tag:blogger.com,1999:blog-32988746088554981222024-03-20T02:22:19.400-04:00ceci n'est pas le blogue de mimiMichèle Satomimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.comBlogger797125tag:blogger.com,1999:blog-3298874608855498122.post-68798229693645590062022-07-09T11:45:00.003-04:002022-07-09T11:45:24.607-04:00‘Yearning for a more beautiful world’: Pre-Raphaelite and Symbolist works from the collection of Isabel Goldsmith<p>https://www.christies.com/features/pre-raphaelite-works-owned-by-isabel-goldsmith-12365-3.aspx?sc_lang=en&cid=EM_EMLcontent04144C16Section_A_Story_1_0&COSID=43178591&cid=DM479932&bid=318351141</p><p>CHRISTIES</p><div class="hero-container standard-screen" data-showlightbox="True" style="background-color: black; box-sizing: border-box; font-family: arial, helvetica, sans-serif; font-size: 12px; margin: 30px auto 0px; max-width: 880px; position: relative; width: 880px;"><div class="image-preview-container custom-video-container" style="background-color: transparent !important; box-sizing: border-box; height: 0px; margin-top: 0px; overflow: hidden; padding-bottom: 550px; position: relative; width: 880px;"><iframe allowfullscreen="yes" class="desktop-preview" data-pageid="{A52D29F6-7C26-474D-AA12-00433ACE7784}" frameborder="0" height="550px" id="VideoIframe" scrolling="no" src="https://players.brightcove.net/6057940598001/default_default/index.html?videoId=6309201863112&brand=0" style="box-sizing: border-box; display: block; max-width: 100%; position: relative; visibility: visible; width: 880px;" width="100%"></iframe></div></div><div class="content-container" style="background-color: white; box-sizing: border-box; font-family: arial, helvetica, sans-serif; font-size: 12px; margin: 0px auto; max-width: 1180px; min-height: 1655px; position: relative; width: 1180px;"><div class="module landscape-visuals article relative clearfix" style="box-sizing: border-box; margin: 0px auto; max-width: 1180px; padding-bottom: 5px; padding-top: 45px; position: relative; width: 1180px;"><div class="wraper-div" style="box-sizing: border-box;"><h1 class="title" style="box-sizing: border-box; color: #2b2b2b; font-family: Baskerville10Pro, Georgia, Cambria, "Times New Roman", Times, serif; font-size: 50px; font-weight: normal; line-height: 60px; margin: 0px auto 39px; max-width: 780px; text-align: center; width: 780px;">‘Yearning for a more beautiful world’: Pre-Raphaelite and Symbolist works from the collection of Isabel Goldsmith</h1><div class="secondary-title" style="box-sizing: border-box; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; font-size: 19px; line-height: 30px; margin: 0px auto; max-width: 580px; text-align: center; width: 580px;"><p style="box-sizing: border-box; line-height: 30px; margin: 0px auto; max-width: 580px; width: 580px;">Paintings and drawings by artists including Burne-Jones, Meteyard and De Morgan explore such themes as dreams, the afterlife and beauty, as well as literary and classical subjects</p></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_0" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">In 1897 the French artist <a href="https://artist.christies.com/lucien-levy-dhurmer--32390.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">Lucien Lévy-Dhurmer</a> produced the beguiling pastel <em style="box-sizing: border-box;">La bourrasque</em> (below). Its title means ‘the squall’ or ‘the sudden gust of wind’, and it duly captures a young woman’s flowing red hair being windswept all over her face and head.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">That hair also merges with the semi-abstract, crimson scene around her, as if she’s in the midst of being blown into a sprightly otherworld. Not for nothing was Lévy-Dhurmer described by the contemporary critic Gabriel Mourey as ‘the dream painter’.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;"><em style="box-sizing: border-box;">La bourrasque </em>is one of 87 works in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/overview/3250" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a>, an online sale being held by Christie’s until 14 July.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">Isabel Goldsmith’s collecting journey began several decades ago, and what unites most of the pictures she purchased is a set of core themes: beauty, loss, the mystery of hidden worlds, and the seductive power of death and sleep. These were themes that had been adopted by certain Pre-Raphaelite painters, and numerous Symbolists, around the turn of the 20th century.</p></div><div class="image-container landscape" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenImageBlock_1" style="box-sizing: border-box; height: auto; margin: 54px auto 0px; max-width: 1180px; padding-bottom: 5px; width: 780px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/lucien-levy-dhurmer-french-1865-1953-8/155351" style="box-sizing: border-box; color: #990000; text-decoration-line: none;"><div class="image-preview-container " style="box-sizing: border-box; float: left; height: auto; margin-bottom: 20px; overflow: hidden; padding-bottom: 0px; position: relative; width: 780px;"><img alt="Lucien Lévy-Dhurmer (1865-1953), La bourrasque, 1897. Pastel on paper. 15 x 17⅜ in (38 x 44 cm). Estimate £100,000-150,000. Offered in The Isabel Goldsmith Collection Selected Pre-Raphaelite and Symbolist Art until 14 July 2022 at Christie’s Online" class="image-preview" src="https://www.christies.com/img/LotImages/2022/CKS/2022_CKS_21004_0008_000(lucien_levy-dhurmer_la_bourrasque083307).jpg?mode=max?w=780" style="background-position: center center; background-repeat: no-repeat; background-size: cover; box-sizing: border-box; inset: 0px; position: relative; width: 780px;" /><button class="play-slide" data-id="{8B480728-0610-4D01-97DD-180F20C8955E}" data-imagecount="1" id="main_center_0_ctl01_FeaturesGeneralRepeater_ImagePlayBut8_1" style="appearance: none; background-clip: padding-box; background-color: rgba(0, 0, 0, 0.25); background-image: none; border-color: rgb(255, 255, 255); border-radius: 3em; border-style: solid; color: white; cursor: pointer; font-size: 22px; height: 40px; line-height: 40px; opacity: 1; overflow: hidden; position: absolute; right: 10px; top: 10px; transition: background-color 0.2s ease 0s; width: 40px;"><svg id="Layer_1" version="1.1" viewbox="0 0 32 32" x="0px" xml:space="preserve" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg" y="0px"><path d="M29.7,13.7H18.3V2.3C18.3,1,17.3,0,16,0c-1.3,0-2.3,1-2.3,2.3v11.4H2.3C1,13.7,0,14.7,0,16c0,1.3,1,2.3,2.3,2.3h11.4v11.4
c0,1.3,1,2.3,2.3,2.3c1.3,0,2.3-1,2.3-2.3V18.3h11.4c1.3,0,2.3-1,2.3-2.3S31,13.7,29.7,13.7z"></path></svg></button></div></a><figure class="image-description" style="box-sizing: border-box; margin: 15px 0px 0px; max-width: 580px; padding: 0px; width: 580px;"><figcaption class="image-caption" style="box-sizing: border-box; color: grey; line-height: 20px;"><p style="box-sizing: border-box; line-height: 20px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/lucien-levy-dhurmer-french-1865-1953-8/155351" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">Lucien Lévy-Dhurmer (1865-1953), <em style="box-sizing: border-box;">La bourrasque</em>, 1897</a>. Pastel on paper. 15 x 17⅜ in (38 x 44 cm). Estimate: £100,000-150,000. Offered in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/3250" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a> until 14 July 2022 at Christie’s Online</p></figcaption></figure></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_2" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">The words of Edward Lucie-Smith in the introduction to his 1972 book, <em style="box-sizing: border-box;">Symbolist Art</em>, could apply to many of the works being offered: ‘Behind the shapes and colours to be found on the picture-surface, there is always something else, another realm, another order of meaning.’</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">What the viewer sees, in other words, are simply symbols for something more profound.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">Where Lévy-Dhurmer was a Symbolist, England’s <a href="https://artist.christies.com/sidney-harold-meteyard--35195.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">Sidney Meteyard</a> <em style="box-sizing: border-box;">—</em> the painter of the sale’s top lot, <em style="box-sizing: border-box;">The Return of Orpheus</em><em style="box-sizing: border-box;"> </em> (below) <em style="box-sizing: border-box;">— </em>worked in a style that might be called late Pre-Raphaelite (more on the connection between the two movements shortly). Like his mentor, <a href="https://www.christies.com/features/guide-to-edward-burne-jones-9460-1.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">Edward Burne-Jones</a>, Meteyard worked as a designer of stained glass in addition to painting.</p></div><div class="image-container portrait" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenImageBlock_3" style="box-sizing: border-box; height: auto; margin: 54px auto 0px; max-width: 1180px; padding-bottom: 5px; width: 580px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/sidney-harold-meteyard-1868-1947-28/155367" style="box-sizing: border-box; color: #990000; text-decoration-line: none;"><div class="image-preview-container " style="box-sizing: border-box; float: left; height: auto; margin-bottom: 20px; overflow: hidden; padding-bottom: 0px; position: relative; width: 580px;"><img alt="Sidney Harold Meteyard (1868-1947), The Return of Orpheus. Oil on canvas. 40½ x 18 in (103 x 45.8 cm). Estimate £200,000-300,000. Offered in The Isabel Goldsmith Collection Selected Pre-Raphaelite and Symbolist Art until 14 July 2022 at Christie’s Online" class="image-preview" src="https://www.christies.com/img/LotImages/2022/CKS/2022_CKS_21004_0028_000(sidney_harold_meteyard_the_return_of_orpheus084241).jpg?mode=max?w=780" style="background-position: center center; background-repeat: no-repeat; background-size: cover; box-sizing: border-box; inset: 0px; position: relative; width: 580px;" /><button class="play-slide" data-id="{B2177F3B-5FB6-499E-9FE7-9B27666F143B}" data-imagecount="1" id="main_center_0_ctl01_FeaturesGeneralRepeater_ImagePlayBut8_3" style="appearance: none; background-clip: padding-box; background-color: rgba(0, 0, 0, 0.25); background-image: none; border-color: rgb(255, 255, 255); border-radius: 3em; border-style: solid; color: white; cursor: pointer; font-size: 22px; height: 40px; line-height: 40px; opacity: 1; overflow: hidden; position: absolute; right: 10px; top: 10px; transition: background-color 0.2s ease 0s; width: 40px;"><svg id="Layer_1" version="1.1" viewbox="0 0 32 32" x="0px" xml:space="preserve" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg" y="0px"><path d="M29.7,13.7H18.3V2.3C18.3,1,17.3,0,16,0c-1.3,0-2.3,1-2.3,2.3v11.4H2.3C1,13.7,0,14.7,0,16c0,1.3,1,2.3,2.3,2.3h11.4v11.4
c0,1.3,1,2.3,2.3,2.3c1.3,0,2.3-1,2.3-2.3V18.3h11.4c1.3,0,2.3-1,2.3-2.3S31,13.7,29.7,13.7z"></path></svg></button></div></a><figure class="image-description" style="box-sizing: border-box; margin: 15px 0px 0px; max-width: 580px; padding: 0px; width: 580px;"><figcaption class="image-caption" style="box-sizing: border-box; color: grey; line-height: 20px;"><p style="box-sizing: border-box; line-height: 20px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/sidney-harold-meteyard-1868-1947-28/155367" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">Sidney Harold Meteyard (1868-1947), <em style="box-sizing: border-box;">The Return of Orpheus</em></a>. Oil on canvas. 40½ x 18 in (103 x 45.8 cm). Estimate: £200,000-300,000. Offered in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/3250" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a> until 14 July 2022 at Christie’s Online</p></figcaption></figure></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_4" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Exhibited at the Royal Academy in London in 1907 (and probably painted earlier that same year),<em style="box-sizing: border-box;"> The Return of Orpheus </em>shows a strength of colour that is on a par with stained glass, above all in its subject’s strikingly blue tunic and sandals.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Orpheus sits on a rock at the entrance to the underworld, wearing a deep and complex expression. The fading leaves on the vegetation around him reflect the fact that he has just failed in a quest to rescue his late wife Eurydice from the world of the dead.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Burne-Jones, who is represented in the sale by seven works, was in many ways the bridge between the Pre-Raphaelites and Symbolists. He was the key figure in the former movement’s second generation, making his name in the 1870s, more than two decades after the likes of <a href="https://artist.christies.com/william-holman-hunt--28013.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">William Holman Hunt</a>, <a href="https://artist.christies.com/john-everett-millais--35429.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">John Everett Millais</a> and <a href="https://artist.christies.com/dante-gabriel-rossetti--42184.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">Dante Gabriel Rossetti</a> had founded the Pre-Raphaelite Brotherhood in 1848.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Where his predecessors had, broadly speaking, sought to emulate the art of medieval times <em style="box-sizing: border-box;">—</em> with its luminous colour, minute attention to detail, and moralising or religious subject matter <em style="box-sizing: border-box;">—</em> Burne-Jones helped take Pre-Raphaelite art in a more romantic direction.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">As he said himself, ‘I mean, by a picture, a beautiful romantic dream of something that never was, that never will be — in a light better than any light that ever shone, in a land no one can define or remember, only desire.’</p></div><div class="image-container portrait" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenImageBlock_5" style="box-sizing: border-box; height: auto; margin: 54px auto 0px; max-width: 1180px; padding-bottom: 5px; width: 580px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/sir-edward-coley-burne-jones-bt-a-r-a-r-w-s-1833-1898-16/155363" style="box-sizing: border-box; color: #990000; text-decoration-line: none;"><div class="image-preview-container " style="box-sizing: border-box; float: left; height: auto; margin-bottom: 20px; overflow: hidden; padding-bottom: 0px; position: relative; width: 580px;"><img alt="Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898), Luna. Coloured chalks and watercolour on blue ground with gold and silver. 12⅝ x 8⅞ in (32.1 x 22.5 cm). Estimate £70,000-100,000. Offered in The Isabel Goldsmith Collection Selected Pre-Raphaelite and Symbolist Art until 14 July 2022 at Christie’s Online" class="image-preview" src="https://www.christies.com/img/LotImages/2022/CKS/2022_CKS_21004_0016_000(sir_edward_coley_burne-jones_bt_ara_rws_luna083633).jpg?mode=max?w=780" style="background-position: center center; background-repeat: no-repeat; background-size: cover; box-sizing: border-box; inset: 0px; position: relative; width: 580px;" /><button class="play-slide" data-id="{CB10DF61-0AE0-4049-9271-70A1E130B389}" data-imagecount="1" id="main_center_0_ctl01_FeaturesGeneralRepeater_ImagePlayBut8_5" style="appearance: none; background-clip: padding-box; background-color: rgba(0, 0, 0, 0.25); background-image: none; border-color: rgb(255, 255, 255); border-radius: 3em; border-style: solid; color: white; cursor: pointer; font-size: 22px; height: 40px; line-height: 40px; opacity: 1; overflow: hidden; position: absolute; right: 10px; top: 10px; transition: background-color 0.2s ease 0s; width: 40px;"><svg id="Layer_1" version="1.1" viewbox="0 0 32 32" x="0px" xml:space="preserve" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg" y="0px"><path d="M29.7,13.7H18.3V2.3C18.3,1,17.3,0,16,0c-1.3,0-2.3,1-2.3,2.3v11.4H2.3C1,13.7,0,14.7,0,16c0,1.3,1,2.3,2.3,2.3h11.4v11.4
c0,1.3,1,2.3,2.3,2.3c1.3,0,2.3-1,2.3-2.3V18.3h11.4c1.3,0,2.3-1,2.3-2.3S31,13.7,29.7,13.7z"></path></svg></button></div></a><figure class="image-description" style="box-sizing: border-box; margin: 15px 0px 0px; max-width: 580px; padding: 0px; width: 580px;"><figcaption class="image-caption" style="box-sizing: border-box; color: grey; line-height: 20px;"><p style="box-sizing: border-box; line-height: 20px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/sir-edward-coley-burne-jones-bt-a-r-a-r-w-s-1833-1898-16/155363" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898), <em style="box-sizing: border-box;">Luna</em></a>. Coloured chalks and watercolour on blue ground with gold and silver. 12⅝ x 8⅞ in (32.1 x 22.5 cm). Estimate: £70,000-100,000. Offered in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/3250" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a> until 14 July 2022 at Christie’s Online</p></figcaption></figure></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_6" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Burne-Jones drew less on the Bible for inspiration than on Arthurian legend, classical myth and, most crucially, his own imagination. As would be the case with the Symbolists who came after him, his scenes were evocative rather than descriptive, laying importance on symbols rather than representation.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">For example, in Burne-Jones’s 1895 drawing <em style="box-sizing: border-box;">Luna</em> (above), the eponymous Roman goddess of the moon is captured guarding the night sky. She soars high above a mountain range, kneeling within a crescent moon whose light serves as a beacon of solace and hope in the darkness.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">Starting out in France before spreading through other European countries, the Symbolist movement had numerous roots. These ranged from the poet Charles Baudelaire to the philosopher Emanuel Swedenborg. Burne-Jones was another significant influence, particularly in the wake of a successful showing of his work at the Exposition Universelle in Paris in 1889, where he won the exhibition’s <em style="box-sizing: border-box;">Légion d’honneur</em> award.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">The Belgian Symbolist <a href="https://artist.christies.com/fernand-khnopff--29878.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">Fernand Khnopff</a> was a fan, and he and the Englishman ended up becoming close friends. Khnopff’s repeated engagement with the Greek myth of Medusa is thought to have been inspired by Burne-Jones’s own depiction of it, in his famous but never-completed <a href="https://southamptoncityartgallery.com/collection/the-perseus-series/" style="box-sizing: border-box; color: black;" target="_blank">Perseus cycle</a>.</p></div><div class="image-container portrait" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenImageBlock_7" style="box-sizing: border-box; height: auto; margin: 54px auto 0px; max-width: 1180px; padding-bottom: 5px; width: 580px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/fernand-khnopff-belgian-1858-1921-23/155369" style="box-sizing: border-box; color: #990000; text-decoration-line: none;"><div class="image-preview-container " style="box-sizing: border-box; float: left; height: auto; margin-bottom: 20px; overflow: hidden; padding-bottom: 0px; position: relative; width: 580px;"><img alt="Fernand Khnopff (1858-1921), La Médusa endormie, circa 1896. Pencil and pastel on paper. 11⅝ x 5⅛ in (29.2 x 13 cm). Estimate £200,000-300,000. Offered in The Isabel Goldsmith Collection Selected Pre-Raphaelite and Symbolist Art until 14 July 2022 at Christie’s Online" class="image-preview" src="https://www.christies.com/img/LotImages/2022/CKS/2022_CKS_21004_0023_000(fernand_khnopff_la_medusa_endormie084002).jpg?mode=max?w=780" style="background-position: center center; background-repeat: no-repeat; background-size: cover; box-sizing: border-box; inset: 0px; position: relative; width: 580px;" /><button class="play-slide" data-id="{14233372-6E39-4A61-BC58-BF8AF506E586}" data-imagecount="1" id="main_center_0_ctl01_FeaturesGeneralRepeater_ImagePlayBut8_7" style="appearance: none; background-clip: padding-box; background-color: rgba(0, 0, 0, 0.25); background-image: none; border-color: rgb(255, 255, 255); border-radius: 3em; border-style: solid; color: white; cursor: pointer; font-size: 22px; height: 40px; line-height: 40px; opacity: 1; overflow: hidden; position: absolute; right: 10px; top: 10px; transition: background-color 0.2s ease 0s; width: 40px;"><svg id="Layer_1" version="1.1" viewbox="0 0 32 32" x="0px" xml:space="preserve" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg" y="0px"><path d="M29.7,13.7H18.3V2.3C18.3,1,17.3,0,16,0c-1.3,0-2.3,1-2.3,2.3v11.4H2.3C1,13.7,0,14.7,0,16c0,1.3,1,2.3,2.3,2.3h11.4v11.4
c0,1.3,1,2.3,2.3,2.3c1.3,0,2.3-1,2.3-2.3V18.3h11.4c1.3,0,2.3-1,2.3-2.3S31,13.7,29.7,13.7z"></path></svg></button></div></a><figure class="image-description" style="box-sizing: border-box; margin: 15px 0px 0px; max-width: 580px; padding: 0px; width: 580px;"><figcaption class="image-caption" style="box-sizing: border-box; color: grey; line-height: 20px;"><p style="box-sizing: border-box; line-height: 20px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/fernand-khnopff-belgian-1858-1921-23/155369" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">Fernand Khnopff (1858-1921), <em style="box-sizing: border-box;">La Médusa endormie</em>, circa 1896</a>. Pencil and pastel on paper. 11⅝ x 5⅛ in (29.2 x 13 cm). Estimate: £200,000-300,000. Offered in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/3250" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a> until 14 July 2022 at Christie’s Online</p></figcaption></figure></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_8" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">One of the Belgian’s Medusa works, <em style="box-sizing: border-box;">La Médusa endormie</em><em style="box-sizing: border-box;"> </em>(above), from around 1896, is included in the current sale. It depicts her as a sleeping, birdlike figure, an idiosyncratic composite of the winged Hypnos with the titular gorgon. Given that sleep is the portal to dreams, for the Symbolists it pointed towards another realm, where truer meaning lies.</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">Born and raised in Paris, Isabel Goldsmith settled in London as a young woman. Part of the allure of England for her was the wealth of Pre-Raphaelite imagery that she could see there. Goldsmith’s choice of pictures from both sides of the English Channel was in keeping with her background.</p></div><div class="image-container portrait" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenImageBlock_9" style="box-sizing: border-box; height: auto; margin: 54px auto 0px; max-width: 1180px; padding-bottom: 5px; width: 580px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/george-frederic-watts-o-m-r-a-1817-1904-26/155365" style="box-sizing: border-box; color: #990000; text-decoration-line: none;"><div class="image-preview-container " style="box-sizing: border-box; float: left; height: auto; margin-bottom: 20px; overflow: hidden; padding-bottom: 0px; position: relative; width: 580px;"><img alt="George Frederic Watts, O.M., R.A. (1817-1904), The Open Door. Oil on canvas. 18 x 10 in (45.7 x 25 cm). Estimate £10,000-15,000. Offered in The Isabel Goldsmith Collection Selected Pre-Raphaelite and Symbolist Art until 14 July 2022 at Christie’s Online" class="image-preview" src="https://www.christies.com/img/LotImages/2022/CKS/2022_CKS_21004_0026_000(george_frederic_watts_om_ra_the_open_door084143).jpg?mode=max?w=780" style="background-position: center center; background-repeat: no-repeat; background-size: cover; box-sizing: border-box; inset: 0px; position: relative; width: 580px;" /><button class="play-slide" data-id="{D48321E3-887F-4B43-8896-521401F7279A}" data-imagecount="1" id="main_center_0_ctl01_FeaturesGeneralRepeater_ImagePlayBut8_9" style="appearance: none; background-clip: padding-box; background-color: rgba(0, 0, 0, 0.25); background-image: none; border-color: rgb(255, 255, 255); border-radius: 3em; border-style: solid; color: white; cursor: pointer; font-size: 22px; height: 40px; line-height: 40px; opacity: 1; overflow: hidden; position: absolute; right: 10px; top: 10px; transition: background-color 0.2s ease 0s; width: 40px;"><svg id="Layer_1" version="1.1" viewbox="0 0 32 32" x="0px" xml:space="preserve" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg" y="0px"><path d="M29.7,13.7H18.3V2.3C18.3,1,17.3,0,16,0c-1.3,0-2.3,1-2.3,2.3v11.4H2.3C1,13.7,0,14.7,0,16c0,1.3,1,2.3,2.3,2.3h11.4v11.4
c0,1.3,1,2.3,2.3,2.3c1.3,0,2.3-1,2.3-2.3V18.3h11.4c1.3,0,2.3-1,2.3-2.3S31,13.7,29.7,13.7z"></path></svg></button></div></a><figure class="image-description" style="box-sizing: border-box; margin: 15px 0px 0px; max-width: 580px; padding: 0px; width: 580px;"><figcaption class="image-caption" style="box-sizing: border-box; color: grey; line-height: 20px;"><p style="box-sizing: border-box; line-height: 20px;"><a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/george-frederic-watts-o-m-r-a-1817-1904-26/155365" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">George Frederic Watts, O.M., R.A. (1817-1904), <em style="box-sizing: border-box;">The Open Door</em></a>. Oil on canvas. 18 x 10 in (45.7 x 25 cm). Estimate: £10,000-15,000. Offered in <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/3250" style="box-sizing: border-box; color: black; font-family: AtlasGroteskRegular, Arial, Helvetica, sans-serif; line-height: 20px;" target="_blank">The Isabel Goldsmith Collection: Selected Pre-Raphaelite and Symbolist Art</a> until 14 July 2022 at Christie’s Online</p></figcaption></figure></div><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_10" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 30px;">It’s sometimes said that the Pre-Raphaelites and Symbolists ventured into other worlds pictorially because they disliked the increasingly capitalist and materialist nature of the world they inhabited. (The third and final volume of Marx’s <em style="box-sizing: border-box;">Das Kapital</em> was published in 1894, a matter of months before many of the images under consideration here were created.)</p><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">A discussion of socio-economic context is perhaps one for elsewhere. What can be said, however, from a purely artistic point of view, is that painters from the two movements believed that art should reflect an idea, emotion or quality <em style="box-sizing: border-box;">—</em> rather than represent the world in a quasi-scientific manner, as the Realists, Impressionists and others did.</p></div><blockquote class="pull-quotes" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleQuote_11" style="border-color: rgb(204, 204, 204); border-style: solid; border-width: 1px 0px; box-sizing: border-box; color: #333333; font-family: Baskerville10ProItalic, Arial, Helvetica, sans-serif; font-size: 30px; line-height: 40px; margin: 33px auto 0px; max-width: 780px; padding: 32px 95px 30px; text-align: center; width: 780px;"><center style="box-sizing: border-box;"><p style="box-sizing: border-box; color: black; font-family: atlasgroteskmedium, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px;">Sign up today</p><p style="box-sizing: border-box; color: black; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px;">Christie’s Online Magazine delivers our best features, videos, and auction news to your inbox every week</p><center style="box-sizing: border-box;"><div class="fsu_btn fsu_btn-toggle" data-depname="" data-id="" data-pageurl="" data-tag-id="12365" data-tag-language="en" data-tag-name="" data-tag-url="https://www.christies.com/features/article2?FeatureID=12365&type=article&sc_lang=en" data-typecode="ART" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-radius: 0px; border: 2px solid rgb(0, 0, 0); box-sizing: border-box; clear: both; color: black; font-family: "Atlas Grotesk Web", Helvetica, Arial, sans-serif; font-size: 14px; line-height: 50px; margin-bottom: 30px; margin-top: 20px; padding: 0px 20px; width: 150px;">Subscribe</div></center></center></blockquote><div class="module-body-text" id="main_center_0_ctl01_FeaturesGeneralRepeater_GenArticleContent_12" style="box-sizing: border-box; display: table; margin: 40px auto 0px; max-width: 580px; width: 580px;"><p style="box-sizing: border-box; font-family: LyonRegular, Arial, Helvetica, sans-serif; font-size: 20px; line-height: 30px; margin-bottom: 0px;">A fine manifestation of this is <a href="https://onlineonly.christies.com/s/isabel-goldsmith-collection-selected-pre-raphaelite-symbolist-art/george-frederic-watts-o-m-r-a-1817-1904-26/155365?" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank"><em style="box-sizing: border-box;">The Open Door</em></a>, a painting from 1892 by <a href="https://artist.christies.com/george-frederick-watts--50521.aspx" rel="noopener noreferrer" style="box-sizing: border-box; color: black;" target="_blank">George Frederic Watts</a>. It captures the flight of a butterfly from one room to another <em style="box-sizing: border-box;">—</em> or ‘from the known to the unknown’, as Goldsmith herself puts it. ‘This has special resonance for me,’ she adds, ‘as life is so full of mystery.’</p></div></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-72240309673087580052022-07-09T09:49:00.004-04:002022-07-09T09:50:27.169-04:00In the surreal world of René Magritte<p> https://www.artdependence.com/articles/in-the-surreal-world-of-ren%C3%A9-magritte/?fbclid=IwAR0UDK52PtOoVPostwvzZp45CYVOReorkHwc503gg73QCvCUGtJyM9K5Os0</p><p><br /></p><div class="row" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px; margin-left: -15px; margin-right: -15px;"><div class="col-md-10 col-md-push-1 col-md-pull-1" style="box-sizing: border-box; float: left; left: 100.104px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; right: 100.104px; width: 1001.1px;"><div class="row" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px;"><div class="col-lg-12" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 1001.1px;"><h1 class="page-header" style="border-bottom: 1px solid rgb(238, 238, 238); box-sizing: border-box; color: inherit; font-family: inherit; font-size: 2.5em; font-weight: 500; line-height: 1.1; margin: 40px 0px 20px; padding-bottom: 9px;">In the surreal world of René Magritte</h1></div></div></div></div><div class="row" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px; margin-left: -15px; margin-right: -15px;"><div class="col-md-7 col-md-push-1" id="contentCol1" style="box-sizing: border-box; float: left; left: 100.104px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 700.771px;"><div class="row" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px;"><div class="col-md-6" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 350.385px;"><div class="addthis_inline_share_toolbox" data-description="In these times, we see more and more the partnership of technology and art taking ever more creative forms and shapes. In the realm of computer animation, with its ability to create new characters and revive old ones, the attention seems to be turning towards painting techniques and how these might be digitally adopted." data-title="ArtDependence | In the surreal world of René Magritte" data-url="https://www.artdependence.com/articles/in-the-surreal-world-of-ren%C3%A9-magritte/?fbclid=IwAR0UDK52PtOoVPostwvzZp45CYVOReorkHwc503gg73QCvCUGtJyM9K5Os0" style="box-sizing: border-box; clear: both;"><div aria-labelledby="at-d4c7a735-2550-4072-b5aa-0ec20ad7ae11" class="at-resp-share-element at-style-responsive addthis-smartlayers addthis-animated at4-show" id="atstbx" role="region" style="animation-duration: 0.3s; animation-fill-mode: both; animation-timing-function: ease-out; box-sizing: border-box; font-size: 0px; line-height: 0; margin: 0px; opacity: 1 !important; padding: 0px; position: relative;"><span class="at4-visually-hidden" id="at-d4c7a735-2550-4072-b5aa-0ec20ad7ae11" style="border: 0px; box-sizing: border-box; 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border-radius: 4px; border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "helvetica neue", helvetica, arial, sans-serif; line-height: 0; margin: 0px 2px 5px; overflow: hidden; padding: 5px; transition: all 0.2s ease-in-out 0s;" tabindex="1"><span class="at4-visually-hidden" style="border: 0px; box-sizing: border-box; clip: rect(1px, 1px, 1px, 1px); overflow: hidden; padding: 0px; position: absolute;"></span><span class="at-icon-wrapper" style="box-sizing: border-box; cursor: pointer; display: inline-block; float: left; height: 32px; line-height: 32px; overflow: hidden; width: 32px;"><svg aria-labelledby="at-svg-addthis-4" class="at-icon at-icon-addthis" role="img" style="fill: rgb(255, 255, 255); height: 32px; width: 32px;" version="1.1" viewbox="0 0 32 32" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns="http://www.w3.org/2000/svg"><g><path d="M18 14V8h-4v6H8v4h6v6h4v-6h6v-4h-6z" fill-rule="evenodd"></path></g></svg></span></a></div></div></div></div><div class="col-md-6 text-right" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; text-align: right; width: 350.385px;"></div></div><div class="row justifyText" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px; text-align: justify;"><div class="col-md-12" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 700.771px;"><div class="panel panel-default" style="border-radius: 4px; border: 1px solid rgb(221, 221, 221); box-shadow: rgba(0, 0, 0, 0.05) 0px 1px 1px; box-sizing: border-box; margin-bottom: 20px;"><div class="panel-heading" style="background-color: whitesmoke; border-bottom: 1px solid rgb(221, 221, 221); border-left-color: rgb(221, 221, 221); border-right-color: rgb(221, 221, 221); border-top-color: rgb(221, 221, 221); border-top-left-radius: 3px; border-top-right-radius: 3px; box-sizing: border-box; padding: 10px 15px;">By <a href="https://www.artdependence.com/authors/anna-savitskaya/" style="background-color: transparent; box-sizing: border-box; color: #c71f16; text-decoration-line: none;">Anna Savitskaya</a> <span style="box-sizing: border-box;">-</span> Thursday, March 12, 2015</div><div class="panel-body" style="box-sizing: border-box; padding: 15px;"><div class="articleDescriptionBox" style="box-sizing: border-box;"><img alt="In the surreal world of René Magritte" class="articleImage" src="https://www.artdependence.com/media/3961/14c6b64d-dc18-46ca-89d4-b0f096aeceb9.jpg?anchor=center&mode=crop&width=300&rnd=131547971340000000" style="border: 0px; box-sizing: border-box; float: left; padding: 0px 10px 10px; vertical-align: middle; width: 319.385px;" /><p style="box-sizing: border-box; margin: 0px 0px 10px;">In these times, we see more and more the partnership of technology and art taking ever more creative forms and shapes. In the realm of computer animation, with its ability to create new characters and revive old ones, the attention seems to be turning towards painting techniques and how these might be digitally adopted.</p></div></div></div></div></div><div class="row justifyText" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px; text-align: justify;"><div class="col-md-12" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 700.771px;"><div class="articleContent" style="box-sizing: border-box; margin-bottom: 20px;"><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box;">In these times, we see more and more the partnership of technology and art taking ever more creative forms and shapes. In the realm of computer animation, with its ability to create new characters and revive old ones, the attention seems to be turning towards painting techniques and how these might be digitally adopted. Recently we talked with the </span><a href="https://www.artdependence.com/issue/february-2015/article/new-technology-brings-van-gogh-to-life-an-interview-with-academy-award-winning-producer-hugh-welchman" style="background-color: transparent; box-sizing: border-box; color: #c71f16; text-decoration-line: none;"><span style="box-sizing: border-box; color: red; text-decoration-line: underline;">producer of “Loving Vincent”, Hugh Welchman</span>,</a><span style="box-sizing: border-box;"> whose team is about to finish the first full length animation drawn by painters, following in the style and technique of Vincent van Gogh. </span>Now, another art-animation project is taking shape at the hands of Ali Eslami, who has taken on the similar challenge of giving life to artworks, in this case those of Réne Magritte, by creating a 3D game-like space that is surrounded by works of the artist. It is especially interesting for Ali to show Magritte’s works together, and literally place them on the walls near each other, because of their surreal scenes and brain teasing ideas. Ali Eslami selected the works for his video according to their compatibility and their effect on the viewer, with the aim of preserving the surreal features of each work, whilst at the same time emphasizing the mysterious atmosphere of each painting. Ali spoke with us about his project, sharing his reasons for choosing Magritte, and some secrets on the process of creation for his video.</p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><em style="box-sizing: border-box;"><span style="box-sizing: border-box; font-weight: 700;">Artdependence Magazine: Why did you choose Magritte as your subject?</span></em></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box;">Ali Eslami: </span>My interest in Pop Art paintings, for their unique atmosphere and colors, led me to recreate them in 3D so that I could have a richer experience of them. Perhaps I do it just to momentarily place myself elsewhere. Time passed and having kept this passion alive, I got into Unreal Engine 4. I found Réne Magritte's paintings ideal for what I meant to do since, while his style shares similarities with Pop Art, it exists in a surreal world.</p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><img alt="" src="https://lh4.googleusercontent.com/-n9mK8McNE5k/VQFy7AHuiZI/AAAAAAAAAnM/ZFPy4-9GuhU/s1024/004.jpg" style="border: 1px solid rgb(221, 221, 221); box-sizing: border-box; height: auto !important; margin-bottom: 10px; margin-right: 10px; max-width: 100%; padding: 1px; vertical-align: middle;" /></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-size: x-small;">© Ali Eslami</span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">AD: Do you have any plans to do something similar with other artists?</em></span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;">AE: I haven't decided that yet. Maybe I will develop this project to feature more painters in different levels. Réne Magritte's paintings had the potential to be re-created in 3D, so I should see if any other paintings would fit this kind of work.</p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><em style="box-sizing: border-box;"><span style="box-sizing: border-box; font-weight: 700;">AD: How long did it take to complete this project?</span></em></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;">AE: It took me about 2 months. 1 month for modeling the Assets in 3D and texturing them, and another month for user interactions and setting up assets in Game engine.</p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><img alt="" src="https://lh5.googleusercontent.com/-I56RBFs_uzM/VQFy7k2x5fI/AAAAAAAAAnU/SzfQQvzh_hk/s1024/005.jpg" style="border: 1px solid rgb(221, 221, 221); box-sizing: border-box; height: auto !important; margin-bottom: 10px; margin-right: 10px; max-width: 100%; padding: 1px; vertical-align: middle;" /></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-size: x-small;">© Ali Eslami</span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">AD: Can you explain exactly how you did this, the techniques that you used?</em></span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;">AE: I just spent some time searching through Magritte's works and choosing the ones that I could relate to and try to design a scene around. That's the point when the assets modeling begins in Cinema 4D and next comes the texturing. I import the assets to UE4 afterwards, and then the lighting process, the most complex part, is carried out. Then I start adding Interactions and sound effects. The workflow is very versatile and as I work alone sometimes it gets tough and even overwhelming to take care of every part of the project. With this project I had a Virtual Reality type of experience in mind. I hope to develop more immersive user experiences to it by facilitating VR Glasses and tracking devices, in addition to adding more scenes that include new sets of paintings.</p><div id="watch-headline-title" style="box-sizing: border-box;"><p class="yt watch-title-container" style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-weight: 700;"><span class="watch-title long-title" dir="ltr" id="eow-title" style="box-sizing: border-box;" title="Re-creation of René Magritte's Paintings (Unreal Engine 4 DEMO)">Re-creation of René Magritte's Paintings (Unreal Engine 4 DEMO)</span></span></p></div><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"> <iframe frameborder="0" height="350" src="https://www.youtube.com/embed/UJMTEQZPltQ" style="box-sizing: border-box;" width="425"></iframe><span style="box-sizing: border-box; font-weight: 700;"><br style="box-sizing: border-box;" /></span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;">All images are copyright and courtesy of <span style="box-sizing: border-box;">Ali Eslami.</span></p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"> </p><p style="box-sizing: border-box; clear: left; margin: 0px 0px 10px;"></p></div></div></div><div class="row justifyText" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px; text-align: justify;"><div class="col-md-12" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 700.771px;"><div class="panel panel-default" style="border-radius: 4px; border: 1px solid rgb(221, 221, 221); box-shadow: rgba(0, 0, 0, 0.05) 0px 1px 1px; box-sizing: border-box; margin-bottom: 20px;"><div class="panel-heading" style="background-color: whitesmoke; border-bottom: 1px solid rgb(221, 221, 221); border-left-color: rgb(221, 221, 221); border-right-color: rgb(221, 221, 221); border-top-color: rgb(221, 221, 221); border-top-left-radius: 3px; border-top-right-radius: 3px; box-sizing: border-box; padding: 10px 15px;">By <a href="https://www.artdependence.com/authors/anna-savitskaya/" style="background-color: transparent; box-sizing: border-box; color: #c71f16; text-decoration-line: none;">Anna Savitskaya</a></div><div class="panel-body" style="box-sizing: border-box; padding: 15px;">Anna is a graduate of Moscow’s Photo Academy, with a previous background in intellectual property rights. In 2012 she founded the company Perspectiva Art, dealing in art consultancy, curatorship, and the coordination of exhibitions. During the bilateral year between Russia and The Netherlands in 2013, Perspectiva Art organized a tour for a Dutch artist across Russia, as well as putting together several exhibitions in the Netherlands, curated by Anna. Since October 2014, Anna has taken an active role in the development and management of ArtDependence Magazine. Anna interviews curators and artists, in addition to reviewing books and events, and collaborating with museums and art fairs.</div></div></div></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-442729252875355962022-02-03T22:01:00.009-04:002022-02-03T22:01:59.500-04:00Van Gogh’s Self-Portraits<p><a href="https://news.artnet.com/art-world/in-pictures-van-gogh-self-portraits-london-2067402?utm_content=from_www.artnet.com&utm_source=Sailthru&utm_medium=email&utm_campaign=US%20PM%202%2F3&utm_term=US%20Daily%20Newsletter%20%5BAFTERNOON%5D" target="_blank"><span style="font-size: xx-small;"> https://news.artnet.com/art-world/in-pictures-van-gogh-self-portraits-london-2067402?utm_content=from_www.artnet.com&utm_source=Sailthru&utm_medium=email&utm_campaign=US%20PM%202%2F3&utm_term=US%20Daily%20Newsletter%20%5BAFTERNOON%5D</span></a></p><p><br /></p><div class="article-header" style="background-color: white; box-sizing: border-box; color: #333333; font-family: NeueHelvetica, Helvetica, Arial, sans-serif; font-size: 14px; margin: 0px 0px 30px;"><h1 class="article-title h1" style="box-sizing: border-box; color: inherit; font-family: inherit; font-size: 28px; font-weight: 500; letter-spacing: 2px; line-height: 38px; margin: 10px auto;">In Pictures: The Most Significant Show of Van Gogh’s Self-Portraits in a Quarter-Century Reveals His Evolving Psychic State</h1><p class="article-blurb" style="box-sizing: border-box; font-size: 17px; letter-spacing: 1px; line-height: 26px; margin: 10px auto 0px;">The works were painted in the final years of the artist's life</p><p class="article-byline" style="box-sizing: border-box; font-size: 13px; margin: 11px 0px 10px; position: relative;"><a href="https://news.artnet.com/about/vivienne-chow-1111" style="background-color: transparent; box-sizing: border-box; color: black; font-weight: 700; text-decoration-line: none;">Vivienne Chow</a>, <time datetime="2022-02-03T16:52:30+00:00" style="box-sizing: border-box;" title="Feb 3, 2022 11:52 AM">February 3, 2022</time></p></div><figure class="article-image" style="background-color: white; box-sizing: border-box; color: #333333; font-family: NeueHelvetica, Helvetica, Arial, sans-serif; font-size: 14px; margin: 0px auto 30px; text-align: center;"><img alt="Vincent van Gogh, Self-Portraits (1887)." src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portraits-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-778x1024.jpg" style="border: 0px; box-sizing: border-box; height: auto; max-width: 100%; vertical-align: middle;" title="Vincent van Gogh, Self-Portraits (1887)." /><figcaption style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 20px 15px 0px;">Vincent van Gogh, <i style="box-sizing: border-box;">Self-Portraits</i> (1887).</figcaption></figure><div class="flex-columns row" style="align-items: stretch; background-color: white; box-sizing: border-box; color: #333333; display: flex; font-family: NeueHelvetica, Helvetica, Arial, sans-serif; font-size: 14px; margin-left: -15px; margin-right: -15px;"><div class="col-md-9 col-md-push-2" style="box-sizing: border-box; float: left; left: 129.99px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 584.99px;"><div class="article-body parsed" data-post-id="2067402" style="box-sizing: border-box; letter-spacing: 1px; line-height: 23px; padding-bottom: 30px;"><p style="box-sizing: border-box; margin: 0px 0px 10px;">A newly opened exhibition at the Courtauld Gallery in London looks to offer insights into Vincent van Gogh’s ever-changing and volatile psyche.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">“Van Gogh: Self-Portraits,” curated by Karen Serres, brings together 16 works by the Dutch master from 1886 to 1889, around half of the 35 self-portraits and the two drawings that survive from the era.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">Featuring works from the Courtauld’s own collection, as well as loans from esteemed institutions worldwide, the show is the first in 25 years to assemble so many of his self-portraits, the gallery said.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">“People say that it’s difficult to know oneself… but it’s not easy to paint oneself either,” the artist wrote in September 1889 in a letter to his brother Theo.</p><div class="embedded-ad " style="box-sizing: border-box;"><div class="artnet-ad" id="mobile1-2067402-3" style="box-sizing: border-box; font-size: 0px; height: 1px; overflow: hidden; text-align: center;"></div></div><div class="wp-caption aligncenter" id="attachment_2067935" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 1034px;"><img alt="Vincent van Gogh (1853 - 1890), Self-Portrait, September 1889, National Gallery of Art, Washington DC" class="size-large wp-image-2067935" height="683" sizes="(max-width: 1024px) 100vw, 1024px" src="https://news.artnet.com/app/news-upload/2022/02/Van-Gogh-portraits-reunited-for-the-first-time-in-130-Years-at-Courtauld-Gallery-3-Matt-Crossick-PA-Wire-1024x683.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Van-Gogh-portraits-reunited-for-the-first-time-in-130-Years-at-Courtauld-Gallery-3-Matt-Crossick-PA-Wire-1024x683.jpg 1024w, https://news.artnet.com/app/news-upload/2022/02/Van-Gogh-portraits-reunited-for-the-first-time-in-130-Years-at-Courtauld-Gallery-3-Matt-Crossick-PA-Wire-300x200.jpg 300w, https://news.artnet.com/app/news-upload/2022/02/Van-Gogh-portraits-reunited-for-the-first-time-in-130-Years-at-Courtauld-Gallery-3-Matt-Crossick-PA-Wire-50x33.jpg 50w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="1024" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Courtauld staff member Aaron Stennett (l) and curator Karen Serres put the finishing touches to the installation as two of Vincent Van Gogh’s self-portraits. Courtesy of The Courtauld Gallery.</p></div><p style="box-sizing: border-box; margin: 0px 0px 10px;">The paintings can be viewed as representations of the artist’s evolving psychological and mental state, from <em style="box-sizing: border-box;">Self-Portrait with a Dark Felt Hat</em> (1886-1887), created during a spell in Paris, when he experienced a breakthrough in his artistic style, to the somber depictions he made of himself in the following years.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">Two paintings created in 1889, shortly before his death in 1890, are among the highlights of the exhibition, and are reunited for the first time in more than 130 years since they left the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence in the south of France, where <a href="https://news.artnet.com/art-world/rediscovered-van-gogh-drawing-old-man-2009920" rel="noopener" style="background-color: transparent; box-sizing: border-box; color: black;" target="_blank">the artist</a> was living at the time.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">The two self-portraits were painted in late August and early September 1889, just about a week apart, but they were vastly different.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">“The first was painted as he was still in the midst of the severe mental health crisis that had struck him in mid-July, while the second was created as he was recovering,” the gallery said.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">Sadly, <a href="https://news.artnet.com/multimedia/art-angle-podcast-re-air-van-gogh-experience-2038591" rel="noopener" style="background-color: transparent; box-sizing: border-box; color: black;" target="_blank">Van Gogh</a> did not survive much longer. “If I could have worked without this accursed disease, what things I might have done,” the artist wrote in one of last letters.</p><p style="box-sizing: border-box; margin: 0px 0px 10px;">The exhibition runs until May 8. See more images from the show below.</p><div class="wp-caption aligncenter" id="attachment_2067937" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 802px;"><img alt="Vincent van Gogh (1853 - 1890), Self-Portrait, September 1889, National Gallery of Art, Washington DC" class="size-large wp-image-2067937" height="1024" sizes="(max-width: 792px) 100vw, 792px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Felt-Hat-1886-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-792x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Felt-Hat-1886-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-792x1024.jpg 792w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Felt-Hat-1886-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-232x300.jpg 232w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Felt-Hat-1886-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-39x50.jpg 39w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Felt-Hat-1886-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-1486x1920.jpg 1486w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="792" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait </em>(September 1889).</p></div><div class="wp-caption aligncenter" id="attachment_2067938" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 872px;"><img alt="Vincent van Gogh (1853 - 1890), Self-Portrait with Bandaged Ear, January 1889, The Courtauld Gallery, London (Samuel Courtauld Trust)" class="size-large wp-image-2067938" height="1024" sizes="(max-width: 862px) 100vw, 862px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Bandaged-Ear-January-1889-The-Courtauld-Gallery-London-Samuel-Courtauld-Trust-862x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Bandaged-Ear-January-1889-The-Courtauld-Gallery-London-Samuel-Courtauld-Trust-862x1024.jpg 862w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Bandaged-Ear-January-1889-The-Courtauld-Gallery-London-Samuel-Courtauld-Trust-253x300.jpg 253w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Bandaged-Ear-January-1889-The-Courtauld-Gallery-London-Samuel-Courtauld-Trust-42x50.jpg 42w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="862" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait with Bandaged Ear</em> (January 1889).</p></div><div class="wp-caption aligncenter" id="attachment_2067945" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 838px;"><img alt="Vincent van Gogh, (1853 - 1890), Self-Portrait with Straw Hat, August - September 1887, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)" class="size-large wp-image-2067945" height="1024" sizes="(max-width: 828px) 100vw, 828px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Straw-Hat-August-September-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-828x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Straw-Hat-August-September-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-828x1024.jpg 828w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Straw-Hat-August-September-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-242x300.jpg 242w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Straw-Hat-August-September-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-40x50.jpg 40w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Straw-Hat-August-September-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-1552x1920.jpg 1552w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="828" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait With Straw Hat (</em>August – September 1887).</p></div><div class="wp-caption aligncenter" id="attachment_2067950" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 869px;"><img alt="Vincent van Gogh Dutch, 1853-1890 Self-Portrait, c. 1887 Wadsworth Atheneum Museum of Art Gift of Philip L. Goodwin in memory of his mother, Josephine S. Goodwin, 1954.189." class="size-large wp-image-2067950" height="1024" sizes="(max-width: 859px) 100vw, 859px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-summer-1887-Wadsworth-Atheneum-Museum-of-Art-Hartford-Conn.-859x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-summer-1887-Wadsworth-Atheneum-Museum-of-Art-Hartford-Conn.-859x1024.jpg 859w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-summer-1887-Wadsworth-Atheneum-Museum-of-Art-Hartford-Conn.-252x300.jpg 252w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-summer-1887-Wadsworth-Atheneum-Museum-of-Art-Hartford-Conn.-42x50.jpg 42w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="859" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait</em> (c. 1887).</p></div><div class="wp-caption aligncenter" id="attachment_2067951" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 797px;"><img alt="Vincent van Gogh (1853 - 1890), Self-Portrait as a Painter, December - February 1888, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)" class="size-large wp-image-2067951" height="1024" sizes="(max-width: 787px) 100vw, 787px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-as-a-Painter-December-February-1888-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-787x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-as-a-Painter-December-February-1888-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-787x1024.jpg 787w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-as-a-Painter-December-February-1888-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-231x300.jpg 231w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-as-a-Painter-December-February-1888-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-38x50.jpg 38w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-as-a-Painter-December-February-1888-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-1476x1920.jpg 1476w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="787" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait as a Painter</em> (December–February 1888).</p></div><div class="wp-caption aligncenter" id="attachment_2067942" style="box-sizing: border-box; margin: 5px auto; max-width: 100%; padding: 5px 0px; text-align: center; width: 855px;"><img alt="Vincent van Gogh (1853 - 1890), Self-Portrait with Grey Felt Hat, September - October 1887, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)" class="size-large wp-image-2067942" height="1024" sizes="(max-width: 845px) 100vw, 845px" src="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Grey-Felt-Hat-September-October-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-845x1024.jpg" srcset="https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Grey-Felt-Hat-September-October-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-845x1024.jpg 845w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Grey-Felt-Hat-September-October-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-247x300.jpg 247w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Grey-Felt-Hat-September-October-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-41x50.jpg 41w, https://news.artnet.com/app/news-upload/2022/02/Vincent-van-Gogh-1853-1890-Self-Portrait-with-Grey-Felt-Hat-September-October-1887-Van-Gogh-Museum-Amsterdam-Vincent-van-Gogh-Foundation-1583x1920.jpg 1583w" style="border: 0px; box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px; vertical-align: middle; width: auto;" width="845" /><p class="wp-caption-text" style="box-sizing: border-box; color: #7f7f7f; font-size: 12px; line-height: 18px; margin: 0px; padding: 15px 4px;">Vincent van Gogh, <em style="box-sizing: border-box;">Self-Portrait with Grey Felt Hat</em> (September – October 1887).</p></div><br style="box-sizing: border-box;" /><em style="box-sizing: border-box;">Follow <a href="https://www.facebook.com/artnet" style="background-color: transparent; box-sizing: border-box; color: black;" target="_blank">Artnet News</a> on Facebook:</em><br style="box-sizing: border-box;" /><p style="box-sizing: border-box; margin: 0px 0px 10px;"></p><iframe allowtransparency="true" frameborder="0" height="28" scrolling="no" src="https://www.facebook.com/plugins/like.php?href=https%3A%2F%2Ffacebook.com%2Fartnet&width=156&layout=button_count&action=like&size=large&show_faces=false&share=false&height=46&colorscheme=dark&appId=1094996403930552" style="border-style: none; 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Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.</a></em></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-74398501966899319802021-11-03T19:11:00.005-04:002021-11-03T19:11:56.323-04:0012 Artists On: Climate Change<p> </p><p>https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html</p><header class="css-hsrquo euiyums1" style="background-color: white; border: 0px; color: #333333; font-size: 24px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 3.75rem 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1vkm6nb ehdk2mb0" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><h1 class="css-1uvwfp1 e1h9rw200" data-testid="headline" id="link-c85a444" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 3rem; font-stretch: inherit; font-variant: inherit; line-height: 3.375rem; margin: 0px auto 1rem calc((100% - 600px) / 2); max-width: none; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline; width: 660px;">12 Artists On: Climate Change</h1></div><p class="css-15tk4ly e1wiw3jv0" id="article-summary" style="border: 0px; font-family: nyt-fact-deck, georgia, "times new roman", times, serif; font-size: 1.5625rem; font-stretch: normal; font-variant: inherit; letter-spacing: 0.01em; line-height: 2.0625rem; margin: 0px auto 1.875rem; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">A dozen artistic responses to one of the greatest threats of our time.</p><div class="css-10cldcv" style="border: 0px; font: inherit; margin: 0px auto; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div class="css-1en1d6b" data-testid="share-toolbar" style="border-bottom-color: rgb(235, 235, 235); 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vertical-align: baseline;"><span class="byline-prefix" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">By </span><span class="css-1baulvz last-byline" itemprop="name" style="border: 0px; display: inline-block; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Zoë Lescaze</span></p></div></div></div><div class="css-1cqo4d" style="border: 0px; display: flex; font: inherit; margin: 0.25rem auto 1.25rem; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><time class="css-1m4as72 e16638kd0" datetime="2018-08-22T11:02:32-04:00" style="border: 0px; display: inline-block; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: auto;">Aug. 22, 2018</time></div></header><section class="meteredContent css-1r7ky0e" name="articleBody" style="background-color: white; border: 0px; color: #333333; font-size: 24px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 755.556px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Human-induced climate change, which certain politicians deny and many of us choose to ignore, threatens the survival of every species on Earth. If emissions continue at their current rate, scientists anticipate widespread coastal land loss, agricultural and economic collapse, food and water shortages, frequent and severe natural disasters, and unprecedented refugee crises. For the third installment of our series </em><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><a class="css-1g7m0tk" href="https://www.nytimes.com/2018/06/19/t-magazine/immigration-art.html" style="border: 0px; color: #326891; font: inherit; margin: 0px; padding: 0px; text-decoration-color: rgb(50, 104, 145); text-decoration-style: solid; text-decoration-thickness: 1px; text-size-adjust: 100%; vertical-align: baseline;" title="">T Agitprop</a></em><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">, we asked 12 contemporary artists, including Alexis Rockman, Mel Chin, Erin Jane Nelson and the members of the collective Dear Climate, to contribute works, most of them new and created exclusively for T, in response to this global emergency. Here are their pieces and statements.</em></p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-79elbk" data-testid="photoviewer-wrapper" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-z3e15g" data-testid="photoviewer-wrapper-hidden" style="border: 0px; font: inherit; inset: 0px; margin: 0px; opacity: 0; padding: 0px; pointer-events: none; position: fixed; text-size-adjust: 100%; transition: opacity 0.2s ease 0s; vertical-align: baseline;"></div><div class="css-1q1nwj9 e11si9ry2" data-testid="photoviewer-children" height="400.1940612792969px" style="border: 0px; 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font: inherit; height: 400.194px; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; transition: width 0.2s ease 0s, height 0.2s ease 0s, margin 0.2s ease 0s; vertical-align: baseline; width: 600px; z-index: 1;" width="600px"><div style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; transition: visibility 0s ease 0.5s; vertical-align: baseline; visibility: hidden;"><div class="css-8h527k" data-testid="lazy-image" style="animation: 300ms ease-in 0s 1 normal forwards running animation-1m9j9gf; background-color: #f7f7f5; border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: 400.194px; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;" /></div></div></div><button aria-label="Expand image captioned Mel Chin’s “Unmoored” in Times Square, New York City, 2018." class="css-1vkv6l7 e11si9ry0" data-testid="photoviewer-expand-button" style="appearance: button; border-color: initial; border-style: none; border-width: initial; bottom: 10px; cursor: pointer; font-size: 24px; height: 60px; margin: 0px; opacity: 0; padding: 0px; pointer-events: none; position: absolute; right: 10px; transition: opacity 0.3s ease 0s; vertical-align: middle; width: 60px;"><svg fill="none" height="60" viewbox="0 0 60 60" width="60"><circle cx="30" cy="30" fill-opacity="0.5" fill="#000" r="30"></circle><path clip-rule="evenodd" d="M23.9665 37.3668L26.5997 40H20V33.4003L22.6332 36.0335L26.6667 32L28 33.3333L23.9665 37.3668Z" fill-rule="evenodd" fill="#fff"></path><path clip-rule="evenodd" d="M36.0335 22.6332L33.4003 20H40V26.5997L37.3668 23.9665L33.3333 28L32 26.6667L36.0335 22.6332Z" fill-rule="evenodd" fill="#fff"></path></svg></button></div></div></div><div class="css-1a48zt4 e11si9ry5" data-testid="photoviewer-children" style="border: 0px; font: inherit; margin: 0px; opacity: 1; padding: 0px; text-size-adjust: 100%; transition: opacity 0.3s ease 0.2s; vertical-align: baseline;"><figure aria-label="media" class="img-sz-medium css-r4267t e1g7ppur0" role="group" style="border: 0px; font: inherit; margin: 1.875rem auto 2.6875rem; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: auto;"><div class="css-1xdhyk6 erfvjey0" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Image</span><img alt="Mel Chin’s “Unmoored” in Times Square, New York City, 2018." class="css-r3fift" decoding="async" height="400" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-MTTB/21tmag-agitprop-slide-MTTB-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" width="600" /></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Mel Chin’s “Unmoored” in Times Square, New York City, 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Aundre Larrow. Artwork courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 868.188px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-4d860a8f" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Mel Chin</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in Houston, Tex., in 1951.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">New York City climate-change scenarios project that by 2100 water levels will rise by up to six feet. While this possibility is a long way off, what we do in the present will affect the future and determine the outcome of rising oceans.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Studies reveal that electronic devices and internet use impair empathy. Conversely, natural and social tragedies like hurricanes and school shootings can rekindle it and inspire us to act, motivating students to mobilize and strangers to assist strangers. “Unmoored” is a downloadable app that places the phenomenon of rising sea levels within our electronic devices.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-qlhgae" id="story-ad-1-wrapper" style="background-color: #f7f7f7; border-bottom-color: rgb(243, 243, 243); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: rgb(243, 243, 243); border-top-style: solid; border-width: 1px 0px; font: inherit; margin: 43px auto; min-height: 280px; padding: 12px 0px 30px; text-align: center; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-l9onyx" id="story-ad-1-slug" style="border: 0px; color: #cccccc; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.5625rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.05rem; line-height: 0.5625rem; margin: 0px 0px 9px; padding: 0px; text-size-adjust: 100%; text-transform: uppercase; vertical-align: baseline;"><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">ADVERTISEMENT</p></div><a class="css-1ly73wi" href="https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html#after-story-ad-1" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); color: black; font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Continue reading the main story</a><div class="ad story-ad-1-wrapper css-rfqw0c" data-google-query-id="CKPImouo_fMCFbSNlQIdg1oHoA" id="story-ad-1" style="border: 0px; font: inherit; height: 250px; margin: 0px; min-height: 250px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div id="google_ads_iframe_/29390238/nyt/tmagazine_3__container__" style="border: 0pt none; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><iframe data-google-container-id="3" data-load-complete="true" frameborder="0" height="250" id="google_ads_iframe_/29390238/nyt/tmagazine_3" marginheight="0" marginwidth="0" name="google_ads_iframe_/29390238/nyt/tmagazine_3" scrolling="no" style="border-style: initial; border-width: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: bottom;" title="3rd party ad content" width="970"></iframe></div></div><div id="after-story-ad-1" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 954.361px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Those who download the app and look up through their phones in Times Square can experience an incoming flotilla of boats of all kinds make its way around existing buildings and create a nautical traffic jam above. The boats occasionally bump into each other, breaking the silence of a surreal floating canopy. Enlarged forms of plankton appear and seem to seek connection with the human audience. Because augmented and mixed reality formats use the real world as backdrops, inserting an apparition of the future on devices puts a phenomenological experience into the hands of the individual.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">“Unmoored” is a work designed to engender a moment of awe, one that offers a glimpse into the future, witnessed through the technology of the present.</p><div aria-live="polite" class="css-1jg868a" data-testid="inline-message" style="border: 0px; box-sizing: border-box; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 15px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; 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font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Xavier Cortada’s “Underwater HOA, Marker 8,” 2018, part of a site-specific, participatory art installation.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Josh Liberman. Artwork photographed by Guido H. Inguanzo, Jr., courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1023.47px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-47f14371" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Xavier Cortada</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in Albany, N.Y., in 1964.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">In response<span class="css-8qgvsz ebyp5n10" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"> </span>to South Florida’s vulnerability to rising sea levels, the village of Pinecrest, Florida will encourage its 6,000 households to install an “Underwater HOA” yard sign (similar to the 18- by 24-inch “Home for Sale” yard signs used by realtors) on their front lawns during the first week of December. I numbered each yard sign from 0 to 17 feet (the municipality’s land elevation range) to show how many feet of melted glacial water must rise before a particular property is underwater. The backdrops of the signs are watercolor paintings I made in Antarctica while a fellow with the National Science Foundation Antarctic Artist & Writers Program in 2006. These paintings were created using water from the very glaciers that threaten to melt and drown Miami.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-qlhgae" id="story-ad-2-wrapper" style="background-color: #f7f7f7; border-bottom-color: rgb(243, 243, 243); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: rgb(243, 243, 243); border-top-style: solid; border-width: 1px 0px; font: inherit; margin: 43px auto; min-height: 280px; padding: 12px 0px 30px; text-align: center; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-l9onyx" id="story-ad-2-slug" style="border: 0px; color: #cccccc; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.5625rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.05rem; line-height: 0.5625rem; margin: 0px 0px 9px; padding: 0px; text-size-adjust: 100%; text-transform: uppercase; vertical-align: baseline;"><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">ADVERTISEMENT</p></div><a class="css-1ly73wi" href="https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html#after-story-ad-2" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); color: black; font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Continue reading the main story</a><div class="ad story-ad-2-wrapper css-rfqw0c" data-google-query-id="CLHCxY-o_fMCFSa6lQIdKzgIxw" id="story-ad-2" style="border: 0px; font: inherit; height: 250px; margin: 0px; min-height: 250px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div id="google_ads_iframe_/29390238/nyt/tmagazine_4__container__" style="border: 0pt none; display: inline-block; font: inherit; height: 250px; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 970px;"><iframe data-google-container-id="5" data-is-safeframe="true" data-load-complete="true" frameborder="0" height="250" id="google_ads_iframe_/29390238/nyt/tmagazine_4" marginheight="0" marginwidth="0" name="" sandbox="allow-forms allow-popups allow-popups-to-escape-sandbox allow-same-origin allow-scripts allow-top-navigation-by-user-activation" scrolling="no" src="https://31d05979330a2ed30553ee16b98b2825.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html" style="border-style: initial; border-width: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: bottom;" title="3rd party ad content" width="970"></iframe></div></div><div id="after-story-ad-2" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1073.47px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">By mapping the impending crisis, I make the invisible visible. Block by block, house by house, neighbor by neighbor, I want to make the future impact of sea level rise something impossible to ignore. By asking participants to join the newly chartered group Underwater HOA, I hope to engage my neighbors as problem solvers who will learn and work together now to better prepare themselves and their heirs for the chaos to come. Our inaugural meeting is scheduled to take place a month after the signs have come down, on January 9, 2019 at 7 p.m., at my studio in Pinecrest Gardens. We will elect officers and ratify the bylaws. One vote per household. 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font: inherit; margin: 2.6875rem auto; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: auto;"><div class="css-1xdhyk6 erfvjey0" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Image</span><div class="css-8h527k" data-testid="lazy-image" style="animation: 300ms ease-in 0s 1 normal forwards running animation-1m9j9gf; background-color: #f7f7f5; border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="“Dear Climate: Power to the Porous,” 2018, by (from top) Marina Zurkow, Una Chaudhuri and Oliver Kellhammer, known collectively as Dear Climate." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-TJB7/21tmag-agitprop-slide-TJB7-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-TJB7/21tmag-agitprop-slide-TJB7-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-TJB7/21tmag-agitprop-slide-TJB7-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-TJB7/21tmag-agitprop-slide-TJB7-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">“Dear Climate: Power to the Porous,” 2018, by (from top) Marina Zurkow, Una Chaudhuri and Oliver Kellhammer, known collectively as Dear Climate.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Artwork courtesy of the artists and Bitforms Gallery.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1810.01px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-47ca40f" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Dear Climate</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Marina Zurkow, born in New York, N.Y., in 1962; Una Chaudhuri, born in Dehradun, India, in 1951; Oliver Kellhammer, born in Kitchener, Ontario,</em><span class="css-8qgvsz ebyp5n10" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"> </em></span><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">in 1959.</em><span class="css-8qgvsz ebyp5n10" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"></em></span></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">The Dear Climate project began with a desire to expand the social conversation about climate change by engaging people’s imaginations and feelings about the nonhuman world. “Retool your inner climate,” one of our early slogans suggested. Moving beyond the fear and guilt that dominates the climate conversation, we wanted — as our name implies — to cultivate a sense of affection for the climate, and to recognize its ancient and complex relationship to human cultures. Our goal was to nudge aside the modern habit of thinking of nature and culture as opposites, which leads us to forget that we are earthlings, one species among many that share this planet. Dear Climate dwells on the deep entanglements of our species with not only animals, but also plants, minerals, organic matter and the bio-geo-physical systems (including climate) that govern the Earth. Highlighting this aspect of human life could help to mend the broken connections, or restore the lost understandings, that have put us on a collision course with our own home planet. This poster is meant to encourage viewers to consider the following questions: Can you give up some of your separateness? Can you take other forms and merge with other beings? Can you have less distinct edges? Can you embrace your inherent porousness as an earthly organism?</p><hr class="css-7daw59 e1mu4ftr0" style="border-bottom: 0px; border-image: initial; border-left: 0px; border-right: 0px; border-top-color: rgb(226, 226, 226); border-top-style: solid; margin: 30px 0px 0px; max-width: 100%; width: 600px;" /></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-79elbk" data-testid="photoviewer-wrapper" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-z3e15g" data-testid="photoviewer-wrapper-hidden" style="border: 0px; font: inherit; 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text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: 400.194px; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;" /></div></div></div><button aria-label="Expand image captioned Zaria Forman’s “Arctic Ocean (Northwest off the coast of Ellesmere Island, CAN), 83° 19’ 44.976”N, 79° 18’ 22.957”W, July 17th, 2017,” 2018." class="css-1vkv6l7 e11si9ry0" data-testid="photoviewer-expand-button" style="appearance: button; border-color: initial; border-style: none; border-width: initial; bottom: 10px; cursor: pointer; font-size: 24px; height: 60px; margin: 0px; opacity: 0; padding: 0px; pointer-events: none; position: absolute; right: 10px; transition: opacity 0.3s ease 0s; vertical-align: middle; width: 60px;"><svg fill="none" height="60" viewbox="0 0 60 60" width="60"><circle cx="30" cy="30" fill-opacity="0.5" fill="#000" r="30"></circle><path clip-rule="evenodd" d="M23.9665 37.3668L26.5997 40H20V33.4003L22.6332 36.0335L26.6667 32L28 33.3333L23.9665 37.3668Z" fill-rule="evenodd" fill="#fff"></path><path clip-rule="evenodd" d="M36.0335 22.6332L33.4003 20H40V26.5997L37.3668 23.9665L33.3333 28L32 26.6667L36.0335 22.6332Z" fill-rule="evenodd" fill="#fff"></path></svg></button></div></div></div><div class="css-1a48zt4 e11si9ry5" data-testid="photoviewer-children" style="border: 0px; font: inherit; margin: 0px; opacity: 1; padding: 0px; text-size-adjust: 100%; transition: opacity 0.3s ease 0.2s; vertical-align: baseline;"><figure aria-label="media" class="img-sz-medium css-1l3p632 e1g7ppur0" role="group" style="border: 0px; font: inherit; margin: 2.6875rem auto; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: auto;"><div class="css-1xdhyk6 erfvjey0" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Image</span><div class="css-8h527k" data-testid="lazy-image" style="animation: 300ms ease-in 0s 1 normal forwards running animation-1m9j9gf; background-color: #f7f7f5; border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Zaria Forman’s “Arctic Ocean (Northwest off the coast of Ellesmere Island, CAN), 83° 19’ 44.976”N, 79° 18’ 22.957”W, July 17th, 2017,” 2018." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-HNEG/21tmag-agitprop-slide-HNEG-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Zaria Forman’s “Arctic Ocean (Northwest off the coast of Ellesmere Island, CAN), 83° 19’ 44.976”N, 79° 18’ 22.957”W, July 17th, 2017,” 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Drew Denny. Artwork courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 756.802px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-ebae1c6" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Zaria Forman</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in South Natick, Mass., in 1982.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">“Arctic Ocean” is a pastel drawing on paper that depicts an aerial view of summer sea ice off the northwest coast of Ellesmere Island, Canada. The inspiration for the piece came from several flights I took with IceBridge, a NASA operation that has been mapping the ice at both poles for over a decade. The data that IceBridge collects provides crucial information on how our polar regions are responding to climate change, helping scientists to predict the effects ice melt will have on rising sea levels and the global climate system.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1r07izm" id="story-ad-3-wrapper" style="background-color: #f7f7f7; border-bottom-color: rgb(243, 243, 243); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: rgb(243, 243, 243); border-top-style: solid; border-width: 1px 0px; font: inherit; margin: 43px auto; padding: 12px 0px 30px; text-align: center; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-l9onyx" id="story-ad-3-slug" style="border: 0px; color: #cccccc; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.5625rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.05rem; line-height: 0.5625rem; margin: 0px 0px 9px; padding: 0px; text-size-adjust: 100%; text-transform: uppercase; vertical-align: baseline;"><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">ADVERTISEMENT</p></div><a class="css-1ly73wi" href="https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html#after-story-ad-3" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); color: black; font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Continue reading the main story</a><div class="ad story-ad-3-wrapper css-rfqw0c" data-google-query-id="CJay5Zio_fMCFbCSlQIdyaYCnA" id="story-ad-3" style="border: 0px; font: inherit; height: 89.9918px; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div id="google_ads_iframe_/29390238/nyt/tmagazine_5__container__" style="border: 0pt none; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><iframe data-google-container-id="6" data-load-complete="true" frameborder="0" height="90" id="google_ads_iframe_/29390238/nyt/tmagazine_5" marginheight="0" marginwidth="0" name="google_ads_iframe_/29390238/nyt/tmagazine_5" scrolling="no" style="border-style: initial; border-width: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: bottom;" title="3rd party ad content" width="728"></iframe></div></div><div id="after-story-ad-3" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 564.318px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">My work, including “Arctic Ocean,” aims to illuminate this data through a medium that can move us in a way that statistics cannot. The remote regions I draw are the keystones of climate change but are inaccessible to most people. I draw as much precise detail as I can in order to transport the viewer to a place that is otherwise distant and abstract. I convey the beauty of these vulnerable landscapes, as opposed to their devastation, to inspire viewers to help protect and preserve them.</p><hr class="css-7daw59 e1mu4ftr0" style="border-bottom: 0px; border-image: initial; border-left: 0px; border-right: 0px; border-top-color: rgb(226, 226, 226); border-top-style: solid; margin: 30px 0px 0px; max-width: 100%; width: 600px;" /></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-79elbk" data-testid="photoviewer-wrapper" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-z3e15g" data-testid="photoviewer-wrapper-hidden" style="border: 0px; 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vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Allison Janae Hamilton’s “Brecencia and Pheasant III,” 2018." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-LAJ9/21tmag-agitprop-slide-LAJ9-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-LAJ9/21tmag-agitprop-slide-LAJ9-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-LAJ9/21tmag-agitprop-slide-LAJ9-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-LAJ9/21tmag-agitprop-slide-LAJ9-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Allison Janae Hamilton’s “Brecencia and Pheasant III,” 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Darcy Rogers. Artwork courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1699.17px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-2c96b6b2" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Allison Janae Hamilton</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in Lexington,</em><span class="css-8qgvsz ebyp5n10" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"> </em></span><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Ky., in 1984.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">I am curious about the ways that landscape contributes to social, political and psychic ideas of space, particularly within the rural American South. I consider landscape’s role in Americana and how the natural environment functions in the drama of American life. In my treatment of land, the natural environment is the central protagonist in the unfolding history of this nation and our contemporary culture. My approach to climate change focuses on how the increasing vulnerability of the environment is directly related to that of certain communities that live within it, on how climate-related natural disasters illuminate existing social and political inequality.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">I’ve been exploring these ideas primarily in my home regions — I was born in Kentucky, raised in Florida and my maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. I made “Brecencia and Pheasant III” in North Florida, as part of an ongoing collection of works seeking to animate the land as a guide and witness by staging a series of environmental portraits. These photographs and videos feature a cast of mythical characters based on family stories and folk tales from the region. Each character responds to the changing environment in distinct ways — from curiosity, to grief, to rage.</p><hr class="css-7daw59 e1mu4ftr0" style="border-bottom: 0px; border-image: initial; border-left: 0px; border-right: 0px; border-top-color: rgb(226, 226, 226); border-top-style: solid; margin: 30px 0px 0px; max-width: 100%; width: 600px;" /></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1r07izm" id="story-ad-4-wrapper" style="background-color: #f7f7f7; border-bottom-color: rgb(243, 243, 243); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; 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vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Bharti Kher’s “The Intermediaries (6),” 2016." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-Z1KW/21tmag-agitprop-slide-Z1KW-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-Z1KW/21tmag-agitprop-slide-Z1KW-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-Z1KW/21tmag-agitprop-slide-Z1KW-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-Z1KW/21tmag-agitprop-slide-Z1KW-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Bharti Kher’s “The Intermediaries (6),” 2016.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Susan Silas. Artwork courtesy of Perrotin, photographed by Alex Delfanne.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 699.449px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-d6e8168" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Bharti Kher</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in London, United Kingdom, in 1969.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">“The Intermediaries” are half-spectral things and warnings for the indifferent.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">We seem to be pushing our planet, and the other creatures on it, to the edge, and we turn our stories about climate change and our destruction of resources into our excuses of survival and need.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Mother Nature is more powerful than us all. 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vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Mary Mattingly’s “Between Bears Ears and Daneros Mine,” 2018." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-NLK1/21tmag-agitprop-slide-NLK1-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-NLK1/21tmag-agitprop-slide-NLK1-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-NLK1/21tmag-agitprop-slide-NLK1-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-NLK1/21tmag-agitprop-slide-NLK1-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Mary Mattingly’s “Between Bears Ears and Daneros Mine,” 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Rebekah Schott. Artwork © Mary Mattingly, courtesy of Robert Mann Gallery.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1712.63px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-f6ccb0d" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Mary Mattingly</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in Rockville, Conn., in 1978.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">This photograph was taken in Utah, at a point equidistant from Bears Ears National Monument and Daneros Uranium Mine. A recent order by President Donald J. Trump shrank the boundaries of Bears Ears National Monument by nearly 700,000 acres, and it seems likely that more mining will come to the area. The text on the pine box is from Samuel Beckett’s 1953 novel The Unnamable. “It is because there is nothing. It is because I have no Eyes.” Here, in this context, the excerpt prompts us to ask: What do people see when they experience this land, and what is hidden? The objects in the photograph — clays used for pigments, tools containing uranium, copper used in bullets — were found in the area, and expose its contradictions: Extraction and smelting processes toxify the land and its dependents, while the extracted elements are simultaneously necessary to create the goods that sustain many ways of life.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Most of my work is environmental, ranging from “Swale” (2016-2018) — a floating food forest on a barge (currently docked at the Brooklyn Army Terminal) where people can freely forage — to “Along the Lines of Displacement” (2018), which consists of several palm trees transplanted from Florida to Storm King Art Center in New York, and speaks to climate migration while speculating on the future of the region at the turn of this century, just over 80 years from now.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; 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margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Eve Mosher’s “Liquid City: Now and Then,” 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1832.51px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-7f0daa2d" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Eve Mosher</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born</em><span class="css-8qgvsz ebyp5n10" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"> </em></span><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">in Delaware, Ohio, in 1969.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Climate change is a wicked problem, and it affects everything else that we are grappling with on a daily basis: social justice, housing, immigration, food and water access. Artists have the capacity to shape climate communications, solutions and engagement. We can use our unique skill sets to heal communities, tackle complex challenges and even create innovative answers. For me, comprehending the science is the first step in defining a project. Understanding the impacts, predictions, remediation and adaptation help to ground the work in reality.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Much of my work is focused on the waterways that surround us. This image is based on the research I have undertaken to better understand New York City’s urban waterways. This research includes the mapping of these waterways now and at the end of this century, when scientists from the National Oceanic and Atmospheric Administration expect sea levels to have risen by about six feet. I have also been mapping myriad aspects of the waterways, including how they intersect and influence one another, and I have been getting to know professionals shaping the future of the water, as well as people who use the city’s waterways recreationally and who understand them through decades of experience and intimate observation. Through all of this, I aim to ignite radical ideas for the future of the waterways in light of the climate chaos we are already witnessing.</p><hr class="css-7daw59 e1mu4ftr0" style="border-bottom: 0px; border-image: initial; border-left: 0px; border-right: 0px; border-top-color: rgb(226, 226, 226); border-top-style: solid; margin: 30px 0px 0px; max-width: 100%; width: 600px;" /></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-79elbk" data-testid="photoviewer-wrapper" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-z3e15g" data-testid="photoviewer-wrapper-hidden" style="border: 0px; 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font: inherit; margin: 0px; opacity: 1; padding: 0px; text-size-adjust: 100%; transition: opacity 0.3s ease 0.2s; vertical-align: baseline;"><figure aria-label="media" class="img-sz-medium css-1l3p632 e1g7ppur0" role="group" style="border: 0px; font: inherit; margin: 2.6875rem auto; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: auto;"><div class="css-1xdhyk6 erfvjey0" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Image</span><div class="css-8h527k" data-testid="lazy-image" style="animation: 300ms ease-in 0s 1 normal forwards running animation-1m9j9gf; background-color: #f7f7f5; border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Erin Jane Nelson’s “Brackish TimePiece,” 2018." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-5ZM1/21tmag-agitprop-slide-5ZM1-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-5ZM1/21tmag-agitprop-slide-5ZM1-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-5ZM1/21tmag-agitprop-slide-5ZM1-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-5ZM1/21tmag-agitprop-slide-5ZM1-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Erin Jane Nelson’s “Brackish TimePiece,” 2018.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Sarah McMenimen. Artwork courtesy of the artist.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 890.135px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-1020b91e" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Erin Jane Nelson</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in Neenah, Wis., in 1989.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Making artwork about climate change is inextricably tied to the history of human intervention in lands and waterways. In the Southeast, where I live, that means contending with the history of colonization, war, the slave trade and mass industrialization as a backdrop to the onslaught of droughts, super storms and rising tides of the ecological future. I’ve been traveling to barrier islands from the Mid-Atlantic down and around to the Gulf of Mexico, because these sites are not only rapidly changing from the acceleration of climate change and rising sea levels but also bear the marks of the violent history of America.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1r07izm" id="story-ad-6-wrapper" style="background-color: #f7f7f7; border-bottom-color: rgb(243, 243, 243); border-bottom-style: solid; border-image: initial; border-left-color: initial; border-left-style: initial; border-right-color: initial; border-right-style: initial; border-top-color: rgb(243, 243, 243); border-top-style: solid; border-width: 1px 0px; font: inherit; margin: 43px auto; padding: 12px 0px 30px; text-align: center; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-l9onyx" id="story-ad-6-slug" style="border: 0px; color: #cccccc; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.5625rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.05rem; line-height: 0.5625rem; margin: 0px 0px 9px; padding: 0px; text-size-adjust: 100%; text-transform: uppercase; vertical-align: baseline;"><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">ADVERTISEMENT</p></div><a class="css-1ly73wi" href="https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html#after-story-ad-6" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); color: black; font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Continue reading the main story</a><div class="ad story-ad-6-wrapper css-rfqw0c" data-google-query-id="CMfs0aKo_fMCFfO0lQId8SEBaQ" id="story-ad-6" style="border: 0px; font: inherit; height: 89.9918px; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div id="google_ads_iframe_/29390238/nyt/tmagazine_8__container__" style="border: 0pt none; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><iframe data-google-container-id="9" data-load-complete="true" frameborder="0" height="90" id="google_ads_iframe_/29390238/nyt/tmagazine_8" marginheight="0" marginwidth="0" name="google_ads_iframe_/29390238/nyt/tmagazine_8" scrolling="no" style="border-style: initial; border-width: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: bottom;" title="3rd party ad content" width="728"></iframe></div></div><div id="after-story-ad-6" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1319.87px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">I wanted to document this sculpture on Daufuskie Island in South Carolina, which was originally a home to indigenous Muscogee peoples before being invaded by Europeans. The island then became part of the slave plantation economy until the Civil War. Following the War, freed slaves turned the island into their home, and the Gullah Geechee identity and culture that developed throughout the Lowcountry region thrived there for decades until wealthy white vacationers began to reclaim the island as their personal playground around the 1980s. I traveled with this piece from Atlanta in a ferry down the Intracoastal Waterway and then in a rickety golf cart to the island’s public beach. I washed her in the hot salty waves and then I stripped down to my underwear and flung myself into the ocean too. The water was so warm, almost bathlike, and I floated and bobbed along the shore, the McMansions behind me partially obscured by trees covered in Spanish moss, and in front of me, a horizon dotted only by a handful of tankers pulling cargo into port. My barrier island works are markers, clocks, fragile emblems, souvenirs of places that exist in conflict with their past and in defiance of their future.</p><hr class="css-7daw59 e1mu4ftr0" style="border-bottom: 0px; border-image: initial; border-left: 0px; border-right: 0px; border-top-color: rgb(226, 226, 226); border-top-style: solid; margin: 30px 0px 0px; max-width: 100%; width: 600px;" /></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-79elbk" data-testid="photoviewer-wrapper" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-z3e15g" data-testid="photoviewer-wrapper-hidden" style="border: 0px; 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vertical-align: baseline; width: 600px;"><div data-testid="lazyimage-container" style="border: 0px; cursor: pointer; font: inherit; height: auto; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><img alt="Alexis Rockman’s “Tree of Extinction,” 2018, which includes Dimetrodon, extinct 242 million years ago; Elkhorn coral, critically endangered; Dodo, the last of which was killed in Mauritius in 1681; Thylacine, extinct Tasmania, 1936; Bornean Orangutan, critically endangered." class="css-1m50asq" decoding="async" loading="lazy" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw" src="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-G60B/21tmag-agitprop-slide-G60B-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcset="https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-G60B/21tmag-agitprop-slide-G60B-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-G60B/21tmag-agitprop-slide-G60B-jumbo.jpg?quality=75&auto=webp 1024w,https://static01.nyt.com/images/2018/08/21/t-magazine/21tmag-agitprop-slide-G60B/21tmag-agitprop-slide-G60B-superJumbo.jpg?quality=75&auto=webp 2048w" style="border: 0px; font: inherit; height: auto; margin: 0px; max-width: 100%; opacity: 1; padding: 0px; text-size-adjust: 100%; vertical-align: top; width: 600px;" /></div></div></div><figcaption class="css-1l44abu ewdxa0s0" style="border: 0px; color: #666666; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 10px 20px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span aria-hidden="true" class="css-1l9o2ey e13ogyst0" style="border: 0px; color: #333333; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.9375rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px 7px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Alexis Rockman’s “Tree of Extinction,” 2018, which includes Dimetrodon, extinct 242 million years ago; Elkhorn coral, critically endangered; Dodo, the last of which was killed in Mauritius in 1681; Thylacine, extinct Tasmania, 1936; Bornean Orangutan, critically endangered.</span><span class="css-1nlbvxy e1z0qqy90" style="border: 0px; display: inline; font-family: nyt-kippenberger, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; letter-spacing: 0.02em; line-height: 1.125rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><span class="css-1ly73wi e1tej78p0" style="border: 0px; clip: rect(0px, 0px, 0px, 0px); font: inherit; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; text-size-adjust: 100%; vertical-align: baseline; width: 1px;">Credit...</span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Portrait by Dorothy Spears. Artwork courtesy of Sperone Westwater, New York.</span></span></figcaption></figure></div></div></div><div class="css-s99gbd StoryBodyCompanionColumn" style="border: 0px; display: flex; flex-direction: row; font: inherit; height: 1579.3px; margin: 0px auto 1rem; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 1110px;"><div class="css-53u6y8" style="border: 0px; font: inherit; margin: 0px 0px 0px calc((100% - 600px) / 2); padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><h2 class="css-146fa4k eoo0vm40" id="link-4b67b02c" style="border: 0px; color: #121212; font-family: nyt-fact-display, georgia, "times new roman", times, serif; font-size: 1.875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 2.25rem; margin: 1.1875rem auto 1.25rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">Alexis Rockman</h2><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><em class="css-2fg4z9 e1gzwzxm0" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Born in New York, N.Y., in 1962.</em></p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">I first heard the words “climate change” in 1994 when I asked a paleontologist friend “What are you afraid of for our future?” He mentioned climate change and told me why he was scared. I was terrified but hopeful that we could rally as a species and avoid disaster. A lot has changed since then — mainly, from an environmental perspective — for the worse. I used to hope that knowledge and information would open our eyes to environmental devastation and that we would save the world.</p><p class="css-axufdj evys1bk0" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.25rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.875rem; margin: 0px; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;">I made art partly to cope with what I was witnessing and to support a campaign for conservation. I believed that if one could render moments of extinction, genocide, population explosion and political discord visible, then we might learn to confront and change the conditions leading to civilization’s collapse. Over the past two decades, I realized we have a crucial Achilles heel: Our brains are wired to be tribal and to think only in the seasonal short term. Even someone as persuasive as Al Gore could not successfully galvanize the world with his books and films. The idea of “sacrificing” for the future seems ridiculous to most people when they are entrenched in a daily struggle for survival. Even if they will listen, people just don’t have the collective will to do much. The engine of capitalism is too powerful.</p></div><aside aria-label="companion column" class="css-ew4tgv" style="-webkit-box-align: center; align-items: center; border: 0px; display: flex; font: inherit; margin: 0px 0px 0px auto; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 210px;"></aside></div><div class="" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="related-links-block css-1j2g5xc epkadsg3" style="border: 1px solid rgb(226, 226, 226); box-sizing: border-box; font: inherit; margin: 0.5rem auto 1.5rem; max-width: 600px; padding: 1.25rem; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><div class="css-1xdhyk6 epkadsg2" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1q1d7up e16ij5yr7" style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><a class="css-1g7m0tk" href="https://www.nytimes.com/2018/06/19/t-magazine/immigration-art.html?action=click&module=RelatedLinks&pgtype=Article" style="-webkit-box-align: center; align-items: center; border: 0px; color: #326891; display: flex; font: inherit; margin: 0px; padding: 0px; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1pksd7f e16ij5yr0" style="border: 0px; font: inherit; margin: 0px 15px 0px 0px; min-width: 135px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 135px;"><img class="css-1p6jru7 e16ij5yr1" sizes="(max-width:740px) 75px" srcset="https://static01.nyt.com/images/2018/05/30/t-magazine/30tmag-promo/30tmag-agitprop-slide-QXJB-thumbStandard.jpg 75w, https://static01.nyt.com/images/2018/05/30/t-magazine/30tmag-promo/30tmag-agitprop-slide-QXJB-threeByTwoSmallAt2X-v2.jpg" style="border: none; font: inherit; height: auto; margin: 0px; max-width: 100%; min-width: 75px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 134.998px;" /></div><div class="css-1l19kgc e16ij5yr5" style="-webkit-box-flex: 1; border: 0px; flex-grow: 1; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-18k65ak e16ij5yr3" style="border: 0px; color: #121212; display: inline; font-family: nyt-cheltenham, georgia, "times new roman", times, serif; font-size: 1.1875rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4375rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">13 Artists On: Immigration</div><div class="css-x7rtpa e16638kd1" style="border: 0px; color: #999999; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.8125rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4375rem; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">June 19, 2018</div></div></a></div></div></div></div></section><div class="bottom-of-article" style="background-color: white; border: 0px; color: #333333; font-size: 24px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;"><div class="css-1ubp8k9" style="border: 0px; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-size: 1.1875rem; font-stretch: inherit; font-style: italic; font-variant: inherit; font-weight: inherit; line-height: 1.75rem; margin: 1rem auto 1.25rem; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: calc(100% - 40px);"></div><div class="css-1jp38cr" style="border: 0px; font: inherit; margin: 1.5rem auto 1em; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: calc(100% - 40px);"></div><div class="css-13ldwoe" style="border: 0px; color: #666666; font-family: nyt-franklin, helvetica, arial, sans-serif; font-size: 0.75rem; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1rem; margin: 0px auto 1em; max-width: 600px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: calc(100% - 40px);">A version of this article appears in print on <span class="css-1dmwf73" data-testid="todays-date" datetime="2018-08-26T04:00:00.000Z" style="border: 0px; display: inline; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Aug. 26, 2018</span>, Section ST, Page 3 of the New York edition with the headline: Artists on Climate Change; Getting Engaged<span style="border: 0px; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">. <a href="http://www.nytreprints.com/" style="border: 0px; color: #666666; font: inherit; margin: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Order Reprints</a> | <a href="https://www.nytimes.com/section/todayspaper" style="border: 0px; color: #666666; font: inherit; margin: 0px; padding: 0px; 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display: inline; font: inherit; margin: 0px 16px 0px 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 100%;"><a aria-label="Share on WhatsApp" href="https://api.whatsapp.com/send?text=12%20Artists%20On%3A%20Climate%20Change%20https%3A%2F%2Fwww.nytimes.com%2F2018%2F08%2F22%2Ft-magazine%2Fclimate-change-art.html%3Fsmid%3Dwa-share" rel="noopener noreferrer" style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; text-decoration-line: none; text-size-adjust: 100%; vertical-align: baseline;" target="_blank"><span class="css-1xsgrqt" style="background-color: #eeeeee; background-image: url("/vi-assets/static-assets/icon-whatsapp-17x17-000-eb3ac0d36c11bd5a497046cb82515de2.svg"); background-position: center center; background-repeat: no-repeat; background-size: 15px; border-radius: 100%; border: 1px solid rgb(238, 238, 238); display: inline-block; font: inherit; height: 15px; margin: 0px; padding: 5px; text-size-adjust: 100%; vertical-align: middle; width: 15px;"></span></a></li></ul></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-55896957344149737872021-11-03T19:07:00.006-04:002021-11-03T19:07:56.992-04:00Climate change art<p> https://en.wikipedia.org/wiki/Climate_change_art</p><p><br /></p><h1 class="firstHeading" id="firstHeading" style="border-bottom: 1px solid rgb(162, 169, 177); font-family: "Linux Libertine", Georgia, Times, serif; font-size: 1.8em; font-weight: normal; line-height: 1.3; margin: 0px 0px 0.25em; overflow: visible; padding: 0px;">Climate change art</h1><div class="vector-body" id="bodyContent" style="color: #202122; font-family: sans-serif; font-size: calc(0.875em); line-height: 1.6; position: relative; z-index: 0;"><div class="noprint" id="siteSub" style="font-size: 19.32px;">From Wikipedia, the free encyclopedia</div><div id="contentSub" style="color: #54595d; font-size: 17.64px; line-height: 1.2em; margin: 0px 0px 1.4em 1em; width: auto;"></div><div id="contentSub2" style="color: #54595d; font-size: 17.64px; line-height: 1.2em; margin: 0px 0px 1.4em 1em; width: auto;"></div><div id="jump-to-nav"></div><a class="mw-jump-link" href="https://en.wikipedia.org/wiki/Climate_change_art#mw-head" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; clip: rect(1px, 1px, 1px, 1px); color: #0645ad; display: block; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute !important; text-decoration-line: none; width: 1px;">Jump to navigation</a><a class="mw-jump-link" href="https://en.wikipedia.org/wiki/Climate_change_art#searchInput" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; clip: rect(1px, 1px, 1px, 1px); color: #0645ad; display: block; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute !important; text-decoration-line: none; width: 1px;">Jump to search</a><div class="mw-body-content mw-content-ltr" dir="ltr" id="mw-content-text" lang="en" style="direction: ltr;"><div class="mw-parser-output"><div class="thumb tright" style="clear: right; float: right; margin: 0.5em 0px 1.3em 1.4em; width: auto;"><div class="thumbinner" style="background-color: #f8f9fa; border: 1px solid rgb(200, 204, 209); font-size: 19.74px; min-width: 100px; overflow: hidden; padding: 3px; text-align: center; width: 372px;"><a class="image" href="https://en.wikipedia.org/wiki/File:Deception_Pass_Collection_Surge_2018_(cropped).jpg" style="background: none; color: #0645ad; text-decoration-line: none;"><img alt="" class="thumbimage" data-file-height="1431" data-file-width="4104" decoding="async" height="129" src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg/370px-Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg/555px-Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg/740px-Deception_Pass_Collection_Surge_2018_%28cropped%29.jpg 2x" style="background-color: white; border: 1px solid rgb(200, 204, 209); vertical-align: middle;" width="370" /></a><div class="thumbcaption" style="border: 0px; font-size: 18.5556px; line-height: 1.4em; padding: 3px; text-align: left;"><div class="magnify" style="float: right; margin-left: 3px; margin-right: 0px;"><a class="internal" href="https://en.wikipedia.org/wiki/File:Deception_Pass_Collection_Surge_2018_(cropped).jpg" style="background: url("/w/resources/src/mediawiki.skinning/images/magnify-clip-ltr.svg?8330e"); color: #0645ad; display: block; height: 11px; overflow: hidden; text-decoration-line: none; text-indent: 15px; user-select: none; white-space: nowrap; width: 15px;" title="Enlarge"></a></div><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Tempestries" style="background: none; color: #0645ad; text-decoration-line: none;" title="Tempestries">Tempestries</a>, an example of climate change art, representing change in temperature in a given location over time</div></div></div><p style="margin: 0.5em 0px;"><b>Climate change art</b> is art inspired by <a href="https://en.wikipedia.org/wiki/Climate_change" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Climate change">climate change</a> and <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Global_warming" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Global warming">global warming</a>, generally intended to overcome humans' hardwired tendency to value personal experience over data and to disengage from data-based representations<sup class="reference" id="cite_ref-brookshireSNS5apr2019_1-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-brookshireSNS5apr2019-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[1]</a></sup> by making the data "vivid and accessible".<sup class="reference" id="cite_ref-SA_2-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-SA-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[2]</a></sup> The intention is to "make an emotional connection...through the power of art".<sup class="reference" id="cite_ref-CRP25may2017_3-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-CRP25may2017-3" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[3]</a></sup></p><p style="margin: 0.5em 0px;">Climate change art is created both by scientists and by non-scientist artists. The field overlaps with <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Data_art" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Data art">data art</a>.</p><div aria-labelledby="mw-toc-heading" class="toc" id="toc" role="navigation" style="background-color: #f8f9fa; border: 1px solid rgb(162, 169, 177); display: table; font-size: 19.95px; padding: 7px;"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display: none; margin: 0px; opacity: 0; position: absolute; z-index: -1;" type="checkbox" /><div class="toctitle" dir="ltr" lang="en" style="direction: ltr; text-align: center;"><h2 id="mw-toc-heading" style="border: 0px; color: black; display: inline; font-size: 19.95px; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;">Contents</h2><span class="toctogglespan" style="font-size: 18.753px;"><label class="toctogglelabel" for="toctogglecheckbox" style="color: #0645ad; cursor: pointer;"></label></span></div><ul style="list-style: none; margin: 0.3em 0px; padding: 0px;"><li class="toclevel-1 tocsection-1" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#History" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">1</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">History</span></a></li><li class="toclevel-1 tocsection-2" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#Effects_and_influence" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">2</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">Effects and influence</span></a></li><li class="toclevel-1 tocsection-3" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#Examples" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">3</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">Examples</span></a></li><li class="toclevel-1 tocsection-4" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#See_also" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">4</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">See also</span></a></li><li class="toclevel-1 tocsection-5" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#References" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">5</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">References</span></a></li><li class="toclevel-1 tocsection-6" style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#External_links" style="background: none; color: #0645ad; text-decoration-line: none;"><span class="tocnumber" style="color: #202122; display: table-cell; padding-left: 0px; padding-right: 0.5em; text-decoration: inherit;">6</span><span class="toctext" style="display: table-cell; text-decoration: inherit;">External links</span></a></li></ul></div><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="History">History</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: History">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><div class="quotebox pullquote floatright" style="background-color: #f0f0ff; border: 1px solid rgb(170, 170, 170); box-sizing: border-box; clear: right; float: right; margin: 0.5em 0px 0.8em 1.4em; max-width: 100%; padding: 10px; width: 163.44px;"><blockquote class="quotebox-quote left-aligned" style="border-left: 0px; font-family: inherit; font-size: inherit; margin: 0px; overflow: hidden; padding: 0px;"><p style="margin: 0px;">Omnipresent and relevant, yet abstract and statistical by nature, as well as invisible for the naked eye – climate change is a subject matter in need for perception and cognition support <i>par excellence.</i><sup class="reference" id="cite_ref-Windhager_2019_4-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Windhager_2019-4" style="background: none; color: #0645ad; text-decoration-line: none;">[4]</a></sup></p></blockquote></div><p style="margin: 0.5em 0px;"><i><a href="https://en.wikipedia.org/wiki/The_Guardian" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="The Guardian">The Guardian</a></i> said that in response to a backlash in the 1990s against fossil fuels and nuclear plants, major energy companies stepped up their philanthropic giving, including to arts organizations, "to a point where many major national institutions were on the payroll of the fossil fuel giants," effectively silencing many environmentally-focused artists.<sup class="reference" id="cite_ref-krugGUARDIAN20feb2019_5-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-krugGUARDIAN20feb2019-5" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[5]</a></sup></p><p style="margin: 0.5em 0px;">In 2005 <a href="https://en.wikipedia.org/wiki/Bill_McKibben" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Bill McKibben">Bill McKibben</a> wrote an article, <i>What the Warming World Needs Now Is Art, Sweet Art</i> that argued that "An intellectual understanding of the scientific facts was not enough – if we wanted to move forward and effect meaningful change, we needed to engage the other side of our brains. We needed to approach the problem with our imagination. And the people best suited to help us do that, he believed, were the artists."<sup class="reference" id="cite_ref-:1_6-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:1-6" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[6]</a></sup><sup class="reference" id="cite_ref-7" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-7" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[7]</a></sup> According to climate change in the arts organization <a class="new" href="https://en.wikipedia.org/w/index.php?title=The_Arctic_Cycle&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="The Arctic Cycle (page does not exist)">The Arctic Cycle</a>, "It took some time for artists to heed the call."<sup class="reference" id="cite_ref-:1_6-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:1-6" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[6]</a></sup></p><p style="margin: 0.5em 0px;">In 2009 <i>The Guardian</i> said the art world was "waking up to climate-change art."<sup class="reference" id="cite_ref-buntingGUARDIAN2dec2009_8-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-buntingGUARDIAN2dec2009-8" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[8]</a></sup> Reporting on the 2020 <i><a class="new" href="https://en.wikipedia.org/w/index.php?title=We_Make_Tomorrow&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="We Make Tomorrow (page does not exist)">We Make Tomorrow</a></i> conference on climate change and the arts<sup class="reference" id="cite_ref-9" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-9" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[9]</a></sup> in London, <i><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Artnet_News" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Artnet News">Artnet News</a></i> commented that "instead of being seduced by sponsorships from deep-pocketed organizations invested in the fossil-fuel industry, institutions should look for new funding models."<sup class="reference" id="cite_ref-:0_10-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:0-10" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[10]</a></sup></p><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="Effects_and_influence">Effects and influence</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: Effects and influence">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><p style="margin: 0.5em 0px;">According to <i>Artnet News</i>, climate change can be represented meaningfully in artwork because "Art has a way of getting ahead of the general discourse because it can convey information in novel ways."<sup class="reference" id="cite_ref-:0_10-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:0-10" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[10]</a></sup> In 2019 research by <a class="new" href="https://en.wikipedia.org/w/index.php?title=Laura_Kim_Sommer&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="Laura Kim Sommer (page does not exist)">Laura Kim Sommer</a> and <a class="new" href="https://en.wikipedia.org/w/index.php?title=Christian_Andreas_Kl%C3%B6ckner&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="Christian Andreas Klöckner (page does not exist)">Christian Andreas Klöckner</a>, analyzing date collected at <a class="mw-redirect" href="https://en.wikipedia.org/wiki/COP21" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="COP21">COP21</a>, suggested climate change art could change opinions "as long as the message is hopeful, and gives people ideas for change."<sup class="reference" id="cite_ref-:2_11-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:2-11" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[11]</a></sup><sup class="reference" id="cite_ref-12" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-12" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[12]</a></sup></p><p style="margin: 0.5em 0px;">Journalist Betsy Mason wrote in <a href="https://en.wikipedia.org/wiki/Annual_Reviews_(publisher)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Annual Reviews (publisher)"><i>Knowable</i></a> that humans are visual creatures by nature, absorbing information in graphic form that would elude them in words, adding that bad visuals can impair public understanding of science.<sup class="reference" id="cite_ref-Knowable_20191112_13-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Knowable_20191112-13" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[13]</a></sup> Similarly, Bang Wong, creative director of MIT’s Broad Institute, stated that visualizations can reveal patterns, trends, and connections in data that are difficult or impossible to find any other way.<sup class="reference" id="cite_ref-Knowable_20191112_13-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Knowable_20191112-13" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[13]</a></sup></p><p style="margin: 0.5em 0px;">In particular, climate change art has been used both to make scientific data more accessible to non-scientists and to express people’s fears.<sup class="reference" id="cite_ref-Forbes_20190930_14-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Forbes_20190930-14" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[14]</a></sup> Some research indicates that climate change art is not particularly effective in changing peoples views, though art with a "hopeful" message gives people ideas for change.<sup class="reference" id="cite_ref-Forbes_20190930_14-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Forbes_20190930-14" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[14]</a></sup> Projecting a positive message, climate scientist <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Ed_Hawkins_(scientist)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Ed Hawkins (scientist)">Ed Hawkins</a> said that "infiltrating popular culture is a means of triggering a change of attitude that will lead to mass action".<sup class="reference" id="cite_ref-LEDN_20190923_15-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-LEDN_20190923-15" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[15]</a></sup></p><p style="margin: 0.5em 0px;">It is thought that people who engage with climate change art feel a sense of belonging, a feeling of connection to a cause, and a sense of empowerment.<sup class="reference" id="cite_ref-Forbes_20190930_14-2" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Forbes_20190930-14" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[14]</a></sup> Participatory climate change art, such as downloading <a href="https://en.wikipedia.org/wiki/Warming_stripes" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Warming stripes">warming stripes</a> graphics for one's own locality or using a climate-related logo, provides an interactive element that gets people involved.<sup class="reference" id="cite_ref-Forbes_20190930_14-3" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Forbes_20190930-14" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[14]</a></sup></p><p style="margin: 0.5em 0px;"><a class="new" href="https://en.wikipedia.org/w/index.php?title=Lucia_Pietroiusti&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="Lucia Pietroiusti (page does not exist)">Lucia Pietroiusti</a>, the curator of “general ecology” at the <a href="https://en.wikipedia.org/wiki/Serpentine_Galleries" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Serpentine Galleries">Serpentine Galleries</a>, suggested "a radical redefinition of what constitutes an artwork...to include environmental campaigns," saying that “By calling something an artwork, you are allowing an institution to support it.”<sup class="reference" id="cite_ref-:0_10-2" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:0-10" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[10]</a></sup></p><p style="margin: 0.5em 0px;">In recent years, the expansion of climate change art beyond purely visual representations has allowed for an expansion of audiences able to appreciate and experience this art, specifically those who experience <a href="https://en.wikipedia.org/wiki/Visual_impairment" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Visual impairment">Visual impairment</a>. These musical forms of climate change art include pieces performed using environmental media to represent climate change<sup class="reference" id="cite_ref-:3_16-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:3-16" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[16]</a></sup> and popular music whose lyrical aspects address climate change topics.<sup class="reference" id="cite_ref-17" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-17" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[17]</a></sup> Climate change composer Daniel Crawford said that "climate scientists have a standard toolbox to communicate their data, and what we [climate change artists] are trying to do is to add to that another tool to that toolbox to people who might get more out of this than maps graphs and numbers".<sup class="reference" id="cite_ref-18" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-18" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[18]</a></sup></p><p style="margin: 0.5em 0px;"><a href="https://en.wikipedia.org/wiki/Climate_change" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Climate change">Climate change</a> is one of the most prominent issues of this century. Artists are adamant to examine and present the global issues the planet faces and encourage others to do the same. The 2015 exhibition <a class="external text" href="https://www.artworksforchange.org/footing-the-bill/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Art Works For Change'</a> aims to demonstrate the options available to reduce emissions and other climate change impacts, such as reducing carbon footprints,<sup class="reference" id="cite_ref-19" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-19" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[19]</a></sup> conserving energy,<sup class="reference" id="cite_ref-20" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-20" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[20]</a></sup> and making sustainable transportation choices <sup class="reference" id="cite_ref-21" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-21" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[21]</a></sup> among others.</p><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="Examples">Examples</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=3" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: Examples">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><p style="margin: 0.5em 0px;">Researchers analyzing artwork created between 2000 and 2016 found that climate change art production increased over the period.<sup class="reference" id="cite_ref-:2_11-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:2-11" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[11]</a></sup><sup class="reference" id="cite_ref-22" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-22" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[22]</a></sup></p><p style="margin: 0.5em 0px;">In 1998, Matthew Brutner composed <a class="external text" href="http://matthewburtner.com/sikuigvik/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Sikuigvik (The Time of Ice Melting)</a>, which began as an ode to the "beauty of the Arctic", but over time has evolved into a frightening representation of the loss of the Arctic environment.<sup class="reference" id="cite_ref-:3_16-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:3-16" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[16]</a></sup></p><p style="margin: 0.5em 0px;">In 2007, artist <a href="https://en.wikipedia.org/wiki/Eve_Mosher" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Eve Mosher">Eve Mosher</a> used a <a href="https://en.wikipedia.org/wiki/Line_marker_(sports)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Line marker (sports)">sports-field chalk marker</a> to draw a blue "high-water" line around Manhattan and Brooklyn, showing the areas that would be underwater if climate change predictions are realized. Her <i>HighWaterLine Project</i> has since drawn high-water lines around <a href="https://en.wikipedia.org/wiki/Bristol" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Bristol">Bristol</a>, <a href="https://en.wikipedia.org/wiki/Philadelphia" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Philadelphia">Philadelphia</a>, and two coastal cities in Florida.<sup class="reference" id="cite_ref-SA_2-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-SA-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[2]</a></sup></p><p style="margin: 0.5em 0px;">In 2009, Matthew Brutner wrote <i><a class="external text" href="http://matthewburtner.com/six-ecoacoustic-quintets/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Six Ecoacoustic Quintets No. 1: Water (Ice)</a></i>, which incorporates the use of microphones placed outside and within bowls of ice and water that are played to the composed music through precision of handling both the water and ice in various ways. The purpose of the piece is to create an emotional connection to the changes in climate conveyed through the development of the measures of the piece.<sup class="reference" id="cite_ref-:3_16-2" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-:3-16" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[16]</a></sup></p><p style="margin: 0.5em 0px;">In 2012, filmmaker <a href="https://en.wikipedia.org/wiki/Jeff_Orlowski" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jeff Orlowski">Jeff Orlowski</a> made <i><a href="https://en.wikipedia.org/wiki/Chasing_Ice" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Chasing Ice">Chasing Ice</a></i>, documenting photographer <a href="https://en.wikipedia.org/wiki/James_Balog" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="James Balog">James Balog</a>'s <a href="https://en.wikipedia.org/wiki/Extreme_Ice_Survey" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Extreme Ice Survey">Extreme Ice Survey</a>, which uses <a href="https://en.wikipedia.org/wiki/Time-lapse_photography" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Time-lapse photography">time-lapse photography</a> to show the disappearance of glaciers over time.<sup class="reference" id="cite_ref-SA_2-2" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-SA-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[2]</a></sup></p><p style="margin: 0.5em 0px;"><span class="anchor" id="Daniel_Crawford"></span>In 2013, undergraduate <a href="https://en.wikipedia.org/wiki/Cello" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Cello">cellist</a> Daniel Crawford created "Song of Our Warming Planet" in which musical notes, representing annual global average surface temperature readings since 1880 from the <a href="https://en.wikipedia.org/wiki/Goddard_Institute_for_Space_Studies" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Goddard Institute for Space Studies">Goddard Institute for Space Studies</a> at <a href="https://en.wikipedia.org/wiki/NASA" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="NASA">NASA</a>, ascend to higher and higher pitches as the song progresses.<sup class="reference" id="cite_ref-NYTimes_20130702_23-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-NYTimes_20130702-23" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[23]</a></sup></p><p style="margin: 0.5em 0px;">In 2015, Daniel Crawford released another composition "<a class="external text" href="https://ensia.com/videos/what-climate-change-sounds-like-from-the-amazon-to-the-arctic/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Planetary Bands, Warming World</a>" which is written for a string quartet to illustrate the "pace and place of global warming". Each instrument represents a different range of latitudes while increasing pitch indicates increasing temperatures, as the piece is played the temperature fluctuations in the four regions become clear.<sup class="reference" id="cite_ref-24" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-24" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[24]</a></sup></p><p style="margin: 0.5em 0px;">In 2015, <a href="https://en.wikipedia.org/wiki/University_of_Georgia" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="University of Georgia">University of Georgia</a> marine scientist Joan Sheldon produced a scarf illustrating average yearly temperature from the 1600s to the present using one row per year.<sup class="reference" id="cite_ref-schwabFC11jan2019_25-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-schwabFC11jan2019-25" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[25]</a></sup></p><p style="margin: 0.5em 0px;">In 2015, <a class="external text" href="https://davidellingsen.com/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">David Ellingsen</a> created a project called '<a class="external text" href="https://davidellingsen.com/The-Last-Stand/Photographs/1/thumbs-caption" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">The Last Stand</a>' which portrays the amount of deforestation going on by depicting photographs of trees with saws still in them from being chopped down. Ellingsen explains the importance of expression through climate change art and the seriousness of what the planet is now facing: "Although the pattern of progress and disaster has been repeated throughout human history, the urgency I now feel in our globalized world is one of scale..."<sup class="reference" id="cite_ref-26" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-26" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[26]</a></sup></p><p style="margin: 0.5em 0px;">In 2015, visual artist and environmental engineer Ph.D. Andrea Conte Aka <a class="external text" href="http://www.andreco.org/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Andreco</a> started the <a class="external text" href="http://www.climateartproject.com/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Climate Art Project'</a>, a multidisciplinary project between art, science, and activism, inspired by the latest scientific and social researches on Climate Change. The Climate Art Project is composed of a series of interventions that took place in different cities worldwide: <a class="external text" href="http://www.climateartproject.com/climate01-sculpture-mural/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Climate 01 causes and consequences'</a> in Paris, France; <a class="external text" href="http://www.climateartproject.com/climate-04-see-level-rise/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Climate 04 Sea Level Rise'</a> in Venice, Italy;<sup class="reference" id="cite_ref-27" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-27" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[27]</a></sup> <a class="external text" href="http://www.climateartproject.com/climate-05-reclaim-air-and-water-delhi/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Climate 05 Reclaim air and water'</a> in Delhi, India.<sup class="reference" id="cite_ref-28" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-28" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[28]</a></sup> The aim of the project is to use art to raise awareness on <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Global_Warming" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Global Warming">Global Warming</a> and to disseminate the <a href="https://en.wikipedia.org/wiki/Nature-based_solutions" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Nature-based solutions">Nature-based solutions</a> (NBS) and the best practices for Climate Change adaptation and mitigation.<sup class="reference" id="cite_ref-29" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-29" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[29]</a></sup><sup class="reference" id="cite_ref-Conte,_Passatore,_Brunetti_30-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Conte,_Passatore,_Brunetti-30" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[30]</a></sup></p><p style="margin: 0.5em 0px;">In 2015, an online exhibition called <a class="external text" href="https://www.artworksforchange.org/footing-the-bill/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">'Footing The Bill: Art and Our Ecological Footprint'</a>, was created by <a class="external text" href="https://www.artworksforchange.org/exhibitions/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Art Works For Change</a> to show a range of powerful artist expressions (such as <a href="https://en.wikipedia.org/wiki/Sebastian_Copeland" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Sebastian Copeland">Sebastian Copeland</a> and <a href="https://en.wikipedia.org/wiki/Fred_Tomaselli" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Fred Tomaselli">Fred Tomaselli</a>) of climate change through their work. The exhibition is "an ongoing exhibition that addresses the urgent need to live sustainably within the Earth’s finite resources."<sup class="reference" id="cite_ref-31" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-31" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[31]</a></sup></p><p style="margin: 0.5em 0px;">In 2016, <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Ed_Hawkins_(scientist)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Ed Hawkins (scientist)">Ed Hawkins</a>, a scientist at the <a href="https://en.wikipedia.org/wiki/National_Centre_for_Atmospheric_Science" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="National Centre for Atmospheric Science">National Centre for Atmospheric Science</a> and the <a href="https://en.wikipedia.org/wiki/University_of_Reading" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="University of Reading">University of Reading</a>, created "<a href="https://en.wikipedia.org/wiki/Climate_spiral" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Climate spiral">climate spirals</a>," a series of data art representations of global warming, and followed in 2018 with "<a href="https://en.wikipedia.org/wiki/Warming_stripes" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Warming stripes">warming stripes</a>," a series of colored stripes representing chronologically ordered average annual temperature anomalies for a given location.<sup class="reference" id="cite_ref-brookshireSNS5apr2019_1-1" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-brookshireSNS5apr2019-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[1]</a></sup><sup class="reference" id="cite_ref-NCASwarming_stripes_32-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-NCASwarming_stripes-32" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[32]</a></sup></p><p style="margin: 0.5em 0px;">Starting in 2017 <a href="https://en.wikipedia.org/wiki/The_Tempestry_Project" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="The Tempestry Project">The Tempestry Project</a> encouraged fiber artists to create "tempestries", scarf-size banners showing temperature change over time. Each tempestry is knitted or crocheted, one row per day in a color representing that day's high temperature, for a year. Two or more tempestries for the same location, each representing different years, are displayed together to show daily-high temperature change over time.</p><p style="margin: 0.5em 0px;">In 2018 artist <a href="https://en.wikipedia.org/wiki/Xavier_Cortada" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Xavier Cortada">Xavier Cortada</a>'s project <i>Underwater Home Owner's Association</i> placed signs in front yards throughout <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Miami,_Florida" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Miami, Florida">Miami, Florida</a> indicating each property's height above sea level to illustrate what the sea level rise would flood that property.<sup class="reference" id="cite_ref-brookshireSNS5apr2019_1-2" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-brookshireSNS5apr2019-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[1]</a></sup><sup class="reference" id="cite_ref-lescazeNYT22aug2018_33-0" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-lescazeNYT22aug2018-33" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[33]</a></sup></p><p style="margin: 0.5em 0px;">In 2019, the <a href="https://en.wikipedia.org/wiki/Grantham_Institute_%E2%80%93_Climate_Change_and_Environment" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Grantham Institute – Climate Change and Environment">Grantham Institute - Climate Change and the Environment</a>, <a href="https://en.wikipedia.org/wiki/Imperial_College_London" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Imperial College London">Imperial College London</a>, launched its inaugural <a class="new" href="https://en.wikipedia.org/w/index.php?title=Grantham_Art_Prize&action=edit&redlink=1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #ba0000; text-decoration-line: none;" title="Grantham Art Prize (page does not exist)">Grantham Art Prize</a>, commissioning original works by six artists who collaborated with climate researchers. Each piece aimed to provoke thought and conversation about the <a href="https://en.wikipedia.org/wiki/Climate_crisis" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Climate crisis">climate crisis</a>.</p><p style="margin: 0.5em 0px;">In 2019, artist <a class="external text" href="http://www.jillpelto.com/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Jill Pelto</a> created 'Overgrown' which depicts how the composition of Maine plant species will shift geographically as climate zones change.<sup class="reference" id="cite_ref-34" style="font-size: 16.8px; line-height: 1; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-34" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;">[34]</a></sup> She has also created multiple other works relating to climate change which include '<a class="external text" href="http://www.jillpelto.com/take-a-lesson-from-nature" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Take a Lesson from Nature</a>' and '<a class="external text" href="http://www.jillpelto.com/increasing-forest-fire-activity" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Increasing Forest Fire Activity</a>'.</p><div class="thumb tmulti tnone center" style="margin-bottom: 0.5em; text-align: center; width: auto;"><div class="thumbinner" style="background-color: #f8f9fa; border: 1px solid rgb(200, 204, 209); display: flex; flex-direction: column; font-size: 19.74px; margin-left: auto; margin-right: auto; max-width: 793px; min-width: 100px; overflow: hidden; padding: 3px; width: 793px;"><div class="trow" style="box-sizing: border-box; clear: left; display: flex; flex-flow: row wrap; margin-left: auto; margin-right: auto; width: 792.998px;"><div class="tsingle" style="float: left; margin: 1px; max-width: 133px; width: 133px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 139px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:5_9_16_Andrea_TempSpiralEdHawkins.gif" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="791" data-file-width="743" decoding="async" height="139" src="https://upload.wikimedia.org/wikipedia/commons/thumb/5/54/5_9_16_Andrea_TempSpiralEdHawkins.gif/131px-5_9_16_Andrea_TempSpiralEdHawkins.gif" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/5_9_16_Andrea_TempSpiralEdHawkins.gif/197px-5_9_16_Andrea_TempSpiralEdHawkins.gif 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/54/5_9_16_Andrea_TempSpiralEdHawkins.gif/262px-5_9_16_Andrea_TempSpiralEdHawkins.gif 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="131" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;"><b style="margin-left: auto; margin-right: auto;">Animated <a href="https://en.wikipedia.org/wiki/GIF" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="GIF">GIF</a></b>: This <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Ed_Hawkins_(scientist)" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Ed Hawkins (scientist)">Ed Hawkins</a> <a href="https://en.wikipedia.org/wiki/Climate_spiral" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Climate spiral">climate spiral</a> portrays changing temperatures as a spiral with expanding radius.<sup class="reference" id="cite_ref-ClimateSpiral_35-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-ClimateSpiral-35" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[35]</a></sup></div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 135px; width: 135px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 139px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:20171231_Climate_spiral_(HadCRUT4.6_1850-_)_2017_SCREENSHOT_-_Ed_Hawkins.png" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="778" data-file-width="740" decoding="async" height="140" src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/3b/20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png/133px-20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png/200px-20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3b/20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png/266px-20171231_Climate_spiral_%28HadCRUT4.6_1850-_%29_2017_SCREENSHOT_-_Ed_Hawkins.png 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="133" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;">Final frame of a <a href="https://en.wikipedia.org/wiki/Climate_spiral" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Climate spiral">climate spiral</a> portrays recent warmer temperatures with brighter colors further from the center.<sup class="reference" id="cite_ref-ClimateSpiralGraphic_36-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-ClimateSpiralGraphic-36" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[36]</a></sup></div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 374px; width: 374px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 139px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:20181204_Warming_stripes_(global,_WMO,_1850-2018)_-_Climate_Lab_Book_(Ed_Hawkins).png" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="1417" data-file-width="3780" decoding="async" height="139" src="https://upload.wikimedia.org/wikipedia/commons/thumb/d/d1/20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png/372px-20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png/558px-20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d1/20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png/744px-20181204_Warming_stripes_%28global%2C_WMO%2C_1850-2018%29_-_Climate_Lab_Book_%28Ed_Hawkins%29.png 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="372" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;"><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Ed_Hawkins_(scientist)" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Ed Hawkins (scientist)">Ed Hawkins</a>' <a href="https://en.wikipedia.org/wiki/Warming_stripes" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Warming stripes">warming stripes</a> graphics portray <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Global_warming" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Global warming">global warming</a> as a series of color-coded stripes, purposely devoid of scientific notation to be quickly understandable by non-scientists.<sup class="reference" id="cite_ref-ClimateLabBook_WarmingStripes1850-2018_37-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-ClimateLabBook_WarmingStripes1850-2018-37" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[37]</a></sup></div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 143px; width: 143px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 139px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:Extinction_Symbol,_Extinction_Rebellion_logo.jpg" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="2023" data-file-width="2048" decoding="async" height="139" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg/141px-Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg/212px-Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg/282px-Extinction_Symbol%2C_Extinction_Rebellion_logo.jpg 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="141" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;"><a href="https://en.wikipedia.org/wiki/Extinction_Rebellion" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Extinction Rebellion">Extinction Rebellion</a>'s logo, symbolizing the Earth enclosing an <a href="https://en.wikipedia.org/wiki/Hourglass" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Hourglass">hourglass</a>.<sup class="reference" id="cite_ref-Guardian_20190416_38-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Guardian_20190416-38" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[38]</a></sup></div></div></div></div></div><div class="thumb tmulti tnone center" style="margin-bottom: 0.5em; text-align: center; width: auto;"><div class="thumbinner" style="background-color: #f8f9fa; border: 1px solid rgb(200, 204, 209); display: flex; flex-direction: column; font-size: 19.74px; margin-left: auto; margin-right: auto; max-width: 891px; min-width: 100px; overflow: hidden; padding: 3px; width: 891px;"><div class="trow" style="box-sizing: border-box; clear: left; display: flex; flex-flow: row wrap; margin-left: auto; margin-right: auto; width: 890.997px;"><div class="tsingle" style="float: left; margin: 1px; max-width: 145px; width: 145px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 143px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:20190729_Warming_stripes_(circular)_-_global_(1900-2017)_-_Emanuele_Bevacqua.jpg" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="3200" data-file-width="3200" decoding="async" height="143" src="https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg/143px-20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg/215px-20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4d/20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg/286px-20190729_Warming_stripes_%28circular%29_-_global_%281900-2017%29_-_Emanuele_Bevacqua.jpg 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="143" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;">Emanuele Bevacqua's <i style="margin-left: auto; margin-right: auto;">circular</i> <a href="https://en.wikipedia.org/wiki/Warming_stripes" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Warming stripes">warming stripes</a> graphic portrays global warming as color-coded rings that evolve from blues to reds with increasing temperatures.<sup class="reference" id="cite_ref-Bevacqua_201811_39-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Bevacqua_201811-39" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[39]</a></sup></div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 145px; width: 145px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 143px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:20210507_Warming_stripes_-_octagons_-_global_warming.svg" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="675" data-file-width="675" decoding="async" height="143" src="https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/20210507_Warming_stripes_-_octagons_-_global_warming.svg/143px-20210507_Warming_stripes_-_octagons_-_global_warming.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/20210507_Warming_stripes_-_octagons_-_global_warming.svg/215px-20210507_Warming_stripes_-_octagons_-_global_warming.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/37/20210507_Warming_stripes_-_octagons_-_global_warming.svg/286px-20210507_Warming_stripes_-_octagons_-_global_warming.svg.png 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="143" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;">An alternative adaptation of warming stripes, rendered in concentric octagons to suggest a <a href="https://en.wikipedia.org/wiki/Stop_sign" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Stop sign">stop sign</a>.</div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 145px; width: 145px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 143px; margin-left: auto; margin-right: auto; overflow: hidden;"><a class="image" href="https://en.wikipedia.org/wiki/File:Ck8gRgSWUAAKGIA.jpg" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" data-file-height="1200" data-file-width="1200" decoding="async" height="143" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Ck8gRgSWUAAKGIA.jpg/143px-Ck8gRgSWUAAKGIA.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Ck8gRgSWUAAKGIA.jpg/215px-Ck8gRgSWUAAKGIA.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Ck8gRgSWUAAKGIA.jpg/286px-Ck8gRgSWUAAKGIA.jpg 2x" style="border: 0px; margin-left: auto; margin-right: auto; vertical-align: middle;" width="143" /></a></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;">This stacked <a href="https://en.wikipedia.org/wiki/Warming_stripes" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Warming stripes">warming stripes</a> graphic—technically a two-dimensional <a href="https://en.wikipedia.org/wiki/Heat_map" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Heat map">heat map</a>—organizes global temperatures in two dimensions (month and year).<sup class="reference" id="cite_ref-Dave_20160615_40-0" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-Dave_20160615-40" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[40]</a></sup></div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 190px; width: 190px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 143px; margin-left: auto; margin-right: auto; overflow: hidden;"><div class="PopUpMediaTransform" id="mwe_player_0" style="margin: 0px auto; position: relative; width: 188px;" videopayload="<div class="mediaContainer" style="width:630px"><video id="mwe_player_1" poster="//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Temperature_Circle_1880-2020.webm/630px--Temperature_Circle_1880-2020.webm.jpg" controls="" preload="none" autoplay="" style="width:630px;height:480px" class="kskin" data-durationhint="38.585" data-startoffset="0" data-mwtitle="Temperature_Circle_1880-2020.webm" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/a/aa/Temperature_Circle_1880-2020.webm/Temperature_Circle_1880-2020.webm.480p.vp9.webm" type="video/webm; 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border: none !important; cursor: pointer; height: 53px; inset: auto auto 0px 0px; margin: 0px; position: absolute; width: 70px;"><span class="mw-tmh-playtext" style="display: block; height: 0px; margin-left: auto; margin-right: auto; overflow: hidden;"></span></span></a></div></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;"><b style="margin-left: auto; margin-right: auto;">Video</b>: Antti Lipponen portrays <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Global_warming" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Global warming">global warming</a> by changing lengths of colored radial spikes arranged by country.</div></div><div class="tsingle" style="float: left; margin: 1px; max-width: 256px; width: 256px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); height: 143px; margin-left: auto; margin-right: auto; overflow: hidden;"><div class="PopUpMediaTransform" id="mwe_player_2" style="margin: 0px auto; position: relative; width: 254px;" videopayload="<div class="mediaContainer" style="width:854px"><video id="mwe_player_3" poster="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Distribution_of_temperature_anomalies_%281850-2018%29_-_ring_graphic_-_Antti_Lipponen.webm/854px--Distribution_of_temperature_anomalies_%281850-2018%29_-_ring_graphic_-_Antti_Lipponen.webm.jpg" controls="" preload="none" autoplay="" style="width:854px;height:480px" class="kskin" data-durationhint="45.587" data-startoffset="0" data-mwtitle="Distribution_of_temperature_anomalies_(1850-2018)_-_ring_graphic_-_Antti_Lipponen.webm" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/9/9a/Distribution_of_temperature_anomalies_%281850-2018%29_-_ring_graphic_-_Antti_Lipponen.webm/Distribution_of_temperature_anomalies_%281850-2018%29_-_ring_graphic_-_Antti_Lipponen.webm.480p.vp9.webm" type="video/webm; 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height: 143px; margin-left: auto; margin-right: auto; vertical-align: middle; width: 254px;" /><a href="https://upload.wikimedia.org/wikipedia/commons/9/9a/Distribution_of_temperature_anomalies_%281850-2018%29_-_ring_graphic_-_Antti_Lipponen.webm" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" target="new" title="Play media"><span class="play-btn-large" style="background: url("data:image/png;base64,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"); border: none !important; cursor: pointer; height: 53px; inset: auto auto 0px 0px; margin: 0px; position: absolute; width: 70px;"><span class="mw-tmh-playtext" style="display: block; height: 0px; margin-left: auto; margin-right: auto; overflow: hidden;"></span></span></a></div></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;"><b style="margin-left: auto; margin-right: auto;">Video</b>: Antti Lipponen portrays <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Global_warming" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;" title="Global warming">global warming</a> as ring with colors that evolve over time.</div></div></div></div></div><div class="thumb tmulti tnone center" style="margin-bottom: 0.5em; text-align: center; width: auto;"><div class="thumbinner" style="background-color: #f8f9fa; border: 1px solid rgb(200, 204, 209); display: flex; flex-direction: column; font-size: 19.74px; margin-left: auto; margin-right: auto; max-width: 204px; min-width: 100px; overflow: hidden; padding: 3px; width: 204px;"><div class="trow" style="box-sizing: border-box; clear: left; display: flex; flex-flow: row wrap; margin-left: auto; margin-right: auto; width: 203.995px;"><div class="tsingle" style="float: left; margin: 1px; max-width: 202px; width: 202px;"><div class="thumbimage" style="background-color: white; border: 1px solid rgb(200, 204, 209); margin-left: auto; margin-right: auto;"><div class="mediaContainer" style="margin: 0px auto; position: relative; width: 200px;"><div class="mwPlayerContainer k-player" style="background: rgb(0, 0, 0); color: white; height: 20px; margin-left: auto; margin-right: auto; position: relative; width: 200px;"><div class="videoHolder" style="inset: 0px; margin-left: auto; margin-right: auto; overflow: hidden; position: absolute;"><div class="mwEmbedPlayer" id="mwe_player_4" style="height: 20px; left: 0px; margin-left: auto; margin-right: auto; overflow: hidden; position: absolute; top: 0px; width: 199.992px;"><img class="playerPoster" src="data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAEAAAABCAQAAAC1HAwCAAAAC0lEQVR42mNkqAcAAIUAgUW0RjgAAAAASUVORK5CYII=" style="border: 0px; height: 0px; inset: 0px; margin-left: auto; margin-right: auto; position: absolute; vertical-align: middle; width: 0px;" /></div><div class="play-btn-large" style="background: url("/w/extensions/TimedMediaHandler/resources/mwembed/EmbedPlayer/skins/kskin/images/ksprite.png?3c85d") 0px -433px no-repeat; border: none; cursor: pointer; height: 55px; left: 99.9918px; margin-left: -35px; margin-right: auto; margin-top: -27.5px; position: absolute; top: 10px; width: 70px;" title="Play clip"></div></div><div class="ui-state-default ui-widget-header ui-helper-clearfix control-bar block" style="background: url("/w/extensions/TimedMediaHandler/resources/mwembed/EmbedPlayer/skins/kskin/images/ksprite.png?3c85d") 0px -81px repeat-x; border-bottom-color: rgb(200, 200, 200); border-bottom-style: solid; border-image: initial; border-left-color: rgb(200, 200, 200); border-left-style: solid; border-right-color: initial; border-right-style: initial; border-top-color: initial; border-top-style: initial; border-width: 0px 0px 1px 1px; bottom: 0px; color: #555555; font-family: arial, sans-serif; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; height: 20px; left: 0px; line-height: normal; margin-left: auto; margin-right: auto; margin-top: 0px; padding: 2px 0px 0px 6px; position: absolute; right: 0px; z-index: 2; zoom: 1;"></div></div></div></div><div class="thumbcaption" style="background-color: transparent; border: 0px; font-size: 18.5556px; line-height: 1.4em; margin-left: auto; margin-right: auto; padding: 3px; text-align: left;">Sequence of piano notes portraying respective annual global average temperature readings since 1850, similar to Daniel Crawford's cello composition, "Song of Our Warming Planet".<sup class="reference" id="cite_ref-NYTimes_20130702_23-1" style="font-size: 15px; line-height: 1; margin-left: auto; margin-right: auto; unicode-bidi: isolate; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_note-NYTimes_20130702-23" style="background: none; color: #0645ad; margin-left: auto; margin-right: auto; text-decoration-line: none;">[23]</a></sup> The sequence portrays global warming with notes of progressively higher pitches.</div></div></div></div></div><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=4" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: See also">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><div aria-label="Portals" class="noprint portal plainlist tright" role="navigation" style="border: 1px solid rgb(170, 170, 170); clear: right; float: right; margin: 0.5em 0px 0.5em 1em; padding: 0px;"><ul style="background: rgb(249, 249, 249); box-sizing: border-box; display: table; font-size: 17.85px; font-style: italic; font-weight: bold; line-height: 19.635px; list-style: none none; margin: 0px; max-width: 175px; padding: 0.1em;"><li style="display: table-row; margin-bottom: 0px;"><span style="display: table-cell; padding: 0.2em; text-align: center; vertical-align: middle;"><a class="image" href="https://en.wikipedia.org/wiki/File:Aegopodium_podagraria1_ies.jpg" style="background: none; color: #0645ad; text-decoration-line: none;"><img alt="icon" class="noviewer" data-file-height="700" data-file-width="800" decoding="async" height="28" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Aegopodium_podagraria1_ies.jpg/32px-Aegopodium_podagraria1_ies.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Aegopodium_podagraria1_ies.jpg/48px-Aegopodium_podagraria1_ies.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Aegopodium_podagraria1_ies.jpg/64px-Aegopodium_podagraria1_ies.jpg 2x" style="border: 0px; vertical-align: middle;" width="32" /></a></span><span style="display: table-cell; padding: 0.2em 0.2em 0.2em 0.3em; vertical-align: middle;"><a href="https://en.wikipedia.org/wiki/Portal:Environment" style="background: none; color: #0645ad; text-decoration-line: none;" title="Portal:Environment">Environment portal</a></span></li><li style="display: table-row; margin-bottom: 0px;"><span style="display: table-cell; padding: 0.2em; text-align: center; vertical-align: middle;"><a class="image" href="https://en.wikipedia.org/wiki/File:Change_in_Average_Temperature.svg" style="background: none; color: #0645ad; text-decoration-line: none;"><img alt="icon" class="noviewer" data-file-height="864" data-file-width="960" decoding="async" height="28" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Change_in_Average_Temperature.svg/31px-Change_in_Average_Temperature.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/88/Change_in_Average_Temperature.svg/47px-Change_in_Average_Temperature.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/88/Change_in_Average_Temperature.svg/62px-Change_in_Average_Temperature.svg.png 2x" style="border: 0px; vertical-align: middle;" width="31" /></a></span><span style="display: table-cell; padding: 0.2em 0.2em 0.2em 0.3em; vertical-align: middle;"><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Portal:Global_warming" style="background: none; color: #0645ad; text-decoration-line: none;" title="Portal:Global warming">Global warming portal</a></span></li></ul></div><ul style="list-style-image: url("/w/skins/Vector/resources/common/images/bullet-icon.svg?d4515"); margin: 0.3em 0px 0px 1.6em; padding: 0px;"><li style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Craftivism" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Craftivism">Craftivism</a></li><li style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Environmentalism" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Environmentalism">Environmentalism</a></li><li style="margin-bottom: 0.1em;"><a href="https://en.wikipedia.org/wiki/Climate_change" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Climate change">Climate change</a></li></ul><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="References">References</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=5" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: References">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><div class="reflist" style="font-size: 18.9px; list-style-type: decimal; margin-bottom: 0.5em;"><div class="mw-references-wrap mw-references-columns" style="column-width: 30em; margin-top: 0.3em;"><ol class="references" style="counter-reset: mw-ref-extends-parent 0 list-item 0; list-style-image: none; list-style-type: inherit; margin: 0px 0px 0px 3.2em; padding: 0px;"><li id="cite_note-brookshireSNS5apr2019-1" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-brookshireSNS5apr2019_1-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-brookshireSNS5apr2019_1-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-brookshireSNS5apr2019_1-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFBrookshire2019" style="font-style: inherit; overflow-wrap: break-word;">Brookshire, Bethany (5 April 2019). <a class="external text" href="https://www.sciencenewsforstudents.org/article/using-art-show-climate-change-threat" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Using art to show the threat of climate change: These seven artists are using climate change concepts in their work"</a>. <i>Science News for Students</i>. <a class="external text" href="https://web.archive.org/web/20190408192342/https://www.sciencenewsforstudents.org/article/using-art-show-climate-change-threat" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 8 April 2019<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">20 May</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Science+News+for+Students&rft.atitle=Using+art+to+show+the+threat+of+climate+change%3A+These+seven+artists+are+using+climate+change+concepts+in+their+work&rft.date=2019-04-05&rft.aulast=Brookshire&rft.aufirst=Bethany&rft_id=https%3A%2F%2Fwww.sciencenewsforstudents.org%2Farticle%2Fusing-art-show-climate-change-threat&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-SA-2" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-SA_2-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-SA_2-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-SA_2-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.scientificamerican.com/article/art-makes-environmental-change-real/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Art Makes Environmental Change Real: Experiencing the science of climate change rather than learning about it"</a>. <i>Scientific American</i>. <a class="external text" href="https://web.archive.org/web/20161010003801/https://www.scientificamerican.com/article/art-makes-environmental-change-real/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 10 October 2016<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">20 May</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Scientific+American&rft.atitle=Art+Makes+Environmental+Change+Real%3A+Experiencing+the+science+of+climate+change+rather+than+learning+about+it.&rft_id=https%3A%2F%2Fwww.scientificamerican.com%2Farticle%2Fart-makes-environmental-change-real%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-CRP25may2017-3" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-CRP25may2017_3-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.climaterealityproject.org/blog/incredible-climate-change-art-will-leave-you-floored" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"This Incredible Climate Change Art Will Leave You Floored"</a>. <i>Climate Reality Project</i>. 25 May 2017<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">20 May</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Climate+Reality+Project&rft.atitle=This+Incredible+Climate+Change+Art+Will+Leave+You+Floored&rft.date=2017-05-25&rft_id=https%3A%2F%2Fwww.climaterealityproject.org%2Fblog%2Fincredible-climate-change-art-will-leave-you-floored&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-Windhager_2019-4" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Windhager_2019_4-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFWindhagerSchrederMayr2019" style="font-style: inherit; overflow-wrap: break-word;">Windhager, Florian; Schreder, Günther; Mayr, Eva (2019). <a class="external text" href="https://www.academia.edu/39733782" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"On Inconvenient Images: Exploring the Design Space of Engaging Climate Change Visualizations for Public Audiences"</a>. <i>Workshop on Visualisation in Environmental Sciences (EnvirVis)</i>. The Eurographics Association: 1–8. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.2312%2Fenvirvis.20191098" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.2312/envirvis.20191098</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Workshop+on+Visualisation+in+Environmental+Sciences+%28EnvirVis%29&rft.atitle=On+Inconvenient+Images%3A+Exploring+the+Design+Space+of+Engaging+Climate+Change+Visualizations+for+Public+Audiences&rft.pages=1-8&rft.date=2019&rft_id=info%3Adoi%2F10.2312%2Fenvirvis.20191098&rft.aulast=Windhager&rft.aufirst=Florian&rft.au=Schreder%2C+G%C3%BCnther&rft.au=Mayr%2C+Eva&rft_id=https%3A%2F%2Fwww.academia.edu%2F39733782&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-krugGUARDIAN20feb2019-5" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-krugGUARDIAN20feb2019_5-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation news cs1" id="CITEREFKrug2019" style="font-style: inherit; overflow-wrap: break-word;">Krug, Oliver (20 February 2019). <a class="external text" href="https://www.theguardian.com/artanddesign/2019/feb/20/artists-fighting-climate-change" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"From foil-wrapped glaciers to the Alpine storm cyclist: the artists fighting climate change: After too long a silence, art is finally tackling global warming"</a>. <i>The Guardian</i>. <a class="external text" href="https://web.archive.org/web/20190321080200/https://www.theguardian.com/artanddesign/2019/feb/20/artists-fighting-climate-change" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a>from the original on 21 March 2019<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">20 May</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=From+foil-wrapped+glaciers+to+the+Alpine+storm+cyclist%3A+the+artists+fighting+climate+change%3A+After+too+long+a+silence%2C+art+is+finally+tackling+global+warming.&rft.date=2019-02-20&rft.aulast=Krug&rft.aufirst=Oliver&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2019%2Ffeb%2F20%2Fartists-fighting-climate-change&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-:1-6" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:1_6-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:1_6-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://artistsandclimatechange.com/about/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"About"</a>. <i>Artists & Climate Change</i>. 2013-01-23<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2020-03-06</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Artists+%26+Climate+Change&rft.atitle=About&rft.date=2013-01-23&rft_id=https%3A%2F%2Fartistsandclimatechange.com%2Fabout%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-7" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-7" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://grist.org/article/mckibben-imagine/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"What the warming world needs now is art, sweet art"</a>. <i>Grist</i>. 2005-04-22<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2020-03-06</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Grist&rft.atitle=What+the+warming+world+needs+now+is+art%2C+sweet+art&rft.date=2005-04-22&rft_id=https%3A%2F%2Fgrist.org%2Farticle%2Fmckibben-imagine%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-buntingGUARDIAN2dec2009-8" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-buntingGUARDIAN2dec2009_8-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFBunting2009" style="font-style: inherit; overflow-wrap: break-word;">Bunting, Madeleine (2009-12-02). <a class="external text" href="https://www.theguardian.com/artanddesign/2009/dec/02/climate-change-art-earth-rethink" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"The rise of climate-change art"</a>. <i>The Guardian</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2019-05-20</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=The+rise+of+climate-change+art&rft.date=2009-12-02&rft.aulast=Bunting&rft.aufirst=Madeleine&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2009%2Fdec%2F02%2Fclimate-change-art-earth-rethink&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-9" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-9" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://juliesbicycle.com/event/we-make-tomorrow-summit/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"We Make Tomorrow summit"</a>. <i>Julie's Bicycle</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2020-03-06</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Julie%27s+Bicycle&rft.atitle=We+Make+Tomorrow+summit&rft_id=https%3A%2F%2Fjuliesbicycle.com%2Fevent%2Fwe-make-tomorrow-summit%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-:0-10" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:0_10-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:0_10-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:0_10-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFRea2020" style="font-style: inherit; overflow-wrap: break-word;">Rea, Naomi (2020-03-03). <a class="external text" href="https://news.artnet.com/art-world/climate-change-5-sustainability-tips-1791375" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"5 Meaningful Ways the Art World Can Help Fight Climate Change, According to Experts in the Field"</a>. <i>artnet News</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2020-03-06</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=artnet+News&rft.atitle=5+Meaningful+Ways+the+Art+World+Can+Help+Fight+Climate+Change%2C+According+to+Experts+in+the+Field&rft.date=2020-03-03&rft.aulast=Rea&rft.aufirst=Naomi&rft_id=https%3A%2F%2Fnews.artnet.com%2Fart-world%2Fclimate-change-5-sustainability-tips-1791375&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-:2-11" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:2_11-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:2_11-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFAmsen" style="font-style: inherit; overflow-wrap: break-word;">Amsen, Eva. <a class="external text" href="https://www.forbes.com/sites/evaamsen/2019/09/30/climate-change-art-helps-people-connect-with-a-challenging-topic/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate Change Art Helps People Connect With A Challenging Topic"</a>. <i>Forbes</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2020-03-06</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Forbes&rft.atitle=Climate+Change+Art+Helps+People+Connect+With+A+Challenging+Topic&rft.aulast=Amsen&rft.aufirst=Eva&rft_id=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fevaamsen%2F2019%2F09%2F30%2Fclimate-change-art-helps-people-connect-with-a-challenging-topic%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-12" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-12" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFSommerKlöckner2019" style="font-style: inherit; overflow-wrap: break-word;">Sommer, Laura Kim; Klöckner, Christian Andreas (2019-07-01). "Does activist art have the capacity to raise awareness in audiences?—A study on climate change art at the ArtCOP21 event in Paris". <i>Psychology of Aesthetics, Creativity, and the Arts</i>. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1037%2Faca0000247" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.1037/aca0000247</a>. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/ISSN_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="ISSN (identifier)">ISSN</a> <a class="external text" href="https://www.worldcat.org/issn/1931-390X" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">1931-390X</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Psychology+of+Aesthetics%2C+Creativity%2C+and+the+Arts&rft.atitle=Does+activist+art+have+the+capacity+to+raise+awareness+in+audiences%3F%E2%80%94A+study+on+climate+change+art+at+the+ArtCOP21+event+in+Paris.&rft.date=2019-07-01&rft_id=info%3Adoi%2F10.1037%2Faca0000247&rft.issn=1931-390X&rft.aulast=Sommer&rft.aufirst=Laura+Kim&rft.au=Kl%C3%B6ckner%2C+Christian+Andreas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-Knowable_20191112-13" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Knowable_20191112_13-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Knowable_20191112_13-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation magazine cs1" id="CITEREFMason2019" style="font-style: inherit; overflow-wrap: break-word;">Mason, Betsy (November 12, 2019). <a class="external text" href="https://www.knowablemagazine.org/article/mind/2019/science-data-visualization" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Why scientists need to be better at data visualization"</a>. <i><a href="https://en.wikipedia.org/wiki/Annual_Reviews_(publisher)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Annual Reviews (publisher)">Knowable</a></i>. <a class="external text" href="https://web.archive.org/web/20191115154538/https://www.knowablemagazine.org/article/mind/2019/science-data-visualization" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on November 15, 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Knowable&rft.atitle=Why+scientists+need+to+be+better+at+data+visualization&rft.date=2019-11-12&rft.aulast=Mason&rft.aufirst=Betsy&rft_id=https%3A%2F%2Fwww.knowablemagazine.org%2Farticle%2Fmind%2F2019%2Fscience-data-visualization&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-Forbes_20190930-14" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Forbes_20190930_14-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Forbes_20190930_14-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Forbes_20190930_14-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>c</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Forbes_20190930_14-3" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>d</b></i></sup></a></span> <span class="reference-text"><cite class="citation magazine cs1" id="CITEREFAmsen2019" style="font-style: inherit; overflow-wrap: break-word;">Amsen, Eva (September 30, 2019). <a class="external text" href="https://www.forbes.com/sites/evaamsen/2019/09/30/climate-change-art-helps-people-connect-with-a-challenging-topic/#3fc000ff75d0" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate Change Art Helps People Connect With A Challenging Topic"</a>. <i>Forbes</i>. <a class="external text" href="https://web.archive.org/web/20191001050618/https://www.forbes.com/sites/evaamsen/2019/09/30/climate-change-art-helps-people-connect-with-a-challenging-topic/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on October 1, 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Forbes&rft.atitle=Climate+Change+Art+Helps+People+Connect+With+A+Challenging+Topic&rft.date=2019-09-30&rft.aulast=Amsen&rft.aufirst=Eva&rft_id=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fevaamsen%2F2019%2F09%2F30%2Fclimate-change-art-helps-people-connect-with-a-challenging-topic%2F%233fc000ff75d0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-LEDN_20190923-15" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-LEDN_20190923_15-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation magazine cs1" id="CITEREFDussert2019" style="font-style: inherit; overflow-wrap: break-word;">Dussert, Margaux (23 September 2019). <a class="external text" href="https://www.ladn.eu/mondes-creatifs/rechauffement-climatique-graphique-buzz/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Réchauffement climatique : ce graphique scientifique fait le buzz (Global warming: this scientific graph is making a buzz)"</a>. <i>L'EDN</i> (in French). <a class="external text" href="https://web.archive.org/web/20191022054104/https://www.ladn.eu/mondes-creatifs/rechauffement-climatique-graphique-buzz/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 22 October 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=L%27EDN&rft.atitle=R%C3%A9chauffement+climatique+%3A+ce+graphique+scientifique+fait+le+buzz+%28Global+warming%3A+this+scientific+graph+is+making+a+buzz%29&rft.date=2019-09-23&rft.aulast=Dussert&rft.aufirst=Margaux&rft_id=https%3A%2F%2Fwww.ladn.eu%2Fmondes-creatifs%2Frechauffement-climatique-graphique-buzz%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-:3-16" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:3_16-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:3_16-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-:3_16-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFBurtner2017" style="font-style: inherit; overflow-wrap: break-word;">Burtner, Matthew (January 2017). <a class="external text" href="https://dx.doi.org/10.1215/00382876-3749392" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate Change Music: From Environmental Aesthetics to Ecoacoustics"</a>. <i>South Atlantic Quarterly</i>. <b>116</b>(1): 145–161. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1215%2F00382876-3749392" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.1215/00382876-3749392</a>. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/ISSN_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="ISSN (identifier)">ISSN</a> <a class="external text" href="https://www.worldcat.org/issn/0038-2876" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">0038-2876</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=South+Atlantic+Quarterly&rft.atitle=Climate+Change+Music%3A+From+Environmental+Aesthetics+to+Ecoacoustics&rft.volume=116&rft.issue=1&rft.pages=145-161&rft.date=2017-01&rft_id=info%3Adoi%2F10.1215%2F00382876-3749392&rft.issn=0038-2876&rft.aulast=Burtner&rft.aufirst=Matthew&rft_id=http%3A%2F%2Fdx.doi.org%2F10.1215%2F00382876-3749392&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-17" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-17" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFWodak2017" style="font-style: inherit; overflow-wrap: break-word;">Wodak, Josh (2017-09-14). <a class="external text" href="https://dx.doi.org/10.1080/17524032.2017.1371051" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Shifting Baselines: Conveying Climate Change in Popular Music"</a>. <i>Environmental Communication</i>. <b>12</b> (1): 58–70. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1080%2F17524032.2017.1371051" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.1080/17524032.2017.1371051</a>. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/ISSN_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="ISSN (identifier)">ISSN</a> <a class="external text" href="https://www.worldcat.org/issn/1752-4032" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">1752-4032</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Environmental+Communication&rft.atitle=Shifting+Baselines%3A+Conveying+Climate+Change+in+Popular+Music&rft.volume=12&rft.issue=1&rft.pages=58-70&rft.date=2017-09-14&rft_id=info%3Adoi%2F10.1080%2F17524032.2017.1371051&rft.issn=1752-4032&rft.aulast=Wodak&rft.aufirst=Josh&rft_id=http%3A%2F%2Fdx.doi.org%2F10.1080%2F17524032.2017.1371051&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-18" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-18" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation cs2" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://dx.doi.org/10.1515/9781400844692-015" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Chapter 14. A Warming with Multiple Consequences"</a>, <i>The White Planet</i>, Princeton University Press, pp. 218–226, 2013-12-31, <a class="mw-redirect" href="https://en.wikipedia.org/wiki/ISBN_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="ISBN (identifier)">ISBN</a> <a href="https://en.wikipedia.org/wiki/Special:BookSources/978-1-4008-4469-2" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Special:BookSources/978-1-4008-4469-2"><bdi>978-1-4008-4469-2</bdi></a><span class="reference-accessdate">, retrieved <span class="nowrap" style="white-space: nowrap;">2021-04-22</span></span></cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+White+Planet&rft.atitle=Chapter+14.+A+Warming+with+Multiple+Consequences&rft.pages=218-226&rft.date=2013-12-31&rft.isbn=978-1-4008-4469-2&rft_id=http%3A%2F%2Fdx.doi.org%2F10.1515%2F9781400844692-015&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-19" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-19" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.artworksforchange.org/reduce-your-carbon-footprint/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Reduce Your Carbon Footprint – Art Works for Change"</a><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-02-17</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Reduce+Your+Carbon+Footprint+%E2%80%93+Art+Works+for+Change&rft_id=https%3A%2F%2Fwww.artworksforchange.org%2Freduce-your-carbon-footprint%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-20" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-20" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.artworksforchange.org/pledge-conserve-energy/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Conserve Energy – Art Works for Change"</a><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-02-17</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Conserve+Energy+%E2%80%93+Art+Works+for+Change&rft_id=https%3A%2F%2Fwww.artworksforchange.org%2Fpledge-conserve-energy%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-21" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-21" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.artworksforchange.org/make-sustainable-transportation-choices/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Make Sustainable Transportation Choices – Art Works for Change"</a><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-02-17</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Make+Sustainable+Transportation+Choices+%E2%80%93+Art+Works+for+Change&rft_id=https%3A%2F%2Fwww.artworksforchange.org%2Fmake-sustainable-transportation-choices%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-22" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-22" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFGalafassiKaganMilkoreitHeras2018" style="font-style: inherit; overflow-wrap: break-word;">Galafassi, Diego; Kagan, Sacha; Milkoreit, Manjana; Heras, María; Bilodeau, Chantal; Bourke, Sadhbh Juarez; Merrie, Andrew; Guerrero, Leonie; Pétursdóttir, Guðrún; Tàbara, Joan David (April 2018). "<span class="cs1-kern-left" style="padding-left: 0.2em;">'</span>Raising the temperature': the arts on a warming planet". <i>Current Opinion in Environmental Sustainability</i>. <b>31</b>: 71–79. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1016%2Fj.cosust.2017.12.010" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.1016/j.cosust.2017.12.010</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Current+Opinion+in+Environmental+Sustainability&rft.atitle=%27Raising+the+temperature%27%3A+the+arts+on+a+warming+planet&rft.volume=31&rft.pages=71-79&rft.date=2018-04&rft_id=info%3Adoi%2F10.1016%2Fj.cosust.2017.12.010&rft.aulast=Galafassi&rft.aufirst=Diego&rft.au=Kagan%2C+Sacha&rft.au=Milkoreit%2C+Manjana&rft.au=Heras%2C+Mar%C3%ADa&rft.au=Bilodeau%2C+Chantal&rft.au=Bourke%2C+Sadhbh+Juarez&rft.au=Merrie%2C+Andrew&rft.au=Guerrero%2C+Leonie&rft.au=P%C3%A9tursd%C3%B3ttir%2C+Gu%C3%B0r%C3%BAn&rft.au=T%C3%A0bara%2C+Joan+David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-NYTimes_20130702-23" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;">^ <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-NYTimes_20130702_23-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><span class="cite-accessibility-label" style="border: 0px !important; clip: rect(1px, 1px, 1px, 1px); height: 1px !important; overflow: hidden; padding: 0px !important; position: absolute !important; top: -99999px; user-select: none; width: 1px !important;">Jump up to:</span><sup style="font-size: 15.12px; line-height: 1;"><i><b>a</b></i></sup></a> <a href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-NYTimes_20130702_23-1" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;"><sup style="font-size: 15.12px; line-height: 1;"><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation news cs1" id="CITEREFRevkin2013" style="font-style: inherit; overflow-wrap: break-word;">Revkin, Andrew C. (July 2, 2013). <a class="external text" href="https://dotearth.blogs.nytimes.com/2013/07/02/global-warming-trend-and-variations-charted-by-cello/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Global Warming Trend and Variations Charted by Cello"</a>. <i>The New York Times</i>. <a class="external text" href="https://web.archive.org/web/20191005184803/https://dotearth.blogs.nytimes.com/2013/07/02/global-warming-trend-and-variations-charted-by-cello/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on October 5, 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Global+Warming+Trend+and+Variations+Charted+by+Cello&rft.date=2013-07-02&rft.aulast=Revkin&rft.aufirst=Andrew+C.&rft_id=https%3A%2F%2Fdotearth.blogs.nytimes.com%2F2013%2F07%2F02%2Fglobal-warming-trend-and-variations-charted-by-cello%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-24" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-24" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://ensia.com/videos/what-climate-change-sounds-like-from-the-amazon-to-the-arctic/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"What climate change sounds like from the Amazon to the Arctic"</a>. <i>Ensia</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-04-22</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Ensia&rft.atitle=What+climate+change+sounds+like+from+the+Amazon+to+the+Arctic&rft_id=https%3A%2F%2Fensia.com%2Fvideos%2Fwhat-climate-change-sounds-like-from-the-amazon-to-the-arctic%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-schwabFC11jan2019-25" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-schwabFC11jan2019_25-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation magazine cs1" id="CITEREFSchwab2019" style="font-style: inherit; overflow-wrap: break-word;">Schwab, Katharine (11 January 2019). <a class="external text" href="https://www.fastcompany.com/90290800/crafting-take-a-dark-turn-in-the-age-of-climate-crisis" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Crafting takes a dark turn in the age of climate crisis"</a>. <i>Fast Company</i>. <a class="external text" href="https://web.archive.org/web/20190111170955/https://www.fastcompany.com/90290800/crafting-take-a-dark-turn-in-the-age-of-climate-crisis" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 11 January 2019<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">11 January</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Fast+Company&rft.atitle=Crafting+takes+a+dark+turn+in+the+age+of+climate+crisis&rft.date=2019-01-11&rft.aulast=Schwab&rft.aufirst=Katharine&rft_id=https%3A%2F%2Fwww.fastcompany.com%2F90290800%2Fcrafting-take-a-dark-turn-in-the-age-of-climate-crisis&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-26" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-26" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://davidellingsen.com/The-Last-Stand/Project-Information/1/caption" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Last Stand Project Information"</a>. <i>David Ellingsen</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-03-09</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=David+Ellingsen&rft.atitle=Last+Stand+Project+Information&rft_id=https%3A%2F%2Fdavidellingsen.com%2FThe-Last-Stand%2FProject-Information%2F1%2Fcaption&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-27" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-27" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation news cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.designboom.com/art/andreco-climate-change-venice-italy-11-10-2017/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"andreco catalyzes the climate change discussion through public artwork in venice"</a><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">10 March</span> 2021</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=andreco+catalyzes+the+climate+change+discussion+through+public+artwork+in+venice&rft_id=https%3A%2F%2Fwww.designboom.com%2Fart%2Fandreco-climate-change-venice-italy-11-10-2017%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-28" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-28" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation news cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://tg24.sky.it/ambiente/2019/03/16/nuova-delhi-murales-smog-Andreco" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Nuova Delhi, il murales di Andreco fatto con l'inchiostro di smog"</a>. SKY TG24<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">10 March</span> 2021</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Nuova+Delhi%2C+il+murales+di+Andreco+fatto+con+l%27inchiostro+di+smog.&rft_id=https%3A%2F%2Ftg24.sky.it%2Fambiente%2F2019%2F03%2F16%2Fnuova-delhi-murales-smog-Andreco&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-29" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-29" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="http://www.climateartproject.com/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate Art Project"</a>. <i>Climate Art Project</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">11 March</span> 2021</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Climate+Art+Project&rft.atitle=Climate+Art+Project&rft_id=http%3A%2F%2Fwww.climateartproject.com%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-Conte,_Passatore,_Brunetti-30" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Conte,_Passatore,_Brunetti_30-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation journal cs1" id="CITEREFContePassatoreBrunetti2020" style="font-style: inherit; overflow-wrap: break-word;">Conte, Andrea; Passatore, Laura; Brunetti, Patrizia (November 2020). <a class="external text" href="https://www.tandfonline.com/doi/abs/10.1080/09640568.2020.1822306" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Nature Based Solutions on the river environment: an example of cross-disciplinary sustainable management, with local community active participation and visual art as science transfer tool"</a>. <i>Journal of Environmental Planning and Management</i> (Water management and nature based solutions: Resource Sustainability through River Contracts). <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.1080%2F09640568.2020.1822306" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.1080/09640568.2020.1822306</a><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">11 March</span> 2021</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Environmental+Planning+and+Management&rft.atitle=Nature+Based+Solutions+on+the+river+environment%3A+an+example+of+cross-disciplinary+sustainable+management%2C+with+local+community+active+participation+and+visual+art+as+science+transfer+tool&rft.issue=Water+management+and+nature+based+solutions%3A+Resource+Sustainability+through+River+Contracts&rft.date=2020-11&rft_id=info%3Adoi%2F10.1080%2F09640568.2020.1822306&rft.aulast=Conte&rft.aufirst=Andrea&rft.au=Passatore%2C+Laura&rft.au=Brunetti%2C+Patrizia&rft_id=https%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Fabs%2F10.1080%2F09640568.2020.1822306&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-31" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-31" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.artworksforchange.org/footing-the-bill/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Footing the Bill: Art and Our Ecological Footprint: Earth Day 2020"</a>. <i>Artworks for Change</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-03-09</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Artworks+for+Change&rft.atitle=Footing+the+Bill%3A+Art+and+Our+Ecological+Footprint%3A+Earth+Day+2020&rft_id=https%3A%2F%2Fwww.artworksforchange.org%2Ffooting-the-bill%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-NCASwarming_stripes-32" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-NCASwarming_stripes_32-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.ncas.ac.uk/en/18-news/2935-ed-hawkin-s-warming-stripes-add-colour-to-climate-communication" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Ed Hawkins' warming stripes add colour to climate communication - National Centre for Atmospheric Science"</a>. National Centre for Atmospheric Science. <a class="external text" href="https://web.archive.org/web/20190517104236/https://www.ncas.ac.uk/en/18-news/2935-ed-hawkin-s-warming-stripes-add-colour-to-climate-communication" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 2019-05-17<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2019-05-18</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ed+Hawkins%27+warming+stripes+add+colour+to+climate+communication+-+National+Centre+for+Atmospheric+Science&rft.pub=National+Centre+for+Atmospheric+Science&rft_id=https%3A%2F%2Fwww.ncas.ac.uk%2Fen%2F18-news%2F2935-ed-hawkin-s-warming-stripes-add-colour-to-climate-communication&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-lescazeNYT22aug2018-33" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-lescazeNYT22aug2018_33-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation news cs1" id="CITEREFLescaze2018" style="font-style: inherit; overflow-wrap: break-word;">Lescaze, Zoe (22 August 2018). <a class="external text" href="https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"12 Artists On: Climate Change: A dozen artistic responses to one of the greatest threats of our time"</a>. <i>New York Times</i>. <a class="external text" href="https://web.archive.org/web/20190402075931/https://www.nytimes.com/2018/08/22/t-magazine/climate-change-art.html" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 2 April 2019<span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">20 May</span> 2019</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+York+Times&rft.atitle=12+Artists+On%3A+Climate+Change%3A+A+dozen+artistic+responses+to+one+of+the+greatest+threats+of+our+time.&rft.date=2018-08-22&rft.aulast=Lescaze&rft.aufirst=Zoe&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2018%2F08%2F22%2Ft-magazine%2Fclimate-change-art.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-34" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-34" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="http://www.jillpelto.com/gallery" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Gallery"</a>. <i>Jill Pelto</i><span class="reference-accessdate">. Retrieved <span class="nowrap" style="white-space: nowrap;">2021-03-09</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Jill+Pelto&rft.atitle=Gallery&rft_id=http%3A%2F%2Fwww.jillpelto.com%2Fgallery&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-ClimateSpiral-35" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-ClimateSpiral_35-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFHawkins2018" style="font-style: inherit; overflow-wrap: break-word;">Hawkins, Ed (2018). <a class="external text" href="http://www.climate-lab-book.ac.uk/spirals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate spirals / Global temperature change (1805-2017)"</a>. <i>Climate Lab Book</i>. <a class="external text" href="https://web.archive.org/web/20190727142207/http://www.climate-lab-book.ac.uk/spirals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 27 July 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Climate+Lab+Book&rft.atitle=Climate+spirals+%2F+Global+temperature+change+%281805-2017%29&rft.date=2018&rft.aulast=Hawkins&rft.aufirst=Ed&rft_id=http%3A%2F%2Fwww.climate-lab-book.ac.uk%2Fspirals%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> (<a class="external text" href="https://web.archive.org/web/20190528013642/http://www.climate-lab-book.ac.uk/files/2016/06/spiral_2017_large-1.gif" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Direct link to image</a>).</span></li><li id="cite_note-ClimateSpiralGraphic-36" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-ClimateSpiralGraphic_36-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFHawkins2018" style="font-style: inherit; overflow-wrap: break-word;">Hawkins, Ed (2018). <a class="external text" href="http://www.climate-lab-book.ac.uk/spirals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate spirals / Global temperature change (1805-2017)"</a>. <i>Climate Lab Book</i>. <a class="external text" href="https://web.archive.org/web/20190727142207/http://www.climate-lab-book.ac.uk/spirals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 27 July 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Climate+Lab+Book&rft.atitle=Climate+spirals+%2F+Global+temperature+change+%281805-2017%29&rft.date=2018&rft.aulast=Hawkins&rft.aufirst=Ed&rft_id=http%3A%2F%2Fwww.climate-lab-book.ac.uk%2Fspirals%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> (<a class="external text" href="https://web.archive.org/web/20190528013642/http://www.climate-lab-book.ac.uk/files/2016/06/spiral_2017_large-1.gif" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Direct link to animated GIF</a>).</span></li><li id="cite_note-ClimateLabBook_WarmingStripes1850-2018-37" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-ClimateLabBook_WarmingStripes1850-2018_37-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFHawkins2018" style="font-style: inherit; overflow-wrap: break-word;">Hawkins, Ed (4 December 2018). <a class="external text" href="http://www.climate-lab-book.ac.uk/2018/2018-visualisation-update/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"2018 visualisation update / Warming stripes for 1850-2018 using the WMO annual global temperature dataset"</a>. <i>Climate Lab Book</i>. <a class="external text" href="https://web.archive.org/web/20190417024828/http://www.climate-lab-book.ac.uk/2018/2018-visualisation-update/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 17 April 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Climate+Lab+Book&rft.atitle=2018+visualisation+update+%2F+Warming+stripes+for+1850-2018+using+the+WMO+annual+global+temperature+dataset.&rft.date=2018-12-04&rft.aulast=Hawkins&rft.aufirst=Ed&rft_id=http%3A%2F%2Fwww.climate-lab-book.ac.uk%2F2018%2F2018-visualisation-update%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> (<a class="external text" href="https://web.archive.org/web/20190403013148/http://www.climate-lab-book.ac.uk/files/2018/12/wmo_stripes.png" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Direct link to image</a>)</span></li><li id="cite_note-Guardian_20190416-38" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Guardian_20190416_38-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation news cs1" id="CITEREFRose2019" style="font-style: inherit; overflow-wrap: break-word;">Rose, Steve (16 April 2019). <a class="external text" href="https://www.theguardian.com/artanddesign/shortcuts/2019/apr/16/how-the-symbol-for-extinction-became-this-generations-peace-sign" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"How the symbol for extinction became this generation's peace sign"</a>. <i>The Guardian</i>. <a class="external text" href="https://web.archive.org/web/20191013223007/https://www.theguardian.com/artanddesign/shortcuts/2019/apr/16/how-the-symbol-for-extinction-became-this-generations-peace-sign" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on October 13, 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=How+the+symbol+for+extinction+became+this+generation%27s+peace+sign&rft.date=2019-04-16&rft.aulast=Rose&rft.aufirst=Steve&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2Fshortcuts%2F2019%2Fapr%2F16%2Fhow-the-symbol-for-extinction-became-this-generations-peace-sign&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></span></li><li id="cite_note-Bevacqua_201811-39" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Bevacqua_201811_39-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" id="CITEREFBevacqua2018" style="font-style: inherit; overflow-wrap: break-word;">Bevacqua, Emanuele (<a class="external text" href="https://web.archive.org/web/20190731035139/https://research.reading.ac.uk/meteorology/people/emanuele-bevacqua/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">University of Reading</a>) (November 2018). <a class="external text" href="https://emanuele.bevacqua.eu/climatevisuals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Climate Change Visualizations"</a>. <a class="external text" href="https://web.archive.org/web/20190729194942/https://emanuele.bevacqua.eu/climatevisuals/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 29 July 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Climate+Change+Visualizations&rft.date=2018-11&rft.aulast=Bevacqua&rft.aufirst=Emanuele+%28%5Bhttps%3A%2F%2Fweb.archive.org%2Fweb%2F20190731035139%2Fhttps%3A%2F%2Fresearch.reading.ac.uk%2Fmeteorology%2Fpeople%2Femanuele-bevacqua%2F+University+of+Reading%5D%29&rft_id=https%3A%2F%2Femanuele.bevacqua.eu%2Fclimatevisuals%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> (<a class="external text" href="https://web.archive.org/web/20190731035139/https://research.reading.ac.uk/meteorology/people/emanuele-bevacqua/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">University of Reading affiliate</a>).</span></li><li id="cite_note-Dave_20160615-40" style="break-inside: avoid-column; counter-increment: mw-ref-extends-parent 1; counter-reset: mw-ref-extends-child 0; margin-bottom: 0.1em;"><span class="mw-cite-backlink" style="user-select: none;"><b><a aria-label="Jump up" href="https://en.wikipedia.org/wiki/Climate_change_art#cite_ref-Dave_20160615_40-0" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Jump up">^</a></b></span> <span class="reference-text"><cite class="citation web cs1" style="font-style: inherit; overflow-wrap: break-word;"><a class="external text" href="https://www.reddit.com/r/dataisbeautiful/comments/4o6if2/the_temperature_of_the_world_since_1850_oc/?sort=old" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"Average World Temperature Since 1850"</a>. <i>Reddit, "DataIsBeautiful" subreddit</i>. 15 June 2016. <a class="external text" href="https://web.archive.org/web/20160615132704/https://www.reddit.com/r/dataisbeautiful/comments/4o6if2/the_temperature_of_the_world_since_1850_oc/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 15 June 2016.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Reddit%2C+%22DataIsBeautiful%22+subreddit&rft.atitle=Average+World+Temperature+Since+1850&rft.date=2016-06-15&rft_id=https%3A%2F%2Fwww.reddit.com%2Fr%2Fdataisbeautiful%2Fcomments%2F4o6if2%2Fthe_temperature_of_the_world_since_1850_oc%2F%3Fsort%3Dold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> ● <b>Data source:</b> <a class="external text" href="https://crudata.uea.ac.uk/cru/data/temperature/HadCRUT4-gl.dat" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">University of East Anglia Climate Research Unit (CRU)</a>(<a class="external text" href="https://web.archive.org/web/20190804094057/https://crudata.uea.ac.uk/cru/data/temperature/HadCRUT4-gl.dat" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">archive</a>).</span></li></ol></div></div><h2 style="border-bottom: 1px solid rgb(162, 169, 177); color: black; font-family: "Linux Libertine", Georgia, Times, serif; font-weight: normal; line-height: 1.3; margin: 1em 0px 0.25em; overflow: hidden; padding: 0px;"><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection" style="font-family: sans-serif; font-size: small; line-height: 1em; margin-left: 1em; margin-right: 0px; unicode-bidi: isolate; user-select: none; vertical-align: baseline;"><span class="mw-editsection-bracket" style="color: #54595d; margin-right: 0.25em;">[</span><a href="https://en.wikipedia.org/w/index.php?title=Climate_change_art&action=edit&section=6" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none; white-space: nowrap;" title="Edit section: External links">edit</a><span class="mw-editsection-bracket" style="color: #54595d; margin-left: 0.25em;">]</span></span></h2><ul style="list-style-image: url("/w/skins/Vector/resources/common/images/bullet-icon.svg?d4515"); margin: 0.3em 0px 0px 1.6em; padding: 0px;"><li style="margin-bottom: 0.1em;"><cite class="citation journal cs1" id="CITEREFWindhagerSchrederMayr2019" style="font-style: inherit; overflow-wrap: break-word;">Windhager, Florian; Schreder, Günther; Mayr, Eva (2019). <a class="external text" href="https://www.academia.edu/39733782" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"On Inconvenient Images: Exploring the Design Space of Engaging Climate Change Visualizations for Public Audiences"</a>. <i>Workshop on Visualisation in Environmental Sciences (EnvirVis)</i>. The Eurographics Association: 1–8. <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Doi_(identifier)" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0645ad; text-decoration-line: none;" title="Doi (identifier)">doi</a>:<a class="external text" href="https://doi.org/10.2312%2Fenvirvis.20191098" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">10.2312/envirvis.20191098</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Workshop+on+Visualisation+in+Environmental+Sciences+%28EnvirVis%29&rft.atitle=On+Inconvenient+Images%3A+Exploring+the+Design+Space+of+Engaging+Climate+Change+Visualizations+for+Public+Audiences&rft.pages=1-8&rft.date=2019&rft_id=info%3Adoi%2F10.2312%2Fenvirvis.20191098&rft.aulast=Windhager&rft.aufirst=Florian&rft.au=Schreder%2C+G%C3%BCnther&rft.au=Mayr%2C+Eva&rft_id=https%3A%2F%2Fwww.academia.edu%2F39733782&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span> — Survey of climate change visualizations</li><li style="margin-bottom: 0.1em;"><cite class="citation web cs1" id="CITEREFPaddison2018" style="font-style: inherit; overflow-wrap: break-word;">Paddison, Laurie (September 23, 2018). <a class="external text" href="https://www.huffpost.com/entry/artists-take-on-climate-change_n_5ba25163e4b04d32ebfea0d4" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">"8 Artists Taking On The Big Global Challenge: Climate Change "We should (and may) die trying to render climate change issues accessible.<span class="cs1-kern-right" style="padding-right: 0.2em;">"</span>"</a>. <i>Huffington Post</i>. <a class="external text" href="https://web.archive.org/web/20190410173234/https://www.huffpost.com/entry/artists-take-on-climate-change_n_5ba25163e4b04d32ebfea0d4" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-image: url("/w/resources/src/mediawiki.skinning/images/external-ltr.svg?59558"); background-origin: initial; background-position: right center; background-repeat: no-repeat; background-size: initial; color: #3366bb; padding-right: 13px; text-decoration-line: none;">Archived</a> from the original on 10 April 2019.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Huffington+Post&rft.atitle=8+Artists+Taking+On+The+Big+Global+Challenge%3A+Climate+Change+%22We+should+%28and+may%29+die+trying+to+render+climate+change+issues+accessible.%22&rft.date=2018-09-23&rft.aulast=Paddison&rft.aufirst=Laurie&rft_id=https%3A%2F%2Fwww.huffpost.com%2Fentry%2Fartists-take-on-climate-change_n_5ba25163e4b04d32ebfea0d4&rfr_id=info%3Asid%2Fen.wikipedia.org%3AClimate+change+art"></span></li><li style="margin-bottom: 0.1em;"><a class="external text" href="https://www.artworksforchange.org/footing-the-bill/" rel="nofollow" style="background-attachment: initial; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">Nũhũ yãg mũ yõg hãm: essa terra é nossa!</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Isael Maxakali, Sueli Maxakali, Carolina Canguçu, Roberto Romero</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Documentário | Colorido | Digital | 70 min | MG | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Antigamente, os brancos não existiam e nós vivíamos caçando com os nossos espíritos yãmĩyxop. Mas os brancos vieram, derrubaram as matas, secaram os rios e espantaram os bichos para longe. Hoje, as nossas árvores compridas acabaram, os brancos nos cercaram e a nossa terra é pequenininha. Mas os nossos yãmĩyxop são muito fortes e nos ensinaram as histórias e os cantos dos antigos que andaram por aqui.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #ff6600; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">* <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Filme vencedor do Prêmio Carlos Reichenbach – Melhor Longa da Mostra Olhos Livres eleito pelo Júri Jovem da 24ª Mostra de Cinema de Tiradentes</em></span></span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores dos filmes <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">AMADOR, IRMÃ</span> e <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">NŨHŨ YÃG MŨ YÕG HÃM: ESSA TERRA É NOSSA!</span> realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Wkux_IGb4LI" data-type="URL" href="https://www.youtube.com/watch?v=Ba6L68ht6Ik" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 0h do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Livre</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> Isael Maxakali, Carolina Canguçu, Jacinto Maxakali, Alexandre Maxakali, Sueli Maxakali, Roberto Romero</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem:</span> Carolina Canguçu e Roberto Romero</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de Produção:</span> Paula Berbert</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Som Direto e Edição de Som:</span> Marcela Santos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Personagens:</span> Delcida Maxakali, Totó Maxakali, Mamei Maxakali, Pinheiro Maxakali, Manuel Damázio, Arnalda Maxakali, Dozinho Maxakali, Vitorino Maxakali, Israel Maxakali, Marinho Maxakali, Américo Maxakali, Veronildo Maxakali, Noêmia Maxakali, Pedro Vieira, Joviel Maxakali, Neusa Maxakali, Manuel Kelé, Tevassouro Maxakali</p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">........................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/4-bilhoes-de-infinitos/">http://mostratiradentessp.com.br/filme/4-bilhoes-de-infinitos/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">4 bilhões de infinitos</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Marco Antonio Pereira</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Colorido | DCP | 14 min | MG | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Brasil. 2020. Uma família vive com a energia de casa cortada. Enquanto a mãe trabalha, seus filhos ficam em casa conversando sobre ter esperança.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">* Curta vencedor do Prêmio Canal Brasil de Curtas</em></span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores da Mostra Foco | Série 2 realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=zMpiBAX3uUw" data-type="URL" href="https://www.youtube.com/watch?v=zMpiBAX3uUw" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 00h00 do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Livre</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> Abdução Filmes</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção executiva:</span> Ariane Rocha, Rodrigo Meirelles, Marcelo Lin</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">..................................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/voltei/">http://mostratiradentessp.com.br/filme/voltei/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><div class="media-header" style="border: 0px; font: inherit; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><figure class="media-header-figure" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">Voltei!</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ary Rosa e Glenda Nicácio</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Colorido | DCP | 77 min | BA | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; float: none; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Brasil, 2030. As irmãs Alayr e Sabrina estão ouvindo no radinho de pilha o julgamento que pode mudar os rumos de um país “sem energia”. Elas são surpreendidas por Fátima, a irmã que volta dos mortos para confraternizar nessa noite histórica.</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores dos filmes <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">RODSON OU (ONDE O SOL NÃO TEM DÓ), SUBTERRÂNEA</span> e <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">VOLTEI!</span>, realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Wkux_IGb4LI" data-type="URL" href="https://www.youtube.com/watch?v=m_d6KUP950o" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; color: #1e2525; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 0h do dia dia 18/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Não recomendada para menores de 14 anos</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro:</span> Ary Rosa</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção Executiva: </span>Ary Rosa, Camila Gregório, Reifra</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Assistente de Produção</span>: Iago Cordeiro Ribeiro</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de Produção: </span>Glenda Nicácio, Gabriella Fiais</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem: </span>Poliana Costa, Thacle de Souza</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> Augusto Bortolini, Poliana Costa, Thacle de Souza</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de Arte e Cenografia:</span> Glenda Nicácio</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Figurino:</span> Reifra</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Som Direto e Edição de Som: </span>Cássio Duarte, Leandro Conceição</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span>Napoleão Cunha</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Trilha Sonora:</span> Moreira</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa Produtora: </span>Rosza Filmes</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco: </span>Arlete Dias, Mary Dias, Wall Diaz</p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">.............................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525; font-family: Roboto, sans-serif;"><a href="http://mostratiradentessp.com.br/filme/abjetas-288/">http://mostratiradentessp.com.br/filme/abjetas-288/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: inherit; font-size: 18px; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">Abjetas 288</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Júlia da Costa e Renata Mourão</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Preto & Branco | Digital | 20 min | SE | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Em futuro distópico, Joana e Valenza fazem uma jornada à deriva por uma cidade nordestina. Através da música eletrônica e trilha ruidosa, as personagens nas andanças pelas ruas, performam o que sentem enquanto vivem nessa sociedade tentando entendê-la. Abjetas 288 trata sobre territorialidades, identidades e meritocracia, tudo com um tom irônico e se utilizando de elementos alegóricos que dialogam com a história popular de Aracaju.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">* Melhor Curta da Mostra Foco, eleito pelo Júri Oficial da 24ª Mostra de Cinema de Tiradentes</em></span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores da Mostra Foco | Série 3 realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Kh6G5p2DTJ0" data-type="URL" href="https://www.youtube.com/watch?v=Kh6G5p2DTJ0" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 00h00 do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Não recomendada para menores de 16 anos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro:</span> Júlia da Costa e Renata Mourão</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> N/A</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção executiva:</span> Filipe Cruz</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de produção:</span> Neto Astério</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem:</span> Júlia da Costa e Renata Mourão</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> Bruna Noveli</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de arte:</span> Carolina Timoteo</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Trilha sonora:</span> Adam Lucas Viana, Janaína Disfalq, Danilo Grilo, Deniel Diniz e Thiago Samadhi</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span> Adam Lucas Viana</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Som direto:</span> Clara Cavalcante Bueno</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Edição de som:</span> Adam Lucas Viana</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cenografia:</span> Deborah Gonçalves, Juno e Layla Bomfim</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Figurino:</span> Mariana Veloso, Isabella Kassan, Deborah Gonçalves, Izadora Sobral, Carla Carvalho Sobral e Lucas Ferreira dos Santos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Débora Arruda interpreta Joana<br />Dandara Fernandes interpreta Valenza<br />Jeane Menezes interpreta Véia do Shopping<br />Ada Viana interpreta Véia do Shopping<br />Maria Tereza Xavier interpreta Bettina<br />Daniel Quintiliano interpreta Homem sem nome<br />Gustavo Miranda interpreta Policial<br />Tinho Torquato interpreta Camelô<br />Fortes Silva interpreta Motorista de Lotação<br />Pedro Felipe, Carolina Santos, Fortes Silva e Igor Galvão interpretam Figurantes</p></article></div></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">................................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/novo-mundo/">http://mostratiradentessp.com.br/filme/novo-mundo/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">Novo Mundo</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Natara Ney e Gilvan Barreto</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Colorido | DCP | 21 min | RJ | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Um paraíso para os olhos, a frase define o lugar de destino da personagem, A Terra Sem Males. Depois de caminhar por florestas e ruínas, ela percebe que aquele território foi erguido sobre o sangue de muitos povos. Esse conhecimento poderia deixa-la paralisada, criar medo, mas inspiram atos de coragem.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores da Mostra Foco | Série 3 realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Kh6G5p2DTJ0" data-type="URL" href="https://www.youtube.com/watch?v=Kh6G5p2DTJ0" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 00h00 do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Livre</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro:</span> Natara Ney e Gilvan Barreto</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> Gilvan Barreto Arte e Cultura</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção executiva:</span> Frida Projetos Culturais / Mariane Goldberg e Ana Silvia Forgiarini</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de produção:</span> Aline Ribeiro</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem:</span> Natara Ney</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> Lilis Soares</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de arte:</span> Ananias Caldas</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Trilha sonora:</span> Puppilo</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span> Carlos Trilha</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Som direto:</span> Evelyn Santos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Edição de som:</span> Carlos Trilha</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cenografia:</span> Cenotécnico: Fernando Brigadeiro – Buda</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Figurino:</span> Ananias Caldas</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Mohana Uchoa<br />Narração: Zezé Mota</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/rodson-ou-onde-o-sol-nao-tem-do/">http://mostratiradentessp.com.br/filme/rodson-ou-onde-o-sol-nao-tem-do/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><div class="media-header" style="border: 0px; font: inherit; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><figure class="media-header-figure" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 0; margin: 0px 0px 16px; padding: 0px; vertical-align: baseline;"><img src="https://thumbor.universoproducao.com.br/unsafe/816x512/http://universoproducao.com.br/repository/3/4/b/1/34b1feb9299a3991dee04aea8770c3d9_16034128110024_582594425.png" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline; width: 813.991px;" /></figure><div class="media-header-buttons cols six" style="border: 0px; display: inline-block; font: inherit; margin: 0px 0px 64px; padding: 0px; vertical-align: baseline; width: 813.991px;"><div class="col-2" style="border: 0px; clear: none; float: left; font: inherit; margin: 0px; padding: 0px; text-align: inherit; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">RODSON ou (Onde o Sol Não Tem Dó)</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cleyton Xavier, Clara Chroma e Orlok Sombra</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Colorido | Digital | 74 min | CE | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">São os pré anos 3000. arte é crime. refletir é proibido. Ler não existe mais. Somente produções e consumos em massa são permitidos. RODSON®. Um garoto com seu animalesco instinto artístico represso pela sociedade ao seu redor, só mais um de muitos… O governo anarcocrenty comete o engano de achar que a besta estivera sob controle, mas sua mente concebe CALEB® o alterego de RODSON@ que o lança estrada a fora, abandonando ares-condicionados em busca da alucinação perfeita sob o Sol sem dó de 2000°C que a última camada de exosfera proporciona à vigente sociedade.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores dos filmes <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">RODSON OU (ONDE O SOL NÃO TEM DÓ), SUBTERRÂNEA</span> e <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">VOLTEI!</span>, realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Wkux_IGb4LI" data-type="URL" href="https://www.youtube.com/watch?v=m_d6KUP950o" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 0h do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Não recomendada para menores de 16 anos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro:</span> Cleyton Xavier e Urutau M. Pinto</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> CHORUMEX</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Co-produção:</span> Jiboya Corp e Sombra Filmes</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção executiva:</span> Christopher Faust, Lupércia Dolores, Jáguerson Porotinho, Mr. Satã</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de produção:</span> Cleyton Xavier, Urutau M. Pinto e Lyna Lurex</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem:</span> Clara Chroma e Cleyton Xavier</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> Cleyton Xavier, Urutau Maria Pinto, Insiranomeaqui, Orlok Sombra, Biela, Lyna Lurex, Nirá Link</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Trilha sonora:</span> Cleyton Xavier e Clara Chroma</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span> Clara Chroma</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Edição de som:</span> Clara Chroma e Cleyton Xavier</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Figurino:</span> Lyna Lurex, Cleyton Xavier, Urutau Maria Pinto, Orlok Sombra, Banda Glamourings, Lulu Ribeiro, Keoma</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Orlok Sombra, S.brxxzkjxkzxkxkz, Nirá Link, Gadi Bergamota, Lyna Lurex, Tina Reinstrings, Melindra Lindra, Sabiá Pensativo, Rodolfo Keoma, Biela, Will, Insiranomeaqui, Guika, Kaê Marques, Cyborgue Oleosa, Abi Gaiu Oliveira, Lulu Ribeiro, Vitrilis Sarambaxo, Anaya Ókun, Sapata Deslizante, Kaye Djamiliá, Big Bug, Ariza Torquato, Rachid, Jane Malaquias, Davi Sampaio, Antoni Dia</p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">........................................................................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/de-costas-pro-rio/">http://mostratiradentessp.com.br/filme/de-costas-pro-rio/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><div class="media-header" style="border: 0px; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">De Costas Pro Rio</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Felipe Aufiero</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Colorido | Digital | 16 min | AM/PR |2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Após o contato de um espírito da floresta, Pietro volta para Manaus para salvá-la. Ele deve evitar que a cidade seja destruída por uma Cobra Grande que dorme nos subterrâneos da região.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores da Mostra Foco | Série 2 realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=zMpiBAX3uUw" data-type="URL" href="https://www.youtube.com/watch?v=zMpiBAX3uUw" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 00h00 do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Não recomendada para menores de 10 anos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro:</span> Felipe Aufiero</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> Casa Livre Produções</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Produção executiva:</span> Felipe Aufiero, Joel Schoenrock, Carlos Macagi</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de produção:</span> Rosângela Aufiero</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem:</span> Felipe Aufiero</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fotografia:</span> César Nogueira</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Direção de arte:</span> Matheus Mota</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span> Luiz Lepchak</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Som direto:</span> Lucas Maciel e Samara Souza</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Edição de som:</span> Tulio Borges</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Figurino:</span> Matheus Mota</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Victor Kaleb, Koia Refskalefsky, Dimas Mendonça, Júnior Brandão, Anderson Kary Báya e Julie Lima.</p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">.......................................................................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/a-destruicao-do-planeta-live/">http://mostratiradentessp.com.br/filme/a-destruicao-do-planeta-live/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><div class="media-header" style="border: 0px; font: inherit; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><figure class="media-header-figure" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 0; margin: 0px 0px 16px; padding: 0px; vertical-align: baseline;"><img src="https://thumbor.universoproducao.com.br/unsafe/816x512/http://universoproducao.com.br/repository/c/0/5/2/c05238eb55fac5ab5195843934740a25_16044560040343_1965581902.jpg" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline; width: 813.991px;" /></figure><div class="media-header-buttons cols six" style="border: 0px; display: inline-block; font: inherit; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">A DESTRUIÇÃO DO PLANETA LIVE</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Marcus Curvelo</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Ficção | Preto & Branco | DCP | 18 min | BA | 2021</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Marcus está dividido entre trabalhar em uma live, ou dar um tiro na própria cara.</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com os diretores da Mostra Foco | Série 1 realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Wkux_IGb4LI" data-type="URL" href="https://www.youtube.com/watch?v=Wkux_IGb4LI" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 00h00 do dia dia 19/03 até 23h59 do dia 24/03</span></p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Livre</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa produtora:</span> Filmes Amarelos</p><p style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Murilo Sampaio<br />Marcela Santos<br />Marcus Curvelo<br />Joel Curvelo<br />Sônia Gentil Curvelo</p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><br /></p></article></div><p style="border: 0px; color: #1e2525; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">........................................</p><p style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="color: #1e2525;"><a href="http://mostratiradentessp.com.br/filme/oraculo/">http://mostratiradentessp.com.br/filme/oraculo/</a></span></p><article class="media" style="border: 0px; color: #1e2525; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="container--814" style="border: 0px; float: none; font: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><div class="media-header" style="border: 0px; font: inherit; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><figure class="media-header-figure" style="border: 0px; 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border: 0px; box-sizing: border-box; color: white; cursor: pointer; display: inline-block; font-family: "Roboto Condensed", sans-serif; font-stretch: inherit; font-variant: inherit; font-weight: 700; line-height: 21px; margin: 0px; outline: none; padding: 14px 12px; position: relative; text-align: center; text-transform: uppercase; transition: all 0.2s linear 0s, z-index 0ms ease 0s, display 0ms ease 0s; vertical-align: baseline; width: 263.184px;"><span class="icon-calendar" style="-webkit-font-smoothing: antialiased; border: 0px; font-family: icomoon !important; font-size: 16px; font-stretch: inherit; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 400; line-height: 18px; margin: 0px 5px; padding: 0px; text-transform: none; vertical-align: baseline;"></span> AGENDAR</a></div></div><header style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><h1 style="border: 0px; font-family: "Roboto Condensed", sans-serif; font-size: 30px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: 34px; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;">Oráculo</h1><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Melissa Dullius & Gustavo Jahn</span></p><br /><p style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Experimental | Colorido | DCP | 61 min | SC | 2020</span></p></header></div></div></article><div class="container--814" style="border: 0px; color: #1e2525; float: none; font-family: Roboto, sans-serif; font-size: 18px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px auto; max-width: 814px; padding: 0px 20px; vertical-align: baseline; width: auto;"><article class="main-content" style="border: 0px; font: inherit; margin: 0px; padding: 0px; position: relative; vertical-align: baseline;"><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;">Os espaços são seis: um rochedo, uma montanha, a areia desenhada pelas ondas, o quebra-mar de uma praia do outro lado do oceano, a passarela sob uma ponte que liga uma ilha ao continente, o quarto de uma adolescente. Personagens são três: um homem que está preso num ciclo de vida e morte, um segundo que revisita um lugar onde uma transformação irreversível aconteceu, e uma jovem que está iniciando sua vida de artista. “Oráculo” situa-se entre experimento, método e dispositivo, e convida à contemplação. Particular em sua forma e ritmo, é universal nas lembranças que faz ecoar, comuns a todas as pessoas: família; começos, fins e recomeços; dores e traumas, e desejo intenso de vida e de sentido.</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Encontro com os filmes</span>: assista ao debate com a equipe do filme ORÁCULO realizado na 24ª Mostra Tiradentes clicando <a data-id="https://www.youtube.com/watch?v=Wkux_IGb4LI" data-type="URL" href="https://www.youtube.com/watch?v=2Cq0crdiLqc" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">aqui.</a></p><br /><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Disponível:</span> de 20h00 do dia dia 21/03 até 20h00 do dia 24/03</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Classificação: </span>Livre</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Roteiro, Produção Executiva, Direção de Produção, Direção de Arte, Cenografia, Figurino:</span> Distruktur</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Montagem, Fotografia, Som Direto, Edição de Som:</span> Gustavo de Mattos Jahn</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Trilha Sonora:</span> Sonsdecura, Innsyter, 2020</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Mixagem:</span> Benoît Héry</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Empresa Produtora:</span> Distruktur</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Elenco:</span> Juarez Nunes, Alice Bennaton, Fernando Goulart Jahn, Aline Maya, Luana Raiter</p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"> </p><p style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 28.8px; margin: 0px 0px 24px; padding: 0px; vertical-align: baseline;"><a href="https://mostratiradentes.com.br/wp-content/uploads/2021/01/Sobre_Oraculo.pdf" style="border: 0px; color: #bd348a; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Clique aqui</a> e saiba mais sobre o processo de criação do filme sob a ótica do ator Juarez Nunes.</p></article></div></article></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-43977049852666360822020-12-11T10:47:00.003-04:002020-12-11T10:47:29.909-04:00sou cada pedaço infernal de mim - clarice lispector<p> https://gauchazh.clicrbs.com.br/cultura-e-lazer/livros/noticia/2020/12/sou-cada-pedaco-infernal-de-mim-confira-citacoes-verdadeiras-de-clarice-lispector-ckif7bbwu00bm017wa77zdlvk.html</p><h1 class="m-headline" itemprop="headline" style="font-family: "Roboto Slab", serif; font-size: 4rem; font-variant-ligatures: none; letter-spacing: -0.3px; line-height: 66px; margin: 15px auto; max-width: 900px; padding: 0px; text-align: center; width: 900px;">“Sou cada pedaço infernal de mim”: confira citações verdadeiras de Clarice Lispector</h1><h2 class="m-supportline" itemprop="description" style="font-family: Merriweather, serif; font-size: 1.125rem; font-variant-ligatures: none; font-weight: 300; line-height: 24px; margin: 15px auto; max-width: 900px; padding: 0px; text-align: center; width: 900px;">Frases falsamente atribuídas à autora circulam há anos pelas redes sociais</h2><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 0px auto; padding: 0px;" wfd-id="41"><figure class="m-figure figure-md" itemprop="image" itemscope="" itemtype="http://schema.org/ImageObject" style="box-sizing: border-box; margin: 0px; padding: 0px; width: 700px;"><picture style="box-sizing: border-box; margin: 0px; padding: 0px;"><img alt="Arquivo Pessoal / Arquivo Pessoal" class="figure-img" src="https://www.rbsdirect.com.br/imagesrc/25443034.jpg?w=700" style="border-style: none; box-sizing: border-box; margin: 0px; padding: 0px; width: 700px;" title="Arquivo Pessoal / Arquivo Pessoal" /></picture><figcaption class="figure-caption" style="box-sizing: border-box; margin: 0px; padding: 0px;"><span class="figure-desc" style="box-sizing: border-box; display: block; font-family: Roboto, sans-serif; font-size: 0.75rem; margin: 5px 0px 0px; padding: 0px;" wfd-id="43">Clarice Lispector nasceu há cem anos, em 10 de dezembro de 1920</span><span class="figure-src" itemprop="author" style="box-sizing: border-box; display: block; font-family: Roboto, sans-serif; font-size: 0.75rem; margin: 5px 0px 0px; opacity: 0.3; padding: 0px;" wfd-id="42">Arquivo Pessoal / Arquivo Pessoal</span></figcaption></figure></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="39"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;">Nascida há cem anos na Ucrânia, mas desde a infância criada em território brasileiro,<a href="https://gauchazh.clicrbs.com.br/ultimas-noticias/tag/clarice-lispector" style="box-sizing: border-box; color: rgb(181, 77, 102) !important; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="40"> Clarice Lispector </span></a>cresceu para se tornar uma das maiores figuras da literatura em língua portuguesa. Narrando o cotidiano com um lirismo único, ela ficou conhecida por mergulhar profundamente no universo particular de seus protagonistas. </p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="37"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;">Nos últimos anos, no entanto, uma avalanche de citações falsamente atribuídas a ela borram sua imagem nas redes sociais. Por isso, <span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="38">GZH </span>reuniu 15 citações verdadeiras de Clarice e os livros em que elas podem ser encontradas.</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="35"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="36">“Liberdade é pouco. O que desejo ainda não tem nome”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">Perto do Coração Selvagem</em>, 1943</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="33"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="34">“Era finalmente o natural viver sozinha”</span>, de<em style="box-sizing: border-box; margin: 0px; padding: 0px;"> O Lustre</em>, 1946</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="27"><aside class="m-read-more leak-left" style="box-sizing: border-box; float: left; margin: 20px 35px 20px -35px !important; max-width: 250px; padding: 0px; width: 250px;"><h2 class="" style="box-sizing: border-box; font-family: "Roboto Slab", serif; font-size: 1.875rem; line-height: 32px; margin: 0px 0px 20px; overflow-wrap: break-word; padding: 0px; text-transform: uppercase; width: auto;">LEIA MAIS</h2><ul style="box-sizing: border-box; margin: 0px; padding: 0px;" wfd-id="28"><li class="card-read-more with-photo" style="border-bottom: 1px solid rgba(0, 0, 0, 0.1); box-sizing: border-box; display: inline-block; list-style: none; margin: 0px 0px 10px; padding: 0px 0px 10px; width: 250px;" wfd-id="31"><a data-section="Livros" href="https://gauchazh.clicrbs.com.br/cultura-e-lazer/noticia/2020/12/os-cem-anos-de-clarice-lispector-uma-escritora-que-subverteu-os-generos-e-a-propria-linguagem-da-literatura-cki7t18qq0000019wra1wxy8n.html" rel="noopener noreferrer" style="box-sizing: border-box; color: rgb(181, 77, 102) !important; display: block; margin: 0px; padding: 0px; width: 250px;" target="_blank"><h3 class="m-headline" style="box-sizing: border-box; color: black; float: left; font-family: "Roboto Slab", serif; font-size: 0.875rem; letter-spacing: -0.3px; line-height: 14px; margin: 0px; max-width: 900px; opacity: 1; padding: 0px 16px 0px 0px; transition: opacity 0.35s cubic-bezier(0.165, 0.84, 0.44, 1) 0s; width: calc(100% - 90px);">Os cem anos de Clarice Lispector, uma escritora que subverteu os gêneros e a própria linguagem da literatura</h3><div class="photo" style="box-sizing: border-box; float: left; height: 62px; margin: 0px; padding: 0px; width: 90px;" wfd-id="32"><img alt="Os cem anos de Clarice Lispector, uma escritora que subverteu os gêneros e a própria linguagem da literatura" src="https://www.rbsdirect.com.br/imagesrc/27486766.jpg?w=90&h=62" style="border-style: none; box-sizing: border-box; margin: 0px; padding: 0px;" /></div></a></li><li class="card-read-more with-photo" style="border-bottom: none; box-sizing: border-box; display: inline-block; list-style: none; margin: 0px; padding: 0px 0px 10px; width: 250px;" wfd-id="29"><a data-section="Livros" href="https://gauchazh.clicrbs.com.br/cultura-e-lazer/livros/noticia/2020/11/elena-ferrante-cita-livro-de-clarice-lispector-em-lista-de-recomendacoes-ckhutcwsa000b01iw102p09e0.html" rel="noopener noreferrer" style="box-sizing: border-box; color: rgb(181, 77, 102) !important; display: block; margin: 0px; padding: 0px; width: 250px;" target="_blank"><h3 class="m-headline" style="box-sizing: border-box; color: black; float: left; font-family: "Roboto Slab", serif; font-size: 0.875rem; letter-spacing: -0.3px; line-height: 14px; margin: 0px; max-width: 900px; opacity: 1; padding: 0px 16px 0px 0px; transition: opacity 0.35s cubic-bezier(0.165, 0.84, 0.44, 1) 0s; width: calc(100% - 90px);">Elena Ferrante cita livro de Clarice Lispector em lista de recomendações</h3><div class="photo" style="box-sizing: border-box; float: left; height: 62px; margin: 0px; padding: 0px; width: 90px;" wfd-id="30"><img alt="Elena Ferrante cita livro de Clarice Lispector em lista de recomendações" src="https://www.rbsdirect.com.br/imagesrc/25451728.jpg?w=90&h=62" style="border-style: none; box-sizing: border-box; margin: 0px; padding: 0px;" /></div></a></li></ul></aside></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="25"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="26">“A realidade precisava da mocinha para ter uma forma”</span>, de<em style="box-sizing: border-box; margin: 0px; padding: 0px;"> A Cidade Sitiada,</em> 1949</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="23"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="24">“Seu coração faminto dominou desajeitado o vazio”</span>, de<em style="box-sizing: border-box; margin: 0px; padding: 0px;"> A Maçã no Escuro</em>, 1961</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="21"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="22">“Sou cada pedaço infernal de mim”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">A Paixão segundo G.H</em>., 1964</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="19"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="20">“A esperança era o meu pecado maior”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">A Legião Estrangeira,</em> 1964</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="17"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="18">“Sua alma incomensurável. Pois ela era o Mundo”</span>, de<em style="box-sizing: border-box; margin: 0px; padding: 0px;"> Uma Aprendizagem ou O Livro dos Prazeres,</em> 1969</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="15"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="16">“Mas sentimentos são água de um instante”</span>, de<em style="box-sizing: border-box; margin: 0px; padding: 0px;"> Felicidade Clandestina</em>, 1971</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="13"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="14">“Sou um coração batendo no mundo”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">Água Viva,</em> 1973</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="11"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="12">“Amizade é matéria de salvação”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">Onde Estivestes de Noite,</em> 1974</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="9"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="10">“Vivemos exclusivamente no presente pois sempre e eternamente é o dia de hoje e o dia de amanhã será um hoje, a eternidade é o estado das coisas neste momento”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">A Hora da Estrela</em>, 1977</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="7"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="8">“É que os infelizes se compensam”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">Um Sopro de Vida</em>, 1978</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="5"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="6">“A tímida e voraz curiosidade pela alegria”</span>, de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">Para Não Esquecer</em>, 1978</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="2"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="4">“Seu corpo também reclama direitos...”</span>,<span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="3"> </span>de <em style="box-sizing: border-box; margin: 0px; padding: 0px;">A Bela e a Fera</em>, 1979</p></div><div class="article-paragraph" style="animation: 0.3s linear 0s 1 normal none running j; box-sizing: border-box; font-family: Merriweather, serif; font-size: 21px; font-variant-ligatures: none; margin: 30px auto 0px; padding: 0px;" wfd-id="0"><p style="box-sizing: border-box; font-size: 1rem; line-height: 32px; margin: 0px; padding: 0px;"><span style="box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px;" wfd-id="1">“Ser às vezes sangra”</span>, d<em style="box-sizing: border-box; margin: 0px; padding: 0px;">e A Descoberta do Mundo</em>, 1984</p></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-26561317056913023262020-11-15T10:56:00.004-04:002020-11-15T10:56:53.976-04:00The Meaning of Airhttps://emergencemagazine.org/story/the-meaning-of-air/ <div wfd-id="169"><br /></div><div wfd-id="168"> Photos by L. Kasimu Harris </div><div wfd-id="167"><br /></div><div wfd-id="0"><header class="story__header" style="box-sizing: inherit; font-family: "GT America"; font-size: 18px; margin-bottom: 99px; padding: 0px 19px;"><div class="story-header" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1163.33px;" wfd-id="161"><div class="story-header__row story-header__row--title" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 943.469px;" wfd-id="165"><div class="story-title story-title--big story-title--centre" style="box-sizing: inherit; left: 0px; margin: 0px; opacity: 1; padding: 0px; top: 0px; transform: none; transition: transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0.9s, opacity 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -webkit-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -o-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s; width: 943.469px;" wfd-id="166"><h1 class="story-title__text" style="border: 0px; box-sizing: inherit; color: inherit; font-family: "GT America Extended"; font-size: 90px; letter-spacing: -4px; line-height: 99px; list-style: none; margin: 0px 0px 0px -0.1em; padding: 0px; text-align: center; text-rendering: optimizelegibility;">The Meaning of Air</h1><p class="story-title__subheading" style="border: 0px; box-sizing: inherit; color: inherit; font-family: "GT America Condensed"; font-size: 90px; letter-spacing: -4px; line-height: 99px; list-style: none; margin: 0px 0px 0.05em -0.1em; padding: 0px; text-align: center; text-rendering: optimizelegibility;"></p></div></div><div class="story-header__row story-header__row--author" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 943.469px;" wfd-id="162"><div class="story-author story-author--big story-author--centre" style="box-sizing: inherit; left: 0px; margin: 0px; opacity: 1; padding: 0px; top: 0px; transform: none; transition: transform 0.75s cubic-bezier(0, 0, 0.2, 1) 1.05s, opacity 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -webkit-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -o-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s; width: 943.469px;" wfd-id="163"><div class="story-author__text" style="box-sizing: inherit; font-family: Ogg; font-size: 90px; letter-spacing: 0px; line-height: 99px; margin: 0px; padding: 0px; text-align: center;" wfd-id="164"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">by Boyce Upholt</p></div></div></div></div></header><div class="story__meta" style="border: 0px; box-sizing: inherit; font-family: "GT America"; font-size: 18px; left: 0px; margin: 0px 0px 99px; opacity: 1; padding: 0px; top: 0px; transform: none; transition: transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0.6s, opacity 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -webkit-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s, -o-transform 0.75s cubic-bezier(0, 0, 0.2, 1) 0s; width: 1201.33px;" wfd-id="151"><div class="story__audio" style="box-sizing: inherit; margin: 0px; min-height: 33px; padding: 0px;" wfd-id="152"><div class="story-media-cta" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="153"><div class="story-media-cta__container" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="154"><div class="story-media-cta__section" style="box-sizing: inherit; margin: 0px 0px 36px; padding: 0px; text-align: center;" wfd-id="156"><div class="story-media-cta__player" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="160"><button class="story-media-cta__button" data-media-cta="audio" style="-webkit-box-align: center; -webkit-box-pack: center; align-items: center; appearance: none; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-color: initial; border-radius: 0px; border-style: initial; border-width: 0px; box-sizing: inherit; cursor: auto; display: flex; font-family: inherit; font-size: 18px; height: 64px; justify-content: center; line-height: inherit; margin: 0px auto 1em; outline: none; overflow: visible; padding: 0px; position: relative; width: 64px;" wfd-id="171"><svg class="svg-icon-media-mic-small-dims"><use xlink:href="#icon-media-mic-small"></use></svg></button></div><div class="story-media-cta__info" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="157"><div class="story-media-cta__cta" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="159"><p class="story-media-cta__text" style="border: 0px; box-sizing: inherit; color: inherit; font-size: 22px; line-height: 1; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Listen to this story</p></div><div class="story-media-cta__description" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="158"><p class="story-media-cta__text story-media-cta__text--light" style="border: 0px; box-sizing: inherit; color: inherit; font-size: 14px; line-height: 1; list-style: none; margin: 0.5em 0px 0px; padding: 0px; text-rendering: optimizelegibility;">Narrated by Boyce Upholt</p></div></div></div><div class="story-subscriptions" data-subscriptions="hidden" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: center; box-sizing: inherit; display: flex; flex-direction: column; font-size: 16px; margin: 0px; padding: 0px; width: 1201.33px;" wfd-id="155"><button class="story-subscriptions__toggle" data-subscriptions-toggle="" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-color: initial; border-radius: 0px; border-style: initial; border-width: 0px; box-sizing: inherit; cursor: auto; font-family: inherit; font-size: 16px; height: 2em; line-height: 2em; margin: 0px; outline: none; overflow: visible; padding: 0px 1em; position: relative; white-space: nowrap;" type="button" wfd-id="170">Subscribe to Our Podcast <svg class="svg-icon-arrow-down-dims"><use xlink:href="#icon-arrow-down"></use></svg></button></div></div></div></div></div><div class="story__content" data-scrollama-index="0" data-share-scroll-container="" data-share-scroll-trigger="" style="box-sizing: inherit; font-family: "GT America"; font-size: 18px; margin: 0px; padding: 0px; position: relative;" wfd-id="11"><div class="story__standfirst" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px;" wfd-id="147"><div class="story-standfirst" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="148"><div class="story-standfirst__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 698.688px;" wfd-id="149"><div class="story-standfirst__content" style="box-sizing: inherit; font-size: 26px; line-height: 36px; margin: 0px; padding: 0px;" wfd-id="150"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">As a chemical plant in St. James Parish, Louisiana, threatens a majority Black community with toxic emissions, Boyce Upholt looks deeply at the nature of air and considers how it can challenge the often white ideal of the wild as a place of escape.</p></div></div></div></div><div class="story__blocks" style="box-sizing: inherit; margin: 0px; padding: 0px; position: relative; z-index: 1;" wfd-id="14"><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="144"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="145"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="146"><pre style="box-sizing: inherit; font-family: Reckless; font-size: 16px; line-height: 30px; margin: 0px auto; overflow: auto; padding: 0px; white-space: pre-wrap; width: 465.792px;">Wild air, world-mothering air,
Nestling me everywhere
<small class="small-paragraph" style="box-sizing: inherit; font-size: 15px; line-height: inherit;">— Gerard Manley Hopkins, “The Blessed Virgin Compared to the Air We Breathe”</small>
Unable to breathe though we were, we blew
<small class="small-paragraph" style="box-sizing: inherit; font-size: 15px; line-height: inherit;">— Nathaniel Mackey, “The Overghost Ourkestra’s Next”</small></pre></div></div></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="141"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="142"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="143"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">I. A Natural History</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="138"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="139"><div class="story-text story-text--dropcap" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="140"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">First, a chemical breakdown: The air you breathe consists almost entirely of nitrogen and oxygen—78 percent and 21 percent, respectively, by volume. The third most common material is argon, a colorless and odorless and notably inert gas that makes up most of the remaining 1 percent.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">These numbers leave out water vapor, which, evaporating and then condensing, remains always in flux, its specific concentration variable from place to place across the planet but reaching sometimes as high as 4 percent. Then there is a spattering of other, rarer materials: xenon and helium and hydrogen and methane. And, of course, carbon dioxide, which has always been there and today makes up less than 1 percent of 1 percent of the air—far less than in previous eons, though far more than we may be able to stand.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">It’s easy to call this <em style="box-sizing: inherit; line-height: inherit;">the</em> atmosphere. But to truly appreciate this collection of gases, you have to understand that it is not the only air. There are other atmospheres on other planets; there were even, once, different atmospheres here on Earth. The first was conjured out of the swirling disk of dust and gas that preceded and became the solar system—a haze of hydrogen wrapped around the growing Earth, captured and held in place by gravity.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">A collection of gases, pulled directly from the solar nebula, is called a primary atmosphere; such skies persist on Saturn and Jupiter. On Earth, it could not last. At some point, in the violent construction of the planet—our homeland was built by giant space rocks crashing together over a few hundred million years, assembling an ever-larger orb—the hydrogen grew superheated, picking up so much speed that it escaped our gravity and launched into space. No trace of this first atmosphere remains.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Today’s air came, instead, out of the earth itself: gases trapped beneath its surface were released in volcanic eruptions. Though, these gases did not arrive into an empty void. Amid the many Earth-making collisions, some meteors and protoplanets vaporized entirely, and the resulting gases were captured by the gravitational pull of a still-growing planet.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Determining the composition of our “secondary atmosphere” in its earliest days requires blowing up rocks in laboratories so that we can see what kinds of gases might have been produced by ancient meteorites slamming together. The rough answer: nitrogen and ammonia, water vapor, and terrifying quantities of carbon dioxide and methane. As far as humans are concerned, this would be a toxic combination. Back then, though, the sun was new and still faint. A thick blanket of greenhouse gases may have provided just enough heat to allow the first sparks of life.</p></div></div></div><div class="block-gallery
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" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 36px 232.896px 0px 93.1562px; position: relative; width: 745.271px;"><div class="block-gallery__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 745.271px;" wfd-id="136"><div class="story-image" data-lazyload-container="" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 0px; margin: 0px auto; opacity: 1; padding: 496.938px 0px 0px; position: relative; transform: none; transition: all 1.5s ease 0.25s; width: 745.271px;" wfd-id="137"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="(min-width: 768px) 75w, 100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1280x853.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="(min-width: 768px) 75w, 100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1280x853.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag236-1600x1067.jpg 1600w" style="border-style: none; bottom: 0px; box-sizing: inherit; display: block; height: 496.938px; left: 0px; max-width: 100%; min-height: 70px; object-fit: cover; opacity: 1; position: absolute; right: 0px; top: 0px; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 745.271px; will-change: transform;" width="2560" /></div></div></figure><figure class="block-gallery__item
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" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 51px 93.1562px 0px auto; position: relative; width: 465.792px;"><div class="block-gallery__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 465.792px;" wfd-id="134"><div class="story-image" data-lazyload-container="" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 0px; margin: 0px auto; opacity: 1; padding: 310.583px 0px 0px; position: relative; transform: none; transition: all 1.5s ease 0.25s; width: 465.792px;" wfd-id="135"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="(min-width: 768px) 75w, 100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1280x853.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="(min-width: 768px) 75w, 100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1280x853.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag201-1600x1067.jpg 1600w" style="border-style: none; bottom: 0px; box-sizing: inherit; display: block; height: 310.583px; left: 0px; max-width: 100%; min-height: 70px; object-fit: cover; opacity: 1; position: absolute; right: 0px; top: 0px; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 465.792px; will-change: transform;" width="2560" /></div></div></figure></div></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="129"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="130"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="131"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">II. A Personal History</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="125"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="126"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="127"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="128">THERE ARE PEOPLE</span>, I guess, who regularly regard the air—cloud watchers lying on their backs in the grass, contemplating the meaning of a breeze. I come from a different tradition of nature watching. What I have always wanted is contact. “The solid earth!” as Henry David Thoreau once put it, standing atop a barren mountain. “[T]he actual world!” The material things, the rocks and soils: the dust from which life emerged, to which we will return.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Until recently, the closest I’d come to contemplating the sky was a five-week commitment to sunrise. A few years ago—after the death of my father, after a dismaying US election, amid the final fraying of a six-year relationship—I canoed a thousand miles down the Mississippi River, camping on islands and sandbars. I wanted to be in a landscape that made me feel small, that showed me something bigger. I made it a point to rise before dawn each morning so that I could watch the sky shift from the gray scale of morning twilight to gentle oranges and pinks, until these were overtaken by the spreading blue.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">But what <em style="box-sizing: inherit; line-height: inherit;">was</em> a sunrise? What produced such pastel magic? These were questions I could not answer—questions I did not even think to contemplate.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">I am writing a book about the river now, and so I join a lineage of wanderers, men mostly, who have forged into empty landscapes in search of meaning. The “lone enraptured males,” as the poet Kathleen Jamie calls us, a gently chiding phrase that points to a darker history. John Muir, the patron saint of American wilderness, was a casual racist, happy to rid Yosemite of its Indigenous people. In the 1970s the Sierra Club, co-founded by Muir, polled its members and found that very few wanted the organization to “concern itself with the conservation problems of such special groups as the urban poor and ethnic minorities.”</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">I find peace out there, in spaces where humanity is no longer visible. Places where sheer cliffs and fast rivers make death seem possible. I like to think that I find wisdom there too. Lately, though, the whole wilderness idea has started to feel more than a bit misanthropic. What good is running away when doomsday feels so close?</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Recently, headlines here in New Orleans blamed the hazy sunsets on plumes of desert dust, carried across the ocean from Africa. “Some say the world will end in fire, / Some say in ice,” Robert Frost once wrote. It struck me that, one way or another, the apocalypse would arrive upon the air. If not from too much carbon holding too much heat, then from bursts of virus carried on invisible breath.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">The air, too, is a wilderness. What is up there? How did it arrive? I had no idea, really, but it seemed like the time to find out.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--largest" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="120"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 93.1562px; overflow: hidden; padding: 0px; width: 885.01px;" wfd-id="121"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 590.115px 0px 0px; position: relative; width: 885.01px;" wfd-id="122"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 590.115px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 885.01px;" wfd-id="123"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag483-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 885.01px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 590.115px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 885.01px;" wfd-id="124"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="117"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="118"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="119"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">III. A Natural History, Continued</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="113"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="114"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="115"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="116">ONE CLEAR LESSON</span> of the sky’s long history: little remains itself for long. Carbon dioxide will bounce against rock and react with water and, in so doing, bind itself to the surface of Earth. Water vapor will turn to rain, which runs into the seas, carrying carbon-rich dirt. This carbon will settle on the ocean floor, and as tectonic plates shift and jostle, some of it will be tucked into the mantle once more. This is how slowly, slowly, the overabundance of greenhouse gases dwindled into a more manageable sort of air.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Life helped too. Carbon’s atoms are easily chained together, and these chains can be expanded or truncated, and ornamented with other elements, yielding an infinite set of designs. Carbon, in other words, is a perfect building block, a fundamental component of all forms of life that we know. And the carbon in our bodies—in all bodies—is sourced from the sky: photosynthesis creates sugars from free-floating carbon dioxide, which become the source of carbon for fats and amino acids, for all organic compounds. This process helped scrub carbon from the atmosphere. Once carbon entered the world’s first bodies, just single cells, some of these, too, were carried by the flowing water and deposited on ocean floors, dragging even more carbon into the bowels of Earth.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">So life subtracted carbon from the atmosphere, but it also added something new: oxygen, spit out as waste in the process of photosynthesis. Oxygen changed everything. Life before oxygen was hard and slow, as the world’s chemical fuels were not very powerful. Oxygen, however, is incredibly willing to give up its electrons, which makes it a kind of nuclear cellular fuel, capable of powering great evolutionary leaps. Cells began to coordinate, eventually merging into single creatures. Species developed into complementary pairs, allowing for sexual reproduction.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">The key innovation was respiration, which uses oxygen’s energy to break apart nutrients, such as sugar. You can’t have an ecosystem—a food chain—without respiration. It is what allows some species to be consumers, living off the nutrients made by photosynthesizers or, eventually, off other, smaller consumers. The sky-sourced carbon is passed from body to body to body.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">There is one problem with oxygen, though: its great potential makes it hard to keep around. As soon as oxygen appears, some life-form wants its energy. Photosynthesis adds oxygen to the atmosphere. Respiration takes it away. Photosynthesis swallows up one bit of carbon dioxide and turns it into the carbon in our bodies. Respiration releases one bit of that carbon back out into the air. The two processes compose an endless cycle, almost perfectly balanced, a balance only tipped by death—or, really, by burial. Cells that are carried to the ocean will eventually be covered in mud, if they aren’t eaten first. The carbon in those cells, which would have been released into the air through respiration—balancing the oxygen released through photosynthesis—is instead stored in the earth. Dust to dust, we sometimes say at burials; but in the case of carbon, it is air to dust.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Twice in Earth’s history, oxygen levels have spiked upward: First, around 2.5 billion years ago, there was a quick leap that did not last. Then, after another 2 billion years, came another flare of oxygen, which stuck around. The cause of these spikes is mysterious. Perhaps new mountains, thrust upward by tectonic collisions, sent phosphorous tumbling downriver into oceans, sparking a great burst of oxygen-expelling algae. Perhaps plants climbed out of the ocean onto land, and as roots split apart the soil, their dead cells, filled with carbon, went tumbling through rivers into oceans and were buried in the sea, never releasing carbon dioxide, allowing more and more wisps of oxygen to remain in the sky.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">There’s no way to know, really; all we know is that the process of life and then death and then life and then death tipped a bit, past some turning point that yielded a whole new kind of air—the “third atmosphere,” as scientists call it. It is what sets this world apart: ours is the only sky we know that holds any oxygen at all.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--bleed" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="108"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: none; padding: 0px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 1201.33px;" wfd-id="109"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 801.042px 0px 0px; position: relative; width: 1201.33px;" wfd-id="110"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 801.042px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 1201.33px;" wfd-id="111"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1600x1067.jpg 1600w" data-was-processed="true" height="427" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag008-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transform: none; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 1201.33px;" width="640" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 801.042px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 1201.33px;" wfd-id="112"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="105"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="106"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="107"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">IV. A Cultural History</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="101"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="102"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="103"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="104">EARLY HUMAN CULTURES</span> worshipped wind gods and cloud nymphs. There were spirits associated with dawn and dusk and rainbows, and deities responsible for thunder in the night. The presence of the sky, in other words, was obvious; almost every ancient culture included air among the four key elements, alongside fire and water and earth.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">For the Greek philosopher Anaximenes, the swirling ever-thereness of air suggested its primacy: it is from air that all things are derived. The air inside us—our breath—is our soul, and it is connected with the surrounding breath that is the universe, forever threading in and out.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Nature, then, was less a thing than a process: a swirl of forces that <em style="box-sizing: inherit; line-height: inherit;">produced</em> the material world. Then came Christianity with its lone god. Gone were the various spirits of clouds and thunder; God’s singular supremacy meant that he must exist far beyond this world. So the idea of nature shifted: it became a kind of drapery—lovely, perhaps, but far from sacred—that our god had hung across the globe. A solid, tangible thing. This new thinking only drove humans further away from nature. After all, if we’re made in God’s image, then mustn’t we be better than nature too? Thus the Bible commands us to fill the earth and subdue it. Along the way, we began to remake the air.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Pollution is an old problem. Even ancient Romans complained about “heavy heavens”: the urban haze produced by all their cooking fires. By the 1200s, British monarchs were fleeing London’s smoke. Then came the Industrial Revolution, which marked a transition. Not a fourth atmosphere, quite, but a point at which our presence began to inextricably change the air. Picture Dickensian London, as described in the opening of <em style="box-sizing: inherit; line-height: inherit;">Bleak House</em>: “Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes—gone into mourning, one might imagine, for the death of the sun.”</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">John Muir echoed this imagery a few decades later; in his treatise <em style="box-sizing: inherit; line-height: inherit;">Our National Parks</em>, he complained of “these hot, dim, strenuous times.” People, he said, were “choked with care like clocks full of dust, laboriously doing so much good.” The antidote, though, was not to clear the dust—literally or figuratively. Muir recommended abandoning the broken cities, forging into nature. Part of what Muir was selling was an idea of what made America great: it was so much more rugged and spectacular than those effete aristocracies in Europe. Most of the national parks that were built at Muir’s urging focused on caverns and peaks—places, ironically, that harbor little life at all. What they do offer is contact with what’s left of the idea of nature: the solid, material earth.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--largest" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="96"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 93.1562px; overflow: hidden; padding: 0px; width: 885.01px;" wfd-id="97"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 590.115px 0px 0px; position: relative; width: 885.01px;" wfd-id="98"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 590.115px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 885.01px;" wfd-id="99"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1600x1067.jpg 1600w" data-was-processed="true" height="427" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag045-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 885.01px;" width="640" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 590.115px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 885.01px;" wfd-id="100"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="92"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="93"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="94"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">“<span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="95">IT IS A STRANGE</span> thing how little in general people know about the sky,” John Ruskin wrote in the mid-nineteenth century. He conceded that we would mention it every so often in casual conversation, using a few simple observations: “warm” or “wet” or “windy.” (Thoreau, in the same period, atop Katahdin: “rocks, trees, wind on our cheeks!”)</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">As I began to draft this essay, a friend asked if knowing the sky had made me think any differently. I could have told him that I had finally learned the source of those colors of sunrise I watched on the river: it is material. The sun, low on the horizon, must send its light through more air, past more molecules of oxygen and nitrogen, which sets the light waves scattering, producing different hues. This knowledge made the world more real.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">But he was asking for lessons on apocalypse, really, and I told him our problems now seem smaller. There was far more carbon in the sky once. If we wait long enough, in fact, the sky will fix the problem. Indeed, after millions of years pass, the same slow process that sucks down the sky’s carbon will have pulled out <em style="box-sizing: inherit; line-height: inherit;">too much</em>. The carbon will return to the planet’s core; plants will choke without carbon dioxide. Once they’re gone, the oxygen, too, will sputter away. A whole new atmosphere is coming—deadly in all new ways.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">I don’t mean to be defeatist; nor do I long for a world where humans are gone. These facts instead make me feel a greater urgency: we are lucky to have been born into this perfect sheath of oxygen, and it’ll only be here for a moment, geologically speaking. Surely we want to do whatever we can to make it stick around. Surely we need to see that we are a part of nature, breathing in air that literally becomes us, breathing out air that swirls and changes and connects it all.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--large" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="87"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 139.729px; overflow: hidden; padding: 0px; width: 791.854px;" wfd-id="88"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 528px 0px 0px; position: relative; width: 791.854px;" wfd-id="89"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 528px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 791.854px;" wfd-id="90"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag395-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 791.854px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 528px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 791.854px;" wfd-id="91"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-gallery
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" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px;" wfd-id="83"><div class="block-gallery__items" style="-webkit-box-align: start; -webkit-box-direction: normal; -webkit-box-orient: horizontal; align-items: flex-start; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: -36px auto 0px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="84"><figure class="block-gallery__item
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" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 36px 46.5729px 0px 93.1562px; position: relative; width: 372.635px;"><div class="block-gallery__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 372.635px;" wfd-id="85"><div class="story-image" data-lazyload-container="" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 0px; margin: 0px auto; opacity: 1; padding: 248.469px 0px 0px; position: relative; transform: none; transition: all 1.5s ease 0.25s; width: 372.635px;" wfd-id="86"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="(min-width: 768px) 75w, 100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1280x853.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="(min-width: 768px) 75w, 100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1280x853.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag297-1600x1067.jpg 1600w" style="border-style: none; bottom: 0px; box-sizing: inherit; display: block; height: 248.469px; left: 0px; max-width: 100%; min-height: 70px; object-fit: cover; opacity: 1; position: absolute; right: 0px; top: 0px; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 372.635px; will-change: transform;" width="2560" /></div></div></figure></div></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="80"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="81"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="82"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">V. A Cultural History, Continued</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="76"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="77"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="78"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="79">UNDER RUSKIN’S EYE</span>, even an empty blue sky yielded a spectacle. “It is not flat dead colour, but a deep, quivering, transparent body of penetrable air, in which you trace or imagine short falling spots of deceiving light, and dim shades, faint, veiled vestiges of dark vapour.” But most of us, when we regard the sky now, are looking through it: to the stars and at the sun.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">If there is a true American aesthetic of air, it is not visual but musical: jazz. This music, as poet Nathaniel Mackey has noted, is a performance of breath. On a saxophone, breath “becomes tactical, tactile, textile, even textual, a haptic recension whose jagged disbursements augur duress,” he writes. Mackey offers the example of Sonny Rollins, how he switches through registers: sometimes hacking and asthmatic, sometimes smooth and relaxed. These shifts offer both an emphatic claim—here I am, breathing this air—and a mournful reminder that the air, for many people, has always been strained. <em style="box-sizing: inherit; line-height: inherit;">I can’t breathe</em>: a knee pressed too long into the back of a neck can become its own one-body apocalypse. (It seems worth mentioning that in 1998—as US senators were refusing to join the first binding United Nations treaty on climate change—Rollins put out an album called <em style="box-sizing: inherit; line-height: inherit;">Global Warming</em>. “It’s like we’re on the <em style="box-sizing: inherit; line-height: inherit;">Titanic</em>, but everybody’s just watching <em style="box-sizing: inherit; line-height: inherit;">Titanic</em>,” he told <em style="box-sizing: inherit; line-height: inherit;">New York</em> magazine that year.)</p></div></div></div><div class="block-quote-with-background" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; position: relative; width: 1201.33px;" wfd-id="71"><div class="block-quote-with-background__container" style="box-sizing: inherit; margin: 0px; padding: 111px 0px 141px;" wfd-id="72"><div class="block-quote-with-background__section" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="73"><div class="block-quote-with-background__content" style="box-sizing: inherit; margin: 0px; padding: 0px; width: 1071.33px;" wfd-id="74"><blockquote class="story-quote story-quote--large" style="border: 0px; box-sizing: inherit; color: inherit; line-height: 1; list-style: none; margin: 0px; padding: 0px;"><div class="story-quote__quote" style="box-sizing: inherit; font-family: Ogg; font-size: 80px; letter-spacing: 0px; line-height: 96px; margin: 0px; padding: 0px; text-align: center;" wfd-id="75"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Ours is the only sky we know that holds any oxygen at all.</p></div></blockquote></div></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="68"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="69"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="70"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">For Black Americans, breath has been choked not just by knees but by the simple fact of where people have been forced to live. One recent study found that Black Americans are exposed to more road dust and agricultural waste, along with every other kind of air pollutant measured, than their white peers. The NAACP and the nonprofit Clean Air Task Force compiled a report in 2017 that found that Black Americans are 75 percent more likely to live in so-called fence-line communities, built alongside industrial plants. One of the greatest concentrations of fence-line communities is in Louisiana along the Mississippi River, where hundreds of chemical refineries and oil and gas pipelines thread through majority-Black communities.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Sharon Lavigne lives on twenty acres in St. James Parish and calls the strip of factories that surround the area “Cancer Alley.” Her land has been in the family for generations. She grew up, she recently told me, amid gardens and animals—hogs, cows, chickens. There were butter beans and sweet potatoes, and the excess was sold downriver at the famous French Market in New Orleans. Her parents pulled fish and shrimp directly from the river.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Then, in the 1960s, one of the large tracts of land became a refinery. “Everybody thought it was wonderful because it brought jobs,” Lavigne said. “Then years went on. Another one came in. Another one came in.” Farms were sold. The sugar mill closed. “And I wondered why.”</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--bleed" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="63"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: none; padding: 0px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 1201.33px;" wfd-id="64"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 801.042px 0px 0px; position: relative; width: 1201.33px;" wfd-id="65"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 801.042px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 1201.33px;" wfd-id="66"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1600x1067.jpg 1600w" data-was-processed="true" height="427" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag653-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transform: none; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 1201.33px;" width="640" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 801.042px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 1201.33px;" wfd-id="67"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-gallery
block-gallery--layout-3x4-2x4
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" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px;" wfd-id="59"><div class="block-gallery__items" style="-webkit-box-align: start; -webkit-box-direction: normal; -webkit-box-orient: horizontal; align-items: flex-start; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: -36px auto 0px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="60"><figure class="block-gallery__item
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" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 36px 232.896px 0px 93.1562px; position: relative; width: 745.271px;"><div class="block-gallery__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 745.271px;" wfd-id="61"><div class="story-image" data-lazyload-container="" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 0px; margin: 0px auto; opacity: 1; padding: 496.938px 0px 0px; position: relative; transform: none; transition: all 1.5s ease 0.25s; width: 745.271px;" wfd-id="62"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="(min-width: 768px) 75w, 100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1280x853.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="(min-width: 768px) 75w, 100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1280x853.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag636-1600x1067.jpg 1600w" style="border-style: none; bottom: 0px; box-sizing: inherit; display: block; height: 496.938px; left: 0px; max-width: 100%; min-height: 70px; object-fit: cover; opacity: 1; position: absolute; right: 0px; top: 0px; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 745.271px; will-change: transform;" width="2560" /></div></div></figure></div></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="56"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="57"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="58"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">VI. A Local History</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="52"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="53"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="54"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="55">FARMER AND WRITER</span> Wendell Berry has remarked on the South’s two very different relationships to land. Whites have always owned most of the land, but they refused to do the labor—which, Berry writes, meant that the white landowners lost “the possibility of meaningful contact with the earth.” When land could be reduced to just a material thing, bounded within lines, it took only a small leap to reach further abstraction: land as asset, something that could be sold for profit when the right buyer came along.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">St. James Parish, like many places named and delineated by human beings, comprises an irregular polygon. Its most salient geography is the Mississippi River, which zigzags through its middle, generally flowing west to east, forming the raised backbone of an upside-down valley. The highest ground is just along the water. As you walk away from the river, the terrain slopes downward, though so slowly the change can be imperceptible. Then, after three miles or so, dry dirt gives way to backswamp—cypress forests threaded with bayous and soaked throughout much of the year.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">The French who arrived at the dawn of the eighteenth century regarded this—like much of the continent—as intractable wasteland. In 1707 the explorer Jean-Baptiste Le Moyne, Sieur de Bienville, scoured the region but “did not find any [lands] that are not flooded in spring,” as he declared. “I do not see how settlers can be placed on this river.” It would be more than a century before white American culture embraced wild nature.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--largest" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="47"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 93.1562px; overflow: hidden; padding: 0px; width: 885.01px;" wfd-id="48"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 590.115px 0px 0px; position: relative; width: 885.01px;" wfd-id="49"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 590.115px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 885.01px;" wfd-id="50"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag479-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 885.01px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 590.115px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 885.01px;" wfd-id="51"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="44"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="45"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="46"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Despite the flooding, the French did settle here, arriving in what would become St. James Parish sixty years later. Immigrant families worked small herds of cattle along the high ground; later, as the land became an American possession, it was increasingly planted in sugarcane. The fields were worked by enslaved laborers whose ancestors had been seized from Africa. After the Civil War, once slavery was finally forbidden, a few Black families managed to acquire small tracts of land, squeezed between the big plantations. In the 1960s, with clean-water legislation looming, industrial corporations saw sudden value in St. James Parish: here, alongside a mighty river, there would be enough water to dilute their toxic stew.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">In 2014 the St. James Parish Council quietly reclassified its Fifth District—a largely rural stretch of land where the population is 90 percent Black and the poverty rate is three times the national average—as a “residential / future industrial” community. There are five oil pipelines that run through the district. In 2017 a company called Americas Styrenics emitted twenty-five thousand pounds of benzene, a carcinogen, into the air. A nearby fertilizer plant spewed hundreds of thousands of pounds of methanol, which causes blindness and seizures, and even more ammonia, which can burn the throat and skin.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Black Americans aren’t frequent participants in the “lone enraptured” wilderness tradition. Take visitation to national parks as a proxy: in 2016, only 7 percent of visitors were Black. But polls show they are far more concerned than their white peers about global warming. Perhaps they know too well that nature is not just rocks and trees—not just the backdrop of a backpacker’s escape.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">There is a swirling world around us, and a swirling world within us, and nature’s greatest miracle is the invisible air that links the two, sustaining both.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">What could be wilder than that? What could deserve more care?</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--bleed" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="39"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: none; padding: 0px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 1201.33px;" wfd-id="40"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 801.042px 0px 0px; position: relative; width: 1201.33px;" wfd-id="41"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 801.042px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 1201.33px;" wfd-id="42"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag689-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transform: none; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 1201.33px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 801.042px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 1201.33px;" wfd-id="43"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-gallery
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" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px;" wfd-id="35"><div class="block-gallery__items" style="-webkit-box-align: start; -webkit-box-direction: normal; -webkit-box-orient: horizontal; align-items: flex-start; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: -36px auto 0px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="36"><figure class="block-gallery__item
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" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 36px 232.896px 0px 93.1562px; position: relative; width: 745.271px;"><div class="block-gallery__medium" style="box-sizing: inherit; margin: 0px; overflow: hidden; padding: 0px; width: 745.271px;" wfd-id="37"><div class="story-image" data-lazyload-container="" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 0px; margin: 0px auto; opacity: 1; padding: 496.938px 0px 0px; position: relative; transform: none; transition: all 1.5s ease 0.25s; width: 745.271px;" wfd-id="38"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="(min-width: 768px) 75w, 100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1280x853.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="(min-width: 768px) 75w, 100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1280x853.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-7-2020-St.-James-Parish-for-Emergence-mag550-1600x1067.jpg 1600w" style="border-style: none; bottom: 0px; box-sizing: inherit; display: block; height: 496.938px; left: 0px; max-width: 100%; min-height: 70px; object-fit: cover; opacity: 1; position: absolute; right: 0px; top: 0px; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 745.271px; will-change: transform;" width="2560" /></div></div></figure></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="32"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="33"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="34"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">A FEW YEARS ago, a local nonprofit offered to help St. James residents organize to push for a buyout. They hoped that residents could escape pollution and, through payments from their industrial neighbors, afford somewhere else to live. When Sharon Lavigne heard this plan, she sat on her porch and prayed. Red-winged black birds flitted between her pecan trees: a symbol of change, she thought.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">“Dear Lord, do you want me to sell my home, the home that you gave me?” she said. The reply came: <em style="box-sizing: inherit; line-height: inherit;">No</em>.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">“Do you want me to sell the land, the land that you gave me?” <em style="box-sizing: inherit; line-height: inherit;">No</em>.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">“Then I started crying,” Lavigne told me. “I said, ‘What do you want me to do?’ And he said, ‘Fight.’”</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">In October 2018, Lavigne hosted five other residents in her den, launching a group she called RISE St. James. The next year, the group sued the parish over a secret meeting it had held with a Chinese chemical company, which was planning to build a chemical plant that would release six hundred thousand pounds of toxic emissions each year. A few months later, citing ballooning capital costs, the company withdrew its application to build.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Now Lavigne is focused on Formosa Plastics, an international conglomerate that intends to build a sprawling campus of fourteen separate chemical production plants two miles up the road from her house. If completed, it will be one of the world’s largest plastics-production facilities and will double the local rate of toxic emissions. It will also encircle at least two former burial grounds, which likely hold the bodies of enslaved plantation workers.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--largest" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="27"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 93.1562px; overflow: hidden; padding: 0px; width: 885.01px;" wfd-id="28"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 590.115px 0px 0px; position: relative; width: 885.01px;" wfd-id="29"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 590.115px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 885.01px;" wfd-id="30"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag075-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 885.01px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 590.115px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 885.01px;" wfd-id="31"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div><div class="block-break-quote" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="24"><div class="block-break-quote__container" style="box-sizing: inherit; margin: 0px auto; padding: 0px; width: 512.375px;" wfd-id="25"><div class="story-quote story-quote--break" style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="26"><blockquote class="story-quote__quote" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 32px; letter-spacing: 0.1px; line-height: 39px; list-style: none; margin: 0px; padding: 0px; text-align: center;"><p style="border: 0px; box-sizing: inherit; color: currentcolor; font-size: inherit; line-height: inherit; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">VII. A Ceremony</p></blockquote></div></div></div><div class="block-text " style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; -webkit-box-pack: center; box-sizing: inherit; display: flex; flex-flow: row wrap; justify-content: center; margin: 0px auto 99px; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="20"><div class="block-text__section block-text__section--text" style="-webkit-box-ordinal-group: 3; box-sizing: inherit; margin: 0px; order: 2; padding: 0px; width: 512.375px;" wfd-id="21"><div class="story-text " style="box-sizing: inherit; margin: 0px; padding: 0px;" wfd-id="22"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;"><span class="uppercase" style="box-sizing: inherit; font-family: "GT America Condensed"; letter-spacing: 1.5px; text-transform: uppercase;" wfd-id="23">ON JUNE 19</span>—Juneteenth—RISE St. James planned a ceremony to lay flowers atop the graves inside one of these burial grounds. Formosa’s local subsidiary had opposed the gathering, claiming that the land was an active construction site. The day before—amid a wave of protests against racial injustice across the country—a judge ruled in RISE St. James’s favor: “People are hurting,” he said. “This would be a good time to heal.” They were allowed to proceed.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">That morning, I donned my mask and drove to St. James Parish to join the ceremony. After reading the statistics of Cancer Alley, I was surprised by the beauty, the way barbed-wire fence lines gave way to sudden open meadows or groves of live oaks, with piebald cows foraging beneath the shade and Spanish moss. The burial ground sat far back amid former farmland that had been left fallow: a raw expanse of dirt, dotted with tufted towers of horseweed. A chain link fence surrounded the site on three sides. This, as much as anywhere, was nature. Herds of cumulus clouds passed low in the sky, though they never seemed to block the sun’s relentless heat.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">The ceremony was an honoring, but also a protest against Formosa. “We will not allow them to take our ancestors out of this ground,” Lavigne declared as the program began. After she spoke, a Catholic priest dashed holy water upon the graves.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">I had presumed that the ceremony would focus on the sky and all its pollution. Instead, throughout the ceremony, the focus was on this dirt. A series of pastors, as they offered sermon and scripture, kept returning to material images: the blood and sweat and tears that fell from enslaved bodies, marking this earth; the ashes and dust from which their bodies had been assembled, and to which they had now returned.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Later, when I interviewed Lavigne, I mentioned how this common prayer leaves out a second ingredient. After God scooped up the dust to form Adam, he still needed to provide the breath of life. “I never thought of it like that,” she said. “That’s true, though: keep it clean because it is the air that God made, the air that we breathe.”</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">The court order had granted Lavigne just sixty minutes at the burial ground. Toward the end of that hour, one of the pastors asked us all to close our eyes. He wanted us to offer gratitude to God by saying “Thank you” whenever we felt the spirit flow through us. “There’s a movement right now,” he said. “You can’t feel it, but God is shaking the earth.”</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px 0px 30px; padding: 0px; text-rendering: optimizelegibility;">Indeed, a few weeks later, the plants’ prospects began to shift. Formosa agreed to postpone any further construction for at least seven months, giving the courts time to review a suit filed by RISE St. James. Lavigne’s group alleged that the federal government had failed to sufficiently study the plants’ impact on the air. Then, in November, the US Army Corps of Engineers temporarily suspended Formosa’s construction permit; in response to a second lawsuit, the agency admitted the facility’s impact on wetlands required further review.</p><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: 20px; line-height: 30px; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">In that moment, standing before the graves, we couldn’t know what was to come. But the pastor was wrong: we <em style="box-sizing: inherit; line-height: inherit;">could</em> feel a movement. The clouds slipped onward across the sky, briefly blocking the rays of the sun, and a gentle wind rippled through the lowermost layer of air. “Ooh, that breeze,” a woman next to me murmured. Then, from the crowd around us, emerged the two-tone chorus: <em style="box-sizing: inherit; line-height: inherit;">Thank you. Thank you. Thank you. Thank you. Thank you</em>.</p></div></div></div><div class="block-single-image-video block-single-image-video--type-image block-single-image-video--small" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px; width: 1201.33px;" wfd-id="15"><figure class="block-single-image-video__figure" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;"><div class="block-single-image-video__medium" style="box-sizing: inherit; margin: 0px 232.896px; overflow: hidden; padding: 0px; width: 605.531px;" wfd-id="16"><div class="block-single-image-video__asset" style="box-sizing: inherit; height: 0px; margin: 0px; padding: 403.76px 0px 0px; position: relative; width: 605.531px;" wfd-id="17"><div class="story-image" style="background: rgba(0, 0, 0, 0.05); box-sizing: inherit; height: 403.76px; left: 0px; margin: 0px auto; opacity: 1; padding: 0px; position: absolute; top: 0px; transform: none; transition: all 1.5s ease 0.25s; width: 605.531px;" wfd-id="18"><img alt="" class="story-image__image loaded" data-lazyload="loaded" data-sizes="100w" data-src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-2560x1707.jpg" data-srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1600x1067.jpg 1600w" data-was-processed="true" height="1707" sizes="100w" src="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-2560x1707.jpg" srcset="https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-800x533.jpg 800w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1280x853.jpg 1280w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1150x767.jpg 1150w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1536x1024.jpg 1536w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-2048x1366.jpg 2048w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-320x213.jpg 320w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-640x427.jpg 640w, https://emergencemagazine.org/app/uploads/2020/10/10-6-2020-St.-James-Parish-for-Emergence-mag016-1600x1067.jpg 1600w" style="border-style: none; box-sizing: inherit; display: block; height: auto; max-width: 100%; min-height: 70px; opacity: 1; transition: opacity 0.2s ease-in 0s; vertical-align: middle; width: 605.531px;" width="2560" /><span class="story-image__enlarge" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; -webkit-box-pack: center; align-items: center; background-color: rgba(0, 0, 0, 0.3); box-sizing: inherit; display: flex; flex-direction: column; height: 403.76px; justify-content: center; left: 0px; opacity: 0; position: absolute; top: 0px; transition: all 0.5s ease 0s; visibility: hidden; width: 605.531px;" wfd-id="19"><i class="story-image__icon" style="box-sizing: inherit; color: white; line-height: 0; margin-bottom: 18px;"><svg class="svg-icon-media-enlarge-dims"><use xlink:href="#icon-media-enlarge"></use></svg></i><span class="story-image__enlarge-text" style="box-sizing: inherit; color: white; font-family: "GT America Condensed"; font-size: 14px; letter-spacing: 1px; line-height: 1; text-transform: uppercase;"></span></span></div></div></div></figure></div></div><div class="story__endmark" style="box-sizing: inherit; line-height: 0; margin: 0px 0px 99px; padding: 0px; text-align: center;" wfd-id="13"><svg class="svg-logo-mark-dims"><use xlink:href="#logo-mark"></use></svg></div><div class="story__footnotes" style="box-sizing: inherit; margin: 0px 0px 99px; padding: 0px;" wfd-id="12"></div></div><div class="story__footer" style="box-sizing: inherit; font-family: "GT America"; font-size: 18px; margin: 0px 0px 99px; padding: 0px;" wfd-id="3"><div class="story-credits" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; box-sizing: inherit; display: flex; flex-flow: row wrap; margin: 0px auto; max-width: 1280px; padding: 0px 65px; width: 1201.33px;" wfd-id="4"><div class="story-credits__container" style="-webkit-box-align: center; -webkit-box-direction: normal; -webkit-box-orient: vertical; align-items: center; box-sizing: inherit; display: flex; flex-direction: column; margin: 0px auto; padding: 0px; position: relative; width: 978.167px;" wfd-id="5"><header class="story-credits__header" style="border-bottom: 1px solid; box-sizing: inherit;">Credits</header><ul class="story-credits__items" style="-webkit-box-direction: normal; -webkit-box-orient: horizontal; border: 0px; box-sizing: inherit; color: inherit; flex-flow: row wrap; line-height: 1; list-style: none; margin: 0px; padding: 24px 0px;" wfd-id="6"><li class="story-credits__item" style="-webkit-box-flex: 0; border: 0px; box-sizing: inherit; color: inherit; flex: 0 0 100%; font-size: inherit; line-height: 1; list-style: none; margin: 0px; padding: 0px;" wfd-id="9"><article class="story-contributor" style="box-sizing: inherit;"><header class="story-contributor__header" style="box-sizing: inherit; margin-bottom: 9px;"><p class="story-contributor__role" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 16px; line-height: 1; list-style: none; margin: 0px 0px 0.25em; padding: 0px; text-rendering: optimizelegibility;">Writer</p><h4 class="story-contributor__name" style="border: 0px; box-sizing: inherit; color: inherit; font-size: 26px; font-weight: 400; letter-spacing: 0.45px; line-height: 24px; list-style: none; margin: 0px 0px 0.75em; padding: 0px; text-rendering: optimizelegibility;">Boyce Upholt</h4></header><div class="story-contributor__content" style="box-sizing: inherit; font-size: 13px; margin: 0px; padding: 0px;" wfd-id="10"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: inherit; line-height: 1.5; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Boyce Upholt is a freelance writer. He is the recipient of the 2019 Award for Investigative Journalism from the James Beard Foundation and was named a 2016 “Writer of the Year” by the International Regional Magazine Association. His work has appeared in <em style="box-sizing: inherit; line-height: inherit;">The New Republic</em>, <em style="box-sizing: inherit; line-height: inherit;">The Atlantic</em>, <em style="box-sizing: inherit; line-height: inherit;">TIME</em>, <em style="box-sizing: inherit; line-height: inherit;">The Oxford American</em>, and <em style="box-sizing: inherit; line-height: inherit;">The Believer</em>, and has been included as a “notable” selection in the Best American Science & Nature Writing series. He is currently working on a book about the Mississippi River.</p></div></article></li><li class="story-credits__item" style="-webkit-box-flex: 0; border: 0px; box-sizing: inherit; color: inherit; flex: 0 0 100%; font-size: inherit; line-height: 1; list-style: none; margin: 24px 0px 0px; padding: 0px;" wfd-id="7"><article class="story-contributor" style="box-sizing: inherit;"><header class="story-contributor__header" style="box-sizing: inherit; margin-bottom: 9px;"><p class="story-contributor__role" style="border: 0px; box-sizing: inherit; color: inherit; font-family: Reckless; font-size: 16px; line-height: 1; list-style: none; margin: 0px 0px 0.25em; padding: 0px; text-rendering: optimizelegibility;">Photographer</p><h4 class="story-contributor__name" style="border: 0px; box-sizing: inherit; color: inherit; font-size: 26px; font-weight: 400; letter-spacing: 0.45px; line-height: 24px; list-style: none; margin: 0px 0px 0.75em; padding: 0px; text-rendering: optimizelegibility;">L. Kasimu Harris</h4></header><div class="story-contributor__content" style="box-sizing: inherit; font-size: 13px; margin: 0px; padding: 0px;" wfd-id="8"><p style="border: 0px; box-sizing: inherit; color: inherit; font-size: inherit; line-height: 1.5; list-style: none; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">L. Kasimu Harris uses photography and other mediums to tell stories of underrepresented communities in New Orleans and beyond. His <em style="box-sizing: inherit; line-height: inherit;">War on the Benighted</em> series was part of a group exhibition at the New Orleans Museum of Art, and his feature articles have been published in <em style="box-sizing: inherit; line-height: inherit;">The New York Times</em> and selected for the book <em style="box-sizing: inherit; line-height: inherit;">Best Food Writing 2016</em>.</p></div></article></li></ul></div></div></div><aside class="story__related" style="box-sizing: inherit; font-family: "GT America"; font-size: 18px; margin-bottom: 123px;"><div class="staff-picks" data-staffpicks-colourchanger="" style="background-color: #342d2d; box-sizing: inherit; color: white; font-size: 10px; margin: 0px; padding: 5.4em 0px; position: relative; transition: background-color 0.3s ease 0s;" wfd-id="1"><h2 class="staff-picks__title" style="border: 0px; box-sizing: inherit; color: inherit; font-family: "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 1em; font-weight: 400; line-height: 1; list-style: none; margin: 0px 0px 5.4em; padding: 0px; text-align: center; text-rendering: optimizelegibility;"><span class="year2-heading" style="border-bottom: 1px solid; box-sizing: inherit; font-family: "Founders Grotesk Mono", monospace; font-size: 1.3em; letter-spacing: -0.25px; line-height: 1; padding-bottom: 0.2em;" wfd-id="2">Staff Picks</span></h2></div></aside></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-36943663780809349312020-07-29T13:03:00.000-04:002020-07-29T13:03:15.985-04:00DE MIRÓ A REMBRANDT: 13 ESTÚDIOS DE ARTISTAS FAMOSOS QUE VOCÊ PODE VISITAR PELO MUNDO<br /><div><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/?utm_campaign=coschedule&utm_source=facebook_page&utm_medium=Follow%20The%20Colours&utm_content=De%20Mir%C3%B3%20a%20Rembrandt%3A%2013%20est%C3%BAdios%20de%20artistas%20famosos%20que%20voc%C3%AA%20pode%20visitar%20pelo%20mundo&fbclid=IwAR3jInItR0pDBK_8cbIzW4us50cgsPXF7q9HwL40AYtWf9y_cJjjlyUkR3o">https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/?utm_campaign=coschedule&utm_source=facebook_page&utm_medium=Follow%20The%20Colours&utm_content=De%20Mir%C3%B3%20a%20Rembrandt%3A%2013%20est%C3%BAdios%20de%20artistas%20famosos%20que%20voc%C3%AA%20pode%20visitar%20pelo%20mundo&fbclid=IwAR3jInItR0pDBK_8cbIzW4us50cgsPXF7q9HwL40AYtWf9y_cJjjlyUkR3o</a></div><div><br /></div><div>DE MIRÓ A REMBRANDT: 13 ESTÚDIOS DE ARTISTAS FAMOSOS QUE VOCÊ PODE VISITAR PELO MUNDO</div><div><br /></div><div><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Os <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">ateliês dos artistas</span> fornecem um <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">tesouro de insights</span> sobre <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">suas práticas e personas</span>. Se eles finalmente se tornam museus ou são gerenciados por fundações, os esforços de restauração permitem que esses <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">espaços sejam preservados</span> e <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">apreciados muito tempo após a sua morte</span>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">A seguir, são apresentados <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">diversos estúdios de artistas famosos</span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">que você pode visitar pessoalmente pelo mundo</span>. Confira:</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">1 – JOAN MIRÓ – MALLORCA, ESPANHA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-joan-miro-estudio-photo-by-alexandra-moss-via-flickr/" rel="attachment wp-att-88549" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88549" height="400" sizes="(max-width: 620px) 100vw, 620px" src="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Joan-Miro%CC%81-estudio.-Photo-by-Alexandra-Moss-via-Flickr..jpg?w=960&ssl=1" srcset="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Joan-Miró-estudio.-Photo-by-Alexandra-Moss-via-Flickr..jpg?w=620&ssl=1 620w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Joan-Miró-estudio.-Photo-by-Alexandra-Moss-via-Flickr..jpg?resize=250%2C161&ssl=1 250w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Joan-Miró-estudio.-Photo-by-Alexandra-Moss-via-Flickr..jpg?resize=120%2C77&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">O pintor, escultor e gravador espanhol <a href="https://pt.wikipedia.org/wiki/Joan_Mir%C3%B3" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Joan Miró</span></a> – conhecido por suas <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">esculturas biomórficas e composições abstratas</span> inspiradas tanto pela cena dadaísta com a qual ele se envolveu em Paris quanto pela caligrafia japonesa – <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">cresceu passando um tempo em Mallorca com sua avó</span>. Quando ele se <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">mudou para lá permanentemente de Barcelona</span>, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">aos sessenta anos</span>, ele <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">destruiu muitos de seus trabalhos anteriores</span> por completo, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">abrindo caminho para uma nova fase de criatividade</span> que o próprio estúdio (pela primeira vez) proporcionou.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">A <a href="https://miromallorca.com/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Fundació Pilar i Joan Miró</u></a>, que ele <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estabeleceu para preservar seus estúdios</span>, em parte como inspiração para futuros artistas, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">inclui não apenas o primeiro estúdio de Miró e um museu de suas obras</span>, mas também <a href="https://miromallorca.com/en/foundation/architecture/son-boter/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Son Boter</u></a>, uma <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">propriedade rural do século 18 atrás sua própria casa</span> que ele comprou como espaço para fazer obras em grande escala. Hoje, sua garagem abriga uma <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">oficina de gravura em funcionamento</span>, atualizada desde os tempos de Miró.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">2 – BARBARA HEPWORTH – CORNWALL, INGLATERRA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-barbara-hepworth-estudio-foto-zoer-via-flickr/" rel="attachment wp-att-88542" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88542" height="464" sizes="(max-width: 620px) 100vw, 620px" src="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Barbara-Hepworth-estudio-foto-Zoer-via-Flickr.jpg?w=960&ssl=1" srcset="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Barbara-Hepworth-estudio-foto-Zoer-via-Flickr.jpg?w=620&ssl=1 620w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Barbara-Hepworth-estudio-foto-Zoer-via-Flickr.jpg?resize=250%2C187&ssl=1 250w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Barbara-Hepworth-estudio-foto-Zoer-via-Flickr.jpg?resize=120%2C90&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">No início da Segunda Guerra Mundial, a <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">escultora britânica <a href="https://barbarahepworth.org.uk/biography/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Barbara Hepworth</a></span> se estabeleceu na cidade de St. Ives, em Cornwall, com seu segundo marido, o artista Ben Nicholson. Ela encontrou o <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Trewyn Studio</em> uma década depois e viveu e trabalhou lá por cerca de 25 anos. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Hepworth criava suas esculturas – peças modernas de pedra, madeira, além de moldes de gesso</span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">e bronze</span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">exclusivas </span>– no quintal da casa, em dois estúdios ao ar livre e na própria casa.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">De acordo com suas instruções, a propriedade – incluindo o jardim que ela curou para exibir suas esculturas – foi transformada em museu depois que ela morreu e é operada pelo <a href="https://www.tate.org.uk/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Tate</u> </a> desde 1980. O <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estúdio de escultura permanece praticamente como ela o deixou</span>, enquanto o <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estúdio de gesso agora inclui ferramentas e trabalhos em andamento</span> destinados a dar ao espaço um foco educacional e narrativo.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">3 – CONSTANTIN BRÂNCUSI – PARIS, FRANÇA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-constantin-brancusi-estudio-foto-piero-sierra/" rel="attachment wp-att-88543" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88543" height="413" sizes="(max-width: 620px) 100vw, 620px" src="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Constantin-Brancusi-estudio-foto-Piero-Sierra.jpg?w=960&ssl=1" srcset="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Constantin-Brancusi-estudio-foto-Piero-Sierra.jpg?w=620&ssl=1 620w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Constantin-Brancusi-estudio-foto-Piero-Sierra.jpg?resize=250%2C167&ssl=1 250w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Constantin-Brancusi-estudio-foto-Piero-Sierra.jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">O <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">escultor romeno <a href="https://pt.wikipedia.org/wiki/Constantin_Br%C3%A2ncu%C8%99i" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Constantin Brâncusi</a></span> viveu em <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Paris por mais de 50 anos</span>. Originalmente localizada ao longo de <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">um beco chamado <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Impasse Ronsin</em></span>, sua <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">casa e estúdio atraiu artistas de destaque</span> como <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Yves Klein</em>, <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Jean Tinguely</em>, <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Max Ernst</em> e <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Niki de Saint Phalle</em>, nos anos 50 e 60. Brancusi não apenas criou suas obras esculturais lá, mas também <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">desenvolveu uma espécie de museu pessoal para exibi-las</span>. Ele imaginou suas peças em agrupamentos e as reorganizou para alcançar uma sensação de perfeita harmonia, deixando de fazer novos trabalhos e <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">preenchendo o espaço vazio com moldes de gesso</span>, se ele vendesse uma peça.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Quando morreu, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">deixou tudo em seu estúdio para o governo francês</span> – e especificou que o espaço deveria ser perfeitamente recriado. O estúdio reconstruído e realocado agora existe dentro de um espaço semelhante a um museu, projetado por <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Renzo Piano</em>, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">ao lado do <a href="https://www.centrepompidou.fr/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Centre Pompidou</u></a> </span>– e <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">abriga cerca de 137 esculturas de Brancusi</span>.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">4 – GEORGIA O’KEEFE – ABIQUIÚ, NOVO MÉXICO, EUA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-herbert-lotz-georgia-okeeffes-abiquiu-house-sitting-room-2007-georgia-okeeffe-museum-georgia-okeeffe-museum/" rel="attachment wp-att-88548" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88548" height="609" sizes="(max-width: 620px) 100vw, 620px" src="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Herbert-Lotz-Georgia-O%E2%80%99Keeffe%E2%80%99s-Abiquiu-House-Sitting-Room-2007.-Georgia-O%E2%80%99Keeffe-Museum.-%C2%A9-Georgia-OKeeffe-Museum..jpg?w=960&ssl=1" srcset="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Herbert-Lotz-Georgia-O’Keeffe’s-Abiquiu-House-Sitting-Room-2007.-Georgia-O’Keeffe-Museum.-©-Georgia-OKeeffe-Museum..jpg?w=620&ssl=1 620w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Herbert-Lotz-Georgia-O’Keeffe’s-Abiquiu-House-Sitting-Room-2007.-Georgia-O’Keeffe-Museum.-©-Georgia-OKeeffe-Museum..jpg?resize=250%2C246&ssl=1 250w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Herbert-Lotz-Georgia-O’Keeffe’s-Abiquiu-House-Sitting-Room-2007.-Georgia-O’Keeffe-Museum.-©-Georgia-OKeeffe-Museum..jpg?resize=120%2C118&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Em 1949, muito depois de começar a criar suas pinturas icônicas e abstratas de flores, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://www.biography.com/artist/georgia-okeeffe" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Georgia O’Keefe</a> deixou Nova Iorque</span> e <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">cruzou o país para continuar suas observações mais próximas do mundo natural</span> nas planícies desérticas do Novo México. Lá, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">sua casa e estúdio, em Abiquiú</span> – que ela comprou em 1945 – <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">agora é um marco histórico nacional</span>, operando em conjunto com o campus de Santa Fe do <a href="https://www.okeeffemuseum.org/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Georgia O´Keeffe Museum</u></a>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Enquanto ela morava e trabalhava no edifício ao longo de cerca de 30 anos, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">O’Keeffe criou dezenas de pinturas baseadas na casa e nos arredores</span>, incluindo a vista do Rio Chama. Os <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">visitantes podem reservar passeios até pouco antes do Dia de Ação de Graças</span>, antes do fechamento do edifício durante a temporada, até março.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">5 – FRANCIS BACON – DUBLIN, IRLANDA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-francis-bacons-7-reece-mews-studio-london-1998-photo-perry-ogden-the-estate-of-francis-bacon-all-rights-reserved/" rel="attachment wp-att-88545" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88545" height="496" sizes="(max-width: 620px) 100vw, 620px" src="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Francis-Bacons-7-Reece-Mews-Studio-London-1998.-Photo-Perry-Ogden-%C2%A9-The-Estate-of-Francis-Bacon.-All-rights-reserved..jpg?w=960&ssl=1" srcset="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Francis-Bacons-7-Reece-Mews-Studio-London-1998.-Photo-Perry-Ogden-©-The-Estate-of-Francis-Bacon.-All-rights-reserved..jpg?w=620&ssl=1 620w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Francis-Bacons-7-Reece-Mews-Studio-London-1998.-Photo-Perry-Ogden-©-The-Estate-of-Francis-Bacon.-All-rights-reserved..jpg?resize=250%2C200&ssl=1 250w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Francis-Bacons-7-Reece-Mews-Studio-London-1998.-Photo-Perry-Ogden-©-The-Estate-of-Francis-Bacon.-All-rights-reserved..jpg?resize=120%2C96&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Seis anos após a morte de <a href="https://www.francis-bacon.com/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Francis Bacon</span></a>, em 1992, uma equipe de arqueólogos, curadores e conservadores <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">transferiu todo o seu estúdio em Londres para <u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://www.hughlane.ie/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">The Hugh Lane</a></u></span>, uma <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">galeria de arte municipal em Dublin</span>, local de nascimento de Bacon. O <a href="https://www.artiststudiomuseum.org/studio-museums/francis-bacon-studio/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">espaço</a> foi <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">recriado para refletir a condição exata em que Bacon o deixou</span> – a saber, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">uma bagunça</span>. Foi <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">a casa e o local de trabalho do artista por três décadas</span>, e a reconstrução de Dublin inclui tudo, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">desde a estrutura física</span> em si <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">até a poeira acumulada do espaço</span>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">A <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">bebida e o deboche de Bacon são evidentes no caos de tintas e pincéis</span>; roupas que ele costumava transferir texturas para suas telas; <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">fotografias dele e de seus conhecidos; pinturas destruídas em andamento; trabalhos em papel</span>; a porta e as paredes onde ele misturava tintas, em vez de usar uma paleta; páginas soltas de livros que serviram como material de origem; e uma réplica da cabeça de William Blake, em gesso. Tanto o esforço de realocação quanto a catalogação de milhares de objetos restantes no estúdio foram inovadores na prática de arquivamento de museus.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">6 – IRMA STERN – CIDADE DO CABO, ÁFRICA DO SUL</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-irma-stern-museum-photo-via-flickr/" rel="attachment wp-att-88547" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88547" height="415" sizes="(max-width: 620px) 100vw, 620px" src="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Irma-Stern-Museum.-Photo-via-Flickr..jpg?w=960&ssl=1" srcset="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Irma-Stern-Museum.-Photo-via-Flickr..jpg?w=620&ssl=1 620w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Irma-Stern-Museum.-Photo-via-Flickr..jpg?resize=250%2C167&ssl=1 250w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Irma-Stern-Museum.-Photo-via-Flickr..jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Nascida na África do Sul, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">filha de pais alemães e educada em artes na Alemanha</span> (Max Pechstein era seu mentor), <a href="https://www.wikiart.org/pt/irma-stern" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Irma Stern</span></a> teve inspiração artística em suas viagens pela África e Europa. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Pintou retratos psicológicos e expressionistas</span>, bem como <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">naturezas-mortas e paisagens, e também fez esculturas</span>. Seu trabalho de vanguarda foi recebido pela primeira vez com críticas na África do Sul apesar de uma recepção inicial positiva na Europa.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Eventualmente, no entanto, ela foi <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">elogiada como uma das artistas proeminentes da África do Sul</span>. A casa dos anos 1830, onde ela viveu e trabalhou por cerca de quatro décadas, é <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">aberta ao público como o <a href="http://www.irmastern.co.za/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Museu Irma Stern</a></span>. O <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estúdio de Stern, assim como sua sala de jantar e sala de estar, são mobiliados como quando ela os deixou</span>, com artefatos ecléticos de suas viagens, além de uma seleção de seu trabalho, que o museu pendurou nas paredes. O <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">segundo andar funciona como uma galeria rotativa</span> dedicada à arte contemporânea da África do Sul.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">7 – JACKSON POLLOCK E LEE KRASNER – EAST HAMPTON, NOVA YORK, EUA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/studio/" rel="attachment wp-att-88551" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88551" height="413" sizes="(max-width: 620px) 100vw, 620px" src="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Pollock-Krasner-estudio-foto-John-Griffin-Courtesy-of-the-Pollock-Krasner-House-and-Study-Center.jpg?w=960&ssl=1" srcset="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Pollock-Krasner-estudio-foto-John-Griffin-Courtesy-of-the-Pollock-Krasner-House-and-Study-Center.jpg?w=620&ssl=1 620w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Pollock-Krasner-estudio-foto-John-Griffin-Courtesy-of-the-Pollock-Krasner-House-and-Study-Center.jpg?resize=250%2C167&ssl=1 250w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Pollock-Krasner-estudio-foto-John-Griffin-Courtesy-of-the-Pollock-Krasner-House-and-Study-Center.jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;"><a href="http://www.jacksonpollock.com/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Jackson Pollock</span></a><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"> e <a href="https://www.moma.org/artists/3240" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Lee Krasner</a></span> se conheceram em 1941, antes de uma exposição coletiva que incluía os <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">dois jovens expressionistas abstratos</span>. Eles se <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">casariam em 1945</span> e, apenas duas semanas depois, se mudariam para sua casa em East Hampton. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Pollock renovou e usou um celeiro na propriedade como seu estúdio</span>, onde <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Krasner trabalhou após a morte</span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">de Pollock</span> em 1956. As <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">tábuas do assoalho são salpicadas com os vestígios da pintura de ação de Pollock</span> – que os conservadores encontraram e preservaram durante a reforma.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Enquanto isso, as <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">paredes exibem fotografias e textos relacionados às carreiras de ambos</span> e mostram vestígios físicos das pinturas de Krasner. Ela estipulou que a casa (onde ela originalmente pintou) e o estúdio são um local de conhecimento sobre as práticas dela e de Pollock e um recurso educacional mais amplo para estudantes de arte moderna na América, e o <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">lugar agora possui um centro de estudos</span> que inclui arquivos e entrevistas. Este <a href="https://www.stonybrook.edu/commcms/pkhouse/housestudio.php" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">marco histórico nacional</a> está aberto sazonalmente, de maio a outubro.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">8 – RENÉ MAGRITTE – BRUXELAS, BÉLGICA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-rene-magritte-foto-mattia-camellini-via-flickr-all-rights-reserved-by-mattia-camellini/" rel="attachment wp-att-88552" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88552" height="464" sizes="(max-width: 620px) 100vw, 620px" src="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Rene-Magritte-foto-Mattia-Camellini-via-Flickr.-%C2%A9-All-rights-reserved-by-Mattia-Camellini..jpg?w=960&ssl=1" srcset="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Rene-Magritte-foto-Mattia-Camellini-via-Flickr.-©-All-rights-reserved-by-Mattia-Camellini..jpg?w=620&ssl=1 620w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Rene-Magritte-foto-Mattia-Camellini-via-Flickr.-©-All-rights-reserved-by-Mattia-Camellini..jpg?resize=250%2C187&ssl=1 250w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Rene-Magritte-foto-Mattia-Camellini-via-Flickr.-©-All-rights-reserved-by-Mattia-Camellini..jpg?resize=120%2C90&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Em sua casa em Bruxelas, o <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">artista surrealista <a href="https://www.renemagritte.org/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">René Magritte</a></span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">organizava rotineiramente exposições para seus compatriotas</span> – com tanta frequência, de fato, que <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">o espaço se tornou uma base para os surrealistas belgas</span>. Lá, ele também <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">pintou quase a metade de suas obras intrigantes</span>, muitas vezes usando seus próprios itens domésticos como inspiração.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Magritte e sua família se mudaram em 1954, e a <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">casa passou pelas mãos de vários inquilinos antes de ser comprada e restaurada</span> como museu nos anos 90. Usando documentos históricos, incluindo registros de leilão, fotos e entrevistas, o <a href="http://www.magrittemuseum.be/index.php/en/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">René Magritte House Museum</u> </a><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">recriou o estúdio como parecia nos dias do artista</span>. Na parte de cima da casa, o museu exibe as pinturas e os materiais de arquivo de Magritte e monta exposições rotativas de artistas parecidos. Também está em processo de <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">expansão para o prédio ao lado, para exibir mais de sua coleção de cerca de 650 obras de arte moderna</span>.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">9 – DAVID IRELAND – SÃO FRANCISCO, CALIFÓRNIA, EUA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-david-ireland-estudio/" rel="attachment wp-att-88553" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88553" height="414" sizes="(max-width: 620px) 100vw, 620px" src="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-david-ireland-estudio.jpg?w=960&ssl=1" srcset="https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-david-ireland-estudio.jpg?w=620&ssl=1 620w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-david-ireland-estudio.jpg?resize=250%2C167&ssl=1 250w, https://i0.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-david-ireland-estudio.jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Quando <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://en.wikipedia.org/wiki/David_Ireland_(artist)" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">David Ireland</a></span> comprou uma <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">casa geminada de 1886 no Distrito Missionário de São Francisco</span>, o artista conceitual da Bay Area imaginou um <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">espaço combinado de trabalho ao vivo</span>. Durante as três décadas em que esteve lá, ele <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">transformou a casa no que é considerado uma obra de arte por si só</span>. Como uma espécie de ato performativo – uma “ação de manutenção”, como ele a chamava – ele não apenas limpou a casa, mas também removeu as guarnições das janelas e rodapés, lixou o chão e preservou rachaduras e descolorações nas paredes com poliuretano, para <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">expor o ambiente, a estrutura da casa e escavar sua história.</span></font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Enquanto isso, ele <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">criou esculturas e instalações a partir de objetos e materiais que encontrou durante a limpeza</span>, como elásticos, vassouras e sujeira. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Reaberta ao público no ano passado após a conservação e renovação, </span>a <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://500cappstreet.org/" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;">500 Capp Street Foundation, </a>preservou o espaço existente</span> e adicionou metragem quadrada para exibir e arquivar trabalhos. A casa e a garagem apresentam exposições rotativas das obras de Ireland, bem como uma série de outros artistas.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">10 – FRIDA KAHLO – CIDADE DO MÉXICO, MÉXICO</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-frida-kahlo-casa-azul-suzanne-barbezat/" rel="attachment wp-att-88546" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88546" height="465" sizes="(max-width: 620px) 100vw, 620px" src="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Frida-Kahlo-Casa-Azul-%C2%A9-Suzanne-Barbezat.jpg?w=960&ssl=1" srcset="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Frida-Kahlo-Casa-Azul-©-Suzanne-Barbezat.jpg?w=620&ssl=1 620w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Frida-Kahlo-Casa-Azul-©-Suzanne-Barbezat.jpg?resize=250%2C188&ssl=1 250w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Frida-Kahlo-Casa-Azul-©-Suzanne-Barbezat.jpg?resize=120%2C90&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">À medida que se explora mais profundamente o trabalho de <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://fridakahlocorporation.com/" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;">Frida Kahlo</a></span> e <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">desfruta do privilégio de conhecer sua casa,</span> <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">começa-se a descobrir as intensas inter-relações entre Frida, seu trabalho e seu lar</span>. Seu universo criativo pode ser encontrado na <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><a href="https://www.museofridakahlo.org.mx/en/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Casa Azul</a>, o lugar onde ela nasceu e onde morreu.</span></font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Localizada em um dos <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">bairros mais antigos e bonitos da Cidade do México</span>, a <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Casa Azul foi transformada em muse</span>u em 1958, quatro anos após a morte da pintora. Hoje é um dos <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">museus mais populares da capital mexicana.</span></font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">11 – DIEGO RIVERA – CIDADE DO MÉXICO, MÉXICO</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-diego-rivera-e-frida-kahlo/" rel="attachment wp-att-88544" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88544" height="415" sizes="(max-width: 620px) 100vw, 620px" src="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Diego-Rivera-e-Frida-Kahlo.jpg?w=960&ssl=1" srcset="https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Diego-Rivera-e-Frida-Kahlo.jpg?w=620&ssl=1 620w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Diego-Rivera-e-Frida-Kahlo.jpg?resize=250%2C167&ssl=1 250w, https://i2.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Diego-Rivera-e-Frida-Kahlo.jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">As <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">casas gêmeas de Diego e Frida</span>, atual sede do <a href="https://www.estudiodiegorivera.bellasartes.gob.mx/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Museu Casa Estúdio</span></a>, foram encomendadas por Diego Rivera em 1931, para o jovem arquiteto e amigo da família, Juan O’Gorman. Esta <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">importante obra</span> foi uma das <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">primeiras construções funcionalistas da América Latina</span>, incorporando o <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estilo orgânico mexicano de maneira muito natural</span>. O conjunto abrange <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">uma casa para Frida e outra para Diego, com um estúdio em cada uma delas</span>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Nesse espaço, sede da coleção de Rivera, de Judas e Calaveras, de arte pré-histórica e artesanatos mexicanos, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Frida consolidou-se como pintora</span> executou em seu estúdio obras como “<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Lo que el agua me dio</em>“, “<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">El ojo avizor</em>“, “<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">El difunto Dimas</em>” e “<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Las dos Fridas</em>“, entre outras notáveis pinturas. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Seu marido, por sua vez, pintou cerca de três mil quadros no estúdio</span>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">O muralista permaneceu na casa até o dia que faleceu</span>, em 24 de novembro de 1957. Em seguida, sua filha, Ruth Rivera Marin, herdou a propriedade e doou-a ao Instituto Nacional de Belas Artes (INBA). Em 1994, o INBA efetuou seu restauro e reabilitação e, no ano de 1998, ela <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">foi reconhecida como Patrimônio Artístico da Nação</span>. Atualmente n<span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">o estúdio de Diego Rivera estão expostos seus materiais de trabalho e as pinturas e objetos pessoais de sua esposa</span>.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">12 – FRANCISCO BRENNAND – RECIFE, PE, BRASIL</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/follow-the-colours-oficina_de_cera%cc%82mica_francisco_brennand_-_recife_pernambuco_brasil/" rel="attachment wp-att-88550" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88550" height="413" sizes="(max-width: 620px) 100vw, 620px" src="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Oficina_de_Cera%CC%82mica_Francisco_Brennand_-_Recife_Pernambuco_Brasil.jpg?w=960&ssl=1" srcset="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Oficina_de_Cerâmica_Francisco_Brennand_-_Recife_Pernambuco_Brasil.jpg?w=620&ssl=1 620w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Oficina_de_Cerâmica_Francisco_Brennand_-_Recife_Pernambuco_Brasil.jpg?resize=250%2C167&ssl=1 250w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-Oficina_de_Cerâmica_Francisco_Brennand_-_Recife_Pernambuco_Brasil.jpg?resize=120%2C80&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">A <a href="https://www.brennand.com.br/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Oficina Brennand</span> </a>surge em 1971 nas <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">ruínas de uma olaria datada do ano de 1917</span>, a antiga fábrica de tijolos e telhas herdada de seu pai – o industrial Ricardo Lacerda de Almeida Brennand. Cercada por remanescentes da Mata Atlântica e pelas águas do Rio Capibaribe, a Oficina constitui-se num <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">conjunto arquitetônico monumental de grande originalidade</span>, em constante processo de mutação, pois ainda <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">é possível encontrar <a href="https://www.brennand.com.br/brennand_01.php" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Francisco Brennand</a> produzindo e criando esculturas cerâmicas em seu espaço</span>.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">São 15 km² de área construída. O complexo conta com espaços como <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">a Accademia (Pinacoteca), o Anfiteatro, o Salão de Esculturas, o Templo Central, o Templo do Sacrifício, o Estádio</span> (espaço destinado à realização de eventos), <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">auditório, capela Imaculada Conceição</span> (projetada pelo arquiteto Paulo Mendes da Rocha), <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">loja de souvenirs e objetos utilitários, Brennand Café, além de jardins projetados por Burle Marx</span>.</font></p><h5 style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Cocogoose, Helvetica, Arial, sans-serif; font-size: 18px; font-weight: normal; line-height: 18px; margin: 0px; padding: 0px 0px 10px; text-rendering: optimizelegibility;"><font style="background-color: white;">13 – REMBRANDT – AMSTERDÃ, HOLANDA</font></h5><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><a href="https://followthecolours.com.br/traveluv/estudios-de-artistas-famosos/attachment/museum-het-rembrandthuis/" rel="attachment wp-att-88555" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;"><font color="#000000" style="background-color: white;"><img alt="" class="aligncenter size-full wp-image-88555" height="465" sizes="(max-width: 620px) 100vw, 620px" src="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-rembrandthuis_amsterdan-estudio.jpg?w=960&ssl=1" srcset="https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-rembrandthuis_amsterdan-estudio.jpg?w=620&ssl=1 620w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-rembrandthuis_amsterdan-estudio.jpg?resize=250%2C188&ssl=1 250w, https://i1.wp.com/followthecolours.com.br/wp-content/uploads/2019/09/follow-the-colours-rembrandthuis_amsterdan-estudio.jpg?resize=120%2C90&ssl=1 120w" style="-webkit-font-smoothing: antialiased; border: 0px; box-sizing: border-box; display: block; margin: 0px auto; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" width="620" /></font></a></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;"><a href="https://pt.wikipedia.org/wiki/Rembrandt" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank"><span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Rembrandt</span></a> foi um <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">pintor holandês, </span>considerado <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">um dos maiores nomes da história da arte europeia</span> e o mais <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">importante da história holandesa</span>. Rembrandt viveu e produziu grande parte de suas obras entre 1639-1658. Seu <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">estúdio está praticamente como era há quase 400 anos:</span> pequenos objetos de sua coleção decoram o cômodo: pinceis, esculturas e outras coisas ficam penduradas nas paredes. Todos os dias, também, <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">demonstrações de como o pintor produzia suas tintas são ensinadas aos visitantes</span>. Estar no mesmo local onde Rembrandt passou horas, dias, meses pintado quadros inesquecíveis e que entraram para a história não é pouca coisa.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">O <a href="http://www.rembrandthuis.nl/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank" title="Rembrandthuis">Museu Casa de Rembrant</a> não é uma casa qualquer. <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">Localizado perto de grandes pontos turísticos</span>, como o Museu Hermitage, a feira de pulgas Waterlooplein e o Distrito da Luz Vermelha, o <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">local merece a visita</span>. Primeiro por <span style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-weight: 700; margin: 0px; padding: 0px; text-rendering: optimizelegibility;">mostrar a casa e a coleção curiosa do artista; segundo, </span>como moravam os ricos holandeses naquela época, seus costumes, além de contar um pouco da história de Amsterdam e você poder entrar na vida do artista.</font></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><font style="background-color: white;">Fonte: <a href="https://www.artsy.net/article/artsy-editorial-9-famous-artists-studios-visit-jackson-pollock-barbara-hepworth" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Artsy</a>, <a href="https://www.archdaily.com.br/br/791272/classicos-da-arquitetura-casas-museu-de-frida-kahlo-e-diego-rivera-juan-ogorman" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Archd</a><a href="https://www.archdaily.com.br/br/791272/classicos-da-arquitetura-casas-museu-de-frida-kahlo-e-diego-rivera-juan-ogorman" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;">aily, </a><a href="https://vontadedeviajar.com/10-razoes-para-visitar-casa-de-rembrandt-em-amsterdam/" rel="noopener noreferrer" style="-webkit-font-smoothing: antialiased; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom: 1px dotted rgb(48, 22, 70) !important; box-sizing: border-box; margin: 0px; padding: 0px; text-decoration-line: none; text-rendering: optimizelegibility;" target="_blank">Vontade de Viajar.</a></font></em></p><div class="author_info" style="-webkit-font-smoothing: antialiased; border-bottom: none; border-image: initial; border-left: none; border-right: none; border-top: 1px solid rgb(236, 236, 236); box-sizing: border-box; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 11px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 30px !important; text-rendering: optimizelegibility; width: 620px;"><p style="-webkit-font-smoothing: antialiased; border: none; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><span class="author_photo" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; float: left; margin: 0px 20px 0px 0px; padding: 0px; text-rendering: optimizelegibility;"><font style="background-color: white;"><img alt="" class="avatar avatar-96 photo" data-lazy-loaded="true" height="96" src="https://secure.gravatar.com/avatar/cf41492bae8115e6859ce21867d371a1?s=96&d=mm&r=g" srcset="https://secure.gravatar.com/avatar/cf41492bae8115e6859ce21867d371a1?s=192&d=mm&r=g 2x" style="-webkit-font-smoothing: antialiased; border-radius: 50px; border: 0px; box-sizing: border-box; display: inline; margin: 0px; max-width: 100%; padding: 0px; text-rendering: optimizelegibility; vertical-align: bottom;" title="" width="96" /></font></span></p><p style="-webkit-font-smoothing: antialiased; border: none; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><b style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"><font style="background-color: white;"><u style="-webkit-font-smoothing: antialiased; box-sizing: border-box; margin: 0px; padding: 0px; text-rendering: optimizelegibility;"></u></font></b></p><p style="-webkit-font-smoothing: antialiased; border: none; box-sizing: border-box; font-family: Roboto, Helvetica, Arial, sans-serif; font-size: 16px; line-height: 24px; margin: 0px; padding: 0px 0px 20px; text-rendering: optimizelegibility;"><font style="background-color: white;">Marjorie Simões é designer de interiores e artista visual. Curiosa, observadora e pesquisadora, adora aprender coisas distintas para depois conectá-las. Valoriza os trabalhos manuais, a cultura vernacular, a economia criativa e a produção/consumo sustentável. Acredita no poder das cores e tem leves faniquitos quando entra em ambientes beges.</font></p></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-53569513017152782612020-07-18T15:16:00.000-04:002020-07-18T15:16:16.507-04:00 O efeito caótico das fake news como armas poderosas<div><div class="post-body entry-content" id="post-body-20176106614802096" itemprop="description articleBody" style="font-family: Hanuman; font-size: 13px; line-height: 1.4; width: 680px;"><font color="#1f3315" style="background-color: white;"><b>PNB online</b></font><div><font color="#1f3315" style="background-color: white;"><a href="https://www.pnbonline.com.br/geral/o-efeito-caa-tico-das-fake-news-como-armas-poderosas/68085?fbclid=IwAR0HEofOgTgFjVXyZqlzq7z-sxB6zmKXE2ivRFshZ0pip1wg2MwL0NVFOzQ" style="text-decoration-line: none;"><font color="#1f3315"><b>https://www.pnbonline.com.br/geral/o-efeito-caa-tico-das-fake-news-como-armas-poderosas/68085?fbclid=IwAR0HEofOgTgFjVXyZqlzq7z-sxB6zmKXE2ivRFshZ0pip1wg2MwL0NVFOzQ</b></font></a><br /></font><div><font color="#1f3315" style="background-color: white;"><br /></font></div><div><font color="#1f3315" style="background-color: white;"><br /></font></div><div><header class="col-md-12 mb27" style="box-sizing: border-box; float: left; font-family: Roboto, sans-serif; font-size: 14px; margin-bottom: 27px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 877.5px;"><div class="row" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px;"><div class="col-md-12 interna-bloco-1" style="box-sizing: border-box; float: left; margin-bottom: 19px; min-height: 1px; padding-bottom: 4px; padding-left: 15px; padding-right: 15px; position: relative; width: 877.5px;"><p class="m0 interna-data" style="box-sizing: border-box; margin: 0px;"><span class="interna-span-1" style="box-sizing: border-box; color: #af2b2f; font-size: 22px; letter-spacing: -0.4px; margin-left: 1px;">Geral</span><span class="pull-right" style="box-sizing: border-box; color: black; float: right !important; margin-top: 3px;">Sexta-Feira, 17 de Julho de 2020, 14h:29 <span style="box-sizing: border-box; margin-left: 8px; margin-right: 8px;">|</span> <a class="black fz14" style="background-color: transparent; box-sizing: border-box;">- A</a> | <a class="black fz16" style="background-color: transparent; box-sizing: border-box; font-size: 16px;">+ A</a></span></p></div><div class="clearfix" style="background-color: white; box-sizing: border-box; color: #333333;"></div></div><div class="row" style="background-color: white; box-sizing: border-box; color: #333333; margin-left: -15px; margin-right: -15px;"><br /><div class="clearfix" style="box-sizing: border-box;"></div></div><div class="row" style="background-color: white; box-sizing: border-box; color: #333333; margin-left: -15px; margin-right: -15px;"><div class="col-md-12" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 877.5px;"><p class="interna-hat" style="box-sizing: border-box; color: #af2b2f; font-size: 16px; letter-spacing: -0.5px; margin: 0px 0px 7px;">PANDEMIA</p><h1 class="interna-title" style="box-sizing: border-box; color: black; font-family: "Roboto Condensed", sans-serif; font-size: 51.9px; line-height: 60px; margin: 0px 0px 20px; position: relative;">O efeito caótico das fake news como armas poderosas</h1><div class="pull-right" id="social-line-right" style="box-sizing: border-box; float: right !important; width: 128px;"><div class="social-share" style="box-sizing: border-box;"><a style="background-color: transparent; box-sizing: border-box; color: #337ab7; cursor: pointer; float: left;" title="Compartilhe esta matéria no Facebook"><img alt="Facebook" height="32" src="https://www.pnbonline.com.br/images/facebook-sq-btn.png" style="border: 0px; box-sizing: border-box; padding: 8px; position: relative; vertical-align: middle;" width="32" /></a></div><div class="social-share" style="box-sizing: border-box;"><a style="background-color: transparent; box-sizing: border-box; color: #337ab7; float: left;" title="Compartilhe esta matéria no Twitter"><img alt="Twitter" height="32" src="https://www.pnbonline.com.br/images/twitter-sq-btn.png" style="border: 0px; box-sizing: border-box; padding: 8px; position: relative; vertical-align: middle;" width="32" /></a></div><div class="social-share" style="box-sizing: border-box;"><a href="https://www.pnbonline.com.br/imprime.php?cid=68085&sid=26" rel="nofollow" style="background-color: transparent; box-sizing: border-box; color: #337ab7; float: left; text-decoration-line: none;" target="_blank" title="Imprimir esta matéria"><img alt="Print" height="32" src="https://www.pnbonline.com.br/images/print-sq-btn.png" style="border: 0px; box-sizing: border-box; padding: 8px; position: relative; vertical-align: middle;" width="32" /></a></div><div class="social-share" style="box-sizing: border-box;"><a href="http://plus.google.com/share?url?u=https://www.pnbonline.com.br/geral/o-efeito-caa-tico-das-fake-news-como-armas-poderosas/68085" style="background-color: transparent; box-sizing: border-box; color: #337ab7; float: left; text-decoration-line: none;" target="_blank" title="Compartilhe esta matéria no Google+"><img alt="google plus" class="img-responsive" height="32" src="https://www.pnbonline.com.br/images/gplus-square.png" style="border: 0px; box-sizing: border-box; display: block; height: auto; max-width: 100%; padding: 8px; position: relative; vertical-align: middle;" width="32" /></a></div></div><h2 class="complement" style="box-sizing: border-box; color: #243d1c; font-family: roboto-italic, Arial, Helvetica, sans-serif; font-size: 18px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: 27px; margin: 20px 0px 10px; padding: 0.6em 0px 0.5em; position: relative;">Déborah Santos e Michèle Sato, do Grupo Pesquisador em Educação Ambiental, Comunicação e Arte (GPEA) da UFMT, afirmam que as notícias falsas obstruem o papel da imprensa.</h2><p class="author" style="box-sizing: border-box; font-family: roboto, Arial, Helvetica, sans-serif; font-size: 17px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 27px; margin: 0px;">da Redação</p><p class="interna-local" style="box-sizing: border-box; font-family: roboto, Arial, Helvetica, sans-serif; font-size: 15px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 20px; margin: 0px;"></p></div></div></header><div class="clearfix" style="background-color: white; box-sizing: border-box; color: #333333; font-family: Roboto, sans-serif; font-size: 14px;"></div><div class="col-md-12 mb30" style="background-color: white; box-sizing: border-box; color: #333333; float: left; font-family: Roboto, sans-serif; font-size: 14px; margin-bottom: 30px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 877.5px;"><div id="text-content" style="box-sizing: border-box;"><div class="img-wrapper img-left" style="box-sizing: border-box; color: black; display: table; float: left; margin: 10px 10px 10px 0px; width: 488px;"><p class="img-credit" style="box-sizing: border-box; color: rgb(51, 51, 51) !important; float: right; font-family: TitilliumWebLight, Arial, Helvetica, sans-serif !important; font-size: 16px; font-stretch: normal !important; font-variant-east-asian: normal !important; font-variant-numeric: normal !important; letter-spacing: -0.4px; line-height: 29px; margin: 0px; padding-right: 8px;">Marcello Casal Jr / Agência Brasil</p><img alt="Celular máscara coronavírus" class="img-content" src="https://www.pnbonline.com.br//storage/webdisco/2020/03/29/480x294/ffe57661fabef1525d1f590015a1e894.jpg" style="border: 0px solid rgb(225, 228, 230); box-sizing: border-box; padding: 8px; vertical-align: middle;" /><p class="img-subtitle" style="border-bottom: 0px solid rgb(183, 15, 47); box-sizing: border-box; color: rgb(51, 51, 51) !important; font-family: TitilliumWebLight, Arial, Helvetica, sans-serif !important; font-size: 16px; font-stretch: normal !important; font-variant-east-asian: normal !important; font-variant-numeric: normal !important; letter-spacing: -0.4px; line-height: 29px; margin: 0px; padding: 5px 0px 3px; width: 488px;"> </p></div><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">No Brasil, a pandemia do novo coronavírus em pouco mais de 120 dias trouxe à tona uma série de fenômenos sociais que revela a utilização das fake news (notícias falsas) na tática que os cientistas definem como “Revolução Colorida”. De acordo com as pesquisadoras do Grupo Pesquisador em Educação Ambiental, Comunicação e Arte (GPEA) da Universidade Federal de Mato Grosso (UFMT) Déborah Santos e Michèle Sato, as fake news são uma arma poderosa nessa revolução.</p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">“As redes sociais aceleram a articulação para que a Revolução Colorida ocorra com mais vigor. Elas possibilitam que pessoas se reúnam de modo muito ágil fomentando a formação de enxames. As chamadas fake-news são verdadeiras armas coloridas, que obstruem o papel da imprensa séria, confundindo datas de eventos, fotografias, narrativas e invenções que objetivam desmoralizar as pessoas, denegrir as ciências ou caluniar a seriedade do jornalismo investigativo”, descrevem as pesquisadoras no artigo “Guerras Híbridas: para além do verde e amarelo”. </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">O grupo de pesquisa da UFMT fez uma contextualização do atual cenário brasileiro a partir do livro “Guerras híbridas – das revoluções coloridas aos golpes”, do jornalista Andrew Korybko, que entre outras coisas analisa os conflitos entre Estados Unidos, Rússia e China. “Em meio ao caótico em que as guerras hibridas se estruturam, certos governos se mantêm no poder com auxílio da disseminação de fake-news, como é o caso do presidente Jair Bolsonaro, que comanda o país destruindo a natureza e a sociedade brasileira. Cultura e ambiente são dimensões intrínsecas do planeta, que na pandemia, mostraram a tragédia e o abismo social: ao desmatar as florestas, o vírus foi liberto, e se o contágio da covid-19 foi grande entre os ricos, a morte está presente nas periferias”, aponta o estudo. </p><div class="quote-wrapper left" style="border-bottom: 3px solid rgb(255, 128, 0); box-sizing: border-box; display: table; float: left; margin: 0px 20px 10px 0px; max-width: 265px; text-align: justify;"><h2 class="quote-content" style="background-color: whitesmoke; box-sizing: border-box; color: #243d1c; float: left; font-family: DroidSansRegular, Arial, Helvetica, sans-serif !important; font-size: 24px !important; font-stretch: normal !important; font-variant-east-asian: normal !important; font-variant-numeric: normal !important; font-weight: 400 !important; line-height: 32px !important; margin: 20px 0px 10px; padding: 5px 5px 10px; position: relative; width: 264.667px;">“As chamadas fake-news são verdadeiras armas coloridas, que obstruem o papel da imprensa séria, confundindo datas de eventos, fotografias, narrativas e invenções que objetivam desmoralizar as pessoas, denegrir as ciências ou caluniar a seriedade do jornalismo investigativo”</h2></div><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; letter-spacing: -0.4px;">“Guerras Híbridas: a Revolução Colorida e a Guerra Não Convencional - ambas visam a instauração do golpe e a troca de regime político”, segundo definição de Andrew Korybko, em 2015. Ou seja, historicamente as “revoluções coloridas têm auxiliado a instaurar o golpe brando e caso este não seja suficiente para concretizar a troca de governo, a guerra não convencional auxilia a concretizar o golpe rígido”, afirmam as pesquisadoras do GPEA. </span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">Déborah Santos e Michèle Sato avaliam que as guerras indiretas têm sido amplamente usadas pelos Estados Unidos para desestabilizar e minar os países que não estão alinhados com a política imperialista, usando estratégias capazes de derrotar o inimigo sem utilizar armas convencionais e sem enfrentá-lo diretamente. “São as armas coloridas que vieram para confundir, criar conflitos, gerar inseguranças e raiva, fazendo com que as pessoas percam confiança nas ciências, nas notícias sérias ou até da Organização Mundial de Saúde (OMS)”, alertam as pesquisadoras. </p><div class="quote-wrapper right" style="border-bottom: 3px solid rgb(255, 128, 0); box-sizing: border-box; display: table; float: right; margin: 0px 0px 10px 20px; max-width: 265px; text-align: justify;"><h2 class="quote-content" style="background-color: whitesmoke; box-sizing: border-box; color: #243d1c; float: left; font-family: DroidSansRegular, Arial, Helvetica, sans-serif !important; font-size: 24px !important; font-stretch: normal !important; font-variant-east-asian: normal !important; font-variant-numeric: normal !important; font-weight: 400 !important; line-height: 32px !important; margin: 20px 0px 10px; padding: 5px 5px 10px; position: relative; width: 264.667px;">"Diversas zoonoses ocorreram destes ambientes invadidos, e assim a covid-19 não se limita a ser uma pandemia sanitária, mas ela é oriunda de uma crise global de queima e de colapso climático".</h2></div><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; font-weight: 700;">Pandemia </span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; letter-spacing: -0.4px;">A pandemia do novo coronavírus associada à disseminação das fake news tem um resultado dramático na sociedade. “É surpreendente o número de notícias falsas que vem trazendo conflitos, causando discórdias, dúvidas e inseguranças neste mundo ameaçado pela crise climática, originária da forte industrialização, da pesada mecanização da agricultura e dos modelos consumistas de vida que seduziram a sociedade por meio da palavra ‘desenvolvimento’. Por intermédio ‘desta ordem e deste progresso’ foi estabelecida uma hierarquia que o humano poderia dominar a terra, devastando florestas, poluindo ares, destruindo rios e matando vidas”, ressaltou Michèle Sato ao lembrar da análise feita por ela em entrevista ao<span style="box-sizing: border-box; font-weight: 700;"> PNB Online</span> sobre o assunto em maio deste ano. </span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; font-weight: 700;"><span style="box-sizing: border-box; color: maroon;"><a href="https://www.pnbonline.com.br/geral/mundo-sera-igual-se-o-ser-humano-na-o-aprender-alerta-pesquisadora-para-o-pa-s-pandemia/65948" style="background-color: transparent; box-sizing: border-box; color: #337ab7; text-decoration-line: none;" target="_blank"><span style="box-sizing: border-box; color: maroon;">Leia mais: "Mundo será igual se o ser humano não aprender", alerta pesquisadora para o pós-pandemia </span></a></span></span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; font-weight: 700;">Veja o artigo na íntegra:</span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><span style="box-sizing: border-box; font-weight: 700;">GUERRAS HÍBRIDAS: PARA ALÉM DE VERDE E AMARELO</span></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">Déborah Santos e Michèle Sato</p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;">GPEA-UFMT</p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"> </p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">É surpreendente o número de notícias falsas (fake-news) que vem trazendo conflitos, causando discórdias, dúvidas e inseguranças neste mundo ameaçado pela crise climática, originária da forte industrialização, da pesada mecanização da agricultura e dos modelos consumistas de vida que seduziram a sociedade por meio da palavra “desenvolvimento”. Por intermédio “desta ordem e deste progresso” foi estabelecida uma hierarquia que o humano poderia dominar a terra, devastando florestas, poluindo ares, destruindo rios e matando vidas.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">A invasão nestes territórios, fez com que o humano tivesse contato com seres que estavam ajustados com a natureza, numa dinâmica da ecologia. Façamos um mea culpa em assumir que as ciências auxiliaram este desenvolvimento, trazendo a falsa ilusão de que o vencedor será aquele com mais moedas. Diversas zoonoses ocorreram destes ambientes invadidos e as próximas pandemias podem surgir do degelo dos polos, ou da floresta Amazônica. Assim, a Covid-19 não se limita a ser uma pandemia “sanitária”, mas ela é oriunda de uma crise global de queima e de colapso climático.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">Contudo, muitos negam que o ser humano interfere no clima. Assim como negam o desempenho das vacinas e, muito terrivelmente, depreciam as ciências e negam que uma pandemia se alastra no globo, eliminando milhões de vidas. Este “negacionismo” não se limita à Terra plana, mas tem raízes no que Korybko (2015) intitula de “GUERRAS HÍBRIDAS E ARMAS COLORIDAS”.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">As guerras híbridas, ou indiretas, têm sido amplamente usadas pelos Estados Unidos da América (EUA) para desestabilizar e minar os países que não estão alinhados com a política imperialista, usando estratégias capazes de derrotar o inimigo sem utilizar as armas convencionais e sem enfrentá-lo diretamente. Esse tipo de evento é difícil de identificar por se apresentar irregular, indireto e não linear (KORYBKO, 2015). São as armas coloridas que vieram para confundir, criar conflitos, gerar inseguranças e ira, fazendo com que as pessoas percam confiança nas ciências, nas notícias sérias ou até da Organização Mundial de Saúde (OMS). </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">Duas estratégias são utilizadas nessas Guerras Hibridas: a Revolução Colorida e a Guerra Não Convencional - ambas visam a instauração do golpe e a troca de regime político. De acordo com Korybko (2015), historicamente as Revoluções Coloridas têm auxiliado a instaurar o golpe brando e caso este não seja suficiente para concretizar a troca de governo, a Guerra Não Convencional auxilia a concretizar o golpe rígido.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">Dentre essas dimensões, as redes sociais aceleram a articulação para que a Revolução Colorida ocorra com mais vigor, elas possibilitam que pessoas se reúnam de modo muito ágil fomentando a formação de enxames. As chamados fake-news são verdadeiras armas coloridas, que obstrui o papel da imprensa séria, confundindo datas de eventos, fotografias, narrativas e invenções que objetivam desmoralizar as pessoas, denegrir as ciências ou caluniar a seriedade do jornalismo investigativo.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">Em meio ao caótico em que as guerras hibridas se estruturam, certos governos se mantêm no poder, com auxílio da disseminação de fake-news, como é o caso do Bolsonaro, que comanda o país destruindo a natureza e a sociedade brasileira. Cultura e ambiente são dimensões intrínsecas do planeta, que na pandemia, mostraram a tragédia ecológica e o abismo social: ao desmatar as florestas, o vírus foi liberto, e se o contágio da Covid-19 foi grande entre os ricos, a morte está muito mais presente nas periferias.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"><span style="box-sizing: border-box; font-weight: 700;">Referência</span></em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;">KORYBKO, Andrew. Guerras Híbridas: a abordagem adaptativa indireta com vistas à troca de regime. 2015.</em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"> </em></p><p style="box-sizing: border-box; font-size: 16px; letter-spacing: -0.4px; line-height: 29px; margin: 0px; text-align: justify;"><em style="box-sizing: border-box;"><span style="box-sizing: border-box; font-weight: 700;">Déborah Santos e Michèle Sato são pesquisadoras do Grupo Pesquisador em Educação Ambiental, Comunicação e Arte (GPEA) da UFMT.</span></em></p></div></div></div></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-45831902848502994432020-07-07T14:21:00.001-04:002020-07-07T14:22:01.321-04:00Ennio Morricone nos fez ver pelo som<a href="https://outraspalavras.net/alceucastilho/ennio-morricone-nos-fez-ver-pelo-som/">https://outraspalavras.net/alceucastilho/ennio-morricone-nos-fez-ver-pelo-som/</a><br /><div><br /></div><div><div class="row" style="background-color: #fefefe; box-sizing: inherit; color: #0a0a0a; display: flex; flex-flow: row wrap; font-family: "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 20px; margin: 0px auto; max-width: 60rem; padding: 0px;"><div class="column large-12 small-12 text-center mb-30" id="single-the-title" style="box-sizing: inherit; flex: 0 0 100%; margin: 0px 0px 30px; max-width: 100%; min-width: 0px; padding: 0px 0.625rem; text-align: center;"><h1 style="box-sizing: inherit; color: inherit; font-family: "source sans pro"; font-size: 3rem; line-height: 1.4; margin: 0px 0px 0.5rem; padding: 0px; text-rendering: optimizelegibility;">Ennio Morricone nos fez ver pelo som</h1></div></div><div class="row row-small" style="background-color: #fefefe; box-sizing: inherit; color: #0a0a0a; display: flex; flex-flow: row wrap; font-family: "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 20px; margin: 0px auto; max-width: 60rem; padding: 0px;"><div class="column large-12 small-12 text-center mb-30 " id="single-the-excerpt" style="box-sizing: inherit; flex: 0 0 100%; margin: 0px 0px 30px; max-width: 100%; min-width: 0px; padding: 0px 0.625rem; text-align: center;"><div class="post-excerpt" style="box-sizing: inherit; font-style: italic; margin: 0px; padding: 0px;"><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Falecido ontem, artista musicou mais de 500 filmes — de Sergio Leone a Tarantino. Foi sublime, dos faroestes ao cinema político. Suas trilhas, tão essenciais à narrativa quanto as imagens, mostram o poder da arte em produzir novos mundos</p></div></div><div class="column large-12 small-12 mb-30 " style="box-sizing: inherit; flex: 0 0 100%; margin: 0px 0px 30px; max-width: 100%; min-width: 0px; padding: 0px 0.625rem;"><div class="post-info" style="box-sizing: inherit; display: flex; flex-wrap: wrap; font-family: santana !important; margin: 0px; padding: 0px;"><div class="first-line" style="border-bottom: 1px solid rgb(151, 151, 151); box-sizing: inherit; display: flex; justify-content: space-between; margin: 0px; padding: 0px; width: 1175.01px;"><div class="category" style="box-sizing: inherit; color: #b91315; display: inline-block; margin: 0px; padding: 7px 0px; text-align: right; text-transform: uppercase;"><a href="https://outraspalavras.net/alceucastilho/category/cultura/cinema/" rel="category tag" style="background-color: transparent; box-sizing: inherit; color: #42708f; cursor: pointer; line-height: inherit; text-decoration-line: none;">CINEMA</a></div></div><div class="author" style="box-sizing: inherit; color: #585858; display: inline-block; font-size: 13px; margin: 0px; padding: 7px 0px; width: 587.5px;">por <a href="https://outraspalavras.net/alceucastilho/author/alceucastilho/" rel="author" style="background-color: transparent; box-sizing: inherit; color: #42708f; cursor: pointer; font-weight: 700; line-height: inherit; text-decoration-line: none;" title="Posts de Alceu Castilho">Alceu Castilho</a></div><p class="date" style="box-sizing: inherit; color: #585858; display: inline-block; font-size: 13px; line-height: 1.6; margin: 0px; padding: 7px 0px; text-align: right; text-rendering: optimizelegibility; width: 587.5px;">Publicado 06/07/2020 às 13:07</p></div></div><div class="column large-12 small-12" id="single-the-content" style="box-sizing: inherit; flex: 0 0 100%; font-size: 1em; margin: 0px; max-width: 100%; min-width: 0px; padding: 0px 0.625rem;"><div class="wp-block-image" style="box-sizing: inherit; margin: 0px 0px 1em; max-width: 100%; padding: 0px;"><figure class="aligncenter" style="box-sizing: inherit; display: table; margin: 0px auto;"><img alt="" class="wp-image-4132" sizes="(max-width: 1024px) 100vw, 1024px" src="https://outraspalavras.net/alceucastilho/wp-content/uploads/sites/18/2020/07/200706-_ennio_morricone-1024x462.jpg" srcset="https://outraspalavras.net/alceucastilho/wp-content/uploads/sites/18/2020/07/200706-_ennio_morricone-1024x462.jpg 1024w, https://outraspalavras.net/alceucastilho/wp-content/uploads/sites/18/2020/07/200706-_ennio_morricone-300x135.jpg 300w, https://outraspalavras.net/alceucastilho/wp-content/uploads/sites/18/2020/07/200706-_ennio_morricone-768x346.jpg 768w, https://outraspalavras.net/alceucastilho/wp-content/uploads/sites/18/2020/07/200706-_ennio_morricone.jpg 1430w" style="border-style: none; box-sizing: inherit; display: inline-block; height: auto; max-width: 100%; vertical-align: middle;" /></figure></div><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Quando Ennio Morricone recebeu o Oscar honorário pela carreira, em 2007, disse — ele falava com a voz embargada — que aquilo não representava um ponto de chegada, mas um ponto de partida.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">“Para melhorar-me. Melhorar-me a serviço do cinema e também a serviço da minha estética pessoal na música aplicada”.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Ele tinha 78 anos.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Dedicou o prêmio a cada diretor com quem tinha trabalhado.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">(Enumero alguns aqui: Bertolucci, Bellocchio, Leone, Pasolini, Pontecorvo, Lattuada, Petri, Comencini, Zurlini, Monicelli, Tornatore, Olmi, Argento, Lina, Paolo e Vittorio Taviani. Grandes entre os grandes do cinema italiano. E mais: Polanski, De Palma, Stone, Almodóvar, Tarantino.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Trilhas para filmes de Tornatore e Tarantino, por exemplo, foram feitas depois desse discurso. Quando Morricone também dedicou o Oscar a cada artista com quem tinha trabalhado. E, por último mas não menos importante, para sua mulher, Maria.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">A imagem dele estendendo a estatueta para ela sempre me impressionou muito. A humildade naquele homenzinho — o maior compositor da história do cinema — era algo tão marcante quanto sua produtividade, que nunca deixou de estar ligada à qualidade. Foram mais de 500 filmes.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Ao acordar, hoje, uma amiga tinha me marcado em notícia do G1. Foi assim que fiquei sabendo de sua morte. Minha filha ainda não acordou e não pude contar a ela. Ela e alguns poucos sabem o quanto significa para mim. (Fiquei com a mão no rosto por uns 15 minutos até criar coragem para ler a notícia e, em seguida, tentar escrever algo.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-align: center; text-rendering: optimizelegibility;">***</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Até poucos meses atrás ainda tinha remota esperança de ir para a Itália quase que somente para ver um show de Ennio Morricone. Com a pandemia (e diante do fato de que o último show tinha sido no início de 2019), já estava tentando me conformar com a impossibilidade, já estava processando um luto específico.</p><figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio" style="box-sizing: inherit; margin: 0px 0px 1em; overflow: hidden; padding-top: 660.938px; position: relative;"><div class="wp-block-embed__wrapper" style="border: 0px; box-sizing: inherit; height: 660.938px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 0px; width: 1175.01px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/1FzVWlOKeLs?feature=oembed" style="box-sizing: inherit; height: 660.938px; max-width: 100%; width: 1175.01px;" width="500"></iframe></div></figure><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Quem me conhece minimamente sabe de minha paixão pelo cinema italiano, o quanto isso está umbilicalmente ligado à minha vida, às minhas percepções não somente estéticas, mas também políticas. (Esse homem musicou filmes de Petri, Montaldo, Damiani, Pontecorvo, ele musicou o cinema político.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">E ele fez a trilha de “Cinema Paradiso”, o filme que me abriu as portas para esse universo. Neste momento minhas emoções são também aquelas de Totó, o personagem do filme, ao ver a trilha sonora de suas paixões. A música do maestro convida qualquer saudosista (como no caso da minha pessoa) a desabar em lágrimas.</p><figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio" style="box-sizing: inherit; margin: 0px 0px 1em; overflow: hidden; padding-top: 660.938px; position: relative;"><div class="wp-block-embed__wrapper" style="border: 0px; box-sizing: inherit; height: 660.938px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 0px; width: 1175.01px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/Z6PM8FGUezs?feature=oembed" style="box-sizing: inherit; height: 660.938px; max-width: 100%; width: 1175.01px;" width="500"></iframe></div></figure><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Morricone soube ser sublime em um gênero muito específico, o spaghetti western. Ao musicar as obras mais importantes de Sergio Leone. Penso aqui na chamada de celular do meu irmão, o assobio de “O Bom, o Mau e o Feio”, em todas as vezes que falamos do maestro em família. (Morricone, um consenso familiar.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Penso em “The Ecstasy of Gold”, para sempre uma das minhas músicas preferidas de qualquer artista, certamente uma das que mais me tiram destes chãos sórdidos, que me levam a algum patamar utópico onde poderia haver alguma civilidade. (Eu, praticamente um misantropo.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Escuto novamente a música e levo novamente as mãos ao rosto. Respiro fundo.</p><figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio" style="box-sizing: inherit; margin: 0px 0px 1em; overflow: hidden; padding-top: 660.938px; position: relative;"><div class="wp-block-embed__wrapper" style="border: 0px; box-sizing: inherit; height: 660.938px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 0px; width: 1175.01px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/PYI09PMNazw?feature=oembed" style="box-sizing: inherit; height: 660.938px; max-width: 100%; width: 1175.01px;" width="500"></iframe></div></figure><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-align: center; text-rendering: optimizelegibility;">***</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Naquela sequência de “Três nomes e um Destino” (gosto mais do nome “O Bom, o Mau e o Feio”), Tuco — o Feio — procura um túmulo onde haveria US$ 200 mil em ouro. A música é essencial na narrativa, Sergio Leone contou a história toda, até o trielo final, sabendo que a trilha era tão importante quanto as imagens. Em uma sequência sem diálogos.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Lembro-me da primeira vez em que assisti ao trielo — não era um duelo, chegava o momento de Bom, Mau e Feio se enfrentarem. Cheguei já no fim do filme, meu pai assistia na sala, meu pai amava os “faroestões”, como ele dizia. E eu fiquei me perguntando: gente, o que exatamente estou vendo? (Trata-se de uma das sequências mais incríveis da história do cinema.)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Quis o destino que o último filme a que assisti (devo ter revisto pela oitava vez, há duas semanas) fosse “A Classe Operária Vai ao Paraíso”, de Elio Petri, um filme de 1971. Uma obra-prima do cinema político e uma entre as tantas trilhas incríveis de Morricone.</p><figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio" style="box-sizing: inherit; margin: 0px 0px 1em; overflow: hidden; padding-top: 660.938px; position: relative;"><div class="wp-block-embed__wrapper" style="border: 0px; box-sizing: inherit; height: 660.938px; left: 0px; margin: 0px; padding: 0px; position: absolute; top: 0px; width: 1175.01px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="375" src="https://www.youtube.com/embed/am135444XWc?feature=oembed" style="box-sizing: inherit; height: 660.938px; max-width: 100%; width: 1175.01px;" width="500"></iframe></div></figure><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Exatamente o último frame desse filme (a imagem congelada ainda fresca em minha memória) trazia a imagem de um homem, mais ou menos da minha idade atual, andando para trás, a bombar uma carregadeira, na fábrica onde aqueles trabalhadores não sabiam para quem produziam aquelas peças.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Deve ter sido lá pela quinta vez que assisti que finalmente percebi quem era aquele operário. Petri não escolhera aleatoriamente aquele que, do mundo dos sons ao mundo das imagens, encerraria sua visão pessimista do paraíso.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">Aquele homem com uma boina era Ennio Morricone.</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;">‡ (1928-2020)</p><p style="box-sizing: inherit; font-family: georgia; font-size: inherit; line-height: 1.6; margin: 0px 0px 1rem; padding: 0px; text-rendering: optimizelegibility;"><span style="box-sizing: inherit; font-weight: 700; line-height: inherit;"><i style="box-sizing: inherit; line-height: inherit;">Gostou do texto? Contribua para manter e ampliar nosso jornalismo de profundidade:</i> </span><a class="button-outros-quinhentos" href="https://outraspalavras.net/outrosquinhentos/" style="background-color: transparent; border-radius: 5px; border: 1px solid rgb(44, 196, 184); box-shadow: rgb(44, 196, 184) 0px 2px 0px 0px; box-sizing: inherit; color: #2cc4b8; cursor: pointer; font-family: santana; font-size: 16px; line-height: 17px; padding: 4px 20px; text-decoration-line: none; text-shadow: rgb(66, 112, 143) 0px 3px 0px, rgb(255, 255, 255) 0px 1px 0px, rgb(185, 19, 21) 0px 2px 0px; text-transform: uppercase; word-break: break-word;" target="_blank"><span style="box-sizing: inherit; font-weight: 700; line-height: inherit;">OUTROS</span>QUINHENTOS</a></p></div><div class="column large-12 small-12" style="box-sizing: inherit; flex: 0 0 100%; margin: 0px; max-width: 100%; min-width: 0px; padding: 0px 0.625rem;"><div class="post-content--tags" style="box-sizing: inherit; font-family: "source sans pro"; margin: 0px; padding: 20px 0px; text-transform: uppercase;"><div class="post-content--section-title" style="box-sizing: inherit; font-weight: 600; margin: 0px; padding: 0px;">TAGS</div><a href="https://outraspalavras.net/alceucastilho/tag/musica/" rel="tag" style="background-color: transparent; box-sizing: inherit; color: #b91315; cursor: pointer; font-size: 14px; line-height: inherit; text-decoration-line: none;">#MÚSICA</a>, <a href="https://outraspalavras.net/alceucastilho/tag/cinema/" rel="tag" style="background-color: transparent; box-sizing: inherit; color: #b91315; cursor: pointer; font-size: 14px; line-height: inherit; text-decoration-line: none;">CINEMA</a>, <a href="https://outraspalavras.net/alceucastilho/tag/cinema-italiano/" rel="tag" style="background-color: transparent; box-sizing: inherit; color: #b91315; cursor: pointer; font-size: 14px; line-height: inherit; text-decoration-line: none;">CINEMA ITALIANO</a>, <a href="https://outraspalavras.net/alceucastilho/tag/cinema-politico/" rel="tag" style="background-color: transparent; box-sizing: inherit; color: #b91315; cursor: pointer; font-size: 14px; line-height: inherit; text-decoration-line: none;">CINEMA POLÍTICO</a>, <a href="https://outraspalavras.net/alceucastilho/tag/ennio-morricone/" rel="tag" style="background-color: transparent; box-sizing: inherit; color: #b91315; cursor: pointer; font-size: 14px; line-height: inherit; text-decoration-line: none;">ENNIO MORRICONE</a></div></div></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-46188357869337436852020-06-18T22:14:00.000-04:002020-06-18T22:14:34.213-04:00Ilustrador iraniano conta a vida de Van Gogh em lindos quadrinhos coloridos<h3 style="background-color: #181818; box-sizing: border-box; color: #56fba0; font-family: Montserrat; font-size: 50px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: 56px; margin: 27px 0px 22px; position: relative; text-align: center; text-shadow: rgb(0, 0, 0) 2px 2px 2px; z-index: 2;">Ilustrador iraniano conta a vida de Van Gogh em lindos quadrinhos coloridos</h3><div>Vitor Paiva</div><div><em style="background-color: white; box-sizing: border-box; font-family: Merriweather; font-size: 13px; text-align: justify;"><span style="box-sizing: border-box; font-weight: 700;">© arte:</span> Alireza Karimi Moghaddam</em></div>18junho 2020<br /><br />Poucos artistas são tão enigmáticos em uma biografia tão dolorida, complexa e profunda quanto o pintor holandês <a href="https://www.hypeness.com.br/tag/vincent-van-gogh/">Vincent Van Gogh</a>. A história é sabida: um dos maiores e mais influentes <a href="https://www.hypeness.com.br/tag/pintor/">pintores</a> em todos os tempos atravessou seus 37 anos de vida sem praticamente nenhum reconhecimento por seu trabalho, enfrentando a <a href="https://www.hypeness.com.br/tag/pobreza/">pobreza</a> e a própria fragilidade psíquica até despedir-se em suicídio. Pois para demonstrar sua admiração por Van Gogh o ilustrador iraniano <a href="https://www.instagram.com/alirezakarimimoghadam/">Alireza Karimi Moghaddam</a> decidiu transforma-la em uma série em <a href="https://www.hypeness.com.br/tag/quadrinhos/">quadrinhos</a>.<br /><br /><img height="640" src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_10.jpg" width="640" /><br /><br />Utilizando as cores marcantes e detalhes das próprias obras de Van Gogh como pano de fundo, Karimi muitas vezes coloca o próprio personagem principal em meio aos cenários naturais que inspiraram seus trabalhos – como pedalando entre girassóis ou observando a noite estrelada.<br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_09.jpg" /><br /><br /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_06.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_05.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_04.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_02.jpg" /><br /><br />As tiras oferecem certa leveza à narrativa, mas sem abrir mão do sentido sombrio da vida de Van Gogh – a luta do artista com sua saúde mental está também presente nos quadrinhos. Trata-se do trabalho de um grande artista para homenagear um dos maiores e mais brilhantes pintores da história.<br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_03.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_12.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_11.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_13.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_07.jpg" /><br /><br /><img src="https://www.hypeness.com.br/wp-content/uploads/2020/06/Karimi_Van-Gogh_08.jpg" /><br /><br /><br /><a href="https://www.hypeness.com.br/2020/06/ilustrador-iraniano-conta-a-vida-de-van-gogh-em-lindos-quadrinhos-coloridos/?utm_source=facebook&utm_medium=hypeness_fb&fbclid=IwAR1h6XAQLIcUjT97DI2EgOF0qjLEe5QiY5r04-Kecuc95BDFaIJgWmnD3us#"></a><br /><br />© arte: Alireza Karimi Moghaddam<div><br /></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-14924164753424821992020-06-16T15:04:00.001-04:002020-06-16T15:04:55.223-04:00PANDEMIA DO CORONAVÍRUS É ROTEIRO DE FICÇÃO CIENTÍFICA ENCENADO NA VIDA REAL<a href="http://www.comciencia.br/pandemia-do-coronavirus-e-roteiro-de-ficcao-cientifica-encenado-na-vida-real/">http://www.comciencia.br/pandemia-do-coronavirus-e-roteiro-de-ficcao-cientifica-encenado-na-vida-real/</a><br /><div><br /></div><div><br /></div><div><div class="post-thumbnail" style="background: url("images/pattern-light.svg") repeat fixed rgb(178, 178, 178); 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clear: both; color: #767676; font-family: inherit; font-size: 12px; font-style: inherit; line-height: 1.33333; margin: 0px auto 8px; max-width: 774px; outline: 0px; padding: 0px; text-transform: uppercase; vertical-align: baseline;"><span class="entry-date" style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 10px 0px 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.comciencia.br/pandemia-do-coronavirus-e-roteiro-de-ficcao-cientifica-encenado-na-vida-real/" rel="bookmark" style="border: 0px; color: #767676; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;"><time class="entry-date" datetime="2020-06-10T13:32:02+00:00">10 DE JUNHO DE 2020</time></a></span></div></header><div class="entry-content" style="background-color: white; border: 0px; color: #2b2b2b; font-family: Lato, sans-serif; font-size: 16px; margin: 0px 54px 0px auto; 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vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Seja no cinema ou na literatura, cenários de vírus desconhecidos, contágio globalizado e isolamento eram explorados muito antes da covid-19</em><span id="more-6047" style="border: 0px; display: block; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 48px 0px 0px; vertical-align: baseline;"></span></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><span class="wpsdc-drop-cap" style="border: 0px; color: black; float: left; font-family: inherit; font-size: 5em; font-style: inherit; font-weight: inherit; line-height: 0.4em; margin: 0px; outline: 0px; padding: 0.25em 0.05em 0.25em 0px; vertical-align: baseline;">U</span>m animal contaminado com um novo vírus capaz de infectar e adoecer gravemente os humanos é consumido num restaurante na China. A nova doença é rapidamente espalhada pela alta capacidade de transmissão do vírus, causando muitas mortes em diferentes partes do mundo. Enquanto isso, fake news levam desinformação e pânico às pessoas, e a busca por uma vacina segura se inicia. Embora pareça real, não se trata da pandemia atual do novo coronavírus. Essa é a sinopse do filme Contágio, ficção científica de 2011.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Contágio, do premiado diretor Steven Soderbergh, retrata bem a relação entre porcos, morcegos e seres humanos na criação de um novo vírus mortal, e é considerado um dos filmes mais realistas do gênero. “Quando o público redescobre Contágio e se espanta com a sua presciência, temos de lembrar que filmes como esse têm conselheiros científicos – neste caso, o dr. Ian Lipkin, professor de epidemiologia e patologia em duas universidades, além de diretor de um centro de pesquisa de imunologia”, explica Cristiano Canguçu, doutor em comunicação e professor da Universidade Estadual do Sudoeste da Bahia. “Um dos traços característicos de quem escreve ficção científica profissionalmente é gostar e acompanhar a própria ciência”, diz ele, citando como exemplos grandes escritores da ficção com trajetória científica: Isaac Asimov, que também atuou como professor de bioquímica, Robert Heinlein, engenheiro aeronáutico e Michael Crichton, ex-médico.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Para Cristiano, é a partir desse conhecimento acadêmico e de analisar a reação da sociedade ao enfrentamento de pandemias no passado que surgem as obras do gênero. “Os escritores e roteiristas dão o passo seguinte, especulando sobre os conflitos, dramas e temas que daí emergem” afirma. “Isso não é pouca coisa: artigo científico e estatísticas sobre esses perigos não faltam, mas nós reagimos mais a uma narrativa que tome essas matérias-primas e as transformem em emoções e significados”.</p><div class="_3wz4V _3g2uF _1c9QY _29Ao0" style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div class="_2LKaU" style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></div></div><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"> </p><figure class="wp-caption alignnone" id="attachment_6049" style="color: #767676; margin: 0px 0px 24px; max-width: 1920px;"><img alt="" class="size-full wp-image-6049" height="1280" sizes="(max-width: 1920px) 100vw, 1920px" src="http://www.comciencia.br/wp-content/uploads/2020/06/contagio.png" srcset="http://www.comciencia.br/wp-content/uploads/2020/06/contagio.png 1920w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-300x200.png 300w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-768x512.png 768w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-1024x683.png 1024w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-640x427.png 640w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-24x16.png 24w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-36x24.png 36w, http://www.comciencia.br/wp-content/uploads/2020/06/contagio-48x32.png 48w" style="border: 0px; display: block; height: auto; margin: 0px; max-width: 100%; vertical-align: middle;" width="1920" /><figcaption class="wp-caption-text" style="box-sizing: border-box; font-size: 12px; font-style: italic; line-height: 1.5; margin: 9px 0px;">No filme Contágio, o novo vírus que ameaça dizimar a população humana vem de um morcego, origem semelhante à do novo coronavírus sars-cov-2, causador da covid-19. Imagem: Syaibatulhamdi /Pixabay</figcaption></figure><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">A aproximação da ficção científica com a realidade vivenciada hoje pela pandemia da covid-19 não se limita às narrativas sobre os vírus em si. As mudanças em velórios e enterros e o isolamento social são elementos que aparecem em demais obras, conforme explica o pesquisador Jayme Soares Chaves, doutor em literatura comparada pela Universidade do Estado do Rio de Janeiro e especialista em universos ficcionais. “Ver os mortos sendo queimados como lixo, sem direito a um funeral, é como na primeira versão para o cinema de <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Eu sou a lenda</em> (1964); ou ouvir as palavras de ordem ‘fique em casa!’ lembra o segundo filme da nova série de <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">O planeta dos macacos</em> (2014). E isso nos faz sorrir com desconforto”.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Além das semelhanças, Jayme aponta que um dos riscos da ficção científica hoje é ser atropelada pela realidade. “Se a ficção científica tem a capacidade de se espelhar na realidade, essa realidade é acrescida de especulação”, explica, afirmando que o real ganha tons exagerados na ficção. “No entanto, diante da concorrência desleal com a realidade hoje, me parece que a ficção vai servir menos para sabermos como será o futuro, e mais para entendermos o que é o presente”.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">A semelhança entre a ficção científica e o coronavírus é presente em diversos enredos. Desde 1971, com o filme <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">O enigma de Andrômeda</em>, a sétima arte vem explorando temas semelhantes. Esse longa, do premiado diretor Robert Wise, traz a população humana sendo dizimada por uma bactéria fatal vinda do espaço, enquanto cientistas trabalham em busca da cura. A história é baseada no livro homônimo de Michael Crichton.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Nas obras literárias, Stephen King, famoso escritor norte-americano de terror, narrou intensas transformações na sociedade causadas por um novo vírus mortal no livro <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">A dança da morte</em>, de 1978. Mesmo com diferenças em relação à covid-19, o autor explica como funciona o contágio de um vírus. Já a série <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Explicando</em>, da Netflix, também apontou uma situação bem próxima à nossa atual realidade. Em um de seus episódios produzidos em 2019, indicou que a próxima pandemia seria causada por uma gripe viral originada na Ásia.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Olhar nacional à pandemia</span></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">“Em 2020, quando a Terceira Realidade terminou de envolver todo o planeta Terra, uma pandemia global matou mais de três bilhões de terráqueos. Foi um momento muito caótico que durou dois anos. Foi uma pandemia viral psicossomática que penetrava somente em corpos incompatíveis com a vibração de amor ao próximo. Não havia para onde fugir”, – explicou Taraia” (trecho do livro <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">A realidade de Madhu</em>).</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </em>No Brasil, a ficção científica na literatura também citou uma pandemia. <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">A realidade de Madhu</em>, de 2014, nasceu de um sonho da autora, Melissa Tobias. É uma trama de ficção futurística centrada na personagem Madhu, abduzida por uma nave alienígena em que passa a sua “quarentena”, buscando autoconhecimento para semear uma nova realidade.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">A autora conta que, apesar de as pessoas terem lido essa passagem isoladamente e a interpretarem com medo, a mensagem central do livro é de esperança. “Depois que reli essa passagem me lembrei do contexto da história que me levou a escrever aquilo”, diz, fazendo referência ao momento em que Madhu tenta superar seus desafios e expandir sua consciência para assumir seu papel de criadora de uma nova realidade.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">O futuro</span></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Para o professor da Universidade Federal de Mato Grosso do Sul e doutor em literatura Ramiro Giroldo, a ficção científica não tem caráter de premonição, ela é cultura. “Parece que as pessoas exigem muito da ficção científica e quando a previsão falha, aquela obra também falhou. E não é assim, a principal preocupação da ficção científica é o interesse estético, afinal de contas trata-se de obras de arte. A gente deve considerar a ficção científica como uma manifestação artística”, afirma.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">“Uma coisa importante a respeito da ficção científica é que ela não prevê nada. Os bons autores fazem muita pesquisa”, concorda Fábio Fernandes da Silva, professor assistente da Pontifícia Universidade Católica de São Paulo (PUC-SP). Para o professor, que tem quatro livros publicados, entre eles <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">A construção do imaginário cyber</em> e <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Os dias da peste.</em> “Se às vezes a vida imita a arte, é porque o artista vive e está no mundo. Portanto, ele pegou dados do mundo real e traduziu para o ficcional”.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;">Para o doutor em multimeios e professor da Unicamp, Alfredo Luiz Paes de Oliveira Suppia, a ficção científica é tão comprometida com a realidade que os elementos que mais se aproximam do real são os que mais impressionam quem consome as obras. Seguindo esse pensamento, carros voadores de um filme como <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Blade runner</em> podem até causar algum espanto, mas são as possibilidades de um futuro desumano, ruinoso, da recriação de novas formas de escravidão e da distopia ambiental que nos deixam mais impressionados ou chocados. “E isso é realidade, são coisas que já existem, são apenas extrapoladas. Ainda não podemos pegar o nosso carro voador na garagem, mas podemos adoecer com a poluição ambiental (lembremos de Cubatão nos anos 1970/80), morrer de trabalhar (como no Japão) ou servir como escravos (em fazendas no Brasil). Fascismos piores do que regimes autoritários fictícios são realidade, e não ficção científica. Eu diria que a ficção é um gênero realista por excelência”, conclui.</p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Caroline Marques Maia </span>é bióloga e doutora em zoologia (Unesp). É gestora-diretora do Clube Ciência do Instituto GilsonVolpato de Educação Científica, e comanda o blog ConsCIÊNCIA Animal. Cursa especialização em jornalismo científico no Labjor/Unicamp.</em></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Mariana Hafiz</span></em> <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">é jornalista formada pela Unesp e cursa especialização em jornalismo científico no Labjor/Unicamp. Trabalhou com divulgação científica de astronomia em espaços não formais.</em></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Rafael Revadam</span></em> <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </em></span><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">é jornalista formado pela Universidade Municipal de São Caetano do Sul, pós-graduado em estudos brasileiros pela Fundação-Escola de Sociologia e Política de São Paulo. Atualmente, cursa a especialização em jornalismo científico do Labjor/Unicamp.</em></p><p style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px 0px 24px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></em></p></div></div>mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-79669262081210308322020-05-10T13:08:00.001-04:002020-05-10T13:08:27.056-04:00"Mundo será igual se o ser humano não aprender", alerta pesquisadora para o pós-pandemia<div dir="ltr" style="text-align: left;" trbidi="on">
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EDUCAÇÃO E MEIO AMBIENTE</div>
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"Mundo será igual se o ser humano não aprender", alerta pesquisadora para o pós-pandemia</h1>
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Michele Sato, que também é doutora em Ciências, analisa a crise mundial provocada pelo coronavírus, nesta entrevista ao PNBOnline</h2>
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da Redação</div>
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arquivo pessoal</div>
<img alt="Michele Sato" class="img-content" src="https://www.pnbonline.com.br//storage/webdisco/2020/05/09/480x294/085b92f792d0882dfe667adaa1addae7.jpg" style="border: 0px solid rgb(225, 228, 230); box-sizing: border-box; vertical-align: middle;" /><div class="img-subtitle" style="border-bottom: 0px solid rgb(183, 15, 47); box-sizing: border-box; color: rgb(51, 51, 51) !important; font-family: TitilliumWebLight, Arial, Helvetica, sans-serif !important; font-size: 16px; font-stretch: normal !important; font-variant-east-asian: normal !important; font-variant-numeric: normal !important; letter-spacing: -0.4px; line-height: 29px; padding: 5px 0px 3px; width: 300px;">
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<span style="box-sizing: border-box; letter-spacing: -0.4px;">O olhar da ciência sobre a crise mundial provocada pela pandemia do coronavírus traz à tona questionamentos sobre a participação do ser humano neste processo e quais as consequências no futuro próximo. Afinal, a morte de centenas de milhares de pessoas pela covid-19 vai transformar a humanidade para melhor? </span>Nesta entrevista concedida ao <span style="box-sizing: border-box; font-weight: 700;">PNBOnline</span>, com a colaboração dos jornalistas e professores doutores Pedro Pinto de Oliveira e Diélcio Moreira, a coordenadora do Grupo Pesquisador em Educação Ambiental, Comunicação e Arte (GPEA), da Universidade Federal de Mato Grosso (UFMT), professora doutora em Ciências Michele Sato, faz uma análise deste contexto e aponta que tudo depende do cuidado que as pessoas têm com outros seres na natureza. Veja os principais trechos da entrevista:</div>
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<span style="box-sizing: border-box; font-weight: 700; letter-spacing: -0.4px;">Pedro Pinto de Oliveira: </span><span style="box-sizing: border-box; font-weight: 700; letter-spacing: -0.4px;">Existe uma crença que o homem pode domesticar todas as forças naturais. O que essa ideia implica em termos de erros que se cometem contra a nossa própria condição de vida?</span></div>
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<span style="box-sizing: border-box; font-weight: 700; letter-spacing: -0.4px;">Michele Sato -</span><span style="box-sizing: border-box; letter-spacing: -0.4px;"> A megalomania do ser humano de querer controlar tudo, inclusive na paisagem arquitetônica ou no simples exemplo de cortar as árvores na frente das casas, a mania de querer arredondar, dar um outro formato. Mas a natureza não é assim. Este ato de você podar a árvore redonda é dizer eu tenho o controle sobre a natureza, eu dou a forma que eu quiser. Isso surge há muito tempo, filosoficamente, quando foi considerado o máximo do Positivismo, o ser humano de um lado e natureza de outro. A modernidade trouxe uma mensagem dizendo: você é primitivo se for da natureza, o mais culto está na cidade. Se você pegar a pintura de Delacroix, na França, a liberdade fazendo a revolução em Paris, depois ela se transforma em estátua e França dá de presente para Nova York (</span><em style="box-sizing: border-box; letter-spacing: -0.4px;">A Liberdade guiando o povo, em francês: La Liberté gudant le peuple, uma pintura de Eugène Delacroix em comemoração à Revolução Francesa, de Julho de 1830</em><span style="box-sizing: border-box; letter-spacing: -0.4px;">) é a cara revolucionária e aí, você retorna para campo, pintores como o próprio Van Gogh, com camponeses curvados, baixos. </span></div>
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A burguesia achava que era mais fácil dominar o campo do que a cidade. O campo era a natureza e a cidade, a humanidade. Então, esse binarismo que surgiu entre natureza e sociedade fez com que a gente achasse que nós somos mais fortes do que a natureza, mas nós somos parte da natureza. Fazemos parte de um elo, onde somos uma das partes. A gente sempre esquece de bicho, planta, de bichinho que a gente não enxerga. Afinal de contas, o morcego não é o vilão da covid-19, o vilão é o ser humano que foi lá e depredou a natureza. Esta separação positivista do humano e da natureza trouxe esta sensação de que nós somos melhores e controlamos a natureza, mas isso não acontece. Tanto que um dos nortes para ebola, aids e agora, covid-19, é de que os bichos que estavam milenarmente quietinhos, em um lugar, surgem e vira uma pandemia. </div>
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<span style="box-sizing: border-box; font-weight: 700;">Pedro Pinto de Oliveira:</span> <span style="box-sizing: border-box; font-weight: 700;">O Antropoceno, período que marca as nossas atividades humanas que começaram a ter um impacto global significativo no clima da Terra e no funcionamento dos seus ecossistemas, é datado por alguns especialistas a partir do final do século XVIII. Qual é o marco contemporâneo dessa intervenção em termos de impactos?</span></div>
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<span style="box-sizing: border-box; font-weight: 700;">Michele Sato -</span> O grande impacto, segundo Paul Crutzen, que ganhou o prêmio Nobel por ter cunhado o sistema Antropoceno, ele vem do alto custo energético que o ser humano fez do planeta: o motor a vapor, os poços de petróleo, a mecanização da agricultura e, consequente, uso de agrotóxicos. Ele julga que tem três fases: a aceleração industrial, no início do século XVIII; depois veio a agricultura que foi uma exploração da terra de uma forma assustadora; e agora, estamos enfrentando a emergência climática. Não falamos mais em mudança climática que é um fenômeno natural, mas emergência climática, a gente assume que a ação humana está por trás disso. Impreterivelmente, uma tendência mundial recente que está acontecendo. Alguns teóricos, e eu estou entre eles, têm chamado isso de Capitoloceno. O Paul Crutzen teve o seu mérito, houve sim uma exaustão da natureza por causa da energia e da agricultura que trouxe uma transformação climática mas, nós não somos todos iguais. Então, um morador aqui do Renascer (bairro em Cuiabá), ele tem menos culpa no cartório do que um cara do agronegócio. Ele elimina menos gases do efeito estufa e não é só o carbono, como a maioria coloca. Mato Grosso é campeão em emissão de metano, por exemplo. Quem está eliminando mais esses gases? É o capital, a indústria, o agronegócio, as grandes corporações. Hoje em dia, se ouve muito dizer que depois da covid-19 o mundo não será o mesmo. Será igual, sim. A gente já ouviu esta frase 200 mil vezes e o ser humano não aprende. </div>
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As projeções petrolíferas continuam a mesmíssima coisa no período de isolamento social. Nos EUA, quando as Torres Gêmeas foram destruídas, em 11 de setembro de 2001, o que mais se falou em jornais como o The New York Times foi “nós nunca mais seremos os mesmos” e, foram tacitamente iguais, ou piores porque elegeram Donald Trump presidente. Nos dias de hoje, 40 dias depois do início do isolamento social, catadores de lixo no mar encontraram muitas máscaras jogadas no oceano. Que lição é essa que está sendo aprendida? A gente precisa de uma revolução no modo de produção. Na década de 70, Schumacher, a obra dele foi equivocadamente traduzida como o Negócio é Ser Pequeno, mas o livro é a Simplicidade é bela (<em style="box-sizing: border-box;">E. F. Schumacher. O negócio é ser pequeno - Small is beautiful - Um Estudo de Economia que leva em conta as pessoas</em>). Temos que recuperar isso, e não só ter, ter. Devagar, de forma amorosa, generosa, com menos consumo, Mas, para fazer esta revolução é difícil. </div>
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A destruição da natureza é um processo que está acontecendo porque as pessoas querem ficar ricas. Não é todo mundo, é uma minoria. Isto precisa ser esclarecido. É o que a gente está chamando de ”Capitaloceno”, uma minoria com uma vontade. Ou seja, 80% da humanidade consomem 20% dos recursos e 20% dos ricos, consomem 80% da energia do mundo.</h2>
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<span style="box-sizing: border-box; font-weight: 700;">Pedro Pinto de Oliveira: No meio acadêmico existe um tipo de dualismo que separa a Natureza da Cultura, sem a compreensão da continuidade dessa relação. A crise do coronavírus é um acontecimento importante para entendermos e pensarmos essa continuidade, sem dualismos?</span></div>
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<span style="box-sizing: border-box; font-weight: 700;">Michele Sato -</span> Quando falei do positivismo já apontei este dualismo. Para quem é educadora como eu, é complicado, porque você tem que ver a realidade e ser otimista. Se situar neste complexo otimista, pessimista é muito difícil. Porque, a gente começa a estudar, fica depressivo com o que vê e se pergunta se tem solução? Tem que ter. As pessoas que acreditam que nós somos separados do todo, vão continuar pensando assim e as pessoas que querem um ambiente mais saudável, uma comida mais orgânica, com menos agronegócio, vão mudar. A gente tem que aprender, não dá pra voltar ao normal, ao que era, porque não estava dando certo. Por isso que a gente entrou em crise. É preciso voltar, refazer o caminho. Eu lamento dizer que a covid-19 é uma das tantas outras pandemias que virão aí. O degelo que está acontecendo está liberando muitos vírus. Tem virus encontrados no Tibet que ficaram cristalizados 15 mil anos e o que eles vão causar? Nós vamos passar pela covid-19, mas, tenho dúvidas se a gente vai passar pela segunda pandemia. Vai ser uma guerra nas estrelas: a minoria lá em cima na nave e a vasta maioria em tribos e cavernas, aqui em baixo. </div>
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<span style="box-sizing: border-box; font-weight: 700;">Dielcio Moreira -</span> <span style="box-sizing: border-box; font-weight: 700;">A Covid 19 é uma resposta da natureza à desatenção, desapego e desrespeito ao Meio Ambiente? </span></div>
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<span style="box-sizing: border-box; font-weight: 700;">Michele Sato -</span> Mas, não posso dizer que isso é uma reação da natureza, porque dá a impressão que a terra é viva, uma teoria que eu não compartilho. Eu sou cientista, acredito no Big Bang, que nós moramos em uma rocha chamada terra. Não acredito que ela tenha a capacidade de vingança. Ecologicamente, a pandemia trouxe um desequilíbrio, há uma causa e, aí, a consequência. </div>
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<span style="box-sizing: border-box; font-weight: 700;">Dielcio Moreira - Com o avanço do pensamento conservador de extrema direita, implantação de políticas econômicas ultraliberais, entrega das florestas aos seus predadores, marginalização radical das comunidades já excluídas e o sucateamento e a desvalorização das escolas, como imagina neste cenário a condução do esforço da educação ambiental?</span></div>
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<span style="box-sizing: border-box; font-weight: 700;">Michele Sato -</span> Isso é educação ambiental, as informações estão aí, mas, as pessoas negam. Nós estamos no meio de uma guerra híbrida, muito forte e as armas convencionais, revólveres e canhões são substituídas por fake news e manuseio de dados confiáveis. Recentemente, o governo federal contratou uma empresa para fazer o levantamento da covid-19 que é a mesma empresa responsável pela produção de fake news na campanha do então candidato Jair Bolsonaro. Que tipo de credibilidade a gente pode dar aos números que o governo está divulgando? Está morrendo muito mais gente do que se imagina. Não falta informação sobre a pandemia, tá faltando algo a mais. Acho que é esta guinada que o mundo tem que dar.</div>
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O ser humano é capaz de dar reviravoltas, de inventar de criar. Se a gente fosse cobaia de laboratório, o experimento nunca daria certo porque nós não temos um comportamento previsível. Nós temos que nos rebelar, temos que criar, que ter esta capacidade de fugir da mesmice.Esta é a nossa beleza e é o que temos que fazer agora.</h2>
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A destruição da natureza é um processo que está acontecendo porque as pessoas querem ficar ricas. Não é todo mundo, é uma minoria. Isto precisa ser esclarecido. É o que a gente está chamando de ”Capitaloceno”, uma minoria com uma vontade. Ou seja, 80% da humanidade consome 20% dos recursos e 20% dos ricos, consome 80% da energia do mundo. Estamos vendo uma ascensão do fascismo no Brasil e no mundo. Esta semana, foi publicada no New York Times uma matéria sobre uma passeata contra o lockdown (suspensão total das atividades como medida de prevenção ao coronavírus), onde uma mulher segurava uma placa escrita em alemão: o trabalho dignifica o humano. Esta era a frase dada em Auschwitz, na Segunda Guerra Mundial, contra os judeus. Isso é uma loucura. Portanto, as máscaras que estamos comprando hoje vão durar muito tempo. Temos um novo perfil social porque outras pandemias, mais avassaladoras e mortais do que a condiv virão. O Brasil está no mesmo patamar de Serra Leoa e Gana, países africanos miseráveis, que não têm o que comer. </div>
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Quem sofre mais é a periferia, mulheres apanham dos maridos mais agressivos dentro de casa, aumentou o número de estupros de crianças em casa, trabalhadores da saúde em depressão. É injusto. Quem está em lockdown é privilegiado. No extremo, a minha trajetória como militante dos direitos humanos enquanto ecologista, sei que os mais desgraçados são os prisioneiros e o guarda que cuida dele que não pode ter isolamento. Então, não é o cara do agronegócio e do petróleo que não pode parar. Novamente quem paga a conta é a classe economicamente, desprivilegiada. Outra vez, mulheres, crianças e velhos sofrem mais. A situação não é só no Brasil, é mundial. É uma guerra.</div>
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Nós, pesquisadores do clima, já prevíamos isso. Dei aula sobre este assunto há uns cinco anos. A gente só não sabia quando, por isso, o que está acontecendo surpreende pela emoção. Porque uma coisa é você estudar esses problemas e projeta uma perspectiva futura, outra coisa é você presenciar o momento vivido no cotidiano. Obviamente, é uma diferença brutal que desmonta a gente. (emocionada). Muitos pesquisadores estão em tratamento porque não conseguem ficar bem diante disso. Assim, fazemos um esforço para trazer uma palavra de esperança, de conforto, de falar para a população que nós vamos dar um jeito, sem perder o horizonte. O ser humano é capaz de dar reviravoltas, de inventar de criar. Se a gente fosse cobaia de laboratório, o experimento nunca daria certo porque nós não temos um comportamento previsível. Nós temos que nos rebelar, temos que criar, que ter esta capacidade de fugir da mesmice. Esta é a nossa beleza e é o que temos que fazer agora. </div>
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<span style="box-sizing: border-box; font-weight: 700;">Dielcio Moreira -</span> <span style="box-sizing: border-box; font-weight: 700;">Há um conceito interdisciplinar, holístico, que ganha corpo mundialmente entre pesquisadores de diferentes áreas. É o conceito de Saúde Única: humanos, animais, aves, oceanos, florestas estão em um só quadrante, amarrados uns aos outros. A tartaruga, por exemplo, é considerada um dos sentinelas do mar: seus movimentos, reprodução e mortalidade indicam os riscos nos oceanos. É possível trazer essa ideia para o campo da educação, em especial da educação ambiental? </span></div>
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<span style="box-sizing: border-box; font-weight: 700;">Michele Sato -</span> Nós somos como uma rede, um é conectado com o outro e a eliminação de um afeta o outro. Aí está a prova, a eliminação de morcegos em uma floresta em Yunnan, na China, diminuiu a população do pangolin, que era o intermediário entre o morcego e o ser humano causou a pandemia. Este é o elo frágil que a terra possui, mas, as pessoas não estão fazendo esta ligação. Incorporar esta dimensão da totalidade, que somos um orgânico ligado, dependemos da terra e da água, precisamos destas conexões. A saúde ecossistêmica é valiosa e depende do cuidado, principalmente, que nós humanos temos com outros seres. </div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-37259678559476764012020-05-10T11:46:00.003-04:002020-05-10T11:47:26.587-04:00René Magritte album covers<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.johncoulthart.com/feuilleton/2014/07/12/rene-magritte-album-covers/?fbclid=IwAR3wXL88QQcHEXjHBCRhPTxLlPdQkzKP1-PfOIZPloxiR7yIsyf7AmEJ2KM">http://www.johncoulthart.com/feuilleton/2014/07/12/rene-magritte-album-covers/?fbclid=IwAR3wXL88QQcHEXjHBCRhPTxLlPdQkzKP1-PfOIZPloxiR7yIsyf7AmEJ2KM</a><br />
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<a href="http://www.johncoulthart.com/feuilleton/2014/07/12/rene-magritte-album-covers/" style="color: #505050; display: block; margin: 0px; outline: none medium; padding: 0px; text-decoration-line: none; width: 462px;" title="René Magritte album covers">René Magritte album covers</a></h2>
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<span class="date" style="background-position: left center; background-repeat: no-repeat; color: #7f7f7f; margin: 0px; padding: 0px 2px 2px 14px;">Jul 12, 2014</span></div>
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<em style="margin: 0px; padding: 0px;">Beck-Ola (1969) by The Jeff Beck Group. Painting: The Listening Room (second version, 1958).</em></div>
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An inevitable post considering the shape of the week, and also a continuation of an occasional series about paintings used as album cover art. Given Magritte’s continuing popularity I’m sure these can’t be the only examples, especially when his work had such an effect on the cover designs of the 1970s. In addition to the Magritte-like covers created by Hipgnosis for Pink Floyd and others you can find the artist’s influence in the cover by Alton Kelley and Stanley Mouse for <a href="http://www.discogs.com/viewimages?release=1271962" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;" target="_blank"><em style="margin: 0px; padding: 0px;">The Grand Illusion</em></a> (1977) by Styx, a hugely successful album whose painting is derived from Magritte’s <a href="http://www.renemagritte.org/le-blanc-seing.jsp" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;" target="_blank"><em style="margin: 0px; padding: 0px;">The Blank Cheque</em></a> (1965). There are many more examples.</div>
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Magritte died in 1967 so he missed out on this explosion of interest which also spread into the advertising world. When it comes to influence, Magritte has probably had more of an effect on the general culture than any of the other Surrealists, Dalí included.</div>
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<em style="margin: 0px; padding: 0px;">See (1969) by The Rascals. Painting: The Big Family (1963).</em></div>
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<img alt="hull.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/hull.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Pipedream (1973) by Alan Hull. Painting: Philosopher’s Lamp (1936).</em></div>
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<img alt="balavoine.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/balavoine.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Vienne La Pluie (1975) by Daniel Balavoine. Painting: Hegel’s Holiday (1958).</em></div>
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<img alt="hull2.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/hull2.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Phantoms (1979) by Alan Hull. Painting: The King’s Museum (1966).</em></div>
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<img alt="glassmoon.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/glassmoon.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Glass Moon (1980) by Glass Moon. Painting: Evening Falls II (Le Soir qui tombe, 1964).</em></div>
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<img alt="sphere.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/sphere.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Four In One (The Music Of Thelonious Monk) (1982) by Sphere. Painting: The False Mirror (1928).</em></div>
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<img alt="boneynem.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/boneynem.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Victory Day (2003) by Boney NEM. Painting: The Collective Invention (1934).</em></div>
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<img alt="racoon.jpg" src="http://www.johncoulthart.com/feuilleton/wp-content/uploads/2014/07/racoon.jpg" scale="0" style="border: 1px solid silver; margin: 0px 12px 0px 0px; padding: 3px;" /></div>
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<em style="margin: 0px; padding: 0px;">Liverpool Rain (2011) by Racoon. Painting: Golconda (1953).</em></div>
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Elsewhere on { feuilleton }<br />
• <a href="http://www.johncoulthart.com/feuilleton/the-album-covers-archive/" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;">The album covers archive</a></div>
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Previously on { feuilleton }<br />
• <a href="http://www.johncoulthart.com/feuilleton/2014/07/11/monsieur-rene-magritte-a-film-by-adrian-maben/" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;">Monsieur René Magritte, a film by Adrian Maben</a><br />
• <a href="http://www.johncoulthart.com/feuilleton/2014/07/10/george-mellys-memoirs-of-a-self-confessed-surrealist/" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;">George Melly’s Memoirs of a Self-Confessed Surrealist</a><br />
• <a href="http://www.johncoulthart.com/feuilleton/2012/03/31/the-secret-life-of-edward-james/" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;">The Secret Life of Edward James</a><br />
• <a href="http://www.johncoulthart.com/feuilleton/2012/01/17/rene-magritte-by-david-wheatley/" style="background-attachment: scroll; background-color: transparent; background-position: left bottom; background-repeat: repeat-x; color: blue; margin: 0px; padding: 0px; text-decoration-line: none;">René Magritte by David Wheatley</a></div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-46162390356179485692020-04-17T23:00:00.000-04:002020-04-19T19:46:02.051-04:00VÍRUS: SIMULACRO DA VIDA?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: medium;"><b>CADERNO DE BALBÚRDIA</b></span><br />
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SATO, Michèle; SANTOS, Déborah; SÁNCHEZ, Celso. Vírus: simulacro da vida? Rio de Janeiro: GEA-Sur, Unirio & Cuiabá: GPEA, UFMT, 2020.</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-27072817790526525372020-04-15T13:07:00.001-04:002020-04-15T13:07:40.919-04:00Três poemas sobre o vírus, de Rafael Lovisi Prado<div dir="ltr" style="text-align: left;" trbidi="on">
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Três poemas sobre o vírus, de Rafael Lovisi Prado</h1>
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Em nosso post de hoje de <span style="box-sizing: inherit; color: red;"><span style="box-sizing: inherit; font-weight: 700;">Pandemia, Cultura e Sociedade</span></span><span style="box-sizing: inherit; font-weight: 700;"> – </span>uma parceria do Blog da BVPS com a revista <span style="box-sizing: inherit; font-weight: 700;"><a href="http://www.sociologiaeantropologia.com.br/" style="background-color: transparent; box-sizing: inherit; color: #f35029; overflow-wrap: break-word; transition: all 0.2s ease 0s;">Sociologia & Antropologia</a></span> (PPGSA/UFRJ) – <span style="box-sizing: inherit; font-weight: 700;">Rafael Lovisi Prado</span> contribui com três poemas inéditos de uma série sobre o vírus, seguidos de uma pequena nota crítica assinada pelo nosso editor da coluna <a href="https://blogbvps.wordpress.com/category/interpretacoes-do-brasil-e-poesia/" style="background-color: transparent; box-sizing: inherit; color: #f35029; overflow-wrap: break-word; transition: all 0.2s ease 0s;">Interpretações do Brasil e Poesia</a>, <span style="box-sizing: inherit; font-weight: 700;">Lucas van Hombeeck</span>.</div>
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Uma boa leitura!</div>
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<span style="box-sizing: inherit; font-weight: 700;">Marina Abramović</span><br style="box-sizing: inherit;" /><span style="box-sizing: inherit; font-weight: 700;">receituário de acontecimentos</span></div>
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quando se instala um estado<br style="box-sizing: inherit;" />de suspensão, saudável é atravessar a<br style="box-sizing: inherit;" />greta entre os corpos e arriscar segurar<br style="box-sizing: inherit;" />teso o arco letal da tensão</div>
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salutar também deitar os ossos sobre<br style="box-sizing: inherit;" />o calor das velas e sentir às costas o<br style="box-sizing: inherit;" />o risco inflamando – pentear os cabelos<br style="box-sizing: inherit;" />(antes atados, aos poucos no chão) até<br style="box-sizing: inherit;" />que a beleza se dilua diante do espelho e<br style="box-sizing: inherit;" />e acabe em experimentação</div>
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saúde assim seria percorrer de ponta<br style="box-sizing: inherit;" />a ponta as muralhas da China, rito<br style="box-sizing: inherit;" />dos amantes que após anos<br style="box-sizing: inherit;" />sentados em companhia<br style="box-sizing: inherit;" />preparam caminhando<br style="box-sizing: inherit;" />a chegada<br style="box-sizing: inherit;" />da solidão</div>
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<span style="box-sizing: inherit; font-weight: 700;">René Magritte</span><br style="box-sizing: inherit;" /><span style="box-sizing: inherit; font-weight: 700;">pintar o lado de lá</span></div>
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dentro da habitação os objetos<br style="box-sizing: inherit;" />passaram a ter outras proporções<br style="box-sizing: inherit;" />tanto pente pincel taça quanto céu<br style="box-sizing: inherit;" />que no quarto refletido tornou as<br style="box-sizing: inherit;" />paredes nuvens pairando num<br style="box-sizing: inherit;" />pélago invertido</div>
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naquela clausura com indefinida<br style="box-sizing: inherit;" />abertura via a si mesmo à beira d’água<br style="box-sizing: inherit;" />mas parado na areia, pernas de homem<br style="box-sizing: inherit;" />cabeça de peixe, respirar nem mergulhar<br style="box-sizing: inherit;" />podia, caso um beijo desse vinha-lhe à<br style="box-sizing: inherit;" />boca sangue da memória<br style="box-sizing: inherit;" />dos findos dias</div>
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foi então que abriu o cavalete e fez do<br style="box-sizing: inherit;" />mar sua extensão, maneira que encontrou<br style="box-sizing: inherit;" />de se dar porvir – ovo pintado prestes a<br style="box-sizing: inherit;" />eclodir – pois pensar no passado a esta<br style="box-sizing: inherit;" />altura seria como olhar a tela fria<br style="box-sizing: inherit;" />e ver projetada somente<br style="box-sizing: inherit;" />a própria nuca</div>
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<span style="box-sizing: inherit; font-weight: 700;">Hélio Oiticica</span><br style="box-sizing: inherit;" /><span style="box-sizing: inherit; font-weight: 700;">gimme shelter</span></div>
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não se está só<br style="box-sizing: inherit;" />na casa-mundo, abrigo<br style="box-sizing: inherit;" />da beira, aberto, que como capa<br style="box-sizing: inherit;" />multimodal veste o corpo<br style="box-sizing: inherit;" />multivalente ambiente, tenda<br style="box-sizing: inherit;" />multicolor vivenda onde se pisa<br style="box-sizing: inherit;" />areais, pedras, passa-se via<br style="box-sizing: inherit;" />penetráveis fendas, lança-se em<br style="box-sizing: inherit;" />lentos labirintos, diz-se aos<br style="box-sizing: inherit;" />quantos cantos a todos<br style="box-sizing: inherit;" />os ventos: <em style="box-sizing: inherit;">a margem não é</em><br style="box-sizing: inherit;" /><em style="box-sizing: inherit;">maldição, mas prova de que</em><br style="box-sizing: inherit;" /><em style="box-sizing: inherit;">a coisa nova se funda, afunda</em><br style="box-sizing: inherit;" /><em style="box-sizing: inherit;">o fundado.</em><br style="box-sizing: inherit;" />pura montagem<br style="box-sizing: inherit;" />premonição profunda<br style="box-sizing: inherit;" />do advento</div>
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<span style="box-sizing: inherit; font-weight: 700;">Rafael Lovisi Prado</span> é poeta, pesquisador e professor da área de Literatura Comparada e Teoria da Literatura.</div>
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<span style="box-sizing: inherit; font-weight: 700;">Pequena nota crítica, </span>por <span style="box-sizing: inherit; font-weight: 700;">Lucas van Hombeeck</span><a href="https://blogbvps.wordpress.com/2020/04/09/tres-poemas-sobre-o-virus-de-rafael-lovisi-prado/#_edn1" name="_ednref1" style="background-color: transparent; box-sizing: inherit; color: #f35029; overflow-wrap: break-word; transition: all 0.2s ease 0s;">[i]</a></div>
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Estreando a contribuição em verso para a coluna <span style="box-sizing: inherit; color: red;"><span style="box-sizing: inherit; font-weight: 700;">Pandemia, Cultura e Sociedade</span></span>, Rafael Lovisi Prado envia para o blog da BVPS três poemas de uma série sobre o vírus: Marina Abramović/receiturário de acontecimentos, René Magritte/pintar o lado de lá e Hélio Oiticica/gimme shelter. Neles, o estar-só nunca é sozinho, da mesma forma que a individualidade, como aprendemos com a sociologia, é uma condição social: no primeiro poema há uma cuidadosa preparação da solidão pelos amantes, enquanto no segundo os objetos mostram sua agência e delírio e, no último, os primeiros versos dizem de partida que “não se está só/na casa-mundo, abrigo”. É que, neles, a poesia convive com os trabalhos de não-poetas (uma performer, um pintor, e um artista bastante difícil de classificar) propondo a convivência também entre esses artistas por meio de seus trabalhos, em diferentes modulações de um problema que grande parte do mundo enfrenta hoje: o isolamento e a precariedade das formas de subjetivação da vida cotidiana e danificada. Se quisermos sair da pandemia inventando novas relações, é bom começarmos a imaginá-las. Agradecemos ao Rafael por compartilhar conosco sua contribuição para a tarefa.</div>
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<a href="https://blogbvps.wordpress.com/2020/04/09/tres-poemas-sobre-o-virus-de-rafael-lovisi-prado/#_ednref1" name="_edn1" style="background-color: transparent; box-sizing: inherit; color: #f35029; overflow-wrap: break-word; transition: all 0.2s ease 0s;">[i]</a> Doutorando em Sociologia no PPGSA/IFCS-UFRJ.</div>
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A imagem que ilustra o post é:</div>
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Giorgio De Chirico, Orfeu trovador cansado, 1970. Óleo sobre tela. 149 x 147 cm. Fondazione Giorgio e Isa de Chirico, Roma.</div>
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* Os textos publicados pelos colaboradores não refletem as posições da BVPS.</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-61612922154152649912020-04-02T21:40:00.000-04:002020-04-02T22:02:13.849-04:00ROSE - and art<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #990000; font-size: large;"><b>RENÉ MAGRITTE and roses</b></span><br />
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<span style="font-size: xx-small;">psychologist 1948 || Roses of Picardie 1925</span><br />
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<a href="https://1.bp.blogspot.com/--0Kp1r6qGXk/XkiGjqtPNnI/AAAAAAAK5U0/55asPIGC-Woc8tDMlkQMJ-Ml4z1BGlIugCLcBGAsYHQ/s1600/_voyage%2Bdes%2Bfleurs%2B1928b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="1600" height="258" src="https://1.bp.blogspot.com/--0Kp1r6qGXk/XkiGjqtPNnI/AAAAAAAK5U0/55asPIGC-Woc8tDMlkQMJ-Ml4z1BGlIugCLcBGAsYHQ/s320/_voyage%2Bdes%2Bfleurs%2B1928b.jpg" width="320" /></a> <a href="https://1.bp.blogspot.com/-4A8gTglbUGI/XkiGktWaVkI/AAAAAAAK5U4/kJZ27acaol8OH93EwoML1e7yRcARXXPXACLcBGAsYHQ/s1600/_woman%2Bwith%2Ba%2Brose%2Binstead%2Bof%2Bthe%2Bheart%2B1924.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="435" data-original-width="307" height="320" src="https://1.bp.blogspot.com/-4A8gTglbUGI/XkiGktWaVkI/AAAAAAAK5U4/kJZ27acaol8OH93EwoML1e7yRcARXXPXACLcBGAsYHQ/s320/_woman%2Bwith%2Ba%2Brose%2Binstead%2Bof%2Bthe%2Bheart%2B1924.jpg" width="225" /></a></div>
<span style="font-size: xx-small;">voyage des fleurs 1928b || woman with a rose instead of the heart 1924 </span><br />
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<o:p> belle de nuit, 1940<br /><b>~ René Magritte</b></o:p></div>
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<o:p> Mémoire 1948</o:p></div>
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<b>~ René Magritte</b></div>
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<o:p> Premeditation 1943</o:p></div>
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<b>~ René Magritte</b></div>
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<o:p> proud ship 1942</o:p></div>
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<b>~ René Magritte</b></div>
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<o:p>psychologist 1948 </o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> roman populaire 1944</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p> </div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-ZvxDhcyvfSw/XkSDrKw5paI/AAAAAAAK5Jo/jmTlxhgI-AwXEmcDMx3G0HvBCZ2nn78fQCLcBGAsYHQ/s1600/4_utopie%2B1945.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="1000" height="239" src="https://1.bp.blogspot.com/-ZvxDhcyvfSw/XkSDrKw5paI/AAAAAAAK5Jo/jmTlxhgI-AwXEmcDMx3G0HvBCZ2nn78fQCLcBGAsYHQ/s320/4_utopie%2B1945.jpg" width="320" /></a></div>
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<o:p> Storm night, strange perfume by member, 1946</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> utopia 1945</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p>woman of the Soldier, 1945</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p>Beautiful language 1952</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-pa-Hvh6dKO0/XkSDtOH2SCI/AAAAAAAK5J0/rkupEToSdBAnRqfiyaRAzrjoY5AZgtKogCLcBGAsYHQ/s1600/5_blow%2Bto%2Bthe%2Bheart%2B1956.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1216" height="320" src="https://1.bp.blogspot.com/-pa-Hvh6dKO0/XkSDtOH2SCI/AAAAAAAK5J0/rkupEToSdBAnRqfiyaRAzrjoY5AZgtKogCLcBGAsYHQ/s320/5_blow%2Bto%2Bthe%2Bheart%2B1956.JPG" width="243" /></a></div>
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<o:p> blow to the heart 1956</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p>double view 1957 </o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-J1u2wN1MX18/XkSDz0EC1EI/AAAAAAAK5Kg/QzuV9BhCsKw4nFOxas5eQ99cVKbccVxZACLcBGAsYHQ/s1600/Enchanted%2BDomain%2B1957.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="354" height="320" src="https://1.bp.blogspot.com/-J1u2wN1MX18/XkSDz0EC1EI/AAAAAAAK5Kg/QzuV9BhCsKw4nFOxas5eQ99cVKbccVxZACLcBGAsYHQ/s320/Enchanted%2BDomain%2B1957.JPG" width="214" /></a></div>
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<o:p>Castle, rose and jug </o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> Enchanted Domain 1957</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-rI53NRqnAXk/XkSD1CWA65I/AAAAAAAK5Ks/RKK4IeC5FAM_XDSo4UKUlMtRger_GolqgCLcBGAsYHQ/s1600/5_pandora%2527s%2Bbox%2B1951.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-rI53NRqnAXk/XkSD1CWA65I/AAAAAAAK5Ks/RKK4IeC5FAM_XDSo4UKUlMtRger_GolqgCLcBGAsYHQ/s320/5_pandora%2527s%2Bbox%2B1951.jpg" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-pBcGTTpwgUA/XkSDuASOk3I/AAAAAAAK5J8/GvqixK9YTCgo9wizS-jyKSar1k-odN3QQCLcBGAsYHQ/s1600/6_Invitation%2Bto%2Btravel%2B1961.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="560" height="211" src="https://1.bp.blogspot.com/-pBcGTTpwgUA/XkSDuASOk3I/AAAAAAAK5J8/GvqixK9YTCgo9wizS-jyKSar1k-odN3QQCLcBGAsYHQ/s320/6_Invitation%2Bto%2Btravel%2B1961.png" width="320" /></a></div>
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<o:p> pandora's box 1951</o:p></div>
<div class="MsoNormal">
<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> Invitation to travel 1961</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p><br /></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-I0Y4B5TjgoQ/XkSDvGiaYpI/AAAAAAAK5KA/x4miIo4dxl03C0O0LLZ9FzGXiiR_10b1gCLcBGAsYHQ/s1600/6_Michael%2BCooper%2Bphotograph%2Bof%2BRen%25C3%25A9%2BMagritte%2Bwith%2BRose%252C%2BBelgium%252C%2B1967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="680" height="320" src="https://1.bp.blogspot.com/-I0Y4B5TjgoQ/XkSDvGiaYpI/AAAAAAAK5KA/x4miIo4dxl03C0O0LLZ9FzGXiiR_10b1gCLcBGAsYHQ/s320/6_Michael%2BCooper%2Bphotograph%2Bof%2BRen%25C3%25A9%2BMagritte%2Bwith%2BRose%252C%2BBelgium%252C%2B1967.jpg" width="231" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-KHe5rbsf8fk/XkSDxzBtMHI/AAAAAAAK5KM/55_JfZg2_ZM07Km4SpLyNAuG8dZoDNldgCLcBGAsYHQ/s1600/6_siecle%2Bcover%2B1965.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="255" height="320" src="https://1.bp.blogspot.com/-KHe5rbsf8fk/XkSDxzBtMHI/AAAAAAAK5KM/55_JfZg2_ZM07Km4SpLyNAuG8dZoDNldgCLcBGAsYHQ/s320/6_siecle%2Bcover%2B1965.jpg" width="232" /></a></div>
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<o:p> <b>Michael Cooper </b>photograph of René Magritte with Rose, Belgium, 1967</o:p></div>
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<o:p> siecle cover 1965</o:p></div>
<div class="MsoNormal">
<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-SmUPdtqQfO8/XkSDwJL_6zI/AAAAAAAK5KE/JCVL1YYiWAMGayEntpAmdsLkk3WW49yEwCLcBGAsYHQ/s1600/6_Ren%25C3%25A9%2BMagritte_poire%2Bet%2Brose%2B1966.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="751" data-original-width="498" height="320" src="https://1.bp.blogspot.com/-SmUPdtqQfO8/XkSDwJL_6zI/AAAAAAAK5KE/JCVL1YYiWAMGayEntpAmdsLkk3WW49yEwCLcBGAsYHQ/s320/6_Ren%25C3%25A9%2BMagritte_poire%2Bet%2Brose%2B1966.JPG" width="212" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-u9G_3vUxnZ0/XkSDw2jRi4I/AAAAAAAK5KI/6UBY6qmcxRYNEcs2dRuxUOO_OIFBM4UwQCLcBGAsYHQ/s1600/6_poire%2Bet%2Brose%2B1968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="439" height="320" src="https://1.bp.blogspot.com/-u9G_3vUxnZ0/XkSDw2jRi4I/AAAAAAAK5KI/6UBY6qmcxRYNEcs2dRuxUOO_OIFBM4UwQCLcBGAsYHQ/s320/6_poire%2Bet%2Brose%2B1968.jpg" width="234" /></a></div>
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<o:p> poire et rose 1966</o:p></div>
<div class="MsoNormal">
<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> poire et rose 1968</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-Ew2P3RV06vQ/XkSDy4evZwI/AAAAAAAK5KU/XxH2kie3T1EQppYIh88FlSN2owJmC3BFwCLcBGAsYHQ/s1600/6_tomb%2Bof%2Bthe%2BWrestlers%2B1960.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1235" data-original-width="1600" height="246" src="https://1.bp.blogspot.com/-Ew2P3RV06vQ/XkSDy4evZwI/AAAAAAAK5KU/XxH2kie3T1EQppYIh88FlSN2owJmC3BFwCLcBGAsYHQ/s320/6_tomb%2Bof%2Bthe%2BWrestlers%2B1960.jpg" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-51Q5C6I0Sn4/XkSDzM5BU4I/AAAAAAAK5KY/syCRPg8d4NEIYfuU5kanfPTHh_AeHbqzQCLcBGAsYHQ/s1600/6_une%2Brose%2Bdans%2BI%2527universe%2B1961.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1276" data-original-width="1600" height="255" src="https://1.bp.blogspot.com/-51Q5C6I0Sn4/XkSDzM5BU4I/AAAAAAAK5KY/syCRPg8d4NEIYfuU5kanfPTHh_AeHbqzQCLcBGAsYHQ/s320/6_une%2Brose%2Bdans%2BI%2527universe%2B1961.jpg" width="320" /></a></div>
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<o:p> tomb of the Wrestlers 1960</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> une rose dans I'universe 1961</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p><a href="https://1.bp.blogspot.com/-_7VCdBoS3Co/XkSD0oLAmAI/AAAAAAAK5Kk/qvm_wvw3uawv8MkDGyIHH9rytWMBBLmYACLcBGAsYHQ/s1600/lion%252C%2Ba%2Bstreetlight%2Band%2Ba%2Brose.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="608" height="320" src="https://1.bp.blogspot.com/-_7VCdBoS3Co/XkSD0oLAmAI/AAAAAAAK5Kk/qvm_wvw3uawv8MkDGyIHH9rytWMBBLmYACLcBGAsYHQ/s320/lion%252C%2Ba%2Bstreetlight%2Band%2Ba%2Brose.JPG" width="275" /></a> </o:p></div>
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<o:p><a href="https://1.bp.blogspot.com/-JrkGBbbHEJA/XkSD03JTBkI/AAAAAAAK5Ko/0Bz0b_mTZys5aynkt1J94VkwkJbwV-91QCLcBGAsYHQ/s1600/rose%2Band%2Bbuiding.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="430" height="320" src="https://1.bp.blogspot.com/-JrkGBbbHEJA/XkSD03JTBkI/AAAAAAAK5Ko/0Bz0b_mTZys5aynkt1J94VkwkJbwV-91QCLcBGAsYHQ/s320/rose%2Band%2Bbuiding.JPG" width="194" /></a> </o:p></div>
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<o:p> lion, a streetlight and a rose</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> rose and building</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p><a href="https://1.bp.blogspot.com/-GsDDekhPeMY/XkSD1Y96wyI/AAAAAAAK5Kw/pZlGaC2C1D4rqx5pXuVWeVvG7_tpH0H5ACLcBGAsYHQ/s1600/roses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="231" data-original-width="283" src="https://1.bp.blogspot.com/-GsDDekhPeMY/XkSD1Y96wyI/AAAAAAAK5Kw/pZlGaC2C1D4rqx5pXuVWeVvG7_tpH0H5ACLcBGAsYHQ/s1600/roses.jpg" /></a> </o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-su4RRxJ8A7Q/XkSD1odEdCI/AAAAAAAK5K0/OJpo14eBNgoHOjwjeUxhef8QhkOg8iaAQCLcBGAsYHQ/s1600/sens%2Bde%2Bla%2Bpudeur1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="221" data-original-width="300" src="https://1.bp.blogspot.com/-su4RRxJ8A7Q/XkSD1odEdCI/AAAAAAAK5K0/OJpo14eBNgoHOjwjeUxhef8QhkOg8iaAQCLcBGAsYHQ/s1600/sens%2Bde%2Bla%2Bpudeur1.jpg" /></a></div>
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<o:p>roses </o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> sens de la pudeur</o:p></div>
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<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-yUUdZZZvNYI/XkSD2AZfG2I/AAAAAAAK5K4/IocFT6gbFIY-P_yzBFRVe__q6gdCBtjigCLcBGAsYHQ/s1600/words%2Bof%2Bwisdom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1002" data-original-width="654" height="320" src="https://1.bp.blogspot.com/-yUUdZZZvNYI/XkSD2AZfG2I/AAAAAAAK5K4/IocFT6gbFIY-P_yzBFRVe__q6gdCBtjigCLcBGAsYHQ/s320/words%2Bof%2Bwisdom.jpg" width="208" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/--alqQrY15P4/XkSD2ZUHJtI/AAAAAAAK5K8/cU4xGOecbcEjluobEtd4z4Emtm6y8CwsACLcBGAsYHQ/s1600/z_blow%2Bto%2Bthe%2Bheart%2Bdigital.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/--alqQrY15P4/XkSD2ZUHJtI/AAAAAAAK5K8/cU4xGOecbcEjluobEtd4z4Emtm6y8CwsACLcBGAsYHQ/s320/z_blow%2Bto%2Bthe%2Bheart%2Bdigital.jpg" width="320" /></a></div>
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<o:p> words of wisdom</o:p></div>
<div class="MsoNormal">
<o:p><b>~ René Magritte</b></o:p></div>
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<o:p> blow to the heart digital<br />tribute to Magritte</o:p></div>
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<b style="color: #990000; font-size: x-large; text-align: left;">------------------------------------</b></div>
<div style="text-align: center;">
<span style="color: #990000; font-size: large;"><b>artists and roses</b></span></div>
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<o:p><a href="https://1.bp.blogspot.com/-II_GOhAsz5E/XkSEc9i3TnI/AAAAAAAK5Lg/cjk8mtV0hJgz7pddi3CPoiCn-J-R85W8QCLcBGAsYHQ/s1600/Andy%2BWarhol%2B-%2BRosa%2B-1987--USA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="616" height="320" src="https://1.bp.blogspot.com/-II_GOhAsz5E/XkSEc9i3TnI/AAAAAAAK5Lg/cjk8mtV0hJgz7pddi3CPoiCn-J-R85W8QCLcBGAsYHQ/s320/Andy%2BWarhol%2B-%2BRosa%2B-1987--USA.jpg" width="246" /></a> </o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-f0qOAJMDSbs/XkSEeM0ubDI/AAAAAAAK5Ls/wSTZzQp8tNcR4EWiQNUUS6XWaTslq0YtQCLcBGAsYHQ/s1600/claude%2Bmonet%2B-%2Bthe%2Brose%2Bbush.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="600" height="216" src="https://1.bp.blogspot.com/-f0qOAJMDSbs/XkSEeM0ubDI/AAAAAAAK5Ls/wSTZzQp8tNcR4EWiQNUUS6XWaTslq0YtQCLcBGAsYHQ/s320/claude%2Bmonet%2B-%2Bthe%2Brose%2Bbush.jpg" width="320" /></a></div>
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<o:p><b> Andy Warhol </b></o:p></div>
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<o:p>Rosa -1987--USA</o:p></div>
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<o:p><b>claude monet </b></o:p></div>
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<o:p>the rose bush - FR </o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-iF9YUMXKmQ0/XkSEePsMzMI/AAAAAAAK5Lw/q9aAgSK_C8kYTDi_WR7a1hJTfQcqbhmKwCLcBGAsYHQ/s1600/claude%2Bmonet%2Bstill%2Blife%2Broses--fr.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="773" data-original-width="1101" height="224" src="https://1.bp.blogspot.com/-iF9YUMXKmQ0/XkSEePsMzMI/AAAAAAAK5Lw/q9aAgSK_C8kYTDi_WR7a1hJTfQcqbhmKwCLcBGAsYHQ/s320/claude%2Bmonet%2Bstill%2Blife%2Broses--fr.JPG" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-tbzqa6E1l-k/XkSEen7lLzI/AAAAAAAK5L0/hoDSuWrXMrgeXo3mJumiL5lr6hgomo_HwCLcBGAsYHQ/s1600/dong%2Bseo%2Btomb%2Bof%2Bthe%2Bwresylers--china.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="1042" height="180" src="https://1.bp.blogspot.com/-tbzqa6E1l-k/XkSEen7lLzI/AAAAAAAK5L0/hoDSuWrXMrgeXo3mJumiL5lr6hgomo_HwCLcBGAsYHQ/s320/dong%2Bseo%2Btomb%2Bof%2Bthe%2Bwresylers--china.JPG" width="320" /></a></div>
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<o:p><b> claude monet </b></o:p></div>
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<o:p>still life roses FR</o:p></div>
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<o:p><b> dong seo </b></o:p></div>
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<o:p>tomb of the wresylers CHINA</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-7_Uzv5S3vWs/XkSEezRREVI/AAAAAAAK5L4/nixBwKrsLekaVvhP_IoW-2O0w1-m2WgFwCLcBGAsYHQ/s1600/edvard%2Bmunch%2Bthe%2Bathenaeum-woman%2Bwith-peonies--norway.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="396" data-original-width="600" height="211" src="https://1.bp.blogspot.com/-7_Uzv5S3vWs/XkSEezRREVI/AAAAAAAK5L4/nixBwKrsLekaVvhP_IoW-2O0w1-m2WgFwCLcBGAsYHQ/s320/edvard%2Bmunch%2Bthe%2Bathenaeum-woman%2Bwith-peonies--norway.jpg" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-hTB7xLxZauo/XkSEexGyRoI/AAAAAAAK5L8/NgCmmjtahNEWBOcLrVjtFIOOUwAjRwk8ACLcBGAsYHQ/s1600/eugene%2Bgauguin%2BBouquet%2Bde%2Broses%2B%2B1884--fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="760" height="269" src="https://1.bp.blogspot.com/-hTB7xLxZauo/XkSEexGyRoI/AAAAAAAK5L8/NgCmmjtahNEWBOcLrVjtFIOOUwAjRwk8ACLcBGAsYHQ/s320/eugene%2Bgauguin%2BBouquet%2Bde%2Broses%2B%2B1884--fr.jpg" width="320" /></a></div>
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<o:p><b> edvard munch </b></o:p></div>
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<o:p>athenaeum woman with peonies NORWAY</o:p></div>
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<o:p><b> eugene gauguin </b></o:p></div>
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<o:p>Bouquet de roses 1884- FR</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-o8GqgLBSfDE/XkSEfTbUj6I/AAAAAAAK5MA/I4Xpm8_aJFYriXOgkfiSdmI50wo7ocP6gCLcBGAsYHQ/s1600/frida-kahlo--mx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1104" height="320" src="https://1.bp.blogspot.com/-o8GqgLBSfDE/XkSEfTbUj6I/AAAAAAAK5MA/I4Xpm8_aJFYriXOgkfiSdmI50wo7ocP6gCLcBGAsYHQ/s320/frida-kahlo--mx.jpg" width="235" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-jhYlyPrqlZw/XkSEgaPDhmI/AAAAAAAK5MM/IIGGqa0lTyEizJrF6aKpwGo2MMNZSR4YQCLcBGAsYHQ/s1600/gild%25C3%25A1sio%2Bjd%2B---%2Btransvendo%2Bo%2Bcaf%25C3%25A9%2Bde%2Bivone--br.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="727" height="320" src="https://1.bp.blogspot.com/-jhYlyPrqlZw/XkSEgaPDhmI/AAAAAAAK5MM/IIGGqa0lTyEizJrF6aKpwGo2MMNZSR4YQCLcBGAsYHQ/s320/gild%25C3%25A1sio%2Bjd%2B---%2Btransvendo%2Bo%2Bcaf%25C3%25A9%2Bde%2Bivone--br.jpg" width="242" /></a></div>
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<o:p><b> frida-kahlo</b></o:p></div>
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<o:p>MX</o:p></div>
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<o:p><b> gildásio jardim</b></o:p></div>
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<o:p>transvendo o café de ivone BR</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-uvxKcsx-4rQ/XkSEfheiNEI/AAAAAAAK5ME/QPCCs-BDiK8bBZtGMIcCH3TMJMFPKR4iACLcBGAsYHQ/s1600/georgia%2Bo%2527keeffe%252C%2B_rose%2B1927--USA.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="531" data-original-width="408" height="320" src="https://1.bp.blogspot.com/-uvxKcsx-4rQ/XkSEfheiNEI/AAAAAAAK5ME/QPCCs-BDiK8bBZtGMIcCH3TMJMFPKR4iACLcBGAsYHQ/s320/georgia%2Bo%2527keeffe%252C%2B_rose%2B1927--USA.JPG" width="245" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-jeLOm6C9DkA/XkSEf_wNoOI/AAAAAAAK5MI/3u0bYBfL0kYQHqjJ5iVuicO5SbSZjEcuQCLcBGAsYHQ/s1600/georgia%2Bo%2527keeffe-%2Babstraction-white-rose%2B1927%2B--USA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="700" height="320" src="https://1.bp.blogspot.com/-jeLOm6C9DkA/XkSEf_wNoOI/AAAAAAAK5MI/3u0bYBfL0kYQHqjJ5iVuicO5SbSZjEcuQCLcBGAsYHQ/s320/georgia%2Bo%2527keeffe-%2Babstraction-white-rose%2B1927%2B--USA.jpg" width="262" /></a></div>
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<o:p><b> georgia o'keeffe </b></o:p></div>
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<o:p>rose 1927 - USA</o:p></div>
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<o:p><b> georgia o'keeffe</b></o:p></div>
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<o:p>white 1927 - USA</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-i-UeadtIZH8/XkSEgmKAd9I/AAAAAAAK5MQ/Bnh_CVwA_-EhpB-HZjhohOmC__ADPEfiACLcBGAsYHQ/s1600/gustav%2Bklimt%2B-%2BOrchard%2Bwith%2BRoses%2B%2528Rose%2BGarden%2529%252C%2B1912--austria_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="710" height="315" src="https://1.bp.blogspot.com/-i-UeadtIZH8/XkSEgmKAd9I/AAAAAAAK5MQ/Bnh_CVwA_-EhpB-HZjhohOmC__ADPEfiACLcBGAsYHQ/s320/gustav%2Bklimt%2B-%2BOrchard%2Bwith%2BRoses%2B%2528Rose%2BGarden%2529%252C%2B1912--austria_.jpg" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-LcOm3-qvF_c/XkSEc8OKLKI/AAAAAAAK5Lk/eHJiB2zDJvUULzZVPvwP56_r4pMn2WklgCLcBGAsYHQ/s1600/Gustave-Dor%25C3%25A9%2BRosa-Celeste--fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="743" data-original-width="600" height="320" src="https://1.bp.blogspot.com/-LcOm3-qvF_c/XkSEc8OKLKI/AAAAAAAK5Lk/eHJiB2zDJvUULzZVPvwP56_r4pMn2WklgCLcBGAsYHQ/s320/Gustave-Dor%25C3%25A9%2BRosa-Celeste--fr.jpg" width="258" /></a></div>
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<o:p> <b>gustav klimt </b></o:p></div>
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<o:p>Orchard with Roses 1912 AUSTRIA</o:p></div>
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<o:p> <b>Gustave </b></o:p><b>Doré </b></div>
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Rosa Celeste FR</div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-T-B3A-FsMbQ/XkSEn6F8cFI/AAAAAAAK5NM/OuOm3pbTB5UwN8d2Cc9cfMyj_Rwz8nHJgCLcBGAsYHQ/s1600/henri%2Bmatisse%252C%2BSafrano%2BRoses%2Bat%2Bthe%2BWindow%252C%2B1925--fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="914" height="182" src="https://1.bp.blogspot.com/-T-B3A-FsMbQ/XkSEn6F8cFI/AAAAAAAK5NM/OuOm3pbTB5UwN8d2Cc9cfMyj_Rwz8nHJgCLcBGAsYHQ/s320/henri%2Bmatisse%252C%2BSafrano%2BRoses%2Bat%2Bthe%2BWindow%252C%2B1925--fr.jpg" width="320" /></a></div>
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<o:p><a href="https://1.bp.blogspot.com/-LUSq91GyHqM/XkSEhEvMQ9I/AAAAAAAK5MU/GNy-UfORumwuGsYzy7wtTOtEYEFOWVrMwCLcBGAsYHQ/s1600/henri%2Brousseau-Bonne%2BF%25C3%25AAte%2B%2528Happy%2BBirthday%2529%252C%2B1892--fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="635" data-original-width="461" height="320" src="https://1.bp.blogspot.com/-LUSq91GyHqM/XkSEhEvMQ9I/AAAAAAAK5MU/GNy-UfORumwuGsYzy7wtTOtEYEFOWVrMwCLcBGAsYHQ/s320/henri%2Brousseau-Bonne%2BF%25C3%25AAte%2B%2528Happy%2BBirthday%2529%252C%2B1892--fr.jpg" width="231" /></a> </o:p></div>
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<o:p><b>henri matisse</b></o:p></div>
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<o:p>Safrano Roses at the Window, 1925 FR</o:p></div>
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<o:p><b>henri rousseau</b></o:p></div>
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<o:p>Happy Birthday, 1892 FR</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-Ef-GCe4kbrk/XkSEhtury3I/AAAAAAAK5MY/qw39DJsPwcU5oPUH3VO_Hb9kdW5E0xxFwCLcBGAsYHQ/s1600/joan%2Bmir%25C3%25B3_fourmi%2Brose%2B1978--es-001.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="815" height="240" src="https://1.bp.blogspot.com/-Ef-GCe4kbrk/XkSEhtury3I/AAAAAAAK5MY/qw39DJsPwcU5oPUH3VO_Hb9kdW5E0xxFwCLcBGAsYHQ/s320/joan%2Bmir%25C3%25B3_fourmi%2Brose%2B1978--es-001.JPG" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-8kJ3y1eEMxA/XkSEc6VF8gI/AAAAAAAK5Lc/5HVwm8D1gzULEjX0MmCgKKh834ar9veaQCLcBGAsYHQ/s1600/Joseph%2BCusimano%2B%2Brose--ca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="568" height="256" src="https://1.bp.blogspot.com/-8kJ3y1eEMxA/XkSEc6VF8gI/AAAAAAAK5Lc/5HVwm8D1gzULEjX0MmCgKKh834ar9veaQCLcBGAsYHQ/s320/Joseph%2BCusimano%2B%2Brose--ca.jpg" width="320" /></a></div>
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<o:p><b> joan miró</b></o:p></div>
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<o:p>fourmi rose 1978 ES</o:p></div>
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<o:p> <b>Joseph Cusimano </b></o:p></div>
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<o:p>rose CA</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-VdkRuichz3E/XkSEiCCo43I/AAAAAAAK5Mc/HAk9zBJqBxsaB-kZnL8GY800hVlYnwoaQCLcBGAsYHQ/s1600/leonardo%2Bda%2Bvinci%2Brose--it.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="454" height="320" src="https://1.bp.blogspot.com/-VdkRuichz3E/XkSEiCCo43I/AAAAAAAK5Mc/HAk9zBJqBxsaB-kZnL8GY800hVlYnwoaQCLcBGAsYHQ/s320/leonardo%2Bda%2Bvinci%2Brose--it.jpg" width="317" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-l2KQPlQf5Ag/XkSEiqrZL4I/AAAAAAAK5Mg/nXUc0c1zhZ4UJZVVIDY7pTd6mvrimJw3QCLcBGAsYHQ/s1600/man%2Bray%2Brose%2B1929--USA.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1226" height="320" src="https://1.bp.blogspot.com/-l2KQPlQf5Ag/XkSEiqrZL4I/AAAAAAAK5Mg/nXUc0c1zhZ4UJZVVIDY7pTd6mvrimJw3QCLcBGAsYHQ/s320/man%2Bray%2Brose%2B1929--USA.JPG" width="245" /></a></div>
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<o:p><b> leonardo da vinci </b></o:p></div>
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<o:p>rose IT</o:p></div>
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<o:p><b> man ray </b></o:p></div>
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<o:p>rose 1929 -USA</o:p></div>
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<o:p><a href="https://1.bp.blogspot.com/-lQTNA32BuOw/XkSEjh91k6I/AAAAAAAK5Mo/lPMwF7Mm1cYZ3l2TfxGp_4j3VUmAFPdUQCLcBGAsYHQ/s1600/marc%2Bchagall-blue%2Brose--ru.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="463" height="320" src="https://1.bp.blogspot.com/-lQTNA32BuOw/XkSEjh91k6I/AAAAAAAK5Mo/lPMwF7Mm1cYZ3l2TfxGp_4j3VUmAFPdUQCLcBGAsYHQ/s320/marc%2Bchagall-blue%2Brose--ru.jpg" width="206" /></a> </o:p></div>
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<o:p> </o:p><b>marc chagall</b></div>
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<o:p>the woman and the-roses 1929 RU</o:p></div>
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<o:p><b>marc chagall</b></o:p></div>
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<o:p>blue rose RU</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-1RvaOYkxspg/XkSEjjjjplI/AAAAAAAK5Ms/DWcEZhJ6QlA2aaBSdWksxCqrqM2gUuPMgCLcBGAsYHQ/s1600/mauritis%2Bescher%2B1961-flower--holand.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="694" data-original-width="837" height="265" src="https://1.bp.blogspot.com/-1RvaOYkxspg/XkSEjjjjplI/AAAAAAAK5Ms/DWcEZhJ6QlA2aaBSdWksxCqrqM2gUuPMgCLcBGAsYHQ/s320/mauritis%2Bescher%2B1961-flower--holand.JPG" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-FJ_7zD07cQ8/XkSEkTnxzkI/AAAAAAAK5Mw/2O03oepuZbwftuw0KBTx2sJ11X_6U4YeACLcBGAsYHQ/s1600/michelangelo%2Bcaravaggio__Boy_with_a_Carafe_of_Roses_1593--it.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-FJ_7zD07cQ8/XkSEkTnxzkI/AAAAAAAK5Mw/2O03oepuZbwftuw0KBTx2sJ11X_6U4YeACLcBGAsYHQ/s320/michelangelo%2Bcaravaggio__Boy_with_a_Carafe_of_Roses_1593--it.jpg" width="228" /></a></div>
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<o:p><b> mauritis escher </b></o:p></div>
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<o:p>1961, flower - HOLAND</o:p></div>
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<o:p><b>michelangelo caravaggio</b></o:p></div>
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<o:p>Boy with a carafe of roses, 1593 IT</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-m_Z9-GlM7l0/XkSEkkiV7CI/AAAAAAAK5M0/CpmxGaaXAQkSP16C2CTMMKMTnLmPkDfJACLcBGAsYHQ/s1600/octaviano%2Bfiorescu_TOGETHER%252C%2Bca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="800" height="245" src="https://1.bp.blogspot.com/-m_Z9-GlM7l0/XkSEkkiV7CI/AAAAAAAK5M0/CpmxGaaXAQkSP16C2CTMMKMTnLmPkDfJACLcBGAsYHQ/s320/octaviano%2Bfiorescu_TOGETHER%252C%2Bca.jpg" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-YH4PdxKwQTM/XkSElTm1n-I/AAAAAAAK5M4/aUeqnTDy7xoK4KnODt-Vvm9KgDBwRAwbgCLcBGAsYHQ/s1600/pablo%2Bpicasso%2BThe%2BPeasants%2B1906--es.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="576" height="320" src="https://1.bp.blogspot.com/-YH4PdxKwQTM/XkSElTm1n-I/AAAAAAAK5M4/aUeqnTDy7xoK4KnODt-Vvm9KgDBwRAwbgCLcBGAsYHQ/s320/pablo%2Bpicasso%2BThe%2BPeasants%2B1906--es.jpg" width="187" /></a></div>
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<o:p><b> octaviano fiorescu</b></o:p></div>
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<o:p>Together, CA</o:p></div>
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<o:p><b> pablo picasso </b></o:p></div>
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<o:p>The Peasants 1906 - ES</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-DI3-vouOU7o/XkSElTqQCMI/AAAAAAAK5M8/NjRhaLGkztYgv9mw_ONQ7VGyeRL9rUodgCLcBGAsYHQ/s1600/paul%2Bcezanne%2Brose%2Bbush--fr.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="558" height="320" src="https://1.bp.blogspot.com/-DI3-vouOU7o/XkSElTqQCMI/AAAAAAAK5M8/NjRhaLGkztYgv9mw_ONQ7VGyeRL9rUodgCLcBGAsYHQ/s320/paul%2Bcezanne%2Brose%2Bbush--fr.JPG" width="244" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-_ey5PhArJpM/XkSEmFsdjUI/AAAAAAAK5NA/3hnzadjBGuk2tbb6aO7Ch9V47kvc6vL-ACLcBGAsYHQ/s1600/paul%2Bgauguin%2B%257E%2B1890%2B%257E%2BRose%2Band%2BStatuette--fr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="574" height="320" src="https://1.bp.blogspot.com/-_ey5PhArJpM/XkSEmFsdjUI/AAAAAAAK5NA/3hnzadjBGuk2tbb6aO7Ch9V47kvc6vL-ACLcBGAsYHQ/s320/paul%2Bgauguin%2B%257E%2B1890%2B%257E%2BRose%2Band%2BStatuette--fr.jpg" width="229" /></a></div>
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<o:p><b> paul cézanne </b></o:p></div>
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<o:p>rose bush - FR</o:p></div>
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<o:p><b> paul gauguin </b></o:p></div>
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<o:p>1890 Rose and Statuette- FR</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-SKWb61eamtM/XkSEmEcXXNI/AAAAAAAK5NE/5eLYu-XHZA8I3YCVmuTUZ_evQ7PazBWiACLcBGAsYHQ/s1600/paul%2Bklee%2Bwind%2Brose%2B1922--swiss.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="615" height="298" src="https://1.bp.blogspot.com/-SKWb61eamtM/XkSEmEcXXNI/AAAAAAAK5NE/5eLYu-XHZA8I3YCVmuTUZ_evQ7PazBWiACLcBGAsYHQ/s320/paul%2Bklee%2Bwind%2Brose%2B1922--swiss.JPG" width="320" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-40o8gJWPFhY/XkSEm-M408I/AAAAAAAK5NI/SZBF_-WIRscvEp-KHzd5NtC7xh-4rerpwCLcBGAsYHQ/s1600/rafal%2Bolbinski%2Btales%2Bof%2Blove%2B2007--poland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="528" height="320" src="https://1.bp.blogspot.com/-40o8gJWPFhY/XkSEm-M408I/AAAAAAAK5NI/SZBF_-WIRscvEp-KHzd5NtC7xh-4rerpwCLcBGAsYHQ/s320/rafal%2Bolbinski%2Btales%2Bof%2Blove%2B2007--poland.jpg" width="241" /></a></div>
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<o:p><b> paul klee </b></o:p></div>
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<o:p>wind rose 1922 - SWISS</o:p></div>
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<o:p><b> rafal olbinski </b></o:p></div>
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<o:p>tales of love 2007 - POLAND</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-cbB2kJaucAU/XkSEnP15DQI/AAAAAAAK5Ng/kEH8t5veF6gwSqm2p_6LI0sHeQ2iagOEACLcBGAsYHQ/s1600/salvador%2Bdali-meditative%2B1959%252C%2Bes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="680" height="320" src="https://1.bp.blogspot.com/-cbB2kJaucAU/XkSEnP15DQI/AAAAAAAK5Ng/kEH8t5veF6gwSqm2p_6LI0sHeQ2iagOEACLcBGAsYHQ/s320/salvador%2Bdali-meditative%2B1959%252C%2Bes.jpg" width="223" /></a></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-XOK0t8iF3-o/XkSEoxrjfqI/AAAAAAAK5NQ/fRJEQl4O1iAhF3XrL2U2YgwIi1kuYWzoQCLcBGAsYHQ/s1600/steve%2Bkin%2B--%2Blove%2Band%2Brose--s%2Bkorea-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-XOK0t8iF3-o/XkSEoxrjfqI/AAAAAAAK5NQ/fRJEQl4O1iAhF3XrL2U2YgwIi1kuYWzoQCLcBGAsYHQ/s320/steve%2Bkin%2B--%2Blove%2Band%2Brose--s%2Bkorea-001.jpg" width="320" /></a></div>
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<o:p><b> salvador dalí</b></o:p></div>
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<o:p>meditative 1959, ES</o:p></div>
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<o:p><b> steve kin </b></o:p></div>
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<o:p>love and rose - S. KOREA</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-y_jFGYPZnSo/XkSEpLuUYOI/AAAAAAAK5NU/n2UXU5y0HssLcwIs53PSW5AkouAtLRfzQCLcBGAsYHQ/s1600/teresa%2Bbernard-%2Byellow-Rose-Texas%2Bmx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1593" data-original-width="1600" height="318" src="https://1.bp.blogspot.com/-y_jFGYPZnSo/XkSEpLuUYOI/AAAAAAAK5NU/n2UXU5y0HssLcwIs53PSW5AkouAtLRfzQCLcBGAsYHQ/s320/teresa%2Bbernard-%2Byellow-Rose-Texas%2Bmx.jpg" width="320" /></a></div>
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<o:p><a href="https://1.bp.blogspot.com/-yRGxVy-M0W4/XkSEqePKN1I/AAAAAAAK5Nc/jOZ6ATdQuGEMiEcS_6l2kT-5af2GIvyAgCLcBGAsYHQ/s1600/vincent%2Bvan%2Bgogh_White_Roses-1890--holand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1235" data-original-width="1600" height="246" src="https://1.bp.blogspot.com/-yRGxVy-M0W4/XkSEqePKN1I/AAAAAAAK5Nc/jOZ6ATdQuGEMiEcS_6l2kT-5af2GIvyAgCLcBGAsYHQ/s320/vincent%2Bvan%2Bgogh_White_Roses-1890--holand.jpg" width="320" /></a> </o:p></div>
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<o:p><b> teresa bernard </b></o:p></div>
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<o:p>yellow Rose Texas -- MX</o:p></div>
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<o:p><b> vincent van gogh</b></o:p></div>
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<o:p>White roses, 1890 - HOLAND</o:p></div>
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<o:p> </o:p><a href="https://1.bp.blogspot.com/-9iijDB12hAs/XkSEqDRAwZI/AAAAAAAK5NY/lTZxcdRIcZQDVj_ac-asykg684hTgeU2ACLcBGAsYHQ/s1600/wayne%2Bbrant%2Blady%2Bin%2Bred--USA.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="845" data-original-width="593" height="320" src="https://1.bp.blogspot.com/-9iijDB12hAs/XkSEqDRAwZI/AAAAAAAK5NY/lTZxcdRIcZQDVj_ac-asykg684hTgeU2ACLcBGAsYHQ/s320/wayne%2Bbrant%2Blady%2Bin%2Bred--USA.JPG" width="224" /></a></div>
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<o:p><b> Vladimir Kush </b></o:p></div>
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<o:p>rose awaiting - RU</o:p></div>
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<o:p><b> wayne brant </b></o:p></div>
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<o:p>lady in red - USA</o:p></div>
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more themes:</div>
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<a href="https://www.facebook.com/groups/magritterene/photos/?filter=albums">https://www.facebook.com/groups/magritterene/photos/?filter=albums</a></div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-81920227687983978702020-04-02T20:16:00.001-04:002020-04-02T20:18:30.291-04:00PANDEMIC<div dir="ltr" style="text-align: left;" trbidi="on">
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Tempo de coronavirus<br />
de distância social<br />
de piração individual...<br />
<br />
O que nos narra a arte?</div>
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<div class="article-content" style="background-color: white; box-sizing: border-box; font-family: sans-serif;">
<div class="quote article-aside" style="background: url("https://www.euro.who.int/__data/assets/image/0007/200203/quote-icon.png?v=0.1.1") 6px top no-repeat; border-left: 1px solid rgb(226, 226, 226); box-sizing: border-box; clear: both; float: right; margin: 0px 0px 1em 1em; padding-left: 12px; padding-top: 2.3em; position: relative; width: 262px; z-index: 1;">
<span style="color: #073763;">The world is ill-prepared to respond to a severe influenza pandemic or to any similarly global, sustained and threatening public-health emergency.</span><br />
<div class="reference" style="box-sizing: border-box; max-width: 100%; padding: 0px; position: relative; text-align: right; width: 249px;">
<span style="color: #073763;">International Health Regulations Review Committee (2011)</span></div>
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<a href="http://www.euro.who.int/en/health-topics/communicable-diseases/influenza/pandemic-influenza/pandemic-influenza-preparedness-pip-framework/pandemic-quote"><span style="font-size: xx-small;">http://www.euro.who.int/en/health-topics/communicable-diseases/</span></a></div>
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Love in the time of coronavirus</div>
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<a href="https://www.facebook.com/groups/solidarityshows/">https://www.facebook.com/groups/solidarityshows/</a></div>
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<span style="color: #990000; font-size: large;"><b>CLASSICAL</b></span></div>
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<span style="font-size: xx-small;"><a href="https://1.bp.blogspot.com/-In9g6XeE_Lk/XoZ3OLmkCWI/AAAAAAAK80A/ZBPyyd2TpIIf6nwcAH2AZBnTT3ISWbgsACLcBGAsYHQ/s1600/Louis%2BPasteur%2B%25281822-95%2529%2Bin%2Bhis%2BLaboratory%252C%2B1885%2B%2528oil%2Bon%2Bcanvas%2529%252C%2BEdelfelt%252C%2BAlbert%2BGustaf%2BAristides.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="772" data-original-width="632" height="320" src="https://1.bp.blogspot.com/-In9g6XeE_Lk/XoZ3OLmkCWI/AAAAAAAK80A/ZBPyyd2TpIIf6nwcAH2AZBnTT3ISWbgsACLcBGAsYHQ/s320/Louis%2BPasteur%2B%25281822-95%2529%2Bin%2Bhis%2BLaboratory%252C%2B1885%2B%2528oil%2Bon%2Bcanvas%2529%252C%2BEdelfelt%252C%2BAlbert%2BGustaf%2BAristides.JPG" width="261" /></a></span></div>
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<span style="font-size: xx-small;"><span style="color: #d71920; font-family: "kite one"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR; mso-font-kerning: 18.0pt;"> </span><span style="color: #d71920; font-family: "kite one";">Louis Pasteur (1822-95) </span></span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">in his Laboratory, 1885 </span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Edelfelt, Albert Gustaf Aristides</span></div>
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<span style="font-size: xx-small;"><span style="color: #d71920; font-family: "kite one"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR; mso-font-kerning: 18.0pt;"> </span><span style="color: #d71920; font-family: "kite one";">Edvard Munch</span></span></div>
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<span style="font-size: xx-small;"><span style="color: #d71920; font-family: "kite one";">Self-Portrait with the Spanish Flu 1919</span></span></div>
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<span style="font-size: xx-small;"><span style="color: #d71920; font-family: "kite one";"> </span><a href="https://1.bp.blogspot.com/-iqHB1uShyNQ/XoZ3OkV38rI/AAAAAAAK80E/EuE8qlX1s60B4wo3DGy0mvxJIKbuD4nUwCLcBGAsYHQ/s1600/The%2BScream%2B%25E2%2580%2593%2BEdvard%2BMunch%2BPainting%2B%25281983%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1052" data-original-width="813" height="320" src="https://1.bp.blogspot.com/-iqHB1uShyNQ/XoZ3OkV38rI/AAAAAAAK80E/EuE8qlX1s60B4wo3DGy0mvxJIKbuD4nUwCLcBGAsYHQ/s320/The%2BScream%2B%25E2%2580%2593%2BEdvard%2BMunch%2BPainting%2B%25281983%2529.jpg" width="247" /></a></span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Death Of Marat, 1793 </span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">by Jacques-Louis David</span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Edvard Munch </span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">The scream - 1983</span></div>
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<span style="font-size: xx-small;"><span style="color: #d71920; font-family: "kite one";"> </span><a href="https://1.bp.blogspot.com/-ETTpOAoo4AA/XoZ3N1X4nVI/AAAAAAAK8z8/GXx0BHsZjJISmPQ2K4EGCXBJU7vQI6OUQCLcBGAsYHQ/s1600/Life%2B%2526%2BDeath%2Bby%2BGustav%2BKlimt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="884" height="289" src="https://1.bp.blogspot.com/-ETTpOAoo4AA/XoZ3N1X4nVI/AAAAAAAK8z8/GXx0BHsZjJISmPQ2K4EGCXBJU7vQI6OUQCLcBGAsYHQ/s320/Life%2B%2526%2BDeath%2Bby%2BGustav%2BKlimt.jpg" width="320" /></a></span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Life & Death </span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">by Gustav Klimt</span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Dance of the Rats, 1690 </span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">by Ferdinand van Kessel</span></div>
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<span style="color: #990000; font-size: large;"><b>RENÉ MAGRITTE</b></span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-AuOzVVFk3D4/XoZ6fN8Z0UI/AAAAAAAK80c/uv_bwo2iyscvhg43AivZ4TIRbigPqJlPQCLcBGAsYHQ/s1600/mask%2Bof%2Blife-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="1000" height="270" src="https://1.bp.blogspot.com/-AuOzVVFk3D4/XoZ6fN8Z0UI/AAAAAAAK80c/uv_bwo2iyscvhg43AivZ4TIRbigPqJlPQCLcBGAsYHQ/s320/mask%2Bof%2Blife-.jpg" width="320" /></a></div>
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<a href="https://1.bp.blogspot.com/-lE4ihnsaz10/XoZ6gCTytzI/AAAAAAAK80s/wZXxA858JvEllugvzKJ2vOIzoi0wWem9ACLcBGAsYHQ/s1600/smile%2Bof%2Bdemon%2B1966.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="808" data-original-width="596" height="320" src="https://1.bp.blogspot.com/-lE4ihnsaz10/XoZ6gCTytzI/AAAAAAAK80s/wZXxA858JvEllugvzKJ2vOIzoi0wWem9ACLcBGAsYHQ/s320/smile%2Bof%2Bdemon%2B1966.JPG" width="236" /></a><span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span></div>
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<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">mask of life</span></div>
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<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
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<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">smile of demon 1966</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
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</tbody></table>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;">
<tbody>
<tr>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-9H3WHezCehQ/XoZ6f2gcF8I/AAAAAAAK80k/5F7-6KqUrT8iH59j8CX8MkY7FnJifuKDACLcBGAsYHQ/s1600/musings%2Bof%2Ba%2Bsolitary%2Bwalker%2B1926.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1198" height="320" src="https://1.bp.blogspot.com/-9H3WHezCehQ/XoZ6f2gcF8I/AAAAAAAK80k/5F7-6KqUrT8iH59j8CX8MkY7FnJifuKDACLcBGAsYHQ/s320/musings%2Bof%2Ba%2Bsolitary%2Bwalker%2B1926.JPG" width="239" /></a></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/-Gc_a4YBVd9Q/XoZ6fEUwc3I/AAAAAAAK80g/7MfqeuwLBq4GxR9-IJNVx5vsUMqCUJ9uwCLcBGAsYHQ/s1600/dangerous%2Bconnections_1936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1545" data-original-width="1065" height="320" src="https://1.bp.blogspot.com/-Gc_a4YBVd9Q/XoZ6fEUwc3I/AAAAAAAK80g/7MfqeuwLBq4GxR9-IJNVx5vsUMqCUJ9uwCLcBGAsYHQ/s320/dangerous%2Bconnections_1936.jpg" width="220" /></a><span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span></div>
</td>
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<tr>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">musings of a solitary walker 1926</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
</td>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">dangerous connections 1936</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
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</tr>
</tbody></table>
<div class="MsoNormal" style="background: white; mso-outline-level: 1; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;">
<tbody>
<tr>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/-dbtmUiUqWp8/XoZ6f9drvKI/AAAAAAAK80o/AIODP0Q_pykAjllLc7gwChAEM-9QWygYACLcBGAsYHQ/s1600/share%2Bof%2Bfire%2B1947.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="414" height="320" src="https://1.bp.blogspot.com/-dbtmUiUqWp8/XoZ6f9drvKI/AAAAAAAK80o/AIODP0Q_pykAjllLc7gwChAEM-9QWygYACLcBGAsYHQ/s320/share%2Bof%2Bfire%2B1947.jpg" width="264" /></a><span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-CUHqkw1Visc/XoZ6gmwnosI/AAAAAAAK800/mtsP8oazgwErFhqExhQfEsQWwuu5IQEzQCLcBGAsYHQ/s1600/veneral%2Bdisease%2B1918.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="273" src="https://1.bp.blogspot.com/-CUHqkw1Visc/XoZ6gmwnosI/AAAAAAAK800/mtsP8oazgwErFhqExhQfEsQWwuu5IQEzQCLcBGAsYHQ/s1600/veneral%2Bdisease%2B1918.jpg" /></a></div>
</td>
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<tr>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">share of fire 1947</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
</td>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">veneral disease 1918</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal" style="background: white; mso-outline-level: 1; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;"><tbody>
<tr><td style="border-bottom: 1pt solid windowtext; border-image: initial; border-left: none; border-right: none; border-top: none; padding: 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-StRCvhlQaqY/XoZ6gtLks9I/AAAAAAAK80w/6r34Pr1b5EULUzMuQ2w0l0ueyRAo7HjkQCLcBGAsYHQ/s1600/tired%2Bto%2Blive%2B1927.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="1600" height="222" src="https://1.bp.blogspot.com/-StRCvhlQaqY/XoZ6gtLks9I/AAAAAAAK80w/6r34Pr1b5EULUzMuQ2w0l0ueyRAo7HjkQCLcBGAsYHQ/s320/tired%2Bto%2Blive%2B1927.jpg" width="320" /></a></div>
</td><td style="border-bottom: 1pt solid windowtext; border-image: initial; border-left: none; border-right: none; border-top: none; padding: 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-ANHokC1uWM8/XoZ6fKBOYAI/AAAAAAAK80Y/bpP9OfAFBb8bO2LYbGkYxU-I9CZGL6JowCLcBGAsYHQ/s1600/beyond%2B1939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="377" height="320" src="https://1.bp.blogspot.com/-ANHokC1uWM8/XoZ6fKBOYAI/AAAAAAAK80Y/bpP9OfAFBb8bO2LYbGkYxU-I9CZGL6JowCLcBGAsYHQ/s320/beyond%2B1939.jpg" width="210" /></a></div>
</td></tr>
<tr><td style="border: none; padding: 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">tired to live 1927</span></div>
<div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
</td><td style="border: none; padding: 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">beyond 1939</span></div>
<div class="MsoNormal">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">~ René Magritte</span></div>
</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="background: white; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="color: #990000; font-size: large;"><b>YEAR 2020 - COVID-19</b></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;">
<tbody>
<tr>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/--AsSpmHL4yw/XoZ8XeL8lcI/AAAAAAAK81U/XF6ZivLuuG412jl_rs6YI-AY559CDRSGACLcBGAsYHQ/s1600/3ceania-AU-John%2BShakespeare-coronavirus%2B2020%2B%2528cartum%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="213" src="https://1.bp.blogspot.com/--AsSpmHL4yw/XoZ8XeL8lcI/AAAAAAAK81U/XF6ZivLuuG412jl_rs6YI-AY559CDRSGACLcBGAsYHQ/s320/3ceania-AU-John%2BShakespeare-coronavirus%2B2020%2B%2528cartum%2529.jpg" width="320" /></a><span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/-tBhgnkRl8t4/XoZ8XaHW6kI/AAAAAAAK81Q/IjsGf_aHotwaw-aqgrHYE4zRvE9ep6ciQCLcBGAsYHQ/s1600/4africa-uganda-arnold%2BBirungi%2B-%2Bmy%2Blittle%2Bsis%2B2020%2B%2528%25C3%25B3leo%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1417" height="320" src="https://1.bp.blogspot.com/-tBhgnkRl8t4/XoZ8XaHW6kI/AAAAAAAK81Q/IjsGf_aHotwaw-aqgrHYE4zRvE9ep6ciQCLcBGAsYHQ/s320/4africa-uganda-arnold%2BBirungi%2B-%2Bmy%2Blittle%2Bsis%2B2020%2B%2528%25C3%25B3leo%2529.jpg" width="283" /></a></div>
</td>
</tr>
<tr>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Oceania-AU</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">John Shakespeare-coronavirus 2020</span></div>
</td>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Africa-Uganda</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Arnold Birungi - my little sis 2020</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;"><br /></span></div>
</td>
</tr>
</tbody></table>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;">
<tbody>
<tr>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-fDgw6ogpzhU/XoZ8X2TV4BI/AAAAAAAK81Y/I8_LokLC4Fs2nBlatP412BI3jAljK8ajACLcBGAsYHQ/s1600/5america-US-ILham%2BBadreddine%2BMahfouz-isolation%2B2020%2B%2528escultura%2Bbronze%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="540" height="320" src="https://1.bp.blogspot.com/-fDgw6ogpzhU/XoZ8X2TV4BI/AAAAAAAK81Y/I8_LokLC4Fs2nBlatP412BI3jAljK8ajACLcBGAsYHQ/s320/5america-US-ILham%2BBadreddine%2BMahfouz-isolation%2B2020%2B%2528escultura%2Bbronze%2529.jpg" width="180" /></a></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> </span></span><a href="https://1.bp.blogspot.com/-VVpIDmviEc0/XoZ8X-G2TEI/AAAAAAAK81c/Uid6_nQyvsA8ZNx2G8jSbfBt8-2c7_hXQCLcBGAsYHQ/s1600/6asia-JP-Hiroshi%2BAtobe%25E2%2580%258E%252C%2Bthe%2Bscene%2Bwe%2Bnever%2Bviewed%2B2020%2B%2528arte%2Bdigital%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="670" height="320" src="https://1.bp.blogspot.com/-VVpIDmviEc0/XoZ8X-G2TEI/AAAAAAAK81c/Uid6_nQyvsA8ZNx2G8jSbfBt8-2c7_hXQCLcBGAsYHQ/s320/6asia-JP-Hiroshi%2BAtobe%25E2%2580%258E%252C%2Bthe%2Bscene%2Bwe%2Bnever%2Bviewed%2B2020%2B%2528arte%2Bdigital%2529.jpg" width="223" /></a></div>
</td>
</tr>
<tr>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> A</span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">merica-USA</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Lham Badreddine Mahfouz</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">isolation 2020 (bronze)</span></div>
</td>
<td style="border: none; mso-border-top-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one";"><span style="font-size: xx-small;"> A</span></span><span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">sia-Japan</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">Hiroshi Atobe</span></div>
<div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<span style="color: #d71920; font-family: "kite one"; font-size: xx-small;">the scene we never viewed 2020 (digital)</span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal" style="background: white; mso-outline-level: 1; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="border-collapse: collapse; border: none; text-align: center;">
<tbody>
<tr>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/-_wyHYW2yQ-k/XoZ8YPzYvJI/AAAAAAAK81g/bKwvIofA0iQDfaLIiwh00HQ74Ifm7bX2ACLcBGAsYHQ/s1600/7europa-IT-venice_san_giorgio_maggiore_mmxx_by_dchernov%2B2020%2B%2528l%25C3%25A1pis%2Be%2Bcarv%25C3%25A3o%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="889" data-original-width="899" height="316" src="https://1.bp.blogspot.com/-_wyHYW2yQ-k/XoZ8YPzYvJI/AAAAAAAK81g/bKwvIofA0iQDfaLIiwh00HQ74Ifm7bX2ACLcBGAsYHQ/s320/7europa-IT-venice_san_giorgio_maggiore_mmxx_by_dchernov%2B2020%2B%2528l%25C3%25A1pis%2Be%2Bcarv%25C3%25A3o%2529.jpg" width="320" /></a></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 212.35pt;" valign="top" width="283"><div class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<a href="https://1.bp.blogspot.com/-ArNlxX2HZvQ/XoZ8YMej3wI/AAAAAAAK81k/U2chYem66eArQnTSkiilG6V21aOvPfdawCLcBGAsYHQ/s1600/8__natureza%2B%2526%2Bhumano%2B--%2BOglen%2BSeirim%252C%2Bpandemic%2B2020%2B%2528%25C3%25B3leo%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="564" height="320" src="https://1.bp.blogspot.com/-ArNlxX2HZvQ/XoZ8YMej3wI/AAAAAAAK81k/U2chYem66eArQnTSkiilG6V21aOvPfdawCLcBGAsYHQ/s320/8__natureza%2B%2526%2Bhumano%2B--%2BOglen%2BSeirim%252C%2Bpandemic%2B2020%2B%2528%25C3%25B3leo%2529.jpg" width="269" /></a></div>
</td>
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<span style="color: #0b5394; font-size: x-large;"><b>H O P E</b></span><br />
<span style="color: #0b5394; font-size: x-large;"><b>ESPERANÇA</b></span><br />
*</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-11074194568257555572020-02-15T20:25:00.001-04:002020-02-15T20:25:44.184-04:00ART OF CONVERSATION René Magritte<div dir="ltr" style="text-align: left;" trbidi="on">
ART OF CONVERSATION<br />
René Magritte<br />
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art of conversation 1949</div>
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art of conversation 1950</div>
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art of conversation 1962</div>
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art of conversation 1963</div>
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Christian Andersson 3D sculpture<br />INSPIRATION on art of conversation 1950</div>
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Christian Andersson 3D sculpture<br />INSPIRATION on art of conversation 1950</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-36075965931273209582020-02-15T20:18:00.002-04:002020-02-15T20:19:12.953-04:00scheherazade René Magritte<div dir="ltr" style="text-align: left;" trbidi="on">
scheherazade<br />
René Magritte<br />
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-71278671689317798032020-02-12T00:30:00.000-04:002020-02-12T00:31:00.354-04:00Magritte's Later Years Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Magritte's Later Years Gallery</b><br />By 1961 Rene Magritte was an internationally acclaimed artist. He was identified by his paintings of bowler hated men, a personae of his hero Fantamas that he created when he was a young radical. Magritte still considered himself to be a secret agent, a mysterious figure identified by his dark attire and bowler hat. His hobbies were amateur cinematography and chess, and he enjoyed taking walks with his wife and his dog, Lou-Lou. Now 63 he said, "I'm getting older; I get toothaches and headaches, and there's nothing I can do about it." Magritte lived in a comfortable unbohemian house near Brussels, quietly damning a good deal of what other artists were doing. Although famous, his paintings did not command the high prices in the 1960s as some other leading surrealist artists like Dali. </div>
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In 1961 he continued doing murals and designed a mural for Palais de Crogress titled "Les Barracade Mystereouses." Around this time he began doing limited editions lithographs. With sales from his lithographs and paintings he was finally financially secure he said, "I have everything I need." Magritte painted regularly until his death. Around 1963 he discovered he had cancer and his health began to fail. He traveled with Georgette spending some time in Ischia, Italy, in April 1965. Despite his health problems in 1965, the Magrittes took their first trip to the U.S.A. on the occasion of the retrospective held at the Museum of Modern Art of New York.<br /><br />Magritte refered to his work of this latest period (1958-1965) as his 'found children'. The iconographic elements, between them, in a reverting manner, finished by binding everything together in the last ten years of Magritte's life. In 1966 he spends Christmas and New Year's Eve in Cannes, with his beloved Georgette, and in 1967, he has a retrospective in Rotterdam, Holland, and an exhibit at the Iolas Gallery in Paris. In early 1967, after a personal exhibition in Paris, René Magritte undertook the making of eight sculptures. But he didn't have the time to see his works cast into bronze; he indeed died of pancreatic cancer at his home on August 15, 1967, eleven days after the opening of a retrospective of his works at the Boijmans-van Beuningen Museum of Rotterdam.</div>
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Rene Magritte, two months before his death, wrote Sarane Alexandrian a splendid letter in which he said: "I conceive of the art of painting as the science of juxtaposing colours in such a way that their actual appearance disappears and lets a poetic image emerge. . . . There are no "subjects", no "themes" in my painting. It is a matter of imagining images whose poetry restores to what is known that which is absolutely unknown and unknowable."</div>
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Magritte continued painting until 1967, the year of his death, leaving an unfinished painting (below- see last painting) on his easel. The work had been commissioned by a young German collector from Cologne, who wanted "something in the nature of Empire of the Lights; he was destined never to take possession of the picture he had ordered. The uncompleted painting would remain on its easel in the painter's house in Brussels until the death of Georgette Magritte in 1986.</div>
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Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist and conceptual art. In 2005 he came 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.<br /><br />The Beatle's Apple logo was directly inspired by Magritte. In an interview with Johan Ral in 1993, Paul McCartney remembers: " I really loved Magritte. We were discovering Magritte in the sixties, just through magazines and things. And we just loved his sense of humour. And when we heard that he was a very ordinary bloke who used to paint from nine to one o'clock, and with his bowler hat, it became even more intriguing. Robert used to look around for pictures for me, because he knew I liked him. It was so cheap then, it's terrible to think how cheap they were. But anyway, we just loved him ... One day he brought this painting to my house. We were out in the garden, it was a summer's day. And he didn't want to disturb us, I think we were filming or something. So he left this picture of Magritte. It was an apple - and he just left it on the dining room table and he went. It just had written across it "Au revoir", on this beautiful green apple. And I tought that was like a great thing to do. He knew I'd love it and he knew I'd want it and I'd pay him later. [...] So it was like wow! What a great conceptual thing to do, you know. And this big green apple, which I still have now, became the inspiration for the logo. And then we decided to cut it in half for the B-side!"<br /><br /><img alt="" height="92" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20jeu%20de%20mourre.jpg" style="border: 0px;" width="125" /></div>
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The painting (black and white photo above) which became the inspiration for the Apple logo is actually called Le jeu de mourre (The game of mora) and dates from 1966. The title was found by Magritte's friend, the Belgian poet Louis Scutenaire, and is probably a play of words on Les jeunes amours (Young love), the title of a work by Magritte showing three apples. The game of mora is "a game in which one of the players rapidly displays a hand with some fingers raised, the others folded inwards, while his opponent calls out a number, which, for him to win, has to correspond to the total of the raised fingers." From: René Magritte - Catalogue Raisonné, edited by David Sylvester. Menil Foundation/Fonds Mercator, 1993.<br /><br /><b>Gallery 1961-1967</b><br /><br /><img alt="" height="324" src="http://www.mattesonart.com/Data/Sites/1/magritte/Waterfall%201961.jpg" style="border: 0px;" width="415" /><br />Waterfall 1961<br /><br /><img alt="" height="360" src="http://www.mattesonart.com/Data/Sites/1/magritte/Souvenir%20de%20voyage%201961.jpg" style="border: 0px;" width="272" /><br />Memory of a Voyage V- 1961<br /><br /><img alt="" height="348" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Married%20Priest%201961.jpg" style="border: 0px;" width="420" /><br />The Married Priest II- (Le prêtre marié) 1961 oil on canvas, Size 18.1 x 21.7 in. / 46 x 55 cm.<br /><br /><br /><img alt="" height="246" src="http://www.mattesonart.com/Data/Sites/1/magritte/Portrait%20of%20Stephy%20%20Langui-%201961.jpg" style="border: 0px;" width="300" /><br />Portrait of Stephy Langui- 1961<br /><br /><br /><img alt="" height="337" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20voix%20du%20sang%201961.jpg" style="border: 0px;" width="415" /><br />The Voice of Blood III- 1961<br /><br /><br /><img alt="" height="104" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20breast%201931.jpg" style="border: 0px;" width="126" /><br />The Breast II- 1961<br /><br />The Breast features a group of buildings piled up into the form of a breast.<br /><br /><br /><img alt="" height="220" src="http://www.mattesonart.com/Data/Sites/1/magritte/Les%20Barricades%20Mysterieuses%201961.jpg" style="border: 0px;" width="350" /><br />Les Barricades Mysterieuses- 1961<br /><br />François Couperin's piece for harpsichord, "Les Barricades Mistérieuses" or "Les Barricades Mystérieuses" ("The Mysterious Barricades"), has caught the imagination of many artists, writers and musicians. In the performance, the King's musicians and Marguerite-Louise Couperin (François' sister) wore masks, emphasizing the mysterious presence celebrated by the divertissement, possibly the exiled Stuart James III. Jane Clark suggests that the barricades mistérieuses may refer to these masks (p. 67-8).<br /><br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Good%20Season%20La%20Belle%20Saison,%201961.jpg" style="border: 0px;" width="322" /><br />The Good Season (La Belle Saison) 1961<br /><br /><img alt="" height="412" src="http://www.mattesonart.com/Data/Sites/1/magritte/Clairvoyance%20%202%20La%20Clairvoyance,%201962.jpg" style="border: 0px;" width="300" /><br />Clairvoyance II (La Clairvoyance) 1962<br /><br />The first Clairvoyance was done in 1936.<br /><br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Straight%20Path%20(Le%20droit%20chemin)%201962.jpg" style="border: 0px;" width="334" /><br />The Straight Path (Le droit chemin) 1962<br /><br /><img alt="" height="260" src="http://www.mattesonart.com/Data/Sites/1/magritte/Hommage%20to%20Alphonse%20Allais%201962.jpg" style="border: 0px;" width="360" /><br />Hommage to Alphonse Allais- 1962, Gauche on paper<br /><br />Highly regarded by the surrealists, Alphonse Allais (October 20, 1854 - October 28, 1905) was a French writer and humorist born in Honfleur, Calvados. He is the author of many collections of whimsical writings. A poet as much as a humorist, he in particular cultivated the verse form known as holorhyme, i.e. made up entirely of homophonous verses, where entire lines rhyme. For example:</div>
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par les bois du djinn où s'entasse de l'effroi,<br />parle et bois du gin ou cent tasses de lait froid.</div>
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Allais is also credited with the earliest known example of a completely silent musical composition. Composed in 1897, his Funeral March for the Obsequies of a Deaf Man -- consisting of nine blank measures -- predates comparable works by John Cage and Erwin Schulhoff by a considerable margin. His piece "Story for Sara" was translated and illustrated by Edward Gorey.</div>
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Allais participated in humorous exhibitions, particularly in those of the Salon des Arts Incohérents of 1883 and 1884, held at the Galerie Vivienne. At these Allais exhibited arguably the earliest examples of Conceptual Art. Of his art, perhaps the most influential were his plain white sheet of Bristol paper Première communion de jeunes filles chlorotiques par un temps de neige (First Communion of Anaemic Young Girls In The Snow) (1883), and a similar red work Apoplectic Cardinals Harvesting Tomatoes on the Shore of the Red Sea (Study of the Aurora Borealis) (1884).</div>
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<br /><br /><img alt="" height="243" src="http://www.mattesonart.com/Data/Sites/1/magritte/Representation%20I-%201937.jpg" style="border: 0px;" width="300" /><br />Representation II- 1962<br /><br /><br /><img alt="" height="517" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Beautiful%20World%20Le%20Beau%20Monde%201962.jpg" style="border: 0px;" width="400" /><br />The Beautiful World (Le Beau Monde)1962<br /><br /><br /><img alt="" height="340" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Therapist%20II%20Le%20Therapeute,%201962.jpg" style="border: 0px;" width="255" /><br />The Therapist II Le Therapeute, 1962<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20jockey%20perdu%202.jpg" style="border: 0px;" width="311" /><br />The Lost Jockey III- Le jockey perdu III circa 1962 signed 'Magritte' (upper right) - gouache on paper - 25 1/2 x 19 7/8 in. (64.8 x 50.5 cm.)<br /><br />This is the third version of the painting Magritte called his "first surrealist" work. The first was a college ala Max Ernst. This one features the jockey riding under an iconic image, the giant sphere. </div>
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Provenance: Galleria Internazionale, Milan (no. 166). Acquired from the above by the present owner circa 1960s.</div>
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Notes: Le jockey perdu is one of the largest format gouaches by René Magritte, a variation of one of the artist's favourite themes, the crazily displaced horse racing with its rider through an incongruous landscape. In this gouache, Magritte has introduced several other motifs as well: floating above the lost jockey of the title is a mysterious sphere, while the entire scene is shown through a strange, rocky portal, as though the viewer were in a colossal cave at the edge of this flat scrubland.</div>
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Magritte first tackled the theme of Le jockey perdu in 1926, a watershed period for the artist, in which he suddendly found a means of exposing the mysteries of the world, the poetic associations between the objects that form our reality and which we take all too much for granted. His strange juxtapositions challenged the viewer, demanding that we consider afresh the properties of the everyday elements of the world around us. So, in this gouache of Le jockey perdu, it can be seen the racetrack that would usually play host to a jockey is absent, the racer taken out of context. At the same time, a strange new planet hovers as though within the atmosphere of the Earth; this ball has replaced the sun and the moon; its looming presence adds a cosmic oddness to the entire picture.</div>
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It is a tribute to the importance of this theme that Magritte himself would write, with reference to his original oil of the subject, that 'Le jockey perdu (The Lost Jockey) is the first canvas I really painted with the feeling I had found my way, if one can use that term' (R. Magritte, quoted in H. Torczyner, Magritte: Ideas and Images, translated by R. Miller, New York, 1977, p. 48). Magritte's own revelation had occurred when he had seen a painting by Giorgio de Chirico. Presenting the viewer with an eccentric assortment of seemingly unassociated objects, de Chirico's Le chant d'amour introduced the viewer to a realm in which another hidden logic appeared dominant. While the mysticism of de Chirico did not influence Magritte, the break with perceived reality and the use of juxtapositions did. For this reason, Magritte denied the open influence of de Chirico, making specific reference to his first version of Le jockey perdu:</div>
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'If one takes into consideration what I've painted since 1926 (Le jockey perdu-1926-- for example, and what followed), I don't think one can talk about 'Chirico's influence' I was 'struck' about 1925 when I saw a picture by Chirico Le chant d'amour. If there is any influence it's quite possible there's no resemblance to Chirico's pictures in Le jockey perdu. In sum, the influence in question is limited to a great emotion, to a marvellous revelation when for the first time in my life I saw truly poetic painting. With time, I began to renounce researches into pictures in which the manner of painting was uppermost. Now, I know that since 1926 I've only worried about what should be painted. This became clear only some time after having 'instinctively' sought what should be painted' (R. Magritte, quoted in ibid., p. 258).</div>
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As in several of Magritte's strongest works, Le jockey perdu is made all the more visually striking by the contrast between stillness and dynamism, here articulated by the difference between the speed of the jockey and the emptiness of the landscape around him. Where de Chirico's works were often marked by an intense sense of poise and stillness, Magritte has prompted the viewer into a profound investigation of everyday elements, items and qualities from the world around us such as movement, horses, gravity and the celestial bodies.</div>
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<br /><br /><img alt="" height="512" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20spirit%20of%20adventure%201962.jpg" style="border: 0px;" width="415" /><br />The spirit of Adventure 1962</div>
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<br /><img alt="" height="634" src="http://www.mattesonart.com/Data/Sites/1/magritte/Domain%20of%20Dorhaim%20II%20better.jpg" style="border: 0px;" width="415" /><br />Domain of Arnheim 1962<br />This is last version of his famous painting titled after an Edgar Allen Poe story.<br /><br /><img alt="" height="519" src="http://www.mattesonart.com/Data/Sites/1/magritte/high%20society%20Le%20Beau%20Monde,%201962.jpg" style="border: 0px;" width="400" /><br />High Society (Le Beau Monde) 1962<br /><br /><img alt="" height="244" src="http://www.mattesonart.com/Data/Sites/1/magritte/toward%20Pleasure%20A%20la%20Recherche%20du%20plaisir,%201962.jpg" style="border: 0px;" width="300" /><br />Towards Pleasure (A la Recherche du plaisir) 1962<br /><br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20improvement%20L'embellie%20c.1962.jpg" style="border: 0px;" width="290" /><br />The Improvement (L'embellie) 1962<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20nightingale.jpg" style="border: 0px;" width="306" /><br />The Nightingale 1962<br /><br />One of several paintings with religious themes. I believe that Magritte. a professed agnostic in keeping with his rejection of organized religion, was secretly religious. Later in life he painted several "religious" paintings. Here God sits on a cloud above a train.<br /><br /><br /><img alt="" height="445" src="http://www.mattesonart.com/Data/Sites/1/magritte/Portrait%20of%20Germaine%20%20Nellens%201962.jpg" style="border: 0px;" width="300" /><br />Portrait of Germaine Nellens- 1962<br /><br />In 1951 Gustave Nellens commissioned Magritte to paint (actually he supervised other painters who copied his designs) the large eight murals at Casino gaming room at Knokke-Le Zoute in Belgium. Surely this is a portrait of Gustave Nellens wife or daughter. I need corroboration.<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20wasted%20effort%201962.jpg" style="border: 0px;" width="319" /><br />The Wasted Effort (La peine Perdue) 1962<br /><br />According to Harry Torczyner this cryptic title refers to an old street in Brussels named "La Peine Perdue" but because of a bad experience was renamed "Le Pain Perdu."<br /><br /><img alt="" height="417" src="http://www.mattesonart.com/Data/Sites/1/magritte/Mona%20Lisa%20circa%201962.jpg" style="border: 0px;" width="300" /><br />Mona Lisa- circa 1962<br /><br /><img alt="" height="492" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Philosophy%20in%20the%20Bedroom%20II%201962.jpg" style="border: 0px;" width="400" /><br />The Philosophy in the Bedroom II 1962<br /><br /><br />This is the second version of Philosophy in the Bedroom, a title by Marquise de Sade.<br /><br /><br /><img alt="" height="247" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Great%20Table%201962-63.jpg" style="border: 0px;" width="300" /><br />The Great Table 1962-63<br /><br /><img alt="" height="243" src="http://www.mattesonart.com/Data/Sites/1/magritte/Reconnaissance%20without%20%20End%20La%20Reconnaissance%20in%20finie,%201943,.jpg" style="border: 0px;" width="300" /><br />Reconnaissance without End (La Reconnaissance infinie) 1963<br /><br /><br /><img alt="" height="325" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20flying%20statue%201963.jpg" style="border: 0px;" width="415" /><br />The Flying Statue 1963<br /><br /><br /><br /><img alt="" height="531" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Large%20Familyla%20grande%20famaille%201947.jpg" style="border: 0px;" width="400" /><br />The Large Family (La Grande Famaille) 1963</div>
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Magritte used similar cutout devises many times like The Promise.<br /><br /><img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Grande%20FamilleOiseau%20de%20ciel%20variation.jpg" style="border: 0px;" width="272" /><br />La Grande Famille variation<br /> </div>
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<img alt="" height="416" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Search%20for%20Truth%20La%20Recherche%20de%20laverite,%201963.jpg" style="border: 0px;" width="300" /><br />The Search for Truth (La Recherche de laverite) 1963<br /><br /><br /><img alt="" height="376" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Princes%20of%20Autumn%20Les%20Princes%20de%20l'automne,%201963.jpg" style="border: 0px;" width="300" /><br />The Princes of Autumn (Les Princes de l'automne) 1963<br /><br /><img alt="" height="279" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20indescret%20Jewels%20Les%20Bijous%20Indiscrets1963.jpg" style="border: 0px;" width="360" /><br />The Indescreet Jewels (Les Bijous Indiscrets) 1963<br /><br /><br /><img alt="" height="276" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Difficult%20Crossing%20II%20La%20Traversee%20Difficile%201963.jpg" style="border: 0px;" width="350" /><br />The Difficult Crossing II (La Traversee Difficile) 1963<br /> </div>
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<img alt="" height="293" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20Song%20of%20love%20Le%20Chant%20d'Amour%201963.jpg" style="border: 0px;" width="350" /><br />The Song of Love I (Le Chant d'Amour) 1963<br /><br />The Song of Love (also known as Le chant d'amour or Love Song) is the same name as the De Chirico painting that inspired Rene in the early 1920s.<br /><br /><img alt="" height="323" src="http://www.mattesonart.com/Data/Sites/1/Young%20Love%20II%20Les%20Jeunes%20Amours.jpg" style="border: 0px;" width="400" /><br />Young Love I (Les Jeunes Amours I) circa 1963<br /><br /><img alt="" height="310" src="http://www.mattesonart.com/Data/Sites/1/magritte/Young%20Love%20III%20Les%20Jeunes%20Amours.jpg" style="border: 0px;" width="400" /><br />Young Love II (Les Jeunes Amours II) circa 1963</div>
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<img alt="" height="540" src="http://www.mattesonart.com/Data/Sites/1/magritte/Field%20Glass%20aka%20La%20Lunette%20d'approche,%201963telescope.jpg" style="border: 0px;" width="349" /><br />The Looking Glass (La Lunette d'approche) 1963<br /><br />Also incorrectly named called "The Field Glass" or "The Telescope" this painting shows the opening between the mirror that Alice traveled through. Through the Looking-Glass, and What Alice Found There (1871) is a work of children's literature by Lewis Carroll (Charles Lutwidge Dodgson), generally categorized as literary nonsense but the books received cult status by the surrealistists who treasured nonsense. <br /><br />Through the Looking-Glass is the sequel to Alice's Adventures in Wonderland (1865). Although it makes no reference to the events in the earlier book, the themes and settings of Through the Looking-Glass make it a kind of mirror image of Wonderland: the first book begins outdoors, in the warm month of May, on Alice's birthday (May 4), uses frequent changes in size as a plot device, and draws on the imagery of playing cards; the second opens indoors on a snowy, wintry night exactly six months later, on November 4 (the day before Guy Fawkes Night), uses frequent changes in time and spatial directions as a plot device, and draws on the imagery of chess.<br /><br />Magritte, who was an avid chess player, was drawn to Carroll's works and references him in both "Alice in Wonderland and "The Empire of Light."</div>
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<br /><br /><br /><br /><img alt="" height="370" src="http://www.mattesonart.com/Data/Sites/1/magritte/Chorus%20of%20the%20Phinx%20Le%20Chceur%20des%20sphinges,%201964.jpg" style="border: 0px;" width="300" /><br />Chorus of the Sphinx (Le Chceur des sphinges) 1964<br /><br /><br /><img alt="" height="340" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Fine%20Idea%20La%20Belle%20Id%C3%A9e,1963-64.jpg" style="border: 0px;" width="400" /><br />The Fine Idea (La Belle Idée) 1963-64<br /><br /><br /><img alt="" height="488" src="http://www.mattesonart.com/Data/Sites/1/magritte/natural%20graces-%201942.jpg" style="border: 0px;" width="400" /><br />Natural Thanks (graces) II, 1963<br /><br /><br /><img alt="" height="385" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Grand%20Air,%201963-64.jpg" style="border: 0px;" width="300" /><br />Le Grand Air, 1963-64<br /><br /><br /><img alt="" height="500" src="http://www.mattesonart.com/Data/Sites/1/magritte/This%20is%20not%20an%20Apple%201964(1).jpg" style="border: 0px;" width="351" /><br />This is not an Apple 1964<br /><br /><br /><img alt="" height="268" src="http://www.mattesonart.com/Data/Sites/1/magritte/Par%20un%20belle%20fin%20d%E2%80%99apres-midi%20In%20a%20beautiful%20late%20after-noon%201.964.jpg" style="border: 0px;" width="400" /><br />In a beautiful late afternoon (Par un belle fin d’apres-midi) 1964<br /><br /><br /><img alt="" height="355" src="http://www.mattesonart.com/Data/Sites/1/magritte/Zeno's%20Arrow%20La%20Fleche%20de%20Zenon,%201964.jpg" style="border: 0px;" width="424" /><br />Zeno's Arrow (La Fleche de Zenon) 1964<br /><br /><br /><img alt="" height="375" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Journal%20Intime,%201964.jpg" style="border: 0px;" width="300" /><br />Le Journal Intime, 1964<br /><br /><br /><img alt="" height="121" src="http://www.mattesonart.com/Data/Sites/1/magritte/Forest%20of%20Paimpont%20%20La%20Foret%20de%20Paimpont,%201964.jpg" style="border: 0px;" width="150" /><br />Forest of Paimpont (La Foret de Paimpont) 1964<br /><br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20living%201964.jpg" style="border: 0px;" width="287" /><br />The Art of Living II- 1964<br /><br /><br /><img alt="" height="553" src="http://www.mattesonart.com/Data/Sites/1/magritte/When%20the%20Hour%20%20Strikes%20Quand%20l'heure%20sonnera,%201964-65,%201966.jpg" style="border: 0px;" width="415" /><br />When the Hour Strikes (Quand l'heure sonnera) 1964-65<br /><br /><br />When Magritte was a child one of his most vivid memories was when a manned hot air ballon landed on his house. He used this balloon image in one of his first paintings in the new style in 1925, The Blue Cinema. Since his idol De Chirico also use the hot air ballon image it's hard to tell whether Magritte took the image from De Chirico or his childhood. The Venus de Milo statue image (The Copper Handcuffs- 1931), is in almost the exact the same pose as Magritte's <i>The Beauty of Night </i>(la Belle de Nuit) 1932.<br /><br /><img alt="" height="435" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Land%20of%20Miracles%20Le%20Pays%20des%20Miracles,%201964.jpg" style="border: 0px;" width="323" /><br />The Land of Miracles (Le Pays des Miracles) 1964<br /><br />The Land of Miracles is the last version of Le Plagiat (The Plagiarism) featuring a cut-out of a vase of flowers first done in 1939-40, that Magritte made. It's very close to the 1939 version, except the scene is slightly different. </div>
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<img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/sonofman(1).jpg" style="border: 0px;" width="300" /><br />The Son of Man 1964<br /><br />I tend to all the psychoanalitic theories surrounding this famous painting regarding the biblical symbol of the apple. Magritte used different object to obscure faces in his later years including a bird, flowers and a pipe. Certainly the other items don't refer to the bible.<br />It's the title that throws interpreter off- The Son of Man. Magritte used titles to create more enigmas and also as puns but the Son of Man doesn't have to mean this is a religious painting. Here what the artist said about his painting.<br /><br />The Son of Man according to Magritte, "At least it hides the face partly. Well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present."<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Taste%20of%20the%20Invisible%201964.jpg" style="border: 0px;" width="256" /><br />The Taste of the Invisible 1964<br /><br />The Taste of the Invisible is a variation of the Son of Man above.</div>
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<img alt="" height="506" src="http://www.mattesonart.com/Data/Sites/1/magritte/Evening%20Falls%20Le%20Soir%20qui%20tombe,%201964.jpg" style="border: 0px;" width="400" /><br />Evening Falls II (Le Soir qui tombe) 1964<br /><br />Evening falls is a variation of The Domain of Arheim II where the shattered glass even when broken still contains the image that you see through the window.<br /><br /><br /><img alt="" height="366" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Great%20War%20La_grande_guerre%201964.jpg" style="border: 0px;" width="300" /><br />The Great War I (La Grande Guerre)<br /><br />A variant of the Son of Man this paitning has the same title and the next painting.<br /><br /><br /><img alt="" height="547" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Great%20War.%201964.jpg" style="border: 0px;" width="415" /><br />The Great War II- 1964<br /><br /><br /><img alt="" height="529" src="http://www.mattesonart.com/Data/Sites/1/magritte/Fine%20Realities%201964.jpg" style="border: 0px;" width="415" /><br />Fine Realities 1964</div>
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<img alt="" height="370" src="http://www.mattesonart.com/Data/Sites/1/magritte/upholder%20of%20the%20lawL'Ami%20de%20l'ordre,%201964.jpg" style="border: 0px;" width="300" /><br />A Friend of Order (L'Ami de l'ordre) 1964<br /><br /><br /><img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/Plain%20of%20Air%201964.jpg" style="border: 0px;" width="400" /><br />Plain of Air II- 1964<br /><br /><br /><img alt="" height="435" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Man%20in%20the%20bowler%20hat,%201964%20L%E2%80%99Homme%20au%20Chapeau%20Melon,%201964.jpg" style="border: 0px;" width="311" /><br />The Man in the Bowler Hat (L’Homme au Chapeau Melon) 1964<br /><br /><br /><img alt="" height="378" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Land%20of%20Miracles%20-1964.jpg" style="border: 0px;" width="300" /><br />The Land of Miracles -1964<br /><br />The Land of Miracles is a variation of Le Plagiat (The Plagiarism) done in 1939-1940 and again around 1960. This time he uses a different name and slightly different scene although the bird eggs and next remain the same.<br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Battle%20Of%20Argonne%20La%20Bataille%20de%20l'Argonne,%201964.jpg" style="border: 0px;" width="350" /><br />The Battle Of Argonne II (La Bataille de l'Argonne) Lithograph- 1964<br /><br /><br /><img alt="" height="387" src="http://www.mattesonart.com/Data/Sites/1/magritte/Good%20Faith%20La%20Bonne%20Foi,%201964-65.jpg" style="border: 0px;" width="300" /><br />Good Faith (La Bonne Foi) 1964-65<br /><br /><br /><img alt="" height="363" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Somersault%20Le%20Saut%20perilieux,%201964-65.jpg" style="border: 0px;" width="300" /><br />The Somersault (Le Saut perilieux) 1964-65<br /><br /><br /><img alt="" height="239" src="http://www.mattesonart.com/Data/Sites/1/magritte/Connivance%20La%20Connivence,%201965.jpg" style="border: 0px;" width="300" /><br />Connivance La Connivence, 1965<br /><br /><br /><img alt="" height="252" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Great%20Table%20La%20Grande%20Table%20ca.%201965.jpg" style="border: 0px;" width="350" /><br />The Great Table (La Grande Table) ca. 1965<br /><br />La Grande Table is an extention of Magritte's pertrified objects that he started in the late 1940s with The Legend of the Centuries (La leyenda de los siglos) 1948. In his Memory of a Journey paintings the entire scene is pertified (turned to stone). Here it's just a giant apple and a pear.<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/XXe%20Siecle%20Cover%20Magritte%201965.jpg" style="border: 0px;" width="254" /><br />XXe Siecle Cover- Magritte 1965<br /><br /><br /><img alt="" height="333" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Spring%20le%20printemps%201965.jpg" style="border: 0px;" width="400" /><br />The Spring (Le Printemps) 1965 signed 'Magritte' (lower left) - oil on canvas - 18 1/8 x 21 5/8 in. (46 x 55 cm.) - Painted circa 1965 - Provenance: Galerie Isy Brachot, Brussels. Acquired from the above by the present owner in 1968.</div>
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Literature: S. Alexandrian & P. Waldberg, René Magritte, Paris, 1970 (illustrated p. 51).<br />J. Meuris, René Magritte 1898-1967, Cologne, 1990 (illustrated p. 141).<br />J. Meuris, Magritte, New York, 1991, no. 252 (illustrated p. 170).<br />D. Sylvester (ed.), René Magritte: catalogue raisonné, vol. III, Oil Paintings, Objects and Bronzes 1949-1967, Antwerp, 1993, no. 1016 (illustrated p. 412).</div>
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Exhibited: Brussels, Galerie Isy Brachot, Art sans frontières IV, December - 1968 - January 1969, no. 75.<br />Cologne, Galerie Gmurzynska, Ensor, Delvaux, Magritte..., March - April 1969 (dated '1965').<br />Lausanne, Fondation de l'Hermitage, René Magritte, June - November 1987, no. 115.<br />Munich, Kunsthalle der Hypo-Kulturstiftung, René Magritte, November 1987 - February 1988, no. 127 (illustrated).</div>
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Notes: Caught in the air, flying above a nest filled with eggs, a bird is shown against the backdrop of a pleasantly cloud-specked sky. And yet the bird is a silhouette, a cut-out, its shape filled with a foliage that appears to be a continuation of the woodland in the background in the lower portion of the painting. This picture is filled with the strangeness and poetry so unique to the vision Magritte.</div>
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By the time Le printemps was painted, circa 1965, Magritte had long been filtering the visual world from his unique perspective, taking the simple elements and assumptions from everyday life and converting them, twisting them, giving them just enough of a nudge and a disruption that they would take on new qualities. In this picture, Magritte has chosen a selection of simple elements bird, trees, eggs and reconfigured their properties to marvellous effect. In turn, the genuine world of visual impetus surrounding the viewer regains some of its poetry and mystery - when next we see a bird, we no longer take for granted the strangeness of its ability to fly or the uniqueness of its appearance. Le printemps has been painted in such a way as to give a sense of stillness, even contemplation, that is deliberately at odds with the dynamism of flight; the trees, too, which comprise the bird's body imply rootedness and therefore stillness. They imply a link to the ground which is not there, Magritte presenting the viewer with a range of paradoxes, riddles to which there is no true answer and which beg us only to look upon the world around us as a riddle, a source of mystery and wonder.</div>
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Magritte himself explained that the elements that comprise his works are not stand-ins for other meanings, are not products of the worlds of dream and the subconscious that had so fascinated other artists associated with the Surreal. 'In the images I paint, there is no question of either dream, escape, or symbols,' Magritte explained.</div>
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'My images are not substitutes for either sleeping or waking dreams. They do not give us the illusion of escaping from reality. They do not replace the habit of degrading what we see into conventional symbols, old or new.<br />'I conceive painting as the art of juxtaposing colours in such a way that their effective aspect disappears and allows a poetic image to become visible. This image is the total description of a thought that unites-- in a poetic order-- familiar figures of the visible: skies, people, trees, mountains, furniture, stars, solids, inscriptions, etc. The poetic order evokes mystery, it responds to our natural interest in the unknown.<br />'Poetic images are visible, but they are as intangible as the universe. These poetic images hide nothing: they show nothing but the figures of the visible. Painting is totally unfitted for representing the invisible, that is, what cannot be illuminated by the light: pleasure, sorrow, knowledge and ignorance, speech and silence, etc.<br />'After having attempted to understand non-traditional painting, we admit that it cannot be understood. In any case, we are not assuming any serious responsibility: we do not have to know or to learn anything. Imaginary irrationality is futile and boring. However, we can understand poetic thought by making it a part of ourselves and by taking care not to remove from the known the unknown elements it contains' (R. Magritte, quoted in H. Torczyner, Magritte: Ideas and Images, translated by R. Miller, New York, 1977, p. 224).</div>
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In Le printemps, it is clear, then, that the bird, the eggs, the woodland are not symbols, but are there representing themselves, bringing to light their own particularities and peculiarities, making us all the more aware of their singular properties, in short, forcing the viewer to contemplate the 'unknown elements' that they contain.</div>
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During Magritte's career, he became increasingly adept at converting his vision of the mysteries of the world into pictures that, through their iconic simplicity, conveyed their messages all the more strikingly. Where some of his earlier Surreal pictures had a wealth of details and juxtapositions, from the 1930s onwards, he pared back the elements, making each one pack a far greater punch. It is in its simplicity that Le printemps gains its strange, distinctive, revelatory power. By limiting himself to only a few elements bird, sky, nest, parapet, woodland Magritte succeeds in presenting the viewer with a concise range of objects and, crucially, a concise range of the relationships between them. The sense of impossibility within the realm of this Magrittean epiphany is exemplified by the interplay between, for instance, the egg-filled nest and the foliage-bird-- could such a strange, two-dimensional, cut-out bird have laid eggs? This quandary recalls the stone eagle shown above a parapet furnished with an egg-filled nest in Le domaine d'Arnheim. Where in that work, the bird is made of mountain, in Le printemps the eggs appear (within the two-dimensional world of the picture) three-dimensional, painted in the round as opposed to the silhouette-like bird. The interplays between the elements in this painting even throw the sky itself into question. After all, if the bird is a cut-out, are the trees behind the sky? It is confronting us with these simple, sometimes discreet interplays, juxtapositions, relationships, contrasts and comparisons, with incongruities and incompatibilities, that Magritte prompts us towards a more awe-filled appreciation of the world.</div>
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In the 1930s, many of Magritte's pictures dealt with problems and questions, riddles posed by simple elements such as the door, the window, the sea, the horse... In a sense, flight and the bird are the 'problems' that Magritte has attempted to solve in Le printemps. However, these 'problems,' as Magritte was at pains to point out, 'are not themes. These are images that come together, that impose themselves upon me. Always images of the simplest objects, those anyone can see around him: a hat, a bell, an apple, an easel, a bird, a street lamp, a brick wall, shoes, a three-piece suit. Except that sometimes the hat is resting on the apple, the bird is made of stone, the shoes are feet with real toes, the brick wall takes the form of a desk, and the three-piece suit is really a pleasant valley. These ideas for combining images occur to me without my looking for them' (Magritte, quoted in ibid., p. 202). This statement is important as it reveals the extent to which inspiration, pure and simple, would provide Magritte's pictorial solutions. These were ideas that would occur to the artist, not as the result of active investigation, but instead as miniature revelations.</div>
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Many of Magritte's pictures, especially his iconic La trahison des images, in which a painting of a pipe was accompanied by a caption stating that this was not a pipe, deal with the properties and limitations of the act of representation. The picture of a pipe clearly is not a pipe, as Magritte pointed out. In Le printemps, Magritte appears to question the nature of the two-dimensional representation of the three-dimensional world in part through the visual puzzle with which the viewer is presented, and also through the deliberate cut-out appearance of the bird itself. Is Magritte deliberately pointing out the flatness of painting in comparison to the 'depth' of the real world? Is he implying that another dimension lies beyond our grasp, beyond the veil of our prosaic, habit-numbed appreciation of the world around us?</div>
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The interplays in Le printemps are brought into bolder relief by the title, which reinforces the notions of the verdant foliage, life, birth and rebirth introduced by the various elements depicted. Magritte's titles, which were sometimes suggested by his friends rather than being integrally linked to his works, are nonetheless evocative, and he was well aware of the way in which they could add an extra dimension to his works, an extra layer of questioning, an extra layer of interpretation, or to be interpreted. As he himself stated, 'The titles of my paintings accompany them like the names attached to objects without illustrating or explaining them' (R. Magritte, letter to Barnet Hodes, 1957, quoted in ibid., p. 203).</div>
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<img alt="" height="381" src="http://www.mattesonart.com/Data/Sites/1/magritte/Discourse%20on%20Method-%201965.jpg" style="border: 0px;" width="300" /><br />Discourse on Method- 1965<br /><br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Thought%20Which%20Sees,%201965.jpg" style="border: 0px;" width="335" /><br />The Thought Which Sees- 1965<br /><br /><br /><img alt="" height="441" src="http://www.mattesonart.com/Data/Sites/1/magritte/Man%20and%20the%20Forest%20L'Honitneet%20la%20foret,%201965.jpg" style="border: 0px;" width="300" /><br />The Man and the Forest (L'Honitneet la foret) 1965<br /><br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20blank%20signature%201965%20rene-magritte-carte-blanche.jpg" style="border: 0px;" width="321" /><br />The Blank Signature (La Carte Blanche) 1965<br /><br /><br /><img alt="" height="344" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Idol%20L%E2%80%99Idole,%201965.jpg" style="border: 0px;" width="415" /><br />The Idol (L’Idole) 1965<br /><br />This is an litho image from a poster. It's based on his famous painting "The Promise."<br /><br /><img alt="" height="592" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Clairvoyant%201965.jpg" style="border: 0px;" width="415" /><br />The Vision (La clairvoyance) 1965 signed 'Magritte' (upper right); inscribed 'La Mémoire' (on the reverse); signed, titled, dated and inscribed '"LA CLAIRVOYANCE" MAGRITTE 1937 cordialement à Michel et Roger Stallaerts René Magritte juillet 1966' (on the reverse of the frame) gouache, colored crayon and pastel on paper 16½ x 11 5/8 in. (42 x 29.5 cm.) Executed in 1965</div>
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Provenance: Margaret Krebs, Brussels (probably acquired from the artist). Private collection, Brussels (acquired from the above circa 1966). Anon. sale, Sotheby's, London, 3 February 2004, lot 67. Acquired at the above sale by the present owner.</div>
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Literature: Letter from Magritte to Kahmen, 27 January 1965, in Magritte Ecrits, p. 177; D. Sylvester, ed., René Magritte, catalogue raisonné, London, 1994, vol. IV, p. 281, no. 1578 (illustrated in color; with incorrect dimensions).</div>
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Exhibited: Paris, Galerie d'Orsay, Les Peintres Surréalistes. Delvaux, Ensor, Labisse, Magritte..., 1999, no. 10 (illustrated in color).</div>
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Notes: A torso, without arms or head, poses before an idyllic landscape reminiscent of a Mediterranean island. The torso is no sculptural fragment, though, but appears to be made of living, breathing impossible flesh. In La clairvoyance, executed in 1965, Magritte has portrayed the historical world of ancient Greece that produced the fragmentary statuary that fills so many museums as a place inhabited by a fragmentary woman. This is a retrospective justification, perversely implying that the armless and headless statues that we see today were taken from life--that they are the result of design and not hazard. In this assault on our customary understanding of our universe and its laws and rules, Magritte demands that his viewer take a fresh view at the reality to which we are all too accustomed, peeling the scales from our eyes to reveal the everyday world as a place of infinite hidden wonders.</div>
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In 1965, Volker Kahmen had suggested that Magritte create an image of the Vénus de Milo as though it were made of the granite that features in many of the Belgian artist's images. Instead, Magritte wrote back with a better idea, explaining that he would portray the statue as though it were made of flesh: "The sudden absence of stone, where stone really exists, and the presence, however, of the form that the stone embodied, must necessarily evoke a sense of mystery. 'The 'nature' of such a statue would not thereby be made arbitrary or subject to a whim: it is necessary that it should be flesh" (Magritte, quoted in D. Sylvester, René Magritte Catalogue Raisonné, Vol. IV, London, 1994, p. 281).</div>
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Magritte has thereby created an absorbing surreal vision that blurs the boundaries of art and reality, hinting at the subtle magic of the relationship that links them. The use of one of the most iconic sculptures in the world is a spur to our confused recognition. However, it is interesting to note that in La clairvoyance, Magritte has tailored the sculpture to his own uses, reinventing it not only through the use of flesh instead of stone, but also by removing the head and the drapery of the original, making the impossible appearance of a living flesh fragment all the more incongruous and affecting.</div>
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<br /><br /><img alt="" height="318" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Open%20Door%20La%20Porte%20Ouverte,%201965.jpg" style="border: 0px;" width="400" /><br />The Open Door (La Porte Ouverte,) 1965<br /><img alt="" height="267" src="http://www.mattesonart.com/Data/Sites/1/magritte/Fair%20Captive%20La%20Belle%20Captive%201965.jpg" style="border: 0px;" width="354" /><br />Fair Captive (La Belle Captive) 1965<br /><br />This is a lithograph that is based on Human Condition II done in 1935.<br /><br /><img alt="" height="289" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Organs%20of%20the%20Night%20Les%20Orgues%20de%20la%20Soiree%201965.jpg" style="border: 0px;" width="350" /><br />The Organs of the Night (Les Orgues de la Soiree) 1965<br /> </div>
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<img alt="" height="250" src="http://www.mattesonart.com/Data/Sites/1/magritte/Among%20the%20groves%20%20legers%20Parmi%20les%20bosquets%20legers,%201965.jpg" style="border: 0px;" width="200" /><br />Among the groves legers (Parmi les bosquets legers) 1965<br /><br /><br /><img alt="" height="383" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Masque%20de%20la%20Foudre,%201965-66.jpg" style="border: 0px;" width="300" /><br />The Masque of the Lightning (Le Masque de la Foudre) 1965-66<br /><br />Near the end of his life (he died in 1967) Magritte realized that his "La Pipe" image was hopelessly out-of-date. Most people didn't smoke pipes anymore as was fashionable in the 1920s when Magritte's famous "This is Not a Pipe" painting became an international hit.<br /><br /><br /><img alt="" height="340" src="http://www.mattesonart.com/Data/Sites/1/magritte/Ad%20for%20Sabena%20(1966).jpg" style="border: 0px;" width="259" /><br />Ad for Sabena (1966)<br /><br />The next two images (same painting) are based on "The Promise." The first appeared in an ad for Sabena. The next titled Sky Bird is a photo of the actual painting.<br /><br /><img alt="" height="539" src="http://www.mattesonart.com/Data/Sites/1/magritte/sky%20bird%201966.jpg" style="border: 0px;" width="400" /><br />The Sky Bird 1966<br /><br /><img alt="" height="166" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Devil's%20Smile%20Le%20sourire%20du%20diable%201966.jpg" style="border: 0px;" width="125" /><br />The Devil's Smile (Le sourire du diable) 1966<br /><br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/the%20two%20mysteries%201966.jpg" style="border: 0px;" width="400" /><br />The Two Mysteries 1966<br /><br /><br /><img alt="" height="333" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Shadows%20Les%20Ombres%20%201.966.jpg" style="border: 0px;" width="415" /><br />The Shadows (Les Ombres) 1966<br /><br /><br /><img alt="" height="439" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20King's%20Museum%20Le%20Musee%20du%20roi,%201966.jpg" style="border: 0px;" width="300" /><br />The King's Museum (Le Musee du roi) 1966<br /><br /><br /><img alt="" height="226" src="http://www.mattesonart.com/Data/Sites/1/magritte/Gem%20Stones%20Les%20Pierreries,%201966.jpg" style="border: 0px;" width="300" /><br />Gem Stones Les Pierreries, 1966<br /><br /><br /><img alt="" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Horrendous%20%20StopperLe%20Bouchon%20d'epouvante,%201966.jpg" style="border: 0px;" /><br />The Horrendous Stopper (Le Bouchon d'epouvante) 1966<br /><br /><br /><br /><img alt="" height="323" src="http://www.mattesonart.com/Data/Sites/1/magritte/Decalcomania,%201966.jpg" style="border: 0px;" width="400" /><br />Decalcomania, 1966<br /><br />Decalcomania is the process of transferring pictures or designs printed on specially prepared paper to materials such as glass or metal, such as adding a decal.<br /><br /><img alt="" height="304" src="http://www.mattesonart.com/Data/Sites/1/magritte/Tables%20of%20the%20Law%20Les%20tables%20de%20la%20loi%201966.jpg" style="border: 0px;" width="400" /><br />Tables of the Law (Les tables de la loi) 1966</div>
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<img alt="" height="295" src="http://www.mattesonart.com/Data/Sites/1/magritte/collage%201966.jpg" style="border: 0px;" width="400" /><br />Collage 1966<br /><br /><br /><img alt="" height="376" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Pilgrim%20Le%20Pelerin,%201966.jpg" style="border: 0px;" width="300" /><br />The Pilgrim (Le Pelerin) 1966<br /><br /><br /><img alt="" height="375" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Happy%20DonorL'Heureux%20Donateur,%201966.jpg" style="border: 0px;" width="300" /><br />The Happy Donor (L'Heureux Donateur) 1966<br /><br /><br /><img alt="" height="273" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20endearing%20truth%201966.jpg" style="border: 0px;" width="400" /><br />The Endearing Truth 1966<br /><br />I believe that, despite his agnostic protestations, Magritte was secretly religious. This painting done shortly before his death when he knew he was dying of cancer seems to confirm my suspicions. The image of a table is painted like a fresco on a wall. In what other famous religious painting does this happen? Leonardo's Last Supper of course. The trick Magritte presents is...Christ and his disciples are missing. Magitte confirms this in a letter to Bosman written while the Magritte's were in Milan, "We have seen Leonardo's <i>Last Supper</i>, very badly damaged by time and the American bombings. The Last Supper gives me an idea fro a painting."<br /><br /><img alt="" height="511" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20Age%20of%20Enlightenment%201Le%20Si%C3%A8cle%20des%20Lumi%C3%A8res,%201967.jpg" style="border: 0px;" width="400" /><br />The Age of Enlightenment (Le Siècle des Lumières) 1967<br /><br /><img alt="" height="342" src="http://www.mattesonart.com/Data/Sites/1/magritte/mountain%20eagle%201967.jpg" style="border: 0px;" width="400" /><br />Domain of Arnheim Variant (mountain eagle) 1967<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Beautiful%20Relations%201967(1).jpg" style="border: 0px;" width="266" /><br />The Beautiful Relations 1967<br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Last%20Cry%20Le-Dernier-Cri-1967%20litho.jpg" style="border: 0px;" width="334" /><br />The Last Cry (Le Dernier Cri) 1967 litho<br /><br /><br /><br /><img alt="" height="332" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Page%20Blanche%20%20%20(The%20Blank%20Page)%201967.jpg" style="border: 0px;" width="400" /><br />The Blank Page (La Page Blanche ) 1967<br /><br /><br /><img alt="" height="394" src="http://www.mattesonart.com/Data/Sites/1/magritte/Empire%20of%20lights%201967.jpg" style="border: 0px;" width="500" /><br />The Empire of Lights (Unfinished) 1967<br /><br />Magritte continued painting until 1967, the year of his death, leaving an unfinished painting (above). The work had been commissioned by a young German collector from Cologne, who wanted "something in the nature of Empire of the Lights; he was destined never to take possession of the picture he had ordered. The uncompleted painting would remain on its easel in the painter's house in Brussels until the death of Georgette Magritte in 1986.</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-43909604376346265662020-02-12T00:05:00.002-04:002020-02-12T00:31:00.346-04:00Magritte's 1949-1960 Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Magritte's 1949-1960 Gallery</b><br />By 1949 Rene Magritte had moved beyond his "Vache" period of late 1947 and early 1948 and returned to his successful painterly style. He was represented by international art dealer Alexander Iolas and his prospects were on the rise. In 1949 he published thè manifesto "Le Vrai Art de la peinture," in which he wrote, "The perfect painting produces an immense effect only for a very short time," and "The art of painting is an art of thinking, whose existence underlines the importance of the role held in life by the eyes of the human body' (translation - Modern Art, Thames and Hudson 1974). Central to Magritte's art is his conviction that the role of painting is not to represent but to stimulate a reaction at an altogether deeper level.</div>
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During the period of 1949-1960 Magritte produced some of his most important works. In 1949 he started his casket series "Perspective: The Balcony By Manet" and followed with "Madame Recamier de David." in this series he copied the masters paintings exactly replacing the human figures with caskets. At his art dealer Iolas urging he continued painting different versions of his early paintings including the 1949 version of The Domain of Arnheim. he produced many versions of his most famous painting "Empire of lights" beginning in 1949.<br /><br />By 1950 he started his petrification (turning live objects into stone) period including The Given Word (La Parole Donnee) The Wasted Footsteps, The Song of Violet, The Magic Potion (Le Philtre) and first "Memory of a Journey" (Souvenir de Voyage) painting. Magritte had experimented turning birds and leaves to stone in the 1940s but now the entire scenes of his Souvenir de Voyage series are petrified and according to Magritte in the 1955 version "only the light of the candle is real." Edgar Allen Poe was also interested in petrification, adding long foot notes on the subject to "The Thousand and Second Tale."<br /><br />In 1953 he began to be identified by his bowler-hatted figures with his La Golconde, featuring bowler-hatted men raining from the sky. The early 1950s saw the "Art of Conversation" series with giant block letters and his "oversized everyday objects" series with the 1952 "Personal Values." Another series started in the 1950s was his "defiance of gravity" series found in the Battle of Argonne and other 1950s works. Multiplication (repeated objects) was an important effect in Magritte's paintings including Spontaneous Generation, Golconda, The Golden Legend and The Month of the Grape Harvest.</div>
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In October 1957 Magritte met Harry Torczyner (1910-1998), a Belgian lawyer based in New York who was interested in poetry and art. Torczyner became Magritte's patron, friend and adviser for the rest of Rene's life. Around the same time (1956) Magritte met Barnet Hodes, a successful Chicago lawyer with a keen interest in Surrealism and in collecting, who over the next ten years was his patron. Hodes commissioned sixty small gouches of Magritte's early work. Magritte eventually secured a contract with Alexander Iolas to the main body of his production in exchange for an annual stipend. With his financial prospects secure, the Magrittes moved to 97, rue des Mimosas, Brussels-Schaerbeek in 1957, where he remained until his death.</div>
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In the 1950s Magritte also took on a number of major mural commissions. In 1951 at the Theatre Royal des Galeries Saint-Hubert in Brussels he painted the ceiling with a blue sky filled with white clouds and his favorite icons, blue bells (grelots) inside of a large pink border. The mural is reminiscent of his The Curse (Malediction) sky-blue with clouds paintings. The next major commission was a giant mural in eight panels for the Casino at Knocke-le-Zoute, 1951-1953 titled "The Enchanted Realm" which was a recreation of many of his most famous paintings icons and images. Magritte produced eigth model oil paintings (see all below) and images of the eight paintings were reproduced beginning on July 4 by a team of painters under Magritte's supervision. In 1957 he created a version of "La Fée ignorante" (The Ignorant Fairy) from his 1950 painting of the same name which appears the Hall of Congress of the Palais des Beaux-Arts de Charleroi (1957). In 1961 he designed a mural for Palais de Crogress titled "les barracade mystereouses."<br /><br />Magritte's fame was on the rise; he was given major retrospective exhibitions in Brussels (1954) and in 1956 he was awarded the Guggenheim Prize for Belgium.</div>
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<b>Magritte Gallery 1949-1960:</b><br /><img alt="" height="502" src="http://www.mattesonart.com/Data/Sites/1/magritte/domain%20of%20Arnheim%201949.jpg" style="border: 0px;" width="415" /><br />The Domain of Arnheim 1949</div>
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Magritte also used the granite eagle on the mountain ridge in others works; this version is especially similar to teh 1947 "Call of the Peaks," which uses a canvas in a window. This image/title pairing is first seen in 1938, though there are two from that year and it’s not certain which one was the first version. The image of the mountain shaped like an eagle predates the “Domain of Arnheim” images, first appearing in “Le precurseur” (1936). The catalogue raisonné says, “The mountain may well have been based upon the upper two-thirds of a color reproduction of a photograph found among Magritte’s papers, something he certainly handled, as it bears a drawing by him on the version.” Here are the known versions of this painting:</div>
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1938 - Le domaine d’Arnheim, gouache on paper 30 x 38 - whereabouts unknown<br />1938 - Le domaine d’Arnheim, oil on canvas<br />1944 - Le domaine d’Arnheim, gouache on paper 33 x 46 - Caroline Pigozzi<br />1947 - Le domaine d’Arnheim, gouache on paper 37.1 x 46.2 - Private collection, U.K.<br />1948 - Le domaine d’Arnheim, gouache on paper 34 x 36 - Private collection<br />1949 - Le domaine d’Arnheim, oil on canvas 100 x 81 - Private Collection<br />1962 - Le domaine d’Arnheim, oil on canvas 146 x 114 - Musées Royaux des Beaux-Arts de Belgique, Brussels<br />1962 - Le domaine d’Arnheim, gouache on paper 35 x 27 - Private Collection<br />1962 - Le domaine d’Arnheim, gouache on paper, 25 x 19.2 - Eleanor Cramer Hodes</div>
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The series has a the granite eagle, the eggs, the wall; sometimes there's a bird's nest. The broken window containing the image of the window was done again with Evening Falls.</div>
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<br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/La-Fissure-c-1949.jpg" style="border: 0px;" width="375" /><br />"The Spilt" also known as "The Break" (La Fissure) 1949<br /><br />Because the money is US currency and Magritte has an art dealer in New York, Alexander Iolas, I could assume the break means a break from the past, it's almost as if we are arriving at the new world (America) on a ship.<br /><br /><img alt="" height="389" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Flavor%20of%20Tears%203.jpg" style="border: 0px;" width="300" /><br />The Flavor of Tears III- 1949<br /><br />This is the third version of Flavor of Tears Magritte painted. Similar to the Treasure Island paintings it features a war bird. The principle character is being consumed by a catepillar.</div>
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<img alt="" height="391" src="http://www.mattesonart.com/Data/Sites/1/magritte/Megalomania%201949.jpg" style="border: 0px;" width="300" /><br />Megalomania- 1949<br /><br />The Importance of Marvels (L'lmportance des merveilles) was the first painting of this series done back in 1927 when Magritte was in Paris.<br /> </div>
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<img alt="" height="315" src="http://www.mattesonart.com/Data/Sites/1/magritte/Elementary%20Cosmogany,%201949.jpg" style="border: 0px;" width="400" /><br />Elementary Cosmogony 1949</div>
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Similarly, Magritte’s Elementary Cosmogony (1949) depicts his balustradelike inanimate object, the cicerone, posed like a reclining nude with two human arms.</div>
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<img alt="" height="340" src="http://www.mattesonart.com/Data/Sites/1/magritte/Empire%201949.jpg" style="border: 0px;" width="261" /><br />Dominion of Light also known as Empire of Light (L'Empire des lumieres) 1949 signed 'Magritte' (upper left), gouache on paper, 11 5/8 x 9¼ in. (29.5 x 23.5 cm.) First painted in 1949</div>
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Magritte had already experimented with a similar theme in his 1948 God's Salon. The painting depicts a night scene with a house brightly lit up by daylight. Clearly this experiment didn't work as well.<br /><br />"After I had painted 'The Dominion of Light'," Magritte told a friend, "I got the idea that night and day exist together, that they are one. This is reasonable or at least it's in keeping with our knowledge; in the world night always exists the same time as day." Letter to Felix Frabrizio 1966</div>
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Magritte also explained the origin of the image in a radio interview in 1956, stating: "What is represented in a picture is what is visible to the eye, it is the thing or the things that had to be thought of. Thus, what is represented in the picture [L'Empire des lumières] are the things I thought of, to be precise, a nocturnal landscape and a skyscape such as can be seen in broad daylight. The landscape suggests night and the skyscape day. This evocation of night and day seems to me to have the power to surprise and delight us. I call this power: poetry" (quoted in D. Sylvester, op cit., p. 145).</div>
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According to Roisin (and I agree) the painting L'empire des lumières (the empire of the lights, figure.8) was inspired in Magritte by a poem of Lewis Carroll:</div>
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"... the sun on the sea was shining/ it shone with all its forces/ it did its best to reflect the sparkling and calm waves/ and it was very odd, you see, because/ it was in the middle of the night."<br /><br />Carroll was favorite of the surrealists and Magritte had already named one of his paintings "Alice in Wonderland." Magritte didn't like telling soem of his secrets and especially of giving credit for his inventions to other sources.<br /><br />The first Empire of Lights completed in 1949, which became Magritte's most popular painting, was sought after by collectors. It was acquired by Nelson Rockefeller in January of 1950 who was a 1939 MoMA director. [In 1939 the 30-year old Nelson Rockefeller became MoMA's President, overseeing the museum's acquisitions policy and expansion into new headquarters.] It ended up in the Alice Lawrence collection and set a new world record for a work on paper by the artist, a whopping $3.55 million. The following notes are from Christie's November 2008 auction:<br /><br />Provenance: Private collection, Belgium; Galerie Cazeau Béraudière, Paris; Acquired from the above by the late owner, September 2000.</div>
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Notes: Between 1949 and 1964, Magritte made seventeen oils and ten gouache versions of L'Empire des lumières, one of his most famous and sought-after themes, each of which displays some variation on a dimly lit nocturnal street scene with an eerily shuttered house and glowing lamppost below a sunlit blue sky with puffy white clouds. Magritte explained the origin of the image in a radio interview in 1956, stating: "What is represented in a picture is what is visible to the eye, it is the thing or the things that had to be thought of. Thus, what is represented in the picture [L'Empire des lumières] are the things I thought of, to be precise, a nocturnal landscape and a skyscape such as can be seen in broad daylight. The landscape suggests night and the skyscape day. This evocation of night and day seems to me to have the power to surprise and delight us. I call this power: poetry" (quoted in D. Sylvester, op cit., p. 145). The first painting from this series (Sylvester, no. 709) depicts a somewhat urban street with a couple of houses and an off-center streetlight. This composition was immediately popular with Magritte's collectors, and was purchased by Nelson Rockefeller in January of 1950. Although Magritte initially preserved this format (fig. 1), by 1951, he had switched this scene to a more rural setting (Sylvester, no 768), depicting a manor house lit from within and introducing the enormous conical tree that also dwarfs the large house in the present work.</div>
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The major gouache seen here is similar to versions in oil that Magritte executed in 1954 (fig. 2; Sylvester, nos. 804, 809-810), when collectors were clamoring for further interpretations of this image. The painter increased the size of these works, and selected a vertical format, thus focusing attention on a single dollhouse-like residence whose tightly shuttered first floor is illuminated by lamplight. The glowing second floor windows are obscured by the lowest branches of the tall tree that stretches into the daytime sky. The markedly increased psychological tension of these works from the mid 1950s illustrates Siegfried Gohr's conviction that, by repeating and reinterpreting successful themes, Magritte was "arranging and rearranging visual elements until they produced a shock like a blow from a boxer's glove--whose force, however, remained purely visual and mental" (in Magritte, exh. cat., San Francisco Museum of Modern Art, 2000, p.17). Indeed, this version of L'Empire des lumières best instantiates the uncomfortable if not threatening idea of domesticity that can be found in works by his contemporary Louise Bourgeois (fig. 3). Magritte's mysterious house was also fundamental to the development of early works by Vija Clemins such as House #1 (fig. 4), a house-shaped box that opens to reveal fiery orange tufts of fur.</div>
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Magritte's friend, the Belgian poet and philosopher Paul Noug (1895-1967) suggested the title for this image, playing on the double meaning of l'empire ('dominion') as 'territory' and 'dominance.' Noug was undoubtedly sensitive to Magritte's conviction that his paintings never expressed a singular idea, but rather were a form of stimulus that created new thoughts in the mind of the viewer. "Titles play an important part in Magritte's paintings," stated the poet, "but it is not the part one might be tempted to imagine. The title isn't a program to be carried out. It comes after the picture. It's as if it were its confirmation, and it often constitutes an exemplary manifestation of the efficacy of the image. This is why it doesn't matter whether the title occurs to the painter himself afterwards, or is found by someone else who has an understanding of his painting. I am quite well placed to know that it is almost never Magritte who invents the titles of his pictures. His paintings could do without titles, and that is why it has sometimes been said that on the whole the title is no more than a conversational gambit" (quoted in Sarah Whitfield, Magritte, exh. cat. The South Bank Centre, London, 1992, p. 39). Indeed, when Paul Colinet, one of Magritte's closest friends, ventured a definitive explanation for the imagery of L'Empire des lumières, Magritte confided to another friend, "The attempt at an explanation (which is no more than an attempt) is unfortunate: I am supposed to be a great mystic, someone who brings comfort (because of the luminous sky) for unpleasant things (the dark houses and trees in the landscape). It was well intentioned, no doubt, but it leaves us on the level of pathetic humanity" (quoted in H. Torczyner, Magritte, Ideas and Images, New York, 1977, n.p.).</div>
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By including day and night, two normally irreconcilable conditions, within a spatially continuous scene, Magritte disrupts the viewer's sense of time. "After I had painted L'empire des lumières," he recalled to a friend in 1966, "I got the idea that night and day exist together, that they are one. This is reasonable, or at the very least it's in keeping with our knowledge: in the world night always exists at the same time as day. (Just as sadness always exists in some people at the same time as happiness in others.) But such ideas are not poetic. What is poetic is the visible image of the picture" (quoted in ibid.). André Breton also recognized in this work the unconventional reconciliation of opposites that the Surrealists prized, stating: "To [Magritte], inevitably, fell the task of separating the 'subtle' from the 'dense,' without which effort no transmutation is possible. To attack this problem called for all his audacity--to extract simultaneously what is light from the shadow and what is shadow from the light (l'empire des lumières). In this work the violence done to accepted ideas and conventions is such (I have this from Magritte) that most of those who go by quickly think they saw the stars in the daytime sky. In Magritte's entire performance there is present to a high degree what Apollinaire called "genuine good sense, which is, of course, that of the great poets" (A. Breton, "The Breadth of Rene Magritte" in Magritte, exh. cat., Arkansas Art Center, Little Rock, 1964, n.p.).</div>
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(fig. 1) René Magritte, L'Empire des lumières, 1950, Museum of Modern Art, New York. BARCODE 25995213<br />(fig. 2) René Magritte, L'Empire des lumières, 1954, Peggy Guggenheim Collection, Venice, The Solomon R. Guggenheim Foundation, New York. BACODE 20625528<br />(fig. 3) Louise Bourgeois, Femme-maison, 1946-47, private collection. BARCODE 25995190<br />(fig. 4) Vija Clemins, House #1, 1965, Museum of Modern Art, New York. BARCODE 25995206</div>
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<br /><br /><img alt="" height="385" src="http://www.mattesonart.com/Data/Sites/1/magritte/empire%20of_light_1954.jpg" style="border: 0px;" width="300" /><br />The Pink House- 1892 by William Degouve de Nuncques (Belgian symbolist painter 1867-1935)<br /><br />This painting is surely the inspiration of Magritte's various Empire of Light paintings. At first glace Degouve de Nuncques' painting looks to be quite normal but if you look at the house the exterior is magically lit up as if in daylight. Degouve de Nuncques, William (Belgian, 1867-1935)—Born in the Ardennes region, son of an aristocratic family. He was a friend of Henri De Groux, and posed for Christ in one of his pictures. In 1883, he shared a studio with the Dutch Symbolist Jan Toorop. Degouve de Nuncques had particularly strong literary connections. He married a sister-in-law of Émile Verhaeren and designed the decor for at least one of Maeterlinck's plays. His painting, The House of Mystery, or The Pink House (1892), was inspired by Edgar Allan Poe's Gothic tale "The Fall of the House of Usher."<br /><br /><br /><img alt="" height="235" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Empire%20of%20%20Light,%20II.%201950.jpg" style="border: 0px;" width="300" /><br />The Empire of Light II, 1950<br /><br />One of the many versions which is less effective because of the distance of the viewer to the light from the lamppost.<br /><br /><img alt="" height="203" src="http://www.mattesonart.com/Data/Sites/1/magritte/Empire%201953.jpg" style="border: 0px;" width="250" /><br />The Dominion of Light III- 1953<br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/David's%20Madame%20best.jpg" style="border: 0px;" width="450" /><br />David's Madame Recamier<br /><br /><img alt="" height="342" src="http://www.mattesonart.com/Data/Sites/1/magritte/David%20recamier%20Mag%20best.jpg" style="border: 0px;" width="450" /><br />Perspective I: Madame Recamier de David, 1950, 23.6 x 31.5 in. / 60 x 80 cm<br /><br />Perspective I: Madame Récamier by David (1951, 60x80cm) is the first "coffin" painting. During the late 1940s and early 1950s Magritte made a series of "Perspective" paintings based on well-known works by the French artists François Gérard, Jacques Louis David, and Édouard Manet, in which he substituted coffins for the figures represented in the original paintings. The composition of this work is almost identical to that of David's famous portrait of Madame Récamier, except that the seductive young sitter has been replaced by a coffin, with a cascading gown left as the only trace of her previous existence. Executed in Magritte's carefully detailed style, this irreverent rendition of the Neoclassical masterpiece is suffused with mordant wit.<br /><br /><img alt="" height="256" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20balcony%201948%20red%20chalk%20drawing.jpg" style="border: 0px;" width="208" /><br />Perspective II: Manet's Balcony; red chalk drawing (earliest version circa 1948-1949)<br /><br /><img alt="" height="514" src="http://www.mattesonart.com/Data/Sites/1/magritte/Manet%20the%20balcony.jpg" style="border: 0px;" width="369" /><br />Edouard Manet (1832-1883) The Balcony 1868-1869 Oil on canvas H. 170; W. 124.5 cm<br /><br /><img alt="" height="479" src="http://www.mattesonart.com/Data/Sites/1/magritte/balcony%20manet(1).jpg" style="border: 0px;" width="353" /><br />René Magritte's Perspective II: Manet's Balcony. 1950. Oil on canvas. 81 x 60 cm<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Handsome%20Brooder%20(Le%20beau%20t%C3%A9n%C3%A9breux)%201950.jpg" style="border: 0px;" width="324" /><br />The Handsome Brooder (Le beau ténébreux) 1950<br /><br /><img alt="" height="295" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Principle%20of%20Archimedes%20Le%20Principle%20D'Archimedes.jpg" style="border: 0px;" width="350" /><br />The Principle of Archimedes (Le Principle D'Archimedes) No Date Given<br /><br />It is most famously attributed to the ancient Greek scholar Archimedes; he reportedly proclaimed, "Eureka!" when he stepped into a bath and noticed that the water level rose – he suddenly understood that the volume of water displaced must be equal to the volume of the part of his body he had submerged. This meant that the volume of irregular objects could be calculated with precision, a previously intractable problem. He is said to have been so eager to share his realisation that he leapt out of his bathtub and ran through the streets of Syracuse naked. Magritte used the "Eureka" of Archimedes to describe another painting "Time Transfixed" when the association of two incongruent (train and Fireplace) objects became as one. Is Magritte saying the apples displaced (in the air) equal the apples in the vase? I doubt it, he used titles to add mystery.</div>
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<br /><img alt="" height="213" src="http://www.mattesonart.com/Data/Sites/1/magritte/Memory%20of%20a%20Journey%201950.jpg" style="border: 0px;" width="300" /><br />Memory of a Journey (Souvenir de Voyage) 1950 oil, 35 x 46 cm<br /><br />Memory of a Journey (Souvenir de Voyage) is a series of paintings Magritte started in 1950 that used pertification; turning everything into stone. This first painting is truly a still life!<br /><br /><img alt="" height="404" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Survivor%20Le%20Survivant,%201950.jpg" style="border: 0px;" width="300" /><br />The Survivor (Le Survivant) 1950<br /><br /><img alt="" height="254" src="http://www.mattesonart.com/Data/Sites/1/magritte/Musical%20momemnts%20Moments%20Musicaux-%20Collage%201950.jpg" style="border: 0px;" width="350" /><br />Musical moments (Moments Musicaux) Collage 1950<br /><br /><img alt="" height="576" src="http://www.mattesonart.com/Data/Sites/1/magritte/rose%20and%20pear%201950.jpg" style="border: 0px;" width="391" /><br />Rose and Pear 1950<br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Legend%20of%20the%20Centuries%20La%20Legende%20des%20Si%C3%A9cles,%201950.jpg" style="border: 0px;" width="381" /><br />The Legend of the Centuries II (La Legende des Siécles II) 1950<br /><br />Magritte made several versions of this, the first dates back to 1948. It's uses pertrification as well as magnification. This was the precursor for the successful Art of Conversation series.</div>
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<img alt="" height="286" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20word%20given%20La%20parole%20donn%C3%A9e%201950.jpg" style="border: 0px;" width="340" /><br />The Pledge (La parole donnée) 1950 signed 'Magritte' (upper left); dated and titled '1950 "La PAROLE DONNÉE"' (on the reverse)<br />oil on canvas 16 7/8 x 23¾ in. (42.8 x 60.3 cm.) Painted in 1950 THE COLLECTION OF ALICE LAWRENCE Also sometimes titled "The Word Given"</div>
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Provenance: Acoris Gallery, London (by 1974); Galleria Gissi, Turin; Carl Laszlo, Basel; Private collection, Switzerland (acquired from the above); sale, Christie's, London, 29 November 1989, lot 566. Acquired at the above sale by the late owner.</div>
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Literature: D. Sylvester, ed., René Magritte, Catalogue Raisonné: Oil Paintings, Objects and Bronzes 1949-1967, London, 1993, p. 173, no. 748 (illustrated).</div>
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Exhibited: Brussels, Galeries Dietrich and Lou Cosyn, Exposition Magritte, April 1951, no. 11.<br />(Possibly) Mons, Museée des Beaux-Arts, Art Contemporain, 1952, no. 50.<br />(Possibly) Verviers, Cave des Temps Mêlés, Exposition: Magritte, March 1953, no. 11.<br />(Possibly) Liège, Galerie du Carré, René Magritte, September-October 1953, no. 8.<br />Brussels, La Sirène, Oeuvres récentes de René Magritte, October 1953, no. 18.<br />La Louvière, Maison des Loisirs, René Magritte exposé, March-April 1954.<br />Brussels, Palais des Beaux-Arts, René Magritte, May-June 1954, no. 84.<br />(Possibly) Antwerp, Stedelijke Feestzaal-Meir Antwerpen, Kunst van heden: salon 1956, October 1956, no. 113.<br />London, Acoris Gallery, Surrealist Masters, 1974, p. 82. no. 39 (illustrated in color).</div>
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Notes: La parole donnée is part of a series of twenty paintings depicting organic objects turned to stone that Magritte started in 1950. Sometimes referred to as his "stone age pictures," these works celebrate Magritte's love of paradox; the first of these images (Sylvester, no. 737; Private collection, Brussels), for example, depicts a monumental stone chair whose aura of primeval significance is undercut by the miniscule wooden chair that is perched delicately upon its enormous seat. This punning yet eerie transformation of mundane objects through alterations in scale and material also occurs with living things such as a large petrified fish that would undoubtedly sink if plunged into water (fig. 1; Sylvester, no. 1022) and the giant stone apple seen here, whose leafy stem underscores both its arrested growth and its incongruous presence amongst forebodingly angular outcroppings of mottled grey stone. Indeed, Magritte regarded the state of petrification as a visual expression of disaster and death. As Abraham Hammacher has stated, "One can trace this preoccupation with a petrified world in all. Magritte's works Magritte did not regard petrification as a process, but as a kind of catastrophe, like that at Pompeii, when lava transfixed the world and brought all movement to a halt" (in Magritte, London, 1974, p.140). The theme of objects transformed or transforming into stone also reprises the inherent violence of Magritte's earlier series of paintings in which figures in famous works such as Manet's Le Balcon or David's Portrait de Mme Récamier are replaced by coffins (fig. 2; Sylvester, nos. 710 and 742), or the metamorphic paintings of 1927 in which landscapes, and figures are changed into wood (Sylvester, nos. 184- 187).</div>
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The present painting is the second of four images of solitary fossilized apples that share the title La parole donnée, which translates as "the pledge." The first of these (Sylvester, no. 747) is a preliminary version of the present scene that was also painted in the second half of 1950, yet it lacks the more elaborate setting seen here, with its looming cliffs, open sky, and rocky foreground. The other two both stem from is set within a bleak landscape and has a blue yet cloud-filled sky visible in the background. The following two both stem from the early to mid 1960s, and display more massively-scaled apples similar to his concomitant series of petrified apples entitled Souvenir de voyage (Sylvester, nos. 735, 736, and 964) and La grande table (Sylvester, no. 964). In the painting from 1963 (Sylvester, no. 971), the apple has reached epic proportions, dominating the canvas and dwarfing the seemingly miniscule mountain range behind it. Although the uneven topography of the canvases from 1950 has been transformed in this variation into a flat valley with a bisecting river, the jutting boulders reappear in the last adaptation of this theme (Sylvester, no. 1009), where the petrified apple appears on a nest-like accumulation of jagged stones on the shore of a mirror-smooth lake. A setting red sun hangs low in the sky over this barren moonscape. As David Sylvester notes, the preternatural calm displayed by these four images possesses an eerie quality, and he has commented that "La parole donnée has the violence of an earthquake at the start of time" (in Magritte, exh. cat., Tate Gallery, London, 1969, p.12).</div>
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The apple is one of the most frequent and recognizable of Magritte's motifs, appearing in various guises such as a floating orb in the sky, a masked entity, and perhaps most famously hiding the face of a man wearing a bowler hat (fig. 3). The ambiguity of its role in the present scene invites the viewer to contemplate possible interpretations without ever offering a definitive meaning, sustaining a sense of enigma that the painter prized above all else. For Magritte, the apple came to symbolize this perpetual tension between the hidden and visible, and he even used it to obscure his own visage in some of his self-portraits. The painter stated: "Those of my pictures that show very familiar objects, an apple, for example, pose questions. We no longer understand when we look at an apple; its mysterious quality has thus been evoked. In a recent painting, I have shown an apple in front of a person's face At least it partially hides the face. Well then, here we have the apparent visible, the apple, hiding the hidden visible, the person's face. This process occurs endlessly. Each thing we see hides another, we always want to see what is being hidden by what we see. There is an interest in what is hidden and what the visible does not show us. This interest can take the form of a fairly intense feeling, a kind of contest, I could say, between the hidden visible and apparent visible" (quoted in H. Torczyner, op. cit., 1997, p.170). Suzi Gablik suggests that "Magritte's paintings are a systematic attempt to disrupt any dogmatic view of the physical world. By means of the interference of conceptual paradox, he causes ordinary phenomena to inherit extraordinary and improbably conclusions. What happens in Magritte's paintings is, roughly speaking, the opposite of what the trained mind is accustomed to expect. His pictures disturb the elaborate compromise that exists between the mind and life. In Magritte's paintings, the world's haphazard state of consciousness is transformed into a single will" (in Magritte, New York, 1985, pp.112 and 114).</div>
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Magritte's transformation of a humble apple into an impressive boulder also reflects the enduring impact of the Italian painter Giorgio de Chirico's pittura metafisica on his oeuvre. De Chirico's images such as Le Chant d'amour, 1914 (fig. 4), which was a seminal discovery for Magritte during the early years of his career, portrays inconsequential objects such as a ball or a glove as monumental symbols with mysterious and ultimately indeterminate import. Similarly, Magritte confers the qualities associated with rocks, such as heaviness and immobility, to the apple, creating a seemingly permanent monument to what is ordinarily a highly perishable foodstuff.</div>
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(fig. 1) René Magritte, Connivance, 1965, Private collection. BARCODE 25995183</div>
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(fig. 2) René Magritte, Perspective: Madame Récamier de David, 1950. BARCODE 25995169<br />Private collection.</div>
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(fig. 3) René Magritte, La Grande Guerre, 1964, Private collection. BARCODE 25595176</div>
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(fig. 4) Giorgio de Chirico, Le Chant d'amour, 1914, The Museum of Modern Art, New York.<br /><br /><br /><br /><img alt="" height="363" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Wasted%20Footsteps-%201950.jpg" style="border: 0px;" width="300" /><br />The Wasted Footsteps- 1950<br /><br /><br /><img alt="" height="310" src="http://www.mattesonart.com/Data/Sites/1/the%20promise%201950.jpg" style="border: 0px;" width="400" /><br />The Promise (La Promisse) 1950</div>
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<img alt="" height="250" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Labours%20of%20Alexander%201950.jpg" style="border: 0px;" width="205" /><br />The Labors of Alexander 1950<br /><br /><br /><img alt="" height="330" src="http://www.mattesonart.com/Data/Sites/1/magritte/art%20of%20conversation%201950.jpg" style="border: 0px;" width="415" /><br />The Art of Conversation I (L'Art de la conversation I) 19.7 x 23.6 in. / 50 x 65 cm<br /><br />This series that started in 1950 features a pile of rock forming the word "Reve" (dream). To me this seem like Magritte's tribute to Stonehenge.<br /><br /><img alt="" height="322" src="http://www.mattesonart.com/Data/Sites/1/magritte/L%E2%80%99Art%20de%20la%20Conversation,%201950.jpg" style="border: 0px;" width="400" /><br />The Art of Conversation- Color Variation (L’Art de la Conversation)<br /><br /><br /><img alt="" height="249" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20%20Conversation%20%20%20I-%201950.jpg" style="border: 0px;" width="300" /><br />Art of Conversation II (L'Art de la conversation II) 1950, 19.7 x 25.6 in. / 50 x 65 cm<br /><br />Again the giant stone formations spells the word "Reve" or Dream.<br /><br /><img alt="" height="219" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20%20Conversation%20%20%20III.jpg" style="border: 0px;" width="300" /><br />Art of Conversation III aka L'Art de la conversation III, 1950, 19.7 x 25.6 in. / 50 x 65 cm<br /><br />This image is rather dark but it shows a bull that has died at the hands of a torero in the foreground. The cut-out in the back section of the water spells "Espana" or Spain.<br /><br /><br /><img alt="" height="254" src="http://www.mattesonart.com/Data/Sites/1/magritte/L'Art%20de%20la%20Conversation%203,%201950.jpg" style="border: 0px;" width="299" /><br />Art of Conversation- Variation IV 1950<br /><br />This is Magritte's transpostion of a Bocklin island, in this case, The Island of The Living. In the back section of the water, the cut-off spells "Amour" or Love.<br /><br /><br /><img alt="" height="388" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20Conversation%202.jpg" style="border: 0px;" width="300" /><br />Art of Conversation V (L'Art de la conversation V) 1950, 19.7 x 25.6 in. / 50 x 65 cm<br /><br />Here Magritte uses two of his icons (the Giantess and the Bilboquet) having a little meeting- elevated conversations to be sure!<br /><br /><img alt="" height="518" src="http://www.mattesonart.com/Data/Sites/1/magritte/Fashionable%20people%201950.jpg" style="border: 0px;" width="400" /><br />Fashionable People- 1950<br /><br /><img alt="" height="307" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Ignorant%20Fairy%201950.jpg" style="border: 0px;" width="400" /><br />The Ignorant Fairy 1950<br /><br />The model for this painting is Marie-Anne Crowet. The same portrait is used later in Magritte's mural. Marie-Anne Crowet's father was Pierre Crowet who met Magritte in 1926 when Pierre was a student in Brussels. According to Pierre, "I ran into Rene Magritte from time to time (both of us being from Charleroi, we hit it off quite well). I admired his work and wanted to purchase one of his paintings but did not have any money. To help me out, he sold The Forest to me fro 500 Belgian francs payable in installments of 50 francs per month. This was my first purchase and the start of my collection." Pierre was a lifelong friend and commissioned of his wife and daughter who was the inspiration for The Ignorant Fairy which later in 1956 became the central theme for Magritte's large mural commissioned by the Musee de Charleroi with the same title.</div>
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<img alt="" height="232" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Hesitation%20Waltz%201950.jpg" style="border: 0px;" width="300" /><br />The Hesitation Waltz- 1950<br /><br />The apple with a mask became a series of paintings later titled, "The Married Priest." Eroticism, understood both in light of the Marquis de Sade and Sigmund Freud, was fundamentally important to the Surrealists. In my opinion the apples are wearing a mask as if displaying a Marquis de Sade type costume. The image of the masked apple first appeared in 1946 fro a cover design Magritte did of "The View."</div>
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<img alt="" height="360" src="http://www.mattesonart.com/Data/Sites/1/magritte/Sheherazade%201950.jpg" style="border: 0px;" width="268" /><br />Sheherazade 1950<br /><br />One of first of many Sheherazade themes Magritte painted. Magritte probably based his ideas on Edgar Allan Poe's "The Thousand-and-Second Tale of Scheherazade." From Poe, "Her name was Scheherazade, and her idea was, that she would either redeem the land from the depopulating tax upon its beauty, or perish, after the approved fashion of all heroines, in the attempt."</div>
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Poe's tale is based on the legendary Persian queen, Scheherazade, the storyteller of One Thousand and One Nights. The original tale goes: Every day Shahryar (or "king") would marry a new virgin, and every day he would send yesterday's wife to be beheaded. This was done in anger, having found out that his first wife was betraying him. He had killed three thousand such women by the time he was introduced to Scheherazade, the vizier's daughter.</div>
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In Sir Richard F. Burton's translation of The Nights, Sheherazade was described in this way:</div>
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"Sheherazade had perused the books, annals and legends of preceding Kings, and the stories, examples and instances of by gone men and things; indeed it was said that she had collected a thousand books of histories relating to antique races and departed rulers. She had perused the works of the poets and knew them by heart; she had studied philosophy and the sciences, arts and accomplishments; and she was pleasant and polite, wise and witty, well read and well bred."<br /><br />Against her father's protestations, Scheherazade volunteered to spend one night with the King. Once in the King's chambers, Scheherazade asked if she might bid one last farewell to her beloved sister, Dinazade, who had secretly been prepared to ask Scheherazade to tell a story during the long night. The King lay awake and listened with awe to Scheherazade's first story and asked for another, but Scheherazade said there was not time as dawn was breaking, and regretfully so, as the next story was even more exciting.</div>
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And so the King kept Scheherazade alive as he eagerly anticipated each new story, until, one thousand and one adventurous nights, and three sons later, the King had not only been entertained but wisely educated in morality and kindness by Scheherazade who became his Queen.</div>
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<br /><br /><img alt="" height="369" src="http://www.mattesonart.com/Data/Sites/1/magritte/Mental%20Complacency-1950.jpg" style="border: 0px;" width="300" /><br />Mental Complacency (Le Confort de l'esprit) 1950, 18.1 x 14.7 in. / 46 x 38 cm<br /><br /><br /><img alt="" height="250" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Seducer.jpg" style="border: 0px;" width="300" /><br />The Seducer I (Le Seducteur I- 1950) 19 x 23 in. / 48.2 X 58.4 cm<br /><br /><img alt="" height="356" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20seducer%20lithograph.jpg" style="border: 0px;" width="500" /><br />The Seducer Lithograph<br /><br />[Review by John Haber] Certainly no one would mistake The Seducer, painted in 1950, for an ordinary landscape. A ship floats alone on an ideal sea, surrounded by one of Magritte's favorite motifs, clouds. Think of the idiom in English today, cloud nine. One has no indication of time, place, or the weather, no hint of sunlight or rain beyond the blue sky and stereotypical cumulus clouds. The sailing ship—of a kind once built for long ocean voyages—belongs to some unspecified past as remote and idealized as a manipulated dream world.</div>
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Magritte probably had little personal experience of the sea anyway. He grew up almost dead center in Belgium, in a small town southwest of Brussels, where the plains of Waterloo start to give way to the hilly terrain of Mons. He returned from Paris to Brussels in 1930, pretty much for good. One could call him the perfect bourgeois, a role he loved to play in his art, although indications of an actual city appear as rarely in his art as anything else concrete.</div>
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Even back in the time of sailing ships, Belgium never rivaled its neighbors as a naval power. The Dutch, after breaking free of Spain, celebrated their ports in Baroque art, but not the Flemish. If Magritte ever felt the call of the sea, it had to mean a call within.</div>
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Most obviously unlike a seascape, Magritte has done something odd indeed to the ship: he has replaced its shape with an extension of the water. Surrealism celebrated just such illogical, uncanny juxtapositions. Breton liked to cite a writer calling himself Comte de Lautréamont, who in 1868 asked for an image "as beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella." One can think of the ship's transformation as a cut-and-paste job, and Surrealism has its roots, like pretty much all modern art, in Cubist collage.</div>
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If that leaves only a dream, the painting's title, The Seducer, also suggests uncensored fantasy, and Magritte himself spoke of painting not just real objects, as in a still life, but "real desires." Whoever is carrying out a seduction, no one is restraining his transgression. In French, seduction has connotations of pleasure and magic, and some critics have termed his art "magic realism"—and a precursor of the movement in America that spawned Philip Evergood and George Tooker. However, the seducer does not clearly appear. The pleasure seeker could be riding on the ship, painting it, or looking at it in the museum now. So could the one seduced—perhaps Magritte himself seduced by his own art.</div>
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In English, and Magritte did know English, seduction implies deception or trickery. One is seduced by the promises of a lover, a salesman, a politician, or an artist. If the painting first, then, simply piles on symbols of floating and pleasure, it also seems clearly designed to trick one into taking nonsense for reality. Just what is the sea doing up there with the ship, and what does this have to do with a human lover?</div>
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Maybe nothing. The Surrealists knew that dreams resist interpretation, which is why they liked them. However, Magritte pushes their illogic further, to the point that it questions naturalism and illusion in art. It may even question fixed meanings entirely. He juxtaposes two kinds of signs, the visual emblem and word seducer, and he detaches both from what they would ordinarily signify. If other Surrealists approach dreams as psychologists, Magritte gives the movement its linguistics department.</div>
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In maybe his most famous work, the words This Is Not a Pipe hover over the image of a pipe. By unmooring language and representation from their usual function, he could be daring one to accept art and the mind as the scene of endless free associations, of perpetual free play. More frighteningly, he could be presenting the breakdown of meaning itself. One can take the marks of waves over the sails as an erasure, an insistence that this is not a ship. Either way, one cannot approach his art in the same way as older painting. One cannot pore over its perceptual cues in order to reconstruct the natural world or its symbolism to decipher a divine one.</div>
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Both alternatives—free play and a loss of meaning—remain pertinent. One can see The Seducer as carefully analyzing and displacing illusion. One can consider the water covering the ship as a reminder that, in a proper representation, an approaching ship would once have lain below the horizon. Besides, unmooring has its own connotations when it comes to the sea. Do these first two layers of meaning, pleasure and critical reflection on painting itself, contradict each other? Absolutely, and that already suggests a third, more unsettling level of interpretation, one that many Surrealists themselves sometimes overlooked in his art.</div>
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The Surrealists never recognized Magritte as fully one of their own. For one thing, they distrusted trickery, even or perhaps especially under the guise of toying with convention. For such a cosmopolitan circle, they talked about psychic automatism and a kind of primitive impulse underlying art. They did not like formalism, systematic investigations of language, or Magritte's seemingly conventional illusion. Conversely, they liked the literal, continuous three-dimensional space of Dalí's landscapes. How ironic (and delightful) that Magritte has lent himself to reinterpretation as photography, by Naomi White.</div>
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For another, they moved easily from desire to violence and from dreams to nightmares. Think of Giorgio de Chirico's dark, empty streets, Dalí's swarms of ants, or his infamous watch melting over what may pass for a dead horse. Think of Max Ernst's Two Children Menaced by a Nightingale, with its open razor and the children fleeing in terror. Think of Alberto Giacometti's haunted Palace at 4 A.M., a confinement that Philip Guston must have admired.</div>
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The Belgian may have seemed rather tame by comparison. In The Menaced Assassin, a woman lies naked with her throat cut, but the assassin still has time to listen to the gramophone. His likely abductors in turn wear middle-class suits and bowler hats. They satirize middle-class conventions savagely enough, and they suggest something fearful beneath, but they recognize them as part of life. When Magritte brings out the machinery of war, his cannon points hopefully On the Threshold of Liberty. For most Surrealists, taking liberties meant taking serious risks.</div>
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The ship and water have the same ambiguity. Water could have floated above the sea, lifting the boat with it and changing a warship into a pleasure craft. Then again, the water could have swamped the boat and the faint outlines of people on it. Like the "chap" in Stevie Smith's poem, they could be "much further out than you thought, / And not waving but drowning." The call of sea includes the great sailing ships and the discovery of the New World, but also the lure of sirens. And you know what happened to those who listened.</div>
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Probably no other painting of his comes as close to monochrome, further obliterating the border between sea and sky. The wave crests may resemble the traces of a ship firmly scudding across the high seas, or they may look like treacherously choppy water during a storm. A variant dated three years later, now in a private collection, may incline more closely toward the first, the version in the Virginia Museum of Fine Arts toward the second. With its typically shameful lack of mission, the Guggenheim passed up a Magritte retrospective that stopped at SF MOMA in 2000, so New Yorkers may never really know which of his manifold disguises represents him best.</div>
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Just as when he first shreds to pieces illusion and language, Magritte makes it impossible to separate comedy, poetry, illusion, and darkness. He can seem as literal as ordinary language, the kind that already uses "going to sea" as a metonym for sailing—and as paradoxical. He can make the rest of Surrealism, with its illustrated Existential crises, ponderous and philosophically naïve by comparison.</div>
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The puzzling seducer may appear in name only because pleasure, much less love, is out of the question. In more than one early painting, lovers try to kiss, but with their heads covered in shrouds as if for a funeral. The most notorious seducer of all goes to hell at the end of the opera, but maybe, just maybe, Magritte's watery ship will continue on its course.</div>
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René Magritte's "The Seducer" (1950) is in the collection of the Virginia Museum of Fine Arts, a gift of Paul Mellon.</div>
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<img alt="" height="255" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Seducer%20%202.jpg" style="border: 0px;" width="300" /><br />The Seducer II (Le Se'ducteur II- 1951) 19.5 x 23.6 in. / 50 x 60 cm<br /><br /><img alt="" height="360" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20seducer%201952%20gouche.jpg" style="border: 0px;" width="461" /><br />The Seducer "Le Seducteur" gouche on paper, 5 1/8 by 7 1/8 inches, 1951<br /><br /><img alt="" height="249" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Seducer%203.jpg" style="border: 0px;" width="300" /><br />The Seducer III (Le Se'ducteur 1953) 15 x 18.1 in. / 38 x 46 cm<br /><br /><br /><img alt="" height="402" src="http://www.mattesonart.com/Data/Sites/1/magritte/Almayer's%20Folly%20La%20Folie%20Aiinayer,%201951.jpg" style="border: 0px;" width="300" /><br />Almayer's Folly (La Folie Almayer) 1951<br /><br /><img alt="" height="309" src="http://www.mattesonart.com/Data/Sites/1/magritte/Clouds%20and%20Bells%20Nuages%20et%20grelots,%201951.jpg" style="border: 0px;" width="300" /><br />Clouds and Bells (Nuages et grelots) 1951<br /> </div>
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<img alt="" height="244" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20smile%20II-%20Le%20Sourire,%201951.jpg" style="border: 0px;" width="300" /><br />The smile II- Le Sourire, 1951<br /><br />The second version of The Smile, which are grave headstones stacked with Anno and a date below, the bottom right is 1957. The first Smile was created during the Renoir sunlit period in 1943.<br /> </div>
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<img alt="" height="480" src="http://www.mattesonart.com/Data/Sites/1/magritte/Hegel's%20Holiday.jpg" style="border: 0px;" width="400" /><br />Hegel's Holiday 1951<br /><br />This is one of the paintings Magritte did referencing the German philosopher Georg Hegel [Hegel's dialectics]. Magritte owned a French translation of Hegel's works and his philosophy of painting was organized in a similar way: By juxtaposing opposite images the mind seeks to resolve the conflict. Here the glass catches water while the umbrella repells water.<br /> </div>
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<img alt="" height="293" src="http://www.mattesonart.com/Data/Sites/1/magritte/Going%20towards%20pleasure%201950%20A%20La%20Rencontre%20Du%20Plaisir.jpg" style="border: 0px;" width="350" /><br />Going towards pleasure (A La Rencontre Du Plaisir) 1950</div>
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This is similar in some ways to La Connaissance- the grelot (bell shaped object) is the focal point, sitting mysteriously in an open field. A man with a bowler hat watches entraced- while behind the curtain his shadow stands, facing in a different direction.<br /><br /><img alt="" height="372" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Philtre%20Le%20Philtre,%201951.jpg" style="border: 0px;" width="300" /><br />The Magic Potion Le Philtre, 1951<br /><br />Another of the many paintings using pertrification. The interesting thing about this- at least what Magritte was trying to do- he is presenting a statue, made out of stone of a man wearing a suit. The trick is: the man is missing or invisible.<br /><br /><img alt="" height="435" src="http://www.mattesonart.com/Data/Sites/1/magritte/Memory%20of%20a%20Journey%20%20Souvenir%20de%20Voyage%20III,%201951.jpg" style="border: 0px;" width="326" /><br />Memory of Journey III ( Souvenir de voyage) 1951<br /><br />Magritte's Memory of a Journey series began in 1951 and features the scene turned entirely into stone. This petrification is complete and in one version "only the light from the candle is natural" said the artist. "The indifference of stones is the same as not existing," Magritte added. For some reason the first Memory of a Journey is catalogued "Memory of Journey III."</div>
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The Song of the Violet (below) and The Magic Potion (above) are other paintings in which everything appears to be made from stone. In Memory of a Journey (1955) Marcel Lecomte, mineral poet, stands next to a stone lion.<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/song%20of%20the%20violet%201951.jpg" style="border: 0px;" width="319" /><br />Song of Violet 1951<br /><br /><img alt="" height="348" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Grande%20Style%201951.jpg" style="border: 0px;" width="260" /><br />Le Grande Style 1951<br /><br />This is one of the lithographs done in the 1960s. It's difficult to see: there's a branch with leaves with the world appearing as an orb at the end of the branch, almost as if it's a flower.<br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Grande%20Mar%C3%A9e%20The%20Great%20Tide%201951.jpg" style="border: 0px;" width="415" /><br />The Great Tide (La Grande Marée) 1951<br /><br /><img alt="" height="562" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Explanation,%20%201952L'Explication,%201952.jpg" style="border: 0px;" width="400" /><br />The Explanation (L'Explication) 1952<br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20explanation%20II.jpg" style="border: 0px;" width="450" /><br /><br />The Explanation II (L'Explication) No date given<br /><br /><br /><img alt="" height="267" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20treason%20of%20images%20La%20Trahison%20des%20Images,%201952.jpg" style="border: 0px;" width="400" /><br />The Treason of Images (variation) 1952<br /><br /><br /><img alt="" height="325" src="http://www.mattesonart.com/Data/Sites/1/magritte/Souvenir%20de%20Voyage,%201952.jpg" style="border: 0px;" width="400" /><br />Memory of a Journey II (Souvenir de Voyage) 1952<br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Modele%20Vivant%20gouche%201952.jpg" style="border: 0px;" width="353" /><br />The Vibrant Model (Le Modele Vivant) gouche 1952<br /><br />In my opinion The Vibrant Model is Magritte's best example of distortion. It's like you are at the amusement park in the House of Mirrors.</div>
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<img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Model%20Life%20Le%20Modele%20Vivant%201952.jpg" style="border: 0px;" width="261" /><br />The Vibrant Model (Le Modele Vivant) 1952<br /><br /><img alt="" height="138" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20beautiful%20language%201952%20Le%20beau%20langage.jpg" style="border: 0px;" width="109" /><br />The Beautiful Language (Le beau langage) 1952</div>
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<img alt="" height="330" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20magician%201952.jpg" style="border: 0px;" width="425" /><br />The Magician 1952</div>
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<img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Magritte%20le%20coup_au_coeur.jpg" style="border: 0px;" width="345" /><br />Le Coup au Coeur (The Blow to the Heart) 1952</div>
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Le Coup au coeur is a painting of one of Magritte's icons: the rose (for another rose painting see also: Le tombeau des lutteurs- 1960). In his painting below you can see the thorns have been replaced by a sword or dagger. It's as if the beautiful flower has been transformed into a gladiator that has arrived from the sea by an invisible ship and is ready to do battle.</div>
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To me this painting is about the cruelty of woman and about Magritte's own troubled marriage and his hurt and disappointment in love. His pretty flower has a dagger and is willing to use it.</div>
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Description: Oil on canvas Painted in 1952. Signed Magritte (lower right); illegibly inscribed and dated Le Coup au coeur 1952 on the reverse</div>
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Dimensions: measurements 18 3/8 by 15 1/4 in. alternate measurements 46.5 by 38.7 cm</div>
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Provenance:<br />Ruth Moskin Gallery, New York (acquired from the artist)<br />Richard S. Zeisler, New York (acquired from the above circa 1955-56)<br />Acquired from the above by the present owner</div>
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Exhibited:<br />Rome, Obelisco , 1953, no. 11<br />Amherst College, An Exhibition of XXth Century European Painting Collected by Richard S. Zeisler , 1958, no. 16<br />Dallas, Museum of Contemporary Art; Houston, Museum of Fine Art, Magritte in America , 1960-61, no. 45<br />New York, Landry, 1961, no. 16<br />Minneapolis, The Walker Art Center, 1962, no. 41<br />London, Marlborough Gallery, Magritte , 1973, no. 67<br />Southampton, Long Island, The Parrish Art Museum, 1979, no. 24<br />New York, The Museum of Modern Art, 1981<br />Brussels, Musée royaux des Beaux-Arts de Belgique, Magritte , 1998, no. 174</div>
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Published:<br />Letter from Magritte to Iolas, October 24, 1951<br />Letter from Magritte to Eluard, November 27, 1951, in Manteau, 1984, pp. 66-68<br />Letter from Colinet to Marien, mid-December 1951, in Magritte, Destination, note to no. 238<br />Letter from Magritte to Iolas, April 25, 1952<br />Letter from Magritte to Marien, May 9, 1952, in Magritte, Destination, no. 249<br />Letter from Magritte to Iolas, May 19, 1952<br />La Carte d'après nature (Jette-Brussels), no. 1, October 1952<br />Letter from Magritte to Iolas, January 13, 1954<br />Rhétorique, September 1961, illustrated pl. 4<br />Robbe-Grillet, 1975, no. 90<br />David Sylvester, Sarah Whitfield and Michael Raeburn, René Magritte, catalogue raisonné, III: Oil Paintings, Objects and Bronzes, 1949-1967, New York and London, 1993, no. 777, illustrated p. 197</div>
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Notes:<br />"My present research, at the beginning of the winter, is concerned with the rose. I must find something precious and worthy to say about it" (Letter from Magritte to Iolas, October 24, 1951, quoted in David Sylvester, op. cit., p. 196) Le Coup au coeur is an iconic example of the artist's stylistic adoption of the tenets of Surrealism. A prominent figure in the Surrealist circles, Magritte was constantly exploring new directions for his art. By the time he painted this work in 1952, he had experimented briefly with Impressionist techniques after the war and now returned to the stylized realism that is so particular to his oeuvre.</div>
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The artist here explores what he found as an inherent paradox contained in a rose. In a letter which he wrote to fellow Surrealist and poet Paul Eluard, Magritte descibed the exploration that led him to the creation of Le Coup au coeur: "... for about two months I have been looking for a solution to what I call 'the problem of the rose.' My research now having been completed, I realize that I had probably known the answer to my question for a long time, but in an obscure fashion, and not only I myself but any other man likewise. This kind of knowledge, which seems to be organic and doesn't rise to the level of consciousness, was always present, at the beginning of every effort of research I made.... After completion of the research, it can be 'easily' explained that the rose is scented air, but it is also cruel, and reminds me of your 'parricidal rose.' I also recall a passage from Nougé's forbidden images: 'It is because of searing memory that we become aware of this faint scent of roses...'" (quoted in David Sylvester, op. cit., p. 197).<br /><br /><img alt="" height="525" src="http://www.mattesonart.com/Data/Sites/1/magritte/Alice%20in%20Wonderland-%201952.jpg" style="border: 0px;" width="400" /><br />Alice in Wonderland (Alice au pays des merveilles) 1952<br /><br />Magritte was fascinated by Lewis Carroll's <i>Alice in Wonderland</i>. In fact the two Carroll novels (Through the Looking Glass) were highly regarded by most surrealists including Andre breton. In the 1936 after the Surrealists exhibition that Mesens organized the British surrealists were dubbed 'the Children of Alice,' while others stressed its international character.<br /><br /><img alt="" height="321" src="http://www.mattesonart.com/Data/Sites/1/magritte/Personal%20Values%201952.jpg" style="border: 0px;" width="400" /><br />Personal Values 1952<br /><br />Truly one of Magritte's best examples of magnification is Personal Values 1952. For me, the other outstanding attribute is the cloud wallpaper. Surprisingly Magritte's agent Alexander Iolas at first rejected this painting as not up to Magritte's standard.<br /><br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/souvenir%20de%20voyage%20better%201958.jpg" style="border: 0px;" width="400" /><br />Memory of a Journey (Souvenir de voyage) 1952 5.6 x 7.5 in. / 14.3 x 19 cm .measurements 40 by 30cm. alternate measurements 15 3/4 by 11 3/4 in. Painted in 1958. signed Magritte (lower left) oil on canvas</div>
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PROVENANCE: Harry Torczyner, New York (commissioned from the artist)<br />Bodley Gallery, New York (acquired from the above by 1962)<br />Private Collection, USA (acquired from the above in 1964. Sold: Sotheby's, London, 4th December 2000, lot 3)<br />Purchased at the above sale by the present owner</div>
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EXHIBITED: New York, Bodley Gallery, Magritte, 1962, no. 9, illustrated in the catalogue<br />Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970<br />New York, Sidney Janis Gallery, Magritte, 1977, no. 17 (titled La Nuit de Pise)</div>
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LITERATURE AND REFERENCES: Harry Torczyner, Magritte, Ideas and Images, New York, 1977, no. 85, illustrated p. 61 (titled La Nuit de Pise); Harry Torczyner, L'Ami Magritte: correspondance et souvenirs, Antwerp, 1992, no. 48 (discussed in a letter from Magritte to Torczyner, 8th October 1958) & no. 51 (discussed in a letter from Magritte to Torczyner, 20th October 1958); David Sylvester (ed.), Sarah Whitfield & Michael Raeburn, René Magritte, Catalogue Raisonné: Oil Paintings, Objects and Bronzes 1949-1967, London, 1993, vol. III, no. 881, illustrated p. 294</div>
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CATALOGUE NOTE: Depicting the leaning tower of Pisa 'supported' by a feather, Souvenir de voyage is a remarkable example of the way in which Magritte's art appropriates images from popular culture, and turns them into fantastic compositions. Reproductions of famous paintings, travel brochures, postcards and other souvenirs were often seized upon as sources for his paintings and gouaches, as is the case in the present work. Since the leaning tower of Pisa holds the same mystifying appeal within architecture as Mona Lisa does in painting, Magritte would have certainly relished its status as a popular icon. By adding the feather as a support for the famously unstable building, the artist seeks to subvert the laws of physics, as well as to question the viewer's perception of an image so deeply rooted in common culture.</div>
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The present work is one of three oils that Torczyner, a lawyer and friend of Magritte's, commissioned from the artist in June 1958, and was completed by August of that year. When Torczyner questioned the background of this painting, which differs from the sky painted in another version of the tower of Pisa, Magritte explained in a letter of 8th October 1958: 'The Tower of Pisa is also new, with its necessary feather. The background differs from those of the other versions of this picture, so that they can be distinguished one from another – and also so as not to lose the possibility of seeing the Tower against a sky lit by the setting sun' (quoted in D. Sylvester (ed.), op. cit., p. 294).</div>
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The idea of the leaning tower of Pisa originated in a drawing of 1949 and a gouache of 1952, both depicting the building leaning against an oversized upright spoon. The image of the tower 'supported' by a feather first appeared in an oil of 1953, with a more literal title La Nuit de Pise. The title Magritte chose for the present work, that first appeared in a 1926 oil, was conceivably inspired by J.A. Gobineau's book Souvenirs de voyage, which Magritte had in his library. Its more poetic resonance certainly struck a chord with the artist and his inclination for unusual titles, and emphasises the ubiquitous appeal of the image.<br /><br /><br /><img alt="" height="398" src="http://www.mattesonart.com/Data/Sites/1/magritte/Giaconda%201953.jpg" style="border: 0px;" width="500" /><br />Giaconda 1953<br /><br />Giaconda is one of Magrite's best known paintings featuring the bowler hatted men raining from the sky. Giaconda is one of Magritte's best uses of duplication (see also The Month of the Grape Harvest), a process he began in 1926 with several mirror images (see: Foolhardy). The duplication is not exact making it more real, and his use of perspective creates the perfect illusion.<br /> </div>
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<br /><img alt="" height="319" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Happy%20Hand%20La%20Main%20Heureuse,%201953.jpg" style="border: 0px;" width="415" /><br />The Happy Hand (La Main Heureuse) 1953<br /><br />Magritte's brother Paul and his closest patron Mesens both played piano. Magritte made a less one sketch of this before he started the painting. Basically what Magritte is trying to do in his The Happy Hand, is use the principle of association. It's a simple yet confounding principle. What does the piano have to do with the ring? You play the piano with your fingers and a ring goes on your finger- therefore by association the piano goes with the ring.<br /><br /> </div>
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<img alt="" height="248" src="http://www.mattesonart.com/Data/Sites/1/magritte/redmodel%20III%201953.jpg" style="border: 0px;" width="305" /><br />The Red Model III 1953<br /><br />As far as I can tell this is the 1953 oil version although he painted many diferent versions. It could also be the 1947 gouche version. Alexander Iolas, Magrittes agent starting in 1947, wanted Magritte to paint more paintings like The Red Model, so Magritte happily obliged.<br /><br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Song%20of%20the%20Sirens%20Le%20Chant%20des%20Sirenes%201953.jpg" style="border: 0px;" width="290" /><br />The Song of the Sirens (Le Chant des Sirenes) 1953<br /><br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/Listening%20room%201953%20also%201958.jpg" style="border: 0px;" width="400" /><br />The Listening Room I- 1958</div>
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Another version was done in 1953.<br /><br /><img alt="" height="355" src="http://www.mattesonart.com/Data/Sites/1/magritte/wonders%20of%20nature%201953.jpg" style="border: 0px;" width="450" /><br />The Wonders of Nature (Les Merveilles de la nature) 1953, 30.5 x 38.6 in. / 77.5 X 98.1 cm<br />Oil on canvas 30 1/2 x 38 5/8 in. (77.5 x 98.1 cm) Framed: 38 1/4 x 46 1/4 x 2 1/2 in. (97.2 x 117.5 x 6.4 cm)<br />Gift of Joseph and Jory Shapiro 1982</div>
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René Magritte is among the best-known Surrealists. His visionary work has influenced artists such as Marcel Broodthaers, Robert Gober, and Allan McCollum, as well as the imager in many advertisements and popular movies. A painting such (The Wonders of Nature) (1953) illustrates fully Magritte’s poetic sensibility. Here he has depicted two fish-headed lovers apparently joined in song. The painting betrays an affinity to fellow Surrealist Salvador Dali, yet conveys a greater sense of whimsy and humor than the more bizarre and sexually provocative works of Magritte’s Catalonian contemporary.</div>
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The conventional mermaid form of the fish-tailed, human-torsoed creature is reversed in as Les Merveilles de la nature, making a creature of fantasy even more unreal. Despite their petrification in stone, the figures appear to be very much alive, with an uncannily human quality, as Les Merveilles de la nature is exemplary of Magritte’s use of the theme and appearance of petrification throughout the 1950s. The painting also contains visual elements found in earlier paintings, such as the ghost ship that blends with the waves on the horizon, which made its first appearance in The Seducer (1950), or the figures themselves, found in an earlier incarnation Collective Invention (1935).</div>
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Magritte, like many of the Surrealists, was well acquainted with the prose poem Les Chants de Maldoror by the nineteenth-century French poet Isidore Ducasse, who worked under the pseudonym Comte de Lautréamont. Among the illustrations that Magritte created for a 1948 edition of Lautréamont’s work was a depiction of a fish with human legs sitting on a rock by the sea with a small ship coursing the waves in the distance. This association may account for the confusion over the painting’s title, once given as The Lovers in a 1964 exhibition in Little Rock, Arkansas, and for a long time known at the MCA as Song of Love. Magritte had informed Joseph and Jory Shapiro, the original owners of the work, that the title was Le Chant d’amour. Yet, when asked by his friend Harry Torezyner at the time of his retrospective at The Museum of Modern Art in 1965, Magritte said that he could not remember the title. Research for the recent catalogue raisonné of Magritte’s work revealed the painting’s actual title and the date of creation, proving that the painting had been in a mermaid theme exhibition and a solo exhibition at La Siréne in Brussels in 1953, thereby identifying the sole work unaccounted for from this period, Les Merveilles de la nature.</div>
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<img alt="" height="183" src="http://www.mattesonart.com/Data/Sites/1/magritte/enchanted%20realm%20close%20up%201.jpg" style="border: 0px;" width="650" /><br />The Enchanted Realm (Close Up)<br /> </div>
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<img alt="" height="184" src="http://www.mattesonart.com/Data/Sites/1/magritte/enchanted%20realm%20close%20up%202.jpg" style="border: 0px;" width="650" /><br />The Enchanted Realm (Close-Up)<br /><br /><img alt="" height="288" src="http://www.mattesonart.com/Data/Sites/1/magritte/mural%20room.jpg" style="border: 0px;" width="450" /><br />The Enchanted Realm in the Knokke-le-Zoute casino<br /><br />The Enchanted Realm (also The Enchanted Domain) is Magritte's masterful series of 8 canvases done in 1953. Each canvas recreates the best versions of his earlier paintings. Above is the mural, I'm including all 8 paintings below:<br /> </div>
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<img alt="" height="199" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20(I)%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté (I) 1953<br /><br /><img alt="" height="195" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20II,%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté II, 1953<br /><br /><img alt="" height="199" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20(III)%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté (III) 1953<br /><br /><img alt="" height="290" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20IV,%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté IV, 1953<br /><br /><img alt="" height="197" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20V,%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté V, 1953<br /><br /><img alt="" height="194" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20VI,%201953.jpg" style="border: 0px;" width="398" /><br />Le Domaine Enchanté VI, 1953<br /><br /><img alt="" height="196" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20VII,%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté VII, 1953<br /><br /><br /><img alt="" height="291" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Domaine%20Enchant%C3%A9%20VIII,%201953.jpg" style="border: 0px;" width="400" /><br />Le Domaine Enchanté VIII, 1953<br /><br /><br /><br /><img alt="" height="246" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Great%20Century%201954.jpg" style="border: 0px;" width="300" /><br />The Great Century 1954<br /><br /><img alt="" height="631" src="http://www.mattesonart.com/Data/Sites/1/magritte/Invisible%20World%20aka%20Le%20Monde%20invisible,%201954.jpg" style="border: 0px;" width="415" /><br />Invisible World (Le Monde invisible) 1954</div>
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<img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Cloak%20of%20the%20Night%20El%20vestido%20de%20noche%201954.jpg" style="border: 0px;" width="292" /><br />The Cloak of the Night or The Evening Gown (El vestido de noche) 1954<br /><br />Magritte painted a complimetary work with a bowler hatted man and a quarter moon facing the other direction.<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Truth%20In%20Her%20Jasmine%20BouquetLa%20Verite%20Dans%20Son%20Bouquet%20de%20Jasmines%201954.jpg" style="border: 0px;" width="257" /><br />The Truth In Her Jasmine Bouquet (La Verite Dans Son Bouquet de Jasmines) 1954<br /><br /><img alt="" height="480" src="http://www.mattesonart.com/Data/Sites/1/magritte/Moments%20Inoubliables%20du%20Cinema,%201954.jpg" style="border: 0px;" width="357" /><br />Moments Inoubliables du Cinema, 1954 Gouche on paper 18 x 13.8<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Euclidean%20Walks.jpg" style="border: 0px;" width="319" /><br />Where Euclide Walked (Les promenades d' Euclide) 1955, oil on canvas<br /><br /><img alt="" height="409" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Spot%20on%20the%20Map-%201955.jpg" style="border: 0px;" width="300" /><br />The Spot on the Map- 1955<br /><br /><br /><img alt="" height="413" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20fantics%20Les%20fanatiques%201955.jpg" style="border: 0px;" width="320" /><br />The Fanatics (Les fanatiques) 1955<br /><br /><br /><img alt="" height="548" src="http://www.mattesonart.com/Data/Sites/1/magritte/Souvenir%20de%20Voyage%20III,%201955.jpg" style="border: 0px;" width="415" /><br />Memory of a Journey III (Souvenir de Voyage III) 1955<br /><br />One of his best know "Memory of a Journey" paintings featuring a portrait of his good friend Marcel Lecomte.<br /><br /><br /><img alt="" height="265" src="http://www.mattesonart.com/Data/Sites/1/A%20variation%20of%20sadness%20Variante%20de%20la%20Tristesse,%201955.jpg" style="border: 0px;" width="320" /><br />A variation of sadness (Variante de la Tristesse) 1955<br /><br /><br /><img alt="" height="392" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Origins%20of%20%20Language-%201955.jpg" style="border: 0px;" width="300" /><br />The Origins of Language (Les origines du langage) 1955<br /><br />"Les origines du langage" is reminiscent of Georges Seurat's 1885 painting, Le Bec du Hoc a Grandcamp. Magritte did several other versions with this theme including "Le bal masqué" and the 1961 "The recall of the order (Le rappel à l’ordre)."<br /><br /><br /><img alt="" height="286" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Mysteries%20of%20the%20Horizon%201955.jpg" style="border: 0px;" width="400" /><br />Mysteries of the Horizon (Le Chef-d'Oeuvre ou Les Mysteres) 1955<br /><br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Orchestra%20Conductor%20%20Le%20Chef%20D'orchestre%201955.jpg" style="border: 0px;" width="276" /><br />The Orchestra Conductor (Le Chef D'orchestre) 1955<br /><br /><br /><img alt="" height="340" src="http://www.mattesonart.com/Data/Sites/1/magritte/Memory%20of%20a%20voyage%20IV%201955.jpg" style="border: 0px;" width="400" /><br />Memory of a voyage IV 1955<br /><br /><br /><img alt="" height="420" src="http://www.mattesonart.com/Data/Sites/1/magritte/Anne-Marie%20Crowet%201956.jpg" style="border: 0px;" width="300" /><br />Anne-Marie Crowet 1956<br /><br />According to Magritte, Anne-Marie Crowet possessed an ideal face. Her face is used for The Ignorant Fairy painting and subsequent murals the 1953 casino mural and the 1957 mural for the Palais des Beaux-Arts in Charleroi. A similar face appears as early as 1939.<br /><br /><br /><img alt="" height="361" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Sixteenth%20of%20%20September.jpg" style="border: 0px;" width="300" /><br />Sixteenth of September (Le Seize Septembre) 1956, 23.6 x 19.7 in. / 60 x 50 cm<br /><br />Trees are a recurrent subject in his work. As Magritte stated: "Growing from the earth to the sun, a tree is an image of certain happiness. To perceive this image we must be immobile like the tree. When we are moving, it is the tree which becomes the spectator. It is witness, equally, in the shape of chairs, tables and doors, to the more or less agitated spectacle of our life. The tree, having become a coffin, disappears into the earth. And when it is transformed into fire, it vanishes into air." Here Magritte superimposes a crescent moon in front of the tree. The artist referred to his intentional juxtaposition of incongruous objects as "objective stimulus." In reference to this image, Magritte observed: "I have just painted the moon on a tree in the grey-blue colors of evening." Typically, the titles of Magritte's paintings were determined after they were completed. In this case, the title was the idea of Magritte's friend, Surrealist poet Louis Scutenaire.<br /><br /><img alt="" height="512" src="http://www.mattesonart.com/Data/Sites/1/magritte/Ready%20made%20Bouquet%201956.jpg" style="border: 0px;" width="415" /><br />Ready-Made Bouquet 1956<br /><br />Magritte's referenced Sandro Botticelli's "Birth of Venus" in a wild rendition, barely recognizable, of Venus. This painting is an exact quote from “The Primavera.” Magritte did another very similar version of Ready-Made Bouquet around the same time.<br /><br /><img alt="" height="259" src="http://www.mattesonart.com/Data/Sites/1/magritte/Untitled%20(Shell%20In%20The%20Form%20Of%20An%20Ear)%201956.jpg" style="border: 0px;" width="350" /><br />Untitled (Shell In The Form Of An Ear) 1956</div>
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<img alt="" height="367" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Poet%20%20RecompensedLe%20Poete%20recompense,%201956.jpg" style="border: 0px;" width="300" /><br />The Poet Recompensed (Le Poete recompense) 1956<br /><br /><img alt="" height="183" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Territory%20Le%20Terrhoire,%201957.jpg" style="border: 0px;" width="300" /><br />The Territory (Le Terrhoire) 1957<br /> </div>
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<img alt="" height="76" src="http://www.mattesonart.com/Data/Sites/1/magritte/Ignorant%20fairy%201957%20mural.jpg" style="border: 0px;" width="460" /><br />The Ignorant Fairy (Mural) 1957<br /><br />Here is a small image of Magritte's 1957 mural a version of "La Fée ignorante" (The Ignorant Fairy) from his 1950 painting of the same name which appears the Hall of Congress of the Palais des Beaux-Arts de Charleroi<br /><br /><img alt="" height="184" src="http://www.mattesonart.com/Data/Sites/1/magritte/ignorant%20fairy%201.jpg" style="border: 0px;" width="550" /><br />The Ignorant Fairy Mural (Close up 1) 1957<br /><br /><img alt="" height="187" src="http://www.mattesonart.com/Data/Sites/1/magritte/ignorant%20fairy%202.jpg" style="border: 0px;" width="550" /><br />The Ignorant Fairy Mural (Close up 2) 1957<br /><br /><br /><img alt="" height="279" src="http://www.mattesonart.com/Data/Sites/1/magritte/Untitled%20Variation%20Ignorant%20Fairy%201957.jpg" style="border: 0px;" width="350" /><br />Untitled- Variation Ignorant Fairy 1957<br /><br />Not sure of the title, it was mistitled as The Enchanted Domain 1957.<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/Enchanted%20Domain%201957.jpg" style="border: 0px;" width="240" /><br />Enchanted Domain (title?)1957<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20enchanted%20domain%201957.jpg" style="border: 0px;" width="240" /><br />The Enchanted Domain (title?) 1957<br /><br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Hommage%20%C3%A0%20Eric%20von%20Stroheim%201957.jpg" style="border: 0px;" width="308" /><br />Hommage à Eric von Stroheim 1957<br /><br />This witty portrait was done by Magritte as an invitation to L'Ecran du Seminaire des Arts. Erich von Stroheim (September 22, 1885 – May 12, 1957) was an Austrian-born star of the silent film age, lauded for his directorial work in which he was a proto-auteur. As an actor, he is noted for his arrogant Teutonic character parts which led him to be described as "not a character actor, but what a character!". Playing villainous German roles during the Great War, he became known as "The Man You Love to Hate".</div>
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<br /><img alt="" height="248" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Meaning%20of%20Modesty%20Le%20Sens%20de%20la%20Pudeur%201957.jpg" style="border: 0px;" width="350" /><br />The Meaning of Modesty (Le Sens de la Pudeur) 1957<br /><br /><br /><img alt="" height="249" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Alarm%20Clock%20Le%20Reveille-matin,%201957.jpg" style="border: 0px;" width="300" /><br />The Alarm Clock (Le Reveille-matin) 1957<br /><br />Magritte used the upside down painting to better effect with his 1959 version titled, Le Sabbat. Magritte used the same image in a later lithograph, similarly titled "The Morning Awakening."<br /><br /><br /><img alt="" height="406" src="http://www.mattesonart.com/Data/Sites/1/magritte/Harry%20Torczyner%20or%20%20Justice%20Has%20Been%20Done-%201958.jpg" style="border: 0px;" width="300" /><br />Harry Torczyner or Justice Has Been Done- 1958<br /><br />In October 1957 Magritte met Harry Torczyner (1910-1998), a Belgian lawyer based in New York who was interested in poetry and art. Torczyner became Magritte's patron, friend and adviser for the rest of Rene's life. Their letters were recently published in "Magritte/Torczyner: Letters Between Friends" by Rene Magritte (Author), Harry Torczyner (Author), Richard Miller (Translator).<br /><br /><img alt="" height="342" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Intimate%20Friend%20L'Ami%20intime,%201958.jpg" style="border: 0px;" width="300" /><br />The Intimate Friend (L'Ami intime) 1958</div>
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This is a similar setting as 1958 "The Golden Legend" and (see below) but this time there's just one loaf of bread and one wine glass and of course his bowler hatted man with his back turned blocks the view. In my opinion these are religious icons and Magritte used them frequently from the mid-1940s onward.<br /><br /><br /><img alt="" height="210" src="http://www.mattesonart.com/Data/Sites/1/magritte/L'opaki%201958.jpg" style="border: 0px;" width="210" /><br />L'opaki- 1958; 23 1/2 by 19 5/8 in. (59.6 by 49.7cm) Signed Magritte (lower right); titled L'okapi and dated 1958 on the reverse. Oil on canvas</div>
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<img alt="" height="174" src="http://www.mattesonart.com/Data/Sites/1/magritte/Okapi%20pic.jpg" style="border: 0px;" width="200" /><br />The Okapi (Okapia johnstoni) is a giraffid artiodactyl mammal native to the Ituri Rainforest, located in the northeast of the Democratic Republic of the Congo, in central Africa. Although the Okapi bears striped markings reminiscent of the zebra, it is most closely related to the giraffe.<br /><br />PROVENANCE:Alexander Iolas Gallery, New York (acquired from the artist in 1958)<br />Jacques Kaplan (acquired from the above in 1965)<br />Acquired from the above by the family of the previous owner in 1965</div>
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EXHIBITED:New York, Alexander Iolas Gallery, René Magritte, 1959<br />Dallas, Museum for Contemporary Arts & Houston, Museum of Fine Arts, René Magritte in America, 1960-61, no. 65<br />Little Rock, Arkansas Art Center, Magritte, 1964</div>
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LITERATURE AND REFERENCES: Letter from René Magritte to Maurice Rapin, April 14, 1958<br />José Pierre, Magritte, Paris, 1984, illustrated p. 13<br />David Sylvester (ed.), Sarah Whitfield & Michael Raeburn, René Magritte, Catalogue Raisonné, Oil Paintings, Objects and Bronzes 1949-1967, vol. III, London, 1993, no. 872, illustrated p. 286</div>
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NOTES: L'Okapi explores the single most iconic motif of Magritte's oeuvre, that of the bowler-hatted man. Seen from behind, against an undefined landscape, his head crowned by a mysterious over-sized flower, the protagonist encapsulates the enigmatic, timeless quality that defines Magritte's art.</div>
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The image of the bowler-hatted man first appeared in his painting of 1926 titled Rêveries du promeneur solitaire, in which the man is seen from the back, against a dark evening landscape. Used in a number of paintings throughout the artist's career, and most famously in Golconde of 1953, now in the Menil Collection in Houston, the bowler-hatted man appears in various guises. He is sometimes depicted from the back, as in the present work, sometimes from the front, his face obscured by an object placed in front of it, as a dark contour faintly visible against the night sky, or fossilized into a block of stone. Often he is no more than a silhouette, providing a frame in which another subject is depicted. What is common to all of them is the fact that the man remains impersonal, an individual transformed into a universal object. As Suzi Gablik described him: "Magritte's bowler-hatted man is more like a figure in a book than a human being, but a figure with all the inessential elements left out... Impassive and aloof he fixes the world in his gaze, but often his face is turned from view, dislocated, or otherwise concealed or obliterated by objects, as if expressing a universal disinclination, for which there exists no complementary inclination" (Suzi Gablik, Magritte, London, 1991, p. 162).</div>
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In L'Okapi, the man's bust occupies the foreground of the composition, as he gazes over the landscape and the plain, cloudless sky, scenery reminiscent of a stage design rather than an actual landscape. Coming from an unknown source above the scene that is depicted, a white flower with three leaves is clasping the man's bowler-hat, and appears to be devouring and protecting him at the same time. The image of the upturned flower is rare within Magritte's oeuvre; while objects such as a loaf of bread, an apple or a bell often appear in his paintings and gouaches, usually obscuring the face of the man, this flower is not repeated in other works. Discussing the significance of another flower, a rose, in a letter of 1957, Magritte wrote: "The presence of the rose next to the walker signifies that the man, wherever his destiny may lead him, is always under the protection of an element of beauty" (quoted in David Sylvester, op. cit., vol. IV, p. 192).</div>
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Between 1955 and 1958, Magritte and his friend Maurice Rapin, who was associated with the Surrealist group, corresponded regularly. In a letter of April 14, 1958, Magritte sent Rapin a sketch of the present work, calling it L'Abîme quotidien (The Daily Abyss). At a later stage, however, he changed the title of the work to L'Okapi, adding to its mysterious quality by alluding to the exotic, little known animal. Visually, it might have been the black and white pattern created by the juxtaposition of the man's hat and the flower that reminded Magritte of the stripes that characterize the okapi.</div>
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Executed in the last decade of Magritte's life, L'Okapi exemplifies the clarity of thought and execution the artist reached in his mature works. Unlike his earlier paintings, in which he often combined various motifs in a single composition, in his later years Magritte arrived at an economy and purity that allowed him to focus on a single idea, thus creating a stronger visual impact. Whereas in his earlier works the bowler-hatted man's face, or indeed his entire body, are replaced by a landscape or a cloudy sky, in the present work he is reduced to the minimal elements of his generic suit and hat, set against the imaginary landscape which further emphasises the powerfully existential, timeless quality of this image.<br /><br /><br /><br /><img alt="" height="222" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Fountain%20of%20Youth-%201958.jpg" style="border: 0px;" width="300" /><br />The Fount (Fountain) of Youth II (La Fountaine de jouvence)- 1958<br /><br />This painting is similar to The Smile with a tombstone engraved "roseau" on it (in french it means "reed"). Magritte did another version in 1957 and on that grave it spells "coblenz."</div>
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<br /><img alt="" height="255" src="http://www.mattesonart.com/Data/Sites/1/magritte/Clear%20Ideas%20Les%20Idees%20claires,%201958.jpg" style="border: 0px;" width="300" /><br />Clear Ideas (Les Idees claires) 1958<br /><br /><img alt="" height="262" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Cailligraphe%201958.jpg" style="border: 0px;" width="350" /><br />La Calligraphe 1958<br /><br /><br /><img alt="" height="309" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Banquet,%201958.jpg" style="border: 0px;" width="415" /><br />The Banquet- 1958<br /><br /><br /><img alt="" height="330" src="http://www.mattesonart.com/Data/Sites/1/magritte/listening%20room%201958%20version.jpg" style="border: 0px;" width="400" /><br />The Listening Room I- 1958<br /><br /><br /><img alt="" height="480" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Toile%20de%20P%C3%A9n%C3%A9lope%20The%20%20Penelope%20Canvas%201958.jpg" style="border: 0px;" width="289" /><br />The Penelope Canvas (La Toile de Pénélope) 1958</div>
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One of the few impressionist style paintings Magritte did after the 1940s.<br /><br /><img alt="" height="251" src="http://www.mattesonart.com/Data/Sites/1/magritte/Masson's%20Wife%20Femme%20du%20macon,%201958.jpg" style="border: 0px;" width="300" /><br />Masson's Wife (Femme du masson) 1958<br /><br /><br /><img alt="" height="166" src="http://www.mattesonart.com/Data/Sites/1/magritte/Inevitably%20La%20force%20des%20choses,%201958.jpg" style="border: 0px;" width="200" /><br />Inevitably (La Force des Choses) 1958<br /><br />This and the next painting use the bread of life symbol, one of Magritte's iconic religious images. The glass would represent the water of life. It's inevitable that we will have to deal with religion and the role it will paly in out lives.<br /><br /><img alt="" height="302" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Golden%20Legend%201958.jpg" style="border: 0px;" width="400" /><br />The Golden Legend 1958<br /><br />The loaves of bread resemble something from a Byzantine mosaic, circa 500 AD. By using duplication, a technique Magritte used for many of his important works, he creates a powerful painting, as if the bread was alive. "This standing motionless upon the golden threshold of the wide open gate of dreams," Edgar Allen Poe.<br /><br /><img alt="" height="293" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Familiar%20World%20Le%20Monde%20Familier%201958.jpg" style="border: 0px;" width="350" /><br />The Familiar World (Le Monde Familier) 1958<br /> </div>
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<img alt="" height="326" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20glass%20key%201959.jpg" style="border: 0px;" width="415" /><br />The Glass Key (La Clef de Verre) 1959 Oil on canvas. 129.5 x 162 cm. The Menil Collection, Houston, TX, USA.<br /><br />The Glass Key features a giant boulder balancing delicately on a ledge, a geological impossiblity. The Glass Key title comes from Dashiell Hammett, THE GLASS KEY (1930) was Hammett's favorite among his novels. The central character, Ned Beaumont, was partly a self-portrait: a tall, thin, tuberculosis-ridden gambler and heavy drinker. Dashiell Hammett (1894-1961) was an American novelist who also worked as a screenwriter in Hollywood. He wrote his first fiction under the pseudonym Peter Collinson. Hammett's best known books include THE MALTESE FALCON (1930), filmed three times. It introduced detective Sam Spade who is investigating the murder of his colleague, detective Archer.<br /><br /><br /><img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20Anniversary%20L%E2%80%99Anniversaire,%201959.jpg" style="border: 0px;" width="389" /><br />The Anniversary (L’Anniversaire) 1959<br /><br /><img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Malicheous%20%20Sack%20Le%20Sac%20%C3%A0%20malice%201959.jpg" style="border: 0px;" width="226" /><br />The Malicious Sack (Le Sac à malice) 1959 gouche<br /><br /><br /><img alt="" height="637" src="http://www.mattesonart.com/Data/Sites/1/magritte/Castle_in_The%20Pyrenees%20Le%20Chateau%20des%20Pyrenees,%201959.jpg" style="border: 0px;" width="415" /><br />The Castle in The Pyrenees (Le Chateau des Pyrenees) 1959<br /> </div>
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<img alt="" height="318" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Month%20of%20the%20Grape%20Harvest%201959.jpg" style="border: 0px;" width="400" /><br />The Month of the Grape Harvest 1959<br /><br />In his painting Le Mois des vendanges (The Month of the Grape-harvest, 1959, cat. 83) we become gradually aware of the disquieting contrast between an empty room and a congeries of almost identical men in Magritte’s famous bowler hat, gazing in through the open window. This is very similar to the three men staring through the window in "The Menaced Assassin" done in 1926.</div>
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Magritte use duplication (using an exact copy of a person or object) as an effect in his early career (Foolhardy, 1927) and continued using variations of it in some of his greatest works including Golconde.<br /><br /><img alt="" height="324" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Battle%20of%20Argonne%20La%20Bataille%20de%20l'Argonne,%201959.jpg" style="border: 0px;" width="400" /><br />The Battle of the Argonne (La Bataille de l'Argonne) 1959, 19.7 x 24 in. / 50 x 61 cm</div>
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In La Bataille de l'Argonne (The Battle of the Argonne, 1959) a rock can float as easily as the adjacent cloud and thereby invites comparison because of its relative height and size.</div>
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<img alt="" height="534" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20voice%20of%20Blood%20La%20Voix%20du%20Sang,%201959.jpg" style="border: 0px;" width="410" /><br />The Voice of Blood IV (La Voix du Sang IV) 1959<br /><br />This version is similar to another tree painting "September 16" done in 1956.<br /><br /><img alt="" height="150" src="http://www.mattesonart.com/Data/Sites/1/magritte/An%20Eclair%20L'eclair%201959.jpg" style="border: 0px;" width="117" /><br />An Eclair (L'eclair) 1959<br /><br />This is one of a series of gouache based on The Plagiarism (Le Plagiat- 1939-40) depicting a vase of flowers on a table in an interior setting. The spray of flowers is depicted as a cut-out silhouette, acting as a window onto a landscape of grassland, trees and shrubs. This superimposition of forms and the dialogue that Magritte establishes between revelation and concealment is a frequent tactic in his work.<br /><br />The main difference from The Plagiarism (Le Plagiat- 1939-40) is the bird's nest with its three white eggs. The title of the Le Plagiat was coined by Magritte's friend, the poet Marcel Marïen. Magritte responded: “The title Plagiary is very strong and very fine. I am appropriating it.” Truly a bad pun between friends!<br /><br /><br /><img alt="" height="341" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20Sabbat%201959.jpg" style="border: 0px;" width="415" /><br />The Sabbath (Le Sabbat) 1959<br /><br />Rene Magritte's 1959 "Le Sabbat,'' with an upside-down easel in a landscape, took 4.5 million pounds from a European bidding on the phone. It was once owned by Monaco-based dealer and collector David Nahmad, who said he sold it in 1975 for $100,000. This is a better version of his 1957 painting, "The Alarm Clock"</div>
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<img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/A%20Little%20of%20the%20Bandits'%20Soul.jpg" style="border: 0px;" width="312" /><br />A Little of the Bandit's Soul. 1960. Oil on canvas, 65 x 50 cm.<br /><br /><br /><img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20horns%20of%20desire%20Les%20Cornes%20du%20Desir%201960.jpg" style="border: 0px;" width="229" /><br />The Horns of Desire (Les Cornes du Desir) 1960<br /><br /><br /><img alt="" height="257" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Married%20Priest%20Le%20Pretre%20mane,%201960(1).jpg" style="border: 0px;" width="300" /><br />The Married Priest (Le Pretre mane) 1960<br /><br />The apple with a mask is featured in The Hesitation Waltz- 1950. Eroticism, understood both in light of the Marquis de Sade and Sigmund Freud, was fundamentally important to the Surrealists. In my opinion the apple wearing a mask is displaying a Marquis de Sade type costume. The image of the masked apple first appeared in 1946 for a cover design Magritte did of "The View."<br /><br /><img alt="" height="204" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Married%20Priest%20Le%20Pretre%20mane,%201960.jpg" style="border: 0px;" width="300" /><br />The Married Priest (Litho) gouche- No date given<br /><br />This became one of a series of lithographs done after Magritte died.<br /><br /><br /><img alt="" height="306" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20Curse%20II%20Malediction,%201960.jpg" style="border: 0px;" width="400" /><br />The Curse II (Malediction II) 1960<br /><br />Claude Spaak commissioned Magritte to do the frist version of this painting, a simple but mystical painting of the sky. In 1951 Magritte used this a the basis for one of his murals that he painted on the ceiling at the Theatre Royal des Galeries Saint-Hubert adding only faint images of blue grelots (bells) to the sky.<br /><br /><img alt="" height="311" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Heartstring%20La%20Corde%20Sensible,%201960.jpg" style="border: 0px;" width="400" /><br />The Heartstring (La Corde Sensible) 1960<br /><br />He asked, "What kind of wine would you like?"<br /><br />She replied, "I'd like a cloud please, cummulous, extra fluffy and not too light. That last one I ordered floated out of the glass."<br /><br /><br /><img alt="" height="559" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20spirit%20of%20Presence%20La%20Pr%C3%A9sence%20d%E2%80%99Esprit,%201960.jpg" style="border: 0px;" width="415" /><br />The Spirit of Presence (La Présence d’Esprit) 1960<br /><br /><br /><img alt="" height="603" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Post%20Card-%201960.jpg" style="border: 0px;" width="415" /><br />The Post Card- 1960<br /><br /><br /><br /><img alt="" height="440" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Anger%20of%20the%20Gods%20La%20Col%C3%A8re%20des%20Dieux,%201960.jpg" style="border: 0px;" width="402" /><br />The Anger of the Gods (La Colère des Dieux) 1960<br /><br />The is essentially a hillarious version of The Lost Jockey done in 1926. The jockey returns, this time riding on top of an automobile.<br /><br /><br /><br /><img alt="" height="242" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Memoirs%20of%20a%20Saint%20Les%20Memoires%20d'un%20saint,%201960.jpg" style="border: 0px;" width="300" /><br />The Memoirs of a Saint (Les Memoires d'un saint) 1960<br /><br />This is part of a series of paintings done on a stage with curtains that magritte did in the last years of his life (1960- 1967). Other versions include: The Beautiful World (Le Beau Monde)1962; The Wasted Effort (La peine Perdue) 1962; and Mona Lisa- circa 1962<br /><br /><img alt="" height="450" src="http://www.mattesonart.com/Data/Sites/1/magritte/Les-Forces-de-l-Habitude-c-1960-Posters.jpg" style="border: 0px;" width="291" /><br />The Forces of Habit (Les Forces de l'Habitude) 1960 Poster<br /><br />Max Ernst painted a bird cage with a bird on the bottome of Magritte's painting and signed it: This is not a Magritte. Here's a report of the painting and Magritte's reaction:<br /><br />"Magritte," Pierre continued, "was both someone very serious, very bourgeois, and someone with a great sense of humor who knew how to laugh. He was rather complicated. In Max Ernst's dining room in Paris there was a painting by Magritte, entitled Force of Habit (I 960, cat. no. 15 1), in which a heraldic image of a large green apple is inscribed in English, "This is not an apple." Max and Magritte had exchanged pictures, as artists often do. And Max, in the middle of the apple, had painted a cage with a bird inside. Below this cage, Max had written, "Ceci n'est pas un Magritte - signs Max Ernst." It was pretty funny, at least I thought so. It transformed that painting by Magritte, which was a little boring, into something exceptional. The only problem is that when Magritte came and saw the picture, he laughed politely, but he hated it."</div>
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<br /><br /><img alt="" height="243" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Apartment%20of%20Madame%20Sundheim%201960.jpg" style="border: 0px;" width="350" /><br />The Apartment of Madame Sundheim- 1960<br /><br /><br /><br /><img alt="" height="320" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Tomb%20of%20the%20Wrestlers%20Le%20Tombeau%20des%20Luteurs,%201960.jpg" style="border: 0px;" width="416" /><br />The Tomb of the Wrestlers (Le Tombeau des Luteurs) 1960<br /><br />This big rose painting is called The Tomb of the Wrestlers and was a commission by Magritte's lawyer and patron Harry Torczyner. "When there is a rose, and one is sensitive to it, one makes it as big as I did so that the rose appears to fill the room," he explains. The title, which Magritte took from a novel by French Symbolist writer Leon-Alinien Cladel, "Ompdrailles, le tombeau des luteurs" (1979), seems appropriate: like the rose, the fighters are something "grandiose," filling the tomb with their struggles.</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-90692655278987051232020-02-12T00:03:00.002-04:002020-02-12T00:31:00.358-04:00Magritte Gallery 1947-1948 Vache Period<div dir="ltr" style="text-align: left;" trbidi="on">
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Magritte Gallery 1947-1948 Vache Period</h2>
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<b>Magritte 1947-1948 "Fauve" or "Vache" period</b><br />
In 1946 Magritte issued his manifesto <em>Surrealism in full sunlight,</em> saying, “We have neither the time nor the taste to play at Surrealist art, we have a huge task ahead of us, we must imagine charming objects which will awaken what is left within us of the instinct to pleasure.”<br />
Although his "sunlit" Renior styled paintings began in 1943, all his work was not impressionist. At the start of 1947 Margritte was painting in both his realist style and his impressionist style. Some of his works (Intelligence; A Thousand and One Nights) were already headed toward more extreme colors. This fauve-inspired extreme style, closer to some of Van Gogh works, would accelerate in late 1947* [see 5th paragraph] when he was invited to hold his first solo exhibition in Paris at the Galerie du Faubourg in May 1948. He had waited twenty years to do a solo show in Paris and was resentful at the lack of appreciation that he felt the Parisian surrealists gave him. Magritte wrote at the time: "The paintings of Picabia should not make us dream of the revelations to be gleaned from coffee dregs, or prophesies..."<br />
Then in 1947 Alexander Iolas, who became Magritte's principal dealer in the United States, successfully exhibited the artist's work in New York. Iolas then suggested that Magritte forget Renoir and sunlight to focus his output on images which overwhelmingly appealed to the public, like Treasure Island.<br /><br />ELT Mesens helped organize the American exhibits with Iolas through a series of letters starting in 1946. <b>Alexander Iolas </b>(1907-1987) was born in Alexandria, Egypt, on March 25, 1907, to Andreas and Persephone Coutsoudis, who were Greek. In 1924, he went to Berlin as a pianist, and later became a ballet dancer who toured extensively with the Theodora Roosevelt Company and later with the company formed by the Marquis de Cuevas. In the 1940s, he ran a gallery in New York City promoting Max Enrst, Andy Warhol, Matta, Victor Brauner, Joseph Cornell, Yves Klein and Niki de Saint-Phalle. He also had galleries in Paris, Milan and Geneva. Although he promoted new work by unknown artists, Iolas was able to reassure the potential clients with his magnetic personality; his sharp dress and mischievous and sometimes irresistible charm.<br />
With some international recognition and success through Alexander Iolas, Magritte was not impressed by his invitation to hold his one man show at the Galerie du Faubourg, Paris. As a joke concocted by Magritte and his friends, Rene painted a series of hilarious pictures to exert a bit of revenge upon the Paris art world. Magritte experimented with a brash Fauve-inspired style in late 1947* dubbed "Vache" (literally, cow), which he premiered at an exhibition at the Galerie du Faubourg in Paris the next year. *[David Sylvester suggested that even though some of his Vache paintings were dated 1947 they were intentionally dated wrong so that Magritte could pretend that all the vauche paintings were not done deliberately for the Paris show, instead they were just part of a phase he started before he knew about the show.]<br /><br />According to Bernard Marcadé: "In French, the term vache is used for an excessively fat woman, or a soft, lazy person. An unpleasant person is described as a peau de vache (cow-skin); amour vache (cow-love) refers to a relationship more physical than emotional. It thus treads a line between vulgarity and coarseness, and that is what characterises this set of paintings and gouaches, representing a radical departure from the painter’s neutral, detached style which had finally been accepted by Parisian Surrealist orthodoxy. Overall, the striking thing about these works is their garish tones, their exuberant, grotesque and caricatured subjects, all executed rapidly and casually in the name of a freedom from aesthetic and moral injunctions and prescriptions."<br /><br />Louis Scutenaire came up with most of the titles and his wife, Irene Hamoir, contributed many of the ideas. Later on in the 1960s when cataloguing his own work, Magritte refered to the "vache" painting as his fauve style, a term he did not use in the 1940s and 1950 which he also called them, "the paintings of the doomed period."<br /><br /><b>Paris: May, 1948</b>"The exhibition was accompanied by a small catalogue with a preface by the poet Louis Scutenaire, bearing an evocative title (“ 9been putLes pieds dans le plat” – Putting one’s foot in it) and written in a slangy style, which is clearly in line with Magritte’s intentions. Moreover, Scutenaire would admit as much some years later: “The important thing was not to enchant the Parisians, but outrage them.” The triviality of the works actually wrong-foots Surrealist good taste. Both text and images are placed on a deliberately rustic and provincial register. “We’d been fed-up for a good long time, we had (been put), deep in our forests, in our green pastures.” Traditionally, the Belgians are seen as coarse peasants by the French, including the intellectuals." [Bernard Marcadé]<br /><br />"The tone is set. Scut’ and Mag’ (their signatures, indicating their friendship and complicity) have decided to turn this exhibition into a kind of explosive manifesto against the arrogance and pedantry of the sycophants of the ideology advocated by André Breton. “The moment had come to strike a great blow,” Scutenaire would explain in retrospect. The two associates laid it on the line, The works shown in Paris joyfully mix comedy, viciousness and coarseness of the most scatological kind. In this respect they continue the visual counterpart to the three tracts that Magritte published in 1946 along with Marcel Mariën (The Imbecile, The Pain in the Arse, The Sod), in which one could already read a supreme contempt for all kinds of convention. Pictorial Content is probably the painting in the series which best allegorises Magritte’s desire to attack the pictorial practices with which he himself had engaged up until that point. It is no longer resemblance that is brought to the fore here, but an excess of distortion and a stridency of colour." Bernard Marcadé<br /><br />I'm sure his Belgian group had a laugh at the outrageous paintings he produced for the show. Using the broad strokes and colors of Van Gogh he churned out a series of unsual paintings, some outrageous. The show in May at the Galerie du Faubourg was a failure, the French were not pleased. At the suggestion of his wife, Georgette and his principal dealer in the United States, Alexander Iolas, Magritte decides to abandon his "experiment" and return to his realistic style of the 1930s.<br />
After signing a contract in 1948 with Alexandre Iolas, the New York dealer who would remained his agent until Rene's death, Magritte dedicated himself to producing the type of mysterious work that he would eventually lead to his international fame. Early in 1947 Magritte started his Cicerone series and his Shéhérazade series. His realistic style (encouraged by Iolas) was mixed with some impressionistic paintings like "The Sleepwalker" and "The Sage's Carnival' below. After the Paris exhibit in May Magritte returned to his realistic painterly style. He would occasionally produce impressionistic style paintings until his death in 1967.<br /><br />
<b>Vache Gallery 1947-1948</b><br /><br /><img alt="" height="251" src="http://www.mattesonart.com/Data/Sites/1/magritte/High-level%20Meetings-%201947.jpg" style="border: 0px;" width="300" /><br />High Level Meetings (Les Grands Rendez-vous) 1947<br /><br />This facial image of the Persian queen, Shéhérazade, is repeated in several other paintings from this period including Shéhérazade (below) and The Liberator (below). The Shéhérazade image is based on Poe's short story, "The Thousand-and-Second Tale of Scheherazade." The mysterious dark cave is similarly used in the 1928 Voice of Silence. Inside the cave are four various symbols [bird, cup, etc.] which are barely visible.<br />
<br /><span style="font-size: larger;"><img alt="" height="408" src="http://www.mattesonart.com/Data/Sites/1/magritte/Magritte%20Fair_Captive.jpg" style="border: 0px;" width="500" /></span><br />The Fair Captive (La Belle Captive) 1947, 53x66cm; 646x800pix, kb<br /><br />This painting is the third version of The Fair Captive, differing from those of 1931 and 1935 which situated the easel in a landscape setting. It preceded by two years the series of works known by the title (The Human Condition) La condition humaine. In both series Magritte investigated the paradoxical relationship between a painted image and what it conceals. Magritte might have learned the painting within a painting from illustrations in A. Cassagne's Traité pratique de perspective (1873), a book used at the Académie Royale des Beaux Arts when Magritte was a student there. It was a rich field for investigation, as suggested by the number of variations on the idea. He surely saw De Chiricho's 1917 version of a painting within a painting, Great Metaphysical Interior.<br /><br />In this present work, the easel, flanked by a boulder and a flaming tuba, is moved to a beach. Since the flames of the burning tuba leave a reflection on the 'canvas', we are brought again to the notion of the canvas both as a pane of glass which allows the spectator to 'see through' reality, and as a metaphor for painting as a window on reality, as with Duchamp's Large Glass (1923).<br /><br /><img alt="" height="335" src="http://www.mattesonart.com/Data/Sites/1/magritte/The-Cicerone_-1947.jpg" style="border: 0px;" width="400" /><br />The Cicerone 1947<br /><br />The cicerone, a giant bilboquet with human appendages and a bowled face, became a favorite icon during this time. Cicerone is an old term for a guide, one who conducts visitors and sightseers to museums, galleries, etc., and explains matters of archaeological, antiquarian, historic or artistic interest.<br /><br /><img alt="" height="511" src="http://www.mattesonart.com/Data/Sites/1/magritte/philosophy%20in%20the%20bedroom%201947.jpg" style="border: 0px;" width="400" /><br />Philosophy in the Bedroom 1947<br /><br />This paintings is a combination of two earlier paintings; Hommage to Mack Sennett and the Red Model series. The title is taken from<br />Marquis de Sade's Philosophy in the Bedroom (1795) which begins:<br />
TO LIBERTINES: Voluptuaries of all ages, of every sex, it is to you only that I offer this work; nourish yourselves upon its principles: they favor your passions, and these passions, whereof coldly insipid moralists put you in fear, are naught but the means Nature employs to bring man to the ends she prescribes to him; hearken only to these delicious Promptings, for no voice save that of the passions can conduct you to happiness.<br />Lewd women, let the voluptuous Saint-Ange be your model; after her example, be heedless of all that contradicts pleasure's divine laws, by which all her life she was enchained.<br /><br /><img alt="" height="256" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20voix%20du%20sang%201947.jpg" style="border: 0px;" width="209" /><br />The Voice of Blood (La voix du sang) 1947 version signed 'Magritte' (lower left); titled and dated '"LA VOIX DU SANG"<br />1947' (on the reverse) oil on canvas, 25¾ x 21 3/8 in. (65.2 x 54.2 cm) Painted in 1947<br />
Providence: Raymond Magritte, 1948. Arlette Dupont-Magritte (by descent from the above). Acquired from the above by the present owner, circa 2003.<br />
Literature: J. Wergifosse and R. Magritte, Magritte, exh. cat., The Hugo Gallery, New York, May 1948. The Belgian Contribution to Surrealism, exh. cat., Edinburgh, Royal Scottish, August-September 1971, pl. 34 (illustrated in color). D. Sylvester, ed., René Magritte, Catalogue Raisonné, London, 1993, vol. II, p. 384, no. 625 (illustrated).<br />
Exhibited: Brussels, Galerie Dietrich, Exposition Magritte, January-February 1948. La Louvière, Maison des Loisirs, René Magritte exposé, March-April 1954, no. 7. Charleroi, Salle de la Bourse, XXXe salon [du] Cercle Royal Artistique et Littéraire de Charleroi, including a 'Rétrospective René Magritte,' March 1956, no. 90. Brussels, Musée d'Ixelles, Magritte, April-May 1959, no. 39.<br />Brussels, Galerie Isy Brachot, Magritte: cent cinquante oeuvres: première vue mondiale de ses sculptures, January-February 1968, no. 79. Edinburgh, Royal Scotish Academy and Kongens Lyngby, Sophienholm, The Belgian Contribution to Surrealism, August-November 1971, no. 50. Paris, Centre Wallonie-Bruxelles, Hommage à Magritte, November-February 1985, no. 29.<br />
Notes from Christie's: In La voix du sang and other works of the late 1940s, Magritte returned to the mysterious imagery and representational style of painting that had won him acclaim among the French Surrealists. The painter had spent the earlier portion of the decade producing parodies of Impressionism, but he now took the vocabulary that he had developed alongside his Parisian colleagues in the mid 1920s and applied it to his goal of upsetting the conscious ordering of conventional representation.<br />
This mysterious image of a mighty, leafy tree transformed into a cylindrical cupboard with a white ball and illuminated house reveals the lasting impact of the Italian painter Giorgio de Chirico's pittura metafisica on Magritte's oeuvre. Indeed, David Sylvester refers to Magritte's discovery of de Chirico's Le Chant d'amour, 1914 (fig. 1) as "one of the famous epiphanies in the hagiography of modern painting" (in op. cit., 1993, p. 61). Recalling the significance of this experience in his text La ligne de vie, Magritte stated: "This triumphant poetry supplanted the stereotyped effect of traditional painting. It represented a complete break with the mental habits peculiar to artists who are prisoners of talent, virtuosity and all the little aesthetic specialties. It was a new vision through which the spectator might recognize his own isolation and hear the silence of the world" (quoted in ibid.).<br />
The present painting builds upon an idea that Magritte had initially established in L'arbre savant, 1935 (Sylvester, no. 384; fig. 2, private collection, Turin), which shows a rootless, dead trunk with four cabinets in an interior. The uppermost door is only slightly ajar, but the lower three are open, revealing a mass of metal wire, a pyramid, and a lit candle. In the present work, the scene is outdoors and nocturnal, and the tree, now robust and in full leaf, has three cupboards in its trunk. Despite these changes, Magritte preserved the provocative conflation of interior and exterior in the earlier work by reversing the relationship between the contained and the container. The artist may have based the unfolding bark doors of this tree on an illustration of cork harvesting that he found in the Larousse encyclopedia (fig. 3), one of his preferred sources of existing imagery. Magritte's colleague, the playwright Claude Spaak, has suggested that Magritte found this image in a chapter from Lewis Carroll's Alice's Adventures in Wonderland (1865) where she remarks that "one of the trees had a door leading right into it" (quoted in ibid., p 384).<br />
Having established a new visualization of the compartmented tree with the present work, Magritte painted many subsequent versions that he also entitled La voix du sang; each of these works which retains this basic iconography with very slight modifications. In 1947, Magritte painted two gouaches of this scene (Sylvester, nos. 1235, 1236) and he produced a second oil painting with a crimson curtain, as well as two more gouaches in the following year (Sylvester, nos. 668, 1252, 1296). In 1953, the tree appeared alongside other iconic subjects in Magritte's repertoire such as his masked apples, bright blue skies, and the tree with an axe in an eight-sectioned cycle called Le domane enchanté of 1953 (Sylvester, no. 791) for the Casino Communale at Knokke-le-Zoute. Whereas Magritte cropped out the tree's canopy in these images, the fourth version in oil, painted in 1959 (Sylvester, no. 905; Museum moderner Kunst, Stiftung Ludwig, Vienna) expands the composition to encompass the whole tree, which he preserved in the fifth and final canvas done in 1961 (Sylvester, no. 928; private collection, Belgium).<br />
The title of the present work translates as "Blood Will Tell," or alternately "The Call of Blood," which confers an ominous character onto the scene. The illuminated windows of the tiny house suggest an unseen and possibly nefarious activity. Magritte twice offered commentary on this work in 1948, yet his enigmatic words amplify the mysterious quality of the imagery. Addressing the scene in his text, Titres, Magritte states: "The words dictated to us by the blood sometimes appear foreign to us. Here, it seems to want to command us to open up magic riches in the trees" (quoted in ibid.). In an exhibition catalogue from the same year, Magritte refers to the tree as an enchanted creature, writing: "We could hear the hearts of the trees beating before the hearts of men" (quoted in ibid.). This cryptic subject matter is enhanced by an ambiguous sense of scale that is established in the sphere and house. The viewer must contemplate whether he can accept these two objects as a conventional sports ball and a dollhouse, especially if the house is possibly life-sized.<br />
The grassy outcropping and mountainous landscape with a winding river and starry night sky may be a parodic quotation of the sublime and symbolic vistas that appear in Romanticist paintings such as Caspar David Friedrich's Wanderer Above the Sea of Fog, 1818 (fig. 4). Recognizing the utility of such imagery for his own painting, Magritte commented: "I think the picturesque can be employed like any other element, provided it is placed in a new order or particular circumstances" (quoted in H. Torczyner, Magritte: The True Art of Painting, New York, 1977, p. 120). Friedrich explores the spiritualist connotations of awe before nature and their impact on the individual's inner world, underscoring the individual's quest to unmask an "original" truth. Whereas the cloaking "sea of fog" inspires a moment of personal revelation for Friedrich's mountaineer, Magritte's tree confronts the viewer with an unknowable mystery and reinforces the inadequacy of language, pictorial or otherwise. The Belgian artist equally played with hidden objects and a sense of the unknown, but he refutes the idea of absolute truth by making the instrument of concealment a depiction of precisely what it hides. In one of his best-known quotes, Magritte addresses this issue, stating: "My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question 'What does that mean'? It does not mean anything, because mystery means nothing either, it is unknowable" (quoted in ibid., p.70).<br />
(fig. 1) Giorgio de Chirico, Le Chant d'amour, 1914. The Museum of Modern Art, New York.<br />(fig. 2) René Magritte, L'arbre savant, 1935. Private collection.<br />(fig. 3) Illustration of a cork harvest from the Larousse encyclopedia.<br />(fig. 4) Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818. Kunsthalle, Hamburg.<br /><br /><br /><br /><img alt="" height="264" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Mental%20Universe%20L%E2%80%99Univers%20Mental,%201947.jpg" style="border: 0px;" width="400" /><br />The Mental Universe (L’Universe Mental) 1947<br /><br /><br /><img alt="" height="246" src="http://www.mattesonart.com/Data/Sites/1/magritte/Night%20of%20Love%201947.jpg" style="border: 0px;" width="300" /><br />Night of Love 1947<br />
<img alt="" height="256" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20house%20La%20maison%201947.jpg" style="border: 0px;" width="189" /><br />The House (La maison) 1947<br /><br /><img alt="" height="364" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20PromisedLa%20Terre%20promise,%201947%20Land.jpg" style="border: 0px;" width="300" /><br />The Promised Land (La Terre promise) 1947<br /><br />The cicerones are guides who lead us into Magritte's mysterious world, The Promised Land. Unfortunatey there's not much room in the Promised Land. Magritte uses magnification to place them in a room that's too small to move about freely.<br /><br /><img alt="" height="348" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20symposium%20sentimental%20Le%20colloque%20sentimental%20%201947.jpg" style="border: 0px;" width="400" /><br />The Sentimental Symposium (Le colloque sentimental) 1947<br /><br /><br /><img alt="" height="375" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Rights%20of%20Les%20Droits%20de%20l'homme,%201947-48Man.jpg" style="border: 0px;" width="300" /><br />The Rights of Man (Les Droits de l'homme) 1947<br /><br />The Rights of Man uses some of Magitte's favorite icons; the cicerone, the burning tuba (Discovery of Fire), the glass of water, the boulder and the leaf.<br /><br /><img alt="" height="253" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Sleepwalke%20rLe%20Somnambule,%201947.jpg" style="border: 0px;" width="300" /><br />The Sleepwalker (Le Somnambule) 1947<br /><br />The Sleepwalker is done in his "Sunlit" style he began using in 1943. He made several paintings with pipes during this period. Notice how many paintings from this period use the glass of water as a mysterious image.<br /><br /><img alt="" height="394" src="http://www.mattesonart.com/Data/Sites/1/magritte/Poster%20for%20the%20festival%20Mondial%20du%20Film%20et%20des%20Beaux-Arts%201947.jpg" style="border: 0px;" width="300" /><br />Poster for the festival Mondial du Film et des Beaux-Arts 1947<br /><br /><img alt="" height="499" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Liberator%201947.jpg" style="border: 0px;" width="400" /><br />The Liberator 1947<br /><br />The Liberator uses the same pose as Magritte's "Therapist" paintings. The liberator holds the facial image of the Persian queen, Shéhérazade, (see also High Level Meetings above) and his body is made up by the four icon found in the cave in High Level Meetings, the bird, the cup, the pipe, and the key. <br /><br /><img alt="" height="396" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Sage's%20Carnival-%201947.jpg" style="border: 0px;" width="300" /><br />The Sage's Carnival (Le Carnaval du sage) 1947, 25.6 x 19.5 in. / 65 x 50 cm<br /><br />This same female figure became featured in some of Magritte's paintings around 1944 with the Sea of Flames. The female figure in not based on his wife Georgette but another female. Of some curiousity is the ghost in a white sheet. Magritte finds room to add two of his icon the glass of water and the loaf of bread.<br /><br /><br /><img alt="" height="491" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Serving%20of%20Fire%20La%20Part%20du%20Feu,%201947.jpg" style="border: 0px;" width="400" /><br />The Serving of Fire (La Part du Feu) 1947<br /><br />The woman serves the sleeping man (dying man) a cup with a carrot and an egg. Above them giant droplets of water are falling and there's a bilboquet with a candle at the foot of the bed.<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20triumphant%20March%201947.jpg" style="border: 0px;" width="323" /><br />The Triumphant March- 1947<br /><br />The is the first painting in my little gallery that is truly a "vache" painting. Some of the paintings are truly hilarious including this one. Many of the "vache" period paintings are becoming popular in their own right even though they were painted to be outrageous.<br /><br /><img alt="" height="324" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Life%20of%20Insects%20La%20Vie%20des%20Insectes,%201947.jpg" style="border: 0px;" width="400" /><br />The Life of Insects (La Vie des Insectes) 1947<br /><br /><img alt="" height="308" src="http://www.mattesonart.com/Data/Sites/1/magritte/Lyricism%20Le%20Lyrisme,%201947.jpg" style="border: 0px;" width="400" /><br />Lyricism (Le Lyrisme) 1947<br /><br /><img alt="" height="486" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Psychologist,%201947.jpg" style="border: 0px;" width="400" /><br />The Psychologist, 1947<br />
<br /><img alt="" height="578" src="http://www.mattesonart.com/Data/Sites/1/magritte/El%20contenido%20pict%C3%B3rico%201947.jpg" style="border: 0px;" width="400" /><br />The Pictorial Content (Le contenu pictural) 1947<br />
<br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Lightning%20El%20encededor%201947.jpg" style="border: 0px;" width="318" /><br />The Tow Plug (El encededor) 1947<br /><br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Stage%20L'%C3%89tape,%201948.jpg" style="border: 0px;" width="301" /><br />The Stage (L'Étape) 1948<br /><br /><img alt="" height="363" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20ways%20and%20Means%20Les%20Voies%20et%20Moyens%201948.jpg" style="border: 0px;" width="300" /><br />The Ways and Means (Les Voies et Moyens) 1948<br /><br /><img alt="" height="589" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Mountaineer,%201948.jpg" style="border: 0px;" width="400" /><br />The Mountaineer, 1948<br /><br /><img alt="" height="533" src="http://www.mattesonart.com/Data/Sites/1/magritte/Titania%201948%20Gouche.jpg" style="border: 0px;" width="400" /><br />Titania, 1948 Gouche<br /><br /><br /><img alt="" height="225" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20Living%201948.jpg" style="border: 0px;" width="300" /><br />The Art of Living 1948<br /><br /><br /><img alt="" height="533" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Pope's%20Crime%201948.jpg" style="border: 0px;" width="400" /><br />The Pope's Crime 1948<br /><br /><br /><img alt="" height="323" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Mark%201948.jpg" style="border: 0px;" width="400" /><br />The Mark 1948<br />
<img alt="" height="251" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Famine%20La%20Famine,%201948.jpg" style="border: 0px;" width="300" /><br />The Famine (La Famine) 1948<br /><br /><img alt="" height="280" src="http://www.mattesonart.com/Data/Sites/1/magritte/pom'%20po%201948.jpg" style="border: 0px;" width="400" /><br />Pom'po pom'po pon po pon pon- 1948<br /><br /><br /><img alt="" height="241" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Cripple%20II%201948.jpg" style="border: 0px;" width="300" /><br />The Cripple II- 1948<br />
<br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Lola%20de%20Valence%201948.jpg" style="border: 0px;" width="323" /><br />Lola de Valence 1948<br />
The title of this work refers to Lola de Valence (1862) a (fully clothed) portrait painted by Manet (see below), and then immortalized in a quatrain by Charles Baudelaire which first appeared in the 1868 edition of Les Fleurs du Mal: “Entre tant de beautés que partout on peut voir, / Je comprends bien amis, que le désir balance; / Mais on voit scintiller en Lola de Valence / Le charme inattendu d'un bijou rose et noir.” Lola de Valence was the scene name of Lola Melea, the première danseuse of the dance company of Camprubi. It performed at the Porte Dauphine during the summer of 1862. Manet persuaded Camprubi to bring his dancers to the studio of his friend the Belgian painter Alfred Stevens during their leisure hours, and they posed for him there.<br /><img alt="" height="482" src="http://www.mattesonart.com/Data/Sites/1/magritte/Lola_de_Valence_1862%20Manet.jpg" style="border: 0px;" width="350" /><br />Lola de Valence (1862) Manet<br /><br /><br /><img alt="" height="351" src="http://www.mattesonart.com/Data/Sites/1/magritte/Lola%20de%20Valence%20%202.jpg" style="border: 0px;" width="300" /><br />Lola de Valence II- 1938<br /><br /><br /> <img alt="" height="500" src="http://www.mattesonart.com/Data/Sites/1/magritte/Le%20galet%20the%20pebble.jpg" style="border: 0px;" width="392" /><br />The Pebble (Le galet) 1948<br /><br /><br /><img alt="" height="417" src="http://www.mattesonart.com/Data/Sites/1/magritte/Depths%20of%20pleasure,%20The%201948%20La%20Profondeur%20du%20Plaisir.jpg" style="border: 0px;" width="300" /><br />Depths of pleasure (La Profondeur du Plaisir) The 1948<br /><br /><img alt="" height="577" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Archivist%20El%20arcoiris%201948.jpg" style="border: 0px;" width="400" /><br />The Archivist (El arcoiris) 1948<br /><br /><br /><img alt="" height="280" src="http://www.mattesonart.com/Data/Sites/1/magritte/ellipse%201948.jpg" style="border: 0px;" width="400" /><br />The Ellipse 1948<br />
<img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Jean-Marie%201948.jpg" style="border: 0px;" width="348" /><br />Jean-Marie 1948<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/Teh%20Prince%20Charming%20El%20pr%C3%ADncipe%20encantador%201948.jpg" style="border: 0px;" width="282" /><br />Prince Charming (El príncipe encantador) 1948<br /><br /><br /><img alt="" height="237" src="http://www.mattesonart.com/Data/Sites/1/magritte/Prince%20Charming-II%201948.jpg" style="border: 0px;" width="300" /><br />Prince Charming-II 1948<br /><br /><img alt="" height="228" src="http://www.mattesonart.com/Data/Sites/1/magritte/A%20Stroke%20of%20Luck%201948.jpg" style="border: 0px;" width="300" /><br />A Stroke of Luck 1948<br /><br /><img alt="" height="388" src="http://www.mattesonart.com/Data/Sites/1/magritte/Freedom%20of%20Mind-%201948.jpg" style="border: 0px;" width="300" /><br />Freedom of Mind (La Liberte de l'esprit) 1948<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20drop%20of%20Water%20La%20gota%20de%20agua%201948.jpg" style="border: 0px;" width="320" /><br />The Drop of Water (La gota de agua) 1948<br /><br /><img alt="" height="185" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Swallow%20of%20the%20Suburbs%20L'Hirondelle%20des%20Faubourgs%201948.jpg" style="border: 0px;" width="127" /><br />The Swallow of the Suburbs (L'Hirondelle des Faubourgs) 1948<br /><br /><img alt="" height="333" src="http://www.mattesonart.com/Data/Sites/1/magritte/Sh%C3%A9h%C3%A9razade,%201948.jpg" style="border: 0px;" width="400" /><br />Shéhérazade 1948<br /><br />Shéhérazade is based on Edgar Allen Poe's short story, The Thousand-and-Second Tale of Scheherazade which is a parody of the Arabian Nights tale of the beautiful Persian queen, Shéhérazade. The same image is found in High Level Meetings and the Liberator (se above).<br /><br /><br /> <img alt="" height="420" src="http://www.mattesonart.com/Data/Sites/1/magritte/Delusions%20of%20Grandeur%20II%201948.jpg" style="border: 0px;" width="341" /><br />Delusions of Grandeur II 1948<br /><br />This is essentially the same image found in Magritte's "Venus de Milo" series except it is sliced and stacked like Mental Complacency.<br />
<img alt="" height="328" src="http://www.mattesonart.com/Data/Sites/1/magritte/Marches%20of%20Summer%20Les%20Marches%20de%20l%E2%80%99%C3%89t%C3%A9,%201938.jpg" style="border: 0px;" width="400" /><br />Marches of Summer (Les Marches de l'ete) 1948<br /><br /><img alt="" height="318" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20depths%20of%20Pleasure%20Les%20profondeurs%20du%20plaisir%201948.jpg" style="border: 0px;" width="400" /><br />The Depths of Pleasure (Les profondeurs du plaisir) 1948<br />
Magritte begins to use the iconic image of a glass of water. It appears in many paintings in the next several years.<br />
<img alt="" height="300" src="http://www.mattesonart.com/Data/Sites/1/magritte/Voice%20of%20blood%20Voix%20du%20sang%201948.jpg" style="border: 0px;" width="400" /><br />"Voice of Blood" also know as "Blood Will Tell" Version II (La Voix du sang) 1948<br />
<img alt="" height="483" src="http://www.mattesonart.com/Data/Sites/1/magritte/faulty%20imagination%201948.jpg" style="border: 0px;" width="400" /><br />Faulty Imagination 1948<br /><br /><img alt="" height="365" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Cicerone-%201948.jpg" style="border: 0px;" width="300" /><br />The Cicerone II- 1948<br /><br /><img alt="" height="1296" src="http://www.mattesonart.com/Data/Sites/1/magritte/eternally%20obvious%201948.jpg" style="border: 0px;" width="300" /><br />The Eternally Obvious II- 1948<br /><br />Magritte painted the Eternally Obvious in 1930. Here he replaces Georgette with a younger model with firmer breasts<br /><br /><img alt="" height="447" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Flavor%20of%20Tears%202.jpg" style="border: 0px;" width="300" /><br />Flavor of Tears 2- 1948<br /><br /><img alt="" height="316" src="http://www.mattesonart.com/Data/Sites/1/magritte/lost%20jockey%20III%201948.jpg" style="border: 0px;" width="400" /><br />The Lost Jockey III 1948<br /><br />Encouraged by Alexander Iolas, his new art dealer, to paint versions of existing popular paintings, Magritte complies with this and teh following version of Memory.<br /><br /><br /><img alt="" height="478" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Legend%20of%20the%20Centuries%20La%20leyenda%20de%20los%20siglos%201948.jpg" style="border: 0px;" width="400" /><br />The Legend of the Centuries (La leyenda de los siglos) 1948<br /><br />The first painting of two that Magritte made, this painting leads to his petrification series in the early 1950 and clearly has laid the foundation for his 1950 Art of Conversation series. Magritte would continuously experiment with magnification and petrification for the rest of his life (until 1967).<br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Treason%20of%20Images%20La%20trahison%20des%20images%201948.jpg" style="border: 0px;" width="400" /><br />This is Not A Pipe 1948<br /><br /><img alt="" height="495" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Voice%20of%20Blood%20La%20voz%20de%20la%20sangre%201948.jpg" style="border: 0px;" width="400" /><br />The Voice of Blood II (La voz de la sangre) 1948 gouche<br /><br />The tree is a favorite idea (see Version I and II above) and Magritte used it in different ways (see also Alice In Wonderland).<br /><br />
<img alt="" height="527" src="http://www.mattesonart.com/Data/Sites/1/magritte/the%20memory%201948.jpg" style="border: 0px;" width="400" /><br />Memory III- 1948<br /><br />Magritte did many versions of Memory. This, I believe, is the third. Sylvester assurts that this represents a plaster- of-paris face of a woman that drowned in the river. The same image is used in Deep Waters.<br /><br /><img alt="" height="285" src="http://www.mattesonart.com/Data/Sites/1/magritte/Pure%20Reason%201948.jpg" style="border: 0px;" width="350" /><br />Pure Reason 1948<br /><br /><img alt="" height="350" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Fair%20Captive%20IV%20La%20Belle%20Captive%201947.jpg" style="border: 0px;" width="275" /><br />The Fair Captive IV La Belle Captive 1948 gauche<br /><br />This fourth version of La Belle Captive is from 1948 and is painted in a more impressionist style.<br /><br /><br /><br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Art%20of%20Living%20L%E2%80%99Art%20de%20Vivre,%201948.jpg" style="border: 0px;" width="333" /><br />The Art of Living (L’Art de Vivre) 1948<br /><br />Magritte revisted this hilarious parody in the 1960s with an almost identical version.<br /><br /><br /><img alt="" height="328" src="http://www.mattesonart.com/Data/Sites/1/magritte/God's%20Salon.%201948..jpg" style="border: 0px;" width="450" /><br />God's Salon 1948<br /><br />Around 1948 Magritte started experimenting with switching light and dark. He started his "Empire of the Light" series in 1948-49. Here he uses the opposite trick- it's a daytime scene with a dark night sky. The effect didn't work as well as his Empire of the Light. He uses this to better effect in his 1954 "Empire of the Lights" version (see 1954).<br /><br />Magritte said, "I can imagine a sunny landscape under a night sky; only a god is capable of visualizing it and conveying it through the medium of paint, however. In the expectation that I will become one, I am dropping the project..."</div>
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mimi satohttp://www.blogger.com/profile/11125827649454427904noreply@blogger.com0tag:blogger.com,1999:blog-3298874608855498122.post-30810030270340218652020-02-11T23:59:00.002-04:002020-02-12T00:31:00.335-04:00Magritte Gallery 1943- 1946 Sunlit Period<div dir="ltr" style="text-align: left;" trbidi="on">
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Magritte Gallery 1943- 1946 Sunlit Period</h2>
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<b>Magritte's Sunlit Period 1943- 1946</b><br />In may 1940 Magritte beset by martial problems and the Nazi invasion of Belgium left with a few close friends for France leaving Georgette behind. When he return to a Nazi occupied Brussels in October 1940 and reconciled with his beloved Georgette, his life was in shambles. Naturally melancholy, he became depressed. In 1943 to overcome the ambient despair of the war period, Magritte launches out in a type of painting inspired by impressionism in order to combine, through his personal research, the expression of the feelings of lightness, unconcern, happiness. The evocative titles are The First Day (Le Premier jour), The Harvest (La Moisson) and The Goad (L' Aiguinon).<br /><br />His inspiration was by a reproduction of Pierre Auguste Renoir's Bathers. Pierre-Auguste Renoir (February 25, 1841–December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style, a celebrator of beauty, and especially feminine sensuality. Enticed by the sensuality of the colors, he opted for a more luminous palette. While continuing to draw objects and figures with the meticulous detail for which he was known, he added to them a touch clearly inspired by Impressionism, unleashing color in new, warmer and more cheerful tonalities. Magritte called this period his 'Sunlit' period. From March or April 1943, to the end of 1944 he produced about fifty pictures in this new style.</div>
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<img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/Pierre_Auguste_Renoir_Les_baigneuses.jpg" style="border: 0px;" width="415" /><br />Renoir's "The Bathers" from 1918-19. This painting and other similar Renoir's triggered his Sunlit period.</div>
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Marcel Mariën elaborated on this work of Magritte:<br /><br />Fired with enthusiasm, Magritte immediately went on to make other versions, including ‘The dance’ (a standing nude), and ‘The harvest’ (a reclining nude), and then concluded the experiment by taking the solution to its peak of refinement, since he performed the same transformation on Ingres’s La Source, an ‘academic’ representation if ever there was one, by not only adorning the young girl’s body with different colours, but by re-creating the whole picture according to the technique of the Impressionists! And Nougé, who had already supplied the titles for the previous versions, was to name this last experiment, the subversive profundity of which remains as usual unnoticed by everyone else: Monsieur Ingres’s good days.<br /><br />Perhaps of more significance to the history of Belgian Surrealism, though, is that Marcel Marien was responsible for the first monograph on Magritte, published in 1943, and for the subsequent study on the artist, Les Corrections naturelles, which appeared in 1947. Marien also claimed that during this time because of the bleak economic times, painted forgeries of the works of other masters and that Marcel sold some of these paintings (the claim has not been documented).</div>
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In the 1940s Magritte again joined the communist party, which he had joined for the third time. Magritte's political involvement was based essentially upon his spirit of opposition. All of his poster designs were rejected on principle by the party leadership, and he could not bear having to subordinate his art to an ideological party line, even one so broadly conceived. "There is no more reason for art to be Walloon than for it to be vegetarian", was his reply to those seeking to enlist him for exhibitions aimed at demonstrating regionalist interests. Ultimately, his sole, his real banner was the mystery inherent in objects, in the world, that mystery which belongs to everyone and to no one.<br /><br /><b>September 1944: Brussels Liberated</b><br />The Belgium capital of Brussels was liberated by Allied forces on September 3, 1944. The Allies liberated the Belgium port of Antwerp, an important port. Magritte's Applied Dialectics (Lo Dialectique appliquee) 1944-1945 is one of the few paintings that directly deals with the war. Most of his paintings like his Treasure Island series use the symbolic war birds to imply German aggression.<br /><br />The first three paintings are from the 1942 period, then it's clear his style has changed. In 1945 he began to do paintings in his old style as well. His manifesto <em>Surrealism in full sunlight,</em> which he concocted in 1946 with the complicity of Marcel Mariën, Paul Nougé, Louis Scutenaire, Joë Bousquet, Jacques Michel and Jacques Wergifosse, a prelude to the manifestoes of extramentalism and amentalism, is an instrument of warfare directed against the magic, esoteric ideology into which André Breton had strayed. “We have neither the time nor the taste to play at Surrealist art, we have a huge task ahead of us, we must imagine charming objects which will awaken what is left within us of the instinct to pleasure.”<br /><br />The riff began when Magritte accompanied by Marcel Marien went to Paris in 1946 to meet with Breton to show his new work. Breton was not impressed and his close friend ELT Mesens didn't approve of his new "sunlit period" which Magritte argued was "the need in this post-war world to emgere from darkness." [Sylvester p. 208] Magritee added, "Against the general pessimism I uphold the quest for joy and pleasure."<br /><br />Breton replied in a letter, "I can assure you that not one of your latest pictures gives me the impression of sunlight (Renir, yes)..." To justify his change in direction Magritte wrote "Le Sureallisme en plein soleil" and circulated the draft to various surrealists for support. Later in 1946 Breton published a list of the various surrealist painters and left Magritte off the list- he later listed Magritte as one of the "surrealists despite themselves."</div>
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<b>Magritte Gallery 1943- 1946</b><br /><img alt="" height="496" src="http://www.mattesonart.com/Data/Sites/1/magritte/Call%20of%20Peaks%20aka%20L'Appel%20des%20cimes,%201942%201943.jpg" style="border: 0px;" width="400" /><br />Call of Peaks (L'Appel des cimes) 1942-1943<br /><br />This combines two of Magrite's favorite themes- the Fair Captive/Human Condition (easel with a painting) paintings and The Domain of Arnheim.<br /><img alt="" height="210" src="http://www.mattesonart.com/Data/Sites/1/magritte/Teh%20Empire%20of%20the%20Reflection%20L'EMPIRE%20DE%20LA%20R%C3%89FLEXION%201942-1943.jpg" style="border: 0px;" width="210" /><br />The Empire of the Reflection L'EMPIRE DE LA RÉFLEXION 1942-1943<br />Signed Magritte (upper right); signed Magritte and titled on the reverse; inscribed La Connaissance Naturelle on the stretcher; Oil on canvas Private Collection, Belgium (acquired from the above in 1959)</div>
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Magritte's enchanting L'Empire de la réflexion transposes two familiar elements – the globe and an evening landscape – to create a wholly uncanny image. The view of the earth rising at dusk over a barren plain calls to mind Ansel Adams' 1941 photograph, Moonrise, an image that captures the quiet beauty of the natural world (fig. 1). The captivating scene of L'Empire de la réflexion conveys that same sense of tranquility, albeit using a rather unsettling concept. Painted in the midst of the Second World War, Magritte presents us here with the improbable scenario of being removed from our planet, only to see it from an unreachable distance. Perhaps drawing from the uneasy tenor of the times, the artist questions our perception of the visible world, subverting the meanings that we attach to commonplace occurrences. The sense of mystification is amplified by the subtlety and almost photographic precision with which the earth and the horizon are depicted, triggering conflicting perceptions of the reality and impossibility of the scene we are witnessing. Writing about this sense of tranquility in Magritte's paintings, Roger Shattuck commented: "I know of no painting that conveys so totally the sense of a universe in suspense, a universe in which everything is waiting and nothing moves" (R. Shattuck, 'This is not René Magritte', in Artforum, New York, September 1966, p. 35).</div>
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<br />According to the catalogue raisonné, the present work is related to an earlier composition from 1938 (Sylvester no. 462), in which the earth is seen rising above the sea. In the 1960s, the family of the present owner contacted Magritte about L'Empire de la réflexion, asking if he could elaborate on its precise meaning. Magritte's reply was just as enigmatic as this picture, exemplified by the following excerpt: "I can answer you by saying that I consider essential that which is given through inspiration: for example, the thought of a nocturnal landscape under a starlit sky. I have very little imagination, my painting owes nothing to imagination. Imagination only concerns the imaginary, which is to say the arbitrary, more or less paradoxical. I think unhesitatingly, that in order to paint in the way that I conceive painting, inspiration is necessary. In order to talk about what I paint, inspiration is also necessary, if one wishes really to talk about it."<br /><br /><img alt="" height="210" src="http://www.mattesonart.com/Data/Sites/1/magritte/Portrait%20of%20the%20%20Giron%20Family%201943.jpg" style="border: 0px;" width="300" /><br />Portrait of the Giron Family- 1943<br /><br />Robert Giron was Claude Spaak's cousin. Spaak met Magritte in the late 1920s (early 1930s) as manager of the Palais des Beaux Arts exhibits. Becasue of financila problems a department was organized named the Societe Auxiliaire des Expositions to manage the exhibitions for the Palais des Beaux Arts in the early 1930s. Fortunately for Magritte the three managers were Robet Giron, Claude Spaak, and his close friend and patron ELT Mesens.- all avid supporters of Magritte.<br /> </div>
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<img alt="" height="200" src="http://www.mattesonart.com/Data/Sites/1/magritte/Penelope's%20Tapestry%20La%20Tapisserie%20de%20Penelope,%201943.jpg" style="border: 0px;" width="300" /><br />Penelope's Tapestry (La Tapisserie de Penelope) 1943<br /><br /><img alt="" height="371" src="http://www.mattesonart.com/Data/Sites/1/magritte/Universal%20Gravitation,%201943.jpg" style="border: 0px;" width="270" /><br />Universal Gravitation 1943 Dutch Title Universele zwaartekracht, De Year 1943 Format 100x73 cm Technique oil<br /><br /><br /><img alt="" height="410" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Felicity%20of%20%20Images%20or%20Friendship%201943.jpg" style="border: 0px;" width="300" /><br />Felicity of Images also Friendship (Le Bonheur des images ou L'amitie) 1943, 51.2 x 38.2 in. / 130 x 97 cm<br /><br />The Felicity of Images began Magritte's "Renoir" or "Sunlit" period. The nude on the left is a quote (copied from) of the nude in Renoir's 1918 Bathers (see above). <br /><br /><br /><img alt="" height="335" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Fire%201943.jpg" style="border: 0px;" width="400" /><br />The Fire- 1943<br /><br /><img alt="" height="397" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Goad%20L'%20Aiguinon%201943.jpg" style="border: 0px;" width="300" /><br />The Goad (L' Aiguinon) 1943<br /><br /><br /><img alt="" height="489" src="http://www.mattesonart.com/Data/Sites/1/magritte/La%20Premeditation,%201943.jpg" style="border: 0px;" width="400" /><br />Premeditation (La Premeditation) 1943<br /><br /><br /><img alt="" height="319" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Ocean%20(L'ocean)%201943.jpg" style="border: 0px;" width="425" /><br />The Ocean (L'ocean) 1943<br /><br /><br /><img alt="" height="554" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Return%20of%20the%20Flame%20leretourdelaflame1943.jpg" style="border: 0px;" width="415" /><br />The Return of the Flame (le retour de la flame) 1943</div>
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This is taken from an actual Fantomas advertizement poster. Magritte uses his impressionistic style but the painting is essentially a copy, perhaps lending some creedence to Marcels Marien's claims that Magritte copied some works of art at this time. Fantomas was Magritte's alter-image and he featured him in several earlier paintings.<br /><br /><img alt="" height="443" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20First%20Day%201943%20Le%20Premier%20jour.jpg" style="border: 0px;" width="400" /><br />The First Day (Le Premier jour) 1943<br /><br /><img alt="" height="334" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Smile%20Le%20Sourire,%201943.jpg" style="border: 0px;" width="400" /><br />The Smile (Le Sourire) 1943<br /><br />Magritte did another version of this in 1951. It depicts a tombstone with an enigmatic number on it- perhaps reflecting the high casulties of World War II. Magritte also did a varition of this theme titled "The Fountain of Youth."<br /><br /><img alt="" height="338" src="http://www.mattesonart.com/Data/Sites/1/magritte/monsieur%20ingres'%20good%20days%201943.jpg" style="border: 0px;" width="450" /><br />Monsieur Ingres' Good Days 1943<br /><br />This is Magritte's tribute to Ingres's "La source," which was the painting Magritte liked best when he visited the Louve in 1923.<br /><br /><img alt="" height="298" src="http://www.mattesonart.com/Data/Sites/1/magritte/fobidden%20universe%201943.jpg" style="border: 0px;" width="400" /><br />The Forbidden Universe 1943<br />Dutch Title: Verboden heelal, Het Year 1943 Format 68x81 cm Technique oil<br /><br /><img alt="" height="298" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20harvest%201943.jpg" style="border: 0px;" width="400" /><br />The Harvest (La Moisson) 1943, 23.6 x 31.5 in. / 60 x 80 cm<br /> </div>
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<img alt="" height="258" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Fifth%20Season-%201943.jpg" style="border: 0px;" width="300" /><br />The Fifth Season (La Cinquième Saison) 1943<br /> </div>
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<img alt="" height="283" src="http://www.mattesonart.com/Data/Sites/1/magritte/favourable%20omens%201944.jpg" style="border: 0px;" width="400" /><br />Favorable Omens 1944<br />The dove of peace and flowers of the "Plein soleil" period, the latter painted in vivid colours, should be interpreted as Magritte's anticipation of the approaching end to the Second World War. This work was a present for Georgette's sister.<br /><br /><img alt="" height="518" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20best%20way%20La%20Voie%20Royale%20%201944.jpg" style="border: 0px;" width="400" /><br />The Best Way (La Voie Royale) 1944<br /><br /><img alt="" height="233" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Tempest%201944.jpg" style="border: 0px;" width="283" /><br />The Tempest II 1944<br /><br />A completely different painting is titled "The Tempest" done in 1931.<br /><br /><img alt="" height="377" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Echo%20L'Echo,%201944.jpg" style="border: 0px;" width="300" /><br />The Echo (L'Echo) 1944<br /><br /><br /><img alt="" height="480" src="http://www.mattesonart.com/Data/Sites/1/magritte/Elseneur%201944.jpg" style="border: 0px;" width="395" /><br />Elsinore (Elseneur) 1944<br /><br />"Elsinore Castle" is the setting for much of William Shakespeare's famous tragedy Hamlet, Prince of Denmark. In this painting the forest forms the outline of the castle.<br /><br /><img alt="" height="394" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Uncertainty%20Principle%20Le%20Principe%20d'Incertitude,%201944.jpg" style="border: 0px;" width="305" /><br />The Uncertainty Principle (Le Principe d'Incertitude) 1944<br /><br />Before he painted this enigmatic painting in April 1944, Magritte described in a letter to his friend Marcel Mariën the image of a woman casting a shadow of a bird in flight. This, he said, would be the subject of his next painting: "An object (a human figure or something else) is presented against a background on which its shadow falls, with the amendment that he shadow is that of some quite different object. Example: a naked woman projecting another in the form of a bird onto a curtain." (quoted in D. Sylvester, op. cit., p. 334).</div>
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The titles for Magritte's paintings often had little to do with the subjects at hand and were usually derived from the creative suggestions of his friends. For this work, he appealed to Mariën for ideas, one of which was the title Free Will. After some consideration, Magritte wrote Mariën the following reply, which reveals the artist's own preferences: "As for Free Will, it is very good, but not absolutely convincing, (in the body of the relevant sentence, you unconsciously hit upon The Uncertainty Principle, and which is just as good). I would say that Free Will is rather abstract, I prefer The Uncertainty Principle, which has the merit of being totally abstract and yet, in spite of that, on the whole presents us with a disturbing aspect of actuality. Not that I like actuality, on the contrary, but it conveys a higher degree of temperature" (ibid.).<br /><br /><br /><img alt="" height="199" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Clearing%20La%20Clairiere,%201944.jpg" style="border: 0px;" width="300" /><br />The Clearing (La Clairiere) 1944</div>
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<img alt="" height="222" src="http://www.mattesonart.com/Data/Sites/1/magritte/A%20Previous%20Life-%201944.jpg" style="border: 0px;" width="300" /><br />A Previous Life (La Vie anterieure) 1944, 23.6 x 31.9 in. / 60 x 81 cm<br /><br /><img alt="" height="231" src="http://www.mattesonart.com/Data/Sites/1/magritte/Image%20with%20a%20Green%20%20House%20Image%20a%20la%20maison%20verte,%201944.jpg" style="border: 0px;" width="300" /><br />Image with a Green House (Image a la maison verte) 1944<br /><br /><img alt="" height="287" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Science%20of%20Dreams%20Le_science_des_Reves_gouache1944.jpg" style="border: 0px;" width="400" /><br />The Science of Dreams (Le science des Reves) gouache 1944<br /><br /><br /><img alt="" height="288" src="http://www.mattesonart.com/Data/Sites/1/magritte/domain%20of%20arnheim%201944%20gouche.jpg" style="border: 0px;" width="400" /><br />The Domain of Arnheim 1944 Gouche on paper<br /><br />On of the many version of The Domain of Arnheim Magritte painted based on Edgar Allen Poe's story by the same name. The details are provided in the first version done in 1938 (see Brussels 1931-1942 Gallery).<br /><br /><img alt="" height="222" src="http://www.mattesonart.com/Data/Sites/1/magritte/Applied%20Dialectics%20Lo%20Dialectique%20appliquee,%201944-1945.jpg" style="border: 0px;" width="300" /><br />Applied Dialectics (Lo Dialectique appliquee) 1944-1945</div>
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<br /><img alt="" height="280" src="http://www.mattesonart.com/Data/Sites/1/magritte/world%20tour%201945.jpg" style="border: 0px;" width="380" /><br />World Tour 1945<br /><br /><img alt="" height="260" src="http://www.mattesonart.com/Data/Sites/1/magritte/Treasure%20Island%20II%20%201945.jpg" style="border: 0px;" width="380" /><br />Treasure Island II 1945<br /><br /><img alt="" height="378" src="http://www.mattesonart.com/Data/Sites/1/magritte/Natural%20Encounters-%201945.jpg" style="border: 0px;" width="300" /><br />Natural Encounters- 1945<br /><br />Artist Robert Gober's high windows are found in one of Magritte's lesser-known paintings, Natural Encounters (1945), which shows a pair of surreal figures (cicerones: which represent guides) standing in front of a wall pierced by two high casement windows revealing patches of blue sky. It looks like the window on the right has fallen magically and now is in a different position on the wall.<br /><br /><img alt="" height="410" src="http://www.mattesonart.com/Data/Sites/1/magritte/Fragment%20of%20a%20painting%20Fragment%20d'une%20toile,%201945.jpg" style="border: 0px;" width="300" /><br />Fragment of a painting (Fragment d'une toile) 1945<br /><br /><br /><img alt="" height="380" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20human%20condition%201945.jpg" style="border: 0px;" width="289" /><br />The Human Condition IV- 1945<br /><br />This is the fourth The Human Condition version I have. It features a more impressionistic sky.<br /><br /><img alt="" height="319" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Plagiarism%20II.jpg" style="border: 0px;" width="425" /><br />The Plagiarism II- 1945 Gouche<br /><br />The first Le Plagiat was done circa 1940. Later versions use different titles.<br /><br /><img alt="" height="435" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20cape%20of%20the%20tempests%201945.jpg" style="border: 0px;" width="351" /><br />The Cape of the Tempests 1945<br /><br />The same sleeper appears in an earlier painting, the 1927-1928 "Reckless Sleeper."<br /><br /><br /><img alt="" height="586" src="http://www.mattesonart.com/Data/Sites/1/magritte/Black%20Magic%201933-34.jpg" style="border: 0px;" width="425" /><br />Black Magic (<b>La magie noire</b>), third version 1945, Oil on canvas 73 x 54 cm Private collection </div>
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One of Magritte's best nudes in my opinion and the best version of Black Magic. He painted several other versions (I have four images- the first was done in 1934) including some under a different titles (see "The Magnet" and also "The Dream" below). His painting of the lovely Georgette features her upper torso blending with the color of the sky, which I assume is the magic Rene is using.<br /><br /><br /><img alt="" height="387" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Magnet-%201945.jpg" style="border: 0px;" width="300" /><br />The Magnet- 1945<br /><br />The Magnet is a variation of "Black Magic I" done in 1934. It's virtually the same pose as Black Magic III above done in 1945, the difference is the mysterious shadow image blended into the curtain. See another variation titled, The Dream below.<br /><br /><img alt="" height="375" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Dream%20Le%20Reve,%201945.jpg" style="border: 0px;" width="300" /><br />The Dream (La Reve) 1945<br /><br />Another variation of "Black Magic I" done originally in 1934.</div>
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<img alt="" height="323" src="http://www.mattesonart.com/Data/Sites/1/magritte/memory%201945%20best.jpg" style="border: 0px;" width="400" /><br />Memory 1945 (1938 ?)<br /><br />Possibly the 1938 version (some list it as 1945), this is one of the early versions Magritte did. According to Sylvester this is one of "two (paintings) with plaster casts resembling the mythic death mask of an unknown girl drowned in the Seine."</div>
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<img alt="" height="302" src="http://www.mattesonart.com/Data/Sites/1/magritte/sea%20of%20flames.jpg" style="border: 0px;" width="400" /><br />The Sea of Flames 1945-46 oil on canvas private collection<br /> </div>
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<img alt="" height="556" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Rape%201945.jpg" style="border: 0px;" width="400" /><br />The Rape II or III 1945<br /><br /><img alt="" height="160" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20good%20direction%20Le%20Bon%20Sens,%201945.jpg" style="border: 0px;" width="260" /><br />The Good Direction (Le Bon Sens) or possibly "Well Proportioned" 1945<br /><br />At first glance this looks simply like a still life. The odd (askew) serving tray is really a blank canvas, while the fruit on the serving plate are made unusually small in porportion to the fruit on the canvas.<br /><br /><br /><img alt="" height="434" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Ivory%20Tower%20La%20Tour%20d'ivoire,%201945.jpg" style="border: 0px;" width="300" /><br />The Ivory Tower (La Tour d'ivoire) 1945<br /><br />Here the rose takes on human characterististc much as in his 1953 painting Le Coup Au Cour.</div>
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<img alt="" height="409" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Age%20of%20Pleasure%20-1946.jpg" style="border: 0px;" width="300" /><br />The Age of Pleasure (L’Âge du Plaisir) 1946<br /><br /><img alt="" height="400" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Cut-Glass%20Bath,%201946%20el%20bano%20de%20cristal.jpg" style="border: 0px;" width="273" /><br />The Cut-Glass Bath, 1946 el bano de cristal<br /><br /><br /><img alt="" height="204" src="http://www.mattesonart.com/Data/Sites/1/magritte/Raminagrobis-1946.jpg" style="border: 0px;" width="300" /><br />Raminagrobis-1946<br /><br /><img alt="" height="391" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20age%20of%20Pleasure,%20Merman%20Hanging%20%20from%20a%20Gibbet-%201946.jpg" style="border: 0px;" width="300" /><br />Merman Hanging from a Gibbet- 1946<br /><br /><img alt="" height="335" src="http://www.mattesonart.com/Data/Sites/1/magritte/The%20Intelligence%20L'Intelligence,%201946.jpg" style="border: 0px;" width="400" /><br />The Intelligence (L'Intelligence) 1946<br /><br /><img alt="" height="306" src="http://www.mattesonart.com/Data/Sites/1/magritte/Thousand%20and%20One%20Nights%20Les%20Mille%20et%20une%20Nuits,%201946.jpg" style="border: 0px;" width="400" /><br />Thousand and One Nights (Les Mille et une Nuits) 1946<br /><br /><img alt="" height="530" src="http://www.mattesonart.com/Data/Sites/1/magritte/Les%20Fleurs%20du%20Mal,%201946.jpg" style="border: 0px;" width="400" /><br />Flowers of Evil (Les Fluers du Mal) 1946. Oil on canvas. 80 x 60 cm. Private collection.</div>
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Flowers of Evil is part of the La Magie Noire (Black Magic) series of works Magritte executed beginning in 1934, depicting a female nude in an unidentified landscape. The model for this series was the artist's wife, Georgette Berger, and her image in the present picture is identical to the nude in Les Fleurs du mal (Sylvester no. 601) from that same year. Georgette is painted in a classical manner, with her figure abiding by the laws of beauty and proportion and resembling a marble sculpture as much as a live model. This traditional representation, however, is juxtaposed with the unexpected coloration of the figure, whose upper body gradually acquires the tone of the sky behind her. In nearly all paintings from this group, the woman has one hand resting on a block of stone. As Magritte himself proclaimed: "One idea is that stone is associated with an 'attachment' to the earth. It does not rise up of its own accord; you can rely on its remaining faithful to the earth's attraction. Woman, too, if you like. From another point of view the hard existence of stone (...) and the mental and physical system of a human being are not unconnected" (quoted in J. Meuris, René Magritte, London, 1988, p. 76).</div>
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The nude is always depicted either with her eyes closed, or with her head turned away from the viewer or, as in the present work, with blank eyes resembling those of a sculpture, thus becoming the object of the spectator's gaze and erotic desire. "Magritte said, in fact, that an undercurrent of eroticism was one of the reasons a painting might have for existing. It asserted itself most intensely and explicitly in these stately classical nudes with their cool coloring. For the very reason that it aims at maximum resemblance, their academicism is upset by the provocation of mystery emanating from that identification, once the painting and the arrangement of the painting interfere with its course. The prime example is Black Magic" (ibid., p. 76).</div>
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In a letter to Paul Nougé of January 1948, Magritte wrote on the subject of the present work as follows, "I am searching for a title for the picture of the nude woman (naked torso) in the room with the rock. One idea is that the stone is linked by some Affinity to the earth, it can't raise itself, we can rely on its generic fidelity to terrestrial attraction. The woman, too, if you like. From another point of view, the hard existence of the stone, well-defined, 'a hard feeling,' and the mental and physical system of a human being are not unconnected" (H. Torczyner, Magritte: Ideas and Images, New York, 1977, p. 173).<br /><br />From "La Belle Captive: Magritte's Surrealism, Robbe-Grillet's Metafiction" by Ben Stoltzfus: "In Ecrits Complets Magritte describes The Flowers of Evil as "the statue of flesh of a naked woman holding a rose of flesh. The other hand leans on a stone. The open curtains reveal the sea and a summer sky" (175, my translation). In addition to the title of Baudelaire's book, the picture is an intertextual allusion to his poem entitled "Beauty": "I am beautiful, oh mortals! like a dream of stone" (41, my translation). The woman's body has a sensual reality but she is made of stone. She seems alive but her eyes are vacant. This movement back and forth between the true and the false, between living flesh and inanimate matter gives rise to an undecidability that is both mysterious and postmodern because the foregrounding of one possibility brackets the other one by putting it under erasure. From a Surrealist point of view, the body is marvelous and astonishing. From a postmodern point of view it is contradictory and its status is undecidable unless, of course, we suspend the voice of reason. But suspending reason is precisely what the Surrealists wanted us to do so that we could slip into a sensual dream world where everything is possible and in which even metal burns with a hot and living flame."<br /> </div>
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<img alt="" height="455" src="http://www.mattesonart.com/Data/Sites/1/magritte/Reconnaissance%20%20without%20End.jpg" style="border: 0px;" width="300" /><br />Reconnaissance without End (La Reconnaissance in finie) 1946, 22.8 x 15.6 in. / 58 x 39.6 cm<br /><br /><img alt="" height="431" src="http://www.mattesonart.com/Data/Sites/1/magritte/Soir%20d'%20orage%20Perfume%20ad%20for%20Mem%20circa%201945.jpg" style="border: 0px;" width="300" /><br />Soir d' orage- Perfume ad for Mem circa 1946<br /><br /><img alt="" height="567" src="http://www.mattesonart.com/Data/Sites/1/magritte/Mem%20ad%201946.jpg" style="border: 0px;" width="253" /><br />Mem Advertisment- 1946 Perfume add for Mem<br /><br /><img alt="" height="500" src="http://www.mattesonart.com/Data/Sites/1/magritte/Cover%20of%20View%20Magazine%201946.jpg" style="border: 0px;" width="363" /><br />Cover of View Magazine 1946<br /><br />The young American poet Charles Henri Ford started View magazine in his New York apartment in 1940. Ford's stay in Paris in the 1930's had introduced him to Surrealist poets and artists, including André Breton, the leader of that movement, who had encouraged the young poet. When Ford returned to the United States, he founded View as an avant-garde literary magazine with Surrealist interests. View magazine ran from September 1940 through March 1947, appearing quarterly and monthly as financial circumstances permitted. Ford initially intended View to be a journal of contemporary events compiled of writings by his literary friends in Europe. The magazine soon evolved beyond this news-oriented format to include color covers, additional advertisements, numerous illustrations, and more ambitious designs by Ford's assistant editor, Parker Tyler.<br /><br />This is one of Magritte's first "apple with a mask" images that use used frequently in his The Married Priest paintings.</div>
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<br /><br /><img alt="" height="483" src="http://www.mattesonart.com/Data/Sites/1/magritte/Flavor%20of%20tears%201948.jpg" style="border: 0px;" width="400" /><br />The Flavor of Tears (La Saveur des larmes) 1946, 20.1 x 14.6 in. / 51 x 37 cm<br /><br />Magritte painted three versions of this painting of the war birds icon with a catepiller eating away the principle birds body. See below and versions in 1948 and 1949.<br /><br /><img alt="" height="256" src="http://www.mattesonart.com/Data/Sites/1/magritte/Flavor%20of%20Tears%20La%20saveur%20des%20larmes%201946.jpg" style="border: 0px;" width="365" /><br />Flavor of Tears III (La saveur des larmes) 1946 signed 'Magritte' (lower left); signed, dated and inscribed '"La Saveur des Larmes" (III) Magritte 1946' (on the reverse) gouache on paper 13¾ x 19 3/8 in. (35 x 49.3 cm.)<br /><br />Provenance: Galerie Dietrich, Brussels, acquired directly from the artist; Walter Schwarzenberg, Brussels, by whom certainly acquired from the above and thence by descent; Anonymous sale, Servarts, Brussels, 7 November 1995, lot 121.</div>
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Literature: René Magritte, 'Lettres à Paul Nougé', in Le Fait accompli, Brussels, 1974, no. 127-129 (partly obscured in installation photograph of the 1946 Dietrich exhibition). D. Sylvester (ed.), René Magritte, Catalogue Raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, London, 1994, no. 1214 (illustrated p. 76).</div>
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Exhibited: Brussels, Galerie Dietrich, Exposition René Magritte, January 1946, no. 21. Brussels, Galeries Dietrich & Lou Cosyn, Exposition Magritte, April 1951, no. 25 (?).</div>
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Notes (from Christie's): Executed in 1946, La saveur des larmes is pervaded by a strange and bleak atmosphere wholly suited to Magritte's surreal vision. The blasted heath of the landscape is articulated only by a handful of leaf-trees. one of which has fallen, and the strange curtain at the side.</div>
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The leaf-tree was one of Magritte's most important Surreal motifs, emerging in the 1930s in La géante. Then, Magritte had sought to 'solve' the problems posed by various objects that we see around us, every day. His new-found code to deconstructing the world around us, and our perceptions of that world, involved such concise and eloquent visions as the egg in a cage, clouds on the ground, paintings before windows all-too-seamlessly presenting the world outside... In La saveur des larmes, these leaf-trees have been presented in juxtaposition to each other, emphasising the strangeness of their appearance, the impossible nature of this giant leaf with its broken trunk. Yet the weighty ambience of the landscape fills it with dignity and even tragedy. This is not a mere joke, but instead a revelation, a demand that we see the world around us in a new light. Indeed, with the strange curtain to the right of the image, Magritte is not only making a reference to the Old Masters, for instance by Vermeer, which incorporate a trompe-l'oeil curtain, but is also playing with the whole impression of space and wilderness within the picture. This desolate scene, devoid of human life, is discreetly punctured by a vast and impossible curtain. Magritte is thus playing with our perceptions, not only of trees, but also of the entire space within the picture. All the rules in Magritte's world beyond consciousness have been bent, but bent in a way that produces a unique and resonant poetry.</div>
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