Tuesday, 29 March 2011

"A Single Man" Clip of Car Scene (George)

M/M MONET’S LES PEUPLIERS TO HIGHLIGHT CHRISTIE’S IMPRESSIONIST & MODERN EVENING SALE IN NEW YORK MAY 4

Largest Painting from Monet’s Celebrated Poplars Series Expected To Fetch $20 Million to $30 Million






















CLAUDE MONET (1840-1926) Les peupliers, oil on canvas, painted in 1891 Estimate: $20,000,000-30,000,000. Image provided to Manner of Man Magazine for exclusive use and cannot be reproduced without written authorisation.
© Christie’s Images Limited 2011
All rights reserved.

Christie’s is pleased to announce its Impressionist and Modern Art Evening Sale on May 4 will feature Claude Monet’s Les Peupliers, one of the most celebrated of the pioneering artist’s great series of works from his years in Giverny. Painted en plein air during the summer of 1891, the work is the largest of the artist’s paintings devoted to a picturesque arrangement of poplar trees, known as the “tree of liberty” in his native France. Estimated at US$ 20-30 million, the painting is offered from an important private collection and remains in pristine condition, in its original unvarnished and unlined state. 2

Monet’s Poplars paintings emerged from a particularly focused and prolific period in the artist’s career, when he committed himself to the task of capturing the instant and-ever-changing effect of light on specific forms in nature. In 1891, when he learned that a stand of mature poplar trees on the river near his home were to be cut down, he made a deal with a wood cutter to leave them standing long enough for him to continue painting them. The result was a magnificent series of 24 paintings depicting the trees from varying perspectives and in different seasons and lighting conditions, all conceived from the artist’s small floating studio moored on the waterway. In order to capture the truest essence of the scene at any given time, Monet reportedly worked on several paintings at once, exchanging one canvas for another throughout the day, and sometimes giving himself as little as seven minutes to work on a particular scene before the quality of light changed.

For the first 13 paintings in the series, of which the painting to be offered this May is included, Monet portrayed the trees in a graceful, serpentine pattern, before changing the composition to resemble a straight screen of trees. With their sinuous line and dynamic composition, the earlier S-shaped compositions are among the most widely recognized and highly sought-after of the artist’s great series paintings. At nearly four feet in height, Les Peupliers is the both the largest of the S-shaped compositions and one of the most fully finished, with a richly-worked surface and an elegant juxtaposition of cool and warm colors that separate the towering trees of the foreground from the curving line of leafy trees in the distance.

Since their first appearance in public in 1892, the Poplars have been received with great enthusiasm by collectors and critics alike. A selection from the series exhibited at the prestigious Galerie Durand-Ruel in Paris sold briskly, reportedly for sums of 3,000 to 4,000 francs each. The first owner of Les Peupliers was Dr. Georges Viau, one of the most influential and discerning collectors of Impressionist paintings at the time. Among the later owners was Else Sackler, the first wife of Arthur M. Sackler, the connoisseur, collector and scholar. In 2000, Ms. Sackler consigned the painting for sale to Christie’s New York for its Evening Sale of Impressionist & Modern Art, where it was sold to the current owner, an Asian private collector.

“The appearance of this masterpiece-quality work marks the first time in over a decade that a major 1890s series painting has come to auction and we anticipate great enthusiasm from the many collectors, dealers, and museum directors who have been eager for a quintessential Monet scene such as this,” said Conor Jordan, Head of Impressionist and Modern Art at Christie’s New York. “As a painterly experience, Les Peupliers is a wonderful exploration of nature through light and structure. Its classical beauty conveys the essence of “la France profonde” just as clearly today as when Monet conceived it more than 100 years ago.”

Of the 24 works in the Poplars series, the majority are housed in major art museums around the world, including the Tate Gallery in London, the Philadelphia Museum of Art, and the National Museum of Art in Tokyo, while the remainder are held in private collections around the world. In recent years, prices for exceptional examples of Monet’s work have soared, driven by demand from collectors worldwide for masterpiece quality works by the greatest master of the Impressionist period. The top price at auction for any Monet painting is US$ 80.4 million for Le Bassin aux nympheas from 1919, sold at Christie’s London in June 2008 against an estimate of US$ 35-47 million. 3

Les Peupliers will be on display to the public at Christie’s Rockefeller Center galleries beginning April 29. In advance of the May 4 sale in New York, Christie’s will tour this exceptional painting to its locations around the world, including:

Christie’s Moscow: April 1-3, 2011

Christie’s London: April 8-11, 2011

More highlights of the May 2011 Evening Sale of Impressionist & Modern Art will be announced in the coming weeks.

The complete e-catalogue for this sale will be available online at www.christies.com

Auction: Impressionist and Modern Evening Sale Wednesday, May 4, 2011

Viewings: Christie’s Rockefeller Center Galleries April 29 – May 4, 2011

About Christie’s

Christie’s, the world's leading art business had global auction and private sales in 2010 that totaled £3.3 billion/$5.0 billion. Christie’s is a name and place that speaks of extraordinary art, unparalleled service and expertise, as well as international glamour. Founded in 1766 by James Christie, Christie's conducted the greatest auctions of the 18th, 19th and 20th centuries, and today remains a popular showcase for the unique and the beautiful. Christie’s offers over 450 sales annually in over 80 categories, including all areas of fine and decorative arts, jewellery, photographs, collectibles, wine, and more. Prices range from $200 to over $100 million. Christie’s has 53 offices in 32 countries and 10 salerooms around the world including in London, New York, Paris, Geneva, Milan, Amsterdam, Dubai and Hong Kong. More recently, Christie’s has led the market with expanded initiatives in emerging and new markets such as Russia, China, India and the United Arab Emirates, with successful sales and exhibitions in Beijing, Mumbai and Dubai.

*Estimates do not include buyer's premium

Monday, 28 March 2011

M/M Interview with Simon Jacobsen

Image of Simon Jacobsen provided to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.


This exclusive interview with Simon Jacobsen, Managing Design Partner, Jacobsen Architects was conducted by Nicola Linza and Cristoffer Neljesjö in Washington, D.C. during March 2011

Interview with Simon Jacobsen


How would you describe your personal style?


I prefer to use the term discipline rather than style. I do not see myself designing or operating within a style that could be flimsily associated to clothing or decoration. I work within a movement that is not contemporary, but modern in its truest sense. My approach through initial inspiration and process is to define the problem and simplify it, to make the design intuitive to those who use it and understandable in the final effect of those who have to build it. The programs of my clients are extremely complex and often have do more than one thing at a time. What I try to do is make it seem like it happened naturally and that the 3000 piece jigsaw puzzle fell into place all by itself.


Can you describe your personal architectural methodology when beginning a new project? What are the first considerations? What follows?

The first thing I do is to design the furniture layout and living patterns of the spaces. I learned this from the old man and it is very unique. I think much is lost in the design process when architects start out box building or random form generating and then when the exterior is finished, they then try and pound in all the furniture and living spaces. You can spot these buildings when they are unfortunately built and I think I can say in unison with my design colleagues that it is what separates the counselors from the campers.


If you had to select one single project that stands out to you which one would it be? And why?

I am always surprised at which projects the public responds to and the ones that are published everywhere or awarded something but never talked about. This month I am both surprised and perplexed about a dermatology clinic I designed a few years ago. I never published it formally but it made its way through that industry's mags submitted by the owner. From that all Starphire® glass and sunlit project which is unheard of in medical offices where the interiors often look as worried and nervous as the patients, from that I have been approached to design veterinary hospitals, tattoo removal franchises, a huge hospital in Ohio, dental and physician offices and alike. I am very reluctant to take these types of projects because architects and designers have to be careful of being type cast. "They only do houses"; I am not foreign to this thinking and I have spent 16 years trying to undo it. But I did accept another clinic in Miami because it was a one of those clients you can't say no to.


What particular design considerations come into play when a historical space is being renovated?

Sometimes you have to let go of the cynical approach of modernism and recognize the honor it is to be asked to bring an old building back into the living but be challenged to make it better than it was meant to be. The first order I tell myself is not to 'erase and replace'. The other voice that is whispering in my ear is telling me that 'just because it is old doesn't necessarily mean it is good.' True, materials and spaces that have decayed and been neglected over time have a romantic and humanly tragic feel about them, but if you walked into a neglected water-damaged and rotting Home Depot you wouldn't be filled with the same nostalgia. If is good then save and celebrate, if it is bad, out it goes and try and do better.


It is 1970 and we are meeting in Rome for a private party hosted by Luchino Visconti. What are you wearing? In addition, whom do you want to meet?

I was five in 1970 and I was also cross eyed-not exactly an ideal dinner partner, so I will jump ahead and assume the age when I was the best looking and the dumbest, at 32 . First, I am down a quart at this party because I am too boxy-masculine and very American. I smell like hamburger to these people and I am actually considering asking for a cigarette to hide it. I have absolutely nothing in common with anyone so I am going to make them think I have a trash bag filled with cocaine in the backseat of my Opal Hertz rental-that ought to get them talking. It works.

Everyone who is in conversation is glancing over the shoulder of the person they are talking to to see why Luchino has this expression on his face. He is confused by when I introduced myself I mispronounced his name (Look-Een-OH) and then I tried to make a joke by asking if there is anything of value in the house. This is going to be a tough room. I move towards the fireplace and YOU, who is equally horrified and unhelpful because I left the poor man all alone, pretend to look at the art and strewn photos of Italian cinema starlets that is on the Mies coffee tables. A woman on the couch who is in an all-white Peter Max vinyl condom dress with competing eyelashes that can touch the back of her head signals to me that I should perhaps do the walk of shame back to Luchino and give it another redeeming shot. I break the ice with a funny quote from a Hollywood producer that I enjoy: "I have a bust of Abraham Lincoln in my office, and it's not because of the greatness he did for our country, but it's because when whenever I look at it I have to remember an actor killed him." He replies "Who is Abraham Lincoln?" It's going to be a great night.

The above interview with Simon Jacobsen 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Sunday, 27 March 2011

M/M Shine In The Distance: Angelo Nardelli

Images provided to Manner of Man Magazine/Welldressed by Angelo Nardelli and may not be reproduced without written authorisation. Copyright © - Angelo Nardelli 1951 - 74015 Martina Franca (TA) All rights reserved.

Chariots of fire - movie, opening scene

Friday, 25 March 2011

M/M Interview with Francis Terry


This exlusive interview with the architect Francis Terry was conducted by Nicola Linza and Cristoffer Neljesjö in Dedham, Essex during March 2011 and is only available in print edition.
 

Thursday, 24 March 2011

M/M AMOR INTELLECTUALIS DIABOLI

Image provided to Manner of Man Magazine/Welldressed by Paoloni and cannot be reproduced without written authorisation. All rights reserved.

Three Classicists

Tuesday, 22 March 2011

M/M Interview with Hugh Newell Jacobsen

Image of Hugh Newell Jacobsen provide to Manner of Man Magazine/Welldressed for exclusive use and may not be reproduced without written authorisation. All rights reserved.


This exlusive interview with the renowned architect Hugh Newell Jacobsen, FAIA was conducted by Nicola Linza and Cristoffer Neljesjö in Washington, D.C. during March 2011


INTERVIEW WITH HUGH NEWELL JACOBSEN, FAIA

March 22, 2011

How would you describe your personal style? How has that impacted your design aesthetic?

I believe that the term, “style” was invented by critics when trying to describe the architect’s work. All architects try to make the site better with their endeavors. In addressing a site I determined at the beginning of my practice that the order of the street was more important than a strong architectural statement. “Good architecture, like a well mannered lady, never shouts at the neighbors.” However, with a rural site, the latter rule doesn’t apply.


Do any romantic feelings evolve during the process? And is it hard to leave it once completed?

Most of us are romantic. Working on a project can take from a year to as much as ten in some cases. This architect is very involved in the design, the construction documents, the interior furnishings, and the landscaping. To create a “sense of place” and order must be established. Architecture without order is not architecture. It is always difficult for me to leave a completed project. It reminds me of “Stella Dallas” in which she is standing outside the church, in the rain, peeking through a slit window, watching her daughter marry royalty (“just a bit romantic that”).


You have achieved the near impossible, your architecture is pure and the details so fine it is surely minimal yet essentially classical. How do you categorize your unique style?

The eloquence in the language of architecture is measured by how a building is put together. The joining of materials in a manner that retains the integrity of each part, while assigning a function compatible and advantageous to its nature, has always been a measure of "seriousness" in architecture.

"God is in the details" is a phrase attributed to Mies Van Der Rohe and revered by architects as we endeavor again and again to do the right thing. Architecture is order, and this order carries throughout the building down to the smallest corner. There is no back side to architecture any more than there is a detail that is unimportant. Detailing expresses the "how" of buildings and when done with great care and skill reinforces the "why." It can express the honesty not only of the architecture but of all those involved in the making of it. It is a slow process whose results are seldom noticed. It has been said that good detailing should never show the agony it took to produce it, but should appear as if it had not been detailed at all, as if it went together the way it wanted to go together--or as Kahn has said, "the way it wants to be."

My detailing is deliberately sparse and linear in order to enhance the spaces within and without. People look good in my buildings.

I try very hard in my work to listen to my client since it is the client's program, budget and site, which are the influences that will drive the design. I have found, however, that of these three the site is the dominant factor. The quality of the light upon that particular area of earth is always unique and determines the path the architecture will take. I endeavor to design buildings that belong, make the site look better and, hopefully, never shout. The order established by the program, the site and the budget produces architecture. Because of this, I have never designed two buildings alike.


You do have a favorite house that stands out in your mind? And why?

The house we are working on now – bringing 51 years of active practice. We do know how to build. With this knowledge, with concentration, we can move the envelope just a bit.


Do you have a dream project, one that is your mind but not yet reality?

I have always wanted to design a high-rise building. I have built a mid-rise office building in Athens of my design at fifteen stories, but a true high-rise has been denied so far.

The above interview with Hugh Newell Jacobsen 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Monday, 21 March 2011

M/M A New Day by Luciano Barbera





















Image provided by Luciano Barbera to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.


A New Day

Written by Luciano Barbera for Manner of Man Magazine.


Just woken up.

 
I see my mountains through the window. There’s still a lot of snow : springtime has yet to come.

“I’ll wear it, today” I speak out loud. My wife looks at me and smiles.

So I open the wardrobe and there She is: my latest jacket.

I pull out the wooden hanger: my left hand grabs the right sleeve and my fingers start moving. I absorb the sensations that smoothness can give: a perfect balance between wool, Kashmir and camel hair.

Then I wear it: so comfy …

I’m a little proud. I’ve always been. Lucky I can still count on Italian skills.

Moving out of my bedroom, my wife reminds me, laughing, that I’m wearing the jacket on my pyjama.

“I know” I say while opening the front door and taking a long and deep breath.

Then, my head turns slowly towards the roof of the factory. A thin trickle of smoke comes out from the tall chimney.

“A new day. Let’s move”

Luciano Barbera
March, 2011


2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Friday, 18 March 2011

M/M each garment of luxury and of quality ANGELO NARDELLI 1951






Images provided to Manner of Man Magazine/Welldressed by Angelo Nardelli and may not be reproduced without written authorisation. Copyright © - Angelo Nardelli 1951 - 74015 Martina Franca (TA) All rights reserved.

M/M The Cambridge Companion to Giovanni Bellini (Cambridge Companions to the History of Art)



















Review by Nicola Linza

This organized and well illustrated volume edited by Peter Humfrey is a scholarly comprehensive study of Giovanni Bellini's intriguing and sometimes problematic Italian masterworks of art. Today recognized as one of the greatest Renaissance artists to come from Italy, Giovanni Bellini was in his day one of the dominant painters of the Early Renaissance.

This collective publication includes serious consideration of Bellini's social and professional life which establishes him in early modern Venice. There is an interesting (and sure to be groundbreaking) reassessment of his artistic relationship with his brother-in-law Mantegna, as well as his relationship to Flemish painting.

A fascinating examination is also presented of his relationship with the new style of art that emerged in Italy around 1500. What sets this volume apart from previous scholarly studies of Bellini's work is the coming together of these unique and interesting social and professional factors.

Bellini's approach to sculpture and architecture is studied in-depth, and detailed, and the study of Bellini's breathtaking use of color and landscape, traditionally elements recognized as central to his renowned pictorial genius, (and central to his constantly evolving pictorial technique,) is nothing short of brilliant.

Including an impressive 384 pages and 114 half-tones this complete examination of Bellini concludes with chapters focusing directly on his not often examined drawings and collaborators. There have been many studies of Bellini over the years but in this highly enlightening publication important commissioned essays finally come together to focus on significant topics and themes central (and pivotal) to Bellini's career. This is the art volume of the season. A superb compliment to a fine art library collection which is sure to be a sought after collectable work in the very near future. Highly recommended.

M/M Review: A Volume That Examines
The Mind of Collector Lorenzo de'Medici






Image provided by Cambridge University Press. All rights reserved. 

Review by Nicola Linza

What were the collecting habits and passions of a grand fifteenth century Italian ruler named de'Medici? 

This year one volume answers that question and outshines all others on the subject of de'Medici collecting. Lorenzo de'Medici, Collector of Antiquities is that single work. A vast and painstakingly researched volume by Laurie Fusco and Gino Corti, it covers Lorenzo de'Medici's passions as a collector of objects from antiquity and the post-antiquity period, like no other before it.

This groundbreaking work details de'Medici as an important patron of the arts in fifteenth century Florence. The monograph is one any serious collector of the period and of antiquities must have in their library. I call it a groundbreaking work yet it is much more than that, it is the first detailed and highly documented account of a great man of power and wealth satisfying his desires for collecting and preserving history.

The volume contains a range broken down as follows: 1. The first period of collecting: 1465 1483; 2. The second period of collecting and Lorenzo's sources: 1484 1492; 3. Behavior in the art market; 4. The objects collected; 5. Contemplating the objects; 6. The image of Lorenzo as a collector and antiquarian; 7. The fate of Lorenzo's collection following the French invasion of Florence in 1494; 8. Lorenzo in the context of collecting.

This out of the ordinary art book is a significant and wise investment. All educated Italian art collectors, collectors of antiquities, as well as serious book collectors of the period and subject matter will find it not only educational but also a reference tool of collecting habits because for the first time Lorenzo de'Medici's collecting activities are under the microscope. Fusco and Corti meticulously document in 173 previously unknown letters (included in this work) and reveal for the first time via those letters how such a grand ruler of the day thought and acquired personal objects. We also learn for the first time that Lorenzo de'Medici had a preference for intimate items - small objects: coins, hard stone vases, and gems. Fusco and Corti's incredible work reveals how such objects were studied, displayed, selected, and valued by de'Medici and other collectors during this period.

Published April 2006 by Cambridge University Press it packs 446 pages, measures 276 x 219 mm and contains 13 line diagrams 122 half-tone 9 colour plates, weighing in at a respectable 1.761 kg.

Thursday, 17 March 2011

Wednesday, 16 March 2011

Magnanni Video

M/M “Now, now my good man, this is no time for making enemies.” - Voltaire 1694-1778























Image l'intérieur de l'Opéra de Rennes (France) provided to Manner of Man Magazine by Loïc Amauger Lascombe for exclusive use and may not be reproduced without written authorisation. All rights reserved.

Monday, 14 March 2011

M/M Semper metam contingimus



















Images supplied to Manner of Man Magazine/Welldressed by Bocache e Salvucci calzolai and may not be reproduced without written authorisation. All rights reserved.

Sunday, 13 March 2011

M/M Radical Classicism


Image of the State Rooms, 10 Downing Street, London Erith & Terry Architects courtesy of Quinlan & Francis Terry.

An architectural perspective editorial by Nicola Linza

Architecture is about environment and today our entire environment has become a key issue globally. The built environment affects the quality of our personal and professional lives. HRH Prince Charles has expressed similar sentiments for decades now. He hasn’t been wrong. What we do and the quality level to which we achieve is in direct correlation to a certain degree to our environment both our physical and psychological surroundings. I will paint a picture for you as an example of environment and community and why I am so wrapped up in Classicism.

My family has always held architecture in importance with a great sense and respect for traditional Classicism. I too, of course, nonetheless, have always felt the mass-media pressures of what "they" claim is current or stylish about Modern against what we know is great and sustaining about Classicism. There is a huge difference!

In my case, I find it most satisfying to be in a humanistic beautiful environment one that embraces the timeless traditions of the past while moving into the future. Therefore, in my position, am I a Young Fogey? I would say in some circles that may be spot on, at least as I understand it.

Whatever the general mood or trend of the architecture establishment is at a given moment does not interest me. My outlook is long-term and based on traditional design because Classicism has sustained itself (and refreshingly coming into its own for those with the ability to view it fresh eyes.) It is proving once again to be the style of choice for both public and private buildings of considerable taste and value. What is ironic though is that those of us today both young and old who are focused passionately on Classicism are the same ones the media are now claiming to be positively avant-garde.

The human aspects and impacts of Classicism are enormous, especially when compared to the alternatives. Look, the fact remains that there is a certain degree of elegance in simplicity, but I speak of elegance in a mathematical sense. There is no elegance, nor human aspects, in most Contemporary works and especially Deconstruction, and no amount of Conceptual talk, media hype or worse pseudo-intellectual posturing they often resort to can make it otherwise. The reason far too many fell for any of it in the first place is that most so-called designers today have come out of cult-like programs that push it, such as the so-called "Decon" with no real skills or historical references to substantiate it.They just make it up as they go along.

Students aren't exposed to the sad reality that what they have paid for to attend such schools results all too often is simply nothing more than a good talk up by failed professors who themselves are victims of the system they are now a part of promoting. They graduate lacking the proper level of mathematical skills and constructional understanding let alone historical reference to honestly appreciate and recognize architectural flaws (just scan the media for lawsuits against Decon buildings by over-hyped or shall we kindly say well-known figures to prove it.) This is just not sustainable.

The media and the masses in design have such an insecure desire to be constantly new that they resort to all sorts of trickery to advance their ridiculous positions. Whereas we do not have to resort to trickery. We can advance our Classical position as both Eco-friendly and sustainable with science and mathematical truths. Whereas they do not understand the language. They try to use it nonetheless and by doing so bastardize to promote their anti-architecture, especially with the fashionable term "fractal" (which they use often out of context without a shred of intellectual understanding of its actual meaning or definition.) They can lie to themselves, and each other until the cows come home, but at the end of the day it is all worthless.

That is not the case with traditional Classical design. It is proven and honest. It is inherently dignified, Eco-friendly and sustainable. It is humanistic. If one designs and builds in the Classical tradition, then one builds solidly to last with local, quality natural materials. It is a skilled sustainable form of design, and a style that is conducive to humanity - and this is what "green" is all about. So if we speak of sustainability? Classicism once again has proven itself.

The most talented and fearless architect I know is Quinlan Terry. He is an elegant friend and a great supporter of our Classicist position. Mr. Terry is also a true gentleman architect. One who has stood his ground for traditional sustainability and quality for decades. He is the author of what I consider a significant paper outlining the importance and Eco-friendly aspects (and sustainable nature) of traditional building Designing A Sustainable Future. Mr. Terry's career has produced structures that in 100 years are not only going to be still standing, but are still going to be stunningly beautiful.

This has made me consider what particular book on architecture I would consider my favourite. One, say set of books, on architecture? I would have to say it would be The Four Books on Architecture, by Andrea Palladio, brilliant then, brilliant now. But then, one may ask, what specific elements of Classicism compel me to favour this form architecture. It is just like a perfect square and I can sum that up in four words: Order, Sustainability, Beauty, Longevity.

Why is it important that a traditional approach to structural design be sustained and what impacts do I believe this will have on modern living? It is a matter of continuity. It is a matter of quality. It is a matter of having a human connection.

When I started to study art, architecture and design in the academic settings Modernist academia tried to disconnect me from all I knew and respected. However, after a period of sowing my wild oats in the end I came right back to traditional classic forms in art, architecture and design. They did not succeed in any form of disconnect, if anything they brought me closer to Classicism.

The more I experienced firsthand the pathetic and often pecuniary nature of the people behind Modernism, Contemporary and Deconstructionist art, architecture and design as well as the type of people drawn to it and selling it! My Lord, it made me run like a bat out of hell. Living should be quality living with life and light. As an abstract analogy to make my point clear quality living is not living as a frozen fool in an empty room where one cannot leave his glass cube for sake of leaving a footprint (that may be criticized as a stain.) That is not human, that is simply an insane and insecure unrealistic hell.

If we speak of modern living, as in being of today that does not necessarily mean Modernism. A designer must realize that true contentment is timelessness and that does not reside outside in hype or trends as contentment comes from within when one comes to terms with what truly makes man feel human, honest and alive. In addition, when one understands the core principles of sustainability and longevity that come from seeking light and truth in one's environment they may be utterly surprised where they find themselves, both physically and mentally, and what they are then may be able to accomplish.

I was asked not too long ago, “As far as the future is concerned in relevance to community, what are your thoughts on the importance of architecture and its development?”  My response was, "Architecture must develop with quality, timelessness, and beauty not pecuniary interest. Consider the fact that that structures of 500 years or more may have taken 100 years or more to build, and are still standing beautiful. The built environment of the past 100 years, (and yes, sorry to say to them that Modernism is both technically and historically antique already,) has been allowed to sink into a pit of darkness. Poor design through the use of unproven technologies, concepts, scales, materials and methods of construction has failed. This has allowed greedy developers irresponsible ways to build cheaply and I can tell you, cheap is not only cheap yet it is always unsustainable (not to mention just plain ugly.) There is no meaning, value, or honest ROI to such structures."

My position holds that Classicism or Traditional Architecture done properly is timeless and sustainable. No, it is not inexpensive, yet it is an expense that in the end is not expensive at all. I am not only trained as an architect but also hold a science degree in environmental studies. I believe in science as it applies to design, but science that is not abused, or bastardized. It is from abuse of science that results in architectural development being ultimately expensive and destructive to the environment.

So one may also ask what my thoughts are that these facts I outline will be called Fogeydom. It may well be a valid reference to my position that architecture should support Universal Laws and higher mathematics and science and have a connection to history in its final design. Fine, if it defines one rejecting foolish trends that have no shelf life sobeit. Alternatively, because one does not have the insecure need to feel new or put another way is secure enough not to be overly troubled by what others think, that is a perfectly acceptable definition. Studying under Dr. Nikos Salingaros confirmed my belief that anti-architecture is neither beautiful, nor good.

I ask you, do you know anyone who truly has a burning desire to live and work in an environment that is ugly? Say a structure that looks and feels like a garbage can exploded? I certainly do not. Is that simply Fogeydom? So then, this takes me back to the beginning of this article, and I ask myself if it is dangerous to call this position avant-garde. After careful consideration, I recall Oscar Wilde who once said "All great ideas are dangerous."

Friday, 11 March 2011

Thursday, 10 March 2011

M/M Interview with Joe Dallesandro

This exclusive interview with legendary Joe Dallesandro was conducted by Nicola Linza and Cristoffer Neljesjö in Los Angeles during March 2011 and is only available in print edition.
 

Tuesday, 8 March 2011

M/M Rules of Poker Are Good in Business




























Images provided to Manner of Man Magazine/Welldressed by Lardini for exclusive use and cannot be reproduced without authorisation. All rights reserved.

Sunday, 6 March 2011

M/M "The soul becomes dyed with the color of its thoughts." - Marcus Aurelius, Roman Emperor AD 121-180






















Image provided by Lardini to Manner of Man Magazine/Welldressed for exclusive use and may not be reproduced without written authorisation. All rights reserved.

Je t'aime moi non plus

Thursday, 3 March 2011

M/M Interview with Andrea Luparelli

Image of Andrea Luparelli provided exclusively to Manner of Man Magazine/Welldressed by Sartoria Ripensi (Rome) and may not be reproduced without written authorisation. All rights reserved.


This exclusive interview with Andrea Luparelli of Sartoria Ripense (Rome) was conducted by Nicola Linza and Cristoffer Neljesjö in Rome during January/February 2011


How would you describe Sartoria Ripense?

It is a special place, set in the heart of wonderful Rome, a little cradle of Made in Italy, where everything speaks of tradition, craft, quality. It is the fruit of a long path of experience and research toward impeccable results, in order to offer the most sophisticated products. It is a place for assertive, refined gentlemen who can choose and see the creation of their total look, of their made-to-measure wardrobe, under the unequivocal sign of Italian style.


How did you get involved with the business?

First, my grandfather was a tailor and I grew up loving this noble craft and so... blood will out! Then, I couldn't let that tradition fade away, wasting that invaluable heritage. Later on, I had the chance to meet Gianluca Bocache and Roberto Salvucci (specialized in handicraft men's footwear) and the melting of our passion, experience and projects gave life to Sartoria Ripense.


As a tailor, what do you think about fashion in general?

As a man and as a tailor, I never follow the swinging moods of trends and fads; it can be sometimes fascinating but too ephemeral. In my vision, Fashion is not a coup de foudre, it real, eternal one! A classical bespoke suit is fashion itself, it rules.


How would you describe your style?

My style reflects those inspirations and values basing my work. It is expression of love for beauty and attention to details, It evokes the concept of classic, of elegance in its most traditional soul. And to me style can only be timeless... as John Keats said "A thing of beauty is a joy forever".


It is 1970, and we're meeting up at a party Luchino Visconti is having in Rome. What are you wearing? In addition, whom do we want to meet?

As I hear the name Luchino Visconti my mind goes immediately back to those ball scenes of Il Gattopardo, to Burt Lancaster and Alain Delon, real legends. Anyway, at a hypothetical Visconti's party in 1970, you'd see me wearing something elegant while easy too, like a perfect gray donegal suit. And you'd see me flattering the unforgettable Anna Magnani.



ITALIAN


Image of Andrea Luparelli and the Sartoria Ripensi staff provided exclusives to Manner of Man Magazine/Welldressed by Sartoria Ripensi (Rome) and may not be reproduced without written authorisation. All rights reserved.


Come descriverebbe la Sartoria Ripense?

È un luogo speciale, incastonato nel cuore della splendida Roma; una piccola culla del Made in Italy in cui ogni cosa parla di tradizione, mestiere e qualità. È il frutto di un lungo percorso di studio, esperienza e ricerca per ottenere risultati impeccabili ed offrire i prodotti più sofisticati. È il posto ideale per Gentlemen raffinati e di carattere che possono scegliere e assistere alla creazione del loro total look, del loro guardaroba su misura, Sotto l'inequivocabile segno dell'Italian style.


Come ha iniziato la sua attività?

Innanzi tutto mio nonno era sarto ed io sono cresciuto appassionandomi a questo nobile mestiere e quindi... buon sangue non mente! Non potevo certo lasciare che questa tradizione si perdesse e con essa quell'inestimabile eredità. Successivamente, ho avuto la fortuna di incontrare Gianluca Bocache e Roberto Salvucci (specializzati in produzione artigianale di calzature per uomo) e l'unione della nostra passione, dell'esperienza e dei progetti hanno fatto nascere la Sartoria Ripense.


Come sarto, cosa pensa della Moda in generale.

Come uomo e come addetto ai lavori, non seguo mai i capricci e gli umori di mode e tendenze; può essere a volte affascinante ma trovo il tutto comunque effimero. A mio modo di vedere, la Moda non è un colpo di fulmine ma è amore vero, quello eterno! Un abito di sartoria su misura è moda esso stesso, it rules.


Come definirebbe il suo stile?

Il mio stile riflette le ispirazioni e i valori che sono alla base del mio lavoro. È espressione dell'amore per la Bellezza e dell'attenzione per i dettagli. Evoca il concetto di classico, di eleganza nella sua essenza più tradizionale. Lo stile può solo essere senza tempo, intramontabile. Per dirla con John Keats, "Una cosa bella è una gioia per sempre".


Siamo a Roma, negli anni '60, a un party dato da Luchino Visconti. Cosa indossa? E chi incontriamo?

Al nome Luchino Visconti la mia mente va immediatamente alle immagini del ballo de "Il Gattopardo", a Burt Lancaster e Alain Delon, vere leggende. Comunque, ad un ipotetico party dato da Visconti, mi vedreste indossare qualcosa di elegante e nello stesso tempo easy, come un perfetto donegal grigio. E mi vedreste sicuramente corteggiare l'indimenticabile Anna Magnani.

The above interview with Andrea Luparelli 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Wednesday, 2 March 2011

Sam Scott Schiavo The Making of Olympia by Michael Brus

M/M Imagining the Past in France: History in Manuscript Painting, 1250–1500

Image Jean de Vaudetar Presenting a Book to King Charles V Paris, 1372. Artist: Jean Bondol. Author: Peter Comestor. Translator: Guyart des Moulins. Historical Bible Tempera colors and gold on parchment Leaf: 29.2 x 21.5 cm (11 1/2 x 8 7/16 in.) The Hague, Museum Meermanno-Westreenianum, Ms. 10 B 23, fol. 2 EX.2010.1.38


A BEAUTIFUL NEW PUBLICATION DEVOTED TO THE MOST IMPORTANT ILLUMINATIONS IN FRENCH HISTORY MANUSCRIPT


Imagining the Past in France: History in Manuscript Painting, 1250—1500

From around 1250 to the close of the fifteenth century, the most important and original work being done in secular illumination was unquestionably in French vernacular history manuscripts. Imagining the Past in France: History in Manuscript Painting, 1250–1500 celebrates the vivid historical imagery produced during these years by bringing together some of the finest masterpieces of illumination created in the Middle Ages. It is the first major publication to focus on exploring the ways in which text and illumination worked together to help show medieval readers the role and purpose of history.

The images enabled the past to come alive before the eyes of medieval readers by relating the adventures of epic figures such as Hector of Troy, Alexander the Great, the Holy Roman Emperor Charlemagne, and even the Virgin Mary.

Imagining the Past in France presents approximately fifty-five manuscripts from over twenty-five libraries and museums across the United States and Europe, supplemented by medieval objects ranging from tapestries to ivory boxes. Together they show how historical narratives came to play a decisive role at the French court and in the process inspired some of the most original and splendid artworks of the time. Additional contributors to this volume include Élisabeth Antoine, R. Howard Bloch, Keith Busby, Joyce Coleman, Erin K. Donovan, and Gabrielle M. Spiegel. 

ABOUT THE AUTHORS
Elizabeth Morrison is curator in the Department of Manuscripts at the J. Paul Getty Museum. Anne D. Hedeman is professor of art history at the University of Illinois, Urbana-Champaign.

Wagner - Lohengrin Prelude - Wilhelm Furtwängler, 1936


Special thanks to Gregory Lauder-Frost