Painter

Whenever the career of Satyajit Ray is discussed, it is always about his films. But he also left his mark as an illustrator and artist, a facet still unknown to many. His book cover designs to book illustrations; his portraits to his invention of new typography; these are all world-class creations. Most of the original artwork has been lost. A few copies of the original are found here and there. This paper tries to analytically break down his artwork and origin and tries to offer a glimpse of Satyajit Ray's majestic works of art to the world.

Antonio Gámiz Gordo (2012): "J. F. Lewis's original drawings of the Alhambra palaces (1832-33) / Los dibujos originales de los palacios de la Alhambra de J. F. Lewis (h. 1832-33)", EGA Expresión Gráfica Arquitectónica, nº 20, Valencia, p.76-87.
https://doi.org/10.4995/ega.2012.1406

Author P.G.Wodehouse wrote about paintings and painters. But did he actually knew painters in real life? And what was his relationship with Han van Meegeren, the Dutch forger? Based on a lecture at the Wodehouse Convention 2017 in Washington.

Monumental Paintings in Algeria: A Pedagogical Genre. — Since colonial conquest, and Horace Vernet's famous Prise de la Samla dAbd el-Kader, monumental painting has been a recurrent genre. Unlike other forms of art, it implies a high degree of dependence of artists on public authorities for endeavors but also to propose and impose images of an Algerian identity. The succession of these images and of the diverse political messages they convey is studied since colonial times till independance when, indeed, shifts in identity still occur.

C'est depuis la conquête, avec la fameuse Prise de la Smala d'Abd el-Kader par Horace Vemet, que la peinture monumentale semble s'être imposée en Algérie comme mode d'expression récurrent. À la différence des autres formes d'art, celle-ci implique une forte soumission des artistes aux commandes publiques, qui ne sont pas orientées seulement par le souci d'affirmer des projets artistiques, mais de proposer, d'imposer, des figurations de l'identité algérienne. On étudie dans cet article la succession de ces images, et la diversité des messages politiques qu'elles délivrent, depuis l'époque coloniale jusqu'aux régimes des indépendances où, décidément, la valse des identités continue.

Özet:
İstanbul’un fethedilmesinden önce üç kez inşa edilen Ayasofya, 1453 yılında fethin sembolü olarak camiye çevrilmiştir. Ayasofya ve çevresine inşa edilen yapılarla birlikte Ayasofya Cami’si klasik bir Türk külliyesi hâline getirilmiştir.
Osmanlı’nın Balkan ve dünya savaşlarındaki ağır yenilgileri Batı’da ve gayrimüslim tebaa arasında Ayasofya’nın yeniden eski şekline döndürülmesi gerektiği fikri ortaya çıkmıştır. Dönemin hükümeti ve asker kanadı bireysel ve kurumsal olarak tebdirler almışlardır.
Ayasofya’nın Sultan Abdülmecit döneminden sonra ciddi bir tadilat geçirmemesi, savaşlar gibi sebeplerle 1925 yılına gelindiğinde Ayasofya’da tamiri meselesi ortaya çıkmıştır. Bakanlar Kurulu’nun 1926 yılında aldığı kararla Ayasofya tadilat geçirmiştir. Bu tadilat hem Türk hem de Dünya kamuoyunda yakından takip edilmiştir.
Türk resminin 1914 ekolünün üyelerinden Ressam Hüseyin Avni Lifij de 1906 yılından itibaren Ayasofya’ya özel ilgi göstermiştir. Bu ilginin kişisel, ulusal ve evrensel nedenleri bulunmaktadır.
Yazar; 1926 yılında yazdığı makalede “Ayasofya’nın yıkılma tehlikesinde olduğunu, bu tehlikenin ortadan kaldırılması gerektiğini, Amerikan Mimarlar Cemiyeti’nin Ayasofya’nın tamirini ücretsiz bir şekilde gerçekleştirme teklifinin olduğunu, fakat bizimkilerin milli gurur sebebiyle bu teklifi reddetmeye hazırlandıklarını duyduğunu, bu teklifi kabul etmemenin son derece yanlış olduğunu, bunun milli gururumuzu zedeleyecek bir özellik arz etmediğini” dile getirmektedir.

Anahtar Kelimeler: Ayasofya, Ressam Avni Lifij, Henri Prost.

Abstract:
Built three times before the conquest of Istanbul, Hagia Sophia was converted into a
mosque in 1453 as a symbol of the conquest. Together with the Hagia Sophia and the buildings built, the Hagia Sophia Mosque has been transformed into a classical Turkish complex.
After the Ottoman’s severe defeats in the Balkan and world wars, the idea that Hagia Sophia should be restored to its old form arose among the West and among non-Muslim subjects. The government and the military wing of the period took individual and institutional measures.
After the reign of Sultan Abdülmecit, the Hagia Sophia did not undergo a serious renovation, and the issue of repair arose in 1925, due to reasons such as wars. Hagia Sophia was renovated with the decision of the Council of Ministers in 1926. This renovation has been closely followed by both Turkish and world public opinion.
Painter Hüseyin Avni Lifij, one of the members of the 1914 school of Turkish painting, also paid special attention to Hagia Sophia since 1906. There are personal, national and universal reasons for this interest.
Writer; In the article he wrote in 1926, “Hagia Sophia is in danger of collapse, that this danger must be eliminated, that the American Society of Architects has an offer to carry out the repair of Hagia Sophia free of charge, but ours has heard that they are preparing to reject this offer due to national pride, and the end of refusing to accept this offer degree is wrong, it does not have a feature that will damage our national pride”.

Keywords: Hagia Sophia, Painter Avni Lifij, Henri Prost.

Sanatçı ressamlar, kişisel üsluplarını yaratımlarına aktarırlar. Resim estetiği,
bakımından, soyut dışavurumcu yaklaşımın uygulanışında, Joan Mitchell’ın eserleri
birçok bağlamda avangart eserler kapsamında değerlendirilir. New York Sanat
okulunun başarılı bir sanatçısı olarak, oldukça öznel bir ifade dili yaratmıştır. Bu
makalede, Sanatçı, Joan Mitchell’in eserlerindeki kaligrafik esinlenmeler, literatür
bakımından incelenmiştir. Soyut Dışavurumcu akım kapsamında, doğa kaynaklı, çizgi
ve rengi jestüel bir yolla yüzeye çizerek, damlatarak, sıçratarak aktaran, kuramı ile
sentezleyen sanatçı, özgün bir yüzey oluşturmuştur. Oldukça büyük tuval tercihleri ile
yetinmeyerek, özgün baskı resmi alanında da çok sayıda üretim yapmış, litografi
tekniği ile çok sayıda eser üretmiştir. Sanat hayatına Amerika’da başlayan sanatçı,
ileriki yaşlarında, Fransa’ya yerleşerek Ressam Monet’in de tercih ettiği doğal ortamda
resimlerini üretmiştir. Sanatçı açtığı sergileri, üretkenliği ve özgün bir soyut dışavurum
sentezcisi olması nedeni ile erkek egemen bir sanat dünyasında büyük başarı
kazanarak, soyut dışavurum çizgide önemli bir yere sahiptir. Sonuç olarak, sanatçının
esin kaynağının doğa ve içinden özellikle bitki ve ağaçlara odaklanarak, bunları soyut
dışavurumcu bir ifade ile jestüel eylemlilik içinde, şiirsel bir dil oluşturacak biçimde
eserlerine yansıtmıştır. Sanatçının eserlerindeki jestüel ifadeler çarpıcı bir gerilime
sahip ve çizgi, biçim dilinin en önemli elemanıdır. Müziksel anlatım, renk
kurulumlarının dinamik yapılarında duyumsanır. New York Okulunun anlayışına dair
birçok etki, sanatçının eserlerine yansımıştır. Başlıca etkilerden, J. Pollock ‘un
eylemliliğine bağlı resimsel etkileri ve W. de Kooning’in çizgi leke anlayışıdır. Bunun
yanında C. Monet resimlerinden mavi rengi, Vincent van Gogh resimlerinden
duyguların, çizgi ve renk ile aktarılmasından esinlendiği söylenebilir.


Artist painters transfer their personal style to their creations. In terms of painting aesthetics, in the application of the abstract expressionist approach, Joan Mitchell's works are evaluated within the scope of avant-garde works in many contexts. As a successful artist of the New York Art school, she has created a highly subjective language of expression. In this article, the calligraphic inspirations in the works of the artist Joan Mitchell are examined in terms of literature. Within the scope of the Abstract Expressionist movement, the artist, who conveys the nature-based line and color to the surface in a gestural way by drawing, dripping, splashing, and synthesizing it with his theory, has created a unique surface. Not content with her very large canvas preferences, she also produced a large number of works in the field of printmaking and produced many works with the lithography technique. The artist, who started his art life in America, settled in France in his later years and produced his paintings in the natural environment preferred by Monet. The artist has an important place in the abstract expression line by gaining great success in a male-dominated art world due to his exhibitions, productivity and being a unique abstract expression synthesizer. As a result, he focused on the nature of the artist's source of inspiration, especially plants and trees, and reflected them in his works in an abstract expressionist expression, in a gestural activism, in a poetic language. The gestural expressions in the works of the artist have a striking tension and the line is the most important element of the language of form. Musical expression is felt in the dynamic structures of color installations. Many influences on the understanding of the New York School are reflected in the artist's works. Among the main influences, J. Pollock's pictorial effects due to agency and W. de Kooning's understanding of line and stain. In addition, it can be said that he was inspired by the color blue from C. Monet's paintings and the transfer of emotions from Vincent van Gogh's paintings with line and color.

Carevo rano djetinjstvo i njegovi kasniji posjeti Kraju bili su obilježeni susretima s akademskim slikarom Valentinom Lucasom (1840. – 1915.), koji je ondje živio. Osebujni umjetnik i njegov životni put bio je Caru nadahnuće za likove više literarnih djela, a njemu posvećuje i nekoliko redaka Autobiografije. Polazeći od Careve fikcije i autobiografskih
zapisa te zahvaljujući njihovu osvjedočenju u dostupnim povijesnim i drugim vrelima i rezultatima terenskog istraživanja, u ovome se radu nastoji rekonstruirati nedovoljno poznata biografija slikara iz Kraja.
[Viktor Car Emin’s early childhood and his later visits to Kraj have been characterised by meetings with academic painter Valentin Lucas (1840–1915), who lived there.
The  distinctive  artist  and  his  life  inspired  Car  in  creating  several  characters  in  his
literary  work.  Additionally,  Car  dedicated  a  few  lines  in  his  autobiography  to  him.
Starting from Car’s fiction and his autobiographical notes and their verification in the
available historical and other sources, as well as from the results of field research, this
paper tries to reconstruct unknown details in the biography of the painter from Kraj.]

Wystawa prac Arkadiusza Karapudy "Słowa i obrazy" to nowa próba połączenia tekstu z plastycznym przedstawieniem. Napięcie między werbalnym a malarskim komentarzem odgrywa tu pierwszorzędna rolę, dzięki czemu kompozycje zyskują na semantycznej wielowymiarowości / Arkadiusz Karapuda, Słowa i obrazy, Galeria Sztuki Wystawa, Warszawa, 29.09 - 20.10.2019 r.

Mohammad Yasin, peintre base a Delhi, ou il a longtemps enseigne la peinture et le dessin (a Jamia Milia University), explique l'evolution de son itineraire de peintre depuis le traitement figuratif mais stylise de la vie rurale, de ses debuts a l'elaboration d'une calligraphie tres originale, faisant de la technique un reflet de sa recherche spirituelle, a l'ecart de toute ecole ou mode institutionnalisee. Yasin s'impose par la liberte de son traitement de l'element figuratif et par la maniere dont il parvient a fusionner les traditions hindoues et musulmanes, travaillant la «lettre d'Allah» en utilisant une inscription dans l'espace empruntee, ou plutot re-appropriee, des traditions jains et tantriques.

Béla Lipthay lepidopterist, entomologist, museologist, agriculturist, hussar lieutenant, life-saving Roman Catholic, descendant of the historical family Lipthay de Kisfalud et Lubelle  did a long way from his home village Lovrin to Szécsény, the one-time land of his ancestors. His life coincided with the disintegration of the historical Hungary, and the most serious trials of the Hungarian society, culture and spirit. These changes affected him as a member of Hungarian aristocracy many times and in fact wanted to destroy him. The fortune of the ancestors have been swept away by the storms of the wars and confiscated but the human strength of character, the consciousness, the talent,  the diligence, the sanctuary of faith have remained. All these made him possible to survive, to do his everyday hard creative work, which gained him affection and respect of the people living around him.
Lipthay Béla was mainly lepidopterist and dealt with the the species of Hungary. Place of his collection was first his native country, the Banat, and the area of the Southern Carpatian Montain, and after 1944 Nógrád county (Szécsény, Balassagyarmat, Nógrádszakál, Ipolytarnóc, Rimóc, Ludányhalászi etc.). The collected species belonged to Macrolepidoptera but he dealt also with the moths. During his life time he prepared a collection of 60000 individuals and maintained them until his passing away. Great part of this collection can be found at the zoological cabinet of Natural History Museum in Budapest.  He discovered many species new for the Hungarian fauna such as e.g. Cupido osiris (Meigen, 1829), and described a new species (Chamaesphecia sevenari Lipthay, 1961) which later proved to be a synonym of Chamaesphecia nigrifrons (Le Cerf, 1911). He knew well the most famous collectors and specialists of the age. After the first World War he worked together with Frigyes König,  László Diószeghy, Jenő Teleki, Norman D. Riley (leading entomologist of the British Museum at London, secretary of the Royal Entomological Society), Brisbane C. S. Warren ( member of the Royal Entomological Society), Lionel W. Rothschild (the most important private collector) and many excellent lepidopterists. After the second World War he was well known and respected by the Hungarian entomologists and lepidopterists: he was a friend of Lajos Kovács, the distinguished lepidopterist and Zoltán Kaszab, the eminent entomologist. He had a good relationship with such renowned Hungarian zoologists and entomologists like Gyula Éhik, László Gozmány, László Issekutz, László Bezsilla and László Móczár.
He colleted also Hymenoptera, Diptera and capricorn beetles to be found in Hungarian and foreign collections (Natural History Museum, (London), a Szekler National Museum (Marosvásárhely).



Lipthay Béla lepkész, rovarász, ősbotanikus, muzeológus, mezőgazda, huszár főhadnagy és hívő katolikus, a főnemesi Lipthay család sarja a bánsági Lovrinból indult és végül Nógrádba,  Szécsénybe érkezett. Élete egybeesett Magyarország széthullásával, s a magyar társadalmat, kultúrát, szellemet ért legsúlyosabb megpróbáltatásokkal. Mint a magyar arisztokrácia tagját ezek a változások súlyosan érintették. Az ősi vagyont elkobozták, de tehetsége, szorgalma, kitartása és hite megmaradt. Így képes volt túlélni, sőt szorgalmas, kitartó munkájával elnyerte a helybéliek szeretetét és megbecsülését.
Lipthay Béla elsősorban lepkész volt, s „csak a magyarországi fajokkal foglalkozott”. Gyűjtéseinek színhelye először szülőföldje, a Bánság, a Déli-Kárpátok területe, majd 1944. után Nógrád megye (Szécsény, Balassagyarmat, Nógrádszakál, Ipolytarnóc, Rimóc, Ludányhalászi stb.). A gyűjtött fajok főleg nagylepkék, de a molyokat sem hanyagolta el. Élete során egy 60000 egyedből álló gyűjteményt állított össze és gondozott haláláig. Ennek a gyűjteménynek a nagy része jelenleg a Természettudományi Múzeum Állattárában Budapesten található. Számos a faunára új fajt talált, ilyen pl. a Cupido osiris (Meigen, 1829), és leírt egy új fajt is (Chamaesphecia sevenari Lipthay, 1961), amely később a Chamaesphecia nigrifrons (Le Cerf, 1911) szinonimájának bizonyult. Kapcsolatban állt korának legnevesebb gyűjtőivel és szakembereivel. Az I. világháború után a temesvári Kőnig Frigyessel, a székelyföldi Diószeghy Lászlóval, Teleki Jenővel, Norman D. Riley-vel a londoni British Museum osztályvezetőjével, a Royal Entomological Society titkárával, Brisbane C. S. Warren-nel a Royal Entomological Society tagjával, Lionel W. Rothschild-dal a legnagyobb magángyűjtővel és számos kiváló lepkésszel. A II. világháború után a hazai rovarászok és lepkészek is jól ismerték: barátja volt a neves lepkésznek, Kovács Lajosnak és Kaszab Zoltánnak, a kiváló bogarásznak, kapcsolatot tartott olyan neves hazai zoológusokkal, rovarászokkal mint Éhik Gyula, Gozmány László, Issekutz László, Bezsilla László,  Móczár László.
A lepkék mellett gyűjtött hártyásszárnyúakat, kétszárnyúakat és cincéreket is, amelyek megtalálhatók hazai és külföldi gyűjteményekben (pl. a British Museum-ban (Natural History Museum, London), a Székely Nemzeti Múzeumban (Marosvásárhely).
Gyűjtései mellett foglalkozott a növényvédelmi állattannal is, hiszen hozzáértő mezőgazda volt, amíg tehette. Balassagyarmaton és Salgótarjánban csodálatos, színes, kézzel rajzolt és festett növényvédelmi állattani posztereket készített, kiállításokat szervezett pl. az ipari növények kártevőiről, de a vadászatról is.