#Orqu铆dea #DendrobiumNymphea blossom...Cherry blossoms over lake 馃尭馃尭馃尭Viva o s谩bado de sol!!!
#Orqu铆dea #Milt么nia primeira flora莽茫o comigo 馃檯 Primavera chegou!Bom dia! Boa semana!!!Nada como voltar pra casa e me deparar com a explos茫o das #orqu铆deas #DendrobiumNobile ! Primavera chegando...Getty Villa 茅 uma r茅plica exata do  Pal谩cio dos Papiros, escavado das cinzas em Pomp茅ia...Mummy portrait of a woman Romano-egyptian A.D. 100-110Boa segunda! Boa semana!

                
       





















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Art for Art’s sake

Majorelle Cap. 2, Jacques o filho pintor e seu Jardim em Marrakech

Japa Girl veste macac茫o Neon, faixa Christian Dior, regata Gloria Coelho, chap茅u Plas e sapato Arezzo

Verdadeiro s铆mbolo da cidade de Marrakech, os Jardins de Majorelle encantam at茅 um 鈥渓eigo鈥 em bot芒nica e desinteressados em paisagismo.


Nada mais, nada menos que, a maior e mais importante cole莽茫o de plantas de sua era, que al茅m de ter sido o at锚lier/resid锚ncia聽 de Jacques Majorelle entre 1947 e 1962, foi tamb茅m a resid锚ncia de veraneio de Yves Saint Laurent e Pierre Berg茅, a partir de 1980 restaurando todos os 12 acres do jardim at茅 a cria莽茫o da funda莽茫o que administra o museu at茅 hoje.

Pudera, este o谩sis est谩 listado entre os grandes jardins misteriosos do s茅c XX!

Jacques Majorelle, filho 煤nico de Louis Majorelle, grande mestre do movimento Art Nouveau, nasceu em Nancy em 1886, no meio desse rico c铆rculo de artistas absurdamente fechado.

Assim respirou ARTE,聽 desde o ber莽o.


Ap贸s ter estudado artes pl谩sticas na 脡cole de Nancy e depois na Julian Academy em Paris, decidiu seguir a pintura como seu of铆cio.

O certo 茅 que durante a sua聽 juventude, contraiu tuberculose e precisou se mudar para o sul onde o clima era mais quente e foi assim que descobriu sua paix茫o pelo oriente, come莽ando pelo Egito, depois Espanha at茅 encontrar seu lugar preferido no mundo: Marrocos!












Sem d煤vida, desenvolveu uma paix茫o particular sobre o Mediterr芒neo saindo fora das apresenta莽玫es cl谩ssicas, encorajado pelo r谩pido tom do fauvismo, as formas simples, as origens.


De fato sua pintura foge completamente daquelas fantasias criadas pelo movimento Orientalista e na minha vis茫o, o tra莽o de Jacques Majorelle captura聽 uma luz Impressionista com um certo perfume Tiki, mostrando as nuances da vida di谩ria.















Ruelle de La M茅dina, Jacques Majorelle, 1955 e imagem do Souk em Marrakesch

Erudito, amante da est茅tica dos Souks (feiras livres t铆picas), o pintor viajante, se sentiu atra铆do pelas tribos Berber e pela autenticidade das regi玫es do Atlas.

Em 1924, Jacques resolve morar na Medina de Marrakech, encontra o terreno perfeito nas bordas de Palm Groove e d谩 in铆cio ao que seria o grande feito de sua vida, um ex贸tico jardim bot芒nico que al茅m de levar o sobrenome de sua fam铆lia, seria o seu maior legado.

Evidente que um dos grandes destaques do paisagismo de Majorelle, s茫o as palmeiras gigantescas, que mandou trazer do sul da 脕sia, do leste da 脕frica, das Ilhas Can谩rias, da regi茫o da Mesopot芒nia e at茅 da Calif贸rnia.



Sem falar nos cactus, nas iucas, as vit贸rias-r茅gias, o perfume dos jasmins, a encantadora floresta de Bambus que me faz mergulhar nos meus encantos pelo movimento Tiki, mais uma vez.

Digamos que a originalidade deste lugar, est谩 na combina莽茫o de uma vegeta莽茫o luxuosa e elementos de arquitetura alinhados com a sobriedade e est茅tica tradicional marroquina.

E muito importante no conceito desse jardim, 茅 a cor 铆cone usada: o Bleu Majorelle.

O poder desse tom de azul, d谩 um contraste 煤nico a聽 impress茫o de quietude e contempla莽茫o.



Pesquisei inclusive, a combina莽茫o exata de tons para chegarmos ao Bleu Majorelle, caso queiram pintar uma parede:

- Pantone 6050 (RGB)

- RVB (r 96, v 80, b 220)

- Triplet hexa: 6050 DC

- CMJN (c 56%, m64%, j 0%, N 14%)

- TSL (t 247*, s67%, l59%)


Reza a lenda que Yves Saint Laurent, que tinha um talento 煤nico para misturar cores, foi o respons谩vel pelo tom de hoje, melhorando assim ainda mais a tonalidade de Monsieur聽Jacques Majorelle.

Mod茅stia a parte, eu tamb茅m tenho um olhar para cores e estava pensando outro dia sobre a loucura dessa cor, quando tive um insight: 鈥淥 Bleu Majorelle 茅 a cor do pesco莽o do pav茫o!鈥

Houve um aspecto que achei fascinante e essencialmente chic enquanto pesquisava sobre聽 a funda莽茫o dos Jardins de Majorelle, o cuidado com as 15 esp茅cies de p谩ssaros LIVRES, exclusivamente encontrados naquela regi茫o no Norte da 脕frica.

Afinal de contas, um jardim jamais 茅 completo sem os seus devidos passarinhos.





O trabalho de Jacques Majorelle tamb茅m pode ser visto no famoso Hotel La Mamounia, que o pintor ajudou a decorar, assim como pintou posters de turismo para a cidade de Marrakesch.







Teto pintado por Jacques Majorelle na entrada do tradicional Hotel La Mamounia, Marrakesch.



Foi em 1962 que Jacques ap贸s sofrer um acidente de carro, retorna para a Fran莽a e vem a falecer logo em seguida.

Nos anos 80, seu Legado paisag铆stico sofreu grandes deteriora莽玫es , at茅 que o casal mais chic do mundo, Yves Saint Laurent e Pierre Berg茅 descubriram聽 esse o谩sis e o recuperaram por completo.

Na terceira parte destes posts, revelo deliciosos segredos da estadia destes 煤ltimos propriet谩rios do Jardim Majorelle e sobre a cria莽茫o da funda莽茫o e museu, n茫o percam!



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“Love never dies”. Art during Oscar Wilde鈥檚 England. By Iko Ouro Preto

A brilliant exposition opened in Paris this month of November.

The Aesthetics, a mid 19th century movement that even if never clearly defined a style, came to influence art in the following century and beyond with their a quest of new sensations, a revolution in perception and soul alike.

Determined to move away from the ugliness and materialism of their day, this band of radically engaged artists rebelled against the rigid Victorian Academism under the banner of Art for Art鈥檚 sake, proposing a new idealisation of art and beauty.

From the 1860s to the last decadent decade of Queen Victoria’s reign, this movement is seen through the emblematic works of Dante Gabriel Rossetti, William Morris, James McNeill Whistler and Oscar Wilde.

Painters, poets and decorators passionately defined an artistic mood freed from the principles of order and Victorian morality, and allowed the expression of sensuality to prevail.

They all united in a quest to combine artistic creation and lifestyle, a quest that found fertile areas of expression in photography, the decorative arts, literature and fashion.

It was the age of Aesthetic romantics. It became a rallying call for a younger generation of disciples, amongst whom; the most prominent would be Oscar Wilde.

Oscar Wilde - 鈥淎 man can't be too careful in the choice of his enemies.鈥, having been imprisoned and suffering two years of hard labour for the crime of homosexuality, he later died, penniless, in Paris.

Remembered today as a dramatist and wit, in his lifetime Wilde was notorious as the spokesman of this daring art movement and its bold declaration that art exists solely to create beauty with no moral purpose whatsoever.

Wilde said : 鈥淎 dreamer can find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world.

It was an age of hedonism, of extravagances and depravity. Art that simply offered visual and sentimental delight. Pure poetry or beautiful pictures that had no need to tell stories, preach sermons, or rely upon sentimental clich茅s.

An art self-consciously absorbed in itself, aware of the past but created for the present, and existing only to be beautiful.

The emphasis was on elegance and often showed heavy Japanese influence. The opening of the East by the convention of Kanagawa, 1854, ended Japan鈥檚 long period of self imposed isolation. Supplanting a largely fantastical Japan of the imaginary by real Japanese artefacts, these objects were avidly studied by artists, greatly influencing Edward Godwin in furniture designing.

Japanese Woodblock, Lady in Breeze

As the movement rapidly evolved, it also revealed its dark side. The hero of Wilde’s novel The Picture of Dorian Gray destroys lives in his pursuit of beauty without limits.

Indeed most aesthetic poetry dwelled upon the subject of sensual love, lust and cruelty, degenerate Femmes fatales and the theme of blood, punishments and death – sorely lacking what the Victorians described as 鈥榤oral fibber鈥.

Writing in that age of stern hypocrisy and repression, Walter Pater, who was also Wilde鈥檚 tutor in Oxford, gleefully expounds on the sexual adventures of the great Renaissance artists, openly praising gay desire.

His febrile vision of art culminates in a bizarre description of the Mona Lisa: “Like the vampire, she has been dead many times, and learned the secrets of the grave.”

Pater concludes that the purpose of life is to pursue sensual beauty and live in the moment. “To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life”.

Choosing as their models women whose looks and lifestyles where at odds with conventional Victorian ideals of demure and feminity, these painters created an entirely new type of beauty.

When Fredric Leighton painted Nanna Risi (la Pavonia) – with her sultry Roman features and glossy black hair, neither of which conformed to stereotypical notions of genteel good looks – it was a social scandal. Oscar Wilde reacted saying 鈥楢n idea that is not dangerous is unworthy of being called an idea at all.鈥

Lord Frederic Leighton 鈥 Pavonia

Likewise, Algernon Swinburnes treatment of masochist sexual themes whipped a storm of critical abuse. Considered Unmanly Manhood, decadent and shamelessly vulgar, they were loathed by the society.

It was 鈥渢he fleshy school of controversy鈥. Many, if not most, objected to art for arts sake and deplored the absence of religious sentiments and virtue.

Oscar Wilde personified the movement in it鈥檚 fullest. When asked to explain reports that he had paraded down Piccadilly in London carrying a lily, long hair flowing, Wilde replied, “It’s not whether I did it or not that’s important, but whether people believed I did it”.

Wilde believed that the artist should hold forth higher ideals, and that pleasure and beauty would replace utilitarian ethics.

Lord Frederic Leighton magnum opus - Flaming June.

Even as the movement widened, it鈥檚 ideas brought scant public support for what, to many observers, was deemed a perverse and immoral artistic clique.

Indeed, The prevalent bourgeois mentality reacted fiercely, for the most part they characterised the Aesthetics as obscene, viewed with suspicion and often downright hostility, to which Wilde would retort 鈥楢lways forgive your enemies – nothing annoys them so much.鈥

In the end, these adventurers were Victorians, and pure hedonism was never going to be simple for them. Thus, the culmination of the aesthetic movement in Britain was to be a golden age of horror fiction that began with Gray’s portrait.

Bram Stoker鈥檚 Dracula 鈥 A romantic, gothic, horror epic adapted for the screen by F.F. Coppola in 1992, amongst countless other before and after him.

Bram Stoker’s 1897 novel popularised aesthetic Victorian decadence in its most glorious personification, Count Dracula. Sex, death and everlasting beauty pushed the lingering morality of the Victorian age inward 鈥 in the single beds of the aesthetes 鈥 to feast on macabre visions of sin.

This debate would continue to reverberate throughout the period and come to fore again as the pivotal issue during Oscar Wildes trials, until the final decadent phase of the movement in the 1890鈥檚.

Oscar Wilde who became the high priest of the movement, defied the age until finally it destroyed him, convicting him for homosexual “crimes”, imprisoning him, then leaving him to聽eke away his final years in Paris, Saint Germain.

A master of modern art, Damien Hirst.

Few artists or writers have influenced the society of their times and beyond as much as the Aesthetics.

Across Europe its passion for聽flowers and vampires, decor and desire can be glimpsed in Van Gogh’s Sunflowers, Klimt’s聽Kiss or Damien Hirst鈥檚 sliced animals.

Its legacy weaves through modern times in the defiance of dandies from Salvador Dal铆 to Freddie Mercury鈥檚 Queen, to David Bowie and or even Kurt Cobain鈥檚 Nirvana.

Yet, unfortunately, today art is moving away from beauty, becoming a statement, either political or social.

Propelled by armies of Nouveaux-riches with little sense of aestheticism, they stink the market with easy money deforming norms of beauty with mediocre taste. The major art fairs of today vomit innumerable objects which are, quite frankly, incomprehensible, and frequently just simply ugly.

Nowadays Critics seems enchanted with their own perspectives, oblivious of the merits of the oeuvres. Aesthetical beauty seems to be an afterthought.

We can still be provoked by the Victorian聽modernist hauteur: “All art is聽quite useless”.

Maybe one day, once again, we can have art for art鈥檚 sake.

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