User:Johnbod/treading


 * Where a work of art is produced in multiple copies, as with a cast bronze sculpture, a print, or works of decorative art produced under factory conditions, the article should as far as possible cover all copies, and normally should reflect this in its title and text, rather than specifying one location. The same generally goes for objects produced as a matching set, even if they are now separated. If the articles get long enough, it may be appropriate to give individual members of a set their own articles, as with the 6 paintings in Marriage A-la-Mode (Hogarth).  Examples: Bust of Winston Churchill (Epstein) (10 or more casts), Sèvres pot-pourri vase in the shape of a ship (in porcelain with several examples), and Raphael Cartoons (a set).

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Nick (Nicholas) Lee Danziger is an English photo-journalist, painter, travel writer, documentary film maker

Nick Danziger was born in Marylebone, London 1958

inspired by the Tintin character

"... I was torn between the unchallenging, undemanding life I was leading with the comforts of a steady job and the carefree but precarious life of a nomad. I missed the space, adventure, distance, history and danger of travelling, into remote and inaccessible areas of the world, cut off by cultural proscription, geography and war."

literary
Danziger’s Travels 1987 ... journeyed incognito through Turkey, Iran, Afghanistan and China, following ancient trade routes on foot or by traditional local transport.

Pullinger, Jackie and Nick Danziger (1 May 1989). Crack in the Wall treatment of addicts in Kowloon. Hodder & Stoughton Religious. ISBN 978-0340490679.

Danziger's Adventures: From Miami to Kabul 1993

Danziger’s Britain 1996

The British (2001)

Missing Lives (photographer)(2010)

films and documentaries
War, Lives & Videotape, BBC, 29 June 1991 (Mon vidéojournal d’Afghanistan, ARTE) what happens when Nick Danziger returns to Kabul

Down and Out in Paris and London, Channel 4, 1993 He discovers that for the homeless of Paris and London conditions have changed very little.

Adventures in the Land of S.P.L.A.J., Channel 4, 12 July 1993 hilarious account of his attempts to gain an interview with Colonel Gaddafi in Libya

Orphans of War, Channel 4, 1996 Nick Danziger's quest to bring three orphaned children out of Afghanistan in the hope of adopting them.

Mongolia, The Discovery Channel, 1999 in search of Mongolia's Tsaatan people

Afghanistan, The Discovery Channel, 1999 Nick Danziger meets the Kirghiz people of Afghanistan AIDS: The Global Killer, Channel 4 / Tele Piu / Planète, 2000 talks to Zambian sex workers who, if the price is right, have unprotected sex; to patients suffering social stigma and lack of drugs; to Roman Catholics willing to make a stand against the Church; to Moscow drug addicts who share needles with no access to needle exchange; to segregated prisoners and to prostitutes, and to British patients who receive drugs.

The Unquiet Peace, BBC / The History Channel, 2001 returns to Kosovo to trace the refugees he met while covering the war in 1999.

Jacques Henri Lartigue, The boy who never grew up, BBC, 5 July 2004 One of the 20th century's greatest photographers, Jacques Henri Lartigue

A Digital Picture of Britain, BBC, 12 June 2007 From Gatwick Airport to a modern-day revisit of classic paintings of London, three photographers are pointing the lens in a bid to chronicle their local landscapes in the South East region.

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Funerary art
 * 20th century, Aries, Gorer.

Disegno is an Italian word that can be ordinarily be translated as either design or drawing, according to context. In art history it has a special meaning, not found in any single English word, meaning a combination of composition and drawing as the basis of painting, "linear, as opposed to tonal, representation of the object". Although the term was important in earlier Italian writing on paintings, it largely owes its prominence in discussions of Italian Renaissance painting to the painter and biographer Giorgio Vasari (1511-1574), one of the founders of Western art history, whose Lives of the Most Excellent Painters, Sculptors, and Architects ("Vita" for short) singled it out as the most important element in painting, and the one especially perfected in the tradition of painting of his native city of Florence, culminating in the work of his hero Michelangelo. Vasari accepted that Venetian painting was unexcelled in colorire, the opposing concept that also means more than just the use of colour, but argued that this achievement did not match the triumphs of Florentine disegno. Although Vasari's very influential dichotomy has been objected to in several ways, most scholars accept that it contains an element of truth, and disegno remains a term current in art history.

For Vasari disegno involved both a very thorough training in the realistic drawing of, above all, the human figure, and also the ability to create "a visible expression and manifestation of the idea which exists in our mind, and which others have formed in their mind and created in their imagination". Drawings were needed both for learning and practicing the depiction of the human figure and for perfecting the composition of a painting before approaching the canvas. He deplored the Venetian practice of painting from the life, or the imagination alone.

The Vita was first published in 1550, but in the second expanded edition of 1568, Vasari both gave more attention to Venetian painters, and added to his Preface a definition of disegno, the only passage in the "Vita" where he "attempts anything approaching a general and abstract definition" of painting.

Vasari was by no means the first to insist on the importance of disegno; the writings of the Tuscan painter Cennino Cennini (c. 1360-before 1427) had stressed its importance, although his uses of the term can perhaps be adequately translated by "drawing" or "draughtsmanship" alone.

In about 1573 Vasari created for his own house a large wall-painting illustrating his conception of the role of the painter, Zeuxis and the Five Maidens of Croton which has at its centre a painted statue of the personification of disegno as a naked man with three heads.

Vasari's ideas caused some controversy from the start. Lodovico Dolce was a Venetian humanist writer, not a painter himself, who was a friend and admirer of Titian; so was Vasari, who directed his bluntest criticisms of the Venetian method at dead painters like Giorgione and Giovanni Bellini, and quoted Michelangelo for his criticism of Titian. Dolce's Dialogue on Painting (1557), where he to some extent seems to have been "largely acting as a mouthpiece for Aretino",, insisted on Titian's qualities of disegno as well as colore, and ranked both him and Raphael above Michelangelo.