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The Richness and Diversity of Diwali Art
➡️ Read More: https://tinyurl.com/yzruj5xx
Diwali, also known as Deepavali, is a paramount festival in Hindu culture celebrated with great enthusiasm globally, particularly where Hindu communities are present. Spanning five days, each with its own significance, Diwali peaks on the darkest night of the Hindu lunar month, typically in October or November. This festival symbolizes the triumph of light over darkness, good over evil, and knowledge over ignorance, rooted in ancient myths such as the return of Lord Rama to Ayodhya after defeating the demon king Ravana, as narrated in the Ramayana.
Preparations for Diwali include extensive cleaning and decorating of homes, making traditional foods, exchanging gifts, bursting firecrackers, and donning new clothes. The lighting of homes with lamps and candles is a core ritual, symbolizing the inner light that wards off spiritual darkness.
Diwali is not only a religious observance but also a cultural and social event that underscores family reunions, community bonding, and personal reflection on life’s virtues. It is marked by vibrant artistic expressions including Rangoli—decorative patterns made on the ground, traditional crafts like clay lamps and handcrafted decorations, as well as performances of classical Indian music and dance. These diverse artistic practices, both traditional and contemporary, contribute to Diwali’s status as a celebration of life and a vibrant cultural festival that fosters unity and the spread of joy and hope.
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https://www.youtube.com/watch?v=iKrWhVgTJc4
Diwali, also known as Deepavali, is a paramount festival in Hindu culture celebrated with great enthusiasm globally, particularly where Hindu communities are present. Spanning five days, each with its own significance, Diwali peaks on the darkest night of the Hindu lunar month, typically in October or November. This festival symbolizes the triumph of light over darkness, good over evil, and knowledge over ignorance, rooted in ancient myths such as the return of Lord Rama to Ayodhya after defeating the demon king Ravana, as narrated in the Ramayana.
Preparations for Diwali include extensive cleaning and decorating of homes, making traditional foods, exchanging gifts, bursting firecrackers, and donning new clothes. The lighting of homes with lamps and candles is a core ritual, symbolizing the inner light that wards off spiritual darkness.
Diwali is not only a religious observance but also a cultural and social event that underscores family reunions, community bonding, and personal reflection on life’s virtues. It is marked by vibrant artistic expressions including Rangoli—decorative patterns made on the ground, traditional crafts like clay lamps and handcrafted decorations, as well as performances of classical Indian music and dance. These diverse artistic practices, both traditional and contemporary, contribute to Diwali’s status as a celebration of life and a vibrant cultural festival that fosters unity and the spread of joy and hope.
...
https://www.youtube.com/watch?v=iKrWhVgTJc4
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➡️ Read the full article here: https://tinyurl.com/3h5n5eue
A Danish artist has unveiled an artificial intelligence "camera" that creates images in response to your current location.
The camera was designed to resemble the snout of a mole.
According to his website, Bjrn Karmann uses his camera, the Paragraphica, to create a stream of text that is then transformed into a "photo" by applying filters to the data and geolocating it using factors like the weather.
Digital Camera World states that the camera appears to be a standard point-and-shoot, but closer inspection reveals a red gadget resembling a TV antenna in place of the lens. Karmann explained that the enigmatic piece is essentially a sculpture inspired by the star-nosed mole, which is visually impaired but has excellent smell.
According to a statement on Karmann's website, "The viewfinder shows a real-time description of where you are, and if you press the trigger, the camera will make a scintigraphic representation of the description."
The device features three physical dials on the camera's top where traditional controls for things like shutter speed and film speed would be.
According to Karmann, the first dial is used to focus the camera's field of view, much like the focal length on a conventional camera lens. A snapshot of the dial reveals an apparent range of 10 ft. to infinity.
The second dial modifies the field of view of the AI image. To create an image using artificial intelligence, models sprinkle on some Gaussian noise. This noise, according to Karmann, is "like film grain."
Karmann referred to the third dial as a "guidance scale" because it instructs the AI model on how closely it should adhere to the prompted language.
Karmann built the camera out of a Raspberry Pi 4, a credit-card sized single-board computer, and a 3D-printed casing with unique electronics. The API is written in Noodl and Python and uses the Stable Diffusion library.
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Machine learning analyses have determined that Raphael most likely painted The DE BRÉCY TONDO.
The de Brécy Tondo was analyzed by researchers from the universities of Nottingham and Bradford using facial recognition software. Faces in the de Brécy Tondo were compared to those in a Raphael altarpiece and found to be identical. The group concluded that the tondo, whose creator was previously unknown, was most likely painted by the Italian artist.
At an auction of English rural houses in 1981, a Cheshire businessman named George Lester Winward purchased the de Brécy Tondo. Winward began to believe it was the real thing because it resembled Raphael's Sistine Madonna, which is on display at the Gemaldegalerie Alte Meister in Dresden, so closely. It was determined over a decade ago by spectroscopic analysis that the painting was indeed of Renaissance origin. The university team determined that the two Madonnas were 97% similar and the two sets of children were 86% similar when they compared the paintings side by side. Similarities of greater than 75% are considered to be identical.
The team's use of an AI facial recognition system was developed by Hassan Ugail, a professor of visual computing at the same institution. This was accomplished by expanding upon Howell Edwards's study of the picture.
Ugail stated, "My co-authors and I have concluded that both paintings used the same models and were painted by the same artist" based on the quality of the study and prior knowledge.
In addition to the startling direct facial comparison match, digital image analysis expert Christopher Brooke, an honorary fellow at the University of Nottingham and coauthor of an upcoming paper about the project, said that "further confirmation comes from analysis of the pigments used in the Tondo, which have shown that the painting's features are considered to be typical of Renaissance practice and therefore highly unlikely to be a later copy."
After reading it, Brooke said, "This is intriguing work that offers a lot of potential for the future study of art."
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Read the full interview here: https://tinyurl.com/haffy56h
What inspired you to create art and become an artist?
Art and artist are words that sound very vague and in my language carry a kind of judgement. So I will talk about painting, which is what I do, and painter, because that is consequently what I am. And the simplest and most honest answer to your question is that painting has always given me great pleasure. And I think that at a certain point, when this pleasure comes to fill you, whether you want it or not, you end up pouring it out, with other people and in other places, becoming a painter.
What is your artistic background, techniques and subjects you have experimented with so far?
I started taking drawing and painting lessons as a child but then for a long time painting was an intermittent presence in my life. In 2010, however, something changed: painting came back, very strong, and from then on I devoted myself to it full-time. This prompted me to try many different solutions, as if I had to make up for lost time and knowledge, experimenting with many techniques and trying to put together a synthesis of what I had learnt. And it is a process that continues to this day.
What are the 3 aspects that differentiate you from other artists, making your work unique?
That is not for me to say. I would add, however, that in my opinion painting is a path not too dissimilar from the development of calligraphy, unique for each of us despite the rules imposed by teachings and tradition, and is often recognisable even when we deliberately try to imitate another person.
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With funding from LVMH, France has acquired a new work of art for the Orsay.
The French government just acquired "Boating Party," a breathtaking Impressionist masterwork by Gustave Caillebotte, for the country's national collection. France was able to purchase the painting for 43 million euros (almost $47 million) because to a donation from luxury goods manufacturer LVMH.
The top-hatted man in the oil painting on canvas is rowing a tiny boat through placid water. The piece was unveiled to the public at the Musée d'Orsay on Monday. It's incredible because it seems so lifelike, the colors are so subtle, and the artist could have been in the boat with the rower. This is the newest addition to the excellent Impressionist painting collection at the Louvre in Paris.
Caillebotte's offspring were the ones who eventually parted with the painting. According to Bernard Arnault's advisor at LVMH, Jean-Paul Claverie, it is one of the remaining Impressionist masterpieces in private hands.
He remarked that it was quite rare to come across an Impressionist-era masterpiece of such caliber. The most prestigious galleries in the world "naturally" sought the picture, he said.
The minister of culture, Rima Abdul Malak, called the decision to keep the painting in France "a magnificent victory."
Caillebotte was a talented artist in his own right, but he is more well-known for his advocacy of the French Impressionists, who radically altered Western painting in the late 1800s.
Caillebotte's affluent upbringing allowed him to collect works by many of the painters he knew and supported, including Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, and many more. He left their artwork to the French government before his death, with the intention that it be displayed at the Louvre.
When Caillebotte passed away at the young age of 45 in February 1894, the French government appropriated 38 of his paintings by painters such as Claude Monet, Claude Renoir, Édouard Manet, Paul Cézanne, and others for the national collection. The gift served as the foundation for the Impressionist collection at the Musée d'Orsay, which opened in 1986 in a converted train station.
Caillebotte's contributions as a painter to the Impressionist movement have long been eclipsed by his status as a significant collector and benefactor of Impressionist art. One reason for this is that he bequeathed the French government a collection that did not include any of his own paintings.
Given that Caillebotte was childless and never married, his brother Martial Caillebotte inherited 175 of his works upon his death.
The majority of Picasso's works were saved by his family, while the remainder were donated to French institutions.
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Former Florida principal visits Florence after being let go for displaying Michelangelo's "David."
A Florida administrator, Hope Carrasquilla, who was let go for bringing Michelangelo's naked David sculpture into a classroom, was flown to Florence on a taxpayer-funded vacation to see the work late last month.
At the Tallahassee charter school Carrasquilla used to lead, parents complained that the inclusion of the well-known landmark on the curriculum bordered on the "pornographic." The news spread like wildfire over the globe. The Mayor of Florence, Dario Nardella, and the Director of the Galleria dell'Accademia, Cecilie Hollberg, extended an invitation to her and her family to view David in April.
Hollberg said of Ms. Carrasquilla's visit to Florence's Accademia Gallery, "It is an enormous pleasure to have Ms. I am so excited to give her a personal tour of our museum and introduce her to David, a sculpture with zero pornographic connotations. A religious symbol of good triumphing over evil, beautifully rendered.
In the American South, the Carrasquilla case spurred passionate debates over what constitutes a "age-appropriate" curriculum. (It even inspired a sketch on Saturday Night Live!) The school follows the "classical education curriculum model," which emphasizes recommitting oneself to "central values" and "the Western tradition."
In response to conservative concerns that public education has recently prioritized issues of race and gender identity, Republican lawmakers in Florida have attempted to make classical education programs mandatory in the secondary school system.
Carrasquilla, meantime, had a fantastic time in David's company. It was the fact that "this whole gallery was built for him" that "impressed me the most and that I didn't know," she said. It's quite reminiscent of a church, and I find that very appealing. I hope you can see the humanity and honesty of this person in this. This is precisely why I've always been drawn to it. In and of itself, the human body is flawless.
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In honor of the artist's 90th birthday, "Welcome to New York!" opened at the Magazzino Italian Art Museum and Study Center in Cold Spring, New York. After 20 years of waiting for the perfect conditions to meet the concept of the work and the artist's lengthy association with the founders of Magazzino, the museum also showed Terzo paradiso, a permanent piece on earth. Terzo paradiso is a manifesto in the shape of a double-circle infinity symbol. The central sphere signifies renewal and hope, while the outer rings stand for nature and human industry. Olnick and Spanu quickly became supporters of Terzo paradiso once it was first proposed in 2003. Even though Magazzino had joined them in 2017, they hadn't gotten around to formally introducing him until now.
The crew unearthed a number of rocks with identical one-meter diameters while excavating the foundation for the soon-to-be-completed building. Magazzino then learned that the location was once used as a mine. After all, "I knew we had to keep the rocks," Spanu admits. They were once employed in road construction, therefore their mission was to pave the way for a brighter future. The idea that we were digging to construct a new edifice resonated with me since it is central to Pistoletto's argument in Terzo paradiso.
When they got enough rocks, they constructed the work on the side of a hill overlooking Magazzino so that passersby might take in the view from below. "The stones represent the natural, and the way they were discovered through human intervention and excavation represents the man-made," Spanu says. "Just as our new structure symbolizes a rebirth, so does the third circle of Terzo paradiso. However, the museum exhibits the origin story of how we arrived at this point with Pistoletto, proving that "there is no rebirth without a birth." This narrative runs throughout "Welcome to New York!"
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The Mid-Autumn Festival, also known as the Moon Festival or Mooncake Festival, has a history that spans over 3,000 years, tracing back to ancient China. It originated during the Shang dynasty as a harvest festival where Chinese emperors worshipped the full moon, hoping for abundant harvests. The practice of offering sacrifices to the moon goddess became widespread during the Western Zhou Dynasty, and the term "Mid-Autumn" appeared during the Warring States Period. However, the festival itself did not gain popularity until the Tang dynasty, particularly among the upper class, where grand festivities featuring moon-viewing, music, and dance were held. Over time, these traditions spread to the general populace.
The festival was formalized during the Northern Song Dynasty, with the 15th day of the 8th lunar month officially designated as the Mid-Autumn Festival. From this period, moon worship became a cherished custom, and families gathered to appreciate the full moon's brilliance. Mooncakes, a key element of the festival, appeared during the Yuan Dynasty as a means to conceal messages of rebellion against Mongol rule. The tradition of sharing mooncakes further cemented the festival's cultural significance. During the Ming and Qing dynasties, the Mid-Autumn Festival reached the height of its popularity, with elaborate celebrations that included burning pagodas and performing the fire dragon dance, showcasing the festival's cultural vibrancy.
In modern times, the Mid-Autumn Festival has evolved into a beloved public holiday, celebrated not only in China but also in various countries with significant Chinese communities. Traditional activities like moon worship and lantern displays persist, though societal changes have introduced new trends. Today, many people view the festival as an opportunity to spend time with family and friends or indulge in leisure activities. Despite these shifts, the festival remains a time-honored occasion symbolizing unity, gratitude, and the enduring spirit of Chinese culture.
The festival epitomizes celebration and unity, originating as a harvest festival in ancient China. It brings people together to offer gratitude and honor the moon's blessings. It serves as a joyous occasion for outdoor reunions, reinforcing bonds among friends and family through shared activities like mooncake feasting, moon watching, and cultural revelry. Central to the festival is moon worship, symbolizing familial unity and completeness. Families gather to admire the full moon's beauty, and sharing round mooncakes further reinforces these bonds, expressing love, respect, and well-wishes among loved ones.
Lanterns, once mere decorations, have evolved into iconic symbols of the festival, imbued with hope, prosperity, and enlightenment. Their radiant glow adds a touch of magic and mystery to the celebratory atmosphere. Mooncakes hold deep cultural significance, representing both tradition and innovation. The round shape symbolizes completeness and reunion, while sharing mooncakes among family members reinforces familial unity. These pastries are not only a culinary delight but also a means of expressing love, respect, and well-wishes for loved ones.
The festival also has associations with courtship and matchmaking, particularly among young people. Traditions such as throwing handkerchiefs and exchanging verses of song provide opportunities for romantic connections and expressions of affection. Various games and activities, from traditional dances to fortune-telling rituals, reflect cultural beliefs and values, serving as a means of entertainment and social interaction. These activities foster a sense of wonder and intrigue, connecting participants with the festival's rich heritage.
In contemporary art, the Mid-Autumn Festival serves as a rich source of inspiration, prompting artists to explore its cultural significance, traditions, and symbolism through various mediums. Artists often reinterpret traditional customs like moon worship, lantern making, and mooncake sharing, infusing them with modern aesthetics and concepts. Through paintings, sculptures, installations, and multimedia works, contemporary artists capture the festival's essence, highlighting themes of reunion, harmony, and nostalgia. This artistic exploration ensures the festival's legacy endures, bridging ancient traditions with modern expressions and inviting audiences to reflect on the timeless beauty and profound symbolism of the Mid-Autumn Festival.
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➡️ Read the full article here: https://bit.ly/3Kvc4HA
The Louis Vuitton Foundation has been told to stop using artworks by the Joan Mitchell Foundation in advertising handbags.
The Joan Mitchell Foundation has charged luxury brand Louis Vuitton of utilizing at least three of the artist's works without authorization in an ad campaign for handbags that retail for up to $10,500 and star actress Léa Seydoux.
On Tuesday, Louis Vuitton Malletier received a cease-and-desist letter from the foundation that manages Mitchell's legacy and has granted millions of dollars to artists directly since Mitchell's death. The letter requested that the campaign be ended, that all locations where the ads appeared be provided, and that an apology be issued.
Christa Blatchford, the foundation's head, said, "It's vital for people to know that we didn't consent to this."
According to Blatchford, the Mitchell Foundation (responsible for licensing all photographs of the artist's work) was contacted multiple times beginning in December by Louis Vuitton in order to secure authorization to use the artist's works in a series of future advertisements. But, the foundation repeatedly rejected the high-end fashion brand because of its long-standing policy limiting commercial usage of Mitchell's art to exhibition merchandise and educational uses.
The late Blatchford proclaimed, "We genuinely believe in scholarship." We want Mitchell's photographs to be accessible to researchers and museums for any purpose they see fit. Our efforts have been concentrated in this area.
According to Blatchford, Bernard Arnault's art advisor and LVMH CEO, Jean-Paul Claverie, made a donation to the charity in exchange for the right to use the photographs in the ad campaign. They continued getting the no from the foundation.
The campaign, which debuted in print and online on February 12 in the Sunday Style section of The New York Times, was implemented. Ads for the company's Capucines handbags include Seydoux posing in front of Mitchell's "La Grande Vallée XIV (For A Little While)," "Quatuor II for Betsy Jolas," and "Edrita Fried" (1981).
In this case, the lawyers are "so explicit that it's just black and white," as Blatchford put it. " There is evidence that the inquiry was submitted. Everything is in writing, but that didn't help.
The New York Times was the first to report the news. LVMH, the parent business of Louis Vuitton Malletier, said in an email, "Louis Vuitton will not comment."
Cropped images of the artworks are featured in the advertising, making it appear as though they were taken during a high-profile exhibition that featured both Mitchell's and the Impressionist Claude Monet's work. Monet and Mitchell's works were on display in the private museum Fondation Louis Vuitton on the outskirts of Paris. Mitchell and her organization are not acknowledged in any way. The fact that Mitchell shares Blatchford's birthday, February 12, was mentioned.
The foundation issued a statement saying, "By allowing these pieces to be photographed for this purpose and in this fashion, the Fondation Louis Vuitton is breaking its agreement with JMF" in regards to the inappropriate use of Mitchell's artwork.
On February 27th, the popular "Monet — Mitchell" exhibition at the Fondation Louis Vuitton will come to a close. It features 35 works by Monet, including some from his well-known "Water Lilies" series, and 35 works by Mitchell, comprising both oils and pastels.
The French multinational luxury corporation LVMH owns both the for-profit Louis Vuitton Malletier and the non-profit Fondation Louis Vuitton.
What we thought of as distance between the Foundation and the Malletier doesn't seem to exist in the ways we would have imagined," Blatchford added. I'm keeping my fingers crossed that we'll be able to bridge the gap and help Fondation Louis Vuitton execute its job effectively.
Blatchford speculated that the Joan Mitchell Foundation would reconsider licensing Mitchell's work for commercial reasons in the future, but the scandal involving Louis Vuitton makes that possibility less likely at this time. As she put it, "It's a problem that the opportunity to make a first business deal was completely taken away."
Louis Vuitton is a corporation that takes the protection of its trademarks, including its emblem, very seriously. In 2017, the intellectual property division "initiated more than 38,000 anti-counterfeiting procedures worldwide," according to the company's website, which also states that the corporation has a "zero-tolerance policy" for counterfeiting. The site asserts, "Protecting the creativity and rights of designers, artists, and companies is critical to ensuring their continued success in the long run."
Famous contemporary artists including Jeff Koons, Takashi Murakami, and Yayoi Kusama have collaborated with Louis Vuitton to create limited-edition handbag collections.
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