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Αριστομένης Αγγελόπουλος

Ο Αριστομένης (Μένης) Αγγελόπουλος (Βόλος, 1900 – Παρίσι, 1990) ήταν έλληνας ζωγράφος, ο οποίος έζησε και εργάστηκε για πολλά χρόνια στην Αίγυπτο, το Σουδάν και το Παρίσι.

Ο Αγγελόπουλος ήταν το ενδέκατο και τελευταίο παιδί μιας βολιώτικης οικογένειας. Λίγο μετά την γέννησή του έχασε την μητέρα του. Έλαβε τα πρώτα μαθήματα ζωγραφικής κοντά στον συμπατριώτη του θαλασσογράφο Γιάννη Πούλακα. Το 1916 έχασε και τον πατέρα του, οπότε αποφάσισε να φύγει για την Μανσούρα της Αιγύπτου, όπου ζούσε ένας του αδελφός. Το 1918 πήγε στην Αλεξάνδρεια για να μαθητεύσει κοντά στον ζωγράφο Δημήτρη Λίτσα. Από το 1924 έως το 1930 ταξίδευσε στο Μόναχο και το Παρίσι, για να γνωρίσει τις σύγχρονες τάσεις της ζωγραφικής σε ακαδημίες, αίθουσες τέχνης και μουσεία.

Το 1930 εγκαταστάθηκε οριστικά στην Αλεξάνδρεια και πρωτοστάτησε στην ίδρυση του πνευματικού κέντρου «L'Atelier», το οποίο εξελίχθηκε σε πόλο έλξης και σημείο αναφοράς για την καλλιτεχνική ζωή της ελληνικής παροικίας και όλης της πόλης. Κατά την διάρκεια του Β΄ Παγκοσμίου Πολέμου, γνωρίστηκε με τον Στρατή Τσίρκα και συμμετείχε σε δραστηριότητες για την βοήθεια του ελληνικού λαού, που υπέφερε από τις κακουχίες της Κατοχής. Από το 1955 έως το 1960 διετέλεσε διευθυντής του Τομέα Ζωγραφικής στο Τεχνολογικό Ινστιτούτο του Χαρτούμ στο Σουδάν. Το 1960 εγκατέλειψε το Σουδάν για να εγκατασταθεί οριστικά στο Παρίσι.

Στο Παρίσι, ο Αγγελόπουλος γνώρισε και νυμφεύθηκε την γαλλίδα ζωγράφο Λιλύ Μασσόν (Lily Masson), κόρη του γνωστού υπερρεαλιστή ζωγράφου Αντρέ Μασσόν, 1896–1987). Στην Γαλλία, ήρθε σε επαφή με τα πιο σύγχρονα ρεύματα της εποχής και έτσι εγκατέλειψε για ένα διάστημα, τις ελαιογραφίες με πορτρέτα και τοπία, για να στραφεί προς το πιο αφηρημένο κολλάζ. Λίγα χρόνια αργότερα άφησε και την αφηρημένη τέχνη, για να δημιουργήσει τοπιογραφίες εμπνευσμένες από το παρισινό τοπίο αλλά και την θάλασσα της Μεσογείου. Οι τοπιογραφίες αυτές ξεχωρίζουν για τον φωτογραφικό ρεαλισμό τους και το μοναδικό μεσογειακό τους φως. Σε πολλούς από τους τελευταίους πίνακές του απεικόνισε τον σύγχρονο μικροαστό να αναζητά μόνος του κάποιο διέξοδο στους δρόμους της πόλης.

Τα έργα του Αγγελόπουλου παρουσιάστηκαν σε πολλές ατομικές και ομαδικές εκθέσεις στην Αίγυπτο, το Σουδάν, την Ιταλία, την Γαλλία, το Λουξεμβούργο και την Ελλάδα. Μεταξύ άλλων, το 1951 συμμετείχε στην Μπιενάλε της Βενετίας, την περίοδο 1952–1954 στην Μπιενάλε της Αλεξανδρείας, το 1962 στην έκθεση «Έλληνες ζωγράφοι και γλύπτες του Παρισιού» στο Μουσείο Μοντέρνας Τέχνης της γαλλικής πρωτεύουσας, και το 1983 σε έκθεση στην Εθνική Πινακοθήκη της Ελλάδας. Το 2007, η γενέτειρά του, ο Βόλος, τον τίμησε με αναδρομική έκθεση έργων του.

Από την πρώτη του σύζυγο είχε μία κόρη, την αρχιτεκτόνισσα Ήβη Αγγελοπούλου (1935–2001), και από την τελευταία είχε και μία εγγονή, την επίσης καλλιτέχνιδα Μαριγώ Βλάικου.

text found at wikipedia - Αριστομένης (Μένης) Αγγελόπουλος

image found at wikipedia - Δημήτρης Λίτσας

Και οταν τα ειχε τακτοποιησει ολα στο κεφαλι του

Και οταν τα ειχε τακτοποιησει ολα στο κεφαλι της (2008)
text and black thread applied on milimeter paper, framed in wood construction and adjusted on wall, 300 * 90 cm
overview and detail photo of commissioned work as installed in client’s space

De 'Witte Leeuw'

Kendi uit V.O.C.-schip de 'Witte Leeuw',

Kendi met een vlakke ongeglazuurde bodem, in de vorm van een olifant met op de rug een handvat (nu grotendeels verdwenen). Gedecoreerd in onderglazuur blauw met een kleed met swastika's en een veld met bloemtakken op de rug van de olifant, wolkmotieven rond de stam van het handvat en geluksymbolen op het handvat. Bij de oren, neusgaten en slurf is het glazuur afgebladderd. De scherf is glasachtig wit en kent weinig ingebakken vuil. Het glazuur is blauw getint. De bodem is geglazuurd. Er is geen ovenzand aangetroffen.


source : http://www.rijksmuseum.nl/

Kendi

Introduction

White earthenware kendis with a round body, wide neck and a conical spout. Ht. 10-15 cm. Found in East Java. Drawing after Sumarah Adhyatman, 'Kendi'.

Kendi forms redrawn from examples in 'Introduction' by Eng-Lee Seok Chee in 'Kendis: A Guide to the Collections, National Museum Singapore'.

Chinese blue and white porcelain kendi with a bulbous body, tall, narrow neck, flange around the mouth and a mammary spout. Decorated with peony scrolls on the body, a stylized floral motif and religious symbols on the spout, and a band of lotus leaves around the base of the neck and the lower body. 15th century. Ht 15 cm. Adam Malik Museum. Drawing after Sumarah Adhyatman, 'Kendi'.

Chinese white-glazed porcelain kundika with a tall, narrow neck and a cup-shaped spout with two rings. l0fh century (Early Song Dynasty). Museum of Ding district, Hebei Province. Drawing after Sumarah Adhyatman, 'Kendi'.

Plate 1: Kundika, Borobudur temple, Indonesia, 9th century

Sawankhalok green-glazed stoneware kendi in the form of a hamsa (sacred goose). 14th-15th century. Ht. 15.2cm. Drawing after Honda and Shimazu, 'The Beauty of Fired Clay'.

Chinese blue and white porcelain kendi with a bulbous body, tall, narrow neck, flange around the mouth and a mammary spout. Decorated with flying phoenix and cloud scrolls on the body, and a band of lotus leaves around the base of the neck and the lower body. 15th century. Ht. 18 cm. National Museum. Drawing after Sumarah Adhyatman, 'Kendi'

Red earthenware kendi with a bulbous body and round base, a short spout and a wide mouth with everted rim. Circa 13th-14th century. Ht. 9 cm. Found in East Java. Adam Malik Museum. Drawing after Sumarah Adhyatman, 'Kendi'.

Red earthenware kendi with a round body and a flat base, narrow neck, and a conical spout. Circa 14th-16th century. Ht. 14.1 cm. Found in East Java. Drawing after Sumarah Adhyatman, 'Kendi'.

Select Bibliography
Adhyatman, Sumarah, 'Kendis, Jars and Other Ceramics: Their Role in Indonesia,1 Paper presented at a conference, Asian Ceramics: Potters, Users, and Collectors,' The Field Museum, Chicago, 7-9 October 1994.

_______ , Kendi, Traditional Drinking Water Container, Jakarta, The Ceramic Society of Indonesia, 1987.

Bhumadhon, Phuthorn, 'Ceramics of the Dvaravati Period in Early Thailand, 6th to 10th Centuries, A.D.' Paper read at the Field Museum's and ACRO's Asian Ceramics Conference, May 1996.

Brown, Roxanna M., The Ceramics of South-East Asia: Their Dating and Identification, 2nd edition, Singapore, Oxford University Press,
1988.

_______ , ed., Guangdong Ceramics from Butuan and other Philippine sites, Manila, the Philippines, Oriental Ceramic Society of the Philippines & Oxford University Press, 1989.

Fisher, Robert E., Buddhist Art and Architecture, London, Thames and Hudson, 1993.

Guy, John, 'Southeast Asian Glazed Ceramics: A Study of Sources,' in New Perspectives on the Art of Ceramics in China, George Kuwayama,ed., Los Angeles County Museum of Art, 1992, pp. 98-114.

Higham, Charles, Early Cultures of Mainland Southeast Asia, Bangkok, River Books, 2002.

Honda, Hiromu and Noriki Shirnazu, The Beauty of Fired Clay: Ceramics from Burma, Cambodia, Laos and Thailand. Introduction by Dawn F. Rooney, Kuala Lumpur, Oxford University Press, 1997.

Indrawooth, Phasook, 'Kendis from Peninsular Thailand, in Muang Boran Journal, vol. 10, no. 1, Jan-Mar 1984.

Kendis: A Guide to the Collections National Museum Singapore, 1984.

Luce, G.H., Old Burma - Early Pagan, Ascona and New York, 1969-70, vol. I.

Nugrahani, D.S., 'Exploring Indonesian Kendi,' TAASA Review, Australia, vol. 5, no. 1, March 1996, pp. 6-7.

Ridho, Abu, White Kendis; Sumarah Adhyatman, Burmese Ceramics Bulletin, Jakarta, The Ceramic Society of Indonesia, May 1985, pp. 42-52.

Rooney, Dawn F., Khmer Ceramics, Singapore, Oxford University Press, 1984.

_________, Folk Pottery in South-East Asia, Singapore, Oxford University Press, 1987.

Sakai, T., The Origin of the Kendi PouringVessel, A Preliminary Note on Its Typological Study,' Journal of East-West Maritime Relations, vol 2,1992 (NB: Waseda University]

Singh, R C. Prasad, 'Spouted Vessels in India,' Potteries in Ancient India, B. P. Sinha, ed, Patna, Department of Ancient Indian History and Archaeology, Patna University, 1969, pp. 118-123.

Soegondho, Santoso, Earthenware Traditions in Indonesia: From Prehistory until the Present, Jakarta, Ceramic Society of Indonesia, n. d..

Spinks, Charles Nelson, The Ceramic Wares of Siam, Bangkok, The Siarn Society, 1965.

Stark, Miriam, 'Pre-Angkor Earthenware: Ceramics from Cambodia's Mekong Delta,' UDAYA Qournal of Khmer Studies), April 2000, pp. 69-89.

Sweetman, John and Nicol Guerin, The Spouted Ewer and its relatives in the Far East, An Oriental Ceramic Society exhibition in the Barlow Gallery. University Library, Falmer, Brighton, University of Sussex, 1983.

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Endnotes
i Fisher (1993) Thames and Hudson, pit 95, p. 103.

ii Nugrahani (March 1996) 'Exploring Indonesian kendi', TAASA Review, vol.5, no.l, pp.6-7).

iii Bhumadhon (May 1996).

iv Personal conversations with the Director, October 2001.

v Higham (2002) River Books, p.236.

vi Stark (April 2002), p.79.

vii For examples of Satingpra-type ware, see Guangdong Ceramics, pit 150-4.

viii Guy (1992)

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text and image source :http://rooneyarchive.net/articles/kendi/kendi_album/kendi.htm

the palace kitchens with the tall chimneys

The elongated palace kitchens (Saray Mutfakları) are a prominent feature of the palace. Some of the kitchens were first built in the 15th century at the time when the palace was constructed. They were modeled on the kitchens of the Sultan's palace at Edirne. They were enlarged during the reign of Sultan Süleyman the Magnificent but burned down in 1574. The kitchens were remodeled and brought up to date according to the needs of the day by the court architect Mimar Sinan.^[31]

Rebuilt to the old plan by Sinan, they form two rows of 20 wide chimneys (added by Sinan), rising like stacks from a ship from domes on octagonal drums. The kitchens are arranged on an internal street stretching between the Second Courtyard and the Sea of Marmara. The entrance to this section is through the three doors in the portico of the Second Courtyard: the Imperial commissariat (lower kitchen) door, imperial kitchen door and the confectionery kitchen door.

The palace kitchens consist of 10 domed buildings: Imperial kitchen, Enderûn (palace school), Harem (women’s quarters), Birûn (outer service section of the palace), kitchens, beveragesconfectionery kitchen, creamery, storerooms and rooms for the cooks. They were the largest kitchens in the Ottoman Empire. The meals for the Sultan, the residents of the Harem, Enderûn and Birûn (the inner and outer services of the palace) were prepared here. Food was prepared for about 4,000 people. The kitchen staff consisted of more than 800 people, rising to 1,000 on religious holidays. As many as 6,000 meals a day could be prepared. Even the serving of food to the sultan was strictly regulated by protocol.^[32] kitchen,

The kitchens included dormitories, baths and a mosque for the employees, most of which have disappeared over time.^[33]

Apart from exhibiting kitchen utensils, today the buildings contain a silver gifts and utensils collection, as well as large collections of Chinese blue-and-white, white, and celadon porcelain.

Blue-and-white Chinese porcelain-ware from the Topkapı collection

Chinese and Far East porcelain was highly valued and was transported by camel caravans over the Silk Road or by sea. The 10,700 pieces of Chinese, Japanese and Turkish porcelain displayed here are rare, precious,^[34] and thought to rival that found in China as one of the finest collections in the world.^[2] The Chinese porcelain collection ranges from the late Song DynastyYuan Dynasty (1280–1368), through the Ming Dynasty (1368–1644) to the Qing Dynasty (1644–1912). This museum also contains one of the world's largest collections of 14th-century Longquan celadon. The collection has around 3,000 pieces of Yuan and Ming Dynasty celadons.^[35] Those celadon were valued by the Sultan and the Queen Mother because it was supposed to change colour if the food or drink it carried was poisoned.^[36] The Japanese collection is mainly Imari porcelain, dating from the 17th to the 19th century. Further parts of the collection include white porcelain from the beginning of the 15th century and "imitation" Blue-and-White and Imari porcelain from Vietnam, Thailand and Persia.^[37]

text source : http://en.wikipedia.org/

What are Artists' Books?

What are Artists' Books? according to V&A

Definitions

Artists' books is the broad term used to describe books, unique or multiple, that have been made or conceived by artists. There are fine artists who make books and book artists who produce work exclusively in that medium, as well as illustrators, typographers, writers, poets, book binders, printers and many others who work collaboratively or alone to produce artists' books. Many artists' books are self-published, or are produced by small presses or by artists' groups or collectives, usually in limited editions. There are many terms used to describe artists' books. Some of the most frequently used terms are book art or bookworks (these terms implying an affinity with the traditional structure of the book) while those that are sculptural objects that allude to the form of the book are commonly referred to as book objects. All of the terms that have been mentioned here are used in the Visual Database of Artists' Books. The database also includes other types of works produced by artists in the book format such as concrete poetry, a genre of visual poetry where the meaning is derived from the spatial, pictorial and typographic characteristics of the work, as well as from the sense of the words.

Origins & Development

Contemporary artists' books are noteworthy for the multiplicity of forms in which they are found. It is perhaps for this reason that historians of the genre frequently identify a myriad of precursors and influences. Artists and their associations with books date back to the era of manuscript production. Many artists through the centuries have been concerned with books as an artistic enterprise, notably William Blake at the end of the 18th century and William Morris at the Kelmscott Press from the 1890s. Avant-garde artists throughout the 20th century have also produced many books as part of their artistic endeavours such as periodicals, pamphlets and manifestos. This list merely scratches the surface of potential influences and precursors to contemporary artists' books which are drawn out more fully in numerous works in the bibliography section of this site.

It is however the livre d'artiste, also known as the livre de peintre, that is generally considered to be a key precursor to the genre of artists' books. Originating in France around the turn of the 20th century, the livre d'artiste is a form of illustrated book. The essential feature that distinguishes it from its predecessors is that each illustration is executed by the artist directly onto the medium from which it is printed, rather than being transferred from an artist's design by a technician. An early exponent of the livre d'artiste was the dealer Ambroise Vollard who commissioned Pierre Bonnard to illustrate with lithographs a collection of poems by Paul Verlaine, Parallèlement, published in Paris in 1900 (NAL pressmark: Safe 1.A.1). The works produced were essentially deluxe, limited editions, produced on high quality paper using specialized printers. They were generally left unbound so that they could be dismantled for display and also so that bespoke bindings could be commissioned if desired. Vollard produced numerous works in association with a number of artists, matching them up with texts to illustrate. Various other publishers followed suit, collaborating with artists of their own association. The National Art Library holds a number of livres d'artistes which are described in the exhibition catalogue: From Manet to Hockney: modern artists' illustrated books , edited by Carol Hogben and Rowan Watson, London: Victoria and Albert Museum, 1985. (NAL pressmark: CTR REF)

It is generally accepted that the conceptual work of Dieter Roth and Ed Ruscha in the 1950s and 1960s mark the foundations of the genre of artists' books. In 1962 Ed Ruscha published the first edition of Twenty-six gasoline stations (NAL pressmark: SA.91.0042) which comprised 26 deadpan photographs of gasoline stations along Route 66 from Los Angeles to Oklahoma City. This book was not intended as a means for the reproduction of pre-existing photographs, but rather it was deliberately designed as a primary object in its own right; it was in fact an artwork. The essential characteristics of the book format, such as ideas of seriality and sequence provided by the turning of pages, were an inherent aspect of the work and as such it is credited as a seminal example in the advent of a new genre that has come to be defined as artists' books. Ruscha produced a series of bookworks in a similar vein. A further characteristic of this series was that they were published in unlimited editions, had a wide distribution and were inexpensive to buy in a deliberate attempt to bring art to a wider audience. A contemporaneous pioneer of artists' books was Dieter Roth. Roth's distinctive contribution to the emergent genre was his examination, through his bookworks, of the formal qualities of books themselves. These formal qualities such as flat pages, bound into fixed sequences were deconstructed and investigated, for instance in 2 Bilderbücher (1957) (NAL pressmark: X920000) which comprised 2 picture books of geometric shapes, with die-cut holes cut into each page to allow glimpses of patterns from the pages beneath. Structural investigations such as these became the subject matter of the book itself. Subsequent works such as Daily Mirror (1961) involved the use of found materials manipulated to a particular purpose, a technique much used by later book artists.

From these beginnings, artists' books began to proliferate in the 1960s and early 1970s and the field has continued to expand. During the 1980s and 1990s many more artists began to use the book as a medium for self-expression and they continue to do so. Techniques remain varied and range from the traditional to the experimental. Small presses and individuals have continued to promote the art of letterpress printing and the hand-crafted book. Some artists have chosen to use computer-generated images while others have used the photocopier to reproduce their work. Many artists have taken up the challenge to experiment with the content and physical structure of the traditional book form. Bookworks and book objects have continued to step outside conventional boundaries to encompass concepts associated with the fine arts. Works range from the minuscule to the gargantuan. Bookworks are not restricted to the use of paper and ink. Instead, all kinds of materials and appended objects may be incorporated. While such works are usually unique or limited editions, some are produced in multiple copies.