November 9, 2015 Kommentare deaktiviert für STATEMENT – DECLARATION – ERKLAERUNG

The following items (posts) are part of ruminations – I called it ‚CLOUD‘.
Quasi mirroring actual sensivities. Reflecting my thinking, acting and planing.
„Ein zeitgenoessisches Skizzen- und Tagebuch“.
My production is centered around the official LINK:
– containing a ‚Showroom‘: B-Gallery
(Please find the ‚Entrance‘ to it on this page below the ‚TAGS‘.)

Ingmar Bergmann – wilde Erdbeeren

März 27, 2017 Kommentare deaktiviert für Ingmar Bergmann – wilde Erdbeeren


Zwei Berliner Fotos

März 26, 2017 Kommentare deaktiviert für Zwei Berliner Fotos

DSCN7828 - Kopie

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Selfie. Charlottenburg.

März 25, 2017 Kommentare deaktiviert für Selfie. Charlottenburg.

DSCN7826 - Kopie
to continue… »

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25.03.17 – s.t.

März 25, 2017 Kommentare deaktiviert für 25.03.17 – s.t.


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24.03.17 (Funerals)

März 24, 2017 Kommentare deaktiviert für 24.03.17 (Funerals)

DSCN7833 - Kopie

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Madonna Del Parto by Piero della Francesca (1457)

März 24, 2017 Kommentare deaktiviert für Madonna Del Parto by Piero della Francesca (1457)

Madonna del Parto
From Wikipedia, the free encyclopedia

A Madonna del Parto („Madonna of Parturition“) is an iconic depiction of the Virgin Mary shown as pregnant, which was developed in Italy, mainly in Tuscany in the 14th century. Examples include works by Taddeo Gaddi, Bernardo Daddi and Nardo di Cione. The Madonna was portrayed standing, alone, often with a closed book on her belly, an allusion to the Incarnate Word. The works were associated with the devotions of pregnant women, praying for a safe delivery.[1] Sometimes, as with a statue by Sansovino in the Basilica of Sant’Agostino in Rome, the depiction is of a Virgin and Child, but known as a Madonna del Parto because it was especially associated with devotions over pregnancy. Here the Virgin wears the Girdle of Thomas, a belt of knotted cloth cord that was a relic held in Prato Cathedral, which many depictions wear.

Piero della Francesca
Madonna del Parto
Piero Madonna del parto.jpg
Artist Piero della Francesca
Year after 1457
Type detached fresco
Dimensions 260 cm × 203 cm (100 in × 80 in)
Location Museo della Madonna del Parto, Monterchi


The most famous work showing this subject is a fresco painting by the Italian Renaissance master Piero della Francesca, finished around 1460. It is housed in the Museo della Madonna del Parto of Monterchi, Tuscany, Italy.

Piero della Francesca finished it in seven days, using first-rate colors, including a large extent of blu oltremare obtained by lapis lazuli imported from Afghanistan by the Republic of Venice.

The fresco was at one time located in Santa Maria di Momentana (formerly Santa Maria in Silvis), an old country church in the hilltown of Monterchi. The edifice was destroyed in 1785 by an earthquake and the work was detached and placed over the high altar of the new cemetery chapel; in 1992 it was moved to the Museo della Madonna del Parto in Monterchi. The work was attributed to Piero della Francesca only in 1889. Its dating has been the subject of debate, ranging from 1450 to 1475. The 16th century artist and writer Giorgio Vasari wrote that it was completed in 1459, when Piero della Francesca was in Sansepolcro for his mother’s death.

The fresco also plays an important role in Richard Hayer’s novel Visus, in Andrei Tarkovsky’s film Nostalghia, and in the poem „San Sepolcro“ by Jorie Graham.

Piero della Francesca’s Madonna has neither books nor royal attributes as in most predecessors of the image, nor does she wear the girdle. She is portrayed with a hand against her side to support her prominent belly. She is flanked by two angels, who are holding open the curtains of a pavilion decorated with pomegranates, a symbol of Christ’s Passion. The upper part of the painting is lost. The two angels are specular, as they were executed by the artist using with the same perforated cartoons.

The theological symbolism behind the representation is complex. Maurizio Calvesi [2] has suggested that the tent represents the Ark of the Covenant. Mary would be thus the new Ark of Alliance in her role as Mother of Christ. For other scholars the tent is a symbol of the Catholic Church and the Madonna would symbolize the tabernacle, as she is portrayed containing Jesus‘ body.

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Bresson filming ‚Mouchette‘ (1967)

März 24, 2017 Kommentare deaktiviert für Bresson filming ‚Mouchette‘ (1967)

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„Generalplan Ost“: Was weiter geplant war…

März 21, 2017 Kommentare deaktiviert für „Generalplan Ost“: Was weiter geplant war…


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