Artist Priya Rama suffers from debilitating migraines. She paints her migraine visions, and when the painting is finished her migraine is usually over. Thus, she transforms her pain into beauty. Here are fifty paintings showing the range of her work.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Nacido a orillas del lago Van (Armenia) y emigrado a los Estados Unidos en 1920, Arshile Gorky (ca. 1902-1948) fue uno de los pintores norteamericanos más importantes del siglo XX, así como una figura fundamental del Expresionismo Abstracto. Meyer Schapiro le llamó «ferviente escrutador» de pinturas y, con certeza, esto resultó ser un elemento crucial para el autoaprendizaje de Gorky: su habilidad para mirar el arte y tomar de él aspectos fundamentales de los trabajos de los grandes maestros,lo que queda corroborado por la afirmación de su amigo De Kooning: «por alguna misteriosa razón, sabía mucho más de pintura, y de arte y lo que sabía lo hacía de la manera más natural. Hay cosas que yo suponía saber y sentir y entender, pero él lo hacía mucho mejor. Tenía una habilidad extraordinaria para dar en el clavo». Aunque la vida de Gorky fue corta, pues se suicidó en 1948, la impresionante obra que dejó tras de sí le aseguró una reputación como el último gran pintor surrealista y uno de los primeros expresionistas abstractos.
Francesco Dal Co traza la historia del gran hueco que el derrumbe de las Torres Gemelas el 11 de septiembre de 2001 dejó en el corazón de la ciudad de Nueva York. En páginas apasionantes, investiga el papel que alrededor de ese vacío tan real como simbólico han jugado tanto los sentimientos como los intereses de poder y económicos. El texto traza primero la historia del World Trade Center, ligada a un instrumento tan poderoso en la conformación urbana de Nueva York como es Port Authority; vemos luego desfilar banqueros, clientes, políticos, y arquitectos; asistimos después al enfrentamiento entre los proyectos de Daniel Libeskind y SOM para la reconstrucción de esa parte de la ciudad, y, finalmente, a una valoración sobre el futuro de la Zona Cero, que afecta al futuro de la arquitectura.
Artist Priya Rama suffers from debilitating migraines. She paints her migraine visions, and when the painting is finished her migraine is usually over. Thus, she transforms her pain into beauty. Here are fifty paintings showing the range of her work.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Nacido a orillas del lago Van (Armenia) y emigrado a los Estados Unidos en 1920, Arshile Gorky (ca. 1902-1948) fue uno de los pintores norteamericanos más importantes del siglo XX, así como una figura fundamental del Expresionismo Abstracto. Meyer Schapiro le llamó «ferviente escrutador» de pinturas y, con certeza, esto resultó ser un elemento crucial para el autoaprendizaje de Gorky: su habilidad para mirar el arte y tomar de él aspectos fundamentales de los trabajos de los grandes maestros,lo que queda corroborado por la afirmación de su amigo De Kooning: «por alguna misteriosa razón, sabía mucho más de pintura, y de arte y lo que sabía lo hacía de la manera más natural. Hay cosas que yo suponía saber y sentir y entender, pero él lo hacía mucho mejor. Tenía una habilidad extraordinaria para dar en el clavo». Aunque la vida de Gorky fue corta, pues se suicidó en 1948, la impresionante obra que dejó tras de sí le aseguró una reputación como el último gran pintor surrealista y uno de los primeros expresionistas abstractos.
Francesco Dal Co traza la historia del gran hueco que el derrumbe de las Torres Gemelas el 11 de septiembre de 2001 dejó en el corazón de la ciudad de Nueva York. En páginas apasionantes, investiga el papel que alrededor de ese vacío tan real como simbólico han jugado tanto los sentimientos como los intereses de poder y económicos. El texto traza primero la historia del World Trade Center, ligada a un instrumento tan poderoso en la conformación urbana de Nueva York como es Port Authority; vemos luego desfilar banqueros, clientes, políticos, y arquitectos; asistimos después al enfrentamiento entre los proyectos de Daniel Libeskind y SOM para la reconstrucción de esa parte de la ciudad, y, finalmente, a una valoración sobre el futuro de la Zona Cero, que afecta al futuro de la arquitectura.