Heeey, zo jij ben ook weer terug op aarde? Zomaar ineens je foto's eruit gooien en je fotoboek op slot. Tssss. Dat kan toch niet?
Hoe is t leven verder?
Groetjes

je leeft nog!!

Waar zijn de foto's

quote:

Nastybtch zei :
Nee,
magk nu niet meer tegen je praten dan ofzo
van mama mag ik niet met vreemden praten maar ik doe het lekker toch
xxx

Daar ben ik weer na een aantal maanden

Hey. Je bent er weer.
.

quote:

Nastybtch zei :
Stoere foto man, die bovenste hihi.

.

Waar zijn jouw foto's

leef je nog?
Lang niet gesproken. Gelukkig 2006!

quote:

Nastybtch zei :
Ja, zoiets
wanneer ga je die zonnebril afzetten?

ach check me fotoboek maar af en toe

.

Pablo Picasso
Picasso was born on October 25, 1881 in Malaga, Spain. When he was a young boy people thought he was a genius. They ought he was a genius because of his brilliance on the entrance examinations to Barcelona's School of Fine arts.

In his life he went through many stages. When he was seventeen he signed "Picasso" instead of Ruiz Picasso. He married a dancer in 1917 named Olga Koklova. He painted many pictures of her and their son.

The blue period of his life was from 1901-1904 when he was 22 years old. He painted everything in blue. He painted in blue a sign of sadness from when his best friend died. All of these paintings had sad or lonely expressions on their faces. Some people thought it 'Was fabulous and others thought it was crazy.

The rose period was another period in his life. This was right after the blue period. That period went from 1904-1906. He started to paint in brighter colors. He drew people doing happy things. He also drew lots of circus scenes with circus animals in this period.

Cubism was another period in his life. He started this style of his when he was only 26 years old. The pictures were cube shaped abstract figures. A famous painting in cubism he drew w called "Tete de Feme

Picasso painted many dramatic pictures during World War I and after the Spanish Civil War. He painted them to show how stupid he thought the war was. Some of them were huge like "GuemicEC' (twelve feet high and twenty-five feet wide) that he named after the town he lived in during the war.

He lived to be ninety-two years old. Pablo Picasso died on April 8, 1973.



Pablo Picasso
Picasso was born on October 25, 1881 in Malaga, Spain. When he was a young boy people thought he was a genius. They ought he was a genius because of his brilliance on the entrance examinations to Barcelona's School of Fine arts.

In his life he went through many stages. When he was seventeen he signed "Picasso" instead of Ruiz Picasso. He married a dancer in 1917 named Olga Koklova. He painted many pictures of her and their son.

The blue period of his life was from 1901-1904 when he was 22 years old. He painted everything in blue. He painted in blue a sign of sadness from when his best friend died. All of these paintings had sad or lonely expressions on their faces. Some people thought it 'Was fabulous and others thought it was crazy.

The rose period was another period in his life. This was right after the blue period. That period went from 1904-1906. He started to paint in brighter colors. He drew people doing happy things. He also drew lots of circus scenes with circus animals in this period.

Cubism was another period in his life. He started this style of his when he was only 26 years old. The pictures were cube shaped abstract figures. A famous painting in cubism he drew w called "Tete de Feme

Picasso painted many dramatic pictures during World War I and after the Spanish Civil War. He painted them to show how stupid he thought the war was. Some of them were huge like "GuemicEC' (twelve feet high and twenty-five feet wide) that he named after the town he lived in during the war.

He lived to be ninety-two years old. Pablo Picasso died on April 8, 1973.

Antonio Gaudi
(b. Reus, Spain 1852; d. Barcelona, Spain 1926)

The son of a coppersmith, Antonio Gaudi was born in Reus, Spain in 1852. He studied at the Escola Superior d'Arquitectura in Barcelona and designed his first major commission for the Casa Vincens in Barcelona using a Gothic Revival style that set a precedent for his future work.

Over the course of his career, Gaudi developed a sensuous, curving, almost surreal design style which established him as the innovative leader of the Spanish Art Nouveau movement. With little regard for formal order, he juxtaposed unrelated systems and altered established visual order. Gaudi's characteristically warped form of Gothic architecture drew admiration from other avant-garde artists.

Although categorized with the Art Nouveau, Gaudi created an entirely original style. He died in Barcelona in 1926.

His first important job was the Casa Vicens in Barcelona (1883-1888). This summer residence of a ceramics dealer is a clear example of the furious work Gaudí did, which was reflected in the huge amount of details. Gaudí formed a strong relationship with the Güells, a family of industrialists who commissioned him with a good number of works and helped him gain prestige among Barcelona circles. The work he did for this family includes the Pavellons Güell (1884-1887) Palau Güell (1886-1888), Güell Cellars (1895-1898), the Crypt of the Colònia Güell (1898-1908) and the fantastic Park Güell (1901-1914). Gaudí’s other distinctive buildings include the austere Teresian College (1888-1889), Casa Calvet (1898-1900), one of the only works for which Gaudí won an award, Bellesguard villa (1900-1905), Casa Batlló (1904-1906), where he remade the facade into a brilliant work of color and texture, and Casa Milà (1904-1906), also known as La Pedrera and the architect's last civil work. Outside of Barcelona, Gaudí did other emblematic work, such as El Capricho (Santander, 1883-1884), the Episcopal Palace of Astorga (León, 1889-1893), Casa de los Botines (León, 1892) and the restoration of the cathedral of Majorca. Equally important were his links from when her was just a young man with the Sagrada Familia church which would play a role in intensifying his deep religiosity, and finally his exclusive dedication to resolving the problems which arose in putting his own architecture into practice. From the time he began to work on it, in 1884, he dedicated more and more time to it to the point that he stopped accepting other work in 1908 and worked on it up until his sudden death in 1926. The church, still under construction 115 years after work was begun, has since become one of Barcelona's most noteworthy landmarks. Nonetheless, all of his works are monumental enough to make them masterpieces.

Text kindly provided by Jonathan D. Meltzer from his excellent Gaudi Central

Dalí, Salvador
Dalí, Salvador (sälväthōr' dälē', dä'lē) [key], 1904–89, Spanish painter. At first influenced by futurism, in 1924 Dalí came under the influence of the Italian painter de Chirico and by 1929 he had become a leader of surrealism. His precisely realistic style enhances the obsessively nightmarish effect of many of his paintings. Among his best-known works is Persistence of Memory (1931; Mus. of Modern Art, New York City) with its strangely melting clocks. In 1940 Dalí escaped from Nazi-occupied France and emigrated to the United States. He wrote The Secret Life of Salvador Dalí (1942) and also made surrealist ventures in films (e.g., Luis Buñuel's Un Chien andalou, 1928), advertising, and the ballet. A self-proclaimed genius, Dalí was certainly a multitalented artist–a superb draftsman whose wildly inventive imagination has left a strong impression on contemporary culture. However, his publicity-seeking antics, commercialism, and encouragement of art-world trickery that made fake Dalí prints an industry caused some to brand him a charlatan. The Salvador Dalí Museum, St. Petersburg, Fla., and Teatre-Museu Dalí, Figueres, Spain, are devoted to his works.

Bibliography
See his diary, ed. by M. Déon (tr. 1965), Diary of a Genius (tr. 1994); C. Maurer, ed., Sebastian's Arrows: Letters and Momentos of Salvador Dalí and Federico García Lorca (2004); R. Descharnes and G. Neret, Dali: The Paintings (2 vol., 2004); biographies by I. G. De Liano (1984), R. Rom (1985), M. Etherington-Smith (1993), and I. Gibson (1998); studies by C. Lake (1969), H. N. Finkelstein (1996), R. Goff (1998), and R. Radford (1998).

Dalí, Salvador
Dalí, Salvador (sälväthōr' dälē', dä'lē) [key], 1904–89, Spanish painter. At first influenced by futurism, in 1924 Dalí came under the influence of the Italian painter de Chirico and by 1929 he had become a leader of surrealism. His precisely realistic style enhances the obsessively nightmarish effect of many of his paintings. Among his best-known works is Persistence of Memory (1931; Mus. of Modern Art, New York City) with its strangely melting clocks. In 1940 Dalí escaped from Nazi-occupied France and emigrated to the United States. He wrote The Secret Life of Salvador Dalí (1942) and also made surrealist ventures in films (e.g., Luis Buñuel's Un Chien andalou, 1928), advertising, and the ballet. A self-proclaimed genius, Dalí was certainly a multitalented artist–a superb draftsman whose wildly inventive imagination has left a strong impression on contemporary culture. However, his publicity-seeking antics, commercialism, and encouragement of art-world trickery that made fake Dalí prints an industry caused some to brand him a charlatan. The Salvador Dalí Museum, St. Petersburg, Fla., and Teatre-Museu Dalí, Figueres, Spain, are devoted to his works.

Bibliography
See his diary, ed. by M. Déon (tr. 1965), Diary of a Genius (tr. 1994); C. Maurer, ed., Sebastian's Arrows: Letters and Momentos of Salvador Dalí and Federico García Lorca (2004); R. Descharnes and G. Neret, Dali: The Paintings (2 vol., 2004); biographies by I. G. De Liano (1984), R. Rom (1985), M. Etherington-Smith (1993), and I. Gibson (1998); studies by C. Lake (1969), H. N. Finkelstein (1996), R. Goff (1998), and R. Radford (1998).

Gogh, Vincent (Willem) van (b. March 30, 1853, Zundert, Neth.--d. July 29, 1890, Auvers-sur-Oise, near Paris), generally considered the greatest Dutch painter and draughtsman after Rembrandt. With Cézanne and Gauguin the greatest of Post-Impressionist artists. He powerfully influenced the current of Expressionism in modern art. His work, all of it produced during a period of only 10 years, hauntingly conveys through its striking colour, coarse brushwork, and contoured forms the anguish of a mental illness that eventually resulted in suicide. Among his masterpieces are numerous self-portraits and the well-known The Starry Night (1889).

Self-Portraits
Portraits
Irises
Still-Lives with Sunflowers
Views from the Asylum
Works after Millet
Vineyards
Fields and Cypresses
Other Landscapes
His uncle was a partner in the international firm of picture dealers Goupil and Co. and in 1869 van Gogh went to work in the branch at The Hague. In 1873 he was sent to the London branch and fell unsuccessfully in love with the daughter of the landlady. This was the first of several disastrous attempts to find happiness with a woman, and his unrequited passion affected him so badly that he was dismissed from his job. He returned to England in 1876 as an unpaid assistant at a school, and his experience of urban squalor awakened a religious zeal and a longing to serve his fellow men. His father was a Protestant pastor, and van Gogh first trained for the ministry, but he abandoned his studies in 1878 and went to work as a lay preacher among the impoverished miners of the grim Borinage district in Belgium. In his zeal he gave away his own worldly goods to the poor and was dismissed for his literal interpretation of Christ's teaching. He remained in the Borinage, suffering acute poverty and a spiritual crisis, until 1880, when he found that art was his vocation and the means by which he could bring consolation to humanity. From this time he worked at his new `mission' with single-minded frenzy, and although he often suffered from extreme poverty and undernourishment, his output in the ten remaining years of his life was prodigious: about 800 paintings and a similar number of drawings.

The Potato Eaters
1885 (180 Kb); Oil on canvas, 81.5 x 114.5 cm; Rijksmuseum Vincent van Gogh, Amsterdam


From 1881 to 1885 van Gogh lived in the Netherlands, sometimes in lodgings, supported by his devoted brother Theo, who regularly sent him money from his own small salary. In keeping with his humanitarian outlook he painted peasants and workers, the most famous picture from this period being The Potato Eaters (Van Gogh Museum, Amsterdam; 1885). Of this he wrote to Theo: `I have tried to emphasize that those people, eating their potatoes in the lamp-light have dug the earth with those very hands they put in the dish, and so it speaks of manual labour, and how they have honestly earned their food'. In 1885 van Gogh moved to Antwerp on the advice of Antoine Mauve (a cousin by marriage), and studied for some months at the Academy there. Academic instruction had little to offer such an individualist, however, and in February 1886 he moved to Paris, where he met Pissarro, Degas, Gauguin, Seurat, and Toulouse-Lautrec. At this time his painting underwent a violent metamorphosis under the combined influence of Impressionism and Japanese woodcuts, losing its moralistic flavour of social realism. Van Gogh became obsessed by the symbolic and expressive values of colors and began to use them for this purpose rather than, as did the Impressionists, for the reproduction of visual appearances, atmosphere, and light. `Instead of trying to reproduce exactly what I have before my eyes,' he wrote, `I use color more arbitrarily so as to express myself more forcibly'.

The night café
1888; Yale University Art Gallery


Of his Night Café, he said: `I have tried to express with red and green the terrible passions of human nature.' For a time he was influenced by Seurat's delicate pointillist manner, but he abandoned this for broad, vigorous, and swirling brush-strokes.

La chambre de Van Gogh à Arles (Van Gogh's Room at Arles)
1889 (200 Kb); Oil on canvas, 57 x 74 cm (22 1/2 x 29 1/3 in); Musee d'Orsay, Paris


Vincent's Room, Arles
1888; Vincent Van Gogh Foundation, Amsterdam


Entrance to the Public Garden in Arles
1888 (240 Kb); Oil on canvas, 72.5 x 91 cm (28 1/2 x 35 3/4 in); The Phillips Collection, Washington, D.C.


Self-Portrait with Bandaged Ear
1889 (250 Kb); Oil on canvas, 60 x 49 cm; Courtauld Institute Galleries, London


In February 1888 van Gogh settled at Arles, where he painted more than 200 canvases in 15 months. During this time he sold no pictures, was in poverty, and suffered recurrent nervous crisis with hallucinations and depression. He became enthusiastic for the idea of founding an artists' co-operative at Arles and towards the end of the year he was joined by Gauguin. But as a result of a quarrel between them van Gogh suffered the crisis in which occured the famous incident when he cut off his left ear (or part of it), an event commemorated in his Self-Portrait with Bandaged Ear (Courtauld Institute, London).

Landscape at Saint-Rémy
1889; Ny Carlsberg Glypotek, Copenhagen


Mountains at Saint-Remy
1889 (220 Kb); Oil on canvas, 71.8 x 90.8 cm (28 1/4 x 35 3/4 in); Solomon R. Guggenheim Museum, New York


In May 1889 he went at his own request into an asylum at St Rémy, near Arles, but continued during the year he spent there a frenzied production of tumultuous pictures such as Starry Night (MOMA, New York). He did 150 paintings besides drawings in the course of this year. In 1889 Theo married and in May 1890 van Gogh moved to Auvers-sur-Oise to be near him, lodging with the patron and connoisseur Dr Paul Gachet. There followed another tremendous burst of strenuous activity and during the last 70 days of his life he painted 70 canvases. But his spiritual anguish and depression became more acute and on 29 July 1890 he died from the results of a self-inflicted bullet wound.

Dr Paul Gachet

L'église d'Auvers-sur-Oise (The Church at Auvers-sur-Oise)
1890 (220 Kb); Oil on canvas, 94 x 74 cm (37 x 29 1/8 in); Musee d'Orsay, Paris


Village Street in Auvers
1890 (230 Kb); Oil on canvas, 73 x 92 cm (28 3/4 x 36 1/4 in); Ateneumin Taidemuseo, Helsinki


He sold only one painting during his lifetime (Red Vineyard at Arles; Pushkin Museum, Moscow), and was little known to the art world at the time of his death, but his fame grew rapidly thereafter. His influence on Expressionism, Fauvism and early abstraction was enormous, and it can be seen in many other aspects of 20th-century art. His stormy and dramatic life and his unswerving devotion to his ideals have made him one of the great cultural heroes of modern times, providing the most auspicious material for the 20th-century vogue in romanticized psychological biography.


--------------------------------------------------------------------------------

Montmartre

Vegetable Gardens in Montmartre
1887 (170 Kb); 96 x 120 cm


Starry Night over the Rhone
1888 (160 Kb); 72.5 x 92 cm


The Starry Night

The White House at Night
June 1890 (Auvers); Oil on canvas, 59 x 72.5 cm (23 1/4 x 28 1/2"); No. 3KP 511. Formerly collection Otto Krebs, Holzdorf; Last exhibited 1924
At the end of WWII, as the Soviets pulled back from Germany, they took with them many German-owned works of art. These masterpieces were stored in the basement of the Hermitage in Leningrad, a Soviet state secret for nearly a half century. They have now been put on public exhibition. -- Mark Harden

The Greek Myth: Queen Pasiphaé
Trouble began on the island of Crete when King Minos refused to sacrifice a handsome white bull to the sea god Poseidon. To punish Minos, Poseidon cursed Pasiphaé, Minos' beautiful wife, with a passion for the bull. Driven mad with desire, Pasiphaé mated with the bull and gave birth to the half-bull, half-human creature known as the Minotaur.


Rendezvous in Nice
In 1940, the French author Henry de Montherlant posed for a portrait by Matisse and used the sessions to propose a collaboration. Matisse admired de Montherlant's dramatic new version of the Pasiphaé myth and chose this story for the project.


"...Swept up all the way to the stars..."
For each scene, Matisse selected a favorite phrase from de Montherlant's Pasiphaé and interpreted it in several different ways. True to his style, the images respond not to the tale's tragedy but to universal themes of passion, feminine beauty and love. For the 1944 publication, only one image per scene was printed and the alternate linoleum blocks were stored for a separate edition Matisse hoped to publish later.


A wish fulfilled
It was left to the Matisse Estate to publish the remaining linoleum blocks in a limited edition of 100. Following Matisse's wishes, they used the ink and paper from the 1944 edition and also authenticated each image with the estate stamp "HM." The 1981 edition features new versions of Matisse's most beautiful and famous images, including the Embrace.


The Technique: Linocut
Matisse favored linoleum engraving because it captured the subtle movements of his hand. He began with a thick block of linoleum and used a knife or gouge to carve the soft surface. Ink was then applied to the uncarved sections before being pressed to paper. In the Pasiphaé linocuts, the black ink creates a timeless setting for the emotions captured by the simple white lines.

Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).


Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).


Biography:

(b Amsterdam, 25 April 1921). Dutch painter, sculptor, designer, printmaker and writer. He was first encouraged to paint by an uncle, who gave him a set of paints for his 15th birthday, and he also took painting lessons. From 1940 to 1943 he studied at the Rijksakademie of Amsterdam, where he became friendly with Corneille. His earliest works recalled the painting of George Hendrik Breitner; during World War II, however, he began to paint with a more vigorous palette, with a clear interest in German Expressionism and above all in the work of van Gogh. There was a turning-point in Appel’s style c. 1945 when he found inspiration in the art of the Ecole de Paris and in particular of Matisse and Picasso. This influence remained visible in his work until 1948, for example in a series of plaster sculptures that he made at this time. From 1947, his completely personal, brightly coloured universe of simple, childlike beings and friendly animals populated gouaches, oil pastel drawings, painted wood sculptures and, gradually, oil paintings. His sense of humour comes to the fore in grotesque assembled pieces and wooden reliefs and paintings such as Hip, Hip, Hooray (1949; London, Tate).

Leuk om te weten

wtf, waarom die lappen tekst opeens haha.. je kan beter een wiki maken dan

hela, ik was hans hunsche aan het google-en en toen vond ik jou haha. jij was blijkbaar ook naar hem op zoek. heb je m gevonden? ik ben benieuwd hoe t met m is, ik ken m van vroeger. mijn email is acrobatia@yahoo.com mail me maar als je wilt :)

hela, ik was hans hunsche aan het google-en en toen vond ik jou haha. jij was blijkbaar ook naar hem op zoek. heb je m gevonden? ik ben benieuwd hoe t met m is, ik ken m van vroeger. mijn email is acrobatia@yahoo.com mail me maar als je wilt :)

WOLLA WOLLA LURKSTER

Interessant