Volga

Em termos de comprimento (ca 3.700 km) o Volga é o maior rio da Europa. Alguns canais ligam-no aos mares Báltico, Negro, Azov, assim como ao rio Don. Atravessa as planícies da Federação Russa e desagua em delta no mar Cáspio. Os seus desníveis foram utilizados para instalar barragens fornecedoras de energia eléctrica, construção iniciada no governo de José Estaline. Percorrem-no navios de passageiros e carga, nomeadamente petroleiros.

In terms of length (c. 3700 km), the Volga is the longest river in Europe. Some canals connect it to the Baltic, Black, and Azov seas, as well as to the Don River. It crosses the plains of the Russian Federation and it flows into the delta in the Caspian Sea. Its slopes were used to install dams that supply electricity, a construction started by the government of Joseph Stalin. It is traversed by passenger ships and cargo, including oil tankers.

Alexey Korin (1865-1923)-'barge haulers'-oil on canvas-1875 Private collection

Boris Mikhailovich Kustodiev (1878-1927)-'promenade on the Volga'-oil on canvas-1909

Boris Mikhailovich Kustodiev (1878-1927)-'at Volga'-oil on canvas-1822

Isaak Ilyich Levitan (1860-1900)-'barges. The Volga'-oil on canvas-(1889) Nizhniy Novgorod-The Art Museum

Isaak Ilyich Levitan (1860-1900)-fresh wind. Volga'- oil on canvas-(1895) Moscow-Tretyakov Gallery

Ascensão do III Reich (Rise of the third Reich)

O Partido Nacional-Socialista dos Trabalhadores Alemães (Nationalsozialistische Deutsche Arbeiterpartei) cresceu nos anos 20 devido à acção de Adolf Hitler (1889-30.04.1945). A 9 de Setembro de 1923 conjuntamente com o General Erich Ludendorf (Generalquartiermeister) efectuou em Munique o golpe de Estado conhecido por 'Beer Putsch'. Criou as Schutzstaffen (SS) ou 'pelotão de protecção' do Partido. Eleito governante tomou posse como Chanceler a 30 de Janeiro de 1933 e criou o III Reich (Dritten Reich). O pintor Adolf Ziegler (1892-1959) organizou anualmente após 1937 um Museu de Arte Nazi.

The National Socialist Party of German Workers (Nationalsozialistische Deutsche Arbeiterpartei) grew in the 1920’s due to Adolf Hitler’s activity (1889-30.04.1945). On 9th September 1923, jointly with General Erich Ludendorf (Generalquartiermeister), he held in Munich the coup d’état known as the “Beer Hall Putsch”. He created the Schutzstaffen (SS) or “protection squad” of the Party. As he was elected governor, he took office as Chancellor on 30th January 1933, and he founded the Third Reich (Dritten Reich). The painter Adolf Ziegler (1892-1959) organized annually, after 1937, a Nazi Art Museum.

Schmitt-'Hitler-Ludendorff Putsch' United States Army Museum

Ferdinand Staeger (1880-1977)-'SS Wache' 'SS guards'

(Nazi Art on display at New York Grohman Museum)

Will Tschech (1891-1975)-'high Nazi morale amid the rubble'

Arthur Kampf (1865-1950)-'30 January 1933'

Paul Hermann-'paradefield for the SS (Odeonplatz in front the Feldherrnhalle in München or Field Marshals Hall)' 'Feier des 9 November an der Feldherrnhalle in München'-1941 München-Stadt Museum

Nativos dos EUA (USA Natives)

Os emigrantes europeus ao penetrarem no vasto território actualmente pertencente aos EUA encontraram diversos povos nativos. Alguns dos seus descendentes foram pintados pelo norte-americano Howard Terpning (1927- ).

The European immigrants found several native people when they penetrated the vast territory now part of the USA. Some of these native descendents were painted by the North American painter Howard Terpning (1927-).

Howard Terpning (1927- )-'Apache fire makers'

Howard Terpning (1927- )-'Blackfeet spectators'

Howard Terpning (1927- )-'Cheyenne mother'

Howard Terpning (1927- )-'Comanche spoiler-'

Howard Terpning (1927- )-'Kiowa'

Vagamundo-Pilgrim-Weltenbummler

Algumas imagens pouco divulgadas, de carácter profissional e artístico, encontradas em peregrinar europeu. O Tratado de Versalhes conduziu ao aparecimento de sistemas totalitários, provocou a II guerra mundial e deixou o problema dos Balcans por solucionar.

Some professional and artistic little known images, found while wandering in Europe. The Treaty of Versailles led to the emergence of totalitarian systems, caused World War II and left the Balkans’ problem unsolved.

Janus T. Lacinius and Petrus Bonus Lombardus-'elixir pretiosa margarita' in Pretiosa margarita novella de Thesauro, as pretiosissima philosophorum lapide artis huius divinae typus, & methodus: collectanea ex Arnaldo, Rhaymundo, Rhasi, Alberto & Michaele Scoto, apud Aldi Filios, Venezia (1546)

Bernardo Bellotto (Canaletto) (ca 1721-1780)-'Schlosshof castle seen from the garden'-oil on canvas-(1758-1761) Wien-Kunsthistorisches Museum Gemäldegalerie

Raffaello Sanzio (1483-1520) and his school (Giulio Romano and others)-'Psyche'-fresco-(1517-1518) Roma (via della Lungara)-Villa Farnesina (The Loggia of Psyche)

Major William Newenham Montague Orpen (1878-1931)-'the signing of peace in the Hall Mirrorrs at Versailles (28 June 1919)'-oil on canvas London-Imperial War Museum

Francisco José de Goya y Lucientes (1746-1828)-'St. Anthony of Padua (Lisbon)'-fresco-1798 Madrid-Ermita de San Antonio de la Florida (Goya's tomb)

Lisboa Antiga (Ancient Lisbon)

A designação pré-romana de Olissipo terá originado Lisboa. Existiu ocupação fenícia 1200 aC. Teria sido fundada por Ulisses, provavelmente no regresso da guerra de Tróia. Os Romanos chegaram no séc. I aC e deixaram termas (rua da Prata) e anfiteatro (Castelo). Das várias invasões as mais importantes pertenceram aos Visigodos e Mouros (séc. VII) comandados por Abdelaziz ibn Musa, filho de Tariq. Os Cruzados possibilitaram a reconquista cristã de 1147. Desta cidade partiram as naus e caravela que descobriram o 'caminho marítimo para a Índia' (1498) e o 'achamento' do Brasil (1500).


The pre-Roman designation of Olissipo gave origin to the name “Lisbon”. In 1200 BC the Phoenicians occupied the city, which was founded by Ulysses, probably when he returned from the Trojan War. The Romans arrived in the 1st century BC and left thermae or public baths (rua da Prata) and a theater (São Jorge’s Castle). Among the several invasions the most important were performed by the Visigoths and the Moors (7th century) led by Abdul Aziz ibn Musa, son of Tariq. The Crusaders enabled the Christian reconquest of 1147. This city was the departure point of the ships and the caravels that discovered the 'sea route to India' (1498) and 'the finding' of Brazil (1500).

Alfredo Roque Gameiro (1864-1935)-'rio Tejo visto do jardim São Pedro de Alcântara' ''Tagus River as seen from San Pedro de Alcantara gardens'-watercolor Lisboa-Biblioteca Nacional de Portugal (OL 30 - 1925)

Alfredo Roque Gameiro (1864-1935)-'escadinhas de São Cristovão' 'Stairs of St. Kitts'-watercolor Lisboa-Biblioteca Nacional de Portugal (OL 30 - 1925)

Alfredo Roque Gameiro (1864-1935)-'escadinhas de São Miguel' 'Stairs of St. Michael'-watercolor Lisboa-Biblioteca Nacional de Portugal (OL 30 - 1925)

Alfredo Roque Gameiro (1864-1935)-'rua da Judiaria ''Jewry Street '-watercolor Lisboa-Biblioteca Nacional de Portugal (OL 30 - 1925)

Alfredo Roque Gameiro (1864-1935)-'rua do Benformoso' ' Benformoso Street'-watercolor Lisboa-Biblioteca Nacional de Portugal (OL 30 - 1925)

Debulha dos cereais (Cereal threshing)

Executavam em eiras a separação dos grãos de cereais dos caules ou palha. Desfaziam os feixes preparados pelos ceifeiros e espalhavam os caules na eira antes de os homens os malharem ou de animais os trilharem. Os processos tradicionais europeus compreendiam vários objectos: pá, malho ou mangual (principalmente para centeio e milho), o trilho. Terminada esta fase atiravam os grãos ao ar com uma pá para o vento afastar os detritos leves. Juntavam os grãos com um rado. A mais antiga debulhadora inventou-a Andrew Meikle, engenheiro escocês em 1784. Posteriormente enfardavam a palha. Mais tarde apareceram as ceifeiras-debulhadoras.


The separation of cereal grains from stalks or straw was performed on a threshing floor. They undid the bundles prepared by the reapers and spread the stalks on the threshing floor before they were thrashed by workers or tread out by animals. In European traditional processes various objects were used: a shovel, a mallet or flail (mainly for rye and maize), a board. Once this phase was over, the grains were tossed with a shovel so that the light detritus could be removed by the wind. The grains were gathered with a rake. The oldest threshing machine was invented by Andrew Meikle, Scottish engineer, in 1784. Later the straw was baled. The combine harvester appeared later.

Unknown-´threshing machine'-1881 Dictionnaire d'Arts Industrielles

Francisco José de Goya y Lucientes (1746-1828)-'threshing floor or summer'-oil on canvas-(1786-1787) Madrid-Museo del Prado

Sergey Vinogradov (1869-1938)-'threshing floor'-oil on canvas-1916 Nukus (Uzbekistan)-Savitsky Art Museum

William Brassey Hole (1846-1917)-'King David purchasig the threshing floor (2 Samuel, XXIV, 20-25)'-oil on canvas Private collection

Ludovic Bassarab (1868-1933)-'threshing'-oil on plywood-ca 1934

Roma Antiga - Teatros (Ancient Rome Theatres)

Foram inicialmente de madeira por a lei republicana impedir construções permanentes. Na época imperial passaram a ser edifícios de pedra baseados no modelo arquitectónico grego do período helenístico. Existiram por todo o Império para divulgação de peças teatrais clássicas tanto gregas como latinas. Compunham-se de: scenae frons (local do cenário), porticus post scenae (pórtico atrás do cenário), proscenium (destinado à representação), aditus (entrada da orchestra), orchestra (lugares destinados às autoridades), vomitoria (entrada da cavea), cavea (local dos espectadores). Por vezes cobriam-nos com panos para resguardar os assistentes das intempéries.
Initially they were made of wood as the republican law forbade permanent constructions. In the imperial epoch they became stone buildings based on the architectural Greek model of the Hellenistic period. They existed throughout the empire for the dissemination of theatrical classical plays, Greek as well as Latin. They consisted of: scenae frons (place for the stage setting), porticus post scenae (portico behind the stage setting), proscenium (for the performance), aditus (orchestra entry), orchestra (seats for the authorities), vomitoria (cavea entry) cavea (place for spectators). Sometimes they were covered with cloths to protect the audience from the intemperate weather.

Giulliano da Sangallo (1445-1516)-'ruins of the ancient roman theatre of Marcellus, Rome'-drawing-ca 1480 Città del Vaticano-Biblioteca Apostolica Vaticana

Adolph Schill (1848-1911)-'Reconstruction of the theater of Gnaeus Pompeius Magnus and temple of Venus Victrix (61 BC)'-drawing

Tivdar Koszika Csontváry (1853-1919)-'ruins of the roman theatre at Taormina, Sicily'-oil on canvas-1904 Budapest-Szépmuvésti Múzeum

Rieger drawing lithographing by Joseph Zahradniczek-'Pula (Colonia Pietas Iulia Pola Pollentia Herculanea) Roman theatre (Istria-Croatia)'-ca 1840 in Deutchland und die Welt

Unknown-'French excavation of the Roman theatre (Orange-France)'-ca 1850 London-National Gallery

Inverno Russo (Russian Winter)

O rigor do 'General Inverno' sentido na Federação Russa encontra-se bem documentado nestas imagens de alguns dos seus pintores. Não impede, contudo, os seus cidadãos de fazerem a sua vida normal (trabalho, viagens, diversão) ainda que com limitações.

The hardness of the 'General Winter' felt in the Russian Federation is well documented in these pictures of some of its painters. However, it doesn’t prevent its citizens from making their normal life (work, travels, and entertainment) in spite of the limitations.

Ivan Konstantinovich Aivazovsky (1817-1900)-'little Russian ox cart in winter'-oil on canvas-1866 Private collection

Boris Kustodiew (1872-1927)-'Maslemtsa'-oil on canvas

Alexey Savrasov (1830-1897)-'the rooks have come'-oil on canvas-1871 Moscow-The Tretyakov Gallery

Vsevolod Vyacheslavovich Ivanov (1895-1963)-'winter'-oil on canvas

Yuri Aleksandrovich Sergeyev (1926- )-'winter-troika'-oil on canvas-2001

Torre de Babel (Tower of Babel)

A construção e desaparecimento da Torre de Babel surge no livro bíblico Génesis (XI, 1-9) «façamos para nós uma cidade e uma torre cujo cimo atinja os céus (...) deram-lhe o nome de Babel, porque ali o Senhor confundiu a linguagem de todos os habitantes da Terra e dali os dispersou». Para alguns seria um ziggurat mesopotâmico. Mostra a diversidade dos povos e línguas do Mundo.

The construction and demise of the Tower of Babel appears in the biblical book Genesis (XI, 1-9) "let us build for ourselves a city and a tower whose top may reach into heaven (...) gave it the name Babel, because there the Lord confused the language of all the inhabitants of earth and scattered them from there." For some it would be a Mesopotamian ziggurat. It demonstrates the diversity of peoples and languages of the world.

Meister der Weltenchronik-'Weltchronik in Versen szene der Turmbau zu Babel'-pergament-ca 1370 München-Bayerische Staatsbibliothek

Hendrick III van Cleve (ca 1525-1589)-'the construction of Tower of Babel'-oil on canvas Otterlo-Kröller-Müller Museum (uma de várias versões) (one of several versions)

Maarten van Heemskerck (1498-1574)-'hanging gardens of Babylon (tower of Babel in the background)'-engraving

Pieter Brueghel, the Elder (ca 1525-1569)-'Turmbau zu Babel' 'tower of Babel'-oil on wood-1563 Wien-Kunsthistorisches Museum Gemäldegalerie

Cornelius Anthoniszoon (1505-2553)-'the fall of the Tower of Babel'-etching London-British Museum

Marcha feminina a Versalhes (1789) (Women's march to Versailles)

No dia 5 de Outubro de 1789, as vendedoras parisiense das Halles, comandadas pela ex-cortesã Anne Theroigne de Mericourt, dirigiram-se a Versalhes. Confrontaram a rainha com a carestia da vida e escassez de pão. Inicia-se deste modo o período revolucionário em que 'o poder cai na rua'.

On 5th October 1789 the women sellers of the Halles in Paris, led by former courtesan Anne Théroigne of Mericourt, went to Versailles. They confronted the queen with the high cost of living and scarcity of bread. This is the beginning of the revolutionary period in which the power passes to the people on the streets.

H. de la Charlerie engraved by Meyer-Heine-'the women of Les Halles marching to Versailles'-1789

Raffet steel engraved by Frilley-'the women's march to Versailles'-1834

A. Scheffer steel engraved by A. Lefevre-'the women's march to Versailles'-1836

Jean-François Janinet (1752-1814)-' the women of Les Halles marching to Versailles'-oil on canvas

Jean-Louis Prieur (ca 1732-1795)-'the ladies leaving the Hall to catch the king at Versailles'-1789