Tuesday, July 30, 2013
Monday, July 29, 2013
Friday, July 26, 2013
Thursday, July 25, 2013
Tuesday, July 23, 2013
Monday, July 22, 2013
The structure holds unique importance in that it is the only conserved testimony of a large building of Spanish Islamic architecture of the era of the Taifas (independent kingdoms).
In the original construction, extra ramparts were made in the open field surrounding the Aljaferia. With urban expansion over the years, the building has remained inside of the city. Yet the city of Zaragoza has not been able to honour the landscaped surroundings of the Aljaferia. A freeway passes only a few meters away.
The heart of the area is the Old Town Market Place, with its restaurants, cafés and shops. Surrounding streets feature medieval architecture such as the city walls, the Barbican and St. John's Cathedral.
Friday, July 19, 2013
Wednesday, July 17, 2013
Friday, July 12, 2013
Bought in 1912 by the Galleria Nazionale d'Arte Moderna in Rome, The Three Ages of Women had won the gold medal in 1911 International Exhibition, also held in Rome.
The painting is an example of Klimt's symbolic and allegorial works. He continued to paint such images right until his death in 1918.
The painting show a little girl in the protecting arms of a young woman, while beside them an old woman stands with bowed head. The aged crone is symbolic of the passage of time.
The figure of the old woman is based on a sculpture by Auguste Rodin (1840 - 1917), called The Old Courtesan also known as 'She who was once the Helmet-Maker's Beautiful Wife', which was exhibited in Vienna in 1901 as part of the ninth Secession exhibition. The show, devoted the works of Rodin, the painter Giovanni Segantini, and Klinger, had a lasting effect on Klimt, who was delighted when he was able to meet Rodin the following year during the sculptor's visit to Vienna. Rodin saw and praised the Beetjpvem Froeze; the admiration was mutual.
The black background is unusual in Klimt's work up to this date. Another painting, called Death and life, which was begun three years later in 1908, started out with a gold background. However, Klimt was not happy with it and substituted a blue-black background in 1911. Most of his later symbolic works share these dark grounds, in sharp contrast to the continued brightly coloured decoration of the figures themselves.
Information taken here