Tuesday, September 27, 2005
Fikret MUALLA 1903-1967
Fikret Muallâ was born in Istanbul in 1903, the son of an aristocratic family. An injury to his leg incurred while playing football during his years as a boarding student at Galatasary Lycée was to give a morbid and introverted twist to his character. This unfortunate accident was followed by the death of his mother. For years, Muallâ was never to forget that he had been the cause of his mother's death by infecting her with the Spanish flu' he had carried with him from school, and the guilt complex this produced was to be the cause of the psychological trouble that affected his whole character from then on. At the same time, his father's weakness for women and his immediate remarriage after the death of his wife were to produce wounds in the sensitive mind of the fifteen year old Muallâ that left scars hat were to remain with him for the rest of his life.
In 1920 he went to Switzerland to study engineering. Utterly penniless, he received some money from the Consul Riza Bey, and with this he went to Heidelberg, and from there to Berlin, where he enrolled in the poster and design department of the Academy of Fine Arts, joining the studio of Arthur Kampf.
In the 1930s he worked for a short time as teacher of art in the Galatasary Lycée in Istanbul, at the same time producing a number of scenes of the city. However, the difficult circumstances in which he found himself led to excessive drinking and he was finally obliged to leave the Lycée. He was appointed as teacher of art in a school in Ayvalik, where he lived from 1934 to 1935,3 but it was impossible for Muallâ to achieve happiness in this little coastal town. Quarrels with the headmaster led to his being beaten up in the local police station, and from that time onwards the police were to form the basis of the nightmares that plagued him all through his life. Fikret Muallâ died in 1967. He was first of all buried in the Reillanne cemetery, but his body was later taken back to Turkey.
The story of Fikret Muallâ's life abroad, which began at the end of 1938, was to end in Paris. The Paris streets, shopping centres, markets and coffee-houses are brought to life in all their colour and variety in Fikret Muallâ's canvases. And particularly the bars. It was in the bars, where he would relax to the sound of saxophones and double basses, that Muallâ could forget his mental stresses, his constant homesickness for Istanbul and his poverty and destitution. In these pictures, which he created by fusing the environment with his palette, there is only happiness, even though only for a very short time...It was in such an environment that Fikret Muallâ produced a constant flow of pictures in his own individual style and in harmony with his own individualpersonality. The pictures are sometimes produced by crushing the colours on to wrapping paper, sometimes by the use of crayons. In these pictures one can hear the cries of happiness of the diseased mind of an artist doomed to despair.
Fikret Muallâ, as an artist who had to paint for a living, was obliged to be prolific.
He had to paint to live, for only by painting could he escape from the fears that were destroying his very being. He had to paint to live, because he had to eat, and, more particularly, to drink. The agonies of a painful life were transformed into paintings full of life and vigour. Fikret Muallâ was an artist by birth. The chaotic nature of his life style and his lack of mental balance were the basis for his productivity as an artist. He could esape from these torments only by painting, and this increased the intensity with which he worked. It was a life-style that gave no opportunity for careful choice of materials, paintsor subject. He had neither the resources, nor the time nor the necessity. Yes, very beautiful pictures can be produced from aubergines.
If the painter is a Fikret Muallâ!
Monday, September 26, 2005
Nights of clouds and dreams, cradled by a gentle wave. Eastern Nights. An unmistakable, neat, dainty bed. Double bed. A soft island surrounded by a hard wave on which it is natural to place shells, books, perfumes and lights.
The bed has a perimetrical structure in curved 20 mm thick multiply, with finishes in lacquered matt RAL 9010 white, aluminium, natural American black walnut and oak stained dark grey. The bedstead is in 20x20 mm square section stainless steel with a satined matt finish. Multilayered mattress holder, suitably milled, water non-toxic
lacquered matt white finish.
you can combine the 4 colours of this collection to suit yourself with a mere “zip”! This element-carpet made of felt, makes it possible to meet any requirements. You can determine its shape and z and decorate the floor and the walls. Feel free to play about and choose!
MOUGIN FRENCH POTTERY VASE
GREY BASE COLOR WITH INCISED MUTED BLUE DECORATION
Started in 1867 in a small inadequate oven in PARIS
impasse du Corbeau Joseph MOUGIN and Charles LEMARQUIER,
both sculptors then, achieved their first earthenware with the great fire,
without any particular knowledge, only driven by Joseph’s passion and fantastic enthusiasm.
Their first attempts were lousy, they moved to Rue Dareau in MONTROUGE in 1898,
in a better-fitted workshop where they built with Pierre MOUGIN’s help a Chinese oven.
That enabled them to exhibit their first works at the Universal Exhibition in PARIS in 1900.
Conscious of his lack of knowledge, Joseph went to the Sèvres manufacture in 1901,
as an independent student. That same year, LEMARQUIER gave up;
a new place was chosen Rue de la Quintinie in VAUGIRARD. The two brothers associated.
They then profited by Victor PROUVE’s friendship and help, whom they met in 1892,
and overcoming innumerable problems, they eventually achieved the searched for results.
Ernest WITTMANN, Louis MAJORELLE, Pierre ROCHE, Victor PROUVE, RIVAUD,
CASTEX, FINOT and many others entrusted them with the edition of several of their works
and in 1905 they were at last granted a "first mention" at the Salon of French artists.
In 1906 they went to NANCY, Rue de Montreville, which Joseph, at the end of his life, considered as a mistake.
From that time, several exhibitions successively took place with prizes or honorary titles.
In 1919 they started researching about engraved and geometric designs and in 1923
Joseph signed a collaboration-contract with the crockery-shop KELLER and GUERIN in LUNEVILLE.
This contract ended in 1933. In 1925 he won the first prize in ceramics at the Exhibition of decorative arts.
In 1934 Pierre put an end to his activities and Joseph,
back in NANCY, carried on his research exclusively about enamel,
with the participation of his daughter Odile.
Somewhat between ceramics and painting, his art was then close to abstract expressionism.
He achieved his very last firing in December 1950,
the taking over being ensured by Odile and François MOUGIN
Monday, September 19, 2005
Wednesday, September 14, 2005
Monday, September 12, 2005
The tragicomic figure at the center of David Lippenberger's paintings peers back at us with the searching blue eyes of the artist himself. Though he does bear an uncanny resemblance to his subject, David's intention is to paint a universalized version of himself, who doubles as a symbolic representation of men in general.
His paintings convey an uneasy embrace of the role men are expected to play in society. These figures are stretched thin, like the stereotypes they challenge. Their protagonist is in many ways an Everyman -- dressed neutrally, stoically inhabiting the cramped space of the picture frame. But there's always something slightly amiss, a topsy-turvy detail that suggests the possibility of another existence altogether.
A prominent graphic designer for more than 20 years, David Lippenberger turned his attentions to fine art a decade ago. He has shown his work frequently in Northern California, in such venues as the Santa Cruz Art League's Annual Statewide Exhibitions, Pro Arts Gallery, Berkeley Art Center, works San Jose, and the Sanchez Art Center in Pacifica. He lives and paints in San Jose
Osho is well-known as an enlightened Master and mystic, but he is less well known as a painter, a painter of pure poetry. His life and his being were art itself, and his paintings overflow with the fragrance and beauty of enlightenment. They are unique, mysterious, significant -- and are unlike anything the art world has ever seen before...
"I am not a painter.
I am the painting.
Where the painter has got lost into the painting, I don't know."
Sunday, September 11, 2005
The Industrie Forum 2001 Design Awward Winner I/X has three main themes. High-Tech, natural an White theme... I/X which has been named after its ‘I’ and ‘X’ formed metal legs, satisfy its users needs by its accessories and components in different sizes, colors and materials.
Saturday, September 10, 2005
Wall luminaire, fitted with compact fluorescent sources and coloured filters that allow various atmospheres to be created, also including white light. The body-lamp takes on the colour of the light scenario selected and can be equipped on the top with an electrostatic air filter and/or with acoustic diffusers in the underlying part, both eqipment on request.
Seating set featuring variable-thickness foamed polyurethane, and with a wood and metal structure. The feet are black or chrome-plated metal, also featuring a bright, round, chrome-plated base. The collection is made up of a sofa (seating two or three) and a large armchair. The collection fabric or leather covers are removable.
Designer William Brand Annet van Egmond