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Rebuilding after Devastation: Sandra Shashou’s “Broken”

Curious-cool and oddly consoling!

Tulika Bahadur's avatarOn Art and Aesthetics

Sandra Shashou

London-based Brazilian artist Sandra Shashou has come up with a fascinating series called “Broken” that is all about the act of “rebuilding after devastation”. The sculptures are made up of smashed fragments of vintage fine bone china tea sets, Russian Lomonosov porcelain, Spanish Lladro and Nao ballerina figurines and German bisque Kaiser nudes, dating back to the 1940s, 50s and 60s. Used and damaged objects are arranged in different formations, given a new identity. The works speak of the human spirit to recover—and ingeniously so—from adversity.

Sandra, who finds inspiration in the Japanese art of kintsugi, explains: “‘Broken’ is about major transformation and the fragility of life. It references bravery, courage and our ability to take on challenges. Something really beautiful can sadly end and then morph into something unimaginable and even more extraordinary.”

The artist believes her fragments unfold like Jackson Pollock’s all-over paintings—only shattered, not…

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Vernissage Blumen Hortensie – Zeichnung von Susanne Haun

Lovely sketch-been looking at Georgia O’Keefe today and this has a similar appeal. Hortensia=Hydrangea-I think!

Susanne Haun's avatarSusanne Haun

Zur Vernissage Querbrüche habe ich von einem lange nicht mehr gesehenen befreundeten Ehepaar, die ich bei der Geburtsvorbereitung vor 24 Jahren kennenlernte, einen Blumenstrauß mit einer Hortensie bekommen. Ich habe mich sehr über das Wiedersehen und auch über die Hortensie gefreut.

Hortensie - 23,5 x 32 cm - Tusche auf Aquarellkarton (c) Zeichnung von Susanne HaunHortensie – 23,5 x 32 cm – Tusche auf Aquarellkarton (c) Zeichnung von Susanne Haun

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Literature Poetry

THE HEART’S MEMORY OF THE SUN GROWS FAINTT

THE HEART’S MEMORY OF THE SUN GROWS FAINT
by Anna Akhmatova

The heart’s memory of the sun grows faint.
The grass is yellower.
A few early snowflakes blow in the wind,
Barely, barely.

The narrow canals have stopped flowing —
The water is chilling.
Nothing will ever happen here —
Oh, never!

The willow spreads its transparent fan
Against the empty sky.
Perhaps I should not have become
Your wife.

The heart’s memory of the sun grows faint.
What’s this? Darkness?
It could be!… One night brings winter’s first
Hard freeze

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Kirchenfenster

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Alley in Dubrovnik

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A Personal View of Jacob Bronowski’s “The Ascent of Man”

This series like that of Kenneth Clark is worth looking at once again. Naturally- very different in their approach.

John Richardson's avatarBehind the Hedge

Here the great age opens. Physics becomes in those years the greatest collective work of science — no, more than that, the great collective work of art of the twentieth century.

J. Bronowski, The Ascent of Man, p. 330

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When I was twelve years old I watched a most remarkable television program. This program did not so much change my life — I was twelve, just barely conscious of a life as something my own — as it set the primary intellectual course of my life. My parents generously bought me the big book that was basically a transcript of the show. I have treasured that book for forty years.

I’ve recently finished a reread of Jacob Bronowski’s The Ascent of Man and I found it an exhilarating, inspiring experience again. But the sweetness is tempered by a sad and tragic bitterness on which I will touch. Bronowski’s gentle…

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Kenneth Clark’s “Civilisation”: Priceless Lessons from “A Stick in the Mud”

I am posting this and another recent article on the other cultural history series for comparison -“The Ascent of Man” by Jacob Bronowski also worth revisiting

Tulika Bahadur's avatarOn Art and Aesthetics

Civilisation by Kenneth Clark (1969, John Murray)

I first heard of Kenneth Clark (1903-1983)—the British art historian best known for his 13-part BBC documentary series Civilisation (1969)—in 2011. I watched all the episodes some time in 2012 but only recently went through the companion volume Civilisation: A Personal View. Clark, who had served as the director of the Ashmolean Museum in Oxford and the National Gallery in London, presents a sweeping and fascinating survey of Western Europe in this project—from the fall of the Roman Empire up till the post-Marxist situation. He makes sense of society through the lens of art (mostly visual and concrete) and offers a subjective assessment of the flow of ideas.

I am yet to come across another documentary on history and culture that matches the class and sophistication of this one. The title of the series was troubling for the art historian and broadcaster. While the…

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Alley in Bucharest

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Street Scene Budapest

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Art and Photographic History

Baron Pierre Paulus de Châtelet- a Belgian Expressionist Painter (1881—1959)

Upon first seeing these paintings by Pierre Paulus I was put in mind once again of the dark and dramatic work of Kaethe Kollwitz (1867-1945) about whom I posted recently. Then the chunky expressive style depicting largely industrial scenes reminded me of Zola’s Germinal which was written between April 1884 and January 1885. The broad lines and dark colours seems well-suited to the scenery of cranes, docks and canals. The dark buildings, however contrast with the white snow-so the expressive aspect is sometimes conveyed through this wintry aspect. Paulus too is a great painter of the intensity of heavy industrialisation-human figures huddled under gigantic mills or stark against Blakean forges. The clip below is enlivened by Puccini’s Madam Butterfly.

Pierre Paulus was born in Châtelet in 1881 into a family of artists. He studied architecture at the Academy of Brussels, where having graduated he dedicated himself to painting, his only true passion. At the age of 15, he already had a considerable mastery of painting. It was not until  he was 25 , however, that he became the painter we remember today, the painter of the Black Country, with its industrial and industrialized environments: mines and islets on the banks of the Sambre, steel factories throwing their flames and the background smoke … he also painted nature, people, still life and everyday scenes.
He met the acclaim in 1911 at the Charleroi exhibition of the general public, and his notoriety began to grow. During the First World War, he took refuge in London.
The interwar period was released in Europe and the United States. He devoted his whole life to Expressionism but also to other forms of art such as lithography and posters.
In 1913 he drew the rooster used as the flag of Wallonia. (With thanks to Inesvigo)