pubblico e molti lavori sono stati venduti.

Through flowers

2011-02-10T12:57:00.004+01:00

Paintings of Laura Tedeschi

"The year was dying, very slowly. The sun spread something Tepor veiled, gold, almost spring, in the sky of Rome. All the streets were as popular as Sunday in May. On the Piazza Barberini, the Piazza di Spagna a multitude of cars passed in a race crossing, and double the noise and confusion continued, rising to the Trinity de 'Monti, the Via Sistina, arrived early in the rooms of the Palazzo Zuccari, attenuated.
The rooms are gradually filled up the perfume that exhales fresh flowers in vases. The roses were surrounded by thick and large crystal goblets that certain levavan thin rod like a golden flare in the guise of a lily diamond, in the similitude of those who Sorgon behind the Virgin in the round by Sandro Botticelli at the Galleria Borghese. No other form of a cup equals elegance in this form: the flowers within the prison they seem almost diaphanous spiritualized and give better image of a religious or love offering.
Andrea Sperelli waited in his room, his lover. All things come back into care reveals a special love. The juniper wood was burning in the fireplace and the small tea table was ready.
The clock of the Trinity de 'Monti struck half past three. It lacked half an hour. Andrea Sperelli rose from the couch, where he was lying, and went to open a window and then gave some steps in the apartment, then opened a book, he read a little, closed it, then looked around something, his eyes doubting. The anxiety of leave it stung so keenly that he needed to move, to work, to distract the inner pain with a physical act. He leaned toward the fireplace, took the tongs to rekindle the fire, put on the pile burning a new piece of juniper. The pile collapsed, right on the coals sparkle rolled metal sheet that protected the carpet, the flame is divided into many small bluish languages disappearing and reappearing, the embers fumigation" ..

from: "Il piacere" Gabriele D'Annunzio

photo of Laura Tedeschi

L'anno moriva, assai dolcemente. Il sole di San Silvestro spandeva non so che tepor velato, mollissimo, aureo, quasi primaverile, nel ciel di Roma. Tutte le vie erano popolose come nelle domeniche di Maggio. Su la piazza Barberini, su la piazza di Spagna una moltitudine di vetture passava in corsa traversando; e dalle due piazze il romorio confuso e continuo, salendo alla Trinità de' Monti, alla via Sistina, giungeva fin nelle stanze del palazzo Zuccari, attenuato.
Le stanze andavansi empiendo a poco a poco del profumo ch'esalavan ne' vasi i fiori freschi. Le rose folte e larghe stavano immerse in certe coppe di cristallo che si levavan sottili da una specie di stelo dorato slargandosi in guisa d'un giglio adamantino, a similitudine di quelle che sorgon dietro la Vergine nel tondo di Sandro Botticelli alla Galleria Borghese. Nessuna altra forma di coppa eguaglia in eleganza tal forma: i fiori entro quella prigione diafana paion quasi spiritualizzarsi e meglio dare imagine di una religiosa o amorosa offerta.
Andrea Sperelli aspettava nelle sue stanze un'amante. Tutte le cose a torno rivelavano infatti una special cura d'amore. Il legno di ginepro ardeva nel caminetto e la piccola tavola del tè era pronta, con tazze e sottocoppe in maiolica di Castel Durante ornate d'istoriette mitologiche da Luzio Dolci, antiche forme d'inimitabile grazia, ove sotto le figure erano scritti in carattere corsivo a zàffara nera esametri d'Ovidio. La luce entrava temperata dalle tende di broccatello rosso a melagrane d'argento riccio, a foglie e a motti. Come il sole pomeridiano feriva i vetri, la trama fiorita delle tendine di pizzo si disegnava sul tappeto.
L'orologio della Trinità de' Monti suonò le tre e mezzo. Mancava mezz'ora. Andrea Sperelli si levò dal divano dov'era disteso e andò ad aprire una delle finestre; poi diede alcuni passi nell'appartamento; poi aprì un libro, ne lesse qualche riga, lo richiuse; poi cercò intorno qualche cosa, con lo sguardo dubitante. L'ansia dell'aspettazione lo pungeva così acutamente ch'egli aveva bisogno di muoversi, di operare, di distrarre la pena interna con un atto materiale. Si chinò verso il caminetto, prese le molle per ravvivare il fuoco, mise sul mucchio ardente un nuovo pezzo di ginepro. Il mucchio crollò; i carboni sfavillando rotolarono fin su la lamina di metallo che proteggeva il tappeto; la fiamma si divise in tante piccole lingue azzurrognole che sparivano e riapparivano; i tizzi fumigarono.

da "Il piacere" Gabriele D'Annunzio

Playing with the Japanese umbrella and painting after Kirchner

2011-02-07T12:14:00.001+01:00

painting and photographs by Laura Tedeschi

Laura Tedeschi - After Kirchner

Ernst Ludwig Kirchner through shadow, light and colors

2011-02-01T14:23:00.001+01:00

As one of the first artist ever, produced Kirchner eloquent dialogues and oppositions between painting and printmaking as a classical art forms and photography. He photographed famous models such as his addition to his sculptures and his beautiful portraits. Kirchner staged in such a comparative look between the real 'template' and the finished image. He reveals his personal system of expressive stylization of reality. At the same time he calls just by comparison with the 'reality' the freedom of art from any traditional imperative of mimetic fidelity.
Often, Kirchner was inspired directly from photographs. He developed such as in self-portraits of shadow and light areas in the color photography alienated dissections of physiognomy. Just as he composed figure scenes - as the famous sensual depictions of the couple Hembus of 1930

In general, Kirchner developed in the paintings from the 1920s of contrasts, overexposure and transitions of light, shadow, contour and color, dissolve the image of objects. It created abstracted, flat images with enigmatic image areas and new degrees of freedom. For these image patterns Kirchner himself coined the term "new style".

All Paintings, Photos and the one sculpture are from Ernst Ludwig Kirchner

Ernst Ludwig Kirchner experimented the new way of expression of that time; the photography

2011-01-31T16:42:00.003+01:00

Ernst Ludwig Kirchner was the most important figure that changed my vision of expression.
His work has had a great influence in my life and the way I have to express my self.

Kirchner, expression of depression, the evil of life, fragility or maybe just depth, too many questions about himself, about life, art, war, persecution, the getaways, Kirchner seriously ill, Kirchner crazy, Kirchner the drug addict, Kirchner also, someone has suggested, some sneak a pedophile.

Ernst Ludwig Kirchner has experimented even the photography, the new way of expression of that time, and we can see how well his photos are full and soaked in expressive power and introspective, introspection that he gave to all his subjects.

Ernst Ludwig Kirchner - Selfportrait

Ernst Ludwig Kirchner - Lina Franziska Fehrmann (Fränzi was Marcella's sister) 1910

Ernst Ludwig Kirchner - Fränzi und Peter Fehrmann 1910

Ernst Ludwig Kirchner - Haus auf dem Wildboden, Davos, Frauenkirch, about 1924

Ernst Ludwig Kirchner - Portrait of a young woman (Nele van de Velde?) 1920

Ernst Ludwig Kirchner - Urseli Hunger (Davos Frauenkirch 1920)

Ernst Ludwig Kirchner - Shepherds in the Stafelalp (Davos about 1919)

Ernst Ludwig Kirchner - View from Wildboden to Davos (1924)

Ernst Ludwig Kirchner - Selfportrait

Some new paintings of Gianni Tedeschi

2011-01-24T16:52:00.000+01:00

These are some new paintings of my dad, which I photographed in his studio last month,
during my visit to Italy.
These are all Venice's views of him.

Paintings of Gianni Tedeschi

The painter Gianni Tedeschi in his studio in Asiago

Powerful Vienna - Graben, Ring and Opera House

2011-01-18T14:18:00.002+01:00

Paintings of Laura Tedeschi

Vienna - Graben

Vienna - Ring and Opera House

Momo Luna Signals in Vienna Woods

2011-01-17T13:06:00.003+01:00

What better than a magical and mysterious woods as location for the works of Monica Croese?

For me the world of Monica MOMO L UNA SIGNALS It's magic, his works can bring me back to fairy tales, witches and wizards...

Thank you so much Monica.

A very original idea by Monica are the wooden blocks from her paintings to be assembled to create our own world with her, and her postcards are so original to send to friends...

MOMO LUNA SIGNALS in Vienna Wood - Shots of Laura Tedeschi

SILENT ECHOES it's her new published Book

Closed and silent

2011-01-10T16:08:00.007+01:00

Dear friends, I realize that during the period I was away, I missed a lot of news in your blog, I'm really sorry for have not read "live" such important news of you, who are my friends, in yours blogs.
I've been away from Vienna and I had a period of introversion and reflection, so many thoughts, so many troubles, so many memories, so many dreams ...

Then I confess that I was never been a big fan of Christmas or New Year's Eve ... I know I'm complicated

Well, but I hope sincerely that this year will be, for all of us, a year full of artistic inspiration that is, finally, our air and our bread, I hope there will be good healthy for all, and that our problems, our fears, our dreams lead us to understand more and more how beautiful life is, and the importance of small smiles, of small happiness from every day, as enjoy a little weak and pale grass that creeps in to the dry and died grass to help to revive the visual, musics and smelling spectacle, that we called spring...

I embrace you all and thank you for your encouragement and your neighborhood.
I apologize, even, I've been quiet lately ... closed and silent on my own,
I'm sure, who better than you can understand me...

From my picture diary - January 8, 2011 - Ascona

Cari amici, leggendovi mi accorgo che, durante il periodo nel quale sono stata via, mi sono persa molte novitá nei vostri blog, mi dispiace davvero di non aver letto "in diretta" le cose pubblicate da voi (che siete i miei amici) nei vostri blog.
Sono stata via da Vienna e ho avuto un periodo di introversione e riflessione, tanti pensieri, tanti ricordi, tanti sogni...

Spero che quest'anno sia un anno pieno di ispirazione artistica che é, alla fine, la nostra aria e il nostro pane, che ci sia sempre la salute, e che i nostri problemi, le nostre paure, i nostri sogni ci portino a capire smepre piú quanto la vita sia bella, e quanto sia importante sorridere delle piccole felicitá di ogni giorno, come gioire di un debole e pallido filo d'erba che si insinua nell'erba secca per contribuire a fare rinascere quello splendido spettacolo che noi chiamiamo primavera...

Vi abbraccio tutti e vi ringrazio per il vostro incoraggiamento e la vostra vicinanza.

Little works - Piccoli lavori

2010-12-20T16:00:00.000+01:00

In February, I will be among the artists who exhibit in Sydney in a postcards show, with 10 small works, I painted these views of Vienna and because the size is really small 10x15 cm I tried an almost abstract expressionism.
Well, I'm satisfied. What are you thinking about?

A febbraio parteciparó ad una esposizione di cartoline a Sydney con 10 piccoli lavori, ho fatto queste vedute di Vienna e, viste le dimensioni 10x15 cm ho cercato un espressionismo quasi astratto.
Sono soddisfatta voi che ne dite?

Vienna - Nussdorf

Vienna - The Church of Sievering

Vienna - Hohe Markt

Vienna - Karlskirche

Vienna - Cobenzl

Vienna - Uno City Skyline

Vienna - Nussdorf

Vienna - Cobenzl

Vienna - Rotenturmstrasse

Vienna - Volksgarten

Things that accompany our life, a part of me - Cose che accompagnano la nostra vita, un pezzo di me

2010-12-17T11:58:00.005+01:00

This drawing has always been present in my life,
as the painter Spagnoli present it to my father, in one of those sincere and affectionate exchanges between artists, I was very small and I remember I told my dad that I wanted this picture in my bedroom.
When I moved to Vienna, was perhaps the first thing I put in the carton box, along with books and paintings of my dad, to feel me at home even in a far and new place...

Drawing of A. Spagnoli (about 1970)

Quando il pittore Spagnoli regaló questo quadro a papá, in uno di quegli scambi affettuosi e sinceri tra artisti, io ero molto piccola e ricordo che dissi a mio papá che avrei desiderato avere questo disegno appeso nella mia camera.
Quando traslocai a Vienna, questo disegno fu forse la prima cosa che io misi nello scatolone,
assieme ai libri e a dipinti di papá, per sentirmi a casa anche in un posto lontano...

The winter outside - L'inverno fuori

2010-12-13T15:32:00.000+01:00

From the window of a bohemian studio

Paintings of Laura Tedeschi

A S K

2010-12-02T16:33:00.001+01:00

Shots and digital processing by Laura Tedeschi

The development of 'self-portrait - Evoluzione dell'autoritratto

2010-11-30T14:52:00.001+01:00

Paintings of Laura Tedeschi

2009

2007

2006

2003

Vânia Crissant's "life is made of details" the known drawer of remembers

2010-11-28T21:32:00.004+01:00

To browse Vânia Crissant's book "Life is made of details" is how to open that known drawer, that each of us has, the drawer filled, over the years with those objects wich, for some strange reason, we never decided to throw away, and to not separate us from those objects, we have placed in that drawer, almost to be sure of being able to reopen at any time and relive some memories.
Then happens that we don't open it for years and a day, with the intention of putting in place the drawer
and... heart sank!

In Vânia Crissant's book, I found remembers thanks moment that Crissant has so good stopped in time, and my feeling was like to open that known drawer...

Yes life is made of details, and "live is made of details" is simply beautifull

Crissant was born in Brasil, but actually lives in Spain, where dedicates to photography and audio-visual productions.

Crissant links:

Crissant on carbonmade

Fotografia Crissant

coloraysme

"live is made of details"

The first frosts - Le prime gelate

2010-11-26T10:46:00.003+01:00

Oh days, oh months that went away forever, like you is always this my life.
Every year different, but every year the same...

Paintings of Laura Tedeschi

Caio Fern - Alemão

2010-11-24T11:43:00.005+01:00

Caio Fern - Alemão

As Caio told me he was writing a book, I immediately thought:
-he is a complete artist- you already know that I consider Caio a great painter, who is able to express very well and with its own style, the soul of his characters, making them alive and very close to us. His paintings is 99% autobiographical, which does not happen at the first look in the book but, for me really only at the first look.
Reading the story of Nicholas I understand that the essence of Caio is present throughout the book.
I must say that I have always had an emotional tie with Brazil and years ago I read a lot of Brazilian literature from Coelho (that- sorry-I don't liked so much) to Amado (that I loved), but I lacked for a book describing life in Brazil today, I wanted a book that should take place in the past, or imaginary places, I wonted enter the Brazilian reality today with his, TV or radio programm, music of young people, in short of daily life in Brasil, but among all the contradictions of this country and try to understand how European immigration influenced the character of different ethnic groups in Brazil and I must say I am very happy to read alemão, even proud of my friend Caio who has demonstrated this to be really a complete artist.

Caio thanks also a lot for find place also for me in your book with yours affectionate and friendly, dedication to me among people who you have thanked.

Quando Caio mi disse che stava scrivendo un libro, ho subito pensato:
-lui é un artista completo- giá voi sapete che considero Caio un grande pittore, che riesce ad esprimere benissimo e con uno stile tutto suo, l'anima dei suoi personaggi, rendendoli vivi e molto vicini a noi. La sua opera pittorica é per il 99% autobriografica, cosa che non succede nel libro, o forse si?
Leggendo le vicende di Nicholas capisco che l'essenza di Caio é presente in tutto il libro.
Devo dire che anni fa ho letto molta letteratura brasiliana da Coelho a Amado, ma mi mancava un libro che descrivesse la vita odierna in brasile, volevo un libro che non si svolgesse nel passato o in luoghi immaginari, voelvo entrare nella realtá odierna brasiliana, e devo dire che sono molto felice di leggere questo libro, anche fiera del mio amico Caio che ha dimostrato con questo di essere veramente un artista completo.

Caio grazie anche per la dedica che, cosí affettuosamente e amichevolmente hai impresso per me sul tuo libro.

Solitude and silence - Solitudine e silenzio

2010-11-19T10:45:00.003+01:00

Paintings of Laura Tedeschi

Andrew May - Paintings

2010-11-17T11:35:00.007+01:00

I'm really so happy to show you the paintings of Andrew May.
Andrew's works speaks to me so much, both as photographer and painter,
looking at his paintings you will understand why.
I fully agree to the Andrew's opinion about painting, released in a interview on 1STANGEL ARTS MAGAZINE, that in painting to express totally his own self to be emotionally and true, must be not a realistic as a photo. Trought his evolution, attracted by the force of the expression of the media , Andrew reach beautifull and powerfull thick "impasto", almost to strengthen the intention of the soul that comes out of the canvas.
Andrew May's paintings are introspective and autobiographical and not leave us indifferent.

Sono davvero molto felice di mostrarvi i dipinti di Andrew May.
Le opere di Andrew mi dicono cosí tanto, sia come fotografo che come pittore,
guardando i suoi quadri si capirà il perché.
Sono pienamente d'accordo sul parere di Andrew sulla pittura, pubblicato in un' intervista su 1STANGEL ART MAGAZIN e cioé che, in pittura per esprimere tutto il proprio essere emotivo in un modo vero e vivo, il dipinto non deve essere una fotografia.
Attraverso anni di evoluzione, attratto dalla forza di espressione dei colori visti come medio, Andrew raggiungere un "impasto" spesso e materico, quasi a rafforzare la volontà dell'anima che esce dalla tela.
I dipinti di Andrew May sono introspettivi e autobiografici e non ci lasciano indifferenti.

On the a13 heading north - Andrew May

"All a visual artist has to do is go out and look at the world, go and drink in as much new imagery as possible that the outside world can conjure. A blank canvas will still remain a blank canvas if you haven’t interacted with humanity". (From interview on 1STANGEL ARTS MAGAZINE)

"Tutto quello che un artista visivo che deve fare è uscire e guardare il mondo. Una tela bianca sarà ancora una tela bianca, se non si interagisce con l'umanità". (Dall'intervista su 1STANGEL Arts Magazine)

Paint of Andrew May

Paintings of Andrew May

Paint of Andrew May

"It is not dissimilair to being in the possession of a mental photograph or a constructed image of scenery floating behind my closed eyes. You bring it onto what ever medium you choose and you have to never let it have a chance to shift its focus until its completion as you are drawing the work out of you". (From interwiew on 1STANGEL ARTS MAGAZINE)

"Non è diverso; di essere in possesso di un immagine mentale, che sia dipinto o fotografia. Dopo avere scelto il medio, lo si trasporta e non bisogna avere la possibilitá di spostare l'attenzione fino a quando non si ha finito, come essendo fuori da noi stessi". (Dall' intervista su 1STANGEL ARTS MAGAZINE)

Paintings of Andrew May

Paintings of Andrew May

All Paintings in this post are from Andrew May

Andrew May, Australian Photographer, painter and sculptor, in short called artist

2010-11-15T16:03:00.007+01:00

Andrew May, Australian Photographer, painter and sculptor, in short called artist

Andrew May, fotografo, pittore, scultore australiano, per brevitá chiamato artista

Andrew May - Angel Series 2009 / 2010

Who of us, walking around city streets, in front of determinated situations has not felt that known deja vu moment or is not simply excited by looking at the beauty, even decadent, of a living or why not sleeping city? How many times have we paused to observe some details, leaving our imaginations gallop trought our minds between buildings and sky.

What happens when a good photographer with great sensitivity and character can stop this?
What happens then if the photographer put the figures that we see only in our dream or imagination, surreal but real figures, which become part of the urban landscape, as if they had always been there, or as if they were there for a chance, only for a moment?
This will happen; our emotions become even stronger and will be caught by the poetry and charm of the urban landscape toghether with a oniric and ethereal surrealism. How to merge this two feeling into one.

Angel Series 2009 / 2010 is the new book edited by Andrew May.
This book is the result of two years of work, 80 black and white photos of great emotional impact.

Andrew May, Award winning Painter, Sculptor, Photographer, 140 Exhibitions locally and overseas over the last ten years Gallery Director Circus Gallery Director Circus Gallery International Exhibition Curator President of the "InnerNortherns" International Photography Group

Chi di noi camminando per strade cittadine, davanti a certe situazioni non ha provato quel famoso momento di dejavous o non si é emozionato semplicemente osservando la bellezza, anche decadente di una cittá che vive? Quante volte ci siamo soffermati ad osservare certi particolari, lasciando la nostra immaginazione galoppare tra palazzi e cielo...

Cosa succede quando un bravo fotografo dotato di grande sensibilitá e carattere riesce a fermare tutto questo?
Cosa succede poi se il fotografo inserisce figure che solo nella nostra immaginazione possiamo vedere, figure surreali ma vere, che diventano parte del paesaggio urbano, come se fossero sempre state li, o come se si trovassero li per un puro caso, solo per un istante.

Succede che le nostre emozioni diveranno ancora piú forti e verremo rapiti dalla poesia e dal fascino dell’urbano e dell’etereo e poetico surrealismo. Come ad unire due realtá.

Angel Series 2009 / 2010 é il nuovo libro pubblicato da Andrew May.
Questo libro é il frutto di ben due anni di lavoro, 80 foto in bianco e nero di grande impatto emotivo.

Andrew May, premiato pittore, scultore, fotografo, 140 mostre locali e all'estero nel corso degli ultimi dieci anni direttore Galleria Circus Gallery Direttore Circus Gallery, curatore della mostra internazionale di Presidente della "InnerNortherns" International Photography Group

Angel Series 2009/2010

Other book published by Andrew May:

Altri libri pubblicati da Andrew May:

The Everyman

Black and White Photography, Black and white photography capturing the male corporate worker and the lunchtime man-about-town against the backdrop of the concreted landscape - published in September 2010.

Raccolta di fotografie in bianco e nero che ritraggono il lavoratore maschio nel suo contesto cittadino - pubblicato nel settembre 2010.

Andrew May - The Everyman

In The Hours of Sleep

An early morning exploration of a city in winter. Detailing the emptiness of Melbourne, Australia as it sleeps - published in September 2010.

Fotografia notturna, un'esplorazione del mattino di una città in inverno. In dettaglio il vuoto di Melbourne, come dorme l'Australia - pubblicato nel settembre 2010.

Andrew May - In The Hours of Sleep

Angel Series 1998 / 2008

58 Black and White images shot from two angel photography series 1998 and 2008 Photographed across the Industrial landscapes of Melbourne Australia - published in February 2009

58 immagini in bianco e nero, due serie di fotografie di angeli (1998-2008) prese nei sobborghi e paesaggi indistriali di Melbourne in Australia - pubblicato nel febbraio 2009.

Andrew May - Angel Series 1998 / 2008

Journey into myself

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Shots of Laura Tedeschi

The Delta horse and Adolf Basser - Il cavallo Delta e Adolf Basser

2010-11-09T16:02:00.003+01:00

Se una persona pensa di essere un collezionista, certamente lo è. Esistono molte definizioni accademiche, ma l'opinione soggettiva è la migliore definizione.
La ricerca di oggetti da collezionismo non si dovrebbe fermare al semplice acquisto dell'oggetto o ad una breve ricerca, solitamente in internet, sulla storia della sua manifattura e provenienza.
Le vere ricerche costano tempo, fatica e denaro, ma essendo apppunto vere portano sempre a grandi risultati e soddisfazioni. Risultati che ci permetteranno di speculare.
No! Assolutamente non in maniera economica ma con la fantasia, dopo le scoperte e il valore emotivo che inevitabilmente ci legherá all'oggetto, come potremmo mai separarcene?
Il vero collezionista non è mosso dal possesso o peggio, dal commercio degli oggetti, ma cerca in essi una propria identità che può essere creata a più livelli, individuale, locale regionale, nazionale e, in questo caso, a livello internazionale.
L'identità ricercata nella nostra storia, ci parlerà di noi, quindi separarci da queste cose per guadagnarne un profitto sarebbe fare un torto a noi stessi.

If a person thinks he is a collector, certainly he is. There are many academic definitions, but the subjective opinion is the best definition.
The search of collectibles should not stop at simply buying the item or a quick search, generally on Internet, the history of its manufacture and origin.
The actual research costs time, effort and money, but being true apppunto always lead to great results and satisfaction. These results allow us to speculate.
No! Absolutely not economically but with the fantasy, after the discoveries and the emotional value that inevitably bind us to the object, how can we ever separate?
The true collector is not motivated by the possession of objects from the market or worse, but he look for in an identity that can be created at multiple levels, individual, local, regional, national and, in this case, at the international level.
Identity sought in our history, we will talk to us, so separate us from these things to earn a profit would be a disservice to ourselves.

Adolph Basser e il cavallo Delta, tutto il fascino delle corse

Adolph Basser Delta and the horse, the fascination of racing

Il 1916 fu un anno importante per Adolph Basser, non solo cominciava assieme alla moglie l'avventura di imprenditore con un proprio negozio; quell'anno maturó una vera e propria passione che gli donò grandi soddisfazioni, riconoscimenti e fu lo spunto per tante opere di beneficenza.
Adolph Basser ebbe sempre un legame coi cavalli, ma nel 1916, dopo che il suo cavallo vinse 200 sterline al "Kensington pony track" si appassionò alle corse e alle scommesse.
Dopo la seconda guerra mondiale Adolph compra piú di 40 cavalli.
Comprò per 2.730 sterline un puledro che divenne un grande campione, il suo nome era Delta.
Delta era allenato da Maurice Mc Carten, il suo fantino era Neville Sellwood. Questo meraviglioso cavallo vinse 22 gare (per un totale di 48.169 sterline) tra cui il Victoria Derby nel 1949, il Victoria Racing Club St. Leger nel 1950 e nel 1951 l'Australian Jockey Club Metropolitan e il Melbourne Cup.

Si dice che Basser, nel Melbourne Cup vinto da Delta scomesse sul proprio cavallo vincendo 50.000 sterline, mentre il premio della corsa vinta di 10.000 sterline venne diviso tra l'allenatore Mc Carten e il fantino Sellwood.

From 1916, when his horse had won at the Kensington pony track and he had collected £200, Basser's great love was racing. In the decade following World War II he spent lavishly at yearling sales and bought more than forty horses. He paid 2.730 paunds for the yearling which he later raced as Delta.
Trained by Maurice McCarten and ridden by Neville sellwood. Delta won £48,169 in prize-money and twenty-two races, including the Victoria Derby (1949), the Victoria Racing Club St Leger (1950), and in 1951 the Australian Jockey Club Metropolitan and the Melbourne Cup. Basser reputedly won £50,000 in bets on Delta in the cup, and divided the £10,000 prize between McCarten and Sellwood.

In onore alla vittoria di Delta al Melbourne Cup, Basser creò una marca di orologio che chiamò Delta.
Il fascino contenuto in questo orologio è prezioso, tuffatevi per un istante nel bellissimo e affascinante mondo delle corse dei cavalli, non solo scommesse ma bellissime dame, signori eleganti, d'altra parte si sa che le corse dei cavalli erano l'appuntamento mondano dell'epoca...
Quanti batticuori sotto le velette dei cappelli e quanti rossori dietro ai ventagli. Quante storie e quanta storia dietro tutto questo...

In honor of the victory of Delta in the Melbourne Cup, Basser created a watch marke called Delta.
The charm and history content in this watch is precious, dive for a while in the beautiful and fascinating world of horse racing, betting, but not only, beautiful ladies, elegant gentlemen, it is known that the horse races were the mundane appointment of that epoc.
How many heart beat under the veils of the womans hats and redness behind theyr ranges. How many sories and histories beheind ...

Basser divenne uno scommettitore moto attento che puntava maggiormente sui propri cavalli. Oltre a Delta c'era Empire Link, che vinse la gara Quenn Elisabeth Stakes nel 1953 e Indian Empire pagato 4.200 sterline alla fiera dei cavalli di Melbourne, un prezzo record per un puledro.

A careful punter, Basser stuck mainly to his own horses, such as Empire Link (winner of the Queen Elizabeth Stakes in 1953) and Indian Empire (for which he paid 4.200 paunds, the top price at the Melbourne yearling sales that year).

Il mondo delle corse dei cavalli della bell'epoque mi ha sempre affascinato ed è stata, ed è ancora, una grande ispirazione.

The world of horse racing's about "bell'epoque" has always fascinated me and has been, and still is a great inspiration.

Laura Tedeschi - The purple horse

Laura Tedeschi - After Boldini

Laura Tedeschi - At the horses racing's

Nominato Sir nel 1962, Basser fu colpito nello stesso anno da un ictus e si ritirò dalla vita pubblica. Morì il 20 ottobre 1964 presso la sua casa e Edgecliff. E stato cremato con rito metodista. Lasciava la moglie ed il figlio. L'ereditá dicharata di Adolph Basser era di 610.416 sterline. Adolph ha lasciato tutti i trofei vinti dai suoi cavalli al fantino di Delta, John Sellwood. Ci furono poi lasciti per i suoi parenti in Australia, a New York, Londra, Berlino e Israele. Il ritratto di Adolph Basser é detenuto dal Basser College.
La Saunders Ltd. fu fusionata dalla Angus & Coote Ltd. giá nel 1960 (dove Basser era l'amministratore)
così la Saunders Ltd. che, come lo stesso Adolph Basser definì : "il cavallo che corre e vince ogni giorno", fu pilastro portante della Angus & Coote, grandissima gioielleria Australiana.

Knighted in 1962, Basser suffered a stroke that year and retired from public life. He died on 20 October 1964 at his Edgecliff home and was cremated with Methodist forms; his wife and son survived him. Basser's estate was sworn for probate at £610,416; he left his racing trophies to his godson John Sellwood and made bequests to his relations in Australia, New York, London, Berlin and Israel. Sir Adolph's portrait is held by Basser College.
The Saunders Ltd. mergers by Angus & Coote already in 1960 (where the administrator was Basser)
So the Saunders Ltd. "the horse racing and winning every day" as Adolph Basser once said in a interview, was pillar of Angus & Coote, Australia's greatest jewelry.

Adolph Basser, not only jeweller - Adolph Basser non solo gioielliere

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Adolph Basser, come tutti i veri signori, non amava ostentare la sua ricchezza, ma amava le cose belle e amava godersi la vita sia nei circoli di Golf o di boccie, nei club delle corse dei cavalli, non disdegnava un buon scotch, ed era anche iscritto al Royal Automobil Club Of Australia. Ogni due anni faceva una crociera, una delle poche cose che lo rilassava completamente e dove cercava di visitare i suoi parenti sparsi per le varie parti del mondo.
Nonostante tutto questo conservava l'immagine di un uomo modesto, ben vestito, dai modi gentili che lo rendevano simpatico. Negli occhi aveva quel brillio tipico delle persone di buon cuore.
Nel 1960 fece una donazione di 25.000 sterline all'accademia australiana delle scenze "Canberra" per costruire una biblioteca, in questa occasione affermò con il suo marcato accento polacco:
"Mi da una grande felicitá donare i miei soldi"
Accanto alle grandi opere benefiche sostenne sempre anche singoli individui e innumerevoli piccoli progetti in cui credeva. Sostenne cause sia ebraiche che cristiane, dimostrando grande apertura mentale e intelligenza. Sostenne Sir Moses Montefiore della Casa Ebraica, la Children's Medical Research Foundation, la Sydney Opera House e la "Federation of New South Wales Police-Citizens Boys' Clubs", della quale ebbe l'onore di essere eletto governatore a vita nel 1957. Anche la fontana in Chifley Square a Sydney è stata costruita grazie a una donazione di Adolph Basser. Istituì un premio di 100 sterline per il miglior contributo al "Quadrant". Da quando si recò nel sud per la Melbourne Cup contribuì ogni anno con donazioni al "Lord Mayor's Fund" per ospedali metropolitani e altre opere di beneficenza.

Quiet, well-dressed and bespectacled, Basser was a modest figure at the many ceremonies that marked his benefactions. 'It gives me happiness to give away money', he said in 1960, in his marked Polish accent, on donating £25,000 to establish a library at the Australian Academy of Science, Canberra. A 'sprightly man', noted for his 'gentle manner' and the 'twinkle in his eye', Basser enjoyed an occasional game of golf or bowls, and 'was partial to a drop of Scotch'. He belonged to Tattersall's, the Australian Jockey and Manly Golf clubs, and to the Royal Automobile Club of Australia. Every two years he took a sea cruise to unwind and also to meet his scattered relations.
As well as his more spectacular benefactions, Basser helped many individuals and small projects, and supported Jewish, Christian and non-denominational causes, among them the Sir Moses Montefiore Jewish Home, the Children's Medical Research Foundation, the Sydney Opera House and the Federation of New South Wales Police-Citizens Boys' Clubs (of which he was made a life governor in 1957). He also provided a fountain for Chifley Square, Sydney, and a £100 prize for the best contribution to Quadrant. Each year from 1952 he bought a £1000 Legacy badge which he had made into cufflinks. When he went south for the Melbourne Cup he contributed annually to the Lord Mayor's Fund for Metropolitan Hospitals and Charities.

Construction of Chifley Square fountain

Cosa hanno, secondo voi, in comune; il primo cervello elettronico costruito in Australia, la gioielleria Saunders, ed un cavallo?
Una storia affascinante! Grazie alla visione di Harry Messel un carismatico professore, grazie alla potenza delle gambe di Delta, il cavallo vincitore della Melbourne Cup del 1951 e grazie alla generosità del suo padrone, Adolph Basser che donò il ricavato della scommessa sulla vincita di Delta,
all''università di Sydney si costruì il primo "cervello elettronico" australiano.
Henry Messel, scienziato di origine canadese, era dell'idea che il "cervello elettronico" sarebbe stato il futuro e la costruzione di esso sarebbe stata fondamentale per l'Australia.

What did you think have in common, the first electronic brain built in Australia, the jewelry Saunders, and a horse?
An amazing story! Thanks to the vision of a charismatic Professor, Harry Messel, thanks to the power of the legs of Delta, the horse wich won the Melbourne Cup in 1951 and thanks to the generosity of his master, Adolph Basser, who gave the win of Delta to the University of Sydney, to built the first "electronic brain" of Australian.
Henry Messel, Canadian-born scientist, was the idea that the "electronic brain" would be the future and the construction of it would be crucial for the Australia.

Henry Messel era determinato a costruire il "cervello elettronico" e a trovare il denaro necessario. Aveva bisogno di 50.000 sterline, ma quando proponeva il progetto a qualcuno tutti si mettevano a ridere. L'unico che non rise, ma che ebbe invece la stessa visione di Messel fu Adolph Basser della
Saunders Ltd.
Basser donó 50.000 sterline all'università e più tardi raddoppiò con 100.000 sterline, grazie alla vincita del suo cavallo Delta al Melbourne Cup del 1951. Il laboratorio dove si costruì il computer prese il nome, in suo onore, di Adolph Basser.

Henry Henry was determined to build the "electronic brain" and find the money to do it. He needed 50,000 pounds, but when he brought the project to someone they all laughed. The only one who did not laugh, but instead had the same vision of the Messel was Adolph Basser of the Saunders Ltd.
Basser donated £ 50,000 to the University and later doubled to £ 100,000, thanks to his winning the Melbourne Cup horse Delta 1951. The laboratory where he built the computer named in his honor, Adolph Basser.

Horizon - Orizzonte

2010-11-08T09:36:00.000+01:00

Painting of Laura Tedeschi

Blue flowers

2010-11-03T14:53:00.000+01:00

Painting of Laura Tedeschi