Please, check it out!

This is happening in Spain right now ( Art world): check it out, have you seen any woman in the Art board around those ancestral iguadadon serie?

*Circulo de Bellas Artes/ La Fabrica Art School opening without any single woman as Art professor

Esto esta ocurriendo en España actualmente: Por favor, mirad, veis a alguna mujer en esta plantilla de iguanadontes ancestrales?

* Ninguna mujer enseñando en la escuela de ARTE del Círculo de Bellas Artes/ La fábrica

DUFFY SHERIDAN

Duffy Sheridan, American painter, has been painting since he was a child. His father, also an artist, encouraged him to learn to paint anything and everything. He has traveled the world and dedicated his artistic life to the discovery and expression of beauty as he sees it.

 Although he and his family spent many years in relative seclusion in the far corners of the world, Sheridan's work has attracted the attention of collectors on five continents. Since returning to the United States in 1991, his work has received international acclaim and he has been designated a Living Master by the Art Renewal Center. His paintings can be found in prestigious institutions from a Cathedral in the South Pacific to the US Air Force Academy to corporate headquarters in Manhattan, as well as in the private residences of kings, judges, bishops, doctors and collectors all over the world. For over 35 years the teachings of the Baha'i Faith have been the primary influence of Sheridan's life and work and have dominated his continual search for that balance of craftsmanship and artistic expression which has the ability to elevate, in some small way, the human condition.

Sheridan feels that he is in the process of learning to appreciate the richness of humankind and has come to believe that the purpose of his work should be "to magnify the dignity and nobility of the human spirit and the singular beauty of all things. When people look at one of my paintings, I'd like them to see that humans, indeed, are noble beings".

TERESA OAXACA

                                                           Rite of Spring oil on canvas 44x26''

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/teresa-oaxaca-night-scene-30x40-oil-on.html

Collaboration ROBERTO FERRI/ PALOMA de la Torre ( Cromofora La)

ROBERTO FERRI
Poem by PALOMA de la Torre ( Cromofora La)©

...find me on blindness
Tremble the serene part
The night turns to an end
And the mirage smiles...

...búscame en la ceguera
Tiembla la parte serena
Gira la noche a un extremo
Y sonríe el espejismo...

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/roberto-ferri_9983.html

MISHA GORDIN

                                          Couple

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/misha-gordin.html

Special

                      Klaus Kampert

NIHIL STH

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2014/01/nihil-sth.html

RICARDO MANNELLI

See more at  http://cromoforalapalomaonlinegallery.blogspot.com.es/search?q=mannelli

JEAN BöRLIN

Jean Börlin, born in 1893 in the northern Swedish coastal town of Harnösand, was five years younger than Rolf de Maré. The two young men were from quite different class-backgrounds and as personalities differed in the extreme. Jean was blond, open, happy and childish; Rolf reserved, strict and serious yet they had one thing in common - their sexual orientation. Further each felt he had been betrayed by his mother. Rolf because of his mother's divorce; Jean because his mother left her husband who was a sea captain. She took Jean to Stockholm, left him with her brother and then disappeared from the life of her son until many years later after he had become famous. She knew her brother's family had artistic interests and would encourage her son's talents. By the age of eight Jean was a pupil at the Opera ballet school in Stockholm.

Thanks to a "schism" between the Russian choreographers Michel Fokine and Sergei Diaghilev, Fokine was engaged as a guest choreographer at the Opera ballet. Instead of following the hierarchical ranking system, Fokine chose those dancers he thought best suited to the role. In this way Jean Börlin along with other young dancers in the corps de ballet, were given a chance to dance leading roles. But the enthusiasm that Fokine had aroused in the young dancers received no outlet and led to discontent. Jean Börlin tried to keep the flame alive through his own performances, and during the summers of 1915 and 1916 he did extensive tours of the Swedish provinces.

Fokine left Russia in 1918 and he along with Börlin were guests at de Maré's country house that spring. Jean received lessons during the summer months from Fokine while in Copenhagen where he appeared successfully in guest ballets. Börlin went to Paris where he was met by Nils Dardel and introduced to his friends, including Picasso. Rolf arrived in Paris and took Jean off to a study-tour of Spain and north Africa.

After the formation of the Ballets suédois a relation warned him in a letter of a witch hunt in Sweden including possible mudslinging and blackmail. Apart from homophobia another reason for the hatred was the fact that de Maré's company bled the Royal Opera of its leading young dancers. This letter was written after the publication of the scandalous article in The Fatherland. The slanders continued even after the Ballet Suédoise closed. Among Nils Dardel's friends in Paris were Jacques Hébertot, a newspaper and theatre man. Since the Theatre des Champs-Elysées happened to be free de Maré bought the lease and appointed Hébertot director. Among the enthusiastic supporters of the new Ballets suédois was Jean Cocteau who became one of their foremost PR men.

Aesthetic development

At the première ( October 25 1920) Börlin presented no less than four ballets with five more the following month.

In the five years of the company's existence he created 24 ballets plus a number of solo compositions - and danced the leading role in all of them. No one was permitted to cast a shadow over de Maré's star - which led to the departure of several ballerinas. The dancers of the company did not go along with the extra-ordinary aesthetic development, and said they felt more like stage-props than dancers as in Leger's La Creation du Monde. But even on a pure aesthetic basis the radicalism could not be carried further. This plus the near ten million Swedish crowns de Maré had lost in the venture brought a final dismal performance on l7th March 1925. Not only his grandmother but even his estranged mother helped him out on this occasion.

Another reason for de Maré's decision was Börlin's health. After only two years of almost super-human creative activity signs of over-exertion had revealed themselves. A reliance on drugs and alcohol developed, and the effects were fatal. Never very slim he began to put on weight. Börlin became irritable and unpredictable and the cumulative effect led to de Maré's reaction.

Börlin was bitter about de Maré's decision. The bitterness became personal and Börlin was replaced in Rolf's affections by a young man named André Daven. Börlin - out in the financial cold - toured with two female dancers from the company - mainly at hotels and ended up at a casino in South America notorious for its prostitutes.

6th December 1930: Börlin's heart gave up the struggle. In his hand was the last letter from Rolf. Börlin was buried at his own wish in the cemetery of Pére Lachaise in Paris in January l931. He was 37.

,,I envy the painters," Börlin once wrote, "their works are immortal."

Based on part of a text by Erik Näslund

Carina Ari dans la danse d’Anitra, Divertissement, 1921

EDWARD ROBERT HUGHES