Saturday, March 26, 2011

White Discharge 3 Dpo

Here in Latin America ... My sun



I'm fascinated with Calle 13 a while ago and when they came to Vina del Mar I could not see, this is one of the videos from that day that I find exciting, touching everything ... he not only sings, he thinks, and seeks to generate noise on people, GE NIAL! And a beautiful

news is that my first niece was born Patagonian, the first baby of my friends here, and we're happy, Emilia is beautiful and very much anticipated by all.

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Friday, March 25, 2011

Nose Looks Crooked Camera

RUBENS, THE HATCHING OF BAROQUE



Artehistoria Another great video on the figure, background and work of the great Flemish painter of the Baroque. Enjoy the opulence of Rubens now that the economic crisis forces us to rethink our consumption patterns.

Direction: 120-55 Queens Blvd,

REMBRANDT, THE NIGHT ROUND



A powerful analysis of the brilliant work of Rembrandt. The breakdown of all conventions in the group portrait (doelen) and the painter's compositional wisdom achieved in this work, one of its peaks. Essential.

Maytag Mav6200aww Timer

REMBRANDT, THE SOLITUDE OF GENIUS

Concise and beautiful

video about the great baroque master painter, Rembrandt. Attentive to the explanation of their training and life path and rtística, keys to understanding your style and human quality.

Unhandled Exception Gta Vice

ALL PART OF THE BAROQUE PAINTING

This may not be easy to find the location of this cut! ("Be naive?). Where? What are the characteristics of this work? What is represented on its main facade? And inside?. Remember intrepid artenautas not always have to go to look far to find beauty.

Tuesday, March 22, 2011

Stomach Bug Flu With Vertigo

26: PROPOSAL OF ACTIVITIES


The round night, Rembrandt


To deepen the knowledge of the printura baroque, especially in the current or realistic trend, I propose the realization of a comment by one of Rembrandt works.

Causes Of Enlarged Liver

Baroque painting, Baroque painting

The Rape of the daughters of Leucippus (Rubens)



The Descent from the Cross (Rubens)

To continue our approach to the European Baroque painting and before our eyes back to Spain, where we find Ribera, Zurbaran, Murillo and Velázquez's great, here are a scheme on the Flemish school. Rubens is by far one of the artists, but the artist, that best encapsulates the diverse trends of Baroque painting. In his work can accommodate everything from naturalistic tenebrism Caravaggio, through the classic colors and the roundness of an anatomical Michelangelo, down to the exuberance and opulence of forms and colors that are so characteristic. Front introspective pessimism Rembrandt optimism, energy and vitality of the Flemish painter who was once much more than a painter. The Catholic Belgium, and with it the whole of Europe Counter, surrendered to the "Homer of painting. MOTION

COMMENT
to fix some notes on your style and deepen the knowledge of his vast oeuvre, here I leave a couple of pieces for you to choose which one comment. a religious theme and a mythological theme. Enjoy it.

Monday, March 21, 2011

My Husban Wants A Trio

ACTIVITIES: SCHOOLS AND TRENDS






schemes propose a brief overview of the various trends of European Baroque painting. A deeper insight require the consultation of submissions on Caravaggio, Rubens (Flemish) and Rembrandt (Dutch school), hosted on slideshare. Of Spain will be discussed later.

What Juices Cause Phlegm

Tripod


Philologist and writer Renato Sandoval (Lima, 1957) is also one of the most hardworking distributors of poetry in our environment, whether as a translator (Södergran, Quasimodo, Rilke, Plath, etc. .), director of magazines and Evohé Fornix or its editorial Murder of Crows. His own poetry began with voyages (1985), and reached its peak from Nostos (1996), the first of three long poems. Sandoval just met these three poems in the book Tripod (Lustra, 2010).
Nostos
is a baroque poem, narrative and thoughtful, a true "poem river" as he called Jorge E. Eielson complimentary note on the presentation. The text is the testimony of a trip back to poetry, "an odyssey, but Ithaca and Penelope at the end of the trip ... Odyssey or Anabasis, the fate of the approach road is endless, from stanza to stanza: err, erring , error, step by step "(Américo Ferrari). Another stage of this trip is The reverse leakage and (1998) the second poem River Sandoval, also included here.

blues Suzuki (2006), the third of the text, a glimpse into the issues and basic concepts of Hinduism. And it does not mimic the formulas and techniques of Oriental literature, but rather by appealing to symbols and images recorded in the literary line that runs from the hermetic symbolism to Italian, in which the Peruvian feel much more comfortable. In short, Tripod is a great opportunity to get closer to the best of the poetic works of Renato Sandoval.

Friday, March 18, 2011

The Lord Of The Rings Streaming

The Ecstasy of Saint Teresa, Bernini's masterpiece


Gian Lorenzo Bernini: Ecstasy of St. Teresa
1647-1652. Height: 350 cm. Marble and gilded bronze.
Santa Maria della Vittoria, Cornaro Chapel.
Roma Bernini

this work by taking the text of St. Teresa in the mystical sense in which it was written. His purpose was that the amazing event that the saint told, it becomes evident in the most accurate and realistic as possible, though it was too human and carnal this materialization of mystical ecstasy. The text says:

" the Lord wanted him to see here a few times this vision: I saw an angel it to the left side in bodily form, which does not usually do but wonder. Although often I represent angels, is without seeing them, but as the last view, I said first. This vision saw the Lord did so. It was not big, but small, beautiful lot, so on the face of the angels seemed very uploads, which all seem to be scorching. Should be called cherubim, that names do not say to me, rather I see that in heaven there is so much unlike other angels, and others to others who do not know what to say. One appeared in my hands a long dart of gold, iron and finally seemed to have a little fire. This seemed to put me through the heart sometimes, and I came to the bowels. To get, I thought he carried with him, and left me burning in love all large God. So great was the pain that made me take those complaints, and so excessive softness that makes me great pain, no wish to be removed or satisfied unless the soul with God. Not physical pain, but spiritual, but it continues to engage the body somewhat, and even sick. It is a compliment so soft that passes between the soul and God, I beseech your goodness to give it to appeal to those who will think about that growth. "

ANALYSIS OF THE WORK

Twenty years after the group Apollo and Daphne, Bernini presents a similar theme as old as the tradition of images: the feminine principle transformed by the intervention the male principle. The two figures are positioned in space with a delicate displacement: it is almost impossible to describe the gesture of the angel satyr, captured while removing the dart of the female body, which is suspended for a moment before falling back. The device comes to life before our eyes. The center of gravity of the complex sculpture moves: the saint is slightly leaning backwards (with the symbolic walk coming out), and the little satyr turns to the front of the stage. The "fire", of course, is that fiery dart that the rapture us out of the ordinary.

The work was commissioned by the patriarch of Venice, Cardinal Federico Cornaro, who wanted to build his funerary chapel in the left arm of the transept of the little church of the Carmelites, Santa Maria della Vittoria, which are represented in the chapel along with other family members .

This work Bernini created the first portrait sculptures of baroque group. Dramatic play between the gaze and expression psychological penetration depth to reach a real speech group that rivals the pictorial compositions contemporary of Rembrandt and Frans Hals.

is not a sculpture in the conventional sense but we have a pictorial scene framed by the architecture that includes us as participants in a religious celebration that may not be so represented as disclosed. Bernini used the painting, sculpture and architecture, which added the use of natural lighting to create this amazing revelation. Created a show that surprises the viewer. Unsatisfied by the limited capacity of isolated figures or groups to create a calm atmosphere, Bernini's Cornaro chapel set in a theater with an active composition that directs our gaze, which highlights the effort to provide the whole picture an integrated unit; and looking for scenic effects as real as possible, covered the ceiling of the Cornaro chapel with a realistic picture of the sky.

Located at this group of sculptures, if we look up we see God's glory, it seems as if the sky gets into the church, as Bernini had built stucco clouds covering part of the architecture and ornamentation vault, and on this stucco appears realistic Lord of angels, the bearer of the divine flame: the cherub that runs through the heart of St. Teresa seems, therefore, be dropped from group painting.

The group is made of marble white (although the set consists of twenty different marbles, jasper and marble from gap, alabaster and lapis lazuli, red marble, black marble from France and Belgium). The cherub seems to materialize on the radiant sun, the effects of natural light and golden rays staged. Santa Teresa is literally taken away ("I live without living in me / and I hope life so high / I die because I do not die"), a frequent victim of mystical levitation appears on a cloud made of cotton, however, with marble. He leans back while bending forward and seems to levitate through the action of a supernatural force. Under a heavy-lidded eyes, blinded eyes reveal the mystical vision, her lips parted, emitting the sound that she herself tells us in his life. It thus appears that the action has already been consummated, that the angel has gone through the heart with an arrow, and Bernini, with a heavy sensual, shows the state of Transverberation where the holy remains.

Draperies (a mass in a cascade that plays with the shapes and reflects the turmoil of the soul) reflects the emotional movement that mystical experience has resulted in the holy. His left hand hangs insensitive, while your feet are airborne. The body of the asexual angel, half naked, covered with a garment that clings to your body forms, recalling the classic technique of "wet wipes" can guess your anatomy without the nude. The direction of stress the diagonal downward undulations with which Bernini marks the entrance of the divine power.

is interesting to notice the contrast between the angel and the saint. Thus, the angel shows vertical to the diagonal of the saint, with his hand up her habit to drive the bolt that comes from the opposite diagonal. The diagonal marked by the arrow, which appears to move the angel dress to make way for the divine flow, in contrast to the diagonal drawn across the face and body of the saint. The first is down and represents the spirit made flesh, the second is up, the flesh made spirit, despite the weight of the drapery of the saint seems to retain its body. The saint seems frozen to the ground, dragged by his mantle, while the angel stands as a fresh spirit to inflict the torment of divine fire.

Source: http://cv.uoc.edu (ART IN LINES)

Dudley Locks Lost Comination Retrival

ALL PART OF THE BAROQUE SCULPTURE 25

Arrest of Christ
Author: Caravaggio. ( 1598-1999). Oil on canvas
dimensions: 134 x 172.5 cm .

Who emerges from the shadows? Inquire about this amazing painting and find the light! Look at the gesture, face and attitude of the characters. And do not forget the glitter of armor ...

The canvas we see now has been discussed as an autograph work of Caravaggio. But it seems clear that there are numerous copies of it, this is the real thing. We mourn the missing part of the canvas to the left causing a sharp cut in the structure of the characters, but enhances the traumatic effect composition. The issue tells the arrest of Christ after the evening prayer in the Garden of Olives. The focus of the action is on the two faces of Jesus and Judas joined by the kiss of betrayal . Christ is pale, drooping eyes and hands together, aware of the fate that awaits him. Judas is disturbing: the teacher embraces artificial means, his arms seem too short, and his gaze is absorbed, not daring to look into the face of the betrayed. All Figures converge towards this point in a soft curved line without violence tends towards the protagonists, who seem to be in spite of himself.
source: Artehistoria.

Thursday, March 17, 2011

Is My Appendix Swollen?



My sunset... :)

and a good link that I brought Danae:)

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Gatsby For Cruel Hair

Basic structure





All-clad Instructions

AN APPROACH TO THE MAJOR WORKS SCULPTURE OF BERNINI

A great video to enjoy the masterpieces of the Italian genius. With Bernini marble became flesh and forget about the coldness of inert matter. Skin, smooth polished, shines through veins and tendons, the flesh, morbid and sensual, offers a warm texture. No one before him, and certainly not later, knew capture the breath of life, the drama of existence, the passion for life, in short. Enjoy it.



The wonderful "The Rape of Proserpine, where the marble is sensuality. Beauty and the Beast. The ferocity and virtue. The desire ...

Tuesday, March 15, 2011

How Far Should A Closet Rod Be From The Wall

Strange

or maybe not ... the more stressed I am and almost no time for anything, but they want me to be here and remember the time when I had time, uffff

My project of flowers and will count down and also I have moved and new baby, not a child is a puppy "girlfriend" of Pericles and the sister of Tatiana;)

's pretty, I present here is the queen of kiss and jumps like a flea


Yesterday, at night instead of going about data review I started web design and puuuras Nordic nice things like this crazy and this ... data Emma

De día y mas de cerca

Rediscovering a Daday, referring to the terrible earthquake in Japan wanted to check on her and found that this well, but tb with your blog with pictures of her and her clothes and shoes, which never would use, but I really like her and see her jump with them, plus I love his socks!

Ya, for today I met wanted to say the least ... and until I go to sleep thinking of changing the appearance of this quasi-abandoned blog, if only for you my dear Mary Peace Quelo you ....
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How To Make A Lead Mold

THE PART FOR THE WHOLE 24

the Rape of Proserpine. Bernini (1621-1622). White marble.

We have (well, you have) taken the test on the art of the Renaissance ... I guess you will have rested a bit (not too much, since I assume that even have to deal with any test more ...) and, perhaps, looking for a locus amoenus let yourselves fall here. If so, Hold on to the chair as well, by all gods, the stone was made flesh!
Who is this magician? What is this meaty cut work? Who or what is? Come on, take a look and comment on stylistic features of this powerful work.


So, little marauders of this exciting work. Bernini showed, despite his youth, an extraordinary technical ability. Had already learned enough about the work and spirit of the master Michelangelo, as he was also capable of converting the palpitating cold marble skin, tendons, veins ... but went further than the Florentine. What Michelangelo was in restraint and moderation, in Bernini explodes in all directions like a grenade. If Michelangelo expresses the rage, anger or tension pressing our gaze to the energy content of its giants (David, Moses), Bernini displays the same energy and vibrate before us. The motion of bodies becomes at it, choreographed by feelings, affective , in huge and theatrical display of emotions, gestures, tactile qualities ... the power converted into action, capturing a fleeting but intense, that catches our senses. This book synthesizes centuries of evolution sculpture: anatomic perfection of classicism, both the old and the Renaissance, and the pathos of Hellenism, from the hand of this busy serpertina composition, clearly inspired by Mannerism.
The ideals that have informed the Renaissance are in crisis, old Europe is changing ... and, as usual, this change of time is also reflected in the art, so perhaps unintentionally, becomes the mirror of a world in ferment. Do not fail to admire this moving work: beauty and the beast, the old myth exquisite chisel reinterpreted by that other genius of Bernini sculpture that was.

Monday, March 14, 2011

Sadlier-oxford Vocabulary Answers Level E Unit 4

The Bride of Corinth


The Bride of Corinth (Altazor, 2010) is surely one of the novels strangest of recent Peruvian literature. Its author, sociologist and writer Carlos Calderón Fajardo (Juliaca, 1946), recounts in the book the love story of the most unusual couple: she is both a reincarnation of Sarah Ellen (the woman " Vampire ", which was expected mass resurrection in 1987), a leader of a subversive political party of the legendary Lilith, for his part, he is a" double "Ismael Gonzales (the leader of that party) while the personification of his political doctrine (the "thought Gonzales").

Equally strange are the narrated events, the couple has meetings unrealistic utopian places, whose names refer to classical Greece (Tripoli, Corinth) and the Western literary tradition in general). And in those meetings both characters and the omniscient narrator are expressed in the most contrived, "In the bag kept an old photo of him, now the only mirror that allowed him to measure elapsed time. The photograph pictured on the inside jacket pocket when he saw her ... twitched. "

Calderón Fajardo is a cult author, those who are faithful followers and admirers inside the circle of writers and intellectuals, especially for the quality of his prose and reflections, but these virtues come here a few pages. In short, The Bride of Corinth is a bold and original novel, though less in the narrative works of Calderón Fajardo.


Related
Other article do on The Bride of Corinth José Donayre , Cosme Saavedra.
Interviews: Carlos Sotomayor, Miguel Vallejo .

Friday, March 11, 2011

Florida Affidavit Of Small Estate

Gianlorenzo Bernini. ARCHITECT AND SCULPTOR.

Plaza de San Pedro. Rome. GL Bernini

Gianlorenzo Bernini

Biography: He was one of the most outstanding artists of the Italian Baroque. His artistic activity is not limited to sculpture, was also a great architect, painter, illustrator and designer, designed fireworks displays, and funeral and playwright. His art is the quintessence of baroque energy and robustness in full swing. In sculpture, his great ability to capture the texture of the skin or clothing, as well as its ability to reflect the emotion and movement, were astounding. Bernini made changes in some forms and sculptural busts, fountains and tombs. His influence was enormous during the seventeenth and eighteenth centuries, and can be seen in the work of masters such as Pierre Puget, Pietro Bracci, and Andreas Schlüter. His whole life was dedicated to work and his career was characterized by a large number of projects he undertook. His career developed almost entirely in Rome, although he was born in Naples on December 7, 1598. His father, Pietro Bernini, a talented sculptor of the late Mannerism, was his first teacher. However, soon the son surpassed the father as the principal sources of information on Bernini: the biography of Filippo Baldinucci (1682) and his son Domenico Bernini (1713). Many of his early sculptures were inspired by Hellenistic art. The Goat Amalthea Nursing the Infant Zeus and a Young Satyr (which lately is believed to be 1609, Galleria Borghese, Rome) typifies the classical taste of the youthful sculptor. The sculptures by earlier masters such as Giambologna, was characterized by the fact that they were developed to be surrounded by the viewer and viewed from different angles. However, the sculptures Bernini of the 1620 as the Rape of Proserpina (1621-1622, Galleria Borghese, Rome), presented to the viewer a unique perspective without sacrificing none of the drama inherent in the scene. Also in the 1620 are its first architectural , like the facade of the church of Santa Bibiana in Rome (1624-1626) and the creation of the magnificent canopy (1624-1633), canopy over the altar St. Peter's Basilica, which was commissioned by Pope Urban VIII, the first of seven pontiffs for whom he worked. This project, a masterpiece of engineering, architecture and sculpture, was the first in a series monumental works for St. Peter's Basilica. Later created the tombs of Urban VIII (1628-1647) and Alexander VII (1671-1678), both in the basilica of St. Peter, who, three-dimensional figures in a dynamic attitude, differ markedly from the purely architectural approach to the sepulchers by previous artists. In the colossal St. Peter's Chair (the chair gestatoria, 1657-1666), in the apse of the basilica, used marble, gilded bronze and stucco in a splendid composition upward movement, which becomes more dramatic with the window oval gold is in the center and becomes the focal point of the entire basilica. Bernini was the first sculptor to realize the dramatic potential of light in a sculptural. This is even more evident in his famous masterpiece Ecstasy of Saint Teresa (1645-1652, Santa Maria della Vittoria, Rome), where the sun's rays, coming from an unseen source, illuminate the swooning saint and the smiling angel is about to pierce her heart with a golden arrow. The numerous busts also carry an analogous sense of persuasive dramatic realism, both allegorical character as the lost soul and the soul saved (both from about 1619, House Spain, Rome), as were portraits, such as the Cardinal Scipione Borghese (1632, Gallery Borghese) or that of Louis XIV of France (1665, Palace of Versailles). Among the non-religious architectural works by Bernini for various projects including palaces, Ludovisi Palace (now Palace Montecitorio, 1650) and Palazzo Chigi in Rome (1664), as well as some designs for the Louvre, a project that was never executed and presented to Louis XIV in 1665, during a five-month stay in Paris. Bernini also designed three churches: the Castel (1658-1661) built on a Greek cross, and the Ariccia (1662-1664) with a circular. The third is his greatest achievement in religious architecture: the Church of San Andrea al Quirinale (1658-1670) Rome was built on an oval plan with an ovoid porch extending in front of the facade, echoing the interior rhythms of the building. The interior, decorated with dark, multicolored marble, has an oval dome of white and gold. They are also the decade of 1660, the Scala Regia (Royal Flush, 1663-1666), which connects the papal apartments in the Vatican Palace to St. Peter's Basilica, and the magnificent Plaza de San Pedro (designed in 1667), that frames the entrance to the basilica in a dynamic oval space formed by two semicircular colonnades. Sources of a sculpture designed by Bernini is the spectacular Fountain of the Four Rivers (1648-1651) in Piazza Navona. Bernini she worked almost until his death on November 28, 1680. His latest work, The Bust of the Savior (Chrysler Museum, Norfolk, Virginia), presents an image of Christ sober and restrained that today has been interpreted as the attitude of calm and resigned to death Bernini.

For her work, visit:
http://www.epdlp.com/arquitecto.php?id=16

Whats Better Rotary Or Foil

the great architects of the Baroque. FRANCESCO CASTELLI, IL Borromini.

Dome of the church of San Carlos of four sources, San Carlino (Roma)

In this link you can see a video of the church of San Carlos, Borromini http://www.youtube.com/watch?v=FLSl8zfKQLk



FRANCESCO CASTELLI " Borromini "BIOGRAPHY

Italian architect, one of the most important seventeenth century. Along with other great figures of his time, Gian Lorenzo Bernini and Pietro da Cortona, and mainly thanks to their churches, ancient Rome turned into a Baroque city. Unlike Bernini and Cortona, Borromini devoted only to architecture, reaching its efforts obsession unorthodox new ways space. In its buildings, the empty and full are combined in a culmination of the search Baroque dramas. Francesco was born on September 25, 1599 in Bissone, on Lake Lugano, and his real name was Castelli, but changed it at age 28 by his mother, Borromini. His father was a stonemason and inherited this office, through which he could participate in the construction of the basilica of St. Peter, under the direction of Carlo Maderno. The old master was named supervisor of his works in the Vatican and the Barberini Palace. His bitter rivalry with Bernini began around the year 1627, when he worked under the sculptor in the size of canopy of San Pedro. The first commission he received as an architect Borromini was the church of San Carlo alle Quattro Fontane (1638-1641; facade completed in 1667) . The general design consists of a diamond-shaped plan, formed by the union of two equilateral triangles, covered by an oval dome. Like all projects of Borromini, conform to a strict laws of symmetry and proportions. Its facade, higher than the church itself has a ripple who became the archetype of the baroque churches of Rome. Borromini built San Ivo della Sapienzia of 1642 and 1660, which remains the University Church of Rome. The temple rises from a regular hexagon star, but more original is the hexagonal dome no transition with the plant, built as a continuation of solidarity with the fundamental geometry of the temple. Other works by the Italian master were the new facade of Sant Agnese (1653-1666) in the Plaza Nabon or remodeling the early Christian basilica of St. John Lateran (1647-1650), who lost their original appearance for become a Baroque church. His last big project was the College of Propaganda Fide (1646-1667), center of the Jesuit order in Rome a striking baroque palace completely subject to a geometric concept unit. On August 2, 1667 Borromini himself. More than any other contemporary architect, Borromini got a new form of architectural expression with its walls undulating, concave-convex and its original volume, developed from a geometric motif . However, he never rejected the study of classical models, incorporating features the work of ancient architecture and the Renaissance. The influence of Michelangelo's ideas were important, as the architect explained in his treatise architectonicum Opus (1648).

For his work, visit:
http://www.epdlp.com/arquitecto.php?id=22





http://www .telecable.es/personales/angel1/arqbar/borromini /

Sparknotes On Deathwatch By Robb White



Church of San Carlos of the four sources San Carlino.
Francesco Castelli, Il Borromini. Rome.

BAROQUE ART: THE HISTORICAL CONTEXT.


To contextualize the emergence of Baroque art sufficient information that gives us the textbook. However, we must not lose sight of the following keys:


Baroque is the style that is beginning in the late sixteenth and extends until the eighteenth. Born in Italy and from there it spreads throughout Europe. style is a complex result of a time of crisis. art is a brilliant, flamboyant, with he expresses the power of great kings, the wealth flowing from the States and the prosperous situation of Catholicism. The
variety of socio-economic situations, political and religious rise to the existence of baroque " different": a courtly Baroque Catholic , propaganda instrument of the Church and of the absolute state (Italy, France, Spain) and other bourgeois and Protestant Baroque (England and Holland).

Despite these large differences are common aesthetic impulses, the result of the sensitivity of the time, who disdains the rules and tends to the emotional and overwhelming. is a style that reflects the mood of the man of the moment, pessimistic, disillusioned, realistically aware of their imperfections.


BAROQUE ARCHITECTURE: GENERAL FEATURES.
The new architectural forms do not arise from nothing but natural consequence of the stylistic evolution as indicated by Mannerism. Italy will again be the focus operator, and the Papacy, and the Counter ideology, those who promote the new architectural aesthetic, which based its expressive power in the monumental, complexity and dynamism of the construction.
The starting point, as in the other arts, will be breaking the balance classic that will manifest itself through:
• Materials
· The constructive elements
· The decorative resources
· The architectural styles

MATERIALS
· The most used is the ashlar stone.
• In some buildings, especially in the interior, marble is used colors to highlight the richness and luxury, so dear to the Baroque theatricality. Sometimes bronze is used for certain elements, when trying out their decorative (columns, etc..). Often, moreover, the use of different materials (and different textures, therefore) in the same work.

CONSTRUCTIVE ELEMENTS
• The formal lexicon remains classic, but its use is made from very different approaches , so that the resulting language will be completely different.
· We used arrays of columns and their entablature , although gigantic proportions are preferred. Lose columns and classical proportions are monumental or dwarfs, as appropriate to the effect of whole.
· supports, exempt or flats are used widely but generally for decorative purposes. Atlanteans are used, and brackets caryatids and new media are two typical baroque: the Solomonic column (of stem twisted ellipse) and " stipe (vertical support comprising a series of truncated pyramid shapes and inverted).
· The facades are curved due to the introduction of curved entablature . Inspired by the model of "Il Gesù" of Vignola, have two bodies, and become more blurred and rich chiaroscuro. They are filled with sculptures, columns are off the wall and the overall effect is of greater wealth and movement. Begin to draw concave or convex walls, which are closely related to urban space in which they reside and are built taking into account the angle at which they will be seen., Escaped prospects looking effects and diagonal axes. This implies that walls are flexible: they move, with incoming and outgoing undulate. Cornices, very outgoing, also reflect this dynamic conception of the facade . It is, almost, of a building organic conception.
• The arc used is half a point, although the repertoire is very varied: half a point, elliptical, mixtilinear, oval, ... is looking dynamism.
· The roof systems are very varied. The vaults, barrel, edge, lunettes and hemiesferic on scallops, are the most characteristic. Faced with these items, as used in the Renaissance, new vaults are tested oval or stellate, multiplying external domes. The dome stands on the outside, but inside will be absorbed as pure hemispherical surface, by a whirlwind of images, paintings, frames or feigned heaven (see the case of the dome of the basilica Santa Maria de Elche). They are great burst of glory in which simulated those away, revealing a celestial world.
All these elements are used with great freedom , because what is valued is the invention and originality in the translation of new ways to impress the viewer. Sometimes the artificiality in the procedures is detrimental to the strength or functionality of the building. What matters is the overall effect , which is subordinate forms of sculpture, paintings and decorative embellish the architecture, in this way, the building constitutes an organic whole.


DECORATIVE RESOURCES
include designs based on the curve, in line with the dynamism sought, and curved pediments and parties, oval openings and plant motifs, leather and curtains that suggest a world of irrational and capricious. It is used often, the trompe (trap for the eye), a resource that, through painting, simulating an architectural space that opens onto the wall.
The media come to have very often a decorative nature, devoid of any tectonic feature. ARCHITECTURAL TYPES


The buildings are religious or civil symbolic meaning propaganda and a wide variety plant. Typical buildings remain the church and the palace in different variations. In traditional churches rectangular plants leads to elliptical, circular and mixed . It gives a clear predominance of "Jesuit Plant" (model Il Gesu church in Vignola, Rome). The interior space is also conceived as a flowing form, still dominated by curved surfaces. The decor is becoming more rich and colorful, enhancing the dramatic effect and theatrical Baroque architecture.
As conclusion:
• simple schemes are discarded by replacing Renaissance more complex approaches.
• The architecture introduces the idea of \u200b\u200bmovement.
• The light takes on new role in the overall perception of the building
• The traditional architectural elements and forms (arches, columns, pediments, cornices ...) are enriched and complicated.
• It features a clear interest in urban planning. This should underscore the markets, the role assumed by fountains, gardens, ... and the fact that Baroque architects were the first to consider the ordering of cities not only a theoretical, as in the Renaissance but also operational.

Wednesday, March 9, 2011

Typical Placement For Post Holdbacks

BAROQUE ART BAROQUE ART: TOWN PLANNING AND ARCHITECTURE




Some schemes to synthesize the general characteristics of Baroque architecture and urbanism, as well as major works of two Italian architects s. XVII, Bernini and Borromini. Remember that to strengthen our knowledge on this subject must download slideshare presentations.

Monday, March 7, 2011

Baitbus Gratis Online

Mirror of modernity

's book of poems 5 meters (1927) of Puna Carlos Oquendo de Amat (1905-1936) is one of the major works of the twentieth century Peruvian poetry. And although it has always recognized the quality of this collection, the critics have shown a greater interest from Mario Vargas Llosa who devoted his speech accepting the Rómulo Gallegos Prize (1967) to Oquendo. The most recent contribution is essay Mirror of Modernity: Avant-garde, theater experience and poems 5 meters (USIL, 2010) the critic and writer Selenco Vega.

As the title announces, the first part of the book is devoted to cutting-edge analysis of the resources used in 5 meters of poems, tracking influences and affiliations. More interesting is the second part, which follows the interpretative initiated by the semiotician Raul Bueno, who found in these poems a "resemantization" of urban spaces from the perspective of a natural playful and provincial author. Vega adds some nuances to this proposal, especially on the concept of "experience" (Kant, Benjamin).

University Professor of Literary Theory and Interpretation of texts, Selenco Vega (Lima, 1971) adds to its strong academic background a number of good books on creation, both fiction and poetry, and literary prizes such as Cope and the story of a thousand words. Perhaps Mirror of modernity is to live up to this history, but nevertheless is a proper debut de Vega in the field of literary essays.