07 Jun 1922 - BURDEKIN HOUSE. SUGGESTED HISTORICAL MUSEUM. 15 Feb 1933 - BURDEKIN HOUSE. Retention as Historical Museum S... Retention as Historical Museum Mr.
C. H. Bertie, city librarian, In a lecture to the Royal Australian Historical Society, on "Old Sydney," last night, suggested that Bur- dekin House should be retained for the nation and used as a Historical Museum. He told the story about the site of Bur- dekin House. "Burdekin House. " proceeded Mr. Years ago. La Belle Epoque 1890-1914. Architecture 1of23 The Dessau Bauhaus - Art, Design - Documentary.
Bauhaus Manifesto. Manifesto The ultimate aim of all creative activity is a building!
The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as "salon art", it has lost. The old art schools were unable to produce this unity; and how, indeed, should they have done so, since art cannot be taught?
Architects, painters, sculptors, we must all return to crafts! Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Varvara Stepanova. Kazimir Malevich. Suprematism. Manifesto. Kazimir Malevich Kazimir Malevich , a Russian painter, pioneer of geometric abstract art and the originator of the Suprematism movement.
Malevich developed his own abstract style based strictly on geometric elements, squares and rectangles. This style became known as Suprematism, referring to supremacy of "pure artistic feeling". In his first paintings he presented geometric forms in a limited range of colors, sometimes in black alone, against a white background. Later he introduced a broader range of colors as well as triangles, circles, and curved shapes. Suprematism Suprematism is a highly geometric style of 20th-century abstract painting, developed by Russian artist Kazimir Malevich. Manifesto of Surrealism. So strong is the belief in life, in what is most fragile in life – real life, I mean – that in the end this belief is lost.
Document3. The Founding and Manifesto of Futurism. Translated from French: Le Figaro, Paris, February 20, 1909 (Italian version here) This English-language translation COPYRIGHT ©1973 Thames and Hudson Ltd, London.
All rights reserved. Source for translation by R.W. Flint reproduced below: Apollonio, Umbro, ed. We had stayed up all night, my friends and I, under hanging mosque lamps with domes of filigreed brass, domes starred like our spirits, shining like them with the prisoned radiance of electric hearts. An immense pride was buoying us up, because we felt ourselves alone at that hour, alone, awake, and on our feet, like proud beacons or forward sentries against an army of hostile stars glaring down at us from their celestial encampments.
Suddenly we jumped, hearing the mighty noise of the huge double-decker trams that rumbled by outside, ablaze with colored lights, like villages on holiday suddenly struck and uprooted by the flooding Po and dragged over falls and through gourges to the sea. Then the silence deepened. ‘Let’s go!’ The debt we owe to Buñuel. Homage in Catalonia... a painting of a scene from Un Chien andalou in Barcelona, in celebration of Buñuel's centenary in 2000.
Photograph: Albert Olive/EPA Some years ago, I found myself at the Cambridge film festival, on a discussion panel with other critics, one distinguished former newspaper editor and the artist and film-maker Peter Greenaway. After we had aired our brow-furrowing thoughts on the fact that it was difficult to find space to cover serious, non-Hollywood pictures, Mr Greenaway remarked drily that the audience had had to listen to "a fair amount of wanking on" from the journalists, and proceeded to challenge our assumptions that cinema as a medium had reached a period of maturity and richness.
On the contrary, he said, we were living in a pre-cinematic age, and cinema was still dominated by steam-driven, theatrical ideas of performance. Cinema had still to enter into its inheritance: it had still to realise its full and virtually limitless potential.
Photography.