Kamasutra 3D movie cast & crew, Kamasutra 3D Release Date, Director(s) of the Kamasutra 3D movie is Rupesh Paul and producer of movie Kamasutra 3D is as well as Kamasutra 3D genre is Romance. Kamasutra 3D movie songs. Rupesh Paul - Wikipedia. Rupesh Paul. Born. Amballur, Thrissur, Kerala. Occupation. Director, screenwriter, poet. Notable awards. Changampuzha. Spouse. Indu Menon.
Saint Dracula 3D movie directed by Rupesh Paul is ready for release with the date set for 29th March 2013. With Rupesh Paul busy with the final schedule of his much hyped 'Kamasutra 3D', all eyes are on Saint Dracula 3D which.Children. 2Rupesh Paul is an Indian filmdirector, screenwriter known for his works in international cinema, and Mollywood. The next feature he will be directing is The Vanishing Act. Paul, an engineer and Rita Paul, a lecturer. Rupesh completed his elementary education from Thrissur and graduated from the University of Madras in Computer Engineering in 2. Later, he won the 1. Mathrubhumi Kavitha Puraskaram. At the age of 2. 2, he joined as a Sub- Editor with Malayala Manoram and later served as a Senior Correspondent with India Today. Rupesh is married to Indu Menon. They have a daughter and a son. The earlier was denied the Censor Board Certificate, while the latter was screened at the Cannes Film Festival and the Florence Film Festival in 2. Rupesh Paul then directed a Malayalam movie, Laptop/ My Mother's laptop (2. Suresh Gopi, Shweta Menon, Urmila Unni and Padmapriya. In 2. 01. 0, he directed three short films, Mrigam (The Beast), Pithavum Kanyakayum (Daddy, You Bastard) and Kanni(The Virgin). In 2. 01. 1, Rupesh wrote and directed his first international feature film, The Secret Diaries of Monalisa. The movie was shot in the UK, Italy and France. Rupesh developed his short story, . Produced by Biz. TV Network, the movie was made in the UK with a British cast. Rupesh Paul wrote and directed the movie. Inspired by the historic text of the same name by Vatsyayana. It had remained as a tool to give the biggest jolt in horror movies. Nobody predicted that the Chinese stereoscopic porn would be a major hit. In fact, it out grossed 3. D film Avatar. In the film, we are trying to give an extra dimension to the sexual positions described in the ancient treatise on the art of love. The movie would be a completely fictional narrative of what led to the flight's disappearance. A teaser of The Vanishing Act was previewed at the Cannes Film Festival 2. The trailer of The Vanishing Act unveiled at the 2. Cannes Film Festival, created controversy with its subject matter of the Missing Malaysian plane MH 3. The love angle of the storyline was removed and made into a psychological thriller. It is currently in pre- production. Upcoming projects. Rupesh Paul Productions Limited has currently more than four feature films underway in different stages of development. In January 2. 01. Paul to direct Na. Mo, a film loosely based on Narendra Modi. This would be the first 4. D movie in India. Archived from the original on 2. December 2. 01. 4. Retrieved 1. 6 April 2. Florence Indian Film Festival. Retrieved 9 April 2. Retrieved 1. 1 December 2. Retrieved 9 April 2. Retrieved 9 April 2. Retrieved 9 April 2. Retrieved 9 April 2. Business- standard. Stcatharinesstandard. Alllightsfilmmagazine. Retrieved 1. 9 October 2. Retrieved 1. 5 October 2. Indiatoday. intoday. Kamasutra 3d Full Movie Videos.
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The Motherwell retrospective by Roger Kimball. The Motherwell retrospective exhibition that came to the Solomon R. Guggenheim Museum this winter. The recently closed exhibition included many works from the late Sixties and Seventies—an especially productive period for Motherwell—and, notwithstanding a few lamentable omissions, it provided viewers with a rich and judicious selection from the artist’s oeuvre from the early Forties to the present. Coinciding with Motherwell’s seventieth birthday, in January, the exhibition was also an invitation to reconsider Motherwell’s long and distinguished career and to reflect on his artistic achievement and role as a charter member of the phenomenon we have come to call Abstract Expressionism. Motherwell Times Series Archive ImagesAs if to aid in this task, the Guggenheim supplemented the ninety- two paintings and collages of the original exhibition with about sixty additional works, including drawings and a few prints. Many of these small, mostly minor, productions adorned the back wall of the Museum’s High Gallery. But despite the concentration of some forty pieces on one wall, the overall effect, far from being cramped, was one of delightful profusion and vivacity. Indeed, this installation was one of the exhibition’s most successful moments. Complications elsewhere were mostly a matter of logistics. For one thing, the nearly one hundred and fifty works on display seemed to be arranged more or less thematically, without particular regard for chronology. Scotland - Motherwell FC - Results, fixtures, squad, statistics, photos, videos and news - Soccerway. Welcome: Welcome to the website of the National Archives of Scotland (NAS). On 1 April 2011, the NAS merged with the General Register Office for Scotland to become. Microfilming and digitisation of documents plus the archival and storage of all collections in all formats are. Motherwell Times : July 1994. Since it is in the nature of a retrospective to encourage us to look back over its subject’s development, this made for some confusion. The natural impulse to trace Motherwell’s journey from the early paintings and collages through the Elegies to the Open series and other late works was frequently stymied. Information about a publishing group with a directory and links to their local newspapers and web-sites. Job vacancies and employee newsletter. Get the latest breaking news from the Motherwell Times - politics, transport, education, health, environment and more, updated daily. Catalogues and indexes: Each collection of records held by National Records of Scotland (NRS) has a catalogue or index to help you find the right. Nor was one’s appreciation of Motherwell enhanced by Frank Lloyd Wright’s polemic against modern painting—the Museum itself. Of course, this is by now a familiar complaint. Motherwell Lanarkshire Eagles. Six meetings were held a series of Indervidual and. The Guggenheim has been the object of vigorous criticism almost since it opened its doors. But the Motherwell retrospective once again reminded us of how singularly inhospitable the Museum’s main exhibition space is as an arena for looking at art. Further, the curved walls of the exhibition bays tend to make large canvases appear slightly concave—a distinct liability when one is confronting works that aim, as many of Motherwell’s do, at uncompromising flatness. Any retrospective of an artist as prolific as Motherwell has to leave out a good deal. In this show, I particularly missed any examples of Beside the Sea, a lyrical series in oil on heavy rag paper done mostly in the early Sixties. But perhaps the most significant omissions were of the early collage, Pancho Villa Dead and Alive (1. The Voyage. Pancho Villa Dead and Alive, a dramatic tribute to the Mexican folk hero, is one of Motherwell’s most often noted early collages. Exhibited in his first one- man show at Peggy Guggenheim’s Art of This Century gallery in 1. And The Voyage is one of Motherwell’s five or six most celebrated paintings. It can stand as a statement in paint of his modernist artistic credo. The title, as Motherwell has noted, was inspired by Baudelaire’s poem Le Voyage, and the painting successfully communicates that passion for the new, the new at any cost, that the young painter found so enticing in Baudelaire’s paean to the Unknown: Nous voulons ? Au fond de 1’Inconnu pour trouver de nouveau! Schultz and Buck—together with Diane Waldman, who installed the show at the Guggenheim—succeeded admirably in representing Motherwell’s activity as a painter and collagist. Motherwell’s handling of forms in the latter two reveal obvious debts to Picasso’s synthetic Cubism and to the late work of Klee and Kandinsky. But by the time he paints The Homely Protestant (Bust) (c. The Homely Protestant (1. Motherwell has assimilated these influences and the more recent influence of Dubuffet (whose paintings he could have seen at the Pierre Matisse Gallery in 1. In fact, there is a great deal about these witty ochre “portraits” that bears the stamp of Motherwell’s sensibility —not least the genesis of the wonderfully apt title, which he arrived at by opening Finnegan’s Wake and placing his finger at random on the phrase. Motherwell is often credited with reinvigorating, and refining, the art of the collage. His abiding interest in the medium dates from 1. Peggy Guggenheim invited him, Jackson Pollock, and William Baziotes to submit collages for an exhibition that she was planning at her gallery. The prospect was especially exciting for the young artists since the exhibition was to include works by Picasso, Braque, Mir. Motherwell worked on his first collages—including Pancho Villa Dead and Alive—together with Jackson Pollock in Pollock’s better- equipped studio. The retrospective testified to the considerable range of Motherwell’s experiments in this pliable genre, from the turbulent business of Joy of Living to the whispering intensities of Mallarm. This work in particular is possessed of a beautifully poised strength and delicacy that make it a classic of the period. But many—and The French Line and Motherwell’s well- known essays with the Gauloise cigarette wrapper must be included here—seem more purely decorative: still charming, yes, but lacking precisely that edge of feeling that can lift a work above the merely charming and decorative. Some of Motherwell’s leaner but conceptually more ambitious efforts—Black Refracts Heat, for instance, or Black Sounds (1. Here one’s response tends to oscillate uncomfortably between extremes, between the feeling that they are exquisitely composed and effective and, alternately, the conviction that they are at bottom contrived, rote performances. In his essay for the catalogue of the 1. Motherwell’s works at the Museum of Modern Art, Frank O’Hara observed that in Motherwell “the family of forms is a relatively small one and the plastic handling of them carries the burden of intention.” In this context it is worth noting that Motherwell has often been charged with being unduly repetitive. His penchant for working out variations of a visual motif in a series of paintings gives at least prima facie support to this charge. There are, for example, more than one hundred and forty paintings in the Elegy to the Spanish Republic series, more than two hundred in the Open series. What is the effect of such sustained repetition on our response to Motherwell’s work? He has written that “painting that does not radiate feeling is not worth looking at.” Can the requisite feeling survive one hundred and forty or two hundred variations? There is no denying that there are often great similarities among paintings in a series—one Elegy can look very much like another. And it may be that Motherwell is too willing to “publish” works that are not fully achieved, or that are merely studies on the way toward something new, or that really are essentially repetitions of an already articulated theme. But it must also be granted that there are often significant differences among the paintings in a series, differences in tone, manner, and use of materials as well as more obvious inconographic differences. Still, O’Hara was right: Motherwell tends to focus on exploring a small body of forms. His approach is more intensive than extensive—more an art of elaboration than invention, to put it another way, though it is well to remember that elaboration sufficiently developed is itself a kind of invention. Furthermore, none of this should be taken to deny the liveliness of Motherwell’s pictorial vocabulary. The early works and many of the collages display a freer, more fanciful exploration of visual forms than do the major “series” paintings, which grapple in a sustained way with the visual and emotional possibilities of a deliberately circumscribed set of forms. In fact, when we step back from individual pieces to consider Motherwell’s work as a whole, we can discern a division or vacillation at the heart of his artistic ambitions. On the one hand, Motherwell produces works of great intimacy and seductiveness, works whose surfaces celebrate the aesthetic richness of visual experience. But he has also consistently aimed at producing sterner, more monumental works whose innate artistic significance would exempt them from the obligation to be merely “pleasing.” Just how successful he has been in the latter is a question worth considering. At the moment, I want only to emphasize that much of Motherwell’s work—some of his less numerous series paintings, for example—are decidedly more “extensive” than “intensive,” more fanciful, inventive, and spontaneous in their exploration of visual forms than the major series paintings tend to be. In this context, one thinks of the sumptuous Summertime in Italy series or, especially, of the Je t’aime series, of which there were two paintings and two drawings in the show. Begun in 1. 95. 5, the je t’aime paintings generally consist of a ground mostly of reds or browns and reds upon which the words “Je t’aime” (and occasionally a few other French words) appear in varying degrees of legibility. The highly gestural quality of Motherwell’s brushwork is dramatically evident in these works, often as much in the “calligraphy” as in the ground, and they can be pleasingly evocative. In what is pretty much the standard work on Motherwell. Arnason, writing about the Je t’aime paintings, notes the artist’s longstanding interest in the interaction of word and image. Arnason is not very specific about the significance of that interaction, though no doubt Motherwell himself would resist being too exact on that point, fearing to sacrifice evocativeness to specificity. Yet the presence of the familiar phrase does color one’s response to these paintings. Intelligible words of any sort in a painting will obviously be read and influence interpretation, even if the question of just how we are to read such words—naively? Robert Motherwell - Wikipedia. Robert Motherwell (January 2. He was one of the youngest of the New York School (a phrase he coined), which also included Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko. Early life and education. The family later moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artist's asthmatic condition, Motherwell was reared largely on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that later emerged as essential characteristics of his abstract paintings (ultramarine blue of the sky and ochre yellow of Californian hills). His later concern with themes of mortality can likewise be traced to his frail health as a child. This passion stayed with Motherwell for the rest of his life and became a major theme of his later paintings and drawings. They made a Grand Tour starting in Paris, then went to Amalfi, Italy; Switzerland; Germany; The Netherlands; and London; and ended in Motherwell, Scotland. So with that agreed on Harvard then. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph. D. In fact, it was Berger who advised Motherwell to continue his education at Columbia University, under Meyer Shapiro. Shapiro introduced the young artist to a group of exiled Parisian Surrealists (Max Ernst, Duchamp, Masson) and arranged for Motherwell to study with Kurt Seligmann. The time that Motherwell spent with the Surrealists proved to be influential to his artistic process. After a 1. 94. 1 voyage with Roberto Matta to Mexico. The Surrealists often deployed the process of automatism, or abstract . It was also Paalen who introduced Motherwell to Andr. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association. He asked me to find some other American artists that would help start a new movement. It was then that Baziotes and I went to see Pollock and de Kooning and Hofmann and Kamrowski and Busa and several other people. And if we could come with something. Peggy Guggenheim who liked us said that she would put on a show of this new business. And so I went around explaining the theory of automatism to everybody because the only way that you could have a movement was that it had some common principle. It sort of all began that way. From the mid- 1. 94. Motherwell became the leading spokesman for avant- garde art in America. His circle came to include William Baziotes, David Hare, Barnett Newman, and Mark Rothko, with whom he eventually started the Subjects of the Artist School (1. In 1. 94. 9 Motherwell divorced Maria Emilia Ferreira y Moyeros and in 1. Betty Little, with whom he had two daughters. Motherwell intended his Elegies to the Spanish Republic as a . His recurring motif here is vertical ovals and rectangles, repeated in varying sizes and degrees of compression and distortion. They have various associations, but Motherwell himself related them to the display of the dead bull's testicles in the Spanish bullfighting ring. Solomon R. Guggenheim Museum is typical of this series. Throughout the 1. Motherwell also taught painting at Hunter College in New York and at Black Mountain College in North Carolina. Cy Twombly, Robert Rauschenberg and Kenneth Noland studied under and were influenced by Motherwell. At this time, he was a prolific writer and lecturer, and in addition to directing the influential Documents of Modern Art Series, he edited The Dada Painters and Poets: An Anthology, which was published in 1. His collages began to incorporate material from his studio such as cigarette packets and labels becoming records of his daily life. He was married for the third time, from 1. Helen Frankenthaler, a successful abstract painter. That year he traveled in Spain and France, where he started his Iberia series. During the 1. 96. Motherwell exhibited widely in both America and Europe and in 1. Museum of Modern Art; this show subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin. Motherwell recalled, . And made up my mind, this was in the beginning of April 1. I would do the thousand sheets without correction. And I got to 6. 00 in April and May, when one night my wife and I were having dinner and the telephone rang. And it was Kenneth Noland in Vermont saying that I should come immediately. Jumping into their Mercedes they sped to Vermont but arrived 1. Smith had died. Motherwell stopped work on the series. I should also say that I half painted them and they half painted themselves. And most of these were made with very small, I mean very thin lines. And then I would look at amazement on the floor after I. It would spread like spots of oil and fill all kinds of strange dimensions. Inspired by a chance juxtaposition of a large and small canvas, the Open paintings occupied Motherwell for nearly two decades. Intimate and meditative, the Opens consist of limited planes of colour, broken up by minimally rendered lines in loosely rectangular configurations. As the series progressed, the works became more complex and more obviously painterly, as Motherwell worked through the possible permutations of such reduced means. In 1. 97. 7, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D. C. In 1. 98. 3, a major retrospective exhibition of Motherwell. Another retrospective was shown in Mexico City, Monterey, and Fort Worth, Texas, in 1. In 1. 98. 8, Motherwell worked with the publisher Andrew Hoyem of Arion Press on a limited edition of the modernist novel Ulysses, by James Joyce. Motherwell produced 4. Robert Motherwell died in Provincetown, Massachusetts on July 1. On Motherwell's death, Clement Greenberg, the great champion of the New York School, left in little doubt his esteem for the artist, commenting that, . He also edited Paalens collected essays Form and Sense in 1. Number of Problems of Contemporary Art. Death and legacy. When Motherwell died on July 1. His will was filed for probate in Greenwich and named as executors his widow, Renate Ponsold Motherwell, and longtime friend Richard Rubin, a professor of political science at Swarthmore College. Among them were the writer Norman Mailer and the photographer Joel Meyerowitz, both Provincetown summer residents. Speakers included the poet Stanley Kunitz, who read a poem that was a favorite of Motherwell's, William Butler Yeats's Sailing to Byzantium; Senator Howard Metzenbaum, Democrat of Ohio, an acquaintance of Motherwell's; and other artists, friends, and family members. Robert Motherwell : Open. London: 2. 1 Publishing. ISBN 9. 78- 1- 9. London: 2. 1 Publishing. ISBN 9. 78- 1- 9. May 1 - Oral Histories . May 1, Archives of American Art, Smithsonian Institution^Mattison, Robert S. Robert Motherwell : open. London: 2. 1 Publishing. ISBN 9. 78- 1- 9. The Little Spanish Prison. Retrieved 1. 5 January 2. Pancho Villa, Dead and Alive. Retrieved 1. 6 January 2. Robert Motherwell on paper : drawings, prints, collages ; . Wallach Art Gallery, Columbia University, New York. Andreas Neufert, Auf Liebe und Tod. Das Leben des Surrealisten Wolfgang Paalen, Berlin (Parthas) 2. Mattison, Robert S. Oxford University Press. Retrieved March 8, 2. Langhorne, who wrote to Andreas Neufert, the biographer of Paalen: . Langhorne to Andreas Neufert, June 1. Andreas Neufert, Auf Liebe und Tod. Das Leben des Surrealisten Wolfgang Paalen, Berlin (Parthas) 2. ISBN 9. 78- 3. 86. Cummins, Paul. Archives of American Art. Smithsonian Institution. Retrieved March 8, 2. Robert Motherwell : with pen and brush. Elegy to the Spanish Republic, 1. The Dedalus Foundation. Beachpackagingdesign. Retrieved 5 March 2. Gauloises Bleues (White). Retrieved 5 March 2. Retrieved 5 March 2. Retrieved 5 March 2. Retrieved 8 December 2. Retrieved April 2. Motherwell, New York, 1. Robert Motherwell, The Collected Writings of Robert Motherwell, University of California Press, 1. Robert Motherwell translated to English Paul Signac's book, D'Eug. Abrams, 1. 97. 7; revised edition 1. Motherwell, Robert, Engberg, Siri and Joan Banach. Robert Motherwell: The Complete Prints 1. Minneapolis: Walker Art Center, 2. Flam, Jack. London: Phaidon, 1. Marika Herskovic, American Abstract Expressionism of the 1. An Illustrated Survey, (New York School Press, 2. ISBN 0- 9. 67. 79. Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2. ISBN 0- 9. 67. 79. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York: Simon & Schuster, 1. Pleynet, Marcelin. Paris: Daniel Papierski, 1. |
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