Lançamento no Porto, do Livro "O Solar de Santana, Museu Municipal de Tondela e a Arquitectura Senhorial da Região"

No dia 9 de Abril de 2011, sábado, pelas 17 H, na Loja da FNAC de Santa Catarina (cruzamento das Ruas de Santa Catarina e Passos Manuel) no Porto será apresentado o livro "O Solar de Santana, Museu Municipal de Tondela e a Arquitectura Senhorial da Região", da Dr.ª Inês do Carmo Borges investigadora e Historiadora de Arte. A apresentação da obra estará a cargo da Autora. Estará presente o editor Dr. Jorge Fragoso (Editora Palimage). O livro tem prefácio do Prof. Dr. António Filipe Pimentel, Director do Museu Nacional de Arte Antiga.

Capa: Design Gráfico de Xénia Pereira Reys; Concepção Gráfica de Luiz Pires dos Reys (ambos da equipa da Revista Cultura Entre Culturas); Fotografia de Marcus Garcia (em 2004 Marcus recebe a menção honrosa do Prémio Fnac – Novos talentos da Fotografia Portuguesa com o trabalho – MAPA). Execução Gráfica Palimage/Artipol, Lda., com composição de José Luís Santos e tratamento de fotografias de Hugo Rios

Apoios: CÂMARA MUNICIPAL DE TONDELA

LABESFAL GENÉRICOS - GRUPO FRESENIUS KABI

GRUPO RUI COSTA E SOUSA & IRMÃO, SA

Autor: Inês do Carmo Borges

Colecção Raiz do Tempo

Género: História/Museologia

ISBN: 978-972-8999-97-1

Ano: 2011

Páginas: 632

Dimensões: 17.0x24.0cm

Descrição:

Obra galardoada com o “Prémio Aurélio Soares Calçada”

Livro profusamente ilustrado com variados documentos iconográficos – fotografias de personagens e de património, mapas e plantas do Solar estudado e da Região envolvente

“O livro de Inês Borges, dedicado ao emblemático Solar de Santana — berço de uma família ilustre de Tondela e marcando o território urbano da sua mole de uma vetusta dignidade — é uma obra importante e que merece verdadeiramente ser publicada. Importante do duplo ponto de vista de uma História da Arquitectura Local (que muito importa ir alicerçando com os foros de cidadania que já detém a História Local, nomeadamente ao nível das instituições) e, em mais ampla perspectiva, de um estudo sistemático da Arquitectura Civil, que, por força da sua dificuldade, longamente vem ocupando a sombra da História da Arquitectura. Do longínquo morgadio do padre Alexandre Marques do Vale, aos Ferraz de Carvalho dos séculos XIX e XX é, assim, uma pacata mas rica e cultivada saga familiar o que se exuma, dando memória e espessura às paredes por eles hoje abandonadas, mas, sobretudo, permitindo, pela reconstituição dos seus ciclos de prosperidade e projecção social (e imagética), balizar também as grandes fases construtivas do edifício. A outra oportunidade fornecê-la-ia o que fora o próprio ponto de partida da aventura de investigação: a aquisição do solar pela Câmara Municipal de Tondela (feliz decisão, que possibilitaria acautelar o seu futuro), com o fito de adaptá-lo a biblioteca municipal e, posteriormente, a museu municipal, fomentando uma campanha de obras associada a uma outra de conservação e restauro do património integrado, que forneceria preciosas informações, a cruzar argutamente com os indicadores produzidos pela reconstituição da gesta familiar”.

Prof. Dr. António Filipe Pimentel (do prefácio)

O Museu Terras de Besteiros, instalado no Solar de Santana, foi inaugurado em 16 de Setembro de 2010.

Elizabeth Taylor

Découvrez Disparition d'Elizabeth Taylor, une vraie star d'Hollywood sur Culturebox !

Cedric Tanguy

Découvrez Tanguy et la biscuiterie au Lieu Unique à Nantes sur Culturebox !

La Tentation d´Eve: Pietragalla seule en scène en Corse

pietragalla extrait du dvd la Tentation d'Eve


LA TENTATION D'EVE / Pietragalla danse en solo



Découvrez La tentation d'Eve: Pietragalla seule en scène en Corse sur Culturebox !

Le Trio Joubran (Sama-Sounounou)

live : Haifa Concert with Yousef Hbeitsh.


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Nantes à L´heure Palestinianne

"Cendrillon" de Jules Massenet à L´Opéra Comique de Paris

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Martin Johnson Heade (1819-1904)

Martin Johnson Heade (1819-1904)
Renowned for his Luminist landscapes, particularly of storms at sea and northeastern salt marshes, as well as exquisite still life paintings, Martin Johnson Heade (originally Heed) was a versatile and exceptionally talented nineteenth-century American artist. He developed an original body of work in which atmospheric effects and exotic flowers and birds, closely observed, convey his vivid sense of the fleeting, fragile beauty of the natural world. Today, Heade’s meticulously painted canvases continue to enchant us with their opulent surfaces, rich textures, and jewel-like details.
The variety of Heade’s subjects was partly due to his peripatetic lifestyle. Born in 1819 in Lumberville, Bucks County, Pennsylvania, he trained in his early youth with the local Quaker painter Edward Hicks (1780-1849). After returning from an extended European trip between 1840 and 1842, he spent the next six years painting portraits and moving along the East Coast from New York to Trenton, Brooklyn, Richmond, and Philadelphia. In 1848 he set sail for a second long trip to Europe. His return to America in 1850 left him no more settled than before, and he continued to travel about and lived for brief periods in the cities of St. Louis, Trenton, Providence, and New Haven. It was in this decade that Heade turned to landscape painting. He began exploring the effects of light upon on the environment, an interest shared by other American Luminists including John C. Kensett, Fitz Hugh Lane and Sanford Gifford.
In 1859 Heade took a studio in the famous Tenth Street Studio building in New York where he met Frederic Edwin Church (1826–1900), the Hudson River School painter noted for his panoramic vistas of Ecuador and Colombia. Church became one of Heade’s few close associates in the American art world, and it was probably Church who encouraged Heade to make his first visit to the southern hemisphere. In 1863 Heade set off for Rio de Janeiro, Brazil. He made several subsequent trips to Latin America and the tropics visiting Nicaragua, Colombia, Panama, and Jamaica. In these journeys Heade explored the local flora and fauna, painting both large landscapes and small paintings of hummingbirds and orchids, which won him acclaim at gallery exhibitions in New York and Boston. Heade’s work from this period includes the series Gems of Brazil (1863 to 1864; created for an unrealized book), Hummingbird and Passion Flowers (1875 to 1885; Metropolitan Museum of Art, New York), and Orchids, Passion Flowers and Hummingbird (1875 to 1885; Whitney Museum of American Art, New York).
In 1883, at the age of sixty-four, Heade married in New York and moved to St. Augustine, Florida. He lived there for the rest of his life and continued to exhibit his work in northern cities like Boston and Springfield, Massachusetts. In 1885 at the invitation of his patron Henry Morrison Flager, the oil tycoon and hotel magnate, Heade set up his last studio in a building behind Flager’s Ponce de Leon Hotel in St. Augustine, and painted there until the very end of his life. In his two decades in St. Augustine, Heade was fascinated by the tropical flora of Florida. He painted Cherokee roses, orchids, and magnolias, often depicting the same flower over and over in various states of bloom in different compositions.
Like his earlier studies of tropical flowers, paintings of Heade’s mature period capture their botanical subjects with almost scientific accuracy, noting every line on every leaf, every particular mark and facet on every fruit or blossom. Unlike the earlier work, however, the later paintings rarely show subjects alive in their natural environments. After his move to St. Augustine, most of Heade’s floral still lifes depict flowers and, occasionally, fruit against plush velvet backdrops. Clipped and propped before the artist’s canvas, these lush, yet soon-to-wither specimens are a poignant contribution to the centuries-old genre of vanitas still lifes.
Heade’s work can be found in the collections of many major American museums, including the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C. With several dozen paintings as well as numerous drawings and sketchbooks, the Museum of Fine Arts in Boston holds the largest collection of his work. In 1999 and 2000 Heade was the subject of a major traveling exhibition curated by Theodore E. Stebbins, Jr. Today, interest in this important American artist remains strong—in 2004, the U.S. Postal Service issued a Martin Johnson Heade stamp.
References: Stebbins Jr., Theodore E. The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné. New Haven: Yale University Press, 2000.
Stebbins Jr., Theodore E. Martin Johnson Heade. Boston: Museum of Fine Art, 1999.
http://www.hollistaggart.com/artists/biography/martin_johnson_heade/

http://www.martin-johnson-heade.org/

http://whitemountainart.com/ArtistGalleries/gal_mjh.htm

Icon of Saint Olga

Wedding photograph of Grand Duchess Olga Alexandrovna (sister of Czar Nicholas II) and Colonel Nicholas Kulikovsky, November 1916, city of Kiev.

Icon of Saint Olga with silver-gilt and cloisonne enamel frame. A marriage gift to Grand Duchess Olga from her older sister Grand Duchess Ksenia (Xenia).
Painted on wooden panel after a fresco of Victor Vasnetsov in St. Vladimir Cathedral in Kiev.
8,9 x 7 cm (3 1/2 x 2 13/16 in.)

Saint Olga, also called Olga the Beauty, was the first Rus ruler to convert to Christianity, either in 945 or in 957. She ruled Kievan Rus between 945 and c.963.

L`Orient des Femmes vu par Christian Lacroix

Découvrez Christian Lacroix révèle les trésors des costumes d'Orient au Musée du Quai Branly sur Culturebox !