- Fully compatible with CompactFlash Association and PCMCIA card standard
- True Plug and Play
- Low power consumption
- Storage capacity up to 1GB
- Single Power Supply: 5V ± 10% or 3.3V ± 10%
- Recommended operating temperature: 0ºC (32°F) to 70ºC (158°F)
- 5-year warranty
- Capacity: 16MB, 32MB, 64MB, 128MB, 256MB, 512MB, and 1GB
Wanafoto, Art & Imaging Blogzine - Webzine
December 5, 2002
December 1, 2002
Le photographe Didier Gauducheau a réalisé en 2000-2001 une série de portraits de réfugiés Roms du camps de Plemetina, au Kosovo. Ces photographies en noir et blanc, pleines d'émotions, sont exposées à Confluences. Impressions 2000-2001 Exposition du 3 décembre 2002 au 5 janvier 2003 Confluences Maison des Arts Urbains 190, boulevard de Charonne 75020 Paris Accès : Métro Ligne 2, Station Philippe Auguste ou Alexandre Dumas
November 15, 2002
Contemporary Art Exhibition in Finland
Project Moby Click
Kiasma Museum of Contemporary Art, Helsinki, November 13 - December 15, 2002
Students of ¨Photography and Product Design from Helsinki’s University of Art and Design presents Project Moby Click, a unique installation at the Kiasma Museum of Contemporary Art in Helsinki. In the exhibition, the young artists demonstrate multimedia art, creating live exchanges around image, place and time.
Two months ago, the nine students were each given a Nokia 7650 camera phone before setting out to explore the boundaries between art and real-time imaging with multimedia messaging (MMS).
“We use the camera phone for recording visual notes and impulses as we would a sketch book,” said student Tapio Laukkanen. ”It is more immediate than a camera or a tape recorder and needs no preparation.”
In addition to funding and implementation, project partners Kiasma, Satama Interactive and Nokia assisted the students in coming up with the concept behind the exhibition. Finnish mobile operator Sonera then lent its support by offering MMS transmission free of charge for the duration of the event.
A Trip by Ea VASKO and Liisa VALONEN (prints) depicts an imaginary trip, in which the passage of time can be seen by movement and changes in the shooting location. The large prints consist of mosaics of dozens of MMS images.
Sight/Näky by Kitta PERTTULA, Antti OKSANEN and Eero KOKKO is an installation taking the image off its frame. The work studies the transmission of images in cyberspace. The images “come off the wall” to become active elements.
Momentary Impressions: Snapshots for the Curious by Antti HAHL and Tapio LAUKKANEN (on-screen flash presentations) uses the camera phone to photograph this image series. Visitors can select the series to be displayed on a computer screen.
Visual Discussion (big board) allows visitors to follow a happening in real time with the students on Fridays and Saturdays. A joint venture by Tatu Marttila, Mikko Saario and the group explores how MMS is bound up with time and place. The project also introduces a new way of discussing pre-selected topics, e.g. Art Talk, via MMS, using image, text and sound. The discussions are projected onto a wall in the exhibition space, forming route maps that reveal the course of the discussion. Inside the Museum, members of the public are also invited to actively participate.
Previous posts about Nokia products and events
November 6, 2002
Nokia announces the Nokia Camera Headset HS-1C, a combined easy-to-wear digital camera and headset enhancement for compatible Nokia phone models with the Nokia Pop-Port interface connector.* The Camera Headset enables users to take digital images and send them as multimedia messages (MMS) with text, image, and/or audio content. ** The Camera Headset will start shipping globally in December 2002.
“We are very excited to introduce a combined digital camera and headset. With two functions in one product, users have less to carry and yet can take advantage of the richness and fun of MMS,” said Waldemar Sakalus, Director, Terminal Enhancements in Mobile Enhancements Business Unit, Nokia Mobile Phones. “Images are a powerful way to communicate and the Camera Headset brings this ability to a wider number of Nokia phones.”
The small and lightweight Camera Headset combines a digital VGA camera and the basic handsfree functionality of a headset with an answer/end button. Users can conveniently view through an optical viewfinder of the camera and snap an image. The image will be automatically transferred to the phone. The LED indicates the operating mode of the camera. Before taking a picture user can select between higher quality and lower quality image from the image quality switch. Afterwards the image can be viewed on the phone display and users can store, send or delete images from the Gallery menu on the phone.
Power for the Camera Headset comes from the phone via the Pop-Port connector. The Pop-Port interface has been designed for the mobile environment and it supports advanced functionalities such as power output support for terminal enhancements and fast data connectivity.
* These models currently support both Pop-Port interface and MMS: Nokia 7210, Nokia 6610, Nokia 5100, Nokia 6100 and Nokia 6800 phones.
** The MMS related services are dependent on the network as well as on the compatibility of the devices used and the content formats supported.
October 29, 2002
|Daniel Berkeley Updike, The Well-Made Book: Essays and Lectures|
October 23, 2002
Art Exhibition > Spain > Barcelona
Art Exhibition > United States > Los Angeles
24 October, 2002 - 12 January, 2003
Museum of Contemporary Art, Los Angeles
February 9 - May 25, 2003
24 October, 2002 - 12 January, 2003
Av. Marquès de Comillas, 6-8
October 22, 2002
Visions of Islam
Muncipal Museum of Ourense, Spain
“The day after its liberation by the Americans, I discovered a Kuwait littered by war debris and cadavers of Iraqi soldiers. Their withdrawal must have been a true ordeal.”
These are the words of Abbas, an Iranian photographer who “writes with light”. After visiting 28 countries –from Sinkiang to Morocco– between 1987 and 1994, Abbas portrayed the resurgence of Islam and the contradictions between an ideology inspired by a mythical past and the universal yearning for modernity and democracy. Under the title Abbas: Visions of Islam, Fundació “la Caixa” now presents these 99 photographs -in reference to the 99 names and epithets of Allah-, accompanied by excerpts from books by famous historical travellers, and fragments from the diaries of this photojournalist who has been a member of the Magnum Photos agency since 1981. On exhibit at the Municipal Museum of Ourense, the photographs show revolution and war; daily life in the cities; the world of the women, particularly downtrodden by the fundamentalists -Abbas dedicates the exhibition to the women of Afghanistan-; children who attend the Koran schools, the cradle of the most orthodox Islamism; stark landscapes consisting of streets, cemeteries and sanctuaries; protests against the writer Salman Rushdie by European Muslims; demonstrations in support of the chador, prohibited in secular schools... In other words, an eyewitness account of Islam and its peoples.
From Sinkiang to Morocco, from London to Timbuktu, including even Mecca, the exhibition Abbas: Visions of Islam reflects the day-to-day life of the Muslims, their spirituality and their mysticism, the rituals of their faith and the political phenomenon that Islam represents today. Taken in 28 countries (Egypt, Afghanistan, Tajikistan, China, Indonesia, Brunei, India, Great Britain, Spain, Algeria, Senegal, Sudan, Israel, Bosnia and Iran, among others), the photographs are displayed together with fragments from the personal diaries of Abbas himself and other historically famous travellers. These texts provide a counterpoint to the images, explaining the context in which a specific photograph was captured. A prime example is that of little Gulbibi (“Queen of the Flowers”), portrayed in Kabul (Afghanistan), and whose startling text states, “Her left foot was amputated as the result of a mine explosion. Her leg and right arm are a mass of raw flesh. Lying on her bed, an icon of suffering and dignity, she has to be given anaesthetic each time her dressing is changed, so intense is her pain.”
Abbas explains how, in 1987, before leaving Paris to undertake his long journey through these 28 countries, a friend of his –a woman– recommended that he read the Voyages of Ibn Batuta, the legendary traveller who had roamed Islamic lands centuries before. Abbas discovered an Ibn Batuta who ordered hands to be cut off, who abused the female slaves and who had innocent people whipped. Thus it was that Abbas made a journey of contrasts. His camera captured, for example, a militant feminist who fought against the Family Code in Algeria; the religious fervour of Mecca; the leaders of Dar al-Ulum, the flagship university of orthodox Islam, a branch of which is established in a town in the county of Yorkshire (Great Britain), and so on. Such scenes and accounts reveal the different realities and contradictions of Islam.
Of Iranian background, the photographer Abbas lives in Paris and has been a member of the Magnum Photos agency since 1981. Between 1970 and 1978, his work was published in magazines of international scope, reflecting the political and social conflicts of southern hemisphere countries, such as Chile, South Africa, Vietnam, Bangladesh and Biafra. Between 1978 and 1980, he covered the Iranian revolution. His book Iran, la Révolution Confisquée (Clérat, 1979) forced him into a voluntary exile that would last 17 years. Between 1983 and 1986, he travelled to Mexico and published Return to Mexico, Journeys beyond the Mask (W.W. Norton, 1992). Following Allah O Akbar, voyages dans l’Islam militant (1994), and between 1995 and 2000, he visited Christian countries (Voyage en Chrétientés, La Martinière, 2000). He is currently investigating paganism.
Some of his solo exhibitions have been hosted by the Musée d’Art Moderne of Teheran (1980), the Escuela de Bellas Artes of Almería (1991), the Centro de la Imagen of Mexico (1994), the Palace Royale of Brussels (1999), the Institut du Monde Arabe of Paris (2001) and the Palazzo Vecchio of Florence (2002). Referring to his work, Abbas writes: “At present, my photography is a reflection that comes to life in action and leads to meditation. Spontaneity –the suspended moment– intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason, a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photography, by the limit of the real which he must transcend so as not to become its prisoner.”
Abbas: Visions of Islam
23 October - 17 November 2002
Muncipal Museum of Ourense
Rúa Lepanto, 8
The exhibition is open to the public:
Tuesdays to Saturdays, 11:00 a.m. – 1:30 p.m. and 6:00 p.m. – 9:00 p.m.
Sundays, 11:00 a.m. – 1:30 p.m.
Closed Mondays and holidays
Admission free of charge
Autres messages plus récents sur ce thème (French)
October 5, 2002
The National Gallery of Ireland's permanent collection of Irish art drawn from the first half of the 20th century goes back on display in the Millennium Wing from Monday, October 7th. Included are new works acquired by the Gallery in recent years and some on loan from private and public collections.
All the greats are featured such as William Leech's Convent Garden, Brittany; and Sunshade ; a selection of Paul Henry Western Ireland landscapes, and a large magnificent portrait of Lady Hazel Lavery by her husband, Sir John Lavery.
A special bay is given to William Orpen with his famous portraits of The Vere Foster Family; Noll Gogarty; The Dead Ptarmigan -a self-portrait, and The Artist's Parents. Those influenced by Orpen, such as Sean Keating, James Humbert Craig, Patrick Tuohy, James Sleator, Margaret Clarke and Dermod O'Brien have a special bay.
The modernists are represented by Mainie Jellett, Norah McGuinness, Mary Swanzy, Evie Hone, Grace Henry and Jack B. Yeats.
The last bay is dedicated to 'Artistic Trends in Irish Art 1930-1959', represented by painters Colin Middleton, Gerard Dillon, Patrick Collins, Harry Kernoff William Scott Daniel O'Neill, John Luke and Louis le Brocquy.
Admission to the permanent collection is free.
National Gallery of Ireland
Merrion Square West and Clare Street
Opening hours: Mon-Sat 9.30am-5.30pm; Thu 9.30am-8.30pm; Sun 12.00pm-5.30pm
September 30, 2002
The Nokia's latest innovation for the home, is a satellite digital television receiver that provides access to the highest quality digital television. For the first time, Nokia's new 230 S Mediamaster provides consumers the possibility to transfer digital images from any Bluetooth version 1.1 (object push profile) enabled camera phone, like Nokia's 7650, to the receiver and view them on the TV screen.
With the new Nokia Mediamaster 230S image viewer, consumers can enjoy the images from their camera phones in a larger format and store the most favored in their Navi Bars image folder. Storage is available for more than 30 images at one time. By also providing all the benefits of a digital satellite receiver, it is a fusion that enhances the pure entertainment experience of digital TV.
Based on Digital Video Broadcast (DVB) standards, Nokia's Mediamaster 230 S supports various Pay TV operators via a common interface module and also provides access to all digital free-to-air television and radio channels available. The Nokia Mediamaster 230 S offers an attractive compact design featuring a titanium grey flap, with blue black cabinet.
"The Nokia Mediamaster 230 S offers access to a huge array of digital content available, while at the same time providing the unique image viewer and the ability to view digital images from camera phones", said Pekka Kuusela, General Manager Sales, Nokia Home Communications. "Now that there is connectivity between the digital TV receiver and the mobile phone , the family TV becomes a true information and entertainment hub for the home. The launch of the Nokia Mediamaster 230 S demonstrates Nokia's role in creating innovative functionalities for the digital receiver market."
The Nokia Mediamaster 230 S is easy to use, offering the onscreen Nokia Navi Bars user menu and an electronic program guide (EPG), thus allowing rapid navigation between TV and other digital content. Consumers have the ability to create up to eight personal favorite lists from a memory of hundreds of channels. The Nokia Mediamaster 230 S also features some of Nokia's most popular games, such as Snake, Tic-Tac-Toe and the new Card Deck game. It also supports Dolby Digital (Bitstream Out).
Nokia's new 230 S Mediamaster will be available in Europe at the end of 2002.
Next posts about Nokia products and events
• Nokia Camera Headset HS-1C
• Project Moby Click at Kiasma Museum of Contemporary Art: Helsinki art students get visual with Nokia camera phone
• The Compact Nokia 6650 camera phone
September 28, 2002
The Nokia 6650 phone offers robust functionality with pocket size comfort. Encompassing a large color display, integrated camera with picture and video capture, as well as voice, multiple data connectivity options and an advanced user interface, this innovative product is ideally suited to anyone who desires a mobile phone that combines leading-edge functionality with a high quality feel.
The Nokia 6650 is the first Nokia phone to incorporate the ability to record video simultaneously with sound. The VGA camera can be activated rapidly just by opening the lens cover of the camera. In addition to still pictures, you can capture video clips - with audio – for up to twenty seconds, in 4096 colors. The pictures or clips can be viewed and stored in the Nokia 6650, or sent to either a compatible phone or to an email address as a multimedia message.
With the Nokia PC Suite software for the Nokia 6650, users can view and edit the multimedia contents of the phone on the PC. They can even compose personal movies by collecting different video clips under the same playlist, arrange them into their preferred order and play them back like a movie. With the PC Suite for the Nokia 6650, it is also possible to synchronize personal data such as calendar and contacts between PC and the phone. The PC Suite will be delivered to the consumers as a part of the sales package of the Nokia 6650.
The compact Nokia 6650 camera phone marks an important milestone in the evolution to 3G
The Compact Nokia 6650 camera phone is the world’s first 3GPP (Third Generation Partnership Project) compliant mobile phone operating both in the GSM 900/1800 frequencies and on the WCDMA (Wideband Code Division Multiple Access) protocol. One of the benefits of the WCDMA radio interface in the Nokia 6650 phone is it allows running more than one data session simultaneously. This makes it possible, for example, to capture and share what the user sees whilst talking on the phone.
The dual-mode functionality makes the Nokia 6650 phone the world’s first GSM/WCDMA handset to work in Europe and Asia including Japan.
The first deliveries for operator-controlled live network tests of the Nokia 6650 phone will start during fourth quarter, 2002. Depending on the WCDMA networks’ opening schedules and the maturity of the interoperability between networks, services and terminals, the first commercial deliveries of the Nokia 6650 are estimated to start during first half of 2003.
“The launch of the Nokia 6650 is solid proof of our capability to build highly sophisticated, yet user-friendly phones for more complex and demanding operating environments using new radio standards, like WCDMA,” said Anssi Vanjoki, Executive Vice President, Nokia Mobile Phones. “Nokia is well prepared for - and indeed, driving - the technology transition to 3G application platforms and radio interfaces both in terminals as well as on the infrastructure side. We are working closely with all industry players to ensure both interoperability and a smooth technology take-off.”
The cutting-edge technical design of the new Nokia 6650 phone is based on a solution that brings both the GSM and WCDMA chips on to one circuit, enabling powerful talk times (up to 2h20min in WCDMA and up to 2h40min in GSM) and standby time (up to 14 days).
The Nokia 6650 phone includes a WAP 1.2.1 browser supported by GPRS, MIDP Java 1.0 technology for downloading additional applications to the phone, support for polyphonic ring tones, wallet application for mobile transactions and excellent data connectivity possibilities via USB, Bluetooth and infrared. The WCDMA bandwith support in the new phone provides mobile professionals with data connectivity from the laptop at significantly greater speeds than with ordinary landline modem.
With the new Bluetooth wireless headset also launched this month, the users of the Nokia 6650 will be able to handle phone calls and messaging comfortably on the go. The new headset is also compatible with other Bluetooth phones supporting the Bluetooth 1.1 standard version and Bluetooth handsfree or headset profiles, thereby offering improved possibilities for cross-brand interoperability across the industry. The phone weighs 141g and has a dynamic memory of 7MB.
Because of its technological merits and wide industry support, wideband radio technology offers a smooth evolution path from GSM to enriched mobile communications. WCDMA provides faster and more flexible use of mobile services thanks to increased bandwith, higher data speeds and improved roaming possibilities. As mobile services, applications and usage evolve, WCDMA will make it possible to further enhance the features and applications of mobile phones to utilize even greater voice and data capacity.
September 19, 2002
Au Salon CeBIT d'Hanovre, CASIO a présenté un concept dernier cri en imagerie numérique : EXILIM EX-S1, au design exceptionnel et aux fonctionnalités attrayantes et innovantes. Pas plus grand qu'une carte de crédit, cet appareil photo est un véritable petit bijou dont l'épaisseur ne dépasse pas 11,3 mm pour 88 mm de large, 55 mm de haut et un poids plume de 86 g**. Grâce à son design exceptionnel, cet appareil fait preuve d'une élégance sans égale et peut être utilisé dans un grand nombre de situations. EXILIM vous accompagne partout : sur votre lieu de travail, lors de vos activités sportives, lors de vos soirées, pendant vos voyages ou en toutes autres occasions. Moments uniques, clichés hors du commun, situations mémorables, rien ne vous échappera : EXILIM sera toujours à portée de main. Il se glisse partout, passe totalement inaperçu et ne nécessite aucune sacoche encombrante.
Le mot « EXILIM » vient à la fois du latin et de l'anglais. Ses racines « eximius » (extraordinaire) et « slim » (plat) s'associent pour donner un qualificatif des plus adaptés : « extra-plat ».
La finition élégante aux reflets argentés souligne la grande qualité de cet appareil entièrement métallique. Cette petite merveille de miniaturisation offre tout un arsenal de fonctionnalités.
Avec deux systèmes de contrôle d'image, la petite merveille argentée brille de mille feux. Le viseur optique s'accompagne d'un écran numérique de 1,6 pouces qui garantit un parfait contraste des images claires et brillantes.
« Dès 1995, en lançant le QV-10, CASIO a révolutionné le marché des appareils photo numériques », déclare Kazuo Kashio, Président de CASIO Computer Co.,Ltd. « EXILIM ouvre une voie entièrement nouvelle, qui tranche nettement avec la tendance actuelle «Plus de pixels, plus de fonctions ». De la toute dernière génération, ces appareils photo numériques sont si plats et si compacts qu'ils trouvent leur place n'importe où et vous suivent où que vous alliez. Une nouvelle fois, CASIO cherche à proposer des produits favorisant la création d'applications innovantes et l'ouverture de nouveaux marchés ».Hiroshi Nakamura, Directeur général de CASIO Europe GmbH, ajoute : « Par l'innovation et les performances de ses produits, CASIO n'a cessé de consolider sa position sur le marché des appareils photo numériques. Grâce à la nouvelle stratégie commerciale adoptée pour EXILIM, nous continuerons à étendre et à renforcer notre position en Europe et au-delà. De plus, nous aiderons nos partenaires commerciaux à œuvrer dans ce sens ».
Le CCD 1/2,7 pouces d'EXILIM offre une résolution totale de 1,31 mégapixels, ce qui correspond à une image de format 1280 x 960 ppp. De plus, grâce à un logiciel sophistiqué, il est possible d'obtenir des images de 1600 x 1200 pixels. Avec une ouverture de 1:2,5, l'objectif possède une distance focale fixe de f=5,6 mm, soit l'équivalent d'une distance focale de 37 mm sur un appareil 35 mm. Le flash intégré se déclenche automatiquement en cas d'éclairage insuffisant.EXILIM enregistre les images dans sa mémoire interne. Vous pouvez également utiliser des cartes SD/MMC comme support de stockage. La station d'accueil USB joue deux rôles ; elle permet de transférer les données images vers un PC et de recharger la pile au lithium. L'alimentation électrique est assurée par une pile au lithium rechargeable et particulièrement puissante. EXILIM est livré avec une pile au lithium, une lanière, une station d'accueil USB + câble et un logiciel sur CD-ROM.
L'EX-S1 sera disponible dans les magasins spécialisés dès juillet 2002.
* Appareil photo numérique équipé d'un écran LCD à partir du 14 mars 2002
** Poids sans pile ni carte mémoire
De nouvelles technologies au service d'EXILIM
• Intégration de l'objectif et du CCD dans un seul et unique module
La technologie développée par CASIO qui permet de regrouper en un seul composant des objectifs asphériques et un CCD ultra-sensible contribue à réduire considérablement l'épaisseur d'EXILIM.
• CCD ultra-sensible
Les UC, CIAS et mémoires SDRAM et Flash nouvellement développées par CASIO permettent de réduire d'un tiers la consommation électrique et le bruit*. De plus, l'intégration de ces 4 puces dans un même module multipuce MCM permet de diminuer la taille de la carte à circuit imprimé de 70 %.***
• Ecran LCD TFT à interface numérique
EXILIM est le premier appareil photo numérique au monde à être doté d'un écran LCD TFT à interface numérique spécialement conçu et produit par CASIO. Dans la mesure où l'interface numérique permet de se passer d'un convertisseur, il est possible de réduire la taille de la carte de 10 %**** et de diminuer considérablement le nombre de composants nécessaires.
*** en comparaison avec les appareils photo numériques actuels
**** en comparaison avec la technologie LCD TFT utilisée sur nos appareils photo numériques actuels.
Caractéristiques techniques de l'EXILIM EX-S1
- Enregistrement : CCD progressif 1/2,7 pouces à couleurs primaires et pixels carrés
- Pixels efficaces : 1,24 millions (1,31 millions de pixels au total)
- Format d'enregistrement des images : JPEG, norme DCF, compatible DPOF
- Support d'enregistrement : Mémoire flash intégrée (environ 14 Mo) ; carte mémoire SD ; carte MultiMedia
- Tailles des images enregistrées : Images fixes (données audio en plus avec EX-M1) de format 1600 x 1200 /1280 x 960 /640 x 480 pixels
- Séquences vidéo (données audio en plus avec EX-M1) : 320 x 240 pixels
- Enregistrement vocal : Enregistrement sur mémoire intégrée, carte mémoire SD / carte Multi Media
- Lecture de fichiers audio : Format de fichier MP3 (EX-M1 uniquement)
- Suppression d'images : Une seule image, une par une ou toutes les images stockées en mémoire (avec protection de la mémoire)
- Objectif : 1:2,5, f=5,6 mm (soit l'équivalent d'un objectif de 37 mm sur un appareil 35 mm).
- Zoom : Numérique 4X
- Mise au point : Objectif à focale fixe
- Réglage de l'exposition
- Mesure de la lumière : point central par CCD ; contrôle : programme d'exposition automatique
- Compensation de l'exposition : -2EV à +2EV (par incréments de 1/3EV)
- Mode d'enregistrement : Instantané, retardateur, séquence vidéo, Best Shot, image fixe avec son audio (EX-M1 uniquement), enregistrement vocal (EX-M1 uniquement)
- Obturateur : Obturateur CCD, obturateur mécanique
- Balance des blancs : Automatique / Fixe (4 modes) / Commutation manuelle
- Retardateur : 10 secondes
- Flash intégré - Modes de flash : AUTO, OUI, NON, réducteur d'effet « yeux rouges »
- Ecran : Ecran à cristaux liquides couleur TFT 1,6 pouces 84 960 pixels (354 x 240)
- Viseur : Ecran et viseur optique
- Enregistrement de la date : Enregistrement de la date et de l'heure avec l'image
- Bornes d'entrée/sortie : Connecteur de station d'accueil USB
- Alimentation : Pile au lithium-ion EX-M1
- Dimensions/Poids : 88 (L) x 55(H) x 11,3 (P) mm (hors projections) / approx. 86 g (sans pile ni carte mémoire)
September 18, 2002
Art Exhibition > Auguste Rodin
Art Exhibition > Spain > Tarragona
Social and Cultural Centre of “la Caixa” Foundation
19 September - 10 November 2002
Today the work of Auguste Rodin (Paris, 1840 - Meudon, 1917) exerts the same fascination that it did half a century ago. The clarity of his insight, the newness of the concepts he developed, and the diversity of his styles, materials and modes of expression make Rodin one of the most brilliant sculptors in the history of art.“la Caixa”,Foundation in collaboration with the Rodin Museum of Paris, presents an exceptional collection of works at its Social and Cultural Centre in Tarragona, which show the grandeur of the master’s genius. The exhibition Auguste Rodin assembles 57 sculptures -including the monumental sculpture Jean de Fiennes, belonging to the famous sculptural group The Burghers of Calais-, as well as 25 drawings by the artist and 25 photographs of some of his most important works.
All of the works included in the exhibition are on loan from the Rodin Museum of Paris -the director of which is Jacques Vilain, curator general of Heritage-, without whose invaluable collaboration it would not have been possible to present this show in Spain. The exhibition curators are Antoinette Le Normand-Romain, curator general of Heritage and head of the Department of Sculpture of the Rodin Museum; Claudie Judrin, chief curator of Heritage and head of the Department of Drawings of the Rodin Museum, and Hélène Pinet, head of the Photograph Collection of the Rodin Museum.
The 57 sculptures assembled for the exhibition include some of Auguste Rodin’s most representative works, such as The Bronze Age (1877), The Thinker (1880), The Kiss (1882-1886), his likeness of Gustav Mahler (1909), Ugolino and his Children (1882), The Eternal Spring (1884) and two models of The Gates of Hell (1880). Also on display is the monumental sculpture Jean de Fiennes, which forms part of one of the artist’s most famous group sculptures, The Burghers of Calais.
A collection of 25 photographs and 25 drawings, the latter originally the property of the genius himself, round out the Auguste Rodin exhibition. Eugène Druet, Jean-François Limet and Jacques-Ernest Bulloz were a few of the early-twentieth-century photographers who succeeded in capturing the beauty of some of Rodin’s major works, such as the monument to The Burghers of Calais, The Bronze Age and The Thinker.
Under the title Auguste Rodin, this exhibition shows the grandeur of Rodin’s genius and illustrates some of his creative methods. The artist considered that his sculptures were never completed or fixed, but rather had infinite possibilities. Through reduction and enlargement, he would continually modify the scale of a given work, and, with it, its perception and meaning. In parallel fashion, he would recur to his “descartes” or spare parts (heads, arms and legs) and combine numerous independent figures to create unexpected and original compositions. Thus, several of the figures he sculpted for The Gates of Hell became famous quite independently of this grouping. These include The Kiss, The Thinker, Ugolino and his Children and others.
Auguste Rodin Biography
Auguste Rodin (Paris, 1840 - Meudon, 1917) began his artistic training at the age of fourteen under Horace Lecoq de Boisbaudran and Louis-Pierre Gustave Fort at the Special Imperial School. After withdrawing briefly to a monastery, he returned to secular life to attend Barye’s courses at the National Museum of Natural History and began to work in Carrier-Belleuse’s studio. His journey to Italy in 1875 enabled him to observe the classics, particularly Michelangelo, and from that point on he devoted himself uninterruptedly to the creation of eternal forms like The Bronze Age, The Walking Man or Saint John the Baptist within a universe that was uniquely his.
By the end of the nineteenth century, Auguste Rodin’s prestige had increased considerably and he was commissioned to create the monumental bronze door for the future Museum of Decorative Arts of Paris. For The Gates of Hell, Rodin sought inspiration in images from Dante’s Inferno, representing scenes like the agony of Ugolino, and employing contorted figures to symbolise the damned. During this period, Rodin received several commissions such as The Burghers of Calais or the monuments to Victor Hugo and Honoré de Balzac. In 1890, together with Carrière, Puvis de Chavannes, Dalou and Messonier, he founded the Société Nationale des Beaux-Arts.
Rodin’s role in the artistic milieu of his time was very significant. He portrayed his friends and the celebrities of the worlds of art, literature and politics, endowing his works with a personal and humane dimension at all times. In 1908 he undertook a group of sculptures, in which he focused on the body’s movement in dance, fascinated as he was by its freedom of gestures and postures. On the whole, Rodin’s work, which is placed at the turn of the twentieth century, offers a great variety of styles, materials and modes of expression. The artist created freely, using multiple combinations and developing original concepts that continue to be a contemporary artistic reference even today.
19 September - 10 November 2002
Social and Cultural Centre of “la Caixa” Foundation in Tarragona
C/ Cristòfor Colom, 2
The exhibition is open to the public:
Mondays to Fridays, 10 a.m. - 2 p.m. and 5 - 9 p.m.
Sundays and holidays, 11 a.m. - 2 p.m. and 6 p.m. - 9 p.m.
September 15, 2002
September 10, 2002
September 4, 2002
August 1, 2002
July 31, 2002
July 25, 2002
July 16, 2002
June 15, 2002
June 11, 2002
June 10, 2002
- Extensis Mask Pro 2.0 Photoshop Plugin [06-2002]
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