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HEAD OF MARCH 2011: road to abstraction KANDINSKY

During the month of March 2011 the head of select you has been a breakdown of Composition IV, 1911, Василий Васильевич Кандинский, Vasilievich Wassily Kandinsky. Oil on canvas painted in 1911, measures 159 .5 x 250.5 cm. and is in the Kunstsammlung Nordrhein-Westphalia in Dusseldorf.

100 years since we started walking towards abstraction ...

As in February, this month we once again repeat: not the first time that heads KANDINSKY select you.

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THE MUSEUM OF ROMANTICISM MADRID

has always been said that comparisons are odious. Is an expression that means great, but at the same time has a high content of lie: I think it made comparisons between elements reasonably homogeneous (as we usually understand comparable ) are most effective for assessing the comparative advantages and deficiencies discovered, and come to a richer synthesis. Comparisons are often necessary. Logically, that the comparison has bought interest that should know what you are comparing: the result of the comparison will be of value to the extent that the guarantees offered comparator. Story

all this because the reason that led me to see the Museum of Romanticism has been, I mean that sincerely, my recent visit to Cerralbo Museum, which recently commented in select you. A museum I took the other, and comparison I get automatically. I know that

Cerralbo Museum and the Museum of Romanticism are not exactly the same thing: Cerralba is built in the late XIX (the works are finished in 1893), and the Museum of Romanticism aims to show a romantic house , and So the first decades of the nineteenth. I also understand that it would be a false claim, and ridiculous "attempt to get on the pedestal of the expert who knows the nineteenth and authority compared to the two museums: I'm not, and do not intend to. But neither one thing nor another anime prevent me to give my non-expert opinion : that each give the desired value.

On the one hand, I think what is of real Cerralba missing from the Museum of Romanticism, where everything feels more artificial, less experienced, more stage built. For another, the Museum of Romanticism is the conceptual clarity and interest museum (or is museum?) Lacks Cerralbo. Both ideas fit with what we know: that the Cerralbo Museum is an authentic mansion restored, while the Museum of Romanticism is a recreation of that way of life to be taught, but not a lived reality. As architecture, the Museum of Romanticism, but it is more orderly, has no interest in the lobby space and Cerralba Honor step, or its ballroom. As for the collections, my impression has been that it Cerralba best pieces together, but the Museum of Romanticism are more homogeneous, not knowing, of course, there was a Goya in the oratory of the Museum of Romanticism, an image San Gregorio Magno. I was struck by the Museum of Romanticism furniture, or perhaps more accurate to say that I have paid more attention to the furniture, which at least Cerralba did: I paid more attention to art objects and less on furniture (which often are works of art, of course) but it stopped a while in the room devoted to children, see vintage toys. I found most successful and complete the booklet of Cerralba to keep the exhibit that the Museum of Romanticism, and I liked the double meaning of the Boards proposed in the Museum of Romanticism. A final comparison, finished with a smile: the Museum of Romanticism entered directly, without a second tail, and ...
Cerralba

will not fall into the simple to tell which is better (not know to say, really), but I dare say that the two museums will complement great, and after visiting I think I know most of the nineteenth century and how lived, how people lived well - in the nineteenth. Two visits were worthwhile, they are rich and recommend them to anyone.

I reread the entry and I finally just did not say anything about the history and collections of the Museum of Romanticism ... but no matter, because they are beautifully explained in the website MUSEUM: do not miss, because it provides.

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YOUR FACE TOMORROW, 3. POISON AND SHADOW AND GOODBYE, Javier Marias

I ended YOUR FACE TOMORROW. Three librazos. A soap opera.

acknowledge that POISON AND SHADOW AND GOODBYE I felt that it falls a bit short compared to the high quality of FEVER AND LAUNCHES and DANCE AND DREAM. Starts great, with the same style as the other two, and at the same point in history where the previous ended. Then, a long jump back in time to return to the start of the second volume. But as POISON AND SHADOW AND GOODBYE progresses, you also need to advance the action: it is nearing the end of history and things must pass. And that's where the book limps a little, in my opinion, the technique of Javier Marías does not work all the digressions and clarifications and explanations, both synonymous and stirred so much back and cut too much what is happening the action takes place slowly, a little jerky, and it creates no tension (perhaps not so intended, that's the truth) throughout the protagonist's stay in Madrid this particular accused. The final story-not, of course, without being spectacular is more than enough. By the way, speaking of the end say that I had a sense of full circle, parallel-final principle: without going into details, the story begins and ends with Peter Wheeler Peter Wheeler.

I never want to emphasize how he writes Mary because I said a lot in previous entries. Only, to add something specific I found this third volume, indicated that there is a little courtesy in POISON AND SHADOW AND GOODBYE: MARÍAS says a photo-very expressive, of course-and three paintings from the Prado Museum. Also included, as it did in the first volume, some images that give credence to all that is going to count.

An interesting book YOUR FACE TOMORROW, somewhat singular, that I liked it and recommend it to anyone (with time ahead, of course) but I'm not sure everyone likes.

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This is an unusual entry in select you, because rarely make reference to current events. Right now I only remember two occasions: on Monday following the victory of Spain in the World Cup (was forced) and the award of the Prince of Asturias Norman Foster (who despite being present then fit nicely in line editorial).

But today I am reluctant to publish these lines just to make it clear that I'm in JAPAN. A couple of years I was there (in the south, that's the truth: not in the earthquake zone) and came back fascinated. So I continue with genuine interest what happens, I guess as we are all overwhelmed by the stunning images I see in the media. Little I can do for them from here, but God wants to return to normal as soon as possible, if after such a thing can be back to normal ... they had

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DOMUSAE JAPAN, SPACE FOR CULTURE, Salon DE REINOS del ANTIGUO PALACIO DEL BUEN RETIRO


If you look in the dictionary the term SAR museum finds its origin in the Museion Greek and Latin museum, the site dedicated to muses. If you are looking Muse ( Greek and Latin muse muse ) confirms what we already knew: that a muse in a mythological deity protector of the sciences and the arts. And if one tries to locate DOMUSAE in a Latin dictionary, finds nothing, but I understand that claims to be a contraction of domus muse, the muse's house (my little Latin BUP-yes, I did the prehistoric BUP - I suspect muse is the genitive singular of muse, muse , the first-and pink, pink - and therefore the muse ). This title

unique and successful, DOMUSAE, Management of Infrastructure and Equipment of the Ministry of Culture has organized the remainder of the Buen Retiro Palace and former Army Museum (now in the Alcazar of Toledo) an exhibition subtitled CULTURAL SPACES. A good number of projects, plans, drawings, models, photographs, videos of the authors, cultural buildings in Spain (English say no because, although everyone will be by geography, not all are by author): museums, libraries ,

files ... Projects are overwhelmingly well-known, but that are of interest: comes in handy to review the good, and it is nice to revisit high quality buildings (ROMAN MUSEUM OF MERIDA by Rafael Moneo, or the Provincial Museum of Zamora of Mansilla & Tuñón, to cite just two examples of well-known architecture and happily rediscovered).

But what really interested me in this exhibition was the place, see what was done with the Hall of Realms and the rest of the building. And, the truth has been a real disappointment. I do not quite understand that to pull no more walls of hollow-torn keep, really, unlocked, or leave what he has or has no interest (these exhibitors / wooden cabinet that still retain the labels of weapons that contained " Why paint?). The Hall of Realms is itself hidden: that is the assembly of DOMUSAE and, okay, I understand. But the rest has no name (or yes, but I'd rather not say ...).

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MIRAMIENTOS, de JAVIER MARÍAS

courtesy is an experiment JAVIER MARIAS happened to me the same person that left me Your face tomorrow: a compilation of comments to photos / portraits of other writers , and even some photos of him, which were originally published in NOTEBOOKS CERVANTES (college magazine REVENGA LUIS very low coverage, so says Mary herself).

I think that courtesy has no other interest the pure form, manner and style of writing quality. The comments are meant to be stripped of any value other than what Mary sees in every photograph, and of course the knowledge you have of the author and his work. I think it's impossible to do at all: it is very difficult not to use what you know and not to force-feedback aseptic supposedly to match reality, but, like the author to some extent it succeeds, the end is not important who appear in the photo, that are known or unknown characters, images could comment writers or anything else, shot-putters, for example. A text for loose moments in any case, it reads very well.