Amaretto de Bernardino Luini

Adorazione dei Magi, Santuario della Beata Vergine dei Miracoli di Saronno,1531 

Bernardino Luini (Dumenza, 1481 circa – Milano, giugno 1532)    

Come molte ricette a base di mandorle, è di antichissima tradizione e affonda le sue origini nel 1500. Nella città di Saronno venne commissionato al pittore Bernardino Luini un affresco che ritrae la Madonna e l'Adorazione dei magi. L'affresco è tutt'oggi visibile nel Santuario della Beata Vergine dei Miracoli. La leggenda narra che nel periodo in cui il pittore soggiornò a Saronno alloggiasse presso una locandiera di particolare bellezza, di cui si innamorò al punto da usarla come modella per la sua Madonna. Per ringraziarlo, lei gli offrì un elisir di erbe, zucchero tostato, mandorle amare e brandy che venne immediatamente apprezzato e si diffuse in pochissimo tempo. Il liquore mantenne quindi un significato di affezione e amicizia ed è oggi uno dei prodotti italiani più diffusi all'estero. Non viene tradotto e il nome resta invariato in tutte le lingue. Nella città diSaronno ha sede lo storico stabilimento dell'azienda Illva Saronno S.p.a., produttrice del liquore con il marchio "Disaronno".

20:50

Richard Wilson Saatchi Gallery, 20:50, 1987  

Used sump oil, steel.  Dimensions variable

Hayao Miyazaki

Hayao Miyazaki

Cómo debe ser el despacho de un animador, en el museo Ghibli.

Learn English with Salvador Dalí

Salvador Dalí - A Soft Self Portrait -

The documentary is directed by Jean-Christopher Averty, with narration provided by Orson Welles

Carlos Garaicoa.

Carlos Garaicoa.

De cómo la tierra se ha querido parecer al cielo (II), 2005.

Installation Variable Dimensions. MUSAC exhibition.

Ou Ferrat

Vieja friendo huevos Diego Velázquez, 1618

"A un ou li trec el rovell, i fregeixo només la clara en una paella amb el suficient oli d'oliva per a que no toqui el fons i s'enganxi. Deixo que fregeixi bé fins que quedin puntetes. Ho poso sobre un plat i ara fregeixo només el rovell, però molt poquet, només allò just per a que agafi color. Aquest rovell el col·loco sobre la clara anterior i així consegueixo un ou ferrat somiat per molts" - Ferran Adrià -

Le Soliloque de l'empailleur

"Tout est mort, ici, vous ne craignez rien. Parfois, Madame, les clients ont peur dans ma cave. Ma maison date du Moyen-Age, elle est plus vieille que le château. On l'a construite en bordure de la forêt, à la frontière du village, contre le rideau du brouillard. Un jour, après moi, on pourra la transformer en musée. Vous êtes encore plus jolie que ce que m'avait dit M. le conservateur. Asseyez-vous sur mon pied d'éléphant."

Le soliloque de l'empailleur, d'Adrien Goetz et Karen Knorr, édition Le Promeneur, 2008

Jacopo, Gentile, Giovanni

Jacopo Bellini (1400–1470), Madonna and Child Blessing, 1455.

Gentile Bellini (1429–1507), Madonna and Child Enthroned, late 15th century.

Giovanni Bellini (1430–1516), Madonna and Child, 1480

Castells

Tres de nou amb folre i manilles

Dos de vuit amb Folre

Pilar de vuit amb folre i manilles

Velazquez meets Guercino

In his first trip to Italy, Diego Rodriguez de Silva y Velazquez meets Giovanni Francesco Barbieri at Cento in 1629...

Morte di Didone, Guercino, 1629

Velazquez en Chicago y Dublin

National Gallery de Dublín, Dublín, Irlanda, Diego Rodríguez de Silva y Velázquez, 1618 - 1622

Art Institute of Chicago, Chicago, Estados Unidos, Diego Rodríguez de Silva y Velázquez, 1618 - 1622

"La cofia de la mujer, anudada en su parte superior con un mayor número de pliegues, y un más minucioso estudio de las luces y las sombras, como se advierte también en el papel arrugado en primer término, junto con la incidencia de la luz sobre los objetos, particularmente en la jarra de cerámica vidriada que la sirvienta tiene en la mano, en la que se puede apreciar el brillo del barniz craquelado y las huellas del torno, confirmarían la superioridad de la versión del Art Institute de Chicago, que podría explicarse como una vuelta de Velázquez al mismo motivo que había abordado poco antes con afán de superarse a sí mismo, insistiendo en el estudio de los valores táctiles, que son los que le interesaban primordialmente en este momento, y prescindiendo del motivo religioso."

Lagrimas de San Lorenzo

San Lorenzo, por Domenikos Theotokopoulos, el Greco,1578

Annelides, crustaces et arachnides

Tableau d'Histoire Naturelle: Annelides, Crustaces, Arachnides, etc., Henri Duval 1834

ieeessssss

Michael Jackson and Bubbles, Jeff Koons 1988

Le martyre de Saint Sébastien

Saint Sébastien, Boticelli, 1474.

"Et maintenant je me désarme!

Je suis l'Archer certain du but. Voici l'arc double, le carquois fourni

de dix-sept sagettes ailées

et le brassard oú est gravée

la figure zodiacale

du Sagittaire criblé d'astres.

Je te les comments. Je les offre

á mes élus de la cohorte

d'Emése. Voici.

Je suis libre! "

La cour des Lys, Le martyre de Saint Sébastien (1911), Claude Achilles Debussy. Texte de Gabriele D'Annunzio.

(Le martyre de Saint Sébastien is forbidden in the Index of the Vaticano)

Altered and adorned

Andrea Mantegna (1431-1506), Battle of the Sea Gods, 1470/1500.

ALTERED AND ADORNED,

using renaissance prints in daily life.

"Though Renaissance-era prints are typically kept out of sight in museum vaults today, these decorative objects were once a central part of everyday life—used, abused, adored, and adorned by their owners. Through over 100 objects, this exhibition showcases how early print owners handled these versatile artworks, from annotating them or cutting and pasting them onto books, boxes, and walls to transforming them into three-dimensional objects.

The experimental world of printmaking in the mid-15th and 16th centuries inspired an array of related objects, including illustrated books, wearable ornaments, printed sundials, anatomical charts with liftable flaps, and devotional images. The rich and long-overlooked history of this era’s prints comes to life in this exhibition, which focuses on their various uses and functions in the past as reflected in their condition today."

The Art Institute of Chicago April 30, 2011–July 10, 2011

Alligators all around

"What would you like to eat?"

"I don't care!"

"Some lovely cream of wheat?"

"I don't care!"

"Don't sit backwards on your chair"

"I don't care"

"Or pour syrup on your hair"

"I don't care"

Nutshell library, Maurice Sendak (1962)

Oι̉δίπoυς τύραννoς

Gustave Moreau (1864)

Οἰδίπους

ἰοὺ ἰού: τὰ πάντ᾽ ἂν ἐξήκοι σαφῆ.

ὦ φῶς, τελευταῖόν σε προσβλέψαιμι νῦν,

ὅστις πέφασμαι φύς τ᾽ ἀφ᾽ ὧν οὐ χρῆν, ξὺν οἷς τ᾽

οὐ χρῆν ὁμιλῶν, οὕς τέ μ᾽ οὐκ ἔδει κτανών

Oedipus:

Ah me! ah me! all brought to pass, all true!

O light, may I behold thee nevermore!

I stand a wretch, in birth, in wedlock cursed,

A parricide, incestuously, triply cursed!

Oι̉δίπoυς τύραννoς, Oidipous Tyrannos, Oedipus Rex. Sófocles (430 a.C)

Ύπνος

Bronce head of Hypnos.

Possibly Roman, 1st-2nd century AD;

copy of a Hellenistic original,

Found at Civitella d'Arno, near Perugia, Italy

"Hypnos first appears in mythology in the works of one of the earliest Greek poets, Hesiod (lived around 700 BC), where Hypnos (Sleep) and Thanatos (Death) were the terrible sons of Nyx (Night). Hypnos was, however, generally viewed as benevolent to mankind. The god was frequently mentioned in literary sources, and associated with poppies and sleep-inducing herbs. Hypnos' wings allowed him to move swiftly over land and sea, and to fan the foreheads of the weary until they fell asleep. His son was Morpheus, the personification of dreams.

Although he was frequently shown in vase painting, sculptural representations of Hypnos were rare. This bronze head belongs with a series of similar heads and figures found mostly in the western Mediterranean, particularly in France, Italy and Spain. The statue type represented Hypnos either as an adolescent or, in some variants, as an even younger child. He was shown running forwards, holding poppies in his right hand and a drinking-horn in his left, from which presumably he poured a sleeping potion. This head shows how wings sprouted from his temples, and his hair was elaborately arranged into a series of luxurious locks, some falling freely, others tied in a knot at the back of the head."

St. George

Paolo Uccello, 1456

Gustave Moreau, 1890

"Frecuentemente los héroes luchan con monstruos para rescatar “doncellas secuestradas” (que simbolizan el ánima).

Como regla general, se puede decir que la necesidad de símbolos de héroes surge cuando el ego necesita fortalecerse, es decir, cuando la mente consciente necesita ayuda en alguna tarea que no puede realizar sola o sin recurrir a las fuentes de la fortaleza que yacen en la mente inconsciente. La doncella secuestrada era un mito favorito de la Europa medieval."

J.L. Henderson, en C.G. Jung, el hombre y sus símbolos.