tag:blogger.com,1999:blog-196486832024-02-19T18:32:06.205-04:00ASTERISKThe fictitious image carries a truth of its own. Giordano Brunoakermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comBlogger221125tag:blogger.com,1999:blog-19648683.post-22148025058954451712022-03-23T15:29:00.031-03:002022-05-25T13:22:15.907-03:00Towards Baroque: Its Profile and Historical Context<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfr7l0BQ4RdoPHZ8dT24UYi9fjYuKN41ievW4qw9EWqokF11lCx9fdx8a-1DqRlKgsRXFM-aQ7XYj7ZrmSv3aJ4y3pWLVyqdVsKlI5tjOVPOgljAIAGHvd2oC3gV_OypVheOAbOdp-n0rKH1aZj39wMsjUTKxQgfBqSetqXt6aWCjagrhykw/s768/Arte_Barroco.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="768" data-original-width="730" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfr7l0BQ4RdoPHZ8dT24UYi9fjYuKN41ievW4qw9EWqokF11lCx9fdx8a-1DqRlKgsRXFM-aQ7XYj7ZrmSv3aJ4y3pWLVyqdVsKlI5tjOVPOgljAIAGHvd2oC3gV_OypVheOAbOdp-n0rKH1aZj39wMsjUTKxQgfBqSetqXt6aWCjagrhykw/w380-h400/Arte_Barroco.jpg" width="380" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mariano Akerman, <i>Towards Baroque: Its Profile and Historical Context</i><br />Bar Ilan University, 30.3.2022, 4-5:30 PM</td></tr></tbody></table>
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<i>Renaissance, Mannerism and Baroque</i><br /><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzpEAKpPuvnga219FHaY0bxwQVGmiwt-ShnX4ylVrvm8GO6q5HEtG9PADeI1d14KQWXIA9u9epDgrLIudquRqpDXCmpKk6dP43EX_SFke4HUzk03BJON6wanhVL-7-KHrLmmRhbalCcbsmWmnLv_EwZ8eS1_TjjYvVeeCd_DGuAj9_rSXgQ/s600/01%20Michelangelo_San_Pietro_Dome.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="600" data-original-width="483" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzpEAKpPuvnga219FHaY0bxwQVGmiwt-ShnX4ylVrvm8GO6q5HEtG9PADeI1d14KQWXIA9u9epDgrLIudquRqpDXCmpKk6dP43EX_SFke4HUzk03BJON6wanhVL-7-KHrLmmRhbalCcbsmWmnLv_EwZ8eS1_TjjYvVeeCd_DGuAj9_rSXgQ/s320/01%20Michelangelo_San_Pietro_Dome.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1. Michelangelo, Dome of San Pietro</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUU9Fc1qAgoB4MmFUoyvJS8BnZkO1ahND--SC_gVop42QrBrk_1A3RBQKhsPi5Y9NqMMjN_zCpmokqZTxc0nMWCoj_Sx0kDUqnstaE3JIlvhq4lNKfD4bNzOUaKfTBowzZa694bWHtP8oXujwRPW2sKE3PpYa9cc3elN74YWAp9kJmMHW6-w/s599/02%20Michelangelo%27s_David.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="599" data-original-width="401" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUU9Fc1qAgoB4MmFUoyvJS8BnZkO1ahND--SC_gVop42QrBrk_1A3RBQKhsPi5Y9NqMMjN_zCpmokqZTxc0nMWCoj_Sx0kDUqnstaE3JIlvhq4lNKfD4bNzOUaKfTBowzZa694bWHtP8oXujwRPW2sKE3PpYa9cc3elN74YWAp9kJmMHW6-w/s320/02%20Michelangelo%27s_David.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">2. Michelangelo: David</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgK_P058-zgRFW-NcPGkuesYvgFRbF5RDq1k0IZE24tUS2DmTCrtIvFYLTEEdzZwlWzUwQLzO2exEV__1oz0MWrfe3fe3XfxKUFg71YEiKzefcHk68gIPdKCQzXwa1BaGfA0YfaaIyavvHDeMkhtgxsbpAp98vgD9Ik1UnInI3ro7ln_gQQ/s1023/03%20Bernini_David.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1023" data-original-width="682" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgK_P058-zgRFW-NcPGkuesYvgFRbF5RDq1k0IZE24tUS2DmTCrtIvFYLTEEdzZwlWzUwQLzO2exEV__1oz0MWrfe3fe3XfxKUFg71YEiKzefcHk68gIPdKCQzXwa1BaGfA0YfaaIyavvHDeMkhtgxsbpAp98vgD9Ik1UnInI3ro7ln_gQQ/s320/03%20Bernini_David.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">3. Bernini: David</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgII782UUwd-Nar8pTS3tlNQlzQ70KWPSCy3owGl3FXssOIFgqQMKiSN0-fUIh7nQTiPNlRwTh6ftrSn2m1GCuH_xEyPjQYd8ndoCf3PfCVTBgIOq_DUkPnLy150Izev3iCIFNW23u5x9G1XGpCSmnf4yJf-pbzlJ4ypWXS81cagxL37f_Q1Q/s799/04%20Piazza_San_Pietro.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="449" data-original-width="799" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgII782UUwd-Nar8pTS3tlNQlzQ70KWPSCy3owGl3FXssOIFgqQMKiSN0-fUIh7nQTiPNlRwTh6ftrSn2m1GCuH_xEyPjQYd8ndoCf3PfCVTBgIOq_DUkPnLy150Izev3iCIFNW23u5x9G1XGpCSmnf4yJf-pbzlJ4ypWXS81cagxL37f_Q1Q/s320/04%20Piazza_San_Pietro.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">4. Bernini: Colonnade, Piazza San Pietro</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUori_4aKGypIOFxeNMkvSPtXcX_k_a0TdWoMq7nKu4VWF3nYCiH14tqLAj2MJVnxyvjKUoguYuO6aIjUzLKRpZlEhoqudhTWlcqaMAlZwgUyUp7QvFjzr729L_gFlY7L1jpmr-ZyReIgYyqc9VWsQ0GBdPGvAV3MXQoRIOTVSyZfNKowSEg/s1024/05%20Bernini_Cathedra_Petri.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1024" data-original-width="684" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUori_4aKGypIOFxeNMkvSPtXcX_k_a0TdWoMq7nKu4VWF3nYCiH14tqLAj2MJVnxyvjKUoguYuO6aIjUzLKRpZlEhoqudhTWlcqaMAlZwgUyUp7QvFjzr729L_gFlY7L1jpmr-ZyReIgYyqc9VWsQ0GBdPGvAV3MXQoRIOTVSyZfNKowSEg/s320/05%20Bernini_Cathedra_Petri.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">5. Bernini: Cathedra Petri</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDNspPGA265Hoef67oMHy_QOOedarYgKnYFhB5ZbUtRtFjG6hcs8YJxw0_-21Y8z_kpL6gfVfK3GibpvX3T8WLjoYyp3rJp1u09P742Z6FlN04gSsyTOIJWeH-2XD5WR88G_PxsIIvOnwDp4gBBu6UROoJi0sMAhJkz1eG7G9JaKmYK9qDw/s1023/06%20Vel%C3%A1zquez_Adoraci%C3%B3n_de_los_Reyes_Magos_1619.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1023" data-original-width="624" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDNspPGA265Hoef67oMHy_QOOedarYgKnYFhB5ZbUtRtFjG6hcs8YJxw0_-21Y8z_kpL6gfVfK3GibpvX3T8WLjoYyp3rJp1u09P742Z6FlN04gSsyTOIJWeH-2XD5WR88G_PxsIIvOnwDp4gBBu6UROoJi0sMAhJkz1eG7G9JaKmYK9qDw/w244-h400/06%20Vel%C3%A1zquez_Adoraci%C3%B3n_de_los_Reyes_Magos_1619.jpg" width="244" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">6. Velazquez: Adoration of the Magi</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MhYsWb1oair8lrTWuMNZmMnq_wcNEn5duqdBNXgO9B-S9zbXYy801i9_Uya-2NlK23uOZ49AH2aRTqHxjCM3cfU_N-UWpsqniM71mXcqc7eRbtySa88eGB4bJqwskCUeHT-bVcvc6_iUqimn0_jaCt9y8TMLE4yW9k01jCYifrNgmYXxmA/s768/07%20Parmigianino_Madonna_della_Rosa.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="768" data-original-width="589" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MhYsWb1oair8lrTWuMNZmMnq_wcNEn5duqdBNXgO9B-S9zbXYy801i9_Uya-2NlK23uOZ49AH2aRTqHxjCM3cfU_N-UWpsqniM71mXcqc7eRbtySa88eGB4bJqwskCUeHT-bVcvc6_iUqimn0_jaCt9y8TMLE4yW9k01jCYifrNgmYXxmA/s320/07%20Parmigianino_Madonna_della_Rosa.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">7. Parmigianino: Madonna della Rosa</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxc27_9KAfU1sPHSkZQQmB6mrYwSjo2cxzPMyVqFVj64oRFVSmLIVVFKZBfKqXkTxVIcZDHnvLwRiJI7UPuTzxMZGQCsoVoAFJTxiyQaZOR3kY1h_c9kcGdemqK-1Z6_4FIrLHKUH8er7un3_N73Dcl1xY_jrjDWs5weF2ly_QGGABLcpwg/s1004/08%20Tintoretto_Miracle_of_the_Slave.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="768" data-original-width="1004" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxc27_9KAfU1sPHSkZQQmB6mrYwSjo2cxzPMyVqFVj64oRFVSmLIVVFKZBfKqXkTxVIcZDHnvLwRiJI7UPuTzxMZGQCsoVoAFJTxiyQaZOR3kY1h_c9kcGdemqK-1Z6_4FIrLHKUH8er7un3_N73Dcl1xY_jrjDWs5weF2ly_QGGABLcpwg/s320/08%20Tintoretto_Miracle_of_the_Slave.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">8. Tintoretto: Miracle of the Slave</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2W6b70G36qflftdukRwAP_w2-vTTSR1b3_JWQXGBFfN8CwDn5oMHl_JBxTkJC3gtNBnaBeWqHAtJLfyxvezy2vWgPFIjkOrTzD2zKJ4QRSulwcdsQP7jUcubasoHVz1R2hy8T5huvWbDJuyn_sZ0BQq7li8HmHUHkJfmTXGkM-6GIuEiyg/s748/09%20El_Greco_The_Purification_of_the_Temple.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="600" data-original-width="748" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2W6b70G36qflftdukRwAP_w2-vTTSR1b3_JWQXGBFfN8CwDn5oMHl_JBxTkJC3gtNBnaBeWqHAtJLfyxvezy2vWgPFIjkOrTzD2zKJ4QRSulwcdsQP7jUcubasoHVz1R2hy8T5huvWbDJuyn_sZ0BQq7li8HmHUHkJfmTXGkM-6GIuEiyg/s320/09%20El_Greco_The_Purification_of_the_Temple.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">9. El Greco: Purification of the Temple</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyztz59CNYPKh2jfs_FRrVP3BOLeMuQB5ktqpa0140sbq0B7DNJLgQHYTCnugkjykwRNoG8dj9OfgnIwnV6fOfY9PjaI3gLQwf_2UPOhK8u1QcaKmQx1fVQBuFKMwFnPVOP76W9a1449ilvazyNPtZRCUK3L-fjnDck10Rw966Vz_agJG32w/s935/10%20Vel%C3%A1zquez_Cristo_Flagelaci%C3%B3n.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="768" data-original-width="935" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyztz59CNYPKh2jfs_FRrVP3BOLeMuQB5ktqpa0140sbq0B7DNJLgQHYTCnugkjykwRNoG8dj9OfgnIwnV6fOfY9PjaI3gLQwf_2UPOhK8u1QcaKmQx1fVQBuFKMwFnPVOP76W9a1449ilvazyNPtZRCUK3L-fjnDck10Rw966Vz_agJG32w/s320/10%20Vel%C3%A1zquez_Cristo_Flagelaci%C3%B3n.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">10. Velazquez: Flagellation</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBP0XzfU2-6tjmjxcWRGzjrisda9NW8zw0rCDoyX5A6WIt09QdWtYMnd9U4zcR20ASk71gnk-AfG3-7MCZlStxlnBL097n01nylcER8UKPPs3QdNHJ0qCkEYDpIpCApslK0vTxv7eOeFQfDdnylvFEs2-F1UHCqqleR7y-EJVicvOtV6XnQ/s767/11%20Caravaggio_Conversion_on_the_Way_to_Damascus.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="767" data-original-width="584" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBP0XzfU2-6tjmjxcWRGzjrisda9NW8zw0rCDoyX5A6WIt09QdWtYMnd9U4zcR20ASk71gnk-AfG3-7MCZlStxlnBL097n01nylcER8UKPPs3QdNHJ0qCkEYDpIpCApslK0vTxv7eOeFQfDdnylvFEs2-F1UHCqqleR7y-EJVicvOtV6XnQ/s320/11%20Caravaggio_Conversion_on_the_Way_to_Damascus.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">11. Caravaggio: Conversion on the Way to Damascus</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfNGwu_U_oex7qcKahbBigOkJfVLflo6DVn-RNOeyqNe3i94e5B-uZ8k510QiNzQLOgBycl4Vb-MOZQ1NSSgzBNGfwj6Ek_9FXK26sflcsqG9T4vrxjUNk4JpCEydouxcjNYQEL1Yr-oFAA56luupieoclnu18Bmmk4drcKLpMDZW3Pq15A/s1010/12%20Caravaggio_The_Martyrdom_of_St_Matthew.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="961" data-original-width="1010" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfNGwu_U_oex7qcKahbBigOkJfVLflo6DVn-RNOeyqNe3i94e5B-uZ8k510QiNzQLOgBycl4Vb-MOZQ1NSSgzBNGfwj6Ek_9FXK26sflcsqG9T4vrxjUNk4JpCEydouxcjNYQEL1Yr-oFAA56luupieoclnu18Bmmk4drcKLpMDZW3Pq15A/s320/12%20Caravaggio_The_Martyrdom_of_St_Matthew.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">12. Caravaggio: Martyrdom of St Matthew</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzxFkEB6Yl-3AV6JfuXlKbDhpzI-wgxOKQo9b48KMDvFJxkLnoVHOsstbxb79-ardN5TYx4aTtCMuhZkRzInzPJlqk7wxp90-laxJsGpXfwFYN6-yOdNjFfBqko6yPocE9B1YqQDQdTwEkuQ6w1AyP2_IoWzBM1SN3Qm-Y1M2WjJSm3Pqmg/s1100/13%20Poussin_The_Judgment_of_Solomon.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="730" data-original-width="1100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzxFkEB6Yl-3AV6JfuXlKbDhpzI-wgxOKQo9b48KMDvFJxkLnoVHOsstbxb79-ardN5TYx4aTtCMuhZkRzInzPJlqk7wxp90-laxJsGpXfwFYN6-yOdNjFfBqko6yPocE9B1YqQDQdTwEkuQ6w1AyP2_IoWzBM1SN3Qm-Y1M2WjJSm3Pqmg/s320/13%20Poussin_The_Judgment_of_Solomon.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">13. Poussin: The Judgment of Solomon</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLBCLA9NspTEpYRYyNc7MEDddHFI3SkTtCB2KgHsJfNtCfT-QmAUmLsJNHmxYuC9gIIJ4Fthb4wuHF4kyl8W5g-_NVwD_BdIi8BN1mIj-VLY2TBy-UaF-QYEXaNxw4yHd_BdyoqmQhcvqdsbjoe2mDVRRcKwVVoItrJUFSeft4hwrIt2gH2A/s1024/14%20Rigaud_Louis_XIV_of_France.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1024" data-original-width="721" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLBCLA9NspTEpYRYyNc7MEDddHFI3SkTtCB2KgHsJfNtCfT-QmAUmLsJNHmxYuC9gIIJ4Fthb4wuHF4kyl8W5g-_NVwD_BdIi8BN1mIj-VLY2TBy-UaF-QYEXaNxw4yHd_BdyoqmQhcvqdsbjoe2mDVRRcKwVVoItrJUFSeft4hwrIt2gH2A/s320/14%20Rigaud_Louis_XIV_of_France.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rigaud: Louis XIV of France</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduw68Za0w-ELq4C-iMDuwQpTinKdU1ADoGN85Gqqs_tRBcf-sectWHeHBsFX2MxDydVDxMECX-sWNuVsCKYeYUQGePgJIRLGv8B686XnPm7W2XgAXJ4ecGjT556W8w3EWoO5uxGrrFY96xtC29WNQ0y_R_gFufb4-zmVO5fXmjeGtjk2NFw/s886/15%20Charles_V_at_Muehlburg.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="886" data-original-width="738" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjduw68Za0w-ELq4C-iMDuwQpTinKdU1ADoGN85Gqqs_tRBcf-sectWHeHBsFX2MxDydVDxMECX-sWNuVsCKYeYUQGePgJIRLGv8B686XnPm7W2XgAXJ4ecGjT556W8w3EWoO5uxGrrFY96xtC29WNQ0y_R_gFufb4-zmVO5fXmjeGtjk2NFw/s320/15%20Charles_V_at_Muehlburg.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">15. Titian: Charles V at Muehlberg</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwMyID_sS2WekIKNDEnaUV2CwiWikGBKCi2WxD4jjrHG-GOjI99mylNjUAuZZFE01tC5jaA-uWdPH26zv6OJ1oMwz5LsijjXWXnId21i7wwdDQSfCfdodVw9l0vjVxTiDConbymlLsfLmsM3t6aKyJYQnsBfRi_fjVuW7qThEhV-ezZYdkvA/s768/16%20Rubens_The_Three_Graces.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="768" data-original-width="636" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwMyID_sS2WekIKNDEnaUV2CwiWikGBKCi2WxD4jjrHG-GOjI99mylNjUAuZZFE01tC5jaA-uWdPH26zv6OJ1oMwz5LsijjXWXnId21i7wwdDQSfCfdodVw9l0vjVxTiDConbymlLsfLmsM3t6aKyJYQnsBfRi_fjVuW7qThEhV-ezZYdkvA/s320/16%20Rubens_The_Three_Graces.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">16. Rubens: The Three Graces</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0blr3Kv6kaFJZXAyrdnHMEZl6-7-QPlVLlKBa_MeP9MqnT1OV-i2gu1sOUGnzt-lHXpTK8bU_9E325gzPz99Hwxh6DRklhj0UhPS6249EAQDvg0Yp-VOeKuwX1bJ_Rs3xp47P02Yel3TMfFHElMDlIS8Yo-0u9odBOxpiET15dPv8qoO-Eg/s1407/17%20Jan_Davidsz._de_Heem_-_Bouquet_in_a_Glass_Vase.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1407" data-original-width="1100" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0blr3Kv6kaFJZXAyrdnHMEZl6-7-QPlVLlKBa_MeP9MqnT1OV-i2gu1sOUGnzt-lHXpTK8bU_9E325gzPz99Hwxh6DRklhj0UhPS6249EAQDvg0Yp-VOeKuwX1bJ_Rs3xp47P02Yel3TMfFHElMDlIS8Yo-0u9odBOxpiET15dPv8qoO-Eg/s320/17%20Jan_Davidsz._de_Heem_-_Bouquet_in_a_Glass_Vase.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">17. De Heem: Bouquet in a Glass Vase</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBkyrasLDQ4ntIXolUJZ05O7Gt6jUbVawz9u_e27fYok5xuwKbmfsXsU6pRibXrlX9GcfBmOGPkuHyLFS5bpbbTeXWZY6OEdUtVOXeeJsBdQs0FC6L2HUOlKy1UrMnrWz43oCFtj_-USWhUD1J_nS_M3iOSt68HJpWHyV4njKBR0cgH4Adw/s968/18%20Godfried_Schalcken_Young_Girl_with_a_Candle.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="968" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNBkyrasLDQ4ntIXolUJZ05O7Gt6jUbVawz9u_e27fYok5xuwKbmfsXsU6pRibXrlX9GcfBmOGPkuHyLFS5bpbbTeXWZY6OEdUtVOXeeJsBdQs0FC6L2HUOlKy1UrMnrWz43oCFtj_-USWhUD1J_nS_M3iOSt68HJpWHyV4njKBR0cgH4Adw/s320/18%20Godfried_Schalcken_Young_Girl_with_a_Candle.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">18. Godfried Schalcken: Young Girl with a Candle</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYzMffnBocVrTF_JxFeRvZfhCgmeDrtdsRiLYNq0bE8IHNaVQ4njQGzKKNwmc_Hpl_TNYki2T2-Ryfxpz-0-704UWfF5dpNousNmUIge0qZBlvNbljJTw0qgFmwAb5Ya22-HNQUHUYCrnsmRsYhPFyUbKc4h8duA6Mgjd8pCIZJL_kirzorg/s800/19%20Pieter_Claesz_Still_Life.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="581" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYzMffnBocVrTF_JxFeRvZfhCgmeDrtdsRiLYNq0bE8IHNaVQ4njQGzKKNwmc_Hpl_TNYki2T2-Ryfxpz-0-704UWfF5dpNousNmUIge0qZBlvNbljJTw0qgFmwAb5Ya22-HNQUHUYCrnsmRsYhPFyUbKc4h8duA6Mgjd8pCIZJL_kirzorg/s320/19%20Pieter_Claesz_Still_Life.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">19. Pieter Claesz Still Life with Skull</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgasgZPEUw_2NVgCj8R0mEbNnnYMpu_XxP5_gWFEc7XciAMb23og9OQ_WSYDftyMN02B0fZSEC3thwCIblcZD6_s1yX3Va4OEI11PiylmO5mTl5pYnTYclVw6ysLfFN3iYQiMKqipUITPakjHIJ6_geB2kE9m7UtRGqZzPRKOj1qZJX2Cqj9w/s1280/20%20Poussin_Et_in_Arcadia_ego.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="910" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgasgZPEUw_2NVgCj8R0mEbNnnYMpu_XxP5_gWFEc7XciAMb23og9OQ_WSYDftyMN02B0fZSEC3thwCIblcZD6_s1yX3Va4OEI11PiylmO5mTl5pYnTYclVw6ysLfFN3iYQiMKqipUITPakjHIJ6_geB2kE9m7UtRGqZzPRKOj1qZJX2Cqj9w/s320/20%20Poussin_Et_in_Arcadia_ego.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">20. Poussin: Et en Arcadia ego</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySm9DtFwCMxqCNbDncmQxzzQ5AONVaHfTseHKC1bPAidtP9WYYH8mC0UMfuweAEZ461WdaFL2rfInOEvKvBIliqowQVxM7C-6PMkw55Rgs5oQktJjqPS37vT5fs6CqrkBAHkKufXpheHIbS_8n29ysyclW5lZx37tS0p7ZmM1TMVZ8W2GAA/s960/QVUTIDIE_MORIMVR.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="960" data-original-width="656" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySm9DtFwCMxqCNbDncmQxzzQ5AONVaHfTseHKC1bPAidtP9WYYH8mC0UMfuweAEZ461WdaFL2rfInOEvKvBIliqowQVxM7C-6PMkw55Rgs5oQktJjqPS37vT5fs6CqrkBAHkKufXpheHIbS_8n29ysyclW5lZx37tS0p7ZmM1TMVZ8W2GAA/s400/QVUTIDIE_MORIMVR.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Covarrubias, Emblemas Morales: Quotidie Morimur<br />Bk. II, Embl. IX QVOTIDIE MORIMUR</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDe3qw_25cYMwgDjx4G4nWAPjY7BHbIwKCYHdu2YFH-NqOItZKDAlxFvfqMi1H3w2PuEIp4C23-2PMjzTmsXORyYN4B9KevQ6GqE5UZgNFJ9N8pVD_BPoKNRm1qs3wNIYwLfgAq4keKIi0M64iZEvxwo3M8sBxISb-E4gt8_9AKzG-SWPIw/s960/EN_LA_MUERTE_ESTA_LA_VIDA.jpg" style="display: inline; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="960" data-original-width="643" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDe3qw_25cYMwgDjx4G4nWAPjY7BHbIwKCYHdu2YFH-NqOItZKDAlxFvfqMi1H3w2PuEIp4C23-2PMjzTmsXORyYN4B9KevQ6GqE5UZgNFJ9N8pVD_BPoKNRm1qs3wNIYwLfgAq4keKIi0M64iZEvxwo3M8sBxISb-E4gt8_9AKzG-SWPIw/s400/EN_LA_MUERTE_ESTA_LA_VIDA.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Covarrubias, Emblemas Morales: En la muerte esta la vida<br />Libro II, Embl. XLIII EN LA MUERTE ESTÁ LA VIDA</td></tr></tbody></table>
<br />akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comtag:blogger.com,1999:blog-19648683.post-91614801360118043512021-10-12T07:36:00.006-03:002021-10-25T06:35:45.330-03:00MODUS OPERANDI<br />
1. <i>A method of procedure.</i> <br />
2. <i>A modus operandi is a particular way of doing something</i>.<br />
3. <i>The way someone does something; a characteristic method.</i> <br />
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<div style="text-align: justify;"><i>Expresión latina que significa "modo de obrar" y se usa para referirse a la manera de proceder o al modo de en que se realiza algo</i>.
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<i>Expression latine formée de "modus" (manière) et de "operandi" (d'opérer), elle désigne la manière de procéder ou la façon de construire une chose.</i>
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<div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="290" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/etop4OTjHtdGG2" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="340"> </iframe> <div style="margin-bottom: 5px;"> <strong> <a href="//www.slideshare.net/akermariano/modus-operandi-historian-and-the-visual-arts" target="_blank" title="Modus operandi: Historian and the Visual Arts">MODUS OPERANDI: HISTORIAN AND VISUAL ARTS</a> </strong><br />Idea and design: Mariano Akerman</div></div>
akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comtag:blogger.com,1999:blog-19648683.post-25125289697181223312018-05-23T05:56:00.000-03:002018-05-24T05:06:41.216-03:00Boletim ASA<br />
<a href="https://4.bp.blogspot.com/-cUcAByKoR7M/WwUyFUI2b_I/AAAAAAAA1F8/GUgmUpQx4L8gLOBMjgPJc1gC4ho8DxYuwCLcBGAs/s1600/ALEPH.jpg" imageanchor="1"><img border="0" data-original-height="96" data-original-width="96" src="https://4.bp.blogspot.com/-cUcAByKoR7M/WwUyFUI2b_I/AAAAAAAA1F8/GUgmUpQx4L8gLOBMjgPJc1gC4ho8DxYuwCLcBGAs/s1600/ALEPH.jpg" /></a><br />
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<a href="https://web.archive.org/web/20180523082338/http://asa.org.br/wp/author/passepartout/">PASSEPARTOUT</a> (Mariano Akerman), Seis notas para la columa ARTE E IDENTIDAD, <i>Boletín ASA</i>, Río de Janeiro, 2015-2016. </div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-pvaeJyy5yv4/WwUsnlCHA6I/AAAAAAAA1Fs/oFmCRmkuweQiPiDWElt8TYM0sEweJWJVgCLcBGAs/s1600/ASA_Passepartout.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="660" data-original-width="545" height="400" src="https://1.bp.blogspot.com/-pvaeJyy5yv4/WwUsnlCHA6I/AAAAAAAA1Fs/oFmCRmkuweQiPiDWElt8TYM0sEweJWJVgCLcBGAs/s400/ASA_Passepartout.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://asa.org.br/wp/author/passepartout/" target="_blank">Passepartout: Arte e Identidad</a></td></tr>
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Inicialmente escritas en castellano y atribuidas a 'Passepartout' (pseudónimo), las seis notas de Mariano Akerman son traducidas al portugués por Sara Gruman, quien las publica bimensualmente en el Boletín de la carioca Associacão Scholem Aleichem, entre diciembre de 2015 y octubre de 2016. Tales notas son incorporadas en una nueva columna del Boletín titulada "ARTE E IDENTIDAD," donde Akerman es tácitamente introducido como "Artista plástico, arquitecto e historiador del arte. Investigador sudamericano especializado en comunicación visual. Conferencista independiente con 12 premios internacionales en Arte y Educación".</div>
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<a href="https://1.bp.blogspot.com/-2-JS_4ASZ4E/WwZpl44ebpI/AAAAAAAA1H0/J6jZr4jeXtY2Uh_IWtt1vG1bkVm-aPwVACLcBGAs/s1600/Passepartout_ASA.jpg" imageanchor="1"><img border="0" data-original-height="182" data-original-width="1149" height="63" src="https://1.bp.blogspot.com/-2-JS_4ASZ4E/WwZpl44ebpI/AAAAAAAA1H0/J6jZr4jeXtY2Uh_IWtt1vG1bkVm-aPwVACLcBGAs/s400/Passepartout_ASA.jpg" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-e5IIswdxzW8/WwZQYIuAE3I/AAAAAAAA1Gs/9EMBzZfVIForjn7BZ8iTVBw10EV8jp4fQCLcBGAs/s1600/ASA_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="499" data-original-width="419" height="400" src="https://2.bp.blogspot.com/-e5IIswdxzW8/WwZQYIuAE3I/AAAAAAAA1Gs/9EMBzZfVIForjn7BZ8iTVBw10EV8jp4fQCLcBGAs/s400/ASA_1.jpg" width="336" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1. ARTE Y RAÍCES<br />
Símbolos, motivos florales, seres reales e incluso fantásticos pueden todos ser detectados en el arte judío tradicional.</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-yvr6L5rR65Y/WwZQf60TkZI/AAAAAAAA1Gw/aY6hWksQRv0G4mznbhlWGosPnJzFvs41ACLcBGAs/s1600/ASA_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="592" data-original-width="413" height="400" src="https://1.bp.blogspot.com/-yvr6L5rR65Y/WwZQf60TkZI/AAAAAAAA1Gw/aY6hWksQRv0G4mznbhlWGosPnJzFvs41ACLcBGAs/s400/ASA_2.jpg" width="279" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2. ARTE Y EMANCIPACIÓN<br />
La mirada triste de Pissarro parece reflejar el injusto proceso del capitán Alfred Dreyfus y el resurgimiento del antisemitismo en Europa toda.</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-VyQJf1VOkVc/WwZUWAUW8DI/AAAAAAAA1HQ/C9z4Fn8JrScn2Oy-4xZQthPFgbIoy30BQCLcBGAs/s1600/ASA_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="679" data-original-width="388" height="400" src="https://3.bp.blogspot.com/-VyQJf1VOkVc/WwZUWAUW8DI/AAAAAAAA1HQ/C9z4Fn8JrScn2Oy-4xZQthPFgbIoy30BQCLcBGAs/s400/ASA_3.jpg" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3. TIEMPOS MODERNOS<br />
El dilema entre las ventajas ofrecidas por la integración y los riesgos propios de la asimilación persiste hasta el día de hoy y tiene su reflejo en las artes plásticas. </td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-sJn9n1B76Zo/WwZUaZALeWI/AAAAAAAA1HU/z_aLBmIl-yQ5TyD6J5V71BsYmAd6hPseACLcBGAs/s1600/ASA_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="653" data-original-width="414" height="400" src="https://4.bp.blogspot.com/-sJn9n1B76Zo/WwZUaZALeWI/AAAAAAAA1HU/z_aLBmIl-yQ5TyD6J5V71BsYmAd6hPseACLcBGAs/s400/ASA_4.jpg" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4. EXPRESIONES HEBREAS DE VANGUARDIA<br />
Históricamente hubo un gran numero de artistas hebreos de vanguardia en Europa.</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-zJvXDyAXAbw/WwZUeCvWl2I/AAAAAAAA1HY/4KuWaWW5-JM4ZpcbT_-WL6UzPyASLrIWwCLcBGAs/s1600/ASA_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="525" data-original-width="417" height="400" src="https://4.bp.blogspot.com/-zJvXDyAXAbw/WwZUeCvWl2I/AAAAAAAA1HY/4KuWaWW5-JM4ZpcbT_-WL6UzPyASLrIWwCLcBGAs/s400/ASA_5.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5. TIERRAS Y PROMESAS<br />
Pensé que sería bueno que el Museo Judío de Río de Janeiro poseyera algún trabajo que celebrase la Vida. A raíz de ello, decidí ofrecerle <i>Credo</i>.</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-8gUeQENckto/WwUy4p9yxiI/AAAAAAAA1GU/teZUFkGbD_EwzlkwnXftliAMQObpo93uACLcBGAs/s1600/ASA5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="446" data-original-width="600" height="297" src="https://4.bp.blogspot.com/-8gUeQENckto/WwUy4p9yxiI/AAAAAAAA1GU/teZUFkGbD_EwzlkwnXftliAMQObpo93uACLcBGAs/s400/ASA5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Credo</i></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-fTa6VBUDhlk/WwZUhjS5PtI/AAAAAAAA1Hc/ZU9mQEZBUNoLeYvW6iVSBAQ22BarY7DKgCLcBGAs/s1600/ASA_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="407" height="400" src="https://4.bp.blogspot.com/-fTa6VBUDhlk/WwZUhjS5PtI/AAAAAAAA1Hc/ZU9mQEZBUNoLeYvW6iVSBAQ22BarY7DKgCLcBGAs/s400/ASA_6.jpg" width="274" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6. TRES MUNDOS DIALÉCTICOS POR EL MISMO PRECIO<br />
El artista medieval parece estar expresando su propia opinión sobre la supuesta unidad israelita.</td></tr>
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<br />
Versiones portuguesas en el <i>Boletim ASA</i><br />
1. <a href="http://asa.org.br/wp/boletim/ed158/arte-e-raizes/">ARTE E RAÍZES</a><br />
2. <a href="http://asa.org.br/wp/arte-e-identidade/arte-e-emancipacao/">ARTE E EMANCIPAÇÃO</a><br />
3. <a href="http://asa.org.br/wp/arte-e-identidade/tempos-modernos/">TEMPOS MODERNOS</a><br />
4. <a href="http://asa.org.br/wp/arte-e-identidade/expressoes-hebreias-de-vanguarda/">EXPRESSÕES HEBREIAS DE VANGUARDA</a><br />
5. <a href="http://asa.org.br/wp/arte-e-identidade/terras-e-promessas/">TERRAS E PROMESSAS</a><br />
6. <a href="http://asa.org.br/wp/arte-e-identidade/tres-mundos-dialeticos-pelo-mesmo-preco/">TRÊS MUNDOS DIALÉTICOS PELO MESMO PREÇO</a><br />
<br />
Versiones castellanas en <i>El Olivo en Flor</i> e <i>Impronta</i><br />
1. <a href="http://visual-akermariano.blogspot.com/2013/04/mosaico.html">MOSAICO</a><br />
2. <a href="http://hola-akermariano.blogspot.com/2015/12/arte-y-raices.html">ARTE Y RAÍCES</a><br />
3. <a href="http://hola-akermariano.blogspot.com/2016/01/experiencia.html">EXPERIENCIA JUDÍA Y ARTE MODERNO</a><br />
4. <a href="http://hola-akermariano.blogspot.com/2016/05/expresiones-de-vanguardia.html">EXPRESIONES HEBREAS DE VANGUARDIA</a><br />
5. <a href="http://hola-akermariano.blogspot.com/2016/09/tierras-y-promesas.html">TIERRAS Y PROMESAS</a><br />
6. TRES MUNDOS DIALÉCTICOS POR EL MISMO PRECIO<br />
<br />
Versiones portuguesas en el <i>WebArchive</i><br />
1. <a href="https://web.archive.org/web/20180523073911/http://asa.org.br/wp/boletim/ed158/arte-e-raizes/">ARTE E RAÍZES</a><br />
2. <a href="https://web.archive.org/web/20180523074022/http://asa.org.br/wp/arte-e-identidade/arte-e-emancipacao/">ARTE E EMANCIPAÇÃO</a><br />
3. <a href="https://web.archive.org/web/20180523074117/http://asa.org.br/wp/arte-e-identidade/tempos-modernos/">TEMPOS MODERNOS</a><br />
4. <a href="https://web.archive.org/web/20180523074203/http://asa.org.br/wp/arte-e-identidade/expressoes-hebreias-de-vanguarda/">EXPRESSÕES HEBREIAS DE VANGUARDA</a><br />
5. <a href="https://web.archive.org/web/20180523074303/http://asa.org.br/wp/arte-e-identidade/terras-e-promessas/">TERRAS E PROMESSAS</a><br />
6. <a href="https://web.archive.org/web/20180523074358/http://asa.org.br/wp/arte-e-identidade/tres-mundos-dialeticos-pelo-mesmo-preco/">TRÊS MUNDOS DIALÉTICOS PELO MESMO PREÇO</a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-DgwnLtagWBA/WwUygrV_WpI/AAAAAAAA1GE/zMylppXXqycIkJ1tM41kRSdhFtIdkS3ZACLcBGAs/s1600/ASA1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="306" data-original-width="502" height="244" src="https://4.bp.blogspot.com/-DgwnLtagWBA/WwUygrV_WpI/AAAAAAAA1GE/zMylppXXqycIkJ1tM41kRSdhFtIdkS3ZACLcBGAs/s400/ASA1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Implementos del Templo de Jerusalén<br />
Biblia hebrea miniada, Sefarad, 1476</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOqR237Hy67jFob7NfNhsFnkecJe3w9fsB2_nS3E0RKy_CN8u40tmANjCuoy6aYfI24EpluiNm6YAgwy_xTVrqCpIehq2L90kM1onHDd5g_vaTflfFhLKD74DN8IB1wCPJzuA/s1600/ASA2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="376" data-original-width="475" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOqR237Hy67jFob7NfNhsFnkecJe3w9fsB2_nS3E0RKy_CN8u40tmANjCuoy6aYfI24EpluiNm6YAgwy_xTVrqCpIehq2L90kM1onHDd5g_vaTflfFhLKD74DN8IB1wCPJzuA/s400/ASA2.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Estampa con <i>Las etapas de la vida de un judío</i>, cromolitografía impresa en Alemania, 1905-1910</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-LhHsj47IEy4/WwUyvhKgF0I/AAAAAAAA1GM/IQQ3s4XR_5ceaKPQ6i2wT9s2ndOecEBMQCLcBGAs/s1600/ASA3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="264" height="400" src="https://1.bp.blogspot.com/-LhHsj47IEy4/WwUyvhKgF0I/AAAAAAAA1GM/IQQ3s4XR_5ceaKPQ6i2wT9s2ndOecEBMQCLcBGAs/s400/ASA3.jpg" width="352" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Moritz Daniel Oppenheim<br />
<i>Retrato de Charlotte de Rothschild</i>, 1836</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-i3RCGUParuc/WwUy0puaIlI/AAAAAAAA1GQ/vWcNYYklXXYheNNmhmhbIk9vgTyqgPSiQCLcBGAs/s1600/ASA4.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="353" data-original-width="349" height="400" src="https://3.bp.blogspot.com/-i3RCGUParuc/WwUy0puaIlI/AAAAAAAA1GQ/vWcNYYklXXYheNNmhmhbIk9vgTyqgPSiQCLcBGAs/s400/ASA4.png" width="395" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonia Delaunay-Terk, <i>Prismas eléctricos</i>, 1914</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-8gUeQENckto/WwUy4p9yxiI/AAAAAAAA1GU/teZUFkGbD_EwzlkwnXftliAMQObpo93uACLcBGAs/s1600/ASA5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="446" data-original-width="600" height="297" src="https://4.bp.blogspot.com/-8gUeQENckto/WwUy4p9yxiI/AAAAAAAA1GU/teZUFkGbD_EwzlkwnXftliAMQObpo93uACLcBGAs/s400/ASA5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mariano Akerman, <i>Credo</i>, 2012</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-DMrC1aREQ5A/WwUy9a4i0SI/AAAAAAAA1GY/QRJD1QjE9uA6LfwhHzzaPkTyoslGY8X3wCLcBGAs/s1600/ASA6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="241" data-original-width="300" height="321" src="https://2.bp.blogspot.com/-DMrC1aREQ5A/WwUy9a4i0SI/AAAAAAAA1GY/QRJD1QjE9uA6LfwhHzzaPkTyoslGY8X3wCLcBGAs/s400/ASA6.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Himno a la Unidad<br />
Viena, Österreichische Nationalbibliothek, MS. Hebr. 242, fol. 190<i>r</i>.</td></tr>
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<div style="text-align: justify;">
El autor expresa su agradecimiento a Vera Leira Parente, Therezinha Privatti Saussana, Mauro Ban, Marialva Brandello Oliveira, Fanny Cytryn, Elizabeth Thompson y, muy especialmente a Sara Gruman.</div>
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COLUMNA ARTE E IDENTIDAD<br />
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PASSEPARTOUT. Artista plástico, arquitecto e historiador del Arte. Investigador sudamericano especializado en comunicación visual. Conferencista independente com 12 premios internacionales en Arte y Educación.</div>
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Todos los derechos reservadosakermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-43342617592348238752018-05-22T13:14:00.000-03:002018-12-07T17:24:34.765-04:00Modelos sinagogales en Beit Hatfutsot<br />
<div style="text-align: justify;">Las maquetas de las sinagonas son exhibidas en Beit Hatfutsot a partir de 1980. En tanto que las fotografías aquí presentadas fueron tomadas en <a href="https://es.wikipedia.org/wiki/Beit_Hatfutsot">Beit Hatfutsot</a>, las inscripciones que acompañan a las mismas responden a los datos provistos por dicha institución en la muestra que tuvo lugar el 21 de mayo de 2018.</div><br />
<a href="https://4.bp.blogspot.com/-64TMlelgVKs/WwRB7NwSdsI/AAAAAAAA1CQ/wOBHXDRszA8mRp45kVWgjO1maCpN0wTXgCLcBGAs/s1600/Aleppo.jpg" imageanchor="1"><img border="0" data-original-height="725" data-original-width="1600" height="181" src="https://4.bp.blogspot.com/-64TMlelgVKs/WwRB7NwSdsI/AAAAAAAA1CQ/wOBHXDRszA8mRp45kVWgjO1maCpN0wTXgCLcBGAs/s400/Aleppo.jpg" width="400" /></a><br />
Alepo, Albandara, Halab, Siria: Sinagoga Central, 1418<br />
<br />
<a href="https://1.bp.blogspot.com/-NTWeG15N9XU/WwRCAgTx49I/AAAAAAAA1CU/TtfqJVksyGYxIssjbvSCl4RlZKjT6vMigCLcBGAs/s1600/Alexandria.jpg" imageanchor="1"><img border="0" data-original-height="1442" data-original-width="1600" height="361" src="https://1.bp.blogspot.com/-NTWeG15N9XU/WwRCAgTx49I/AAAAAAAA1CU/TtfqJVksyGYxIssjbvSCl4RlZKjT6vMigCLcBGAs/s400/Alexandria.jpg" width="400" /></a><br />
Alejandría, Egipto: Sinagoga Eliahu Hanavi, construcción medieval; reconstruida en 1850<br />
<br />
<a href="https://3.bp.blogspot.com/-glK-xgyM0uE/WwRCH3CBDEI/AAAAAAAA1CY/IO1xDXz5zsYZguQfKk2l4JiOPBXK1WlDwCLcBGAs/s1600/Amsterdam.jpg" imageanchor="1"><img border="0" data-original-height="1143" data-original-width="1600" height="286" src="https://3.bp.blogspot.com/-glK-xgyM0uE/WwRCH3CBDEI/AAAAAAAA1CY/IO1xDXz5zsYZguQfKk2l4JiOPBXK1WlDwCLcBGAs/s400/Amsterdam.jpg" width="400" /></a><br />
Ámsterdam, Holanda: Sinagoga Portuguesa, 1675<br />
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<a href="https://4.bp.blogspot.com/-DTp4e8469Dc/WwRCfBQESdI/AAAAAAAA1Ck/7lCQ3mR5T3cNE1QVVPV-iBSz_9PESy4aQCLcBGAs/s1600/Berlin.jpg" imageanchor="1"><img border="0" data-original-height="1600" data-original-width="1265" height="400" src="https://4.bp.blogspot.com/-DTp4e8469Dc/WwRCfBQESdI/AAAAAAAA1Ck/7lCQ3mR5T3cNE1QVVPV-iBSz_9PESy4aQCLcBGAs/s400/Berlin.jpg" width="316" /></a><br />
Berlín, Alemania: Nueva Sinagoga en la Oranienburgerstraβe, 1866<br />
<br />
<a href="https://2.bp.blogspot.com/-rVbhbW13KPI/WwRCtRF4fpI/AAAAAAAA1Cs/4k_utdE5EMcTQVdvDwiMGdbbMoqoC95ogCLcBGAs/s1600/Cochin.jpg" imageanchor="1"><img border="0" data-original-height="1235" data-original-width="1600" height="309" src="https://2.bp.blogspot.com/-rVbhbW13KPI/WwRCtRF4fpI/AAAAAAAA1Cs/4k_utdE5EMcTQVdvDwiMGdbbMoqoC95ogCLcBGAs/s400/Cochin.jpg" width="400" /></a><br />
Cochin, Sudeste de la India: Sinagoga Pardesi, 1568<br />
<br />
<a href="https://2.bp.blogspot.com/-Wu4qpzt90ME/WwRGns1BhPI/AAAAAAAA1Dw/aeT23RLDUCAQs-2xgIB4M1gzBBRupLQdgCLcBGAs/s1600/Krakow_Remuh.jpg" imageanchor="1"><img border="0" data-original-height="1309" data-original-width="1600" height="327" src="https://2.bp.blogspot.com/-Wu4qpzt90ME/WwRGns1BhPI/AAAAAAAA1Dw/aeT23RLDUCAQs-2xgIB4M1gzBBRupLQdgCLcBGAs/s400/Krakow_Remuh.jpg" width="400" /></a><br />
Cracovia, Polonia: Sinagoga Remuh, 1553<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZ58k3TtSnBW3dIfAXWKMTJQ-gUoda-O4MOw0y1zJJlXrwxlTYjtrh-kD0lq-dG6a5SLNw831cwxIcGremCtpAnKCDOIHOI2Y84ipYuG-nbK5UWeIgYc6DiIBiaa1uVNMiRF4/s1600/Curacao.jpg" imageanchor="1"><img border="0" data-original-height="1195" data-original-width="1600" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZ58k3TtSnBW3dIfAXWKMTJQ-gUoda-O4MOw0y1zJJlXrwxlTYjtrh-kD0lq-dG6a5SLNw831cwxIcGremCtpAnKCDOIHOI2Y84ipYuG-nbK5UWeIgYc6DiIBiaa1uVNMiRF4/s400/Curacao.jpg" width="400" /></a><br />
Curaçao, Antillas Holandesas: Mikve Israel, 1730<br />
<br />
<a href="https://2.bp.blogspot.com/-9dpL56OAp-o/WwREe5mgPQI/AAAAAAAA1DI/LJtDvUgUo-gQkC9c9ZpNr_K_cRAFNMkGwCLcBGAs/s1600/Dura_Europos_1.jpg" imageanchor="1"><img border="0" data-original-height="955" data-original-width="1600" height="239" src="https://2.bp.blogspot.com/-9dpL56OAp-o/WwREe5mgPQI/AAAAAAAA1DI/LJtDvUgUo-gQkC9c9ZpNr_K_cRAFNMkGwCLcBGAs/s400/Dura_Europos_1.jpg" width="400" /></a><br />
Dura Europos, Siria: 244 EC.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2224QtG04nP5jkxoUJ2jh-nnmAjyHUxuUH9fmFYSYGm7LPxEh5YKPBL02l_JK1AkNKLRkeHNaPcugOph3vHjCfYtBxcBM3fz1uHkeqLP3nBA03cDATDOLu5HUcSJAKQFklGYe/s1600/Elkins_Park+.jpg" imageanchor="1"><img border="0" data-original-height="1451" data-original-width="1600" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2224QtG04nP5jkxoUJ2jh-nnmAjyHUxuUH9fmFYSYGm7LPxEh5YKPBL02l_JK1AkNKLRkeHNaPcugOph3vHjCfYtBxcBM3fz1uHkeqLP3nBA03cDATDOLu5HUcSJAKQFklGYe/s400/Elkins_Park+.jpg" width="400" /></a><br />
Elkins Park, Filadelfia, Pennsilvania, Estados Unidos: Beth Sholom, creada por Frank Lloyd Wright, 1959<br />
<br />
<br />
<a href="https://4.bp.blogspot.com/-fiP0xX5LnIg/Ww5sERIpbVI/AAAAAAAA1Ic/bV4jULiEJRA0eH78NOflVhtv7YXb0wlaACLcBGAs/s1600/Fez_Danan.jpg" imageanchor="1"><img border="0" data-original-height="446" data-original-width="800" height="223" src="https://4.bp.blogspot.com/-fiP0xX5LnIg/Ww5sERIpbVI/AAAAAAAA1Ic/bV4jULiEJRA0eH78NOflVhtv7YXb0wlaACLcBGAs/s400/Fez_Danan.jpg" width="400" /></a><br />
Fez, Marruecos: Patio cubierto de la Sinagoga Shlomo Ibn Danan, siglo XVII<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj83be2lnWmri8RRxo8l__XZGS_zLbJbHhMPFUPuAvLJNrzQEUgyW9Y1_HdjAMSillCGsFnMkITIJZqs62A3ejpFQzjCByFNlKqMjRMKVymBIpkb7tdgti6cos_dHbm_4H1wzRR/s1600/Ibn_Danan.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj83be2lnWmri8RRxo8l__XZGS_zLbJbHhMPFUPuAvLJNrzQEUgyW9Y1_HdjAMSillCGsFnMkITIJZqs62A3ejpFQzjCByFNlKqMjRMKVymBIpkb7tdgti6cos_dHbm_4H1wzRR/s400/Ibn_Danan.jpg" width="400" height="271" data-original-width="781" data-original-height="529" /></a><br />
Fez, Marruecos: Fachada de la Sinagoga Shlomo Ibn Danan, siglo XVII<br />
<br />
<a href="https://2.bp.blogspot.com/-eaevrfguLo4/WwRFgXEBEPI/AAAAAAAA1DU/WXiMt4WY1s8wxuGFLCsWvGy-nzRVL2AWACLcBGAs/s1600/Fez.jpg" imageanchor="1"><img border="0" data-original-height="1211" data-original-width="1600" height="303" src="https://2.bp.blogspot.com/-eaevrfguLo4/WwRFgXEBEPI/AAAAAAAA1DU/WXiMt4WY1s8wxuGFLCsWvGy-nzRVL2AWACLcBGAs/s400/Fez.jpg" width="400" /></a><br />
Fez, Marruecos: Sinagoga Shlomo Ibn Danan, siglo XVII <br />
<br />
<a href="https://1.bp.blogspot.com/-i1kpJnMaXc4/WwRFsroqNMI/AAAAAAAA1Dc/EInbYdh6pYIlZlTmydd5zTi3WWXKYFKPQCLcBGAs/s1600/Florence.jpg" imageanchor="1"><img border="0" data-original-height="1600" data-original-width="1225" height="400" src="https://1.bp.blogspot.com/-i1kpJnMaXc4/WwRFsroqNMI/AAAAAAAA1Dc/EInbYdh6pYIlZlTmydd5zTi3WWXKYFKPQCLcBGAs/s400/Florence.jpg" width="306" /></a><br />
Florencia, Toscana, Italia: Templo Hebraico, 1882<br />
<br />
<a href="https://1.bp.blogspot.com/-n8zqGfpKwiE/WwRGW-ZxhUI/AAAAAAAA1Do/PcfX7VtT3cAx6K7immJkrqbt6EpROuSyQCLcBGAs/s1600/Harbin.jpg" imageanchor="1"><img border="0" data-original-height="1176" data-original-width="1600" height="294" src="https://1.bp.blogspot.com/-n8zqGfpKwiE/WwRGW-ZxhUI/AAAAAAAA1Do/PcfX7VtT3cAx6K7immJkrqbt6EpROuSyQCLcBGAs/s400/Harbin.jpg" width="400" /></a><br />
Harbin, Norte de la China: Sinagoga de Harbin, 1921<br />
<br />
<a href="https://2.bp.blogspot.com/-7k5FMZLIdYM/WwRCmf5bSLI/AAAAAAAA1Co/lNVdutZ32Ycz6eEfbyYlhGkYR_VqFYG3wCLcBGAs/s1600/Chodorov.jpg" imageanchor="1"><img border="0" data-original-height="920" data-original-width="1600" height="230" src="https://2.bp.blogspot.com/-7k5FMZLIdYM/WwRCmf5bSLI/AAAAAAAA1Co/lNVdutZ32Ycz6eEfbyYlhGkYR_VqFYG3wCLcBGAs/s400/Chodorov.jpg" width="400" /></a><br />
Jodorov (Chodorow), Galitzia, Ucrania: Sinagoga Jodorov, c. 1650; decoraciones de cielorraso realizadas por Israel Lissnicki en 1722<br />
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Kaifeng, Henan, China: Sinagogas Gemelas, 1163<br />
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Lutsk, Volyn, Ucrania: Gran Sinagoga de Lutsk, c. 1600<br />
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Newport, Rhode Island, Estados Unidos: Sinagoga Touro, 1763<br />
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Newport, Rhode Island, Estados Unidos: Sinagoga Touro, 1763<br />
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Praga, República Checa: Alneuschul (Sinagoga Antigua-Nueva), 1270<br />
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Sardis, Anatolia, Turquía: Antigua Sinagoga de Sardis, siglo III<br />
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Toledo, España: Sinagoga de Samuel haLevi Abulafia (El Tránsito), 1357-63<br />
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Varsovia, Polonia: Gran Sinagoga de la calle Tlomackie, 1875-78<br />
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Venecia, Italia: Exterior de la Scuola Grande Tedesca, 1529<br />
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Venecia, Italia: Scuola Grande Tedesca, 1529<br />
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Viena, Austria: Turnertempel, 1867-71<br />
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Vilna, Lituania: Shulhof, 1573 <br />
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Worms, Alemania: Complejo Sinagogal de Rashi, 1034; reconstruido 1175<br />
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Zabludov (Zabludow), Bialystok, Polonia: Sinagoga de Zabludov, c. 1650<br />
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<a href="https://es.wikipedia.org/wiki/Beit_Hatfutsot">Beit Hatfutsot</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-14639619135097973422018-05-16T03:35:00.001-03:002018-06-19T06:01:45.771-03:00Pintura de castas<br />
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בני תערובת עם "דם מוכתם": ציור הקסטות כמבנה משמעותי<br />
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<div style="text-align: justify;">Dentro del marco de conferencias titulado <a href="https://akermariano.blogspot.com/2017/03/art.html" target="_blank">Encuentro con las Artes Visuales: Tradición e Innovación</a>, las siguientes imágenes fueron presentadas y debatidas durante la disertación de <a href="https://es.wikipedia.org/wiki/Mariano_Akerman" target="_blank">Mariano Akerman </a>que tuvo lugar en el Departamento de Historia de la Universidad Bar-Ilan, Ramat Gan, el dia 8 de mayo de 2018.<br />
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<span style="font-size: large;"> HIJOS DE MEZCLA, "SANGRE MANCHADA": PINTURA DE CASTAS COMO ESTRUCTURA SIGNIFICATIVA</span><br />
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La conferencia explora el vasto abanico sociocultural novohispano del siglo XVIII a través del género de la <a href="https://es.wikipedia.org/wiki/Pintura_de_castas" target="_blank">Pintura de castas</a>, ejecutada dentro del marco del arte colonial hispanoamericano, donde funcionaba como conjunto ilustrativo, evocando a su vez el legado clasificatorio y taxonómico de <a href="http://hola-akermariano.blogspot.com/2013/12/linneo.html" target="_blank">Linneo</a> (desarrollado en el Viejo Continente durante las primeras décadas del Siglo de las Luces). Con todo, las pinturas de castas funcionaban su vez como un canto al exotismo americano y como un autocomplaciente agente ideológico en manos de la élite virreinal en tiempos de la colonia: útil para reivindicar la jerarquía basada en una supuesta "limpieza de sangre", así como sus privilegios y diversos prejuicios que caracterizaron al Antiguo Régimen.<br />
Partiendo de imágenes visuales e inscripciones dieciochescas, este trabajo analiza la naturaleza asombrosa, exuberante, confusa, parcial y contradictoria del antiguo sistema de castas colonial. Mas abordados son también sus aspectos positivos e inesperadas peculiaridades. Se intentan determinar entonces las especificidades de la pintura de castas y su importancia como fenómeno singular y sobresaliente de la cultura hispanoamericana.<br />
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NOTA. Ética y responsabilidad requeridas. Las láminas aquí incluidas fueron en su totalidad diseñadas por el disertante, quien se reserva el derecho de autoría y de reproducción de las mismas. Se trata de un trabajo de investigación original e inédito, compartido con el fin de estimular tanto reflexión como diálogo El material en cuestión puede no obstante ser empleado con propósitos educativos, pero no debe republicarse en Internet sin la previa autorización por escrito de su autor. Agradezco su comprensión. M.A.</div><br />
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<b>Encuentro con las artes visuales</b><br />
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<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> por <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div><br />
<b>Para ampliar el debate</b><br />
<a href="https://commons.wikimedia.org/wiki/Category:Casta_paintings">Casta paintings</a><br />
<a href="https://commons.wikimedia.org/wiki/Category:Mexican_Casta_paintings_(series_by_Miguel_Cabrera)">Miguel Cabrera</a><br />
<a href="https://commons.wikimedia.org/wiki/Category:Peruvian_Casta_paintings_(series_commissioned_by_the_viceroy_Manuel_de_Amat)">Amat Peruvian Paintings</a><br />
<a href="https://commons.wikimedia.org/wiki/File:IX._De_espanol_y_albina,_torna_atras_(Casta_painting)_LACMA_M.2011.20.2_(1_of_5).jpg">Torna atrás</a><br />
<a href="https://unframed.lacma.org/2015/04/22/why-albino-some-notes-our-new-casta-painting-miguel-cabrera">Katzew: Why an Albino?</a><br />
<a href="http://www.estherlederberg.com/Eugenics%20(CSHL_List)/Jew%20as%20a%20Grotesque%20beast,%20Valencia%20II.html">Maticore beast</a><br />
<a href="https://es.wikipedia.org/wiki/Maximiliano_I_de_M%C3%A9xico">Maximiliano I de México</a><br />
<a href="https://es.wikipedia.org/wiki/La_ejecuci%C3%B3n_de_Maximiliano_(Manet)">La ejecución de Maximiliano (Manet)</a><br />
<a href="https://es.wikipedia.org/wiki/Benito_Ju%C3%A1rez">Benito Juárez</a><br />
<a href="https://es.wikipedia.org/wiki/Muralismo_mexicano">Muralismo mexicano</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-43299980300600280492018-03-27T03:18:00.003-03:002018-06-19T06:00:56.741-03:00Entre ciel et terre<br />
<a href="https://1.bp.blogspot.com/-NqJC_RFTkg4/Wrnhj8qqW7I/AAAAAAAA04I/NeCnz_dJcAkoita6e-ZK9wL7SpD5z_h7ACLcBGAs/s1600/Entre_ciel_et_terre.jpg" imageanchor="1"><img border="0" data-original-height="1125" data-original-width="915" height="640" src="https://1.bp.blogspot.com/-NqJC_RFTkg4/Wrnhj8qqW7I/AAAAAAAA04I/NeCnz_dJcAkoita6e-ZK9wL7SpD5z_h7ACLcBGAs/s640/Entre_ciel_et_terre.jpg" width="520" /></a><br />
<span style="font-size: x-small;">Mois de la Francophonie - Gustave Doré, <i>Entre ciel et terre,</i> 1864</span><br />
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27/03/2018 | RDV MÉDIATHÈQUE | Mariano Akerman<br />
<br />
<b>ENTRE CIEL ET TERRE : VOYAGE À TRAVERS L’ART FRANÇAIS</b><br />
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<div style="text-align: justify;">« Un tableau, avant d’être un cheval de bataille, une femme nue ou une quelconque anecdote, est essentiellement une surface plane recouverte de couleurs en un certain ordre assemblées. » Maurice Denis, Art et Critique, 1890.<br />
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Né à Buenos Aires, en Argentine, en 1963, Mariano Akerman est peintre et historien d’art. Il a étudié à l’École d’Architecture de l’Université de Belgrano et y a validé sa formation en 1987, avec un projet sur les limites et l’espace en architecture moderne.<br />
Spécialiste en communication visuelle, Mariano Akerman s’intéresse tout particulièrement à l’art moderne.<br />
Selon l’écrivaine anglo-pakistanaise Sara Mahmood, « il construit des ponts entre les cultures dispersées tout autour du monde ».<br />
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Dans le cadre de la Francophonie, il nous propose un voyage mystérieux à travers l’art français du XIXe siècle, en mêlant littérature et arts visuels.</div><br />
La rencontre avec Mariano Akerman aura lieu<br />
Mardi 27 mars à 18h30<br />
à l’IFJ – antenne Romain Gary, au 9 Kikar Safra.<br />
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Entrée libre, rencontre en français.<br />
Nous vous conseillons vivement de réserver vos places pour cet événement !<br />
Pour ce faire, contactez-nous au 02.6243156 #2.<br />
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<a href="https://web.archive.org/web/20180325084933/http://ifjerusalem-romaingary.org/27032018-rdv-mediatheque-mariano-akerman/">RDV MÉDIATHÈQUE</a><br />
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<a href="https://1.bp.blogspot.com/-K8_4s_nLNlw/Wr5zrZ8OY-I/AAAAAAAA05k/rXlPMGIFfGUk9GsQaN5VMvIpz-fH-gbqwCLcBGAs/s1600/Gary.jpg" imageanchor="1"><img border="0" data-original-height="181" data-original-width="960" height="75" src="https://1.bp.blogspot.com/-K8_4s_nLNlw/Wr5zrZ8OY-I/AAAAAAAA05k/rXlPMGIFfGUk9GsQaN5VMvIpz-fH-gbqwCLcBGAs/s400/Gary.jpg" width="400" /></a><br />
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<a href="https://www.institutfrancais-jerusalem.org/?oaq%5Buid%5D=12667729">MOIS DE LA FRANCOPHONIE</a><br />
<br />
Conférence de Mariano Akerman<br />
"ENTRE CIEL ET TERRE, VOYAGE À TRAVERS L'ART FRANCAIS"<br />
à l’IFJ – antenne Chateaubriand, au 23 Selah-Eddin.<br />
Jeudi 29 mars à 19h00<br />
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<a href="https://3.bp.blogspot.com/-Lq-q6cnYEUo/Wr55K5l1TVI/AAAAAAAA06I/zx2c_1qldaMrXonTGQEIi-RhIsCZGYoqgCLcBGAs/s1600/ifch.jpg" imageanchor="1"><img border="0" data-original-height="960" data-original-width="550" height="400" src="https://3.bp.blogspot.com/-Lq-q6cnYEUo/Wr55K5l1TVI/AAAAAAAA06I/zx2c_1qldaMrXonTGQEIi-RhIsCZGYoqgCLcBGAs/s400/ifch.jpg" width="229" /></a><br />
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<a href="https://1.bp.blogspot.com/-rk_59rINHIA/Wrnmi3nU5hI/AAAAAAAA04c/2jXRI43FdYsaIPdD6UpIeb0WXknmYn0lwCLcBGAs/s1600/IFCH.jpg" imageanchor="1"><img border="0" data-original-height="762" data-original-width="649" height="400" src="https://1.bp.blogspot.com/-rk_59rINHIA/Wrnmi3nU5hI/AAAAAAAA04c/2jXRI43FdYsaIPdD6UpIeb0WXknmYn0lwCLcBGAs/s400/IFCH.jpg" width="341" /></a><br />
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<a href="https://1.bp.blogspot.com/-D4L5X7FxnK0/WrnshIB46kI/AAAAAAAA040/nlnT1jYwqGQqxb1n2gxV404HTgqBxcxhwCLcBGAs/s1600/ECT_CH.jpg" imageanchor="1"><img border="0" data-original-height="895" data-original-width="1600" height="224" src="https://1.bp.blogspot.com/-D4L5X7FxnK0/WrnshIB46kI/AAAAAAAA040/nlnT1jYwqGQqxb1n2gxV404HTgqBxcxhwCLcBGAs/s400/ECT_CH.jpg" width="400" /></a><br />
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<a href="https://1.bp.blogspot.com/-QMcNsPSytZs/Wr58sUnz2bI/AAAAAAAA06o/PoTqzC0vKSI_3pVY84RGOWqSd-K4uZ6HACLcBGAs/s1600/Redon_yeux_clos.jpg" imageanchor="1"><img border="0" data-original-height="599" data-original-width="485" height="400" src="https://1.bp.blogspot.com/-QMcNsPSytZs/Wr58sUnz2bI/AAAAAAAA06o/PoTqzC0vKSI_3pVY84RGOWqSd-K4uZ6HACLcBGAs/s400/Redon_yeux_clos.jpg" width="324" /></a><br />
<span style="font-size: x-small;">Odilon Redon, <i><a href="https://fr.wikipedia.org/wiki/Les_Yeux_clos_(Redon)" target="_blank">Les yeux clos</a></i>, 1890</span><br />
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<a href="https://4.bp.blogspot.com/-PMAPIbVHGHs/Wr5_bAo9B8I/AAAAAAAA060/khv8v0lfejsqBokp5GMkDqpCMGsGiXoowCLcBGAs/s1600/OIF.jpg" imageanchor="1"><img border="0" data-original-height="342" data-original-width="755" height="90" src="https://4.bp.blogspot.com/-PMAPIbVHGHs/Wr5_bAo9B8I/AAAAAAAA060/khv8v0lfejsqBokp5GMkDqpCMGsGiXoowCLcBGAs/s200/OIF.jpg" width="200" /></a><br />
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<b>Rencontre avec les arts visuelles</b><br />
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<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> par <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-74893356176095441162018-03-22T07:41:00.002-03:002018-06-19T06:02:59.031-03:00Beaux-Arts: Bruxelles Fin de Siècle<br />
En célébrant le moins international de la Francophonie 2018<br />
<br />
IXe Conférence du Programme culturel <a href="http://akermariano.blogspot.com/2017/03/art.html" target="_blank">TRADITION ET INNOVATION : RENCONTRE AVEC LES ARTS VISUELS</a><br />
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<a href="https://2.bp.blogspot.com/-dpgtWwNkGDg/WrOHpcG3flI/AAAAAAAA0yo/c28Fhie8hTsflQAYQAFhYcIKX-UXqCUGACLcBGAs/s1600/Khnopff.jpg" imageanchor="1"><img border="0" data-original-height="238" data-original-width="241" height="316" src="https://2.bp.blogspot.com/-dpgtWwNkGDg/WrOHpcG3flI/AAAAAAAA0yo/c28Fhie8hTsflQAYQAFhYcIKX-UXqCUGACLcBGAs/s320/Khnopff.jpg" width="320" /></a><br />
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<b><span style="font-size: large;">BEAUX-ARTS : BRUXELLES FIN DE SIÈCLE</span></b><br />
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Mariano Akerman<br />
Architecte | Peintre | Historien de l’art<br />
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<div style="text-align: justify;"><b>Symbole</b>. Étymologiquement le mot symbole est issu du grec ancien <i>symbolon</i>, qui dérive du verbe <i>symballesthaï</i>, signifiant « jeter ensemble » et « comparer ».<br />
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Giordano Bruno, <i>De vinculis in genere</i>, 1591 : « L’image fictive possède sa propre vérité ».<br />
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<b>Symbolisme</b>. Mouvement artistique d’origine littéraire. La poésie doit suggérer plutôt que décrire.<br />
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Mallarmé, Sur l’évolution littéraire, 1891 : « <i>Nommer</i> un objet c’est supprimer les trois quarts de la jouissance du poème qui est faite du bonheur de deviner peu à peu : le <i>suggérer</i>, voilà le rêve. […] C’est le parfait usage de ce mystère qui constitue le symbole : évoquer petit à petit un objet pour montrer un état d’âme, ou, inversement, choisir un objet, et en dégager un état d’âme par une série de déchiffrements. »<br />
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<a href="https://1.bp.blogspot.com/-6DmyP44m4uM/WrOPzc6C5WI/AAAAAAAA0y4/qy3crElpumkSTQrQSJBOLYK7uyX_U50HQCLcBGAs/s1600/Beaux_Arts.jpg" imageanchor="1"><img border="0" data-original-height="918" data-original-width="1600" height="230" src="https://1.bp.blogspot.com/-6DmyP44m4uM/WrOPzc6C5WI/AAAAAAAA0y4/qy3crElpumkSTQrQSJBOLYK7uyX_U50HQCLcBGAs/s400/Beaux_Arts.jpg" width="400" /></a><br />
<br />
<b>CRÉATEURS DE LA BELGIQUE</b><br />
Réalisme. Constantin Meunier, Charles Hermans<br />
Pointillisme. Emile Claus, Théo van Rysselberghe<br />
Symbolisme. Fernand Khnopff, Félicien Rops, James Ensor, Philippe Wolfers, Léon Spilliaert<br />
Art Nouveau. Víctor Horta, Henry van de Velde<br />
<br />
Soline de Lavelaye, <i><a href="https://anthropoesie.com/" target="_blank">Anthropoésie</a></i>, 2018 : « Je considère les choses silencieusement […] dans une expectative qui n’est pas nommée. » <br />
- Fragments de rencontres<br />
- Récits subjectifs dans le terrain<br />
- Laboratoire poétique du réel<br />
<br />
<b><i>Le créateur symboliste essai d’habiller l’image, l’être ou l’idée, d’une forme sensible pour nous les rendre appréhensibles, c’est-à-dire, pour nous rendre appréhensible leur essence.</i></b></div><br />
<br />
<blockquote>J<i>e vous ai apporté des bonbons<br />
Parce que les fleurs c'est périssable<br />
Puis les bonbons c'est tellement bon<br />
Bien que les fleurs soient plus présentables</i>.<br />
<br />
<br />
Jacques Brel, <i>Les Bonbons</i>, 1963</blockquote><br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="230" src="https://www.youtube.com/embed/PgYGt2-p3gA?rel=0&controls=0&showinfo=0" width="425"></iframe><br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="230" src="https://www.youtube.com/embed/lUgy-3raNd4?rel=0&controls=0&showinfo=0" width="425"></iframe><br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="230" src="https://www.youtube.com/embed/LWPl5hDjhoo?controls=0&showinfo=0" width="425"></iframe><br />
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<br />
<b>Rencontre avec les arts visuelles</b><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> par <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-30866951322181665802017-07-05T11:32:00.001-03:002018-06-19T05:57:13.623-03:00Tradition & Innovation in Belgian Art<br />
<a href="https://3.bp.blogspot.com/-uw89vl0wo4I/WVz4LP0UruI/AAAAAAAAz7A/x992WDaAem4lONsprTmL-RgaTTBdMnxawCLcBGAs/s1600/schenk_schwartz.jpg" imageanchor="1"><img border="0" data-original-height="482" data-original-width="425" src="https://3.bp.blogspot.com/-uw89vl0wo4I/WVz4LP0UruI/AAAAAAAAz7A/x992WDaAem4lONsprTmL-RgaTTBdMnxawCLcBGAs/s1600/schenk_schwartz.jpg" /></a><br />
<br />
"Tradition and Innovation in Belgian Art"<br />
A Lecture by Mariano Akerman<br />
<br />
Among the major achievements of Belgian artists are the development of the oil painting technique and the creation of a suggestive interplay between the concepts of reality and imagination in the visual arts. <br />
<br />
Art-historian Mariano Akerman explores a group of Belgian artworks, to reveal their aesthetic qualities and hidden meanings. He considers the artworks from original, thought-enlarging perspectives, and makes them accessible to everyone.<br />
<br />
Experienced and multi-prized, Akerman teaches Art History since 1981. He has given lectures on Belgian art in numerous educational institutions in Jerusalem, Manila, Buenos Aires, Karachi, Islamabad, Lahore, and Rio de Janeiro.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Jz8Nc59Ufq8/WVz7fpGuv3I/AAAAAAAAz7Q/zFyNOJ_a814qyJrwMTviBfagYIMiB_-ygCLcBGAs/s1600/tradition_innovation.jpg" imageanchor="1"><img border="0" data-original-height="768" data-original-width="1024" height="305" src="https://1.bp.blogspot.com/-Jz8Nc59Ufq8/WVz7fpGuv3I/AAAAAAAAz7Q/zFyNOJ_a814qyJrwMTviBfagYIMiB_-ygCLcBGAs/s400/tradition_innovation.jpg" width="400" /></a></div><br />
<span style="color: #20124d;">01.</span> <b>Masterpieces of Mimesis and Fantasy</b><br />
<span style="color: #20124d;">0</span>1. Jan van Eyck: Self Portrait, oil, 1433 <br />
<span style="color: #20124d;">0</span>2. Van Eyck: The Arnolfini Marriage, 1434<br />
<span style="color: #20124d;">0</span>3. Rogier de la Pasture: Portrait of Antoine de Bourgogne, c. 1460<br />
<span style="color: #20124d;">0</span>4. Robert Campin: Portrait of a Lady, c. 1435<br />
<span style="color: #20124d;">0</span>5. Hugo van der Goes: Portrait of a Man, c. 1475<br />
<span style="color: #20124d;">0</span>6. Joris Hoefnagel: Tulips, <i>Mira Calligraphiae Monumenta</i>, 1590<br />
<span style="color: #20124d;">0</span>7. Hoefnagel: A Fertility Spirit, from Mira Calligraphiae Monumenta<br />
<span style="color: #20124d;">0</span>8. Gérard David: Execution of the Corrupt Judge Sisamnes, 1498<br />
<span style="color: #20124d;">0</span>9. Petrus Christus—Pierre Christophe: The Bride (detail), 1449<br />
10. Quentin Metsys: The Grotesque Old Woman, 1513<br />
11. Comparison. Leonardo da Vinci: Testa Grottesca, sanguine<br />
12. Pieter Bruegel the Elder: Big Fish Eat Small Fish, 1556<br />
13. James Ensor: Skeletons fighting over a Pickled Herring, 1891<br />
14. René Magritte: The Flavor of Tears, 1946<br />
15. Christophe: The Bride and the Groom (detail), 1449<br />
16. Nicaise Roussel: Arabesque 10, from <i>De Grotesco</i>, 1623<br />
17. Schenk Schwartz: Portrait of a Young Man, 16th century<br />
18. René Magritte: The Natural Graces, 1964<br />
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To Celebrate Friendship and Cultural Diversity <br />
<a href="http://akermariano.blogspot.com/2017/03/art.html">Meeting the Visual Arts</a><br />
A Series of Art-Appreciation Lectures, by Mariano Akerman<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> de <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div><b><br />
Additional resources</b><br />
<br />
<a href="https://3.bp.blogspot.com/-I_6esk-lV4U/WV0S-LvyM3I/AAAAAAAAz9U/2YY0tzOqkdgSK6jo_08WTdB8Yv-MMsn6gCLcBGAs/s1600/leonardo.jpg" imageanchor="1"><img border="0" data-original-height="564" data-original-width="446" height="200" src="https://3.bp.blogspot.com/-I_6esk-lV4U/WV0S-LvyM3I/AAAAAAAAz9U/2YY0tzOqkdgSK6jo_08WTdB8Yv-MMsn6gCLcBGAs/s200/leonardo.jpg" width="158" /></a><br />
<a href="http://im-akermariano.blogspot.com/2017/07/books-grotesque.html">Grotesqueness À Gogo</a><br />
akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com2tag:blogger.com,1999:blog-19648683.post-46752370726497120272017-01-22T05:38:00.000-04:002019-03-30T07:30:35.576-03:00Meeting the Visual Arts<br />
A Cultural Program for Jerusalem and the Holy Land<br />
by <a href="https://en.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a><br />
January 2017 - May 2019<br />
<br />
<a href="https://3.bp.blogspot.com/-FIyAa29rFKE/WNIyi2HBF7I/AAAAAAAAzwI/Hm2LuARevbU-ewtPK1V_dxsiwt4en19gwCLcB/s1600/motivo.jpg" imageanchor="1"><img border="0" src="https://3.bp.blogspot.com/-FIyAa29rFKE/WNIyi2HBF7I/AAAAAAAAzwI/Hm2LuARevbU-ewtPK1V_dxsiwt4en19gwCLcB/s1600/motivo.jpg" /></a><br />
<br />
<h2>Tradition and Innovation</h2><div style="text-align: justify;">Developed in the Holy Land, the 2017-2019 cultural activities have been conceived as a collaborative educational program, being based on the interplay between the notions of heritage and inventiveness.<br />
The phenomenology of tradition and innovation is approached through a series of art lectures and activities that answer local educational needs and requests. <br />
Along the program, Mariano Akerman explores the similarities and differences between Mannerist and Baroque imagery in Catholic culture; the evolution of the Jewish experience with the arts along the ages; the difficulties and clichés that prevail in contemporary art; visual expressions he created himself since 1981 on; the surprising transformations of the Other in the paintings of Francis Bacon; a group of Belgian pictures where mimesis and fantasy seem to complement each other; Schapiro’s influential writings of 1953 reclaiming a social history of art, the influence of such concept on next generation, and its possible validity; the way our perception and understanding of an artwork changes with the time; Fin-de-siècle symbolism in French and Belgian pictures and artifacts; and a vivid recollection about the art of teaching while respecting the student’s right to take time as he/she learns. <br />
As a program, Meeting the Visual Arts entails discovering artworks as expressive interdisciplinary structures that succeed in opening the valves of feeling, reflection, and dialogue.</div><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> by <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div><br />
<h2>Meeting the Visual Arts</h2><span style="font-size: large;">מפגש עם האמנויות</span><br />
<br />
<br />
1<br />
<b>בארוק: אמנות קתולית בזמן הקונטרה-רפורמציה</b><br />
<span style="font-size: xx-small;"><i>Baroque: Catholic Art in Counter-Reformation Times</i></span><br />
Bar-Ilan University, Ramat Gan<br />
Department of History, Exodus Building, Room 65<br />
Sunday, 22 January 2017 – 2 pm<br />
<br />
<a href="https://2.bp.blogspot.com/-Wa17JePKktM/WNJ5mT0U5zI/AAAAAAAAzw4/U1ZjyG8GepEnTNJ-IXV8Dyc4vq0WsE1egCLcB/s1600/IMG_20170322_151258.png" imageanchor="1"><img border="0" height="341" src="https://2.bp.blogspot.com/-Wa17JePKktM/WNJ5mT0U5zI/AAAAAAAAzw4/U1ZjyG8GepEnTNJ-IXV8Dyc4vq0WsE1egCLcB/s320/IMG_20170322_151258.png" width="425" /></a><br />
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<a href="https://4.bp.blogspot.com/-4sHQGWHgGqE/WNJ5XSU2xCI/AAAAAAAAzw0/8SoRA4F0ng8Xk8N0hsi-BUOUtm177WpfwCLcB/s1600/FB_IMG_1490188172472.jpg" imageanchor="1"><img border="0" height="494" src="https://4.bp.blogspot.com/-4sHQGWHgGqE/WNJ5XSU2xCI/AAAAAAAAzw0/8SoRA4F0ng8Xk8N0hsi-BUOUtm177WpfwCLcB/s320/FB_IMG_1490188172472.jpg" width="425" /></a><br />
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2<br />
<b>החוויה היהודית באמנויות היפות</b><br />
<span style="font-size: xx-small;"><i>The Jewish Experience with the Visual Arts</i></span><br />
Ginot haYir, Mo'adon Ussishkin, Rehavia, Jerusalem<br />
Wednesday, 1 March 2017 – 10:30 am<br />
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<a href="https://1.bp.blogspot.com/-9EaU0wwcIOM/WNJ5_hk8ifI/AAAAAAAAzxA/HqA9kxY2yokCCYP335NQrF2HrXjLfo6JQCLcB/s1600/FB_IMG_1488301904674.jpg" imageanchor="1"><img border="0" height="325" src="https://1.bp.blogspot.com/-9EaU0wwcIOM/WNJ5_hk8ifI/AAAAAAAAzxA/HqA9kxY2yokCCYP335NQrF2HrXjLfo6JQCLcB/s320/FB_IMG_1488301904674.jpg" width="425" /></a><br />
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<a href="https://4.bp.blogspot.com/-xXwHZqv5FUY/WNJ5xxQhvqI/AAAAAAAAzw8/WZHHM10WRoUtwn6gBB5513dsOLxfUNrDgCLcB/s1600/FB_IMG_1490188028598.jpg" imageanchor="1"><img border="0" height="339" src="https://4.bp.blogspot.com/-xXwHZqv5FUY/WNJ5xxQhvqI/AAAAAAAAzw8/WZHHM10WRoUtwn6gBB5513dsOLxfUNrDgCLcB/s320/FB_IMG_1490188028598.jpg" width="425" /></a><br />
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<a href="https://1.bp.blogspot.com/-PaInQTUjSL8/WNJ6MSNkdoI/AAAAAAAAzxE/kdWRcz_AE8YqAzZmipXMBmApuJFmtnv8wCLcB/s1600/FB_IMG_1488444469370.jpg" imageanchor="1"><img border="0" height="290" src="https://1.bp.blogspot.com/-PaInQTUjSL8/WNJ6MSNkdoI/AAAAAAAAzxE/kdWRcz_AE8YqAzZmipXMBmApuJFmtnv8wCLcB/s320/FB_IMG_1488444469370.jpg" width="425" /></a><br />
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3<br />
<b>L'Art et Moi : Expression, Stratégie et Manipulation dans l'Art Contemporain</b><br />
Lycée Français de Jérusalem<br />
Tuesday, 7 March 2017 – 1:30 pm<br />
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<a href="https://4.bp.blogspot.com/-zrFu3kEUVEg/WNKD2kjZ4KI/AAAAAAAAzxk/5ki-bPN601cN09_tsvC9pMUchKdMrHTdQCLcB/s1600/artetmoi.jpg" imageanchor="1"><img border="0" src="https://4.bp.blogspot.com/-zrFu3kEUVEg/WNKD2kjZ4KI/AAAAAAAAzxk/5ki-bPN601cN09_tsvC9pMUchKdMrHTdQCLcB/s1600/artetmoi.jpg" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheTWvhY8tIHs51KCW4Vd39QACskJa8r98T2bi0b9nCPt9yKcPk_GGxxF4WfsKKXxUQpgayspEqGKeI9iFkk_Di_puKrJrgigcnOAkyuhd_o7_JCTujyBXc5QUExs2V4jlF9EIn/s1600/FB_IMG_1490187962706.jpg" imageanchor="1"><img border="0" height="589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheTWvhY8tIHs51KCW4Vd39QACskJa8r98T2bi0b9nCPt9yKcPk_GGxxF4WfsKKXxUQpgayspEqGKeI9iFkk_Di_puKrJrgigcnOAkyuhd_o7_JCTujyBXc5QUExs2V4jlF9EIn/s320/FB_IMG_1490187962706.jpg" width="425" /></a><br />
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<a href="https://2.bp.blogspot.com/-wujt3vHYCSY/WNJ627sbZwI/AAAAAAAAzxQ/GM4bpfGQ2IYa-Wpr4RX5Pmr77z-hSQH_gCLcB/s1600/IMG_20170307_194829.jpg" imageanchor="1"><img border="0" height="410" src="https://2.bp.blogspot.com/-wujt3vHYCSY/WNJ627sbZwI/AAAAAAAAzxQ/GM4bpfGQ2IYa-Wpr4RX5Pmr77z-hSQH_gCLcB/s320/IMG_20170307_194829.jpg" width="425" /></a><br />
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4<br />
<b>מסורת וחידוש: החוויה היהודית באמנויות היפות - מרקם הרוח</b><br />
<span style="font-size: xx-small;"><i>Tradition and Innovation - Texture of Spiritual</i></span><br />
Matnas Beit haKerem, Jerusalem<br />
Thursday, 25 May 2017 – 7 pm<br />
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<a href="https://2.bp.blogspot.com/-Xaj6IkXL8NQ/WRnBqCgBDOI/AAAAAAAAzz0/_dh1nXCbFgo3-RC2-3u56VxjML0N6XPCgCLcB/s1600/Textura_Espiritual.jpg" imageanchor="1"><img border="0" height="345" src="https://2.bp.blogspot.com/-Xaj6IkXL8NQ/WRnBqCgBDOI/AAAAAAAAzz0/_dh1nXCbFgo3-RC2-3u56VxjML0N6XPCgCLcB/s320/Textura_Espiritual.jpg" width="425" /></a><br />
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<a href="https://3.bp.blogspot.com/-hkIpykoW9uc/WNKUQ82y1eI/AAAAAAAAzx0/R9aWjvsHQkwCOkeXUa0vpCHm40EghnXfACLcB/s1600/1992%2Bcity%2Bof%2Bthe%2Blord.jpg" imageanchor="1"><img border="0" height="600" src="https://3.bp.blogspot.com/-hkIpykoW9uc/WNKUQ82y1eI/AAAAAAAAzx0/R9aWjvsHQkwCOkeXUa0vpCHm40EghnXfACLcB/s640/1992%2Bcity%2Bof%2Bthe%2Blord.jpg" width="425" /></a><br />
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<div style="text-align: justify;">Ahuva ben Horin, "Masoret VeChidush," Jerusalem: Beit Hakerem Community Center, 25 May 2017.</div><br />
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5<br />
<b>גילגולי האחר במשחק האמנותי של פראנסיס בייקון: להיות ולא להיות</b><br />
<span style="font-size: xx-small;"><i>Metamorphoses of the Other in the Artistic Game of Francis Bacon: To Be and Not To Be</i></span><br />
Department of the History of Art, University of Haifa<br />
Monday, 12 June 2017 – 11:45 am <br />
<br />
<a href="https://2.bp.blogspot.com/-dHqcnNzHnPQ/WNKSFvKd98I/AAAAAAAAzxs/_enPQ77AbpYvfd3LcfL0q7s7TB2H8fXlwCLcB/s1600/lfm71.jpg" imageanchor="1"><img border="0" height="556" src="https://2.bp.blogspot.com/-dHqcnNzHnPQ/WNKSFvKd98I/AAAAAAAAzxs/_enPQ77AbpYvfd3LcfL0q7s7TB2H8fXlwCLcB/s400/lfm71.jpg" width="425" /></a><br />
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<div style="text-align: right;">אמנותו של פראנסיס בייקון הינה מיסתורית ומסקרנת. בציוריו של בייקון יש לאחר תפקיד מרכזי: הוא מופיע בהם כיצור מסוכן, אך גם מושך. זהותו של האחר אצל בייקון אינה תמיד ברורה ולעיתים האחר עובר גילגולים של ממש. לפי בייקון כל האמנות של ימינו הפכה למשחק ולכן מותר לו ליצור משחקים שונים ומשונים בין האחר הקיים לבין האחר המדומיין. הגרוטסקה הינה קטגוריה אסתטית באמנות וכל המאפיינים שלה כלולים בצורה זו או אחרת במשחקו האמנותי של הצייר הבריטי<br />
נוכחותו של החריג -<br />
המתח של המוכר שהופך למוזר -<br />
ערבוב של מושגים מנוגדים -<br />
המעוות, המוגזם, המגוחך -<br />
כוונות מעורפלות -<br />
אלוזיות למפלצתי ולחסר אנושיות -<br />
במילים אחרות, הרמזים הדו-משמעיים שבמשחקו האמנותי של בייקון מעוררים בצופה מחשבות מגוונות, כך שקשה לצופה להחליט איפה הגבול בין האחר המציאותי לבין האחר המדומייון. "להיות ולא להיות" היא סוגיה חשובה במשחקו של בייקון, אשר מושך ומבלבל את הצופה דרך ביטוים בלתי-צפויים, כגון "אני מצייר את ההתלהבות המיואשת שלי" או "הנה אתה ,(יצור) הקיים (רק) לרגע (כי תיכף אתה תמות). אז, בתוך המשחק האמנותי משלו, בייקון משחק את ליצן החצר ,וכפי שתיאר אותו לוסיאן פרויד, "בייקון הוא החכם ביותר והפרוע ביותר". גם בדימוים החזותיים שלו, בייקון הוא אמן פרובוקטיבי מאוד. הוא אוהב סיטואציות שיוצאות מגדר הרגיל ומשתמש בגרוטסקה כפרדוקס המתאים ביותר לתפקידו כליצן מצחיק-ומפחיד</div><br />
<div style="text-align: justify;">Abstract to "Gilgulei Heacher Bamischak Haomanuti shel Francis Bacon," in: Emma Fanner Maayan, "Mifgashim im Heacher: Hamuflah, Hamesakren ve-Hamesukan," Haifa: University of Haifa, 12 June 2017, fol. 4v.</div><br />
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6<br />
<b>Tradition and Innovation in Belgian Art: Masterpieces of Mimesis and Fantasy</b><br />
The Consulate General of Belgium<br />
Thursday, 13 July 2017 – 8 pm<br />
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<a href="https://3.bp.blogspot.com/-uw89vl0wo4I/WVz4LP0UruI/AAAAAAAAz7A/x992WDaAem4lONsprTmL-RgaTTBdMnxawCLcBGAs/s1600/schenk_schwartz.jpg" imageanchor="1"><img border="0" data-original-height="482" data-original-width="425" src="https://3.bp.blogspot.com/-uw89vl0wo4I/WVz4LP0UruI/AAAAAAAAz7A/x992WDaAem4lONsprTmL-RgaTTBdMnxawCLcBGAs/s1600/schenk_schwartz.jpg" /></a><br />
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<div style="text-align: justify;">Among the major achievements of Belgian artists are the development of the oil painting technique and the creation of a suggestive interplay between the concepts of reality and imagination in the visual arts. <br />
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Art-historian Mariano Akerman explores a group of Belgian artworks, to reveal their aesthetic qualities and hidden meanings. He considers the artworks from original, thought-enlarging perspectives, and makes them accessible to everyone.<br />
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Experienced and multi-prized, Akerman teaches Art History since 1981. He has given lectures on Belgian art in numerous educational institutions in Jerusalem, Manila, Buenos Aires, Karachi, Islamabad, Lahore, and Rio de Janeiro.</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-FuIil0uHJpk/WV0M92BQBVI/AAAAAAAAz9A/yEKA_QJXk9Acpx0U2AaSaTC0KdEc0qdpQCLcBGAs/s1600/belgian_art.jpg" imageanchor="1"><img border="0" data-original-height="768" data-original-width="1024" height="300" src="https://1.bp.blogspot.com/-FuIil0uHJpk/WV0M92BQBVI/AAAAAAAAz9A/yEKA_QJXk9Acpx0U2AaSaTC0KdEc0qdpQCLcBGAs/s400/belgian_art.jpg" width="400" /></a></div><br />
<div style="text-align: justify;">Jerusalem, The Consulate General of Belgium, <i>Tradition and Innovation in Belgian Art: Masterpieces of Mimesis and Fantasy</i>, 5 July 2017.</div><br />
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7<br />
<b>Schapiro, <i>Style</i>, 1953</b><br />
Art History Department, The University of Jerusalem<br />
Wednesday, 13 December 2017 – 1 pm<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-gmgaGrtWdbc/Wj48qGZ4WOI/AAAAAAAA0lY/i2z45ybWZjEz8dQ30QLjYNnSa3kN0P-kgCLcBGAs/s1600/style.jpg" imageanchor="1"><img border="0" data-original-height="737" data-original-width="960" height="307" src="https://3.bp.blogspot.com/-gmgaGrtWdbc/Wj48qGZ4WOI/AAAAAAAA0lY/i2z45ybWZjEz8dQ30QLjYNnSa3kN0P-kgCLcBGAs/s400/style.jpg" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ntbHRE9COSA/Wj452GlNxdI/AAAAAAAA0lM/vtzLmgxrKX4KFQazgpe-CrISbFvw0ZwigCLcBGAs/s1600/tenniers.jpg" imageanchor="1"><img border="0" data-original-height="679" data-original-width="960" height="283" src="https://1.bp.blogspot.com/-ntbHRE9COSA/Wj452GlNxdI/AAAAAAAA0lM/vtzLmgxrKX4KFQazgpe-CrISbFvw0ZwigCLcBGAs/s400/tenniers.jpg" width="400" /></a></div><br />
Schapiro's influence to the modern approach to art history cannot be understated. Thomas Crow describes Schapiro as the quintessential outsider writing art history. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-zasvyA7uYI4/Wj44kAziBWI/AAAAAAAA0lA/brgvwXY9ZCsbIDZZuiF-bUnPfhWHShGZwCLcBGAs/s1600/schapiro.jpg" imageanchor="1"><img border="0" data-original-height="719" data-original-width="960" height="300" src="https://1.bp.blogspot.com/-zasvyA7uYI4/Wj44kAziBWI/AAAAAAAA0lA/brgvwXY9ZCsbIDZZuiF-bUnPfhWHShGZwCLcBGAs/s400/schapiro.jpg" width="400" /></a></div><br />
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8<br />
<b>Entre ciel et terre : un voyage à travers l'art français</b><br />
Institut Français Romain Gary, Jérusalem<br />
Tuesday, 27 March 2018 – 6:30 pm<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-5RFd-c0syDA/WowcMShHn6I/AAAAAAAA0p4/vBdYv8CJ-EIMw2RiBDr1SpGx-EYJbWUNgCLcBGAs/s1600/Romain_Gary.jpg" imageanchor="1"><img border="0" data-original-height="960" data-original-width="957" height="400" src="https://4.bp.blogspot.com/-5RFd-c0syDA/WowcMShHn6I/AAAAAAAA0p4/vBdYv8CJ-EIMw2RiBDr1SpGx-EYJbWUNgCLcBGAs/s400/Romain_Gary.jpg" width="399" /></a></div><br />
<div style="text-align: justify;">« Il doit y avoir toujours énigme en poésie, et c'est le but de la littérature - il n'y en a pas d'autres - d'évoquer les objets » (Stéphane Mallarmé, <a href="http://fdnet.perso.infonie.fr/divagations/entretien.htm">enquête</a> par Jules Huret menée pour l'<i>Echo de Paris</i>, parait en 1891; <a href="https://fr.wikisource.org/wiki/La_Po%C3%A9sie_de_St%C3%A9phane_Mallarm%C3%A9/Livre_I/XII">Thibaudet</a>).</div><br />
<a href="https://1.bp.blogspot.com/-K8_4s_nLNlw/Wr5zrZ8OY-I/AAAAAAAA05k/rXlPMGIFfGUk9GsQaN5VMvIpz-fH-gbqwCLcBGAs/s1600/Gary.jpg" imageanchor="1"><img border="0" data-original-height="181" data-original-width="960" height="75" src="https://1.bp.blogspot.com/-K8_4s_nLNlw/Wr5zrZ8OY-I/AAAAAAAA05k/rXlPMGIFfGUk9GsQaN5VMvIpz-fH-gbqwCLcBGAs/s400/Gary.jpg" width="400" /></a><br />
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9<br />
<b>Beaux-Arts : Bruxelles Fin de Siècle</b><br />
Résidence de Belgique à Jérusalem<br />
Wednesday, 28 March 2018 – 6:30 pm<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_hyKERptAIKAQCjvE2Qg6bcuJgv2Ol40CuI8bO5GscrcVEFbmHgZisAyhcMZWRhu9aBiy8jaVeL0t-CNCuPdrKYmB_5tXqACsEISypDeMaqULpCssXKDzvOqK2ASEMPBLbkRn/s1600/Beaux_Arts.jpg" imageanchor="1"><img border="0" data-original-height="918" data-original-width="1600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_hyKERptAIKAQCjvE2Qg6bcuJgv2Ol40CuI8bO5GscrcVEFbmHgZisAyhcMZWRhu9aBiy8jaVeL0t-CNCuPdrKYmB_5tXqACsEISypDeMaqULpCssXKDzvOqK2ASEMPBLbkRn/s400/Beaux_Arts.jpg" width="400" /></a></div><br />
<div style="text-align: justify;"><i>Le créateur symboliste essai d’habiller l’image, l’être ou l’idée, d’une forme sensible pour nous les rendre appréhensibles, c’est-à-dire, pour nous rendre appréhensible leur essence.</i></div><br />
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10<br />
<b>Entre ciel et terre : un voyage à travers l'art français</b><br />
Centre Culturel Français Chateaubriand, Jérusalem<br />
Thursday, 29 March 2018 – 7 pm<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-BGwnAb-ZKaM/WowcCbFaRZI/AAAAAAAA0pw/ZiadhGzUoW4wSBwFPMs-K-8fB_Y-dVCFgCLcBGAs/s1600/Chateaubriand.jpg" imageanchor="1"><img border="0" data-original-height="958" data-original-width="960" height="399" src="https://3.bp.blogspot.com/-BGwnAb-ZKaM/WowcCbFaRZI/AAAAAAAA0pw/ZiadhGzUoW4wSBwFPMs-K-8fB_Y-dVCFgCLcBGAs/s400/Chateaubriand.jpg" width="400" /></a></div><br />
<div style="text-align: justify;">« <i>Nommer</i> un objet, c'est supprimer les trois quarts de la jouissance du poème qui est faite de deviner peu à peu : le suggérer, voilà le rêve. C'est le parfait usage de ce mystère qui constitue le symbole : évoquer petit à petit un objet pour montrer un état d'âme, ou, inversement, choisir un objet et en dégager un état d'âme, par une série de déchiffrements. [...] La poésie consistant à créer, il faut prendre dans l'âme humaine des états [...] bien chantés et bien mis en lumière, cela constitue en effet les joyaux de l'homme : là, il y a symbole, il y a création, et le mot poésie a ici son sens » (Mallarmé, <a href="http://fdnet.perso.infonie.fr/divagations/entretien.htm">enquête</a>, 1891; <a href="https://fr.wikisource.org/wiki/La_Po%C3%A9sie_de_St%C3%A9phane_Mallarm%C3%A9/Livre_I/XII">Thibaudet</a>).</div><br />
<a href="https://2.bp.blogspot.com/-3-Ks5BzMZks/Wr5y3aIhmBI/AAAAAAAA05c/9vkoQi9Qn04vMGHXFMZXs8aIKm7n6U8CgCLcBGAs/s1600/Chateaubriand.jpg" imageanchor="1"><img border="0" data-original-height="952" data-original-width="960" height="397" src="https://2.bp.blogspot.com/-3-Ks5BzMZks/Wr5y3aIhmBI/AAAAAAAA05c/9vkoQi9Qn04vMGHXFMZXs8aIKm7n6U8CgCLcBGAs/s400/Chateaubriand.jpg" width="400" /></a><br />
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11<br />
<b>Jadis et aujourd’hui : art et identité dans le pays du lait et du miel</b><br />
<i>À la Page, Revue Culturelle de Langue Française</i> <br />
Monday, 15 March 2018 – 7 pm<br />
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<iframe allowfullscreen="" frameborder="0" height="630" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/bQHaH6kUqSnmsm" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="668"> </iframe> <br />
<div style="margin-bottom: 5px;"><strong> <a href="https://www.slideshare.net/akermariano/jadis-et-aujourdhui-91873642" target="_blank" title="Jadis et aujourd'hui">Jadis et aujourd'hui</a> </strong> by <strong><a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a></strong> </div><br />
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12<br />
<b>בני תערובת עם "דם מוכתם": ציור הקסטות כמבנה משמעותי</b><br />
<i><span style="font-size: xx-small;">Hijos de mezcla con "sangre manchada": la pintura de castas como estructura significativa</span></i><br />
Bar-Ilan University, Ramat Gan<br />
Department of History, Building 505, Room 106<br />
Tuesday, 8 May 2018 – 4 pm<br />
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<a href="https://2.bp.blogspot.com/-lsc13flxlUQ/Wu2gAOT0flI/AAAAAAAA09g/S8p7kt2ImqMaH8GX3Oql_iX75bnJUmtVACLcBGAs/s1600/mezcla_y_sangre_manchada.jpg" imageanchor="1"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://2.bp.blogspot.com/-lsc13flxlUQ/Wu2gAOT0flI/AAAAAAAA09g/S8p7kt2ImqMaH8GX3Oql_iX75bnJUmtVACLcBGAs/s400/mezcla_y_sangre_manchada.jpg" width="400" /></a><br />
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<div style="text-align: justify;">La conferencia explora el vasto abanico sociocultural novohispano del siglo XVIII a través del género de la <a href="http://akermariano.blogspot.com/2018/05/pintura-de-castas.html" target="_blank">Pintura de castas</a>, ejecutada dentro del marco del arte colonial hispanoamericano, donde funcionaba como conjunto ilustrativo, evocando a su vez el legado clasificatorio y taxonómico de <a href="http://hola-akermariano.blogspot.com/2013/12/linneo.html" target="_blank">Linneo</a> (desarrollado en el Viejo Continente durante las primeras décadas del Siglo de las Luces). Con todo, las pinturas de castas funcionaban su vez como un canto al exotismo americano y como un autocomplaciente agente ideológico en manos de la élite virreinal en tiempos de la colonia: útil para reivindicar la jerarquía basada en una supuesta "limpieza de sangre", así como sus privilegios y diversos prejuicios que caracterizaron al Antiguo Régimen.<br />
Partiendo de imágenes visuales e inscripciones dieciochescas, este trabajo analiza la naturaleza asombrosa, exuberante, confusa, parcial y contradictoria del antiguo sistema de castas colonial. Mas abordados son también sus aspectos positivos e inesperadas peculiaridades. Se intentan determinar entonces las especificidades de la pintura de castas y su importancia como fenómeno singular y sobresaliente de la cultura hispanoamericana.</div><br />
<a href="https://2.bp.blogspot.com/-7wY8oOdpKRo/WvIKSlTiogI/AAAAAAAA0-E/yweqw1XGq6EzjvaUiJtOEsCDGzRRAUKvACLcBGAs/s1600/jacarandas.jpg" imageanchor="1"><img border="0" data-original-height="959" data-original-width="960" height="400" src="https://2.bp.blogspot.com/-7wY8oOdpKRo/WvIKSlTiogI/AAAAAAAA0-E/yweqw1XGq6EzjvaUiJtOEsCDGzRRAUKvACLcBGAs/s400/jacarandas.jpg" width="400" /></a><br />
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<a href="https://3.bp.blogspot.com/-CFZPMYllWlQ/WvIJRjTzWHI/AAAAAAAA098/GJ4dthXzx7AYwE004tSZkNr13l70pTZlQCLcBGAs/s1600/Pintura_de_castas.jpg" imageanchor="1"><img border="0" data-original-height="768" data-original-width="1366" height="225" src="https://3.bp.blogspot.com/-CFZPMYllWlQ/WvIJRjTzWHI/AAAAAAAA098/GJ4dthXzx7AYwE004tSZkNr13l70pTZlQCLcBGAs/s400/Pintura_de_castas.jpg" width="400" /></a><br />
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13 Hurva<br />
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14 <br />
<b>Patrimonio Histórico Argentino<br />
Templo Libertad: arquitectura, historia e identidad</b><br />
Universidad de Belgrano<br />
Torre Universitaria, Auditorio Presidente Urquiza<br />
Thursday, 14 March 2019 – 10:30 am <br />
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<a href="https://2.bp.blogspot.com/-pVDNwy9zrGw/XJ8wBX8o78I/AAAAAAAA7oQ/yItpOlZOFPARUWiEcd-vkp-wUhZ944TTwCLcBGAs/s1600/TL_UB_ARQ.jpg" imageanchor="1"><img border="0" data-original-height="960" data-original-width="656" height="400" src="https://2.bp.blogspot.com/-pVDNwy9zrGw/XJ8wBX8o78I/AAAAAAAA7oQ/yItpOlZOFPARUWiEcd-vkp-wUhZ944TTwCLcBGAs/s400/TL_UB_ARQ.jpg" width="273" /></a><br />
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<div style="text-align: justify;">TEMPLO LIBERTAD: ARQUITECTURA, HISTORIA E IDENTIDAD. Sito en el centro de la Ciudad Autónoma de Buenos Aires, el Templo de la Congregación Israelita de la República Argentina, conocido localmente como “Templo Libertad,” ha sido declarado Monumento Histórico Nacional en diciembre de 2000 por decreto oficial N°1296. Tarjetas postales y guías para viajeros describen al Templo Libertad como un atractivo turístico singular. Marcos Vanzini lo ve como una singularidad urbana: “La semilla de una comunidad que floreció en una plaza.” Daniel Kripper lo aborda desde un inesperado ángulo místico-constructivo. Simón Moguilevsky suele rememorar los sucesos históricos que lo conciernen dentro del marco de su exclusivo “Torá-Tour.” Sara Vaisman recurre al Templo Libertad para analizar su tipología en un estudio comparativo de las sinagogas de Buenos Aires. Indudablemente el Templo Libertad es percibido como un edificio curioso y enigmático, pero ¿qué hace que el mismo sea una pieza de singular valor dentro de nuestro acervo cultural?</div><br />
<a href="https://4.bp.blogspot.com/-6GY79MX1HPk/XJ85fh6p3BI/AAAAAAAA7oo/zLBbVJcDGLA5fzDFl71O8Dora0YV5vZzQCLcBGAs/s1600/UB.jpg" imageanchor="1"><img border="0" data-original-height="579" data-original-width="832" height="278" src="https://4.bp.blogspot.com/-6GY79MX1HPk/XJ85fh6p3BI/AAAAAAAA7oo/zLBbVJcDGLA5fzDFl71O8Dora0YV5vZzQCLcBGAs/s400/UB.jpg" width="400" /></a><br />
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<a href="https://3.bp.blogspot.com/-Iu0uukHpRUg/XJ9CgKf4K6I/AAAAAAAA7ps/BmW2_OyR8YAFIfeq2cKXf4dBTFA5i9IcQCLcBGAs/s1600/TL_Acceso.jpg" imageanchor="1"><img border="0" data-original-height="710" data-original-width="960" height="296" src="https://3.bp.blogspot.com/-Iu0uukHpRUg/XJ9CgKf4K6I/AAAAAAAA7ps/BmW2_OyR8YAFIfeq2cKXf4dBTFA5i9IcQCLcBGAs/s400/TL_Acceso.jpg" width="400" /></a><br />
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15 <br />
<b>Templo Libertad: arquitectura, historia e identidad</b><br />
Sociedad Hebraica Argentina<br />
Sarmiento 2233, Auditorio Biblioteca<br />
Tuesday, 19 March 2019 – 6 pm<br />
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<a href="https://3.bp.blogspot.com/-kJzXihnVtII/XJ86iWucHKI/AAAAAAAA7ow/s5dDkQ3BlYMrFr-uspKZFIkfVXfOzPrHgCLcBGAs/s1600/TL_SHA.jpg" imageanchor="1"><img border="0" data-original-height="817" data-original-width="960" height="340" src="https://3.bp.blogspot.com/-kJzXihnVtII/XJ86iWucHKI/AAAAAAAA7ow/s5dDkQ3BlYMrFr-uspKZFIkfVXfOzPrHgCLcBGAs/s400/TL_SHA.jpg" width="400" /></a><br />
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<a href="https://1.bp.blogspot.com/-pS_t_g21XVY/XJ9CmWBw4OI/AAAAAAAA7pw/E6QBUKskEQ8X3h8wziuQuk-VqcGSogbHQCLcBGAs/s1600/TL_Perspectiva.jpg" imageanchor="1"><img border="0" data-original-height="500" data-original-width="960" height="208" src="https://1.bp.blogspot.com/-pS_t_g21XVY/XJ9CmWBw4OI/AAAAAAAA7pw/E6QBUKskEQ8X3h8wziuQuk-VqcGSogbHQCLcBGAs/s400/TL_Perspectiva.jpg" width="400" /></a><br />
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<a href="https://1.bp.blogspot.com/--0nClQeYadk/XJ89AtTaqgI/AAAAAAAA7o8/pmPJqD02o0AOeE0ieCKVfDpLtESySNZDgCLcBGAs/s1600/SHA.jpg" imageanchor="1"><img border="0" data-original-height="367" data-original-width="960" height="153" src="https://1.bp.blogspot.com/--0nClQeYadk/XJ89AtTaqgI/AAAAAAAA7o8/pmPJqD02o0AOeE0ieCKVfDpLtESySNZDgCLcBGAs/s400/SHA.jpg" width="400" /></a><br />
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16 <br />
<b>Templo Libertad: su historia y arquitectura, 1860-1932</b><br />
Congregación Israelita de la República Argentina, Libertad 785 <br />
Thursday, 21 March 2019 – 7 pm<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliLclMEbrLISdDfaP_wRjboej3z7eLxuRWdn2i3vIXbiifKqAu7UPiagFo0h00KXU2ojvxCaTa6XKbSY0iBk-iZSD9GBwGA785HdUpqgx24Q2WiXYjA0PWS7gQpZgXgpWnO9W/s1600/TL_Screen.jpg" imageanchor="1"><img border="0" data-original-height="536" data-original-width="960" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliLclMEbrLISdDfaP_wRjboej3z7eLxuRWdn2i3vIXbiifKqAu7UPiagFo0h00KXU2ojvxCaTa6XKbSY0iBk-iZSD9GBwGA785HdUpqgx24Q2WiXYjA0PWS7gQpZgXgpWnO9W/s400/TL_Screen.jpg" width="400" /></a><br />
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<a href="https://1.bp.blogspot.com/-MJG67z7OQF8/XJ8_tDtz9EI/AAAAAAAA7pY/Z21YWQDyGLEbCnHml_bXi43NU8i-PjSyQCLcBGAs/s1600/Templo_Libertad.jpg" imageanchor="1"><img border="0" data-original-height="958" data-original-width="960" height="399" src="https://1.bp.blogspot.com/-MJG67z7OQF8/XJ8_tDtz9EI/AAAAAAAA7pY/Z21YWQDyGLEbCnHml_bXi43NU8i-PjSyQCLcBGAs/s400/Templo_Libertad.jpg" width="400" /></a><br />
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<a href="https://1.bp.blogspot.com/-cLL9TBQ5Krw/XJ8-KvS0q8I/AAAAAAAA7pE/v3mZXbkTqIggX9aZfdY3yOTyD0A8hzZfACLcBGAs/s1600/TL.jpg" imageanchor="1"><img border="0" data-original-height="959" data-original-width="960" height="400" src="https://1.bp.blogspot.com/-cLL9TBQ5Krw/XJ8-KvS0q8I/AAAAAAAA7pE/v3mZXbkTqIggX9aZfdY3yOTyD0A8hzZfACLcBGAs/s400/TL.jpg" width="400" /></a><br />
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<a href="https://2.bp.blogspot.com/-Wex50LBOwPo/XJ9EHAIn23I/AAAAAAAA7qE/tsT1oL9G4lUmyJM-BXy0MOlr7j7B3YOoACLcBGAs/s1600/Medaillon.jpg" imageanchor="1"><img border="0" data-original-height="568" data-original-width="594" height="382" src="https://2.bp.blogspot.com/-Wex50LBOwPo/XJ9EHAIn23I/AAAAAAAA7qE/tsT1oL9G4lUmyJM-BXy0MOlr7j7B3YOoACLcBGAs/s400/Medaillon.jpg" width="400" /></a><br />
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17 <br />
<b>L'art figuratif en Belgique: entre rêve et réalité</b><br />
Résidence de Belgique à Jérusalem<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLComxucxgO-GcQLY0INPQrSf2Uoq5dLZfu5W74BPb6vWxBFCi5sgICS6TPxx5CcEHlC64aBZiejcjMqT2wHX8vMoi8Aw0BZ-K1r8AaR0b-MnFFt3PaBNWCyJhXW8YpOcxkJS/s1600/Art_figuratif+PNG.png" imageanchor="1"><img border="0" data-original-height="764" data-original-width="1019" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLComxucxgO-GcQLY0INPQrSf2Uoq5dLZfu5W74BPb6vWxBFCi5sgICS6TPxx5CcEHlC64aBZiejcjMqT2wHX8vMoi8Aw0BZ-K1r8AaR0b-MnFFt3PaBNWCyJhXW8YpOcxkJS/s400/Art_figuratif+PNG.png" width="400" /></a><br />
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<b>Program Brochure</b><br />
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<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/1CFNEEWYP5XgUh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/meeting-the-visual-arts" target="_blank" title="Meeting the Visual Arts">Meeting the Visual Arts</a> by <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div><br />
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<b>References</b><br />
<div style="text-align: justify;">1. Ahuva ben Horin, "Masoret VeChidush," Jerusalem: Beit Hakerem Community Center, 25 May 2017.<br />
2. Abstract to "Gilgulei Heacher Bamischak Haomanuti shel Francis Bacon," in: Emma Fanner Maayan, "Mifgashim im Heacher: Hamuflah, Hamesakren ve-Hamesukan," Haifa: University of Haifa, 12 June 2017, fol. 4v.<br />
3. Jerusalem, The Consulate General of Belgium, <i>Tradition and Innovation in Belgian Art: Masterpieces of Mimesis and Fantasy</i>, 5 July 2017.<br />
"Mariano Akerman: Entre ciel et terre, voyage à travers l'art français", <i>Institut français de Jérusalem Romain Gary</i>, March 2018 (<a href="https://web.archive.org/web/20180325084935/http://ifjerusalem-romaingary.org/27032018-rdv-mediatheque-mariano-akerman/">WB</a>).<br />
4. "Mars 2018, moins de la francophonie: Conférence Beaux-Arts: Bruxelles fin de siècle par Luis Mariano Akerman", <i>Institut français de Jérusalem</i>, March 2018 (<a href="https://web.archive.org/web/20180325085043/https://www.institutfrancais-jerusalem.org/blog/2018/03/02/mois-de-francophonie/">WB</a>).<br />
5. "Mars 2018, moins de la francophonie: Conférence Entre ciel et terre, voyage à travers l'art français par Luis Mariano Akerman", <i>Institut français de Jérusalem Chateaubriand</i>, March 2018 (<a href="https://web.archive.org/web/20180325085043/https://www.institutfrancais-jerusalem.org/blog/2018/03/02/mois-de-francophonie/">WB</a>).<br />
6. "Conférence de Mariano Akerman: Entre ciel et terre, voyage à travers l'art français", <i>Institut français de Jérusalem Chateaubriand: Open Agenda</i>, 12 March 2018 (<a href="https://web.archive.org/web/20180325085149/https://openagenda.com/ifj-chateaubriand/events/conference-de-mariano-akerman">WB</a>).<br />
7. Katty-Clara Bisraor Ayache, "<i>À la page</i> fête sa naissance", <i>En direct de Jérusalem</i>, 29 April 2018.</div><br />
<a href="https://2.bp.blogspot.com/-XiX_Xt6JBlE/Wrdr_KyHrEI/AAAAAAAA03A/HFD87RMIBCAbMC7qB14ArakirQ-ePIzRQCLcBGAs/s1600/IFRG.jpg" imageanchor="1"><img border="0" data-original-height="768" data-original-width="449" height="400" src="https://2.bp.blogspot.com/-XiX_Xt6JBlE/Wrdr_KyHrEI/AAAAAAAA03A/HFD87RMIBCAbMC7qB14ArakirQ-ePIzRQCLcBGAs/s400/IFRG.jpg" width="234" /></a><br />
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<a href="https://1.bp.blogspot.com/-ca8NCEJKnsE/WrdsEtO7RcI/AAAAAAAA03E/olfkVUO4-Ck5tNl5_RaR5p8MSVnzEz_jQCLcBGAs/s1600/IFCH.jpg" imageanchor="1"><img border="0" data-original-height="762" data-original-width="649" height="400" src="https://1.bp.blogspot.com/-ca8NCEJKnsE/WrdsEtO7RcI/AAAAAAAA03E/olfkVUO4-Ck5tNl5_RaR5p8MSVnzEz_jQCLcBGAs/s400/IFCH.jpg" width="341" /></a><br />
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<a href="https://2.bp.blogspot.com/-9azE2FSKnPo/WNI-MkW9-mI/AAAAAAAAzwY/1l8IH7WCs6Udhsu6aA0nTS5FfpVwhDM-QCLcB/s1600/motivo_inicial.jpg" imageanchor="1"><img border="0" height="130" src="https://2.bp.blogspot.com/-9azE2FSKnPo/WNI-MkW9-mI/AAAAAAAAzwY/1l8IH7WCs6Udhsu6aA0nTS5FfpVwhDM-QCLcB/s200/motivo_inicial.jpg" width="130" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sCqwCrJNUeXUNT62jWZrSha2hCXwmpnsoFI1xq0cXTkMxrsQo_9FFHecHtcLCpvyFXHYeySMbrSW5T8QM-VkbpNr0FLHDZhNgfWYK0wytz6dlCLhxQzJIca1tRR00xWvXFMu/s1600/alma_pic.jpg" imageanchor="1"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sCqwCrJNUeXUNT62jWZrSha2hCXwmpnsoFI1xq0cXTkMxrsQo_9FFHecHtcLCpvyFXHYeySMbrSW5T8QM-VkbpNr0FLHDZhNgfWYK0wytz6dlCLhxQzJIca1tRR00xWvXFMu/s200/alma_pic.jpg" width="130" /></a> <a href="https://3.bp.blogspot.com/-FIyAa29rFKE/WNIyi2HBF7I/AAAAAAAAzwI/Hm2LuARevbU-ewtPK1V_dxsiwt4en19gwCLcB/s1600/motivo.jpg" imageanchor="1"><img border="0" height="130" src="https://3.bp.blogspot.com/-FIyAa29rFKE/WNIyi2HBF7I/AAAAAAAAzwI/Hm2LuARevbU-ewtPK1V_dxsiwt4en19gwCLcB/s200/motivo.jpg" width="130" /></a><br />
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<div style="text-align: right;"><span style="font-size: medium;">עמוק מאז</span></div><br />
<a href="https://2.bp.blogspot.com/-V9JNm5bN7RM/WNKTklYAWfI/AAAAAAAAzxw/9ReMMRmf10YAn0oFNcYq8maRqHmRzPljgCLcB/s1600/1989.jpg" imageanchor="1"><img border="0" height="679" src="https://2.bp.blogspot.com/-V9JNm5bN7RM/WNKTklYAWfI/AAAAAAAAzxw/9ReMMRmf10YAn0oFNcYq8maRqHmRzPljgCLcB/s640/1989.jpg" width="425" /></a><br />
<br />
<b>Mariano Akerman</b><br />
<div style="text-align: justify;">Born in Buenos Aires in 1963, Mariano Akerman is a painter, architect and art historian. Working as a researcher and a lecturer, Akerman also develops educational activities that encourage free expression and communitarian involvement while considering the specificities and cultural background of the participants.<br />
Akerman studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his formation with a prized graduation project on modern architecture boundaries and space (1987). Abroad from 1991 onwards, he received a British Council Grant to research the artwork of Francis Bacon at Marlborough Fine Art and the Tate Gallery in London. Akerman is author of <i>The Grotesque in Francis Bacon’s Paintings</i> (1999) and "Bacon, Painter with a Double-Edged Sword" (2012).<br />
In Asia, Mariano Akerman developed the educational series of conferences The Belgian Contribution to the Visual Arts (2005), In the Spirit of Linnaeus (2007), Discovering Belgian Art (2008-9), Raisons d’être: Art, Freedom and Modernity (2010), German Art (2010), and The Gestalt Educational Program (2011).<br />
In the American continent, the series of lectures Art and Identity (2013) includes a conference devoted to Bacon's idiosyncratic imagery—"To be and not to be."<br />
Specializing in Visual Communication, Akerman lectures on modern art at institutions such as the Museo Nacional de Bellas Artes in Buenos Aires,[12] the National Museum of the Philippines in Manila, Star of Hope School in Taytay, the National College of Arts in Lahore, the Quaid-i-Azam University in Islamabad, UNIRIO and the Pontifical Catholic University of Rio de Janeiro.</div><br />
<iframe allowfullscreen="" frameborder="0" height="630" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/bQHaH6kUqSnmsm" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="668"> </iframe> <br />
<div style="margin-bottom: 5px;"><strong> <a href="https://www.slideshare.net/akermariano/jadis-et-aujourdhui-91873642" target="_blank" title="Jadis et aujourd'hui">Jadis et aujourd'hui</a> </strong> by <strong><a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a></strong> </div><br />
akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com2tag:blogger.com,1999:blog-19648683.post-67790691601591215882016-06-16T09:53:00.000-03:002016-06-16T20:22:05.680-03:00Profeta con entorno carioca<span style="font-size: x-small;">por <a href="https://es.wikipedia.org/wiki/Mariano_Akerman" target="_blank">Mariano Akerman</a></span><br />
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<a href="https://picasaweb.google.com/lh/photo/snjz8KD0MspdDkK6e7x9utMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="142" src="https://lh3.googleusercontent.com/-B53ucIpMf7Q/T12tdxs4OhI/AAAAAAAAXmM/4Ugphu-lUyMx84cpJM1lEDJmyKs2JhxBgCCo/s800/motivo.jpg" width="125" /></a><br />
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<b>ÉPICO</b><br />
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<a href="https://picasaweb.google.com/lh/photo/4LBCeBMkAGlU9m1m9QGf_9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="323" src="https://lh3.googleusercontent.com/-KnQGcSY24o0/S3tlq2FObAI/AAAAAAAAk9U/FA_KIVvTv5QsszdjjHm5lB78_Xq38qnAQCCo/s400/1988%2Bdarse%2Bcuenta.jpg" width="425" /></a><br />
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Según La Font de Saint-Yenne, el pintor-historiador es el único que pinta el alma, mientras que los demás solo pintan para los ojos. <i>Réflexions</i>, 1752: "<i>le peintre historien est le seul peintre de l'âme, les autres ne peignent que pour les yeux</i>".<br />
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<a href="http://picasaweb.google.com/lh/photo/iMRLMwJ6c98WdPKh5C9IaQ?feat=embedwebsite"><img height="343" src="https://lh4.ggpht.com/_uxVnjqldHIE/S3rhFyPCIFI/AAAAAAAAGww/HUctt8sovpw/s400/microcosmos.jpg" width="425" /></a><br />
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Pasan los años<br />
Pasan los eventos<br />
Pasas vos y yo<br />
Pero el arte queda.<br />
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<a href="https://picasaweb.google.com/lh/photo/sJmu3a1YON-Nz20YkJp4iNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="390" src="https://lh3.googleusercontent.com/-amod133jQBg/S3u7qs8fWSI/AAAAAAAApsw/oOKWcKoqsAwCXZQ1s50UWEyqcuuX359xwCCo/s800/942.jpg" width="284" /></a><br />
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¿Y es arte sólo la obra maestra acabada, exhibida y celebrada?<br />
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<a href="https://picasaweb.google.com/lh/photo/Ta66SB9pdYKTMTIUkl4uFdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-qAzRS-poB-s/S3rhFdKUhZI/AAAAAAAApsM/AsEFN5x8e_YnKieVDQ9Xqvsz5JrwP_8xwCCo/s200/historia.jpg" width="199" /></a><br />
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¡Ah!--El siempre vigente magnetismo de la Rue Américaine...<br />
Su inigualable expresividad<br />
Voilà, la renaissance du Fénix.<br />
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<a href="https://picasaweb.google.com/lh/photo/SXyjROqon0SwTqftHWK8hNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="295" src="https://lh3.googleusercontent.com/-dMB07i5ViiY/S3wtsX-GL7I/AAAAAAAAG9k/eSPAOkoK_BQ-9x1OfsA6gBtjntxqtlicQCCo/s800/1996%2Bauricular%2Bcaprice.bmp" width="198" /></a><br />
<br />
Guanabara en la comparsa<br />
Pierde en Papaya y Queso Minas.<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/0gtOPic_R7AKvoXJj4HfSNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-nqo4C2gbfgI/V1Xmp3HMQeI/AAAAAAAAuiQ/weLLPnfweIob9VtDHbaKP4SL2jFhLLNBQCCo/s200/Carnaval.JPG" width="199" /></a><br />
<br />
Não é coisa maravilhosa e a maior joia do mundo?<br />
<br />
<a href="http://4.bp.blogspot.com/-S3qgVU1iDQw/Uu1S8Mc89yI/AAAAAAAAjRs/BSRvZA1PBMA/s1600/copacabana_orla.jpg" imageanchor="1"><img border="0" height="185" src="https://4.bp.blogspot.com/-S3qgVU1iDQw/Uu1S8Mc89yI/AAAAAAAAjRs/BSRvZA1PBMA/s200/copacabana_orla.jpg" width="200" /></a><br />
<br />
Nada, recuerdótelo, tiene ella que ver con concretas cosas del mundo físico, el tangible y acumulable.<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/jQLnorFgP0x5eMqFXVSgY9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-WXt7-ZZZZtg/VpAysFzNOdI/AAAAAAAApZA/HfgZHO2DE50U4IP8AjNtZCJcWxJN_pS0ACCo/s200/synclesia.jpg" width="192" /></a><br />
<br />
Arte es el instinto.<br />
Y arte es el ensueño,<br />
La visión y el impulso.<br />
<br />
Arte y aspiración <br />
Interior la Constelación<br />
<br />
Arte en la inspiración y en el recorte<br />
Arte en el boceto<br />
<br />
Arte en la idea cuando nace<br />
Arte hay en la puja<br />
Arte en el diseño.<br />
<br />
Arte el que articula<br />
La línea y el acento.<br />
<br />
Arte de textura, de perfume y de ornamento<br />
<br />
Arte en el deseo, la consumación, el firmamento<br />
<br />
Arte que insinúa<br />
Arte que seduce<br />
Arte que te toca<br />
Arte cuando enrula<br />
Arte si estremece<br />
Arte que se goza<br />
Arte que te impregna<br />
Arte porque llena<br />
<br />
Continente y Contenido<br />
<br />
Arte en la esperanza<br />
Arte de raíz y de fruto<br />
Arte que en las alas<br />
<br />
"Planimétrico, decorativo y oriental", ¿me decís?<br />
Contrapuntual, sutil e intenso, te contesto. <br />
<br />
Arte que transmigra<br />
Arte porque auténtico<br />
<br />
Arte que se educa<br />
Arte en el silencio <br />
<br />
Arte en la memoria<br />
Arte en el reencuentro<br />
<br />
Arte que palpita<br />
Arte y desempeño<br />
<br />
Entusiasmo cristalino <br />
Cultivando estructura y ornamento.<br />
<br />
Sueños de un pintor<br />
Monumental en su quehacer y su argumento.<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/GLi5or6j9AKNyBncY4jDkdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="593" src="https://lh3.googleusercontent.com/-SSGSp3Lvx2Q/S3rLW2OPdwI/AAAAAAAApr0/-NsO5y1PahMR9RsXFvOZL7GiL9yoq82QwCCo/s640/898961.jpg" width="425" /></a><br />
<br />
<br />
<b>ÉPICO</b><br />
<br />
<div style="text-align: justify;">• Que es fruto del coraje, esfuerzo o heroismo y es digno de ser ensalzado.<br />
<br />
• Aquello relativo a la epopeya o a la poesía heroica.<br />
<br />
• Propio y característico de la poesía épica, apto o conveniente para ella. La épica (del adjetivo: ἐπικός, epikós; de ἔπος, épos, "palabra, historia, poema") es un género narrativo en el que se presentan hechos legendarios o ficticios relativos a las hazañas de uno o más héroes y a las luchas reales o imaginarias en las que han participado.<br />
<br />
• Grandioso o fuera de lo común.</div><br />
<br />
<b>Recursos adicionales</b><br />
<a href="http://akermariano.blogspot.com/2011/06/reflexiones-ultramarinas.html">Reflexiones ultramarinas, 2007</a> <br />
<a href="http://akermariano.blogspot.com/2010/05/ser-y-trabajo.html">El ser y el trabajo, 2010</a><br />
<a href="http://akermariano.blogspot.com/2016/06/apreciar-el-arte.html">Apreciar el arte, 2016</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com3tag:blogger.com,1999:blog-19648683.post-78420866977593637702016-06-14T16:13:00.001-03:002016-06-15T22:57:58.297-03:00Apreciar el arte<span style="font-size: x-small;">por <a href="https://es.wikipedia.org/wiki/Mariano_Akerman" target="_blank">Mariano Akerman</a></span><br />
<br />
<a href="https://picasaweb.google.com/lh/photo/VnWg06HN4Ag5AJaMekezgdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="358" src="https://lh3.googleusercontent.com/-EFnne4dAb6o/V2BVkZ8JJ4I/AAAAAAAAupo/CPJDIeViG8IRFNstajjjHiOMk_MRBR9pwCCo/s800/alcazar.jpg" width="425" /></a><br />
<br />
APRECIACIÓN DEL ARTE: DISFRUTAR A MEDIR<br />
por Mariano Akerman<br />
<br />
<div style="text-align: justify;">El artista precisa crear una nueva realidad y no meramente imitar la ya existente; a veces hablar de arte es tan necesario como lo es el danzar a la arquitectura. Estas palabras le decía quien escribe al periodista Anwar Abbas durante una entrevista en Islamabad en 2008. Nótese el uso del "A VECES".<br />
<br />
Porque eso sólo es válido A VECES. Otras NO.<br />
<br />
Cuando tenía cinco años un día observaba yo con interés un libro escrito en mandarín, al que luego habría de conservar conmigo durante unos diez años. En ese momento yo todavía no había aprendido a leer. Pero recuerdo el gran interés que los caracteres chinos despertaron en mí. Sin aún ser conciente de ello, había yo descubierto en ellos un enorme estímulo estético-expresivo. Me gustaban por su diseño sutil e interminable variedad. Yo los aprecié no por lo que SIGNIFICABAN sino por lo que ERAN.<br />
<br />
Estaba literalmente fascinado con la textura del texto.<br />
<br />
A diferencia de quienes sufren del perenne síndrome del crítico de arte, yo pude entonces deleitarme con ellos sin necesidad de tener que entenderlos.<br />
<br />
Cada persona es libre de interpretar el arte como se le antoje, según lo sienta y en función de su propia naturaleza y nivel de educación. Las mismas imágenes nos afectan a todos de distintos modos e incluso una misma imagen puede afectarle a la misma persona de diferentes maneras en tal o cual etapa de su vida. Debido a ello rarísimamente existe un consenso absoluto respecto a la obra de arte y, especialmente si se trata de un trabajo sugestivo, uno que busca, como decía Bacon, abrir las válvulas de la sensación.<br />
<br />
La función de quienes escribimos acerca del arte tiene a su vez que ver con la consideración de determinados factores extra-pictóricos, es decir, aquellos que a primera vista no son detectables en la obra. A saber: contexto histórico, incluyendo la relación del autor para con tiempo y espacio, pero también su propio interior al momento de realizar el trabajo, así como también otros tantos socio-culturales.<br />
<br />
Lo cierto es que generalmente el espectador no necesariamente es siempre un entendido en materia de arte, ignora casi inevitablemente no pocos de los factores extra-pictóricos y, en el mejor de los casos, no es un mediocre y por consiguiente está el mismo en pleno estado de transformación. De todo esto se desprende que indudablemente no puede haber una explicación que cubra todos los aspectos enumerados.<br />
<br />
Con todo, quienes escribimos acerca del arte no intentamos rendirle cuentas a nadie. En la medida de lo posible tendemos a ampliar el horizonte perceptivo nuestro y del espectador. O bien atar algunos cabos que permitan no una “explicación” sino una “apreciación” más ajustada e incluso más justa del hecho pictórico.<br />
<br />
Parafraseando a Stéphane Mallarmé, a quien seguidamente parafraseo, emerge que: DEFINIR la obra de arte es SUPRIMIR en el espectador dos tercios del PLACER que el mismo experimenta en su proceso de descubrirla. "SUGERIR—¡ese es el sueño!"<br />
<br />
En lo que respecta a los potenciales "críticos de arte", que juzgan lo que venga sin conocimiento de causa ninguno, dedícoles el óleo de Cornelius von Max de 1889, y les pregunto: mis respetables, ¿cuáles son vuestros criterios evaluativos? Porque mandarín yo no comprendo y nada he opino al respecto. Sólo me gustan sus caracteres.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/iP1IffuyroW7O4AHnKd1qtMTjNZETYmyPJy0liipFm0?feat=embedwebsite" style="margin-left: auto; margin-right: auto;"><img height="337" src="https://lh3.googleusercontent.com/-ITicARA_fNU/V2Bf4InC3cI/AAAAAAAAuqM/gdmJujD9y2cf0H0GJqt1wpXTLGaP-pbtgCCo/s400/expertos.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>El veredicto de los expertos</i><br />
¿Podrían ellos apreciar <a href="http://im-akermariano.blogspot.com/2016/06/akerman-y-lo-imaginario.html">el arte de lo imaginario</a>? </td></tr>
</tbody></table><br />
Les recuerdo a los <i>expertos</i> además aquello que bien ya reza el latín: DE GUSTIBUS NON EST DISPUTANDUM.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/a36-2cAQudW_O95KXKJfr9MTjNZETYmyPJy0liipFm0?feat=embedwebsite" style="margin-left: auto; margin-right: auto;"><img height="640" src="https://lh3.googleusercontent.com/-bjXdiRSsaz8/S3tk0RBUU3I/AAAAAAAAk14/D7qnpQLIqMIPKLQdBEWsZBW180RwhcLeQCCo/s640/2001%2B11.9%2Bondulante.jpg" width="344" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ondulante</i><br />
Mariano Akerman, 2001 <br />
lápiz color</td></tr>
</tbody></table><br />
Y si “por los frutos los conoceréis”, bueno es que concluyamos aquí expresando que en tanto que el hombre sea libre, la LECTURA de la obra de arte no puede sino permanecer SIEMPRE ABIERTA.</div><br />
<br />
<b>Recursos</b><br />
• <a href="http://im-akermariano.blogspot.com/2016/06/akerman-y-lo-imaginario.html">Akerman y lo Imaginario</a><br />
• <a href="http://akermariano.blogspot.com/2016/06/alcazar.html">Espacio Alcázar</a><br />
• <a href="http://mariano-akerman.blogspot.com/2016/06/expresiones-en-copacabana.html">Expresiones en Copacabana</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com4tag:blogger.com,1999:blog-19648683.post-83279708029371519242016-06-04T13:43:00.000-03:002016-06-06T15:24:52.943-03:00Espacio Alcázar<br />
<a href="https://1.bp.blogspot.com/-Dxyq2DtTuaA/V1WlWeZtHKI/AAAAAAAAufI/CyfR115xDTM5RxEu2g3wdkJePrkwI3ZuQCLcB/s1600/Copacabana_1.jpg" imageanchor="1"><img border="0" height="303" src="https://1.bp.blogspot.com/-Dxyq2DtTuaA/V1WlWeZtHKI/AAAAAAAAufI/CyfR115xDTM5RxEu2g3wdkJePrkwI3ZuQCLcB/s400/Copacabana_1.jpg" width="425" /></a><br />
<br />
EXPOSICIÓN "EXPRESIONES EN COPACABANA"<br />
Mariano Akerman: Pinturas y Diseños en Técnica Mixta <br />
Espacio Alcázar<br />
Copacabana, Río de Janeiro, Junio de 2016<br />
<br />
<div style="text-align: justify;">Titulada <a href="http://mariano-akerman.blogspot.com/2015/01/expressoes-em-copacabana.html">Expresiones en Copacabana</a>, la muestra es celebratoria del treintavo aniversario de la primera exposición individual de <a href="http://mariano-akerman.blogspot.com/2016/06/expresiones-en-copacabana.html">Mariano Akerman</a> en la Galería RG en el Arte: "Transformaciones de Fibras y Cuentos Dulces" (Buenos Aires, 1986).<br />
<br />
El <a href="https://www.slideshare.net/akermariano/expresses-em-copacabana">catálogo de la muestra</a>, todo en portugués, incorpora las 25 obras en exhibición, seguido por el artículo "<a href="http://akermariano.blogspot.com/2016/04/cariocalandia.html">Alegría de Vivir en Copacabana</a>", realizado por Márcia dos Santos en Río de Janeiro.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="https://www.slideshare.net/slideshow/embed_code/key/wtqb1fH1eAnVPh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><a href="https://www.slideshare.net/akermariano/expresses-em-copacabana" target="_blank" title="Expressões em Copacabana">Expressões em Copacabana</a> por <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a></div><br />
Temáticamente, la exposición se focaliza sobre el tópico de <a href="http://im-akermariano.blogspot.com/2014/03/lo-imaginario.html">Lo Imaginario</a>, entendido como expresión esperanzada y también como tendencia poético-espiritual (creación lírica) opuesta a la imitación propia del realismo y sus demás variantes que se basan en la copia de la apariencia física de las cosas (mímesis materialista o, según el expositor, "aquello que se ve con los ojos, mas no necesariamente con el corazón").<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/FERWYo6amG5UsyBEaSAwKtMTjNZETYmyPJy0liipFm0?feat=embedwebsite" style="margin-left: auto; margin-right: auto;"><img height="276" src="https://lh3.googleusercontent.com/-vUdHRPn4aOY/VxeKV0plfjI/AAAAAAAAuXk/p4thQIBS984XqS0y-gmLd5E0VioJ6suhQCCo/s400/collage.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">La imagen increíble conlleva su propia verdad.</td></tr>
</tbody></table><br />
Los trabajos expuestos fueron elaborados en témpera y acuarela. También los hay en tintas y lápiz color. No menos significativa es la presencia del collage en la muestra. Este último fue adoptado como medio expresivo que facilita la apertura y la inclusión.<br />
<br />
Las obras fueron realizadas en Buenos Aires, Jerusalén, Bruselas, Manila e Islamabad, entre 1981 y 2012.<br />
<br />
Cuentan con trabajos del artista el Centre Georges Pompidou en París, Statenkonstråd de Estocolmo (Consejo Nacional de Arte), el Museo del Néguev en Beersheba, así como en numerosas colecciones particulares.<br />
<br />
Vientiseis ciudades del goblo cuentan actualmente con obras del expositor: Accra (Ghana), Barcelona, Beersheba, Beirut, Berlín, Bruselas, Buenos Aires, Damasco, Estocolmo, Islamabad, Jerusalén, Kuala Lumpur (Malasia), La Haya, Lieja, Manila, Multán (Pakistán), Mumbay, Nueva York, París, Pekín, Rawalpindi, San Francisco, San Petersburgo, Sulayman (Túnez), Vientián (Laos), Zijrón Ya'akov.<br />
<br />
En la exposición figuran paneles con la trayectoria del expositor, una nota de Jean-Paul Girault acerca de los trabajos referidos como "Constelaciones Interiores" y los cuatro artículos pakistaníes dedicados al quehacer del expositor tanto en materia de arte como de educación (2012).<br />
<br />
Entre los presentes hubo gente querida, incluyendo amigos y colegas del Brasil, el Instituto Cultural Italiano, la Asociación Scholem Aleijem y el Centro Cervantes.<br />
<br />
Uno de ellos describió a los trabajos expuestos en términos de "armonía". Otro se deleitó por "sus sinuosidades y la estética que prevalece en la obra".<br />
<br />
Respecto a aquello que percibe cada uno en las diferentes obras, el expositor notó que cada uno es libre de interpretar su imaginería según su propia sensibilidad y criterios, si bien conviene recordar que cada trabajo posee sus propias especificidades históricas, tanto en tiempo como en espacio.<br />
<br />
<a href="https://3.bp.blogspot.com/-qEYet5XCzfA/V1LTAGcuSDI/AAAAAAAAucg/g25B7X2v9hktr6Jzb4WsFk9UbBeNPg9DACLcB/s1600/LM.jpg" imageanchor="1"><img border="0" height="185" src="https://3.bp.blogspot.com/-qEYet5XCzfA/V1LTAGcuSDI/AAAAAAAAucg/g25B7X2v9hktr6Jzb4WsFk9UbBeNPg9DACLcB/s200/LM.jpg" width="200" /></a><br />
<br />
AKERMAN: EL IDEARIO ARTÍSTICO<br />
• La curva es la diosa (1986).<br />
• La cáscara nos identifica, el contenido nos define (1989).<br />
• Sin identidad. Espejismo, ilusionismo, aparentismo. Despojado. Hombre espejismo. Realismo aparente, genuino aparentismo (1995).<br />
• En vez de una cámara fotográfica, prefiero ser yo mismo. Una cámara reproduce apariencias, que son tan solo un aspecto de la realidad que nos rodea. Distintas son las constelaciones interiores ya que involucran la propia imaginación asociativa (2005).<br />
• El artista precisa crear una nueva realidad y no meramente imitar la ya existente. [...] A veces hablar de arte es tan necesario como lo es el danzar a la arquitectura (2008).<br />
• Pienso que soy como un puente entre varias culturas y tradiciones. [...] Imagine un mundo uniforme. ¿Le gustaría vivir en un lugar donde todo el mundo tuviese el mismo aspecto, hablase la misma lengua, hiciese las mismas cosas y pensase exactamente la mismo? Un mundo así sería terriblemente pobre. Estoy a favor de la diversidad cultural. Dios creó el mundo a partir de la diversidad, no la uniformidad. Uno tan solamente precisa contemplar la naturaleza por unos instantes: presenta diversidad por todas partes (2008).<br />
• El collage no tiene la tiranía del sistema cerrado, permite flexibilidad e inclusión (2010).<br />
• Empatía es la capacidad de compenetrarse, de entender plenamente la naturaleza y condición de una persona (tal como si se fuese esa persona, pero sin llegar a perderse en ella). Lo mismo es aplicable a la obra de arte, cuando se la contempla y se comprende su razón de ser, colocándose el espectador en el lugar del autor, considerando el punto de vista del mismo y el contexto en el que la obra en cuestión ha sido realizada. Es entonces cuando se da la empatía (2011).<br />
• La imagen inverosímil conlleva su propia verdad (2014).<br />
• Sólo se ve bien con el corazón... cuando no es de piedra (2015).</div><br />
<br />
<a href="https://2.bp.blogspot.com/-UgSsNAZz-pU/VyzKKLBoShI/AAAAAAAAuHU/bmYF8BxHdD06c50IKvaCPqb9FO_nNvPQQCLcB/s1600/alegria_de_viver.JPG" imageanchor="1"><img border="0" height="275" src="https://2.bp.blogspot.com/-UgSsNAZz-pU/VyzKKLBoShI/AAAAAAAAuHU/bmYF8BxHdD06c50IKvaCPqb9FO_nNvPQQCLcB/s640/alegria_de_viver.JPG" width="425" /></a><br />
<br />
<b>Recursos sugeridos</b><br />
• <a href="http://mariano-akerman.blogspot.com/2015/01/expressoes-em-copacabana.html">Obras exhibidas en el Espacio Alcázar</a><br />
• <a href="http://akermariano.blogspot.com/2016/04/cariocalandia.html">Texto por Márcia dos Santos</a><br />
• <a href="http://mariano-akerman.blogspot.com/2016/06/expresiones-en-copacabana.html">Reseña sobre el expositor por Cholita Sánchez-Ordoñez y Tuñón</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-18650699822596458752016-05-06T13:47:00.001-03:002016-06-06T14:39:13.774-03:00Alegria de viver em Copacabana<span style="font-size: x-small;"><a href="http://akermariano.blogspot.com/2016/04/cariocalandia.html">texto en castellano-rioplatense</a></span><br />
<br />
Mariano Akerman: Alegria de viver em Copacabana<br />
<span style="font-size: x-small;">por Márcia dos Santos</span><br />
<br />
<a href="https://2.bp.blogspot.com/-UgSsNAZz-pU/VyzKKLBoShI/AAAAAAAAuHU/bmYF8BxHdD06c50IKvaCPqb9FO_nNvPQQCLcB/s1600/alegria_de_viver.JPG" imageanchor="1"><img border="0" height="275" src="https://2.bp.blogspot.com/-UgSsNAZz-pU/VyzKKLBoShI/AAAAAAAAuHU/bmYF8BxHdD06c50IKvaCPqb9FO_nNvPQQCLcB/s640/alegria_de_viver.JPG" width="425" /></a><br />
<br />
<div style="text-align: justify;">
Artista plástico, arquiteto e conferencista, <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman" target="_blank">Mariano Akerman</a> reside em <a href="http://visual-akermariano.blogspot.com/2014/02/1.html" target="_blank">Copacabana</a> há quatro anos. "Rio de Janeiro é a capital cultural do Brasil", afirma Akerman e acrescenta: "junto com seu patrimônio cultural, a beleza geográfica da cidade é tão maravilhosa como é a alegria de viver dos seus moradores. Essa alegria de viver é também a minha, porque eu também celebro a vida. Para mim, Copacabana é o coração do Rio de Janeiro, e morar aqui é uma experiência singular e inesquecível".<br />
<br />
Do Rio de Janeiro, Mariano Akerman aprecia a informalidade e a cordialidade dos cariocas. Costuma passear pela Avenida Atlântica, especialmente pela parte do boulevard que apresenta os desenhos de <a href="https://pt.wikipedia.org/wiki/Burle_Marx" target="_blank">Roberto Burle Marx</a> e de onde pode ser apreciado tanto a paisagem urbana como a natural. Pensa que as vistas da Baía da Guanabara são únicas no mundo. Gosta da música e da arquitetura brasileira. Descreve como "acolhedores, bem concebidos e sumamente estéticos" os novos quiosques da praia copacabanense, realizados em vidro e aço inoxidável. "Deliciosa", assim Akerman descreve a água de coco, além de enfatizar os cãezinhos do bairro: "todos eles muito mais mimados aqui que em Paris".<br />
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"Minha experiência em Copacabana encontra-se ligada ao <a href="https://pt.wikipedia.org/wiki/Museu_da_Imagem_e_do_Som_(Rio_de_Janeiro)" target="_blank">Museu da Imagem e do Som</a>, pois aqui ambos crescemos juntos desde os alicerces. Gosto da estrutura desse edifício, pois é ousada e original. É 100% Copacabana. Eu não posso deixar de me identificar com essa estrutura, já que tais características também me concernem".<br />
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De um modo filantrópico, Akerman desenvolveu um ciclo de doze conferencias e exposições estimulantes, no Rio de Janeiro, entre 2014 e 2015. Todas em português, as suas palestras foram inspiradas pela metodologia de trabalho do anatomista belga <a href="https://pt.wikipedia.org/wiki/Andreas_Vesalius" target="_blank">Andreas Vesalius</a> (1514-1564) quem, através de uma investigação inédita acabou com numerosos preconceitos da sua época. As conferencias do <i><a href="http://akermariano.blogspot.com/2015/07/programa-estimulo-vesalius.html" target="_blank">Programa Estimulo Vesalius</a></i>, tornaram possível a Akerman abordar o tema da obra de arte como "estrutura didática e interdisciplinar". O Programa foi concebido em Copacabana e desenvolvido em instituições educativas tais como UNIRIO, Centro de Estudos Bíblicos da ARI, Instituto Italiano de Cultura, PUC, Instituto Cervantes, Associação Scholem Aleichem, Instituto Brasil-Argentina e Residência da Bélgica.<br />
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Artista e educador argentino, Mariano Akerman desenvolve atividades que promovem a livre expressão e a participação comunitária, considerando a idiossincrasia e o contexto cultural de cada individuo. Como artista plástico, Akerman, exibe suas pinturas e desenhos no Espaço Alcazar, Posto 5, há duas semanas. Realizada em Manila, em 2003, <i><a href="https://picasaweb.google.com/100920224586443211982/MarianoAkermanArtwork#5439272692205007282" target="_blank">Dia de Criação</a></i>, é uma de suas maiores aquarelas e apresenta uma paisagem definitivamente copacabanense. Sua colagem <i><a href="https://picasaweb.google.com/100920224586443211982/MarianoAkermanArtwork#5619447499014685714" target="_blank">Idílio</a></i>, articulada em Islamabad em 2011, engloba duas aves enamoradas, em uma paisagem tropical, com o <a href="https://pt.wikipedia.org/wiki/P%C3%A3o_de_A%C3%A7%C3%BAcar" target="_blank">Pão de Açúcar</a> incluído. Citando a <a href="https://pt.wikipedia.org/wiki/Antoine_de_Saint-Exup%C3%A9ry" target="_blank">Saint-Exupéry</a>, Akerman salienta que: "o essencial é invisível". E, ao perguntar à ele se só se vê bem com o coração, ele responde: "quando o mesmo não é de pedra".<br />
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A estadia de Mariano Akerman em Copacabana inclui a admiração pelos fogos de artifício durante o <i><a href="https://pt.wikipedia.org/wiki/Ano-Novo" target="_blank">Réveillon</a></i>, o frenesi das celebrações do Carnaval Carioca, a emoção da visita do Papa Francisco, o delírio da Copa do Mundo e a alegria pelas comemorações do 450º Aniversário da Fundação da Cidade Maravilhosa. "Para esta última eu mesmo quero brindar algo especial, através das minhas atividades culturais", diz Akerman.<br />
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A exposição de pinturas de Mariano Akerman tem como título <i><a href="http://mariano-akerman.blogspot.com/2015/01/expressoes-em-copacabana.html" target="_blank"><b>Expressões em Copacabana</b></a></i>. Inclui trabalhos realizados e apresentados em Buenos Aires, Jerusalém, Bruxelas, Manila e Islamabad. Considerando a aparência característica de seus trabalhos e reafirmando uma idéia de <a href="https://pt.wikipedia.org/wiki/Giordano_Bruno" target="_blank">Giordano Bruno</a>, Akerman sustenta que a imagem inacreditável engloba sua própria verdade. Segundo Akerman, "o Imaginário não é só aquilo que não existe, mas também, tudo aquilo que pode se tornar realidade. Devido a isto, o imaginário é parente próximo da esperança e da alegria de viver".</div>
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<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/wtqb1fH1eAnVPh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;">
<a href="https://www.slideshare.net/akermariano/expresses-em-copacabana" target="_blank" title="Expressões em Copacabana">Expressões em Copacabana</a></div>
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<a href="https://picasaweb.google.com/lh/photo/E5LHvWuPPUNlvIFvLlcindMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="303" src="https://lh3.googleusercontent.com/-oJSOmYLXhcQ/V1WjjrwIRaI/AAAAAAAAue4/VBOW2AAPokkfqI-OmqS2f_vo-MDw6864wCCo/s800/Copacabana_1.jpg" width="425" /></a><br />
<a href="http://akermariano.blogspot.com/2016/06/alcazar.html">Espaço Alcazar</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com14tag:blogger.com,1999:blog-19648683.post-64493482804106218722016-04-12T15:58:00.001-03:002016-06-06T14:34:45.335-03:00Alegría de vivir en Copacabana<span style="font-size: x-small;"><a href="http://akermariano.blogspot.com/2016/05/copacabana.html">texto em versão portuguesa</a></span><br />
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Mariano Akerman: Alegría de vivir en Copacabana<br />
<span style="font-size: x-small;">por Márcia dos Santos</span><br />
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<a href="https://picasaweb.google.com/lh/photo/QwuPFRN4g2O4mMnOPAN61DRXhWtlAZH88W5Uz62LHAw?feat=embedwebsite"><img height="425" src="https://lh3.googleusercontent.com/-ys4vGFnVLI0/Vw1DBgqDjhI/AAAAAAAAr20/n2Mlz9TzixQa0odIE-yi05VZTsniD11eACCo/s800-Ic42/Creation_Day.jpg" width="425" /></a><br />
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<div style="text-align: justify;">
Artista plástico, arquitecto y conferencista, <a href="https://es.wikipedia.org/wiki/Mariano_Akerman" target="_blank">Mariano Akerman</a> reside en <a href="http://visual-akermariano.blogspot.com/2014/02/1.html" target="_blank">Copacabana</a> desde hace cuatro años. "Río de Janeiro es la capital cultural del Brasil", expresa Akerman y agrega: "junto con su patrimonio cultural, la belleza geográfica de la ciudad es tan maravillosa como la alegría de vivir de sus habitantes. Esa alegría de vivir es también la mía, porque también yo celebro la vida. Para mí, Copacabana es el corazón de Río de Janeiro. Y residir en ella es una experiencia singular e inolvidable".<br />
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De Río de Janeiro, a Mariano Akerman le gustan la informalidad y cordialidad de los cariocas. Suele caminar por Avenida Atlántica, especialmente por la parte del boulevard que presenta los diseños de <a href="https://pt.wikipedia.org/wiki/Burle_Marx" target="_blank">Roberto Burle Marx</a> y desde donde se puede apreciar tanto el paisaje urbano como natural. Piensa que las vistas de la bahía de Guanabara son únicas en el mundo. Le gusta la música y la arquitectura brasilera. Describe como "acogedores, bien concebidos y sumamente estéticos" a los nuevos paradores de la playa copacabanense, realizados en vidrio y acero inoxidable. "Deliciosa" es para él el agua de coco. Y le encantan los cachorros del barrio, "todos ellos mucho más mimados aquí que en París".<br />
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"Mi experiencia en Copacabana se encuentra íntimamente ligada al <a href="https://pt.wikipedia.org/wiki/Museu_da_Imagem_e_do_Som_(Rio_de_Janeiro)" target="_blank">Museo de la Imagen y el Sonido</a>, porque aquí ambos crecimos juntos y desde los cimientos. Me gusta la estructura de ese edificio porque es osada y original. Es 100% Copacabana. Y yo no puedo sino identificarme con ella, dado que tales características también me conciernen a mí".<br />
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De un modo filantrópico, Akerman desarrolló un ciclo de doce conferencias y exposiciones estimulantes en Río de Janeiro entre 2014 y 2015. Todas en portugués, sus conferencias fueron inspiradas por la metodología de trabajo del anatomista belga <a href="https://es.wikipedia.org/wiki/Andr%C3%A9s_Vesalio" target="_blank">Andrés Vesalio</a> (1514-1564), quien a través de una investigación inédita acabó con numerosos preconceptos de su época. Las conferencias del <i><a href="http://hola-akermariano.blogspot.com/2015/07/pev.html" target="_blank">Programa Estímulo Vesalius</a></i> le posibilitaron a Akerman abordar el tema de la obra de arte como "estructura didáctica e interdisciplinaria". El Programa fue concebido en Copacabana y desarrollado en instituciones educativas tales como UNIRIO, Centro de Estudios Bíblicos de ARI, Instituto Italiano de Cultura, Pontificia Universidad Católica, Instituto Cervantes, Asociación Scholem Aleijem, Instituto Brasil-Argentina y Residencia de Bélgica. <br />
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Artista y educador argentino, Mariano Akerman desarrolla actividades que promueven la libre expresión y la participación comunitaria considerando la idiosincrasia y el contexto cultural de cada individuo. Como artista plástico, Akerman exhibe sus pinturas, dibujos y collages en el Espacio Alcázar, Posto 5, desde hace dos semanas. Realizada en Manila en 2003, <i><a href="https://picasaweb.google.com/100920224586443211982/MarianoAkermanArtwork#5439272692205007282" target="_blank">Día de Creación</a></i> es una de sus mayores acuarelas y presenta un paisaje definitivamente copacabanense. Su collage <i><a href="https://picasaweb.google.com/100920224586443211982/MarianoAkermanArtwork#5619447499014685714" target="_blank">Idilio</a></i>, articulado en Islamabad en 2011, involucra un par de aves enamoradas en un paisaje tropical, con el <a href="https://es.wikipedia.org/wiki/Pan_de_Az%C3%BAcar_(Brasil)" target="_blank">Pan de Azúcar</a> incluido. Citando a <a href="https://es.wikipedia.org/wiki/Antoine_de_Saint-Exup%C3%A9ry" target="_blank">Antoine de Saint-Exupéry</a>, Akerman nota que "lo esencial es invisible". Y, al preguntársele si sólo se ve bien con el corazón, Akerman responde: "cuando no es de piedra". <br />
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La estadía de Mariano Akerman en Copacabana incluye la admiración ante los fuegos artificiales durante el <i><a href="https://pt.wikipedia.org/wiki/Ano-Novo" target="_blank">Réveillon</a></i>, el frenesí de los festejos propios del carnaval carioca, la emoción de la visita del Papa Francisco, el delirio de la Copa Mundial de Fútbol y la alegría de las celebraciones del 450° aniversario de la fundación de la Ciudad Maravillosa. "A esta última quiero yo aportar algo especial a través de mis actividades culturales", indica Akerman.<br />
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La exposición de pinturas de Mariano Akerman lleva por título <i><a href="http://mariano-akerman.blogspot.com/2015/01/expressoes-em-copacabana.html" target="_blank"><b>Expresiones en Copacabana</b></a></i>. Ella incluye trabajos realizados y expuestos en Buenos Aires, Jerusalén, Bruselas, Manila e Islamabad. Considerando la apariencia característica de sus trabajos y reafirmando una idea de <a href="https://es.wikipedia.org/wiki/Giordano_Bruno" target="_blank">Giordano Bruno</a>, Akerman sostiene que la imagen increíble encapsula su propia verdad. Según Akerman, "lo Imaginario no es simplemente aquello que no existe, sino también todo aquello que sí puede llegar a volverse realidad. Debido a ello, lo Imaginario es pariente cercano de la esperanza y la alegría de vivir".</div>
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<iframe allowfullscreen="" frameborder="0" height="340" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/wtqb1fH1eAnVPh" style="border-width: 1px; border: 1px solid #ccc; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;">
<a href="https://www.slideshare.net/akermariano/expresses-em-copacabana" target="_blank" title="Expressões em Copacabana">Expressões em Copacabana</a> por <a href="https://www.slideshare.net/akermariano" target="_blank">Mariano Akerman</a> </div>
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<a href="https://picasaweb.google.com/lh/photo/E5LHvWuPPUNlvIFvLlcindMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="303" src="https://lh3.googleusercontent.com/-oJSOmYLXhcQ/V1WjjrwIRaI/AAAAAAAAue4/VBOW2AAPokkfqI-OmqS2f_vo-MDw6864wCCo/s800/Copacabana_1.jpg" width="425" /></a><br />
<a href="http://akermariano.blogspot.com/2016/06/alcazar.html">Espacio Alcázar</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com17tag:blogger.com,1999:blog-19648683.post-91108506636045605912015-12-21T06:47:00.001-04:002017-08-26T14:14:32.637-03:00Las alegorías de la Fe<br />
<span style="font-size: x-small;">Imágenes y recursos digitales, por <a href="https://es.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a></span><br />
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<div style="text-align: justify;">El siguiente material visual fue presentado y debatido en la Pontifícia Universidade Católica en 2015. Datos: AKERMAN, Mariano. "Ontem e Hoje: As Alegorias da Fé no Imaginário Visual de Ocidente" (Ayer y Hoy. Las alegorías de la Fe en el imaginario visual de Occidente), conferencia. En: Río de Janeiro, Departamento de Teología de la Pontifícia Universidade Católica, <i>Em Diálogo</i>, Seminario Conmemorativo del 50° Aniversario de la Declaración "Nostra Aetate", 10 de noviembre de 2015. Ref. Río de Janeiro, Consulado Geral da Bélgica, <i>Programa Estimulo Vesalius: Anatomia da Arte</i>, 2014-2015: Conferências, 11. | Copyright | Todos los Derechos Reservados.<br />
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Las imágenes a continuación son consonantes con aquellas debatidas en: L. Mariano Akerman, <a href="http://www.maxwell.vrac.puc-rio.br/rev_ateo.php?strSecao=fasciculo&fas=28053&NrSecao=139">Las alegorías de la Fe en el arte occidental</a>, <i>Atualidade Teológica</i>, Vol. 20, No. 54 (Pontifícia Universidade Católica, Río de Janeiro, 2016), pp. 807-831. <a href="http://www.maxwell.vrac.puc-rio.br/27925/27925.PDFXXvmi=">PDF</a></div><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/RvaaeNfT0Zeaqv_jyj9J7IJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="425" src="https://lh3.googleusercontent.com/-TG6GmOapgaU/VnfgF_lf8uI/AAAAAAAApFk/btf9NOKOhzQ3yOOGqoCl_7dVm2yJgvGiACCo/s800/synclesia.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lo esencial es invisible.</i></td></tr>
</tbody></table><br />
<b>Las alegorías de la Fe en el arte occidental</b><br />
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<div style="text-align: justify;">Las alegorías funcionan como pilares de significado en la civilización occidental. En la Edad Media, las alegorías de la Fe emergieron en las artes visuales como imágenes retóricas, encontrándose su origen en figuras del mundo clásico. A partir del medioevo tardío, tales alegorías fueron gradualmente transformadas. En los tiempos modernos, un factor decisivo fue el efecto devastador de la Segunda Guerra Mundial, al que la Iglesia católica respondió en 1965, con la declaración <i>Nostra Aetate</i>. En torno a este documento se producen cambios, incluyendo la elaboración de alegorías de la Fe más consonantes con nuestro tiempo. El desencuentro cede terreno al diálogo. Con todo, un atributo de doble filo puede aún ser detectado en varias alegorías de la Fe—la venda, cuya extraña presencia cubriendo los ojos de las mismas es simbólica y se manifiesta como una paradoja visual.</div><br />
• <b>La alegoría en artes visuales</b><br />
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<a href="https://picasaweb.google.com/lh/photo/wT6AxJL7i4qIkzMWuRpnEoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="355" src="https://lh3.googleusercontent.com/-R3VCunc8UJ8/Vmtca295WNI/AAAAAAAAogI/2UxDz1me49ADvcy0fBY3Bnp3gf39aOnpACCo/s800/Justitia.jpg" width="203" /></a><br />
<i>Iustitia</i>. Alegoría de la Justicia<br />
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<a href="https://picasaweb.google.com/lh/photo/jM7xK7-MgQYEleoCenAWYYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="340" src="https://lh3.googleusercontent.com/-7V-tO7nv7LY/Vm3nvBDwn0I/AAAAAAAAo5g/4offIvcHCGgibRzSBRQRNrsoMPU_eylJACCo/s800/Bonomini_Morte.jpg" width="252" /></a><br />
<i>Mors</i>. Alegoría de la Muerte <br />
Paolo Vincenzo Bonomini, 1757-1839<br />
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• <b>Πίστις | Fides</b><br />
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<a href="https://picasaweb.google.com/lh/photo/9DxtHv2EMVYDIOczlVfsXoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-RyNXAVpusjo/VnvnJ32rJ6I/AAAAAAAApQE/Yth4sineuzUKw9MmNziJC5fKTzlA-LGOACCo/s200/FIDES_PVBLICA.jpg" width="195" /></a><br />
Moneda romana imperial<br />
Hadrian RIC 241a<br />
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<a href="https://picasaweb.google.com/lh/photo/B8JIjw1xL2PdrwC5RDLshYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-TBR85HS7Pzc/VnvnI5mzbFI/AAAAAAAApP8/gcaG1gHp_nUJNSEhKREufks5qVD0Xm8BQCCo/s200/FIDES_MILITVM.jpg" width="200" /></a><br />
<i>Fides Militum</i><br />
Moneda romana imperial<br />
Elagabalus silver 218AD<br />
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• <b>Las alegorías de la Fe a través del tiempo</b> <br />
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1. Manifestaciones y desarrollos del pasado<br />
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<a href="https://picasaweb.google.com/lh/photo/EYMy6ZvRGYhNq_0bhFGEv4JQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-EEEbyJ4El_Q/Vm35GwuUmWI/AAAAAAAAo_c/7ahBKG7wK1ciCfjemkdHgAUhH7f3NHUEACCo/s200/Cath%25C3%25A9drale_de_Metz.jpg" width="287" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Esculturas góticas<br />
Catedral de Metz, siglo XIII<br />
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<a href="https://picasaweb.google.com/lh/photo/4cPci3m1fyde9Q-lemzAOoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="174" src="https://lh3.googleusercontent.com/-T8QSnheoDi8/Vnf18RHES7I/AAAAAAAApHU/E7OLqp2lNQ444alu8csOJu0oab3QTro0wCCo/s800/marfil%2Bmetz.jpg" width="245" /></a><br />
Crucifixión con Ecclesia et Synagoga<br />
Detalle de marfil de Metz, s. IX-X<br />
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<a href="https://picasaweb.google.com/lh/photo/TyFg0zzU7U_pSyq_vNt5-oJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="432" src="https://lh3.googleusercontent.com/-jIEE2efPHkA/Vm34DujP_ZI/AAAAAAAAo_A/ugv_GmgnoZk_uks3ZUI__7SzHbM7k5RdQCCo/s800/marfil.jpg" width="285" /></a><br />
Crucifixión con Ecclesia et Synagoga<br />
Cubierta del Evangeliario de Enrique II, marfil, c. 869-870<br />
Múnich, Bayerische Staatsbibliothek, CLM 4452<br />
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<a href="https://picasaweb.google.com/lh/photo/qmi_m2-Rxuql7V1CHdWtnIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2gi16eWbqsKDo8ONkUA42pIncfzzvZz08xYnAoy3LgJZZBtU9iFNjmzj-_9uHAeOILsooPAa49xA3uFtgSWR4JLdviE6d5LOEbZw7kfYShvNKmqyxsQaPj-owREPwiAjh_pl_/s400/oeuvre.jpg" width="283" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Esculturas de la catedral de Notre-Dame de Estrasburgo, c. 1230<br />
Originales en Musée de l'Oeuvre-Notre-Dame, Estrasburgo<br />
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<a href="https://picasaweb.google.com/lh/photo/a-mn_ISNQQCV3Ak2io3CDIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="357" src="https://lh3.googleusercontent.com/-9-g8PbTQnd0/Vm363WOr2lI/AAAAAAAAo_0/pxcuuKc6zTI96FcdYdX5j8oFV8Zg3FzoACCo/s800/fuente-prado.jpg" width="425" /></a><br />
<i>La Fuente de la Gracia</i> y detalle del Sumo Sacerdote de Israel<br />
Anónimo europeo, <i>c</i>. 1430-1455<br />
Museo del Prado, Madrid<br />
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<a href="https://picasaweb.google.com/lh/photo/osXppKBFKaDxabpDQ3a4gIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-q8n1ii-w1Qo/Vm39IRD6NCI/AAAAAAAApAg/r_G5uT8wXzMMnOVmjf1yO6qb3D_ydHHdgCCo/s400/H_hamburg.jpg" width="309" /></a><br />
<i>Mahzor Levi</i><br />
Manuscrito hebreo-alemán miniado, Hamburgo, c. 1350. <br />
Hamburgo, Staats- und Universitätsbibliothek, Levi 37, fol. 169v.<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/FHM72VZA2eVFQRctwzVUiIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="309" src="https://lh3.googleusercontent.com/-aQJqrwC7SCA/Vm39RcoBlPI/AAAAAAAApAo/_gSozeCi534_819Z7ftTKRvZUcrmcV9LQCCo/s800/French_print_1806.jpg" width="425" /></a><br />
<i>Napoleón reestablece la libertad de culto de los israelitas</i>, 1806 <br />
Grabado francés<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/0NthQn4q_FoyGoVnw6Cr1YJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-JpEEjJ8uH20/Vm39YQPx9BI/AAAAAAAApAw/QiZM8Goo6QEdZTqiehgcKJJskJubyp4rwCCo/s800/Lilien_1900.gif" width="290" /></a><br />
<i>La Reina del Shabat</i><br />
Ephraim Moses Lilien, 1900<br />
En: Börries von Münchhausen, <i>Judá</i>, Berlin, 1901<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/kHm4sdbZqrfAU89oZLaT9YJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="270" src="https://lh3.googleusercontent.com/-MTUOTHli6Lk/Vm39gIty5DI/AAAAAAAApA4/kjkVHG33S2UqcyNdery7iwrYQY5ti4HmgCCo/s800/Lilien_1900_detalle.gif" width="425" /></a><br />
Detalle<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/8C6CBjEWi36FSZJjuK-ZDYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-vVGOZBCrg1U/Vm3-iKUptEI/AAAAAAAApBk/azRmfaSz2xogF-2-jsx-8ZsHvRFlSBgBACCo/s400/Benlliure.jpg" width="277" /></a><br />
<i>Alegoría de la Fe</i><br />
Mariano Benlliure, 1901-3<br />
Catedral de Cuenca<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/0anPizMnPLiUHat1FFjrWoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="327" src="https://lh3.googleusercontent.com/-tpFh8fyUX4U/Vm3-STqpNnI/AAAAAAAApBc/4l2yPm-eVHsArkUBH-tkawMTbxTCMYXJwCCo/s400/cambio.jpg" width="425" /></a><br />
Similitudes y diferencias entre <i>Ecclesia</i>, <i>Santa Fe</i> y la <i>Alegoría de la Fe católica</i>. Comparación realizada por el autor<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/zDv9c1GgELpqZxCjXPytwoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-SsJ6MhwyJDg/Vm3lnSpfqjI/AAAAAAAAo5I/7btd5NPtHYQqAdyJ2HvKNyPBjWQ-Pro2ACCo/s400/Fede_Cattolica.gif" width="286" /></a><br />
Alegoría de la Fe católica<br />
Cesare Ripa, <i>Iconologia overo descrittione di diverse imagini cavate dall'antichità e di propria inventione</i>, Roma, 1603, p. 151: Fede Cattolica<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/qPIuU6KQyIRoLoZAqFlKIYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="326" src="https://lh3.googleusercontent.com/-529D6sI7ARk/Vm3_H_cQdbI/AAAAAAAApB8/jP9UNyGovd419idb6_f-nuLFQQehvZm_QCCo/s400/santa_fe.jpg" width="425" /></a><br />
<i>Alegoría de la Santa Fe</i>, 1843<br />
Imagen alegórica y paso procesional de Semana Santa, Lucena<br />
Fotografías tomadas en 2013 y 2015<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/QUhFLm0uAjCapmaIrMmwhIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="361" src="https://lh3.googleusercontent.com/-WElV7PlqXrY/Vm3_Z7Ea4AI/AAAAAAAApCE/8jStO5bkS8YU7ykV150jF3zz-LPPAXPVACCo/s800/Felipe_V_Fe.jpg" width="425" /></a><br />
Felipe V de España acompañado por la Alegoría de la Fe católica<br />
<i>El triunfo de la España católica sobre la herejía</i><br />
Felipe de Silva, 1712<br />
Palacio Real de Aranjuez<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/nUJL0c-LAQhpB8N7OU4WzoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="373" src="https://lh3.googleusercontent.com/-kLOKV1rnJ3k/Vm3_nr3K9QI/AAAAAAAApCM/JUd1IbpVavAiss3sPPeXn76rXdzDM3sJgCCo/s400/defensora.jpg" width="425" /></a><br />
"España defensora de la Fe católica"<br />
Fernando Cruz Solís, 1944-1965<br />
<i>Monumento del Sagrado Corazón de Jesús</i>, Cerro de los Ángeles, Getafe<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/M6PBp_d5woOWQE35QX9UmYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="325" src="https://lh3.googleusercontent.com/-RqIITobW_TM/Vm3_0SM6yMI/AAAAAAAApCU/roeNhe9pwkkpBrgrACd_01YG-OQh25mOgCCo/s800/Fede_Christiana_Cattolica.jpg" width="425" /></a><br />
Alegorías de la Fe católica, España<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/IlQHbCLO8AV_lKK_CRVxAYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="329" src="https://lh3.googleusercontent.com/-5M_1JAhbuVw/Vm4AE7On8GI/AAAAAAAApCc/GqEF_wtMF8Ymc-fZdoxR1msbhi16l-PNACCo/s400/palmesel.jpg" width="425" /></a><br />
Caridad, Fe y Esperanza<br />
<i>Palmesel</i> de madera con la Virtudes Teologales, siglo XV<br />
Iglesia de San Quirino, Montée Petrousse, Luxemburgo<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/90c7JeUwJZ0HBn7n90rsUoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="236" src="https://lh3.googleusercontent.com/-VxwP5NwHMQc/Vm4BG9rooAI/AAAAAAAApDA/b9wo8eVVOMsS1oaP9m8326EU_CnVF3MUQCCo/s800/Marble_Allegories.jpg" width="425" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Relieve de mármol, siglo XVIII<br />
Chiesa di San Moisè, Venecia<br />
<br />
2. Manifestaciones y desarrollos nuestro tiempo<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/ufd5NTSOlsLBPkmrBkyb3YJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="405" src="https://lh3.googleusercontent.com/--gCqOWtyVNQ/Vm4B5dbuAjI/AAAAAAAApDU/wcWLALQ-4oIrZzAtWAKRM7gFF0DAtat-gCCo/s800/mother%2Band%2Bson.JPG" width="157" /></a><br />
<i>Synagoga et Ecclessia: Madre e Hija</i><br />
Franz Hämmerle, 1999<br />
Capilla de Dachau<br />
Escultura tallada a partir de un mismo tronco.<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/l2OeZiB1ZsjFACQjA_UXFoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="494" src="https://lh3.googleusercontent.com/-l_NMXijRY9A/Vm4CG_knglI/AAAAAAAApDc/LSjNuNy44wsES93oANtqEYuD011vZFTngCCo/s800/Bert%2BMenco%2B2007.jpg" width="398" /></a><br />
<i>Synagoga et Ecclesia</i> <br />
Bert Menco, 2007<br />
Grabado a 25 placas <br />
Illinois State Museum, Springfield, Illinois<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/Xbm1SqT9g5-GBk5InlCFioJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="310" src="https://lh3.googleusercontent.com/-u5bPyZ-g46Q/Vm4Cc29t9QI/AAAAAAAApDo/TZjbh9WRQl84UuX7Dq5r2NZqnBKRoL3qwCCo/s800/bonn-ippendorf%2B1995.jpg" width="200" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Helmut Heinemann, 1995<br />
Heilige Barbara Kirche, Bonn-Ippendorf<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/yVdLcpJfTkz0bn7MKVkDzoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="282" src="https://lh3.googleusercontent.com/-TQgOJL_tO34/Vm4CrEdYGOI/AAAAAAAApDw/ibr68N0KV6g4iRX5wmiSX3KsE4vw0WP4wCCo/s800/modernas.jpg" width="221" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Paula Mary Turnbull, <i>c</i>. 2000<br />
Estatuillas de cobre<br />
Ilustradas en: Mary C. Boys, <i>¿Posee Dios sólo una bendición?—Judaísmo como fuente de autoentendimiento cristiano</i>, 2000<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/o_Sei8Hml90Ygo8SRzlDWIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="324" src="https://lh3.googleusercontent.com/-7Qc30vaT2Qo/Vm4DE4A9y3I/AAAAAAAApD4/oApnjPfWhLc2qAVjEGOQVLbqSCz1lS_UgCCo/s800/Nostra_Aetate.jpg" width="425" /></a><br />
<i>Synagoga y Ecclesia de Nuestro Tiempo</i><br />
Joshua Koffman, 2015 <br />
Modelo preliminar en arcilla<br />
<a href="http://hola-akermariano.blogspot.com/2015/09/dialogo-interreligioso.html">Versión final</a><br />
<br />
<a href="https://picasaweb.google.com/lh/photo/RvaaeNfT0Zeaqv_jyj9J7IJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="425" src="https://lh3.googleusercontent.com/-TG6GmOapgaU/VnfgF_lf8uI/AAAAAAAApFk/btf9NOKOhzQ3yOOGqoCl_7dVm2yJgvGiACCo/s800/synclesia.jpg" width="425" /></a><br />
<i>SynClesia</i><br />
Mariano Akerman, 2014<br />
Imagen digital<br />
Caracterizada en 2015 como <i>yuxtaposición de diferencias teológicas y puente de afinidades espirituales</i>.<br />
<br />
<br />
<b>Recursos digitales</b><br />
• <a href="http://akermariano.blogspot.com/2014/09/patrimonio-e-identidad.html">Patrimonio e Identidad</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2010/11/ecclesia-et-synagoga.html">Ecclesia et Synagoga</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/11/alcances.html">Las alegorías teológicas y sus atributos</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/11/llave.html">La llave del enigma</a><br />
• <a href="http://hola-akermariano.blogspot.com/2013/12/pseudo-hebreo.html">El Prado desaforado</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2010/12/living-cross.html">The Living Cross</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/09/ojos-cubiertos.html">Venda y ojos cubiertos</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/05/blindfold.html">Blindfold: Its Symbolism</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/03/paul-claudel.html">Claudel: Strasbourg</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/04/poem.html">Münchhausen: Der Sabbath der Sabbathe</a><br />
• <a href="http://visual-akermariano.blogspot.com/2014/10/lilien.html">Lilien</a><br />
• <a href="http://visual-akermariano.blogspot.com/2013/11/cantar-de-los-cantares.html">Cantar de los Cantares</a><br />
• <a href="http://visual-akermariano.blogspot.com/2014/10/sc.html">Monumento al Sagrado Corazón de Jesús</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/08/ecclesia-et-synagoga.html">Has God Only One Blessing?</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/07/synagoga-et-ecclesia.html">Synagoga and Ecclesia in Our Time</a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/07/pev.html">Programa Estímulo Vesalius</a><br />
• <a href="http://visual-akermariano.blogspot.com/2014/11/venda.html">R1</a> | <a href="http://visual-akermariano.blogspot.com/2014/11/documenta.html">R2</a><br />
<br />
<i>Pinterest albums</i><br />
• <a href="https://www.pinterest.com/akermariano/allegory/">Allegory</a> <br />
• <a href="https://www.pinterest.com/akermariano/ecclesia-et-synagoga/">Ecclesia et Synagoga</a><br />
• <a href="https://www.pinterest.com/akermariano/blindfold/">Blindfold</a><br />
<br />
<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/RvaaeNfT0Zeaqv_jyj9J7O1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-TG6GmOapgaU/VnfgF_lf8uI/AAAAAAAApFk/btf9NOKOhzQ/s400-Ic42/synclesia.jpg" width="200" /></a><br />
<br />
<br />
<!--• <b>Contexto general y referencia</b> <br />
<br />
• Alegoría en el arte occidental<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/2HXyUZxGivorTvPp_z8ooe1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="278" src="https://lh3.googleusercontent.com/-xURAGVKRoI0/Vm3y4EA07DI/AAAAAAAAo9g/gZBIkhx2JbE/s400-Ic42/Tellus_Matter.jpg" width="425" /></a><br />
<i>Tellus Mater</i>. Alegoría de la Madre Tierra<br />
Escultura romana. Relieve en <i>Ara Pacis Augustae</i>, Roma<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/Cv6uILBpGAEVRmgVANC3j-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="325" src="https://lh3.googleusercontent.com/-xrlN9ePLHjw/VnvnMPYOx3I/AAAAAAAApQM/O8Pd1Jtkrbo/s800-Ic42/CLEMENTIA.jpg" width="332" /></a><br />
<i>Clementia</i><br />
Moneda romana imperial<br />
Denario de plata de Antonino Pío, 138-161<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/Hnt_Jwn56QcrQnLltcpvze1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="430" src="https://lh3.googleusercontent.com/-VrR9SK20V2c/Vn1X99RtGnI/AAAAAAAApSc/ZkLMhlRl-uY/s640-Ic42/Beit_Alfa.jpg" width="425" /></a><br />
Figura en cuadriga, zodíaco y alegorías de las estaciones<br />
Marianos y Janina, siglo VI<br />
mosaico pavimental hebreo-bizantino <br />
Sinagoga de Beth Alfa, Galilea<br />
<a href="hola-akermariano.blogspot.com/2015/09/helios-y-beit-alfa.html">BA1</a> | <a href="http://documenta-akermariano.blogspot.com/2015/09/beit-alfa.html">BA2</a><br />
<br />
<a href="https://picasaweb.google.com/lh/photo/QT7Zyd_3riu6whNJQqHtf-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="278" src="https://lh3.googleusercontent.com/-ppPwK73leSc/Vm3ra9xNsEI/AAAAAAAAo64/hy_NfwjsHFQ/s400-Ic42/Botticelli_Primavera.jpg" width="425" /></a><br />
<i>Alegoría de la Primavera</i><br />
Sandro Botticelli, 1478<br />
Galeria degli Uffizi, Florencia<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/-s_UXrEM-a2uRoICe1quSO1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-UwJ3Ra2AHuk/Vm3reHoTNeI/AAAAAAAAo7A/Gq5C9fR0P6A/s400-Ic42/Arcimboldo.jpg" width="332" /></a><br />
<i>Las Cuatro Estaciones: Primavera</i><br />
Giuseppe Arcimboldo, 1563<br />
Real Academia de Bellas Artes de San Fernando, Madrid<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/zc-4XBOsXzRbVwpb-mRc6-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="425" src="https://lh3.googleusercontent.com/-MXM4lUg_IrM/Vm3ppe2tulI/AAAAAAAAo6Q/qJJXcH-kKEg/s400-Ic42/Leal.jpg" width="425" /></a><br />
<i>Alegoría del Triunfo de la Muerte </i><br />
Juan de Valdes Leal, "In Ictu Oculi", 1672<br />
Hospital de la Santa Caridad, Sevilla<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/ku-VDsTPztgdvGfe3Yc-ku1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="205" src="https://lh3.googleusercontent.com/-mKunaaPm7IM/Vm3vOKDmSKI/AAAAAAAAo80/__e4bvvhQOU/s400-Ic42/Marianne_1830.jpg" width="425" /></a><br />
<i>La Libertad guiando al Pueblo</i><br />
Eugène Delacroix, 1830<br />
Musée du Louvre, París<br />
Detalle: Marianne<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/ATPLoTiJmOCoQKou2Ml-2-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="500" src="https://lh3.googleusercontent.com/-E_omUa9L0I4/Vm3w1HVndTI/AAAAAAAAo9I/UjXOno5wNtQ/s800-Ic42/hope.jpg" width="366" /></a><br />
<i>Esperanza</i><br />
George Frederic Watts, 1886<br />
Tate Gallery, Londres<br />
<br />
• Iudaea Capta<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/OvXCSIDm-4K37sFcUz06y-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3XRx-s03sSvNPduj_Qv5RfriVTgdIsMCCBpr0F6OyExdaNwKbjIsGgeCOcQSziSxsfkB4s3ctC6GhXebo2kz18R3h_3h_Vv4eCjKbB_tZewaqpQM5MAc4nReqMWVco_iFu7GL/s288-Ic42/IUDAEA_CAPTA.jpg" width="288" /></a><br />
Moneda romana con inscripción "Iudaea Capta"<br />
<br />
• Alegoría y antijudaísmo<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/ek7Y3z72vHQhQ3xIeHFk8e1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="353" src="https://lh3.googleusercontent.com/-duGwYgpZgZY/VngaWcUvoJI/AAAAAAAApKM/sLumBFVVvyA/s800-Ic42/inicial-ecclesia-et-synagoga%252520fr-ms..jpg" width="309" /></a><br />
Ecclesia et Synagoga<br />
<i>Homilías de Beda</i>, Verdún, siglo XII<br />
Inicial "Q" del manuscrito miniado<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/v6ssDG5WOF4boyvG1g5ovu1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="343" src="https://lh3.googleusercontent.com/-BMCDIclYG7Q/VnrkLsFSltI/AAAAAAAApLs/MLeCmCGCTfY/s400-Ic42/paris-synagoga.jpg" width="400" /></a><br />
<i>Synagoga</i><br />
Fachada principal de la catedral de Notre Dame, París<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/lN-qS0roVvKH_YdpGb7tou1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="379" src="https://lh3.googleusercontent.com/-54qC485rFRM/VnrkypYLyKI/AAAAAAAApL0/CWLvhtynf6M/s800-Ic42/breviari%252520d%252527amor%252520londres.jpg" width="427" /></a><br />
Orígenes de la "ceguera" <br />
Matfre Ermengaud de Bezies, <i>Breviari d'amor</i>, 1288<br />
Londres, British Library, Ms. Yates Thompson 31, fol. 131r<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/mUum_eHDHqX-vr37lCk-t-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="205" src="https://lh3.googleusercontent.com/-z46Uoa4scBI/Vnrk4h-kT1I/AAAAAAAApL8/OSRihpXiNUI/s800-Ic42/Bible%252520histori%2525C3%2525A9e%25252C%252520Haguenau%25252C%25252015e%252520si%2525C3%2525A8cle.jpg" width="142" /></a><br />
Crucifixión con Ecclesia et Synagoga<br />
<i>Bible historiée</i> de Haguenau, Alemania, siglo XV<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/UKzBBdvA3PFhJLIR7izDdu1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="360" src="https://lh3.googleusercontent.com/-BRvmeInWLeY/Vnrk-T8Y-0I/AAAAAAAApME/GDkt9NVxR0g/s800-Ic42/bologna.jpg" width="346" /></a><br />
<i>Cruz viviente</i><br />
fresco, c. 1400 <br />
Catedral de San Petronio, Boloña<br />
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• La Divinidad remueve la venda<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/eKjBHRoI4CqcrYS9FkHd8-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="395" src="https://lh3.googleusercontent.com/-mPByjxYhEcA/Vnr2BzAue-I/AAAAAAAApPI/0drGD9cz9zU/s400-Ic42/habakkuk.jpg" width="425" /></a><br />
Inicial "O" con Profecía de Habacuc, Crucifixión, Ecclesia et Synagoga<br />
<i>Biblia Lambeth</i>, Canterbury, 1150-1170<br />
Londres, Lamberth Palace, Ms. 3, fol. 307r<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/EPz_Gr2GH6StaigZKhK-Ke1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="392" src="https://lh3.googleusercontent.com/-kOduEi_XyTI/VnlgnnZvkuI/AAAAAAAApKw/q17kCRjhmEQ/s400-Ic42/st-denis-vitral.jpg" width="425" /></a><br />
<i>Cristo con Ecclesia et Synagoga</i><br />
Vitral en medallón, siglo XII<br />
Basílica de Saint Denis, Francia<br />
<br />
• Alegoría de la Fe católica<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/HIc4WQYbEQHbEIVgMSAaqe1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-O9adi4nY21I/Vm3twoS7InI/AAAAAAAAo8A/QaEQn5Jx6rs/s400-Ic42/Giotto_Fides.jpg" width="202" /></a><br />
<i>Fides</i> <br />
<span style="font-size: x-small;">Alegoría de la Fe cristiana</span><br />
Giotto di Bondone, 1313<br />
Cappella dell'Arena, Padua <br />
<br />
<a href="https://picasaweb.google.com/lh/photo/oEVwPczU-Ef6hkis9Iigr-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="356" src="https://lh3.googleusercontent.com/-Stxih_6DnqM/Vnr0qBIca7I/AAAAAAAApO0/u5eJvmsLwd0/s400-Ic42/Escorial.jpg" width="425" /></a><br />
<i>El triunfo de la España católica sobre la herejía</i><br />
Felipe de Silva, 1712<br />
Palacio Real de Aranjuez<br />
<br />
• Visita Papal a Estados Unidos<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/xElBRBAw7zODlvC-Un9rdO1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="399" src="https://lh3.googleusercontent.com/-_PWOXZfpYL0/Vnrxi7JBvBI/AAAAAAAApOg/bBecyVrf_N0/s400-Ic42/philadelphia.jpg" width="400" /></a><br />
El Papa Francisco medita ante <i>Synagoga y Ecclesia de Nuestro Tiempo</i>. Fotografía tomada en St Joseph's University, Filadelfia, 27 de septiembre de 2015<br />
<br />
• La venda en las alegorías tras la 2a Guerra Mundial <br />
<br />
<a href="https://picasaweb.google.com/lh/photo/DVJneC0T5fGhwC8p9sf9F-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="364" src="https://lh3.googleusercontent.com/-QnUpABYfcN0/VnroU9PkKhI/AAAAAAAApMw/ZWLu4uM-elQ/s800-Ic42/viena-vitral.jpg" width="310" /></a><br />
Crucifixión con <i>Synagoga et Ecclesia</i><br />
Oswin Amann, 1950<br />
Vitral en la iglesia del Sagrado Nombre de Jesús, Viena<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/peK-XYaKW2PTb_VSQmtdNu1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="585" src="https://lh3.googleusercontent.com/-jVE_ujv6ve4/Vms9py6--LI/AAAAAAAAoYc/LEqL7SZwoUk/s640-Ic42/mitsui.jpg" width="425" /></a><br />
<i>El árbol de la vida y la muerte II</i><br />
Daniel Mitsui, 2006-7<br />
Tinta china sobre papel<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/HY4WvNu__rA_LyG98uHyOe1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-iL4RUsQLmtU/Vmwg1xewMsI/AAAAAAAAotM/ZJzKWGxPZOk/s400-Ic42/ana_cruz_2009.jpg" width="328" /></a><br />
<i>Joven con venda</i><br />
Ana Cruz, 2009<br />
sueños lúgubres - corazón congelado - corazón partido<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/fpdGq5DNpxdpvg6hmgEQIu1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="325" src="https://lh3.googleusercontent.com/-APYI0OPHqSU/Vmy08XMvFcI/AAAAAAAAo34/W8brSf3Xp1Y/s400-Ic42/prado.png" width="425" /></a><br />
Consulta: 19 de noviembre de 2010 y 17 de diciembre de 2015<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/1lvW1OZ9aUA9MZWsZ5_Jse1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdalWiz5laFph9D6qoklk0akUdg9NntKXOeGA-NJPt8ANjFgr2Nv7qlqETEx04j7NSA5w3qtewSzmvtNNeGc8upH87KgkHVuiwi0cL71aF4YuxQ-Kif9-4VEB8YOI4x_yxzzrB/s400-Ic42/heroic_abduction.jpg" width="425" /></a><br />
<i>Una abducción heroica</i><br />
Kris Kuksi, 2010<br />
Detalle de escultura en técnica mixta<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/eYQA9uYN1VPXo1ez63RotO1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="330" src="https://lh3.googleusercontent.com/-YLsnxL0y-mQ/Vnrod8TIWjI/AAAAAAAApNA/1-mu18hmgsc/s800-Ic42/Ecclesia_und_Synagoge.jpg" width="425" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Dibujo alemán para la “Semana de la Confraternidad” (Woche der Brüderlichkeit), Ansbach, 2012<br />
Ref. Christlich-Jüdische Zusammenarbeit<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/mA1WJyqVowmjQJoCopkyGe1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="376" src="https://lh3.googleusercontent.com/-jhT8SayilKc/VnrojQVmnFI/AAAAAAAApNI/w_JEOWssJfI/s400-Ic42/Kruger_2012.jpg" width="425" /></a><br />
<i>Creencia y duda es salud</i> <br />
Barbara Kruger, 2012<br />
Fotomontaje<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/gC5bQ8fqBR_7mxgmNv8GW-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="250" src="https://lh3.googleusercontent.com/-wiE_N0F7zpk/Vms6cvqOEGI/AAAAAAAAoXo/u8838Oeib7g/s800-Ic42/efferova.jpg" width="425" /></a><br />
Helena Efferová como <i>Synagoga</i><br />
Interpretación Anima/Animus Performance<br />
Catedral de Winchester, 2013<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/O1zM3LTLsz8nads-Xz0EQO1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="296" src="https://lh3.googleusercontent.com/-mJER28eaAQ8/Vms21g7OTOI/AAAAAAAAoW8/UOyl4Dnoy3M/s400-Ic42/the_wall_remaining.jpg" width="425" /></a><br />
El muro remanente<br />
Scott Freeman, 2013<br />
Tríptico<br />
<span style="font-size: x-small;">Loveland Museum-Gallery, <i>Zeitgeist: Paintings Inspired by Germany</i>, febrero 2014</span><br />
<br />
<a href="https://picasaweb.google.com/lh/photo/KuZXZNM9lhHmd7klgkUTu-1S8hte5V6v4D9f0Wf-JfM?feat=embedwebsite"><img height="165" src="https://lh3.googleusercontent.com/-PWAJelD5bKs/VmtDADXUQFI/AAAAAAAAoag/3oeNEtoF6ck/s800-Ic42/PF.jpg" width="236" /></a><br />
<i>Ecclesia et Synagoga</i><br />
Pepe Fainberg, 2015<br />
Ilustración para "Las personas y el libro: sobre el poder y el dolor" (The People and the Book: Of Power and Pain), <i>The Jerusalem Report</i>, 23 de agosto de 2015<br />
<br />
<br />
<a href="https://picasaweb.google.com/lh/photo/RvaaeNfT0Zeaqv_jyj9J7IJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img src="https://lh3.googleusercontent.com/-TG6GmOapgaU/VnfgF_lf8uI/AAAAAAAApFk/btf9NOKOhzQ3yOOGqoCl_7dVm2yJgvGiACCo/s800/synclesia.jpg" height="200" width="200" /></a><br />
<br />
<br />
<br />
--><b>Referencias bibliográficas</b><br />
BLANC, J. "L’allégorie: l’invisible et sa représentation". In: FRONTISI, Claude. <i>Histoire visuelle de l’art</i>, París: Larousse, 2001, pp. 212-13.<br />
CIRLOT, José Eduardo. <i>A Dictionary of Symbols</i> (1958), Londres: Routledge, 1971.<br />
FAÜ, Jean-François. L<i>’image des Juifs dans l’art chrétien médiéval</i>, París: Maisonneuve & Larose, 2005.<br />
KOCH, K. "Theological Perspectives in Jewish-Catholic Dialogue," Conferencia ICCJ, Nueva Jersey, 2011.<br />
MICHAEL, Robert. <i>A History of Catholic Antisemitism</i>, Palgrave-Macmillan, 2008.<br />
RESNIK, J.; CURTIS, D. "From Fool’s Blindfold to the Veil of Ignorance", <i>Yale Law Report</i>, 58:1 (2011), 14-16.<br />
REUTER, Jasmín. "Alegoría de la Sinagoga", <i>Revista de la Universidad de México</i> 20:1 (1965), pp. 18-20.<br />
RIPA, Cesare. <i>Iconologia overo descrittione dell’imagini universali</i>, 2a ed., Roma: Lepido Facij, 1603.<br />
ROWE, Nina. "Idealization and Subjection at the South Façade of Strasbourg Cathedral". In: MERBACK, M., ed. <i>Beyond the Yellow Badge: Anti-Judaism and Antisemitism in Medieval and Early Modern Culture</i>, Leiden: Brill, 2007, pp. 179-202.<br />
SAINT-EXUPÉRY, Antoine de. <i>Le Petit Prince</i> (1943), París: Gallimard, 1951.<br />
<br />
<b>Recursos electrónicos</b><br />
AKERMAN, Luís Mariano. "Las alegorías de la Fe: imágenes y recursos digitales", <i>Asterisk</i>, 21 de diciembre de 2015. Disponible en: http://akermariano.blogspot.com/2015/12/fe.html. Accedido: 27/12/2015.<br />
COFRADÍA DE LA SANTA FE. <a href="http://cofradiasantafe.blogspot.com/2013/03/revista-fe-y-hermandad-2013.html">Año de la Fe</a>, <i>Revista Fe y Hermandad</i>, Lucena, 2013. Accedido: 18/12/2015.<br />
CUNNINGHAM, Philip A., et al. <a href="http://www.ccjr.us/dialogika-resources/documents-and-statements/interreligious/iccj/1339-iccj-2015june30">A Statement from the International Council of Christians and Jews for the ... Jubilee of ... Nostra Aetate</a>, Roma, junio-julio 2015. Accedido: 15/12/2015.<br />
FARFÁN, L. <a href="http://www.unaventanadesdemadrid.com/comunidad-de-madrid/cerro-de-los-angeles.html">El Cerro de los Ángeles</a>, <i>Una ventana desde Madrid</i>, 11 de diciembre de 2013. Accedido: 15/12/2015.<br />
<a href="https://www.museodelprado.es/coleccion/obra-de-arte/la-fuente-de-la-gracia-y-triunfo-de-la-iglesia/f578c5af-b1d6-4ef8-aaa3-ae05a6dd2393">La Fuente de la Gracia y Triunfo de la Iglesia sobre la Sinagoga</a>. Museo Nacional del Prado, Madrid, catálogo, 2010‒2015. Accedido: 19/11/2010 y 17/12/2015.<br />
WELCH, B. <a href="https://www.forumancientcoins.com/moonmoth/reverse_fides.html">Fides: Loyalty and Trust</a>, <i>The Sign Language of Roman Coins</i>, 18 de octubre de 2008. Accedido: 17/12/2015.<br />
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<br />
<a href="https://picasaweb.google.com/lh/photo/FuwqB1Okv4yg8U8ENmi9NNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="579" src="https://lh3.googleusercontent.com/-uv74A58zcFA/VgaHWDV37gI/AAAAAAAAnO0/kYb0qILEdIg/s640-Ic42/VBW.jpg" width="425" /></a><br />
<a href="http://hola-akermariano.blogspot.com/2015/07/pev.html">Programa Estímulo Vesalius</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="239" src="https://www.youtube.com/embed/uY5gyvYbHzQ?rel=0&showinfo=0" width="425"></iframe><br />
Renan Kastrup y JP Aráujo, "50 Anos de Diálogo com Religiões Não-Cristãs", TV PUC-Rio, 15/11/2015 <br />
<br />
<a href="http://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s1600/pev_total.gif" imageanchor="1"><img border="0" height="330" src="https://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s400/pev_total.gif" width="425" /></a><br />
<a href="http://mariano-akerman.blogspot.com/2015/11/programa-educativo-vesalius.html">Exposición</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://picasaweb.google.com/lh/photo/RvaaeNfT0Zeaqv_jyj9J7IJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="425" src="https://lh3.googleusercontent.com/-TG6GmOapgaU/VnfgF_lf8uI/AAAAAAAApFk/btf9NOKOhzQ3yOOGqoCl_7dVm2yJgvGiACCo/s800/synclesia.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sólo se ve bien con el corazón.</i></td></tr>
</tbody></table><!--
Referentes
2010 German Art brochure http://www.pakistan.diplo.de/contentblob/2698870/Daten/777424/Akerman_Broschre_DLD.pdf
2013 Bacon - Blue Chip Magazine
http://web.archive.org/web/20150318032958/http://bluechipmag.com/bacon-painter-with-a-double-edged-sword/
2015 "PUC-Rio realiza seminário A Igreja e a Sinagoga em Diálogo", Assessoria de Communicacao Social PUC-Rio, 8/11/2015
http://assessoria.vrc.puc-rio.br/cgi/cgilua.exe/sys/start.htm?infoid=44169&sid=238
2015 AaA PUC-Rio "Igreja e a Sinagoga em Diálogo"
http://aaapucrio.com.br/igreja-e-a-sinagoga-em-dialogo/
2015 Olívia Nielebock e Dayane Barbosa
"Diálogo entre a Igreja e a Sinagoga" PUC-Rio Jornal da PUC 11/11/2015
http://jornaldapuc.vrc.puc-rio.br/cgi/cgilua.exe/sys/start.htm?infoid=4300&sid=29#.Vnll_9LhA1J
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Na segunda conferência, o arquiteto Mariano Akerman abordou sobre as representações esculturais da Igreja e da Sinagoga e os atributos pertencentes a cada uma delas. Ele explicou que a Sinagoga, por muito tempo, foi representada como uma figura insegura, envergonhada, enquanto a figura da ‘Eclesia’ aparentava estar segura de si. O arquiteto abordou também sobre símbolos presentes nos dois templos.
2015 Passepartout
http://asa.org.br/author/passepartout/
2015 Arte e Raízes
http://asa.org.br/boletim/ed158/arte-e-raizes/
2015 Luke Mayo, "When art takes a spooky turn: an introduction to Francis Bacon", The Global Panorama, 31.10.2015
http://theglobalpanorama.com/when-art-takes-a-spooky-turn-an-introduction-to-francis-bacon/
Meet Francis Bacon, an artist renowned for his dark and grotesque imagery.
Here’s a man who can both paint and sculpt – why limit yourself when you can spread out your talents? Having become an international name in 1963, when his work was displayed in a retrospective exhibition at the Solomon R Guggenheim Museum in New York, he went on to have more of his work displayed at further exhibitions throughout the 1970s.
During this period in the ’70s, it’s safe to say that Bacon’s collective output was generally low-key, with an element of mystery about them. His paintings lacked any kind of human element to them, tending to focus more nature. It can be said that Bacon’s work generally takes a rather ambiguous tone, leaving the viewer unsure of what to make of them – just like any good ghost story.
Take Portrait of George Dyer in a Mirror (1968), for example. Mariano Akerman, art historian and researcher, has written a blog on this artwork. The portrait itself depicts Bacon’s usual penchant for the strange, as the figures portrayed are shown to have very distorted facial features. Mariano points out in his blog that it is this feature that draws out, ‘both curiosity and perplexity’ from the viewer, which may themselves arise from a sense of ‘attraction and repulsion’ evoked by the painting. If you ever want to feel multiple things at the same time, try taking a look at a Bacon picture.
Other paintings by Bacon make similar use of grotesque imagery. A comparably sinister painting is Study for a Portrait (1952). With the blurred facial features and dull grey colours, an almost ghostlike effect is produced. Also to be noted is the open mouth, similar to The Scream (1893) by Edvard Munch. With paintings like these, there’s certainly more than enough inspiration in the world of art for Halloween.
A further example of Bacon’s sinister style can be found in Three Studies for Figures at the Base of a Crucifixion (1944). This features three separate figures that are shapeless in form and grey in colour, which immediately creates a sense of mystery. The first figure oozes what appears to be blood, creating a sense of gore. The other two have a similarly gruesome appearance, as they have distinguishable mouths which both seem to be in some anguish. Chilling is the word that springs to mind here.
Bacon’s penchant for horror and the grotesque fits in perfectly with the eerie qualities that Halloween is known for. We all love things that seem odd, weird or darkly out of place. This is why Roald Dahl is such a popular writer – you never know what you’re going to get with a Dahl novel, and such unpredictability can be used to dark effect. It’s for this reason that everyone loves Roald Dahl, and the same can be said for Francis Bacon – let’s face it, eeriness and strangeness are, by and large, good things.
So, this Halloween, make sure you get a chance to appreciate Bacon’s work. And try not to get too freaked out while you’re doing it.
--><br />
<a href="https://www.maxwell.vrac.puc-rio.br/rev_ateo.php?strSecao=fasciculo&fas=28053&NrSecao=139">Publicación</a><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-9xjexM5rF2M/WVekGuxU60I/AAAAAAAAz4M/NjvoSq1gKWkZpjgErjqjGYMialQXVmOYgCLcBGAs/s1600/Atualidade_Teologica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="526" height="310" src="https://4.bp.blogspot.com/-9xjexM5rF2M/WVekGuxU60I/AAAAAAAAz4M/NjvoSq1gKWkZpjgErjqjGYMialQXVmOYgCLcBGAs/s400/Atualidade_Teologica.jpg" width="400" /></a></div><br />
<div style="text-align: justify;">Mariano Akerman, "Las alegorías de la Fe en el arte occidental", <i>Atualidade Teológica: Contribuições sobre o Magistério</i>, Pontificia Universidade Católica do Rio de Janeiro, XX: 54, set/dez 2016, pp. 807-831. <a href="https://www.maxwell.vrac.puc-rio.br/27925/27925.PDFXXvmi=">PDF</a> disponible en: https://www.maxwell.vrac.puc-rio.br/27925/27925.PDFXXvmi=</div>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com3tag:blogger.com,1999:blog-19648683.post-90560960297131714462015-11-28T10:32:00.000-04:002016-07-01T11:41:02.196-03:00Programa Estimulo Vesalius: As Constelações Interiores - Exposição<span style="color: #20124d;">--------</span><a href="http://mariano-akerman.blogspot.com/2015/11/programa-educativo-vesalius.html"><span style="font-size: x-small;">versión catellano-rioplatense</span></a><br />
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<a href="http://4.bp.blogspot.com/-4SPmEWoJCmk/Vloa-RbSGRI/AAAAAAAAn9E/k6R29oklMms/s1600/qvadro.gif" imageanchor="1"><img border="0" height="425" src="https://4.bp.blogspot.com/-4SPmEWoJCmk/Vloa-RbSGRI/AAAAAAAAn9E/k6R29oklMms/s400/qvadro.gif" width="425" /></a><br />
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<br />
<i>Só se vê bem com o coração... quando não é de pedra</i>. <br />
—Mariano Akerman, Rio de Janeiro, 2015<br />
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<br />
<a href="https://picasaweb.google.com/lh/photo/FuwqB1Okv4yg8U8ENmi9NNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="564" src="https://lh3.googleusercontent.com/-uv74A58zcFA/VgaHWDV37gI/AAAAAAAAnO0/kYb0qILEdIg/s640-Ic42/VBW.jpg" width="425" /></a><br />
<br />
<b>Programa Estimulo Vesalius: Anatomia da Arte</b><br />
A Obra da Arte como Estrutura Interdisciplinar Expressiva<br />
<br />
<span style="font-size: x-small;">Mariano Akerman nas 12 Conferências sobre o Tema: "Imagem e Conteúdo"</span><br />
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Río de Janeiro, Capital Cultural do Brasil, 2014/2015<br />
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<a href="http://2.bp.blogspot.com/-GSAtVccymOA/VlnHQdPMGMI/AAAAAAAAn8s/3qDG_-tCcyw/s1600/pev_didactica.gif" imageanchor="1"><img border="0" height="325" src="https://2.bp.blogspot.com/-GSAtVccymOA/VlnHQdPMGMI/AAAAAAAAn8s/3qDG_-tCcyw/s400/pev_didactica.gif" width="425" /></a><br />
<div style="text-align: justify;">
<b>Encontro 12</b>. Rio de Janeiro, Residência da Bélgica, "As Constelações Interiores: A Obra da Arte como Estrutura Didática Interdisciplinar", apresentação das especificidades e conteúdos do Programa Vesalius Rio (65 collages digitais desenhados por Akerman), 26 de Novembro de 2015. <br />
<br />
<b>Estrutura da Exposição</b><br />
<br />
<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s200/Vesalius.jpg" width="191" /></a><br />
1. <b>O Homem no Centro</b>. Vesalius: A sua Vida e o seu Legado. <br />
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<a href="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s1600/PEV.jpg" imageanchor="1"><img border="0" height="325" src="https://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s400/PEV.jpg" width="425" /></a><br />
2. <b>A Ponte entre Culturas</b>. As palestras desenvolvidas por Akerman a partir da metodologia do Vesalius e considerando as necessidades especificas das instituições cariocas sobre tópicos que são importantes para elas e onde o preconceito ainda prevalece e precisa ser detectado e esclarecido.<br />
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<a href="https://picasaweb.google.com/lh/photo/jQLnorFgP0x5eMqFXVSgY9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-WXt7-ZZZZtg/VpAysFzNOdI/AAAAAAAApZA/HfgZHO2DE50/s288-Ic42/synclesia.jpg" width="192" /></a><br />
3. <b>A Venda</b>. Considerações sobre o preconceito, a pesquisa e o conhecimento.<br />
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<a href="http://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s1600/pev_total.gif" imageanchor="1"><img border="0" height="330" src="https://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s400/pev_total.gif" width="425" /></a><br />
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<b>As Constelações Interiores</b><br />
• Duração da exposição pelo pesquisador: 110 minutos<br />
• Convidados presentes no Encontro 12: 37 pessoas<br />
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<a href="https://picasaweb.google.com/lh/photo/3_ecpozs1M4lt48toeWtQNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="330" src="https://lh3.googleusercontent.com/-qi2a37deeAQ/VjzTBaChScI/AAAAAAAAnpU/MLEofSNYd9M/s640-Ic42/BR_ARG.jpg" width="425" /></a><br />
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<b>Programa Estimulo Vesalius</b><br />
• Total participantes nas 12 palestras: 500 pessoas</div>
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<iframe allowfullscreen="" frameborder="0" height="620" marginheight="0" marginwidth="0" scrolling="no" src="//es.slideshare.net/slideshow/embed_code/key/8UUri4IdohO0PD" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;">
<span style="font-size: x-small;"><a href="https://es.slideshare.net/akermariano/vesalius-o-homem-no-centro" target="_blank" title="Vesalius: O Homem no Centro">Vesalius: O Homem no Centro</a> from <a href="https://www.slideshare.net/akermariano" target="_blank">Programa Estimulo Vesalius Rio</a></span></div>
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<b>Programa Vesalius Rio 2014/2015</b><br />
• <a href="http://akermariano.blogspot.com/2015/07/programa-estimulo-vesalius.html">Educação: Programa Estimulo Vesalius</a><br />
• <a href="http://akermariano.blogspot.com/2015/06/vesalius.html">A Luz de Vesalius</a> <br />
• <a href="http://visual-akermariano.blogspot.com/2015/01/vesaliana.html">Vesaliana</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Programa Estímulo Vesalius</a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/06/la-luz-de-vesalius.html">La luz de Vesalius</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Rebel and Pioneer</a><br />
• <a href="http://akermariano.blogspot.com/2012/12/mariano-akerman.html">Mariano Akerman CV</a>, <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Dados</a> e <a href="http://akermariano.blogspot.com/2012/12/referentes.html">Referências</a><br />
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<a href="http://2.bp.blogspot.com/-GSAtVccymOA/VlnHQdPMGMI/AAAAAAAAn8s/3qDG_-tCcyw/s1600/pev_didactica.gif" imageanchor="1"><img border="0" src="https://2.bp.blogspot.com/-GSAtVccymOA/VlnHQdPMGMI/AAAAAAAAn8s/3qDG_-tCcyw/s400/pev_didactica.gif" /></a><br />
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<a href="https://picasaweb.google.com/lh/photo/tsFzzQTErqS7-QEom_K4YdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="871" src="https://lh3.googleusercontent.com/-_bq8uBZuDpY/VvQBy9a3L0I/AAAAAAAApu8/Q7RHHk9uqFkn3osHMa96b_wDkPIuVKTRgCCo/s800-Ic42/BE_RIO.png" width="400" /></a><br />
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<a href="http://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s1600/pev_total.gif" imageanchor="1"><img border="0" src="https://2.bp.blogspot.com/-srT1JIkj4BM/VlnHUh5_L7I/AAAAAAAAn80/HMjIIWI0u-I/s400/pev_total.gif" /></a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comtag:blogger.com,1999:blog-19648683.post-80761666402585159982015-11-06T12:13:00.001-04:002018-01-29T16:52:07.331-04:00Sueños de pintores y configuraciones de lo Imaginario<br />
<a href="http://2.bp.blogspot.com/-kKqwOrGbygQ/VUKAWvOwkJI/AAAAAAAAmO0/4il6idZmq30/s1600/avion_zanahoria.jpg" imageanchor="1"><img border="0" height="425" src="https://2.bp.blogspot.com/-kKqwOrGbygQ/VUKAWvOwkJI/AAAAAAAAmO0/4il6idZmq30/s400/avion_zanahoria.jpg" width="425" /></a><br />
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<div style="text-align: justify;">Río de Janeiro, Capital Cultural del Brasil. El 5 de noviembre se llevó a cabo una presentación-homenaje al pintor carioca Roberto Magalhães en el auditorio del Instituto Cultural Brasil Argentina. <br />
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<a href="https://picasaweb.google.com/lh/photo/RkOoOzilW0yZ6bF4b7XAR9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="546" src="https://lh3.googleusercontent.com/-UoBEUcPxrZY/VlTBm7-znEI/AAAAAAAAn6Q/gaDHSnW8a_M/s800-Ic42/sonhos.png" width="425" /></a><br />
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El arquitecto e historiador del arte Mariano Akerman consideró la obra plástica de Magalhães a través de un prisma crítico argentino, ponderando el sostenido interés del maestro brasileño por el arte europeo y latinoamericano. Akerman reveló los contactos visuales y literarios que los trabajos de Magalhães involucran para con el legado occidental, al que dicho artista a menudo recurre como fuente de inspiración en su quehacer plástico.<br />
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"El caso de Magalhães", expresó Akerman, "ejemplifica el quehacer de un artista-investigador que desea transformar la realidad que lo rodea sin por ello desconectarse de sus raíces. Magalhães está permanentemente en diálogo con sus orígenes si bien a cada uno de ellos no duda él demasiado en aplicarle su propia vuelta de tuerca."<br />
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Afinidades sutiles e insospechados puntos de contacto se dan entre los ensueños de Roberto Magalhães y aquellos de predecesores suyos tales como René Magritte, Giuseppe Arcimboldo, Wassily Kandisnky, Joos de Momper, Giorgio de Chirico, James Ensor, Francis Bacon y Paul Gaugin. La obra de Magalhães se encuentra además ligada a nociones desarrolladas por Calderón de la Barca, Francisco de Goya, Juan de Covarrubias y André Maurois.<br />
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En lo que se refiere a su naturaleza, articulación y razón de ser, la imaginería propuesta por Magalhães pertenece al campo de lo Grotesco, categoría estética donde coexisten la diversión y el horror. Estructuralmente, observa Akerman, Magalhães emplea a menudo técnicas propias de lo Grotesco: no en vano sus configuraciones recuerdan los juguetones motivos híbridos que residen en los márgenes de no pocos manuscritos medievales miniados, pero también se hallan emparentadas con los grotescos de deformación cultivados por Bacon en figuras de doble-filo, cuya expresividad tiende a confrontar al espectador con lo magnéticamente atractivo mas potencialmente monstruoso. <br />
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La obra de Magalhães se encuentra marcada por una aguda conciencia del carácter finito de la vida y la inexorabilidad de la muerte, sostiene el disertante argentino, quien, acto seguido lo pondera: "y es precisamente gracias a ello que el pintor carioca celebra con determinación el tema de la libertad del ser humano, rechazando de plano cualquier supuesto destino."<br />
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“Sueños de Pintores y Configuraciones de lo Imaginario” forma parte de una serie de las doce conferencias para Río de Janeiro inspiradas en la metodología operativa de Andrés Vesalio, médico bruselense que llevó a cabo la primera disección completa del cuerpo humano, acabó con varios mitos e inexactitudes heredadas de los antiguos y, a través de su monumental tratado (<i>De humanis corporis fabrica</i>, publicado en Basilea en 1543), sentó las bases para el estudio y desarrollo de la anatomía moderna. Creadas con el objetivo de conmemorar el 500° aniversario del nacimiento de Vesalius, las conferencias en cuestión son iniciativa personal del investigador argentino, quien en su ciclo titulado "Vesalius" aborda "la obra de arte como estructura expresiva interdisciplinaria". <br />
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Junto con un muy atento público general, concurrieron también al evento personalidades diversas del mundo de la cultura brasilera así como destacados miembros de las comunidades diplomáticas belga y argentina en Río de Janeiro.</div><br />
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<a href="https://picasaweb.google.com/lh/photo/saR9KK_Ie-eWXmAmmBLJKdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="324" src="https://lh3.googleusercontent.com/-JiOVnoAn-XE/VjzZCdqyOwI/AAAAAAAAnqI/h9h2gOTEEUc/s640-Ic42/ak_sonhos.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Mariano Akerman: "Sonhos de Pintores e Configurações do Imaginário"</span><br />
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<a href="https://picasaweb.google.com/lh/photo/3_ecpozs1M4lt48toeWtQNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="330" src="https://lh3.googleusercontent.com/-qi2a37deeAQ/VjzTBaChScI/AAAAAAAAnpU/MLEofSNYd9M/s640-Ic42/BR_ARG.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Configurar lo Imaginario: Magritte, Magalhães y Akerman</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://picasaweb.google.com/lh/photo/DmeTEEc8jvlJihygd6yRVtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="612" src="https://lh3.googleusercontent.com/-iAP1IakCf_M/VkCsGjuNC2I/AAAAAAAAnsY/lVJYwaTJjYY/s800-Ic42/ICBA_11.15.gif" width="189" /></a></div><br />
<a href="https://picasaweb.google.com/lh/photo/T2T2wN0FTB40WOKpONYbKdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="326" src="https://lh3.googleusercontent.com/-nf0vkI1j-yg/Vjza3TZRjRI/AAAAAAAAnrA/i2WpRRXv6cU/s640-Ic42/ak_hybrids.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Grotesco de combinación. Magalhães en su salsa: <i>Monstruo</i> rodeado por grotescos antiguos, medievales y renacentistas.</span><br />
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<a href="https://picasaweb.google.com/lh/photo/H_xJQucQGLPUk35fA7QusdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="263" src="https://lh3.googleusercontent.com/-6nhWoidllpU/Vjza3uLZEBI/AAAAAAAAnrA/OnJblbYJ2no/s640-Ic42/ak_distortion.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Grotesco de deformación. <i>Autorretrato</i> de Bacon y <i>Memoria</i> según Magalhães</span><br />
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<a href="https://picasaweb.google.com/lh/photo/vYy8bjjOZ_jtQhpN34o4VtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="546" src="https://lh3.googleusercontent.com/-Xe4vOc1dzbE/VlTBl8xEnkI/AAAAAAAAn6M/E4kn0IhexPk/s800-Ic42/sonhos.gif" width="425" /></a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com3tag:blogger.com,1999:blog-19648683.post-63736837905856802342015-10-26T09:12:00.000-03:002015-10-26T19:54:09.847-03:00Ciclo Acervo e Memória<br />
<a href="https://picasaweb.google.com/lh/photo/ZNoe2w6HRG5aniWq2xizBNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="580" src="https://lh3.googleusercontent.com/-g6DsuZ0-mq4/UaP9PMADmzI/AAAAAAAAmeA/dJYz_OTkzjw/s640-Ic42/Bak_1989_Source_of_Energy.jpg" width="425" /></a><br />
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<b>Ciclo de Palestras "Acervo e Memória"</b><br />
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<div style="text-align: justify;">Nos Domingos, 4, 18 e 25 de Outubro de 2015, às 18h, o arquiteto e historiador da arte Mariano Akerman desenvolveu uma série de três palestras abordando a relação entre a propaganda totalitária e as expressões que testemunham o maior genocídio da História. <br />
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As palestras, cada uma de elas ilustrada por slides e com una duração de duas horas e quinze minutos, Akerman abordou os seguintes tópicos: <br />
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1) Cultura e Propaganda. "Pátria Portátil" e Período da Pré-guerra.<br />
2) Tragédia e Lembrança. A 2ª Guerra Mundial: Arte, Fatos e Testemunhos.<br />
3) Memória e Educação. A evocação do ocorrido durante a 2ª Guerra Mundial por médio das artes visuais. O artista nos períodos da pós-guerra e na atualidade. Alcances do fenômeno educativo. <br />
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<a href="http://3.bp.blogspot.com/-rTfcGIl7DT4/VizNrtGviVI/AAAAAAAAnnE/WpWgVwTARoA/s1600/asa1.jpg" imageanchor="1"><img border="0" height="345" src="http://3.bp.blogspot.com/-rTfcGIl7DT4/VizNrtGviVI/AAAAAAAAnnE/WpWgVwTARoA/s640/asa1.jpg" width="425" /></a><br />
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<a href="http://3.bp.blogspot.com/-YoF385drG9E/Vi6s6oGWumI/AAAAAAAAnoE/sfEOSOOjKHw/s1600/asa2.jpg" imageanchor="1"><img border="0" height="350" src="http://3.bp.blogspot.com/-YoF385drG9E/Vi6s6oGWumI/AAAAAAAAnoE/sfEOSOOjKHw/s640/asa2.jpg" width="425" /></a><br />
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<a href="http://2.bp.blogspot.com/-sMa5JwsD7U8/VizNwau0-uI/AAAAAAAAnnU/eBuaLP5se2I/s1600/asa3.jpg" imageanchor="1"><img border="0" height="335" src="http://2.bp.blogspot.com/-sMa5JwsD7U8/VizNwau0-uI/AAAAAAAAnnU/eBuaLP5se2I/s640/asa3.jpg" width="425" /></a><br />
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As palestras formam parte do <i>Vesalius: Anatomia da Arte</i>, um programa de palestras criado pelo próprio Akerman e dedicado a explorar a natureza da obra da arte como estrutura interdisciplinar expressiva.<br />
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Inspirado pela luz que emana da pesquisa metodológica e exaustiva do médico renascentista Andreas Vesalius (Bruxelas, 1514-1564), o <i>Programa Vesalius Rio</i> reexamina as Artes Visuais como disciplina.<br />
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<a href="https://picasaweb.google.com/lh/photo/qfICs7J7Mlm6HAy2PS72CtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="535" src="https://lh3.googleusercontent.com/-Gmgn_3IhxyY/VYFrzLPtRXI/AAAAAAAAmVA/gfoqPwnenX0/s800-Ic42/Vesalius_425_PNG.png" width="425" /></a><br />
<a href="http://akermariano.blogspot.com/2015/07/programa-estimulo-vesalius.html"><span style="font-size: x-small;">Programa Vesalius Rio</span></a><br />
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<a href="https://picasaweb.google.com/lh/photo/FuwqB1Okv4yg8U8ENmi9NNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="580" src="https://lh3.googleusercontent.com/-uv74A58zcFA/VgaHWDV37gI/AAAAAAAAnO0/kYb0qILEdIg/s640-Ic42/VBW.jpg" width="425" /></a><br />
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Nos domingos, 4, 18 e 25 de outubro de 2015, às 18 h, o arquiteto e historiador da arte Mariano Akerman desenvolveu na ASA uma série de três palestras abordando a relação entre a propaganda totalitária e as expressões que testemunham o maior genocídio da História. Nas palestras, ilustradas por slides e com duração de duas horas e quinze minutos, Akerman abordou os seguintes tópicos:<br />
1. Cultura e Propaganda -"Pátria Portátil" e Período da Pré-guerra.<br />
2. Tragédia e Lembrança -A 2ª Guerra Mundial: Arte, Fatos e Testemunhos.<br />
3. Memória e Educação -A evocação do ocorrido durante a 2ª Guerra Mundial por meio das artes visuais. O artista nos períodos do pós-guerra e da atualidade. Alcances do fenômeno educativo.<br />
As palestras fazem parte do Vesalius: Anatomia da Arte, um programa criado pelo próprio Akerman e dedicado a explorar a natureza da obra de arte como "estrutura interdisciplinar expressiva". Inspirado pela luz que emana da pesquisa metodológica e exaustiva do médico renascentista Andreas Vesalius (Bruxelas, 1514-1564), o Programa Vesalius Rio reexamina as Artes Visuais como disciplina. (<a href="http://asa.org.br/novidades/mariano-akerman-ciclo-acervo-e-memoria/">Novidades: Ciclo Acervo e Memória</a>, ASA, 26/10/2015).</div><br />
<b>Mouloudji: Un jour je m'en irai</b><br />
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<iframe allowfullscreen="" frameborder="0" height="239" src="https://www.youtube.com/embed/Z-qZak7HjI0?rel=0&showinfo=0" width="425"></iframe>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-9735046135025650982015-10-22T13:26:00.000-03:002016-07-28T22:10:26.614-03:00Nostra Aetate<br />
<a href="https://picasaweb.google.com/lh/photo/6mLjRnnhh8eK0rjbnkrSJIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="324" src="https://lh3.googleusercontent.com/-FEG9JbsqLTk/VikMZkSY3rI/AAAAAAAAne0/X0J9ixv9zxQ/s400-Ic42/Nostra_Aetate.jpg" width="425" /></a><br />
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<b>Ontem e Hoje: As Alegorías da Fé na Arte Ocidental</b><br />
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Emitida pelo Concílio Vaticano II em 1965, a Declaração <i>Nostra Aetate</i> rejeitou os argumentos teológicos que consideravam o povo judeu espiritualmente "cego" e o judaísmo um credo "obsoleto". Em termos visuais, a teologia medieval inspirada pelo desprezo foi exprimida em várias catedrais e igrejas por meio das alegorias da <i>Ecclesia et Synagoga</i> (Igreja e Sinagoga); uma coroada e vitoriosa, a outra derrotada, com seus olhos cobertos por uma venda e sua coroa caída no chão. <i>Nostra Aetate</i> repudiou tais imagens e convocou os cristãos e os judeus a dialogar, a descobrir o que eles têm em comum, a estudar juntos, a aprender os uns com os outros. O Papa Francisco escreveu: "O diálogo e a amizade com o povo de Israel são parte da vida dos discípulos de Jesus. Existe uma complementaridade entre a Igreja e o povo judeu que nos permite colaborar entre nos para extrair as riquezas da Palavra de Deus" (<i>Evangelii Gaudium</i>, 2014).<br />
Mariano Akerman pesquisa e interpreta as alegorias da Fé próprias da arte ocidental, considerando suas especificidades, metamorfoses e razão de ser, tanto em tempos pretéritos como no presente.<br />
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<a href="https://picasaweb.google.com/lh/photo/ffCSR-3nHjZebkIBUR8qaoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite" style="font-style: italic;"><img height="270" src="https://lh3.googleusercontent.com/-WuiAf92PFcY/VikMbBkWlDI/AAAAAAAAne8/0f-u8jFxTmQ/s640-Ic42/Ontem%252520e%252520Hoje.jpg" width="425" /></a><br />
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<b>Ayer y Hoy: Las Alegorías de la Fe en el Arte Occidental</b><br />
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Emitida por el Concilio Vaticano II en 1965, la Declaración <i>Nostra Aetate</i> rechazó los argumentos teológicos que consideraban al pueblo judío espiritualmente "ciego" y al judaísmo ser un credo "obsoleto". En términos visuales, la teología medieval inspirada en el desprecio fue expresada en varias catedrales e iglesias a través de las alegorías de <i>Ecclesia et Synagoga</i> (Iglesia y Sinagoga); la una coronada y victoriosa, la otra derrotada, con sus ojos cubiertos por una venda y su corona caída por el suelo. <i>Nostra Aetate</i> repudió tales imágenes y convocó a cristianos y judíos a dialogar, a descubrir aquello que tienen en común, a estudiar juntos, a aprender los unos de los otros. El Papa Francisco escribió: "Diálogo y amistad con los hijos de Israel son parte de la vida de los discípulos de Jesús. Existe una complementariedad entre la Iglesia y el pueblo judío que nos permite colaborar los unos con los otros para extraer las riquezas de la Palabra de Dios" (<i>Evangelii Gaudium</i>, 2014).<br />
Mariano Akerman investiga e interpreta las alegorías de la Fe propias del arte occidental, considerando sus especificidades, metamorfosis y razón de ser, tanto en tiempos pretéritos como en el presente.</div>
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<a href="https://picasaweb.google.com/lh/photo/6mLjRnnhh8eK0rjbnkrSJIJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="324" src="https://lh3.googleusercontent.com/-FEG9JbsqLTk/VikMZkSY3rI/AAAAAAAAne0/X0J9ixv9zxQ/s400-Ic42/Nostra_Aetate.jpg" width="425" /></a><br />
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• <a href="https://www.ewtn.com/library/COUNCILS/v2noslat.htm">Nostra Aetate - Concilium Vaticanum II</a><br />
• <a href="http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_decl_19651028_nostra-aetate_po.html">Declaração Nostra Aetate</a><br />
• <a href="http://arqrio.org/noticias/detalhes/2948/nostra-aetate-um-olhar-sobre-a-declaracao-do-vaticano-ii">Um Olhar sobre a Declaração do Vaticano II</a><br />
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<a href="https://picasaweb.google.com/lh/photo/iI7yCMK3R181_iWhZ6GrM4JQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="353" src="https://lh3.googleusercontent.com/-07uSBy2jw0M/VgsdNSpi75I/AAAAAAAAnRk/Bx1z7DcwD0k/s400-Ic42/synagoga_et_ecclesia.jpg" width="425" /></a><br />
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<span style="color: #0c343d;">•</span> <b>Recursos</b><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/08/ecclesia-et-synagoga.html">Has God Only One Blessing?</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/09/philadelphia.html">Interfaith Dialogue in Our Time</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/07/synagoga-et-ecclesia.html">Synagoga and Ecclesia in Our Time</a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/09/dialogo-interreligioso.html">Arte y Diálogo Interreligioso</a><br />
• <a href="http://akermariano.blogspot.com/2015/10/ontem-e-hoje.html">Ayer y Hoy</a><br />
• <a href="https://es.pinterest.com/akermariano/ecclesia-et-synagoga/">Álbum Ecclesia et Synagoga</a><br />
• <a href="https://commons.wikimedia.org/wiki/File:Synagoga_and_Ecclesia_in_Our_Time_by_Joshua_Koffman_2015.jpg">Wikimedia Pic</a><br />
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<a href="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s1600/PEV.jpg" imageanchor="1"><img border="0" height="325" src="https://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s400/PEV.jpg" width="425" /></a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/07/pev.html">Programa Estímulo Vesalius: Anatomía del Arte</a><br />
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<a href="https://picasaweb.google.com/lh/photo/pPH7YIFjbKml7nX7pBkjdYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="371" src="https://lh3.googleusercontent.com/-UOxdBggDgPY/V5qjEsMaydI/AAAAAAAAu0E/105MA1FHvy07EmwB5me0DAuxAFRdsVyTwCCo/s800/Synagoga_Ecclesia.jpg" width="425" /></a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comtag:blogger.com,1999:blog-19648683.post-55905227141928455512015-10-05T13:28:00.004-03:002016-07-23T16:12:51.363-03:00L'Uomo al Centro<br />
<a href="http://1.bp.blogspot.com/-Mx14Ut2KU6U/VhKj_UN7cgI/AAAAAAAAnWE/S5IdnANqv5g/s1600/IT_VESALIUS.jpg" imageanchor="1"><img border="0" height="236" src="https://1.bp.blogspot.com/-Mx14Ut2KU6U/VhKj_UN7cgI/AAAAAAAAnWE/S5IdnANqv5g/s400/IT_VESALIUS.jpg" width="425" /></a><br />
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<b>Programma Vesalius Rio: Anatomia dell'Arte</b><br />
<span style="font-size: x-small;">Eventi - Arte: Conferenza </span><br />
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<b><a href="http://www.iicrio.esteri.it/IIC_RioDeJaneiro/webform/SchedaEvento.aspx?id=740" target="_blank">Vesalius: L'Uomo al Centro</a></b><br />
Mariano Akerman<br />
Istituto Italiano di Cultura, Rio de Janeiro <br />
Sala Italia - Av. Presidente Antonio Carlos, 40 4º Andar - Centro<br />
giovedì 15 ottobre 2015<br />
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<b>Vesalius: L'Uomo al Centro</b><br />
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<div style="text-align: justify;">
In Europa agli inizi del Sedicesimo Secolo, Andreas Vesalius (Bruxelles, 1514-1564) riuscì a sviluppare un lavoro inusuale concludendo la prima dissecazione del corpo umano in un modo sistematico e approfondito. Risultato dell'applicazione del metodo empirico, le scoperte anatomiche di Vesalius furono registrate nella sua opera, <i>La Fabbrica del Corpo Umano</i> (1543), lavoro caratterizzato dalla sua disciplina scientifica. <br />
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Ispirato dalla luce che emana dal modus operandi del medico rinascimentale, il <i>Programma Vesalius Rio</i> riconsidera le Arti Visive come una vera e propria disciplina. Mariano Akerman ripercorre la natura delle lamine che illustrano il trattato anatomico di Vesalius e il suo rapporto con l’arte italiana. <br />
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<b>Mariano Akerman</b><br />
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Nato a Buenos Aires nel 1963, <a href="https://it.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a> è pittore, architetto e storico argentino. Come ricercatore e conferenziere sviluppa attività educative che promuovono la libera espressione e la partecipazione comunitaria considerando l’idiosincrasia ed il contesto culturale di ogni individuo. Nel 1982 inizia i suoi studi in architettura nell’Università di Belgrano, dove si laurea con un lavoro premiato, <i>La Natura dello Spazio ed i Limiti dell’Architettura</i> (1987). Riceve una borsa di studio dal Consiglio Britannico e scrive <i>Il Grottesco nei Dipinti di Francis Bacon</i> nel 1999. A partire dal 1981, Akerman, presenta conferenze in istituzioni tali come il Museo Nazionale di Belle Arti a Buenos Aires, il Museo Nazionale delle Filippine a Manila, la Scuola Scandinava Hooptes Stajärna a Taytay, e l’Accademia Nazionale d’Arte a Lahore. <br />
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Imprenditore indipendente multidisciplinare e specializzato in Comunicazione Visiva, Akerman ha ricevuto dodici premi internazionali in arte ed educazione.</div>
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<iframe allowfullscreen="" frameborder="0" height="620" marginheight="0" marginwidth="0" scrolling="no" src="//es.slideshare.net/slideshow/embed_code/key/8UUri4IdohO0PD" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;">
<span style="font-size: x-small;"><a href="https://es.slideshare.net/akermariano/vesalius-o-homem-no-centro" target="_blank" title="Vesalius: O Homem no Centro">Vesalius: O Homem no Centro</a> from <a href="http://es.slideshare.net/akermariano/" target="_blank">Programa Estimulo Vesalius Rio</a></span></div>
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<a href="https://picasaweb.google.com/lh/photo/XjAkORp7_PXn-HJLRON4HdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="121" src="https://lh3.googleusercontent.com/-ton77l0S04o/Uu1S0Jwr1VI/AAAAAAAAjRo/DCm-gr2j1Is/s400-Ic42/copacabana_dia.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Consulado da Belgica no Rio de Janeiro e Istituto Italiano di Cultura</span>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.comtag:blogger.com,1999:blog-19648683.post-13724515253456939932015-07-13T11:16:00.001-03:002016-03-24T12:19:31.112-03:00Programa Estimulo Vesalius<span style="font-size: x-small;">Outras versões: <a href="http://hola-akermariano.blogspot.com/2015/07/pev.html">texto em Espanhol</a> | <a href="http://documenta-akermariano.blogspot.com/2015/07/vesalius-rio-program.html">texto em Inglês</a></span><br />
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<b>Educação: O Programa Vesalius Rio 2014/2015</b><br />
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<a href="https://picasaweb.google.com/lh/photo/Wvr68-yjuPyYDOvrSziFw9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="137" src="https://lh3.googleusercontent.com/-TDutJtLhmfw/VbDv-CUtO4I/AAAAAAAAmgU/dCx0o5LvPEQ/s144-Ic42/belgique.png" width="144" /></a><br />
<span style="font-size: x-small;">Consulado Geral da Bélgica no Rio de Janeiro</span><br />
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<a href="http://1.bp.blogspot.com/-HqobsqzTbGg/VaPH059HHzI/AAAAAAAAmbs/AhMxtZN7rgI/s1600/Akerman_PEV.png" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-HqobsqzTbGg/VaPH059HHzI/AAAAAAAAmbs/AhMxtZN7rgI/s320/Akerman_PEV.png" /></a><br />
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<b><span style="font-size: large;">Programa Estimulo Vesalius</span></b><br />
A Obra da Arte como Estrutura Interdisciplinar Expressiva<br />
<br />
<span style="font-size: x-small;"><b>MARIANO AKERMAN</b><br />
Pesquisador e Palestrante</span><br />
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Rio de Janeiro, Brasil, 2014/2015<br />
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<a href="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s1600/PEV.jpg" imageanchor="1"><img border="0" height="319" src="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s400/PEV.jpg" width="425" /></a><br />
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<b>Vesalius Rio 2015: Um Programa Estimulo</b><br />
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<div style="text-align: justify;">Em uma Europa onde no início do século XVI ainda prevalecia a escuridão do preconceito sobre a constituição interna real do corpo humano, Andreas Vesalius (Bruxelas 1514-64) conseguiu desenvolver um trabalho extraordinario e concluiu a primeira dissecação do corpo humano de uma forma sistemática e exaustiva.<br />
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Resultado da aplicação do método empírico, as descobertas anatômicas de Vesalius foram registradas na sua obra intitulada <i>A Fábrica do Corpo Humano</i> (1543), trabalho caracterizado pelo seu rigor científico.<br />
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Até hoje a contribuição de Vesalius tem uma importância capital entre os anatomistas. Ele é apreciado também como um pioneiro na luta contra o preconceito através da investigação metódica e dedutiva.<br />
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"Veredicto em primeiro lugar; argumentos depois" exige a partir da sua irracionalidade a Rainha de Copas em uma bem conhecida obra literária do século XIX. E, no entanto, quatrocentos anos antes, Vesalius já havia superado várias irracionalidades até então dominantes na sua sociedade e, o que é mais importante, havia feito isso de uma maneira dedutiva e convincente.<br />
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Inspirado pela luz que emana do <i>modus operandi</i> do médico renascentista de Bruxelas, o <i>Programa Vesalius Rio</i> reexamina as Artes Visuais como disciplina.<br />
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<a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a> explora a natureza didática da série de lâminas que ilustram o tratado anatômico de Vesalius e sua relação com a arte italiana; estuda as especificidades do simbolismo hebraico medieval; pesquisa as alegorias ocidentais da Fé; desenvolve a motivação existencial da criatividade sefaradita; medita sobre as intenções últimas que suportam tanto a propaganda totalitária como as expressões que testemunham e/ou evocam o maior genocídio da História. Reconsidera também o papel do Imaginário em trabalhos artísticos brasileiros e argentinos, para reconectá-los com alguns de seus referentes belgas e europeus. Akerman apresenta as obras conhecidas como as "Constelações Interiores".<br />
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Através do seu estudo progressivo, Vesalius iluminou aspectos diversos de uma realidade até então pouco conhecida e muitas vezes abordada só a partir do preconceito. Evocando o método dedutivo do médico de Bruxelas e trabalhando por analogia, o <i>Programa Vesalius Rio</i> se propõe esclarecer tópicos pouco conhecidos, ou ainda um tanto enigmáticos, que concernem a Anatomia da Arte.</div><br />
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<a href="http://2.bp.blogspot.com/-LEgxAbIosHg/VYFe3qyemZI/AAAAAAAAmUk/DThoSsg3CMA/s1600/Programa_Vesalius.gif" imageanchor="1"><img border="0" height="200" src="http://2.bp.blogspot.com/-LEgxAbIosHg/VYFe3qyemZI/AAAAAAAAmUk/DThoSsg3CMA/s200/Programa_Vesalius.gif" width="190" /></a><br />
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<br />
<span style="color: #d9ead3;"><b><span style="font-size: large;">Programa Estimulo Vesalius</span></b><br />
A Obra da Arte como Estrutura Interdisciplinar Expressiva</span><br />
<br />
<span style="color: #d9ead3;"><span style="font-size: x-small;">Mariano Akerman nas 12 Conferências sobre o Tema: "Imagem e Conteúdo"</span></span><br />
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<span style="color: #d9ead3;">Río de Janeiro, 2014/2015</span><br />
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<span style="font-size: large;">Palestras</span><br />
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<a href="https://picasaweb.google.com/lh/photo/JyYFldLNEryalVxsTBFyddMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="300" src="http://lh3.googleusercontent.com/-oB45IcgNcmg/Uu1aQeqsfiI/AAAAAAAAjSc/cDzJhaQmnpo/s400/Av_Atlantida_orla.jpg" width="400" /></a><br />
1 <b>Texto Sagrado e Arte Visual</b><br />
2 <b>Xeque à Rainha</b><br />
3 <b>Um Tempo para Tudo</b><br />
<span style="color: #0c343d;">•</span> <a href="https://mariano-akerman.blogspot.com/2014/10/palestras-cariocas.html"><span style="font-size: x-small;">Ciclo: "Patrimônio e Identidade"</span></a><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Centro de Estudos Bíblicos</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">R. Gen. Severiano 170 - Botafogo</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;"><b>Terças-feiras, 2, 9 Setembro, 21 Outubro 2014</b></span><br />
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<a href="https://picasaweb.google.com/lh/photo/wSzeO88neSvq_AhUD-aqWwwH5-9YXoEBSmLcEe4AM-Q?feat=embedwebsite"><img height="178" src="https://lh3.googleusercontent.com/-GOfmN0iyJb4/VaPBN_P2A1I/AAAAAAAAmbU/w-Cxj6PmDbY/s800-Ic42/beit_alfa.jpg" width="200" /></a><br />
4 <b>Simbolismo Hebraico: Suas Especificidades <br />
<span style="color: #0c343d;">•</span> e Representações na Idade Média</b><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Universidade Federal do Estado do Rio de Janeiro</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Escola de História - 6ª Jornada de Estudos Medievais</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Av. Pasteur 458 - Urca</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;"><b>Quarta-feira, 2 Setembro 2015 - 10:00</b></span><br />
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<a href="https://picasaweb.google.com/lh/photo/ZNoe2w6HRG5aniWq2xizBNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="400" src="https://lh3.googleusercontent.com/-g6DsuZ0-mq4/UaP9PMADmzI/AAAAAAAAmeA/dJYz_OTkzjw/s400-Ic42/Bak_1989_Source_of_Energy.jpg" width="307" /></a><br />
5 <b>Cultura e Propaganda</b><br />
6 <b>Tragédia e Lembrança</b><br />
7 <b>Memória e Educação</b><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Ciclo: "Acervo e Memória"</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Associação Scholem Aleichem de Cultura e Recreação</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">São Clemente 155, Botafogo</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;"><b>Domingos, 4, 18, 25 Outubro 2015 - 18:00</b></span><br />
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<a href="http://1.bp.blogspot.com/-HqobsqzTbGg/VaPH059HHzI/AAAAAAAAmbs/AhMxtZN7rgI/s1600/Akerman_PEV.png" imageanchor="1"><img border="0" height="320" src="http://1.bp.blogspot.com/-HqobsqzTbGg/VaPH059HHzI/AAAAAAAAmbs/AhMxtZN7rgI/s320/Akerman_PEV.png" width="307" /></a><br />
8 <b>Vesalius: O Homem no Centro</b><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Istituto Italiano di Cultura di Rio de Janeiro</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Casa d'Italia, Av. Presidente Antonio Carlos 40, 4º andar - Centro</span><br />
<span style="color: #0c343d;">•</span> <b><span style="font-size: x-small;">Quinta-feira, 15 Outubro 2015 - 18:00</span></b><br />
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<a href="https://picasaweb.google.com/lh/photo/auT4Pb7aCQYd8jK93vThO9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="200" src="https://lh3.googleusercontent.com/-G2VBeznegdE/TaE77oy4Z2I/AAAAAAAAQgs/3jejUsTHtWI/s400-Ic42/raices_a_distancia.jpg" width="165" /></a><br />
9 <b>O Legado Sefaradita nas Artes Visuais</b><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">Instituto Cervantes</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;">R. Visc. de Ouro Preto, 62 - Botafogo</span><br />
<span style="color: #0c343d;">•</span> <span style="font-size: x-small;"><b>Quarta-feira, 28 Outubro 2015 - 18:30</b></span><br />
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<a href="https://picasaweb.google.com/lh/photo/dbDV7hFzOQB2SvIOkGJKR9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="320" src="https://lh3.googleusercontent.com/-kKqwOrGbygQ/VUKAWvOwkJI/AAAAAAAAmO4/WuqiRB0SMMw/s400-Ic42/avion_zanahoria.jpg" width="320" /></a><br />
10 <b>Sonhos de Pintores e Configurações do Imaginário</b><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Instituto Cultural Brasil-Argentina</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Praia de Botafogo 228, Sobreloja, Botafogo</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;"><b>Quinta-feira, 5 Novembro 2015 - 18:30</b></span><br />
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<a href="https://picasaweb.google.com/lh/photo/xtUvZM-_LzajO6sWd5SvBYJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="220" src="https://lh3.googleusercontent.com/-vim_q6MI-m0/Uotz7P_7X5I/AAAAAAAAidk/AzzcedoHT5Y/s144-Ic42/strasbourg-diaspora-museum.jpg" width="180" /></a><a href="https://picasaweb.google.com/lh/photo/SZ4Jgw6wYB2GfbktRwEuKdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="220" src="https://lh3.googleusercontent.com/-BiiTa8LnSNE/VaujgRucktI/AAAAAAAAmck/Wp4syYd5NeQ/s144-Ic42/SnC_JK_2015.jpg" width="220" /></a><br />
11 <b>Ontem e Hoje: Alegorias da Fé na Arte Ocidental</b><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Pontifícia Universidade Católica do Rio de Janeiro</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Departamento de Teologia - 50º Aniversario da Declaração <i>Nostra Aetate</i></span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">R. Marquês de São Vicente, 225 - Gávea</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;"><b>Terça-feira, 10 Novembro 2015 - 9:00</b></span><br />
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<a href="https://picasaweb.google.com/lh/photo/b9vCkma_hP8AiK5_ul6yd9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="280" src="https://lh3.googleusercontent.com/-5jpcr0UTdRo/S3u7rGKAotI/AAAAAAAAG6o/wpij1mBplVQ/s400-Ic42/945a.jpg" width="400" /></a><br />
12 <b>As Constelações Interiores</b><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Residência da Bélgica</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;">Posto 5, Copacabana</span><br />
<span style="color: #0c343d;">••</span> <span style="font-size: x-small;"><b>Quinta-feira, 19 Novembro 2015</b></span><br />
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<div style="text-align: justify;"><span style="font-size: x-small;"><b>Referência</b><br />
Palestra 4. Akerman, arquiteto e pesquisador da História da Arte, estuda a relativa ausência de figuras na tradição hebraica (aniconismo), explorando a relação entre o texto sagrado e o imaginário visual, para caracterizar as especificidades e representações próprias do simbolismo hebraico medieval.</span></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s1600/utpt_pei.jpg" imageanchor="1"><img border="0" height="319" src="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s400/utpt_pei.jpg" width="425" /></a></div><span style="font-size: x-small;"><b>Mariano Akerman</b></span><br />
<div style="text-align: justify;"><span style="font-size: x-small;">Nascido em Buenos Aires em 1963, Mariano Akerman é um pintor, arquiteto e historiador argentino. Como pesquisador e palestrante desenvolve atividades educativas que promovem a livre-expressão e a participação comunitária considerando a idiossincrasia e o contexto cultural de cada indivíduo.</span><br />
<span style="font-size: x-small;"> Em 1982 inicia seus estudos em arquitetura na Universidade de Belgrano, onde recebe o diploma em virtude de um trabalho premiado, <i>A Natureza do Espaço e os Limites da Arquitetura</i> (1987). Após receber uma bolsa do Conselho Britânico, Akerman escreve <i>O Grotesco nas Pinturas de Francis Bacon</i> (1999).<br />
A partir de 1981 Akerman dá palestras em instituições tais como o Museu Nacional de Belas Artes em Buenos Aires, o Museu Nacional das Filipinas em Manila, o Colégio Escandinavo Hooptes Stajärna em Taytay, a Alliance Française de Karachi, a Universidade COMSATS em Islamabad, e a Academia Nacional de Artes em Lahore.<br />
Especializado em Comunicação Visual, Mariano Akerman desenvolve também séries de palestras, concursos, oficinas e exposições educativas em vários países, onde colabora com as embaixadas da Bélgica, Suécia, França, Alemanha e Suíça, incluindo as de seu país natal. Empreendedor independente multidisciplinar, Akerman recebeu doze prêmios internacionais em arte e educação.</span></div><br />
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<b>Programa Estimulo Vesalius: Anatomia da Arte</b><br />
A Obra da Arte como Estrutura Interdisciplinar Expressiva<br />
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<iframe allowfullscreen="true" frameborder="0" height="347" mozallowfullscreen="true" src="https://docs.google.com/presentation/d/1WniB4fF0djZZ6Lff0b7l--SkCjXPIX7pBVUKHwsOuXE/embed?start=true&loop=true&delayms=3000" webkitallowfullscreen="true" width="425"></iframe><br />
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<b>Programa Vesalius Rio</b><br />
• <a href="http://akermariano.blogspot.com/2015/01/vesalius.html" target="_blank">Consular Carta Introdutoria - Bernard Quintin, Consulado Geral da Bélgica no Rio de Janeiro</a><br />
• <a href="http://akermariano.blogspot.com/2015/06/vesalius.html">A Luz de Vesalius</a><br />
• <a href="http://visual-akermariano.blogspot.com/2015/01/vesaliana.html">Vesaliana</a><br />
• <a href="https://www.blogger.com/mariano-akerman.blogspot.com/2014/10/palestras-cariocas.html">Patrimônio e Identidade</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2015/07/synagoga-et-ecclesia.html">Synagoga et Ecclesia in Our Time</a><br />
• <a href="http://im-akermariano.blogspot.com/2015/04/desenvolvimento-sustentavel.html">Configurações do Imaginário</a><br />
• <a href="http://mariano-akerman.blogspot.com/2015/01/arte.html">Expressões em Copacabana</a><br />
• <a href="http://akermariano.blogspot.com/2012/12/mariano-akerman.html">Mariano Akerman CV</a>, <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Dados</a> e <a href="http://akermariano.blogspot.com/2012/12/referentes.html">Referências</a><br />
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<a href="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s1600/PEV.jpg" imageanchor="1"><img border="0" height="300" src="http://2.bp.blogspot.com/-r3a9Jv7MQFY/VcTsZhW_63I/AAAAAAAAmos/i6ZDqGWA4dg/s400/PEV.jpg" width="400" /></a><br />
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<b>Programa Estimulo Vesalius: Anatomia da Arte</b><br />
<span style="font-size: x-small;"> A Obra da Arte como Estrutura Interdisciplinar Expressiva</span><br />
<span style="font-size: x-small;">Rio de Janeiro, Capital Cultural do Brasil, 2014/2015</span><br />
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<a href="http://2.bp.blogspot.com/-H6hWV3-csW4/VaPIK0CDDmI/AAAAAAAAmb0/WOOxS-O18EU/s1600/PEV.jpg" imageanchor="1"><img border="0" height="200" src="http://2.bp.blogspot.com/-H6hWV3-csW4/VaPIK0CDDmI/AAAAAAAAmb0/WOOxS-O18EU/s200/PEV.jpg" width="192" /></a><br />
<span style="font-size: x-small;"><i><b>Andreae Vesalii Bruxellensis</b></i></span><br />
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<b><a href="http://akermariano.blogspot.com/2012/12/referentes.html">Referências</a></b><br />
<div style="text-align: justify;">1. Rio de Janeiro, Consulate of Belgium, <i>Programa Estimulo Vesalius: Anatomia da Arte — A Obra da Arte como Estrutura Interdisciplinar Expressiva</i>, julio 2015<br />
2. Urca, Rio de Janeiro, Universidade Federal do Estado do Rio de Janeiro, Escola da História, <i><a href="http://www.unirio.br/cch/escoladehistoria/news/vi-jornada-de-estudos-medievais-da-unirio">VI Jornada de Estudos Medievais: A Cultura Medieval para além da Cristiandade Latina</a></i>, ed. Paulo André Leira Parente and Miriam Cabral Coser, agosto-septiembre 2015<br />
3. <a href="http://riodejaneiro.cervantes.es/FichasCultura/Ficha103440_55_9.htm">O legado sefaradita nas artes visuais</a> | <a href="http://riodejaneiro.cervantes.es/FichasCultura/Ficha103440_55_1.htm">El legado sefaradita en las artes visuales</a>, <i>Instituto Cervantes</i>, Rio de Janeiro, septiembre-octubre 2015</div>4. <a href="http://www.iicrio.esteri.it/IIC_RioDeJaneiro/webform/SchedaEvento.aspx?id=740">Vesalius: L'Uomo al Centro</a>, <i>Istituto Italiano di Cultura</i>, Rio de Janeiro, 5 octubre 2015<br />
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<iframe allowfullscreen="" frameborder="0" height="620" marginheight="0" marginwidth="0" scrolling="no" src="//es.slideshare.net/slideshow/embed_code/key/8UUri4IdohO0PD" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><span style="font-size: x-small;"><a href="https://es.slideshare.net/akermariano/vesalius-o-homem-no-centro" target="_blank" title="Vesalius: O Homem no Centro">Vesalius: O Homem no Centro</a> from <a href="http://www.slideshare.net/akermariano/" target="_blank">Programa Estimulo Vesalius Rio</a></span></div><br />
<a href="https://picasaweb.google.com/lh/photo/XjAkORp7_PXn-HJLRON4HdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="96" src="https://lh3.googleusercontent.com/-ton77l0S04o/Uu1S0Jwr1VI/AAAAAAAAjRo/DCm-gr2j1Is/s400-Ic42/copacabana_dia.jpg" width="400" /></a><br />
<a href="http://www.diplomatie.be/riodejaneiro/default.asp"><span style="font-size: x-small;"><b>Consulado Geral da Bélgica no Rio de Janeiro</b></span></a><br />
<span style="font-size: x-small;">Rua Lauro Muller 116/602, Torre do Rio Sul - Botafogo</span><br />
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<a href="https://picasaweb.google.com/lh/photo/kUCZUcvKbYo6CXV2OsmSZdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="103" src="https://lh3.googleusercontent.com/-4OIGTDXMcK8/VbDpznwg0OI/AAAAAAAAmfw/yOCchZfA13o/s144-Ic42/BnB_png.png" width="144" /></a><br />
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<a href="https://picasaweb.google.com/lh/photo/tsFzzQTErqS7-QEom_K4YdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img src="https://lh3.googleusercontent.com/-_bq8uBZuDpY/VvQBy9a3L0I/AAAAAAAApu8/Q7RHHk9uqFkn3osHMa96b_wDkPIuVKTRgCCo/s800-Ic42/BE_RIO.png" height="896" width="425" /></a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com33tag:blogger.com,1999:blog-19648683.post-10211457822497375302015-06-17T08:52:00.001-03:002016-03-24T14:14:43.956-03:00A Luz de Vesalius<br />
<b>Programa Estímulo Vesalius: Anatomia da Arte</b><br />
<span style="font-size: x-small;">A Obra da Arte como Estrutura Interdisciplinar Expressiva</span><br />
Rio de Janeiro, 2014/2015<br />
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<a href="http://2.bp.blogspot.com/-LEgxAbIosHg/VYFe3qyemZI/AAAAAAAAmUk/DThoSsg3CMA/s1600/Programa_Vesalius.gif" imageanchor="1"><img border="0" height="200" src="http://2.bp.blogspot.com/-LEgxAbIosHg/VYFe3qyemZI/AAAAAAAAmUk/DThoSsg3CMA/s200/Programa_Vesalius.gif" width="191" /></a><br />
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<div style="text-align: justify;">Em uma Europa onde no início do século XVI ainda prevalecia a escuridão do preconceito sobre a constituição interna real do corpo humano, Andreas Vesalius conseguiu desenvolver um trabalho incomum e concluiu a primeira dissecação do corpo humano de uma forma exaustiva e sistemática.<br />
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Resultado da aplicação do método empírico, todo o que havia sido descoberto por Vesalius foi registrado na sua obra intitulada <i>A Fábrica do Corpo Humano</i> (1543), trabalho caracterizado pela sistematicidade e rigor científico.<br />
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Até hoje a contribuição de Vesalius tem uma importância capital entre anatomistas, e ele é também apreciado como um pioneiro na luta contra o preconceito através da investigação científica.<br />
<br />
"Veredicto em primeiro lugar; argumentos depois" exige a partir da sua irracionalidade a Rainha de Copas numa bem conhecida obra literária do século XIX. E, no entanto, quatrocentos anos antes Vesalius já havia terminado com várias irracionalidades até então dominantes no Ocidente e—o que é mais importante—tinha feito isso de uma maneira dedutiva e convincente.<br />
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Inspirado pela luz que emana do <i>modus operandi</i> do médico renascentista de Bruxelas, o <i>Programa Vesalius</i> reexamina as Artes Visuais como disciplina.<br />
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<a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a> explora a natureza didática duma série de lâminas que ilustram o tratado anatômico de Vesalius, estuda as especificidades e representações características do simbolismo hebraico medieval, reconsidera as alegorias ocidentais da Fé, desenvolve a motivação existencial da criatividade sefaradita, medita sobre as intenções últimas que suportam tanto a propaganda totalitária como as expressões que testificam e/ou evocam o maior genocídio da História, e reconsidera também o papel do Imaginário em trabalhos artísticos brasileiros e argentinos, para lhes reconectar com alguns de seus parentes europeus.<br />
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Através do seu estudo metódico, Vesalius iluminou diversos aspectos de uma realidade até então pouco conhecida e muitas vezes abordada só a partir do preconceito; evocando o método dedutivo do médico da Bruxelas e trabalhando analogicamente, o <i>Programa Vesalius</i> se propõe a esclarecer uma série de aspectos que ainda permanecem um tanto obscuros e que ao mesmo tempo são relativos à Anatomia da Arte.</div><br />
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<a href="http://3.bp.blogspot.com/-d49aF_LtFKU/VYFfXWL8l9I/AAAAAAAAmUs/gDLyVmbmfBY/s1600/Vesalius_Arte.png" imageanchor="1"><img border="0" height="200" src="http://3.bp.blogspot.com/-d49aF_LtFKU/VYFfXWL8l9I/AAAAAAAAmUs/gDLyVmbmfBY/s200/Vesalius_Arte.png" width="192" /></a><br />
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<b>Programa Vesalius Rio</b><br />
• <a href="http://akermariano.blogspot.com/2015/01/vesalius.html">Anatomia da Arte</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Programa Estímulo Vesalius</a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/06/la-luz-de-vesalius.html">La luz de Vesalius</a><br />
• <a href="http://visual-akermariano.blogspot.com/2015/01/vesaliana.html">Vesaliana</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Rebel and Pioneer</a><br />
• <a href="http://akermariano.blogspot.com/2012/12/mariano-akerman.html">Mariano Akerman CV</a>, <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Dados</a> e <a href="http://akermariano.blogspot.com/2012/12/referentes.html">Referências</a><br />
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<a href="https://picasaweb.google.com/lh/photo/tsFzzQTErqS7-QEom_K4YdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img src="https://lh3.googleusercontent.com/-_bq8uBZuDpY/VvQBy9a3L0I/AAAAAAAApu8/Q7RHHk9uqFkn3osHMa96b_wDkPIuVKTRgCCo/s800-Ic42/BE_RIO.png" height="896" width="425" /></a><br />
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<iframe allowfullscreen="" frameborder="0" height="620" marginheight="0" marginwidth="0" scrolling="no" src="//es.slideshare.net/slideshow/embed_code/key/8UUri4IdohO0PD" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><span style="font-size: x-small;"><a href="https://es.slideshare.net/akermariano/vesalius-o-homem-no-centro" target="_blank" title="Vesalius: O Homem no Centro">Vesalius: O Homem no Centro</a> from <a href="http://www.slideshare.net/akermariano/" target="_blank">Programa Estimulo Vesalius Rio</a></span></div>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com0tag:blogger.com,1999:blog-19648683.post-48335026158585911952015-01-15T18:39:00.000-04:002016-03-24T12:41:19.167-03:00Vesalius: Anatomia da Arte<br />
<b>Programa Estímulo Vesalius: Anatomia da Arte</b><br />
<span style="font-size: x-small;">A Obra da Arte como Estrutura Interdisciplinar Expressiva</span><br />
Río de Janeiro, 2014/2015<br />
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<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="320" src="http://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s320/Vesalius.jpg" width="308" /></a><br />
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<div style="text-align: justify;"><b>Consular Carta Introdutoria</b><br />
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O Consulado Geral da Bélgica no Rio de Janeiro tem o prazer de dirigir-se aos senhores com o propósito de apresentar o <b>Programa Estímulo Vesalius: Anatomia da Arte</b> e convidar as instituições cariocas a participarem das comemorações dos 500 anos de nascimento do célebre investigador Vesalius de Bruxelas.<br />
Dedicado aos estudos das artes visuais, nosso <b>Programa Estímulo</b> é um projeto educativo interativo, inspirado pela contribuição de Vesalius, humanista belga que à época do Renascimento revolucionou a medicina como disciplina e firmou as bases da anatomia moderna.<br />
O <b>Programa Vesalius</b> resgata os valores humanistas cultivados pelo grande médico de Bruxelas: combate contra a ignorância e o preconceito, pesquisa sistemática, celebração dos princípios de união e diversidade, trabalho original e subsequente transformação da realidade.<br />
Em sua versão para a Cidade Maravilhosa, o <b>Programa Vesalius</b> é também conhecido como <b>Anatomia da Arte</b>, já que explora a união e a diversidade próprias das artes visuais. <br />
Isso é desenvolvido através de atividades participativas, entre as quais se incluem conferências, seminários e a exposição de diferentes trabalhos.<br />
Pesquisador, arquiteto e historiador de arte, Mariano Akerman está encarregado do <b>Programa Estímulo Vesalius 2015</b>. Ele é o organizador, consultor e conferencista do projeto.<br />
O <b>Programa Estímulo Vesalius 2015: Anatomia da Arte</b> é uma iniciativa do Arquiteto Akerman que coopera com as embaixadas e consulados do Reino da Bélgica há dez anos e tem desenvolvido programas educativos em Manila, Buenos Aires e Islamabad.<br />
Através do <b>Programa Estimulo Vesalius 2015</b> desejamos compartilhar com vocês nossos conhecimentos em matéria de arte e criar também novos laços entre representantes de culturas humanistas.<br />
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Atenciosamente,<br />
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Bernard Quintin<br />
Consulado Geral da Bélgica no Rio de Janeiro<br />
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<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="144" src="http://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s144/Vesalius.jpg" width="139" /></a><br />
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<b>Programa Vesalius: Anatomia da Arte</b><br />
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Trata-se de uma iniciativa que busca estabelecer um diálogo entre pessoas de habilidades e talentos diversos, a fim de estimular expressões interativas.<br />
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Através do presente projeto de intercâmbio cultural, os participantes são convidados a expressar seus pensamentos e seu sentimento em relação ao legado de um homem que oportunamente se revelou contra o preconceito, desenvolveu uma pesquisa sistemática e conseguiu estabelecer as pautas do estudo da anatomia moderna.<br />
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Composto de encontros estimulantes e participativos,oficinas e exposição de trabalhos, o <b>Programa Vesalius</b> é um foro de pensamento, experimentação e criatividade: um contexto inclusivo e abrangente dos diferentes matizes da experiência humana.<br />
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<!--<a href="http://3.bp.blogspot.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3M/dvngD0DMcyA/s1600/Vesalius.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3M/dvngD0DMcyA/s320/Vesalius.jpg" height="400" width="385" /></a>--><a href="http://3.bp.blogspot.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3M/dvngD0DMcyA/s1600/Vesalius.jpg" imageanchor="1"><img border="0" height="440" src="http://3.bp.blogspot.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3M/dvngD0DMcyA/s320/Vesalius.jpg" width="425" /></a><br />
<i><span style="font-size: x-small;">Andreae Vesalii Bruxellensis</span></i><br />
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<span style="font-size: large;"><b>O Homem no Centro</b></span><br />
<b>Vesalius e a Constância no Propósito</b><br />
<span style="font-size: x-small;">por <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a></span><br />
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Andreas Vesalius (1514-1564) combateu com tenacidade diversos preconceitos de sua época e destacou-se também como um importante pioneiro da anatomia.<br />
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Sua indagação de algumas noções herdadas do saber dos antigos (e que eram até então consideradas como verdade inquestionável), bem como sua paixão e trabalho metódico, o conduziram às extraordinárias descobertas.<br />
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Através delas, Vesalius conseguiu estabelecer as pautas para o estudo científico da anatomia moderna.<br />
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Nascido em Bruxelas, Vesalius vinha de uma família de médicos. Educou-se em Lovaina. Estudou medicina em Montpellier e Paris. Mais tarde regressou à Lovaina para ensinar anatomia. Em 1535 trabalhou como cirurgião dos exércitos de Carlos V (imperador romano-germânico) e, dois anos mais tarde, como professor de anatomia em Pádua. Também foi médico na corte de Felipe II de Espanha.<br />
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Enquanto realizava uma peregrinação à Jerusalém, Vesalius recebeu uma mensagem solicitando-lhe regressar à Pádua para ocupar a cátedra que outrora havia pertencido a Falópio. Morreu quando sua embarcação foi destruída durante uma tempestade perto da ilha de Zante, onde foi enterrado em 1564.<br />
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Vesalius foi conhecido em sua época como "O Príncipe da Anatomia". Publicado em Basiléia em 1543, seu livro <i>A Fábrica do Corpo Humano</i> (De Humanis Corpore Fabrica) constitui um dos maiores tesouros da civilização e cultura do Ocidente.<br />
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Tudo o que é expresso nesse monumental trabalho reflete o vasto conhecimento resultante das pesquisas de Vesalius, cujo traço característico é a observação. É por isso que geralmente Vesalius é assinalado como o pai da observação cientifica moderna. <br />
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O mais famoso de todos os anatomistas é Vesalius. De fato, ele foi um dos primeiros a conseguir a dissecação de todo o corpo humano e a lhe considerar de um modo completo.<br />
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Vesalius é conhecido por ter atacado os preconceitos de seu antecessor Galeno (c. 129-217), e chegou a demonstrar que as conclusões do médico grego eram válidas somente para animais tais como macacos e porcos: os únicos seres que seu antecessor havia dissecado.<br />
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Seguidamente Vesalius solicitou que as futuras descrições do corpo humano tivessem seu ponto de partida em dissecações especificamente humanas.<br />
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O século XVI foi um período de descobertas, explorações e inventos. Vesalius desenvolveu suas pesquisas no complexo território do corpo humano e, para isso, recorreu a não poucos cadáveres. Suas pesquisas lhe permitiram chegar a contradizer e, inclusive corrigir, numerosas afirmações de Galeno.<br />
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Através de seu trabalho, Vesalius mudou o modo de compreender o corpo humano e revolucionou por sua vez os textos da medicina. Sua obra inclui lâminas que ilustram detalhadamente suas inumeráveis descobertas anatômicas. Nessas imagens, a precisão médica é combinada com uma dimensão poética extraordinária.<br />
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Sumamente original há quase cinco séculos, <i>A Fábrica do Corpo Humano</i> continua vigente e relevante na atualidade: inspira tanto curiosidade como admiração e respeito, especialmente entre os médicos e os artistas.<br />
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<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="144" src="http://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s144/Vesalius.jpg" width="139" /></a><br />
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<span style="font-size: large;"><b>A Luz de Vesalius</b></span><br />
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Em uma Europa onde no início do século XVI ainda prevalecia a escuridão do preconceito sobre a constituição interna real do corpo humano, Andreas Vesalius conseguiu desenvolver um trabalho incomum e concluiu a primeira dissecação do corpo humano de uma forma exaustiva e sistemática.<br />
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Resultado da aplicação do método empírico, todo o que havia sido descoberto por Vesalius foi registrado na sua obra intitulada <i>A Fábrica do Corpo Humano</i> (1534), trabalho caracterizado pela sistematicidade e rigor científico.<br />
<br />
Até hoje a contribuição de Vesalius tem uma importância capital entre anatomistas, e ele é também apreciado como um pioneiro na luta contra o preconceito através da investigação científica.<br />
<br />
"Veredicto em primeiro lugar; argumentos depois" exige a partir da sua irracionalidade a Rainha de Copas numa bem conhecida obra literária do século XIX. E, no entanto, quatrocentos anos antes Vesalius já havia terminado com várias irracionalidades até então dominantes no Ocidente e—o que é mais importante—tinha feito isso de uma maneira dedutiva e convincente.<br />
<br />
Inspirado pela luz que emana do <i>modus operandi</i> do médico renascentista de Bruxelas, o <i>Programa Vesalius</i> reexamina as Artes Visuais como disciplina.<br />
<br />
<a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a> explora a natureza didática duma série de lâminas que ilustram o tratado anatômico de Vesalius, reconsidera as alegorias ocidentais da Fé, desenvolve a motivação existencial da criatividade sefaradita, medita sobre as intenções últimas que suportam tanto a propaganda totalitária como as expressões que testificam e/ou evocam o maior genocídio da História, e reconsidera também o papel do Imaginário em trabalhos artísticos brasileiros e argentinos, para lhes reconectar com alguns de seus parentes europeus.<br />
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Através do seu estudo metódico, Vesalius iluminou diversos aspectos de uma realidade até então pouco conhecida e muitas vezes abordada só a partir do preconceito; evocando o método dedutivo do médico da Bruxelas e trabalhando analogicamente, o <i>Programa Vesalius</i> se propõe a esclarecer uma série de aspectos que ainda permanecem um tanto obscuros e que ao mesmo tempo são relativos à Anatomia da Arte.<br />
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<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="144" src="http://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s144/Vesalius.jpg" width="139" /></a><br />
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<br />
<span style="font-size: x-small;"><b>Mariano Akerman</b><br />
Nascido em Buenos Aires em 1963, Mariano Akerman é um pintor, arquiteto e historiador argentino. Como pesquisador e palestrante desenvolve atividades educativas que promovem a livre-expressão e a participação comunitária considerando a idiossincrasia e o contexto cultural de cada indivíduo.<br />
Em 1982 inicia seus estudos em arquitetura na Universidade de Belgrano, onde recebe o diploma em virtude de um trabalho premiado, <i>A Natureza do Espaço e os Limites da Arquitetura</i> (1987). Após receber uma bolsa do Conselho Britânico, Akerman escreve <i>O Grotesco nas Pinturas de Francis Bacon</i> em 1999, e retoma o imaginário do célebre artista londrino em um artigo que é publicado em 2012.<br />
A partir de 1981 Akerman dá palestras em instituições tais como o Museu Nacional de Belas Artes em Buenos Aires, o Museu Nacional das Filipinas em Manila, o Colégio Escandinavo Hooptes Stajärna em Taytay, a Academia Nacional de Artes em Lahore, e a Universidade Quaid-i-Azam em Islamabad.<br />
Especializado em Comunicação Visual, Mariano Akerman desenvolve também séries de palestras, concursos, oficinas e exposições educativas em vários países, onde colabora com as embaixadas da Bélgica, Suécia, França, Alemanha e Suíça, incluindo as de seu país natal. Empreendedor independente multidisciplinar, Akerman recebeu doze prêmios internacionais em arte e educação. Durante mais de três décadas de atividade, e tendo freqüentado instituições culturais e educativas, Mariano Akerman deu numerosas palestras e oficinas tanto na Argentina quanto nas Filipinas, no Paquistão e no Brasil.</span><br />
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<a href="https://picasaweb.google.com/lh/photo/tsFzzQTErqS7-QEom_K4YdMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img src="https://lh3.googleusercontent.com/-_bq8uBZuDpY/VvQBy9a3L0I/AAAAAAAApu8/Q7RHHk9uqFkn3osHMa96b_wDkPIuVKTRgCCo/s800-Ic42/BE_RIO.png" height="896" width="425" /></a><br />
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<b>Links</b><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Compilación de textos básicos</a> realizada por quien escribe<br />
• Stephen N. Joffe, <a href="http://www.amazon.com/Andreas-Vesalius-Making-Madman-Myth/dp/1491874457">Andreas Vesalius: Making, Madman, Myth</a>, Bloomington: AuthorHouse, 2009-14.<br />
• Mairgance, <a href="http://luxe-et-vanites.blogspot.com/2011/03/de-humani-corporis-fabrica-andre-vesale.html">De humanis corporis fabrica</a>, <i>Luxe et Vanités</i>, 21.3.2011<br />
• Aanderton, <a href="http://rylandscollections.wordpress.com/2013/10/10/before-the-body-snatchers-the-early-anatomists-and-manchesters-mad-scientists/">Early Anatomists</a>, <i>John Rylands Library Special Collections Blog</i>, Manchester, 10.10.2013<br />
• <a href="http://www.vesaliusfabrica.com/en/news-networking/events-exhibitions.html">Vesalius' <i>Fabrica</i></a>, Basel: Karger, 2014<br />
• <a href="http://wellcomelibrary.org/events/vesalius-500-years-on/">Lunchtime Lecture: Vesalius 500 years on</a>, Londres, Hunterian Museum, Royal College of Surgeons of England, 16.9.2014<br />
• <a href="http://fx.damasgate.com/vesalius-and-dissection/">Vesalius and Dissection</a>, <i>Kickoff</i>, 17.5.[!] <br />
• Grace Dane Mazur, <a href="http://artsfuse.org/40536/fuse-visual-arts-review-the-strange-beauty-of-prints-and-the-pursuit-of-knowledge/">The Strange Beauty of “Prints and the Pursuit of Knowledge”</a>, <i>The Arts Fuse</i>, 18.9.2011<br />
• <a href="http://ilovedlegion.wordpress.com/2012/11/20/illustration-history-vesalius-and-durer/">History of Illustration: Vesalius and Dürer</a>, 20.11.2012<br />
• <a href="http://www.designboom.com/history/a_m3.html">Anatomical Maps: Eastern Development in the Middle Ages</a><br />
• U.S. National Library of Medicine, Rockville Pike, Bethesda, MD: <a href="http://www.nlm.nih.gov/dreamanatomy/da_dream.html">Dream Anatomy</a> - <a href="http://www.nlm.nih.gov/dreamanatomy/da_gallery.html">Galería</a></div><br />
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<a href="https://picasaweb.google.com/lh/photo/t96MjSIKvFLG-vPIaV2MvtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="144" src="http://lh5.googleusercontent.com/-TJLZmZDE0xk/VH94w59Sq-I/AAAAAAAAl3Q/656uyaYee5Q/s144/Vesalius.jpg" width="139" /></a><br />
<span style="font-size: x-small;">Vesalius e a constância no propósito</span><br />
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<b>Programa Vesalius Rio 2014/2015</b><br />
• <a href="http://akermariano.blogspot.com/2015/06/vesalius.html">A Luz de Vesalius</a> <br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Programa Estímulo Vesalius</a><br />
• <a href="http://hola-akermariano.blogspot.com/2015/06/la-luz-de-vesalius.html">La luz de Vesalius</a><br />
• <a href="http://visual-akermariano.blogspot.com/2015/01/vesaliana.html">Vesaliana</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/12/vesalius.html">Rebel and Pioneer</a><br />
• <a href="http://akermariano.blogspot.com/2012/12/mariano-akerman.html">Mariano Akerman CV</a>, <a href="https://pt.wikipedia.org/wiki/Mariano_Akerman">Dados</a> e <a href="http://akermariano.blogspot.com/2012/12/referentes.html">Referências</a><br />
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<iframe allowfullscreen="" frameborder="0" height="620" marginheight="0" marginwidth="0" scrolling="no" src="//es.slideshare.net/slideshow/embed_code/key/8UUri4IdohO0PD" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="425"> </iframe> <br />
<div style="margin-bottom: 5px;"><span style="font-size: x-small;"><a href="https://es.slideshare.net/akermariano/vesalius-o-homem-no-centro" target="_blank" title="Vesalius: O Homem no Centro">Vesalius: O Homem no Centro</a> from <a href="https://www.slideshare.net/akermariano" target="_blank">Programa Estimulo Vesalius Rio</a></span></div>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com7tag:blogger.com,1999:blog-19648683.post-79478982176989888602014-09-10T12:26:00.000-03:002015-09-10T12:05:24.351-03:00Patrimonio e Identidad<span style="font-size: x-small;">English: <a href="http://documenta-akermariano.blogspot.com/2014/10/rio.html">Cultural Heritage and Identity</a> ; Português: <a href="http://mariano-akerman.blogspot.com/2014/10/palestras-cariocas.html">Patrimônio e Identidade</a></span><br />
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<b>El rescate de la memoria y la formación de la identidad</b><br />
Seminario por <a href="https://es.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a><br />
Centro de Estudios Bíblicos<br />
Río de Janeiro, Brasil<br />
Septiembre-Octubre de 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s1600/synclesia.jpg" imageanchor="1"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s400/synclesia.jpg" width="425" /></a><br />
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1. <b>Texto sagrado y arte hebreo</b> <br />
<span style="font-size: x-small;">2 de septiembre</span><br />
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2. <b>Jaque a la reina: <i>Ecclesia</i>, <i>Synagoga</i> y la Reina del Shabat</b><br />
<span style="font-size: x-small;">9 de septiembre</span><br />
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3. <b>Un tiempo para todo: alegorías de la fe en el arte europeo</b><br />
<span style="font-size: x-small;">21 de octubre</span><br />
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<a href="https://picasaweb.google.com/lh/photo/Tqx-mLdZbPZKKt73DNjwPoJQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="196" src="http://lh4.googleusercontent.com/-YmxHOFmduR0/VCbVxdLoAvI/AAAAAAAAloI/bYyBtCWd7C4/s200/mhs.jpg" width="200" /></a><br />
<span style="font-size: x-small;">• Acompañadas por imágenes, las disertaciones son presentadas en portugués. </span><br />
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<a href="https://picasaweb.google.com/lh/photo/UvH9r7dp1FL7pTEcjdHJjgwH5-9YXoEBSmLcEe4AM-Q?feat=embedwebsite"><img height="398" src="http://lh5.googleusercontent.com/-vXrUTGg9jak/UXlzc42cXgI/AAAAAAAAf3s/bE9Ns7W8zBs/s400/Joshen.jpg" width="400" /></a><br />
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1. <b>Texto sagrado y arte hebreo</b><br />
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<blockquote>
<i>No harás para ti escultura ni imagen alguna...</i><br />
<span style="font-size: x-small;">– Éxodo 20:4 </span></blockquote>
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<div style="text-align: justify;">
Aborda la relación entre texto sagrado e imagen visual, subrayando la dimensión conceptual y simbólica del arte hebreo. Considera el episodio bíblico de becerro de oro y su iconografía para evaluar luego sus implicancias a la luz del Otorgamiento de la Ley. Explora las premisas divinas delineadas para la creación del Tabernáculo, el Arca de la Alianza y el Pectoral del Sumo Sacerdote de Israel. Analiza el carácter funcional, simbólico y artístico del arte hebreo. Establece una diferenciación entre "arte judío" y "experiencia judía con las artes visuales", demostrando que el alcance de la primera expresión resulta limitado, mientras que la segunda es preferible dado que ensancha los horizontes en la apreciación de las diversas expresiones artísticas dado que incluye la dialéctica intercultural.</div>
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<a href="https://picasaweb.google.com/lh/photo/b9Iu63Phgb-s6sufJYa0NtMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="400" src="http://lh3.googleusercontent.com/-05PfKLXw6C4/UodhsNmZUXI/AAAAAAAAiRs/BSunLeDbxk8/s400/dos_figuras.jpg" width="400" /></a><br />
<br />
<b>Jaque a la reina: <i>Ecclesia</i>, <i>Synagoga</i> y la Reina del Shabat</b><br />
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<blockquote>
<i>Sólo se ve bien con el corazón,<br />
lo esencial es invisible a los ojos.</i><br />
<span style="font-size: x-small;">– Antoine de Saint-Éxupéry</span></blockquote>
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<div style="text-align: justify;">
Estudia la razón de ser del par medieval de alegorías eclesiásticas al que se conoce en latín como <i>Ecclesia et Synagoga</i>. Explora los rasgos y atributos de cada una de ellas, así como también las correspondencias simbólicas otrora establecidas entre su forma y significado. Indaga sobre el significado de la presencia de <i>Synagoga</i> en el arte eclesiástico medieval y su transformación e implicancias tanto en el <i>Majzor Leví</i> como en la imaginería modernista de Ephraim Moses Lilien.</div>
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<a href="https://picasaweb.google.com/lh/photo/5Z1VKlsebgT1Qxd92fg-54JQBPxvjhqxKEHHoP7sQUE?feat=embedwebsite"><img height="266" src="http://lh4.googleusercontent.com/-sQZgj7-O7Us/VEEq1S_x_0I/AAAAAAAAlss/qlrLf56Nbfo/s400/PSL.jpg" width="400" /></a><br />
<!--<a href="http://2.bp.blogspot.com/-xg8U_8PRmro/VCbZNI4gkHI/AAAAAAAAloY/H5MNUezlo7A/s1600/RJ_NEWS.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-xg8U_8PRmro/VCbZNI4gkHI/AAAAAAAAloY/H5MNUezlo7A/s400/RJ_NEWS.jpg" height="300" width="400" /></a>--><br />
3. <b>Alegorías de la fe en arte visual europeo</b><br />
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<blockquote>
<i>Pueblo lleno de fe, mas falto de luz</i><br />
<span style="font-size: x-small;">– Federico García Lorca</span></blockquote>
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<div style="text-align: justify;">
Empleadas desde la Antigüedad, las alegorías son figuras retóricas que pertenecen al campo de la ficción, pero son también alusivas y poseen atributos que las caracterizan, dándoles significado a las mismas. Habitualmente las alegorías presentan forma humana y son empleadas para transmitir conceptos abstractos. Existen así alegorías que personifican las nociones de justicia, amor, fe, y otras.<br />
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A través de su disertación, Mariano Akerman explora los orígenes, naturaleza e implicancias de diversas alegorías relativas a la fe y que fueron expresadas en el arte cristiano entre los siglos XIII y XX.<br />
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El autor examina el par teológico conocido como <i>Ecclesia et Synagoga</i> (1250), así como también aquél que figura en <i>La fuente de la Gracia</i> (1450), pintura que tiene por objeto el reafirmar la fe del creyente cristiano en los dogmas de la Eucaristía y la Transubstanciación, los que a su vez se conjugan en la tabla con una supuesta condición ruinosa del judaísmo (tanto pasado como contemporáneo), para instilar la Teoría del Reemplazo y disuadir mediante ella al converso en apariencia de su posible criptojudaísmo.<br />
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Considera seguidamente otras alegorías teológicas de la fe cristiana, especialmente aquellas que son católicas y pertenecen a la tradición española. Según Akerman, estas últimas tienen su origen último en alegorías antiguas y medievales: <i>Fides</i>, <i>Justitia</i> y <i>Ecclesia</i>, pero presentan asimismo una singularidad que brilla por su ausencia en el resto de sus homólogas europeas.<br />
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Akerman finalmente explora las alegorías del madrileño <i>Monumento del Sagrado Corazón de Jesús</i> (1914-65) y establece entonces una inesperada relación entre una de ellas y su predecesora visual, cuya naturaleza –indudablemente– es también teológica.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s1600/synclesia.jpg" imageanchor="1"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s400/synclesia.jpg" width="425" /></a><br />
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<br />
<b>Un tiempo para todo</b><br />
<span style="font-size: x-small;">por Mariano Akerman. <br />
<i>Un tiempo para todo</i> concierne las nociones del rescate de la memoria y la formulación de la identidad.</span><br />
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Hay un tiempo para todo bajo el cielo. <br />
<br />
un tiempo para callarse y un tiempo para hablar.<br />
<br />
un tiempo para colocar una venda sobre los ojos del prójimo<br />
y un tiempo para colocarla sobre nuestros propios ojos.<br />
<br />
un tiempo para señalar la ceguera del vecino<br />
y un tiempo para reconocer la ceguera propria.<br />
<br />
un tiempo para fabricar estereotipos<br />
y un tiempo para deconstruirlos.<br />
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un tiempo para la manipulación y el delirio colectivo<br />
y un tiempo para el sentido común y la integridad.<br />
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un tiempo para insistir sobre las diferencias <br />
y un tiempo para percibir las semejanzas. <br />
<br />
un tiempo para alejarse<br />
y un tiempo para reconciliarse. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s1600/synclesia.jpg" imageanchor="1"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRhGBlH5Va_RhKomgRshyphenhyphenbBGkxgPSp9l7VHKX2lLhtgQx2yRO1uCctUXCqikboTxQ-nl29XiBIyEWLB1zMuDvYxJNXO02xCGaleYXLdMnyQRRfUjz7GkJG0BT_fu2xw55Jjugd/s400/synclesia.jpg" width="425" /></a><br />
<span style="font-size: x-small;"><i>Synclesia</i>, 5775/2014.</span><br />
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<b>Alegorias da fé na arte visual européia</b><br />
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Utilizadas desde a antiguidade, as alegorias são figuras retóricas que pertencem ao campo da ficção, mas de forma alusiva; em geral, também, estão providas de atributos significativos. Basicamente, as alegorias transmitem conceitos abstratos, personificando a justiça, o amor, e a fé, entre outros.<br />
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Através de sua apresentação, Mariano Akerman explora a origem, a natureza e as implicações de algumas alegorias da fé que encontraram expressão na arte cristã a partir do século XIII para o século XX. <br />
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O autor examina o par teológico conhecido como <i>Ecclesia et Sinagoga</i> (1250), também aquele representado na <i>Fonte da Graça</i> (1450), e diversas alegorias teológicas da fé, particularmente aquelas que são católicas e pertencem à tradição espanhola. Segundo Akerman, estas últimas têm suas origens em alegorias antigas e medievais: <i>Fides</i>, <i>Justitia</i> e <i>Ecclesia</i>, mas as alegorias espanholas apresentam uma particularidade que brilha pela sua ausência em suas homólogas européias. <br />
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Akerman finalmente examina as alegorias do <i>Monumento do Sagrado Coração de Jesus</i> em Madri (1914-1965) e estabelece uma ligação inesperada entre uma dessas alegorias e sua predecessora visual, cuja natureza –sem dúvida– é também puramente teológica.<br />
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<a href="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s1600/utpt_pei.jpg" imageanchor="1"><img border="0" height="319" src="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s400/utpt_pei.jpg" width="425" /></a><br />
<br />
<b>Um tempo para tudo</b><br />
<br />
Há um tempo para tudo debaixo do céu. <br />
<br />
um tempo de calar-se e um tempo de falar.<br />
<br />
um tempo para colocar uma venda sobre os olhos do próximo<br />
e um tempo para colocar a venda nos nossos próprios olhos.<br />
<br />
um tempo para insistir sobre a cegueira do vizinho<br />
e um tempo para reconhecer a cegueira própria.<br />
<br />
um tempo para construir estereótipos<br />
e um tempo para desconstruí-los.<br />
<br />
um tempo para a manipulação e o delírio coletivo<br />
e um tempo para o bom senso e a integridade.<br />
<br />
um tempo para insistir sobre as diferenças <br />
e um tempo para perceber as semelhanças. <br />
<br />
um tempo de se afastar<br />
e um tempo de reconciliar-se. <br />
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<br />
<a href="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s1600/utpt_pei.jpg" imageanchor="1"><img border="0" height="319" src="http://2.bp.blogspot.com/-nkZPoG1C-TY/VD6sm_nSxcI/AAAAAAAAlsQ/rRmYfnaeQAg/s400/utpt_pei.jpg" width="425" /></a><br />
<br />
<br />
<b>Acerca del presente trabajo</b><br />
Investigación, comentario y diseño gráfico computarizado de <a href="https://es.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a><br />
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<b>Recursos</b><br />
<br />
• <a href="http://documenta-akermariano.blogspot.com/2010/11/ecclesia-et-synagoga.html">Ecclesia et Synagoga</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/11/alcances.html">Las alegorías teológicas y sus atributos</a><br />
• <a href="http://hola-akermariano.blogspot.com/2013/12/pseudo-hebreo.html">El Prado desaforado</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2013/11/llave.html">La llave del enigma</a><br />
• <a href="http://visual-akermariano.blogspot.com/2013/11/cantar-de-los-cantares.html">Cantar de los Cantares</a><br />
• <a href="http://www.pinterest.com/akermariano/blindfold/">Blindfold Collection</a><br />
• <a href="http://documenta-akermariano.blogspot.com/2014/09/ojos-cubiertos.html">Venda y ojos cubiertos</a><br />
• <a href="http://visual-akermariano.blogspot.com/2014/10/sc.html">Monumento al Sagrado Corazón de Jesús</a><br />
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<a href="http://2.bp.blogspot.com/-xg8U_8PRmro/VCbZNI4gkHI/AAAAAAAAloY/H5MNUezlo7A/s1600/RJ_NEWS.jpg" imageanchor="1"><img border="0" height="319" src="http://2.bp.blogspot.com/-xg8U_8PRmro/VCbZNI4gkHI/AAAAAAAAloY/H5MNUezlo7A/s400/RJ_NEWS.jpg" width="425" /></a><br />
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• John M. Bugge, <i>Virginitas: An Essay in the History of a Medieval Idea</i>, International Archives of the History of Ideas 17, The Hague: Martinus Nijhoff, 1975, <a href="http://books.google.com.ar/books?id=GxQm3-NCNKcC&lpg=PA64&ots=UneZBaYlAa&dq=sponsa%20christi&hl=es&pg=PA59#v=onepage&q&f=true">ch. III: Sponsa Christi, pp. 59-66</a>.<br />
• Bezalel Narkiss y Aliza Cohen-Mushlin, <a href="http://www.jnul.huji.ac.il/dl/mss/worms/pdf/3eng.pdf">The Illumination of the Worms Mahzor: Description and Iconographical Study</a>, 1985, pp. 79-89.<br />
• Bartal, Ruth. "Medieval Images of Sacred Love: Jewish and Christian Perceptions," <i>Assaph: Studies in Art History</i> 2 (1996), 93-110; <a href="http://www.christianiconography.info/michelleRoberts/bartalImagesSacredLove.pdf">pdf</a>.<br />
• Sarit Shalev-Eyni, “Iconography of Love: Illustrations of Bride and Bridegroom in Ashkenazi Prayerbooks of the Thirteenth and Fourteenth Century,” <i>Studies in Iconography</i> 26, 2005, pp. 27-57.<br />
• Simon Holloway, <a href="http://benabuya.com/2007/01/01/on-crowns-and-pointy-hats/">On Crowns and Pointy Hats</a>, <i>Davar Akher</i>, Sydney, 1.1.2007<br />
• Robert Michael, <i>A History of Catholic Antisemitism: The Dark Side of the Church</i>, Palgrave Macmillan, 2008, <a href="http://books.google.com.ar/books?id=8ZnFAAAAQBAJ&pg=PA39&lpg=PA39&dq=medieval+deterioration&source=bl&ots=Wc6_DQhLwd&sig=1E5qjs9tpPzwYNoXeMPmspV5nGM&hl=es&sa=X&ei=4TM9VOCwDtCRgwTxnoCYAQ&ved=0CBoQ6AEwADgK#v=onepage&q&f=true">ch. 4: Medieval Deterioration</a>.<br />
• Brooke Falk Permenter, "To See or Not to See in the Middle Ages: Blind Jews in Christian Eyes", Hugh Vagantes Medieval Conference, 2010 (<a href="http://www.medievalists.net/2011/03/08/to-see-or-not-to-see-in-the-middle-ages-blind-jews-in-christian-eyes/">Medievalists</a>).<br />
• Katrin Kogman-Appel, <a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674064546">A Mahzor from Worms: Art and Religion in a Medieval Jewish Community</a>, Harvard UP, 2012.<br />
• Laura Suzanne Lieber, <a href="http://books.google.com.ar/books?id=2VQMBAAAQBAJ&pg=PA78&lpg=PA78&dq=ruth+bartal+assaph&source=bl&ots=YkWDImD_Xb&sig=CQB2VQmSJaDQhBvBRvItnYc43TQ&hl=es&sa=X&ei=q6spVOi8OKnCsASmwoCwDg&ved=0CFMQ6AEwCQ#v=onepage&q&f=true">A Vocabulary of Desire: The Song of Songs in the Early Synagogue</a>, Leiden: Brill, 2014.<br />
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<a href="https://picasaweb.google.com/lh/photo/XmHCO1LgnLuBxysBJkPH8dMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNvIh26vX04IRhHfw_kvFAhliLc_Ji4J-hyNdre26VmKngs4g3c7PvV56LdwnoM587fJULXj4gm-ynQq2B5_HKYHfF_BEgTBAJoHKmqVCyTRK-gUvL86txQ_wzVKhJNrE1ENjAQ/s400/OLIVO_EN_FLOR.jpg" width="425" /></a><br />
<span style="font-size: x-small;">Ref. Educación | Disertaciones | Estudios Bíblicos | Historia del Arte</span>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com25tag:blogger.com,1999:blog-19648683.post-33643984827543651202014-04-20T15:33:00.000-03:002014-04-21T10:25:00.135-03:00What a Century!<br />
<div style="text-align: justify;">Ref. <a href="http://akermariano.blogspot.com/2011/06/linnaeus.html">In the Spirit of Linnaeus: The Tercentenary Lectures on Science and Art</a>, by <a href="http://en.wikipedia.org/wiki/Mariano_Akerman">Mariano Akerman</a>, Manila and Taytay, Philippines, 2007<br />
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<a href="https://picasaweb.google.com/lh/photo/H-PK5aG10hhOqhABTocyxNMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-6pIipgZpAFbMMMleFQYlSdSm0rwm8vyBaXiF3IUPUPdE0vQjBq-vvLs0b4KZNhO7-EDiblfDtyBwNFsbc1Iu0bUtj5tpDHYmeb9RDYlHwFmBfsv-t1El6P-OQQXClX-Lb9Mz/s800/Carl_von_Linneo.jpg" width="266" /></a><br />
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<b>Linnaeus and the Age of Reason</b><br />
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Linnaeus lived in the eighteenth century. He developed his work in a period of time that falls between Hogarth’s <i>Inhabitants of the Moon</i>, a 1700 print mocking the socio-political order of the day, and the launching of the first balloon by the Montgolfière brothers in 1783. <br />
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Almost everything that distinguishes the modern Western world from earlier centuries—industrialized production, bureaucratized government, the new conceptions that science introduced into philosophy, the whole climate of thought and opinion—overlapped during the eighteenth century with the old political and social order, the <i>ancien régime</i>.<br />
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It was the last period in which it was widely believed that "kings are by God appointed," the first in which it could be claimed as "self-evident" that (in the words of the American Declaration of Independence, 1776) "all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness."<br />
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The incompatibility of these claims with traditional systems of monarchic or oligarchic government was not shown up until the last decade of the century, when the French Revolution gave a new meaning to the ideas of “liberty, equality and fraternity.”<br />
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While the middle class encouraged new ideas and financed technological advances, the thinkers of the Enlightenment fostered the ideas of Reason and Freedom.<br />
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Because of the brilliance of its thinkers the whole century was actually an intellectual turning point, aptly known as the Age of Reason. <br />
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Here are their ideas:<br />
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1) "One can fool some men, or fool all men in some places and times, but one cannot fool all men in all places and ages” (Denis Diderot, <i>Encyclopédie ou Dictionnaire raisonné des Sciences, des Arts et des Métiers</i>, 1754, vol. 4).<br />
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2) “If we don’t find anything pleasant, at least we shall find something new" (Voltaire, <i>Candide</i>, 1759, ch. 17: « <i>Si nous ne trouvons pas des choses agréables, nous trouverons du moins des choses nouvelles</i> »).<br />
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3) "Man was born free, and everywhere he is in chains" (Jean-Jacques Rousseau, <i>Du contract social</i>, 1762, bk. 1, ch. 1: « <i>L’homme est né libre, et partout il es dans les fers</i> »). <br />
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4) "Everything is good as it leaves the hands of the Author of things; everything degenerates in the hands of man. He forces one soil to nourish the products of another, one tree to bear the fruit of another. He mixes and confuses the climates, the elements, the seasons. He mutilates his dog, his horse, his slave. He turns everything upside down: he disfigures everything; he loves deformity, monsters. He wants nothing as nature made it, not even man; for him, man must be trained like as school horse; man must be fashioned in keeping with his fancy like a tree in his garden" (Rousseau, <i>Émile ou de l’éducation</i>, 1762, bk. 1)<br />
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5) "In this world we run the risk of having to choose between being the anvil or the hammer" (Voltaire, <i>Dictionnaire Philosophique</i>, 1764: “Tyranny”).<br />
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6) "Common sense is not so common” (Voltaire, <i>Dictionnaire Philosophique</i>, 1765 : "Common Sense." His original words are: «<i> Le sens commun est fort rare</i> »).<br />
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<a href="https://picasaweb.google.com/lh/photo/I5DidjP1isQww38wD5RFJ9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="289" src="https://lh4.googleusercontent.com/-LL6RLSSsGpE/S4qCnf8ArYI/AAAAAAAAI2E/O_uy-paaIJE/s800/age-of-reason.jpg" width="400" /></a><br />
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The Enlightenment radiated out of the philosophical and scientific thought of the seventeenth century, especially that of Descartes, of John Locke, who propounded a philosophy based on empirical observation and common sense, and of Isaac Newton, who provided a rational explanation of the laws determining and working of the universe.<br />
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Despite many and profound differences, the leaders of the eighteenth-century Enlightenment shared a faith in the power of the human mind to solve every problem. They believe in human perfectibility and in the possibility of human omniscience. And in this optimistic belief all physical phenomena were studied and categorized and all aspects of human behavior were scrutinized from a strictly rational viewpoint—political systems, social customs, religious practices. Everything that seemed to them worth knowing was ordered and encapsulated in the great French encyclopedia (1751-72).<br />
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It aimed to survey knowledge according to rational philosophical principles. "Dare to know! Have the courage to use your understanding; this is the motto of the Enlightenment," the German philosopher Immanuel Kant declared in 1784.<br />
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Science seemed to make the universe more, rather than less, mysterious.<br />
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Newton’s mechanistic conception of creation—an orderly system set in motion by "a divine clock-maker"—gave way to one that was organic. This was epitomized by Linnaeus’ classification of the natural species.<br />
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Distinguishing from his predecessor’s myths and inaccuracies, Linnaeus’s new scientific attitude was based on observation and empiricism.<br />
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As the most famous Swedish biologist of all times put it in his <i>Philosophia botanica</i> of 1751: "In the natural sciences, the principles of truth are to be confirmed by observation."<br />
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Eighteenth-century Europe was capitalist, mercantilist, and expansionist. Distinctive of the Age of Reason,<i> le voyage autour du monde</i> or trip around the globe was a reflection of a new interest in the world. Many were eager to participate in these explorations and Linnaeus encouraged quite a number of his students to travel around the world, searching new species to be recorded, named and classified.<br />
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Observation, journeys and publications led to a change in people’s awareness of the world they lived in. <br />
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In changing people's awareness of the world they lived in, invaluable was Linnaeus’ contribution.<br />
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Linnaeus was the Father of Modern Biology.<br />
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Carl Linnaeus’ science marked a fundamental victory of reason over caprice and preconception.<br />
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<a href="https://picasaweb.google.com/lh/photo/JZXjUuF7sqJER8C_dgyh-dMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="185" src="https://lh6.googleusercontent.com/-FJJxTheVR-k/S4qdVSDq8BI/AAAAAAAAiFM/VKgKcdrhtek/s800/linnemrflower.gif" width="186" /></a><br />
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CARL VON LINNÉ. Carolus Linnaeus, 1707-1778. Carl Linnaeus. The Eighteenth Century. Age of Reason. Enlightenment. Europe. Sweden. Science and Art. Education. Idea, research and design: Mariano Akerman © 2007 All Rights Reserved <br />
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Initially published as "What a Century!", Manila, 19.1.2007 <br />
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<b>Original Post Illustrations</b><br />
1 Mariano Akerman, <i>The Eighteenth Century</i>, digital image, 2007<br />
2 Eighteenth-century prints showing the Inhabitants of the Moon, a mature Carl Linnaeus, and the launching of <i>La Montgolfière</i> in Paris, six years before the French Revolution<br />
3 Fra Andrea Pozzo, <i>Europe</i>, fresco, Sant’ Ignazio di Loyola, Rome, early eighteenth century<br />
4 <i>Nature</i>, eighteenth-century allegorical image<br />
5 Mariano Akerman, <i>Just a Moment before the French Revolution</i>, pencil and ink, 1989. Present whereabouts unknown.<br />
6 Mariano Akerman, <i>The Age of Reason</i>, digital photo-collage, 2007<br />
7 Mariano Akerman, <i>Artifice vs. Nature</i>, digital contrast, 2007<br />
8 Etienne-Louis Boullée, <i>Design for Monument to Isaac Newton</i>, ink and wash drawing, 1784 (Bibliothèque Nationale, Paris). <i>Désert de Retz</i>, Chambourcy, wash design for a broken column residence, c. 1785 (Nationalmuseum, Stockholm)<br />
9 D’Alembert, <i>L’Encyclopédie</i>, Diderot<br />
10 <i>Linnea borealis</i>, reindeers, Linnaeus as Laplander <br />
11 Plate showing Linnaeus’ <i>Sexual System of Botanical Classification</i> of 1735<br />
12 Linnaeus portrayed holding a <i>Linnaea borealis</i> and his monumental <i>Systema Naturae</i>, first published in 1735<br />
13 An illustration from Olaus Magnus’<i> Historia</i> of 1555, showing a gigantic lobster attacking an unfortunate sailor.<br />
14 Linnaeus’ descriptive notes and a page from his herbarium (with a plant named "Veronica")<br />
15 Journeys of Linnaeus seventeen disciples across the world<br />
16 Joseph Wright, <i>Experiment with the Air-pump</i>, oil, 1768 (Tate Gallery, London)<br />
17 The launching of <i>La Montgolfière</i>, Paris, 1783 (Bibliothèque Nationale, Paris)<br />
18 Sir Joshua Reynolds, <i>Portrait of Joseph Baretti</i>, 1774; Jean-Honoré Fragonard, <i>A Young Girl Reading</i>, 1776 (Prado, Madrid)<br />
19 Linnaeus’ notebook and other belongings he used during his Lapland exploration<br />
20 Linnaeus’ <i>Musa paradisica </i>and the title page of his <i>Hortus Clifortianus</i> of 1737<br />
21 Some assorted books published by Linnaeus during the eighteenth century<br />
22 A Tribute to Carl Linnaeus<br />
23 Mariano Akerman, Caprice vs. Reason, digital contrast, 2007<br />
24 Akerman, <i>Homage to the French Revolution</i>, digital image, 2005<br />
25 Akerman, <i>Curly Sky</i>, digital image, 2005<br />
26 Akerman, <i>Temple of Inclusion</i>, digital image, 2005<br />
27 Akerman, <i>In the Spirit of Linnaeus</i>, digital composition, 2006<br />
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Slides from <i>In the Spirit of Linnaeus</i>, educational lectures, Manila 2007<br />
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<a href="https://picasaweb.google.com/lh/photo/wJWqK1pPxPrD2U40jNlk3dMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="300" src="https://lh6.googleusercontent.com/-LmF8b32c_QY/U1QO5y_2ZRI/AAAAAAAAkU4/Pv0kO4-Sh8A/s800/Linnaeus_Life.jpg" width="400" /></a><br />
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<a href="https://picasaweb.google.com/lh/photo/I5DidjP1isQww38wD5RFJ9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="289" src="https://lh4.googleusercontent.com/-LL6RLSSsGpE/S4qCnf8ArYI/AAAAAAAAI2E/O_uy-paaIJE/s800/age-of-reason.jpg" width="400" /></a> <br />
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<a href="https://picasaweb.google.com/lh/photo/uZMLnj0WSmHnDOmj66h42dMTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="284" src="https://lh3.googleusercontent.com/-HHghUdOXKno/U1QO4LqSYbI/AAAAAAAAkU4/qSvgYKMfY_o/s800/Rara_avis.jpg" width="400" /></a><br />
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<a href="https://picasaweb.google.com/lh/photo/xYiP9q8PFSEozf6sbd_Xm9MTjNZETYmyPJy0liipFm0?feat=embedwebsite"><img height="301" src="https://lh5.googleusercontent.com/-XZ_2xlZEudw/U1QO8daDP3I/AAAAAAAAkU4/DIb6Rna2zbk/s800/Homo_universalis.jpg" width="400" /></a><br />
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CARL VON LINNÉ. Carolus Linnaeus, 1707-1778. Carl Linnaeus. The Eighteenth Century. Age of Reason. Enlightenment. Europe. Sweden. Science and Art. Education. Idea, research and design: Mariano Akerman © 2007 All Rights Reserved </div><br />
<b>Online resources</b><br />
• <a href="http://akermariano.blogspot.com/2013/12/linnaeus.html">Linnaeus-Manila Program</a><br />
• <a href="http://akermariano.blogspot.com/2011/06/linnaeus.html">In the Spirit of Linnaeus</a><br />
• <a href="http://hola-akermariano.blogspot.com/2013/12/linneo.html">Linneo</a><br />
• <a href="http://akermariano.blogspot.com/2011/05/rara-avis.html">Rara avis</a><br />
• <a href="http://akermariano.blogspot.com/2006/12/kingdom-and-ecology.html">Kingdom and Ecology</a><br />
• <a href="http://akermariano.blogspot.com/2011/05/same-order.html">The Same Order</a><br />
• <a href="http://akermariano.blogspot.com/2007/02/el-mismo-orden_2144.html">El mismo orden</a><br />
• <a href="http://akermariano.blogspot.com/2008/02/in-spirit-of-linnaeus.html">Education</a><br />
• <a href="http://www.swedenabroad.com/SelectImage/18624/LectureSchedule.pdf">Brochure</a>akermarianohttp://www.blogger.com/profile/16604434704542107074noreply@blogger.com4