martes, 31 de octubre de 2017

Arte Cultura y Mecenazgo. Normativa. Ejemplos prácticos . Spanish laws for donations of works of art. Website of the Ministry of Culture


Hay veces que la donación de un bien, una/s fotografías es una opereación que merece la pena estudiarse de acuerdo con la normativa vigente. 
Bien sea en crowfunding para la compra de una obra para un museo ( caso reciente de un cuadro para el Museo Sorolla) o como opción personal  para donar beneficiándonos de la ley de Mecenazgo. Que no es que sea una maravilla pero es mejor que nada. 

Ministerio de Educación Cultura y Deporte

Qué es el Mecenazgo

La RAE define el mecenazgo como la “protección o ayuda dispensadas a una actividad cultural, artística o científica”.

Aportaciones

¿Qué aportaciones pueden hacerse?

  • Donativos y donaciones dinerarios, de bienes o de derechos.
  • Cuotas de afiliación a asociaciones que no se correspondan con el derecho a percibir una prestación presente o futura.
  • La constitución de un derecho real de usufructo sobre bienes, derechos o valores, realizada sin contraprestación.
  • Donativos o donaciones de bienes que formen parte del Patrimonio Histórico Español, que estén inscritos en el registro de BIC o Inventario General.
  • Donativos o donaciones de bienes culturales de calidad garantizada en favor de entidades que persigan entre sus fines la realización de actividades museísticas y el fomento y difusión del patrimonio histórico artístico.
En fotografía pienso que el concepto más facil de alcanzarse es el último

Pues bien, los efectos sobre el irpf son.

Efectos prácticos en IRPF

¿En qué se traducen a efectos prácticos las donaciones?
Si una persona física dona 150 euros a una entidad no lucrativa que está entre las posibles receptoras de mecenazgo:
  • El contribuyente se deduce 112,5 euros (el 75% de la cuota) en su IRPF.
  • Es decir, el coste de una donación de 150 euros es realmente de 37,5 euros. Por tanto, la entidad elegida recibe 150 euros, de los cuales 37,5 vienen del donante y 112,5 son una subvención indirecta de Hacienda.
Si dona 500 euros:
  • De los primeros 150 euros se deduce el 75%, por lo que el contribuyente recupera 112,5 euros.
  • De los restantes 350 euros se deduce el 30%, por lo que el contribuyente recupera 105 euros.
  • Por tanto, en total el contribuyente recupera 217,5 euros.
Si dona 500 euros y se trata de una donación fidelizada:
  • De los primeros 150 euros se deduce el 75%, por lo que el contribuyente recupera 112,5 euros.
  • De los restantes 350 euros se deduce el 35%, por lo que el contribuyente recupera 122,5 euros.
  • Por lo tanto, el contribuyente recupera un total de 235 euros.
Si dona 500 euros a una actividad prioritaria de mecenazgo y existe fidelización en la donación:
  • De los primeros 150 euros se deduce el 80% (el porcentaje habitual aumenta un 5%), por lo que el contribuyente recupera 120 euros.
  • De los restantes 350 euros se deduce el 40% (el 30% habitual aumenta un 5% por fidelidad en la donación y otro 5% por tratarse de actividad prioritaria de mecenazgo), por lo que el contribuyente recupera 140 euros.
  • Por lo tanto, el contribuyente recupera un total de 260 euros

 En ( google translate)
 
 There are times when the donation of a good, one / s photographs is an opereation that deserves to be studied in accordance with current regulations.
Whether in crowfunding for the purchase of a work for a museum (recent case of a painting for the Sorolla Museum) or as a personal option to donate benefitting from the law of patronage. That is not that it is wonderful but it is better than nothing.

Ministry of Education, Culture and SportsWhat is patronage
The RAE defines patronage as the "protection or aid dispensed to a cultural, artistic or scientific activity".

 
ContributionsWhat contributions can be made?

    
Donations and donations of money, goods or rights.
    
Membership fees to associations that do not correspond to the right to receive a present or future benefit.
    
The constitution of a real right of usufruct over goods, rights or values, made without consideration.
    
Donations or donations of goods that are part of the Spanish Historical Heritage, which are registered in the BIC or General Inventory.
    
Donations or donations of cultural goods of guaranteed quality in favor of entities that pursue among their purposes the realization of museum activities and the promotion and dissemination of historical artistic heritage.
In photography I think the easiest concept to achieve is the last one


Well, the effects on the irpf are.

 
Practical effects in IRPF
In what ways are donations translated for practical purposes?
If a natural person donates 150 euros to a non-profit entity that is among the possible recipients of patronage:

    
The taxpayer deducts 112.5 euros (75% of the quota) in his IRPF.
    
That is, the cost of a donation of 150 euros is really 37.5 euros. Therefore, the chosen entity receives 150 euros, of which 37.5 are from the donor and 112.5 are an indirect subsidy from the Treasury.
If you donate 500 euros:

    
Of the first 150 euros is deducted 75%, so the taxpayer recovers 112.5 euros.
    
Of the remaining 350 euros is deducted 30%, so the taxpayer recovers 105 euros.
    
Therefore, in total the taxpayer recovers 217.5 euros.
If you donate 500 euros and it is a loyal donation:

    
Of the first 150 euros is deducted 75%, so the taxpayer recovers 112.5 euros.
    
Of the remaining 350 euros is deducted 35%, so the taxpayer recovers 122.5 euros.
    
Therefore, the taxpayer recovers a total of 235 euros.
If you donate 500 euros to a priority patronage activity and there is loyalty in the donation:

    
From the first 150 euros is deducted 80% (the usual percentage increases by 5%), so the taxpayer recovers 120 euros.
    
Of the remaining 350 euros is deducted 40% (the usual 30% increases by 5% for loyalty in the donation and another 5% for being a priority activity of patronage), so the taxpayer recovers 140 euros.
    
Therefore, the taxpayer recovers a total of 260 euros

Links. Descarga libre. Revista Alquimia. Mediateca INAH. Sistema Nacional de fototecas. Mexico. Free download Alchemy Magazine. INAH media library National system of photo libraries. Mexico

Está disponible en red el nº 58 de la Revista Alquimia publicada por la Mediateca INAH. 

Con el siguiente contenido.

Artículos

Mariana Rubio de los Santos
PDF
6-24
Gustavo Amézaga Heiras
PDF
25-43
José Antonio Rodríguez
PDF
44-61
Fernando Del Moral González
PDF
62-63
Elisa Lozano
PDF
64-80

Sistema Nacional de Fototecas

Sistema Nacional de Fototecas
PDF
81-82

Soportes e imágenes

Sistema Nacional de Fototecas
PDF
83-86

Reseñas

Cecilia Gutiérrez Arriola
PDF
87
Yessica Contreras Trejo
PDF
88

sábado, 28 de octubre de 2017

Marín. La mirada desvelada .UNED Documentos





Marín reúne todos los requisitos del nuevo profesional, el reportero gráfico, que habría de revolucionar la prensa escrita. Durante treinta años va a desarrollar una extraordinaria actividad publicando más de mil fotos por año sólo en un periódico, Informaciones, a lo que hay que añadir su colaboración en todas las revistas gráficas de la época. Su última dedicación será la de fotografiar la guerra civil desde el Madrid sitiado. Terminada la guerra sus fotografías –por las obvias circunstancias- desaparecen de los periódicos. Y desde entonces el olvido. Pero la historia guarda en su más íntima razón la justicia poética. En nuestro caso, tiene un nombre: Lucía Ramón Plá. Hija del fotógrafo va a conservar, a salvar el excepcional archivo fotográfico del artista. De su extenso archivo se exhiben en esta exposición algunos ejemplos de las fotos del fondo que guarda la Fundación Pablo Iglesias, compuesto por 18.296 fotografías, legado familiar de Marín depositado en la Fundación; la gran mayoría negativos en placas de vidrio y los menos en negativos flexibles.

II Jornadas sobre Investigación en Historia de la Fotografía. Zaragoza. 25-27 de octubre de 2017

Este año he podido asistir, a mi pesar sólo a la mitad de ellas, a las



Pienso que, a veces, no es bueno personalizar a los organizadores, instituciones y personas, de los congresos/jornadas pero, otras veces, es necesario, obligado,  hacerlo.

Que la Institución Fernando el Católico (CSIC) haya sido capaz de realizarlas y atraer a tantos y tan calificados ponentes es un éxito y supone un enorme trabajo de la institución, su gente y la persona que coordinó y dirigió todo D. José Antonio Hernández Latas al que conocí en persona después de conocerlo anteriormente a través de sus estudios sobre fotografía. 

Tal  y como dice la presentación:


............ las Jornadas están dirigidas no solo al ámbito académico y universitario (estudiantes, investigadores, profesores, etc.), sino también hacia todos aquellos profesionales (archiveros, conservadores de colecciones, museos, etc.) vinculados al mundo del patrimonio fotográfico y también al cada vez más numeroso público de aficionados y amantes de la fotografía..............

Yo estoy incluído en este último grupo, el menos profesional de todos y, a la vez, el más deseoso de aprender sobre fotografía.
Y, desde este punto de vista, el de la fotografía como arte, quisiera hacer una reflexión personal:

Si admitimos, por lo menos yo así lo hago, a la fotografía como un arte, su estudio (el de la fotografía y el del fotógrafo y su entorno) no deben olvidar este "componente artístico en la investigación"
Lo digo porque ví, veo, a los historiadores de la fotografía muy centrados en el dato del lugar y del personaje, en la fecha del personaje o lugar (no de la foto o fotos del fotógrafo estudiado), en el árbol genealógico del fotografiado, en el pueblo fotografiado. Poco se dice en la foto misma, de las exposiciones en que participó, de su calidad artística en relación con otros fotógrafos de su entorno, y, lo más importante,  del carácter que hace que sus fotos "hechas en el ayer nos atraigan en el hoy."
Pienso, quizás esté equivocado, que si leo un estudio sobre un fotógrafo al final me debe quedar clara una cosa al menos ya que una es la pregunta que yo me hago cuando empiezo a leer sobre un artista :
¿Por qué es tan bueno este fotógrafo que han realizado un estudio sobre él? 
Si la respuesta son datos  y no son las cualidades artísticas del fotógrafo, su técnica y su arte, supongo que lo pasaré bien al leer el estudio y pronto lo olvidaré. 

En fin, este post ha salido demasiado filosófico, pido disculpas por ello.
Vaya, repito, mi enhorabuena por la organización de estas  jornadas, que tan difíciles son  de realizar en España.
 
 
 
En ( google translate)
 
This year I was able to attend, despite only half of them, to the
II Conference on Research in History of Photography.
Program pdf.
I think that sometimes it is not good to personalize the organizers, institutions and people of events but, at other times, it is necessary, obligated, to do so.
That the Institution Fernando el Católico (CSIC) has been able to carry them out and attract so many and so qualified speakers is a success and represents a huge work of the institution, its people and the person who coordinated and directed all José Antonio Hernández Latas to whom I met in person after meeting him previously through his studies on photography.
As the presentation says:
............ the seminars are aimed not only at the academic and university level (students, researchers, professors, etc.), but also towards all those professionals (archivists, curators of collections, museums, etc. .) linked to the world of photographic heritage and also to the increasingly large audience of fans and lovers of photography ..............

I am included in this last group, the least professional of all and, at the same time, the most eager to learn about photography.
And, from this point of view, that of photography as art, I would like to make a personal reflection:
If we admit, at least I do, photography as an art, its study (photography and the photographer and its environment) should not forget this "artistic component in research"
I say it because I saw, I see, the historians of photography very focused on the data of the place and the character, the date of the person or place (not the photo or photos of the photographer studied), in the family tree of the photographed, in the village photographed. Little is said in the photo itself, the exhibitions in which he participated, his artistic quality in relation to other photographers in his environment, and, most importantly, the character that makes his photos "made in yesterday attract us in the today."
I think, maybe I'm wrong, that if I read a study about a photographer in the end I must be clear one thing at least since one is the question that I ask myself when I start reading about an artist:
Why is this photographer so good that they have done a study about him?
If the answer is data and are not the artistic qualities of the photographer, his technique and his art, I guess I'll have a good time reading the study and soon forget.
Anyway, this post has come out too philosophical, I apologize for it.Go, I repeat, my congratulations for the organization of the event, which is so difficult to do in Spain.

jueves, 26 de octubre de 2017

Fotografia Segunda Guerra Mundial: Churchill







 Fotografía , excelente foto de agencia, que representa una imagen muy conocida como es la silueta de Churchill viendo el vuelo de una Fortaleza Volante un granbombardero.
 
......The B-17 was the first Boeing military aircraft with a flight deck instead of an open cockpit and was armed with bombs and five .30-caliber machine guns mounted in clear "blisters."
..........he B-17E, the first mass-produced model Flying Fortress, carried nine machine guns and a 4,000-pound bomb load. It was several tons heavier than the prototypes and bristled with armament. It was the first Boeing airplane with the distinctive -- and enormous -- tail for improved control and stability during high-altitude bombing. Each version was more heavily armed.

This is the well known figure of the Prime Minister, easily recognisable even though it is a back view. The he is watching son intently is one of the Gigantic Boeing "Flying fortress" which are now being flown to this country in ever increaseing numbres to do their bit in the offenssive gainst Germany.
Picture taken during a recent visita to an R.A.F. establishement when the Prime Minister saw our latest and bigger bombers.

 Fotografia Chuchill en su primer dia como Lord del Almirantazgo
  • Foto Topical Press 4-9-39, es decir tres días después del comienzo de la Segunda Guerra Mundial
  • Topical Press Agency

    Founded c. 1903 by Mr J.B. Helsby, a photographer and Mr Walter J. Edward, a photographic salesman, Topical Press expanded rapidly to cope with the increasing demand for press photography in the early twentieth century. By the 1930's the company had a team of photographers in London and over a thousand agents world wide. Staff at the London headquarters at 10 & 11 Red Lion Court would produce prints from glass plate negatives and write captions to accompany the images for the picture desks of newpapers in nearby Fleet Street or for the commercial clients in shipping, rail and transport industries. However Topical's fortunes later changed when changes in photography and journalism and the advent of television diminished the demand for their services, until in 1957 the company closed. The archive of prints and negatives having been acquired by the Hulton Press Library which is now part of Getty Images.
Wiston Churchill Centre
Churchill Wikipedia

martes, 24 de octubre de 2017

Madrid en la Mirada, la historia de Madrid en imágenes. The history of Madrid in pictures: Photographers Santos Yubero y Cristóbal Portillo

 
Madrid en la mirada" es un documental, producido por Telemadrid, en el que se plantea un recorrido por la vida cotidiana y las costumbres de los madrileños durante una buena parte del siglo XX, a partir de fotografías de época. La mayoría pertenecen a los fotógrafos Santos Yubero y Cristóbal Portillo, que trabajaron como fotoperiodistas, retratando la vida cotidiana de los madrileños y el paisaje urbano de la ciudad desde los años cuarenta hasta mediados de los setenta del siglo pasado. Para completar el retrato de esos años, se muestran imágenes de películas y del NoDo, así como una cuidada banda sonora con temas musicales de entonces. Madrid en la mirada" es un documental, producido por Telemadrid, en el que se plantea un recorrido por la vida cotidiana y las costumbres de los madrileños durante una buena parte del siglo XX, a partir de fotografías de época. La mayoría pertenecen a los fotógrafos Santos Yubero y Cristóbal Portillo, que trabajaron como fotoperiodistas, retratando la vida cotidiana de los madrileños y el paisaje urbano de la ciudad desde los años cuarenta hasta mediados de los setenta del siglo pasado. Para completar el retrato de esos años, se muestran imágenes de películas y del NoDo, así como una cuidada banda sonora con temas musicales de entonces.

lunes, 23 de octubre de 2017

L'Architecture Americaine. American building interiors. 1880-83. New York, Boston, Chicago etc. Albert Levy Photographer





Illustrated Boston. The Metropolis. 
1889
Published by American Publishing and Engraving Co.
102 Chambers St. New York 
  • Open in the page of Architect.William Ralph Emerson






  
Owner: Vestibule of the J. H. White residence, Fisher Hill, Brookline. Massachusetts 1880-81. Architect. Peabody and Stearns. Standing.

Standing with our backs against the piazza door..we see a wide oaken stairway, of easy ascent, and at its right an entrance into the billard room...The walls are wainscoted to a height of five feet, and then tinted in Indian Red, which, together with tints of gold, brown, and gray, appear again the panels of the heavily beamed...there is a large center-table, eight feet long by five feet wide, on which in addition to a variety o choice books, appear vases filled with fucsias, English primroses and umbrella ferns...

Artist houses, being a series of interior views of a number of the most beautiful and celebrated homes in the United States.

Mención a esta foto la encontramos en .


The largest estate on the south side of the hill was built by dry goods magnate Joseph H.White in 1881-82 (541-45 Boylston St.). White's house and carriage barn, though still standing, are surrounded by recent development. It was designed by the prominent Boston firm of Peabody & Stearns and was pictured in L'Architecture Americaine. published in Paris in 1886. Frederick Law Olmsted was hired to plan the landscaping for this estate, although little evidence remains of his work. 

Wikipedia
The Fisher Hill Historic District encompasses a residential area in central Brookline, Massachusetts. The area was subdivided and built out beginning in the 1880s, with landscaping design by Frederick Law Olmsted and John Charles Olmsted. The district is bounded on the west by Chestnut Hill Avenue, Baxter Road, and Channing Road, and on the south by Massachusetts Route 9. Its eastern boundary runs along Buckminster Street to Dean Road, joining the northern boundary of Clinton Road, running between Dean Road and Chestnut Hill Avenue. Prior to its development in the 1880s, Fisher Hill had a relatively small number of landowners. Some of them banded together, hiring the Olmsteds to design a subdivision plan for the entire district. Lots were sold to wealthy individuals, who built fashionable houses, often designed by architects. In 1914 a restrictive covenant was entered into by a significant number of property owners, restricting their properties to strictly single-family residential uses.
The district was listed on the National Register of Historic Places in 1985.



Architect: W. R. Emerson
Owner: Vestibule of a summer residence

William Ralph Emerson (March 11, 1833 – November 23, 1917) was an American architect. He partnered with Carl Fehmer in Emerson and Fehmer.

Emerson was born in Alton, Illinois, a cousin of Ralph Waldo Emerson, and trained in the office of Jonathan Preston (1801–1888), an architect–builder in Boston, Massachusetts. He formed an architectural partnership with Preston (1857–1861), practiced alone for two years, then partnered with Carl Fehmer (1864–1873). On September 15, 1873 he married Sylvia Hathaway Watson.
He is best known for his Shingle Style houses and inns. He worked with fellow Boston designer Frederick Law Olmsted on the creation of the National Zoo in Washington, D.C., designing several of the zoo's first buildings.
Emerson was a friend to the Boston painter William Morris Hunt, who painted a portrait of Emerson's son Ralph, shown at an exhibition of Hunt's work at the Boston Museum of Fine Arts in 1880.
Emerson died in Milton, Massachusetts.



Architect: W. R. Emerson
Owner: Vestibule of a summer residence

Bibliografía sobre este arquitecto

The Architecture of William Ralph Emerson 1833-1917 by Cynthia Zaitzevsky
Review by: Eleanor Pearson
Journal of the Society of Architectural Historians
Vol. 32, No. 3 (Oct., 1973), pp. 250-253
Published by: University of California Press on behalf of the Society of Architectural Historians


Architect: L. T. Schofield
Owner: Private residence. Cleveland .Dining-room Buffet

Levi T. Scofield. (1842-1917), the designer of this sculptural dining room buffet, was noted for his public monuments: Soldiers' and Sailors' Monumente in Public Square Cleveland

SCOFIELD, LEVI T. - The Encyclopedia of Cleveland History



Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Dining-room of the S. M. Nickerson residence

Three rooms from the Samuel M. Nickerson Residence. 40 East Erie Street Chicago. 1883 ( American Victorian Architecture A Survey of the 7's and 80's in contemporary photographs. Arnold Lewis and Keith Morgan)

The dining room, smooking room and bedroom are all from the S.M. Nickerson residence. These rooms were closely described in Artistic Houses which noted the flemish Renaissence style  on the dining room, the high wainscoating of the smoking room whith shelves for "collected bria à brac ", and the general finish of the bedroom with high waisncoating and a canvas ceiling divided by wooden or brass moldings. 




Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Smoking-room of the S. M. Nickerson residence


Digital libraries Saic Edu

Title/Project Name Nickerson, Samuel M., Residence
Alternate Title/Project Name R.H. Love Galleries
Street Address/Neighborhood 40 E. Erie St.
City Chicago
State/Province Illinois
Country United States
Date Designed or Built 1883
Architect/Designer/Creator Burling and Whitehouse
Date of View c.1885-1900
View or Detail Type Exterior
Image Notes view from SW
Caption/Inscription Text BRC: 11
Photographer Taylor, J.W. [Chicago]




Architect:  H. H. Richardson
Owner: Fireplace of the Oakes Ames Memorial Library ( Standford White )

The mantel from the North Easton Library shows the strong influence of the English Pre Raphaelites. Henry-Russell Hitchcock believes than the mantes was designed by Stanford White, then a draughtsman in Richardson' office. Except for a decorative mantel in Austin Hall this fireplace design is a unique example in Richardson' work

Henry Russell The architecture of H.H. Richardson and his times. MIT press. 1961. 186-187 

Wikipedia

The Ames Free Library is a public library designed by noted American architect H. H. Richardson. It is located at 53 Main Street, Easton, Massachusetts, immediately adjacent to another Richardson building, Oakes Ames Memorial Hall.
The library was built from 1877 to 1879, although it did not open until March 10, 1883. It is generally rectangular, with broad gable projecting from its north end and a rectangular tower rising where the gable meets the main mass. The gable's front facade contains a heavily arched entry on the first floor and a row of five arched windows separated by pairs of short columns above. The facade is light-brown Milford granite laid in random ashlar with reddish-brown Longmeadow brownstone trim. Its roof is red-orange tile. A children's wing (red brick) was added in 1931, eliminating the original lavatory and document room.
Within, the library's major rooms, stack wing, hall, and reading room are laid out longitudinally. The reading room's fireplace is primarily by Stanford White, and the stone and bronze medallions of Oliver Ames were designed by Augustus Saint-Gaudens.


Architect: Peabody and Stearns
Owner: Fireplace of ladies' parlor of the R. H. White and company Warehouse Store. 30 Bedford Street, Boston, Massachussets. 1881.

  • Appelton Artistic Houses. 
The walls are of plaster, painted many times in a low, deep tint, suggestive of old gold, the inclosing the clock is a glass mosaic, and the inmense fireplace has a fancing Victoria marble, a lining and heart of glazed tile, and a back of iron

American Architect and building.News.  XVI ( September 6, 1884) 117
Artistic Houses. New York, D. Appelton



Architect: H. J. Schwartzmann and Company
owner: Music room and conservatoy of a Private Residence. New York. 

Herman   J. Schwartzmann 1843-1891) was the Architect in Chief of the 1876 Centennial in Philadelphia where he designed Memorial Hall and Horticultural Hall. Following the close of the exhibition he moved to New York City and established a partnership with Alfred Buchman which lasted until 1890. 

Whitney, Henry F.  an Elsie R. Biographical Dictionary of American Architects ( deceased) Los Angels. New Age publishing Company 1956. 542-543.


Architect: Burling and Whitehouse. A. Fiedler (decorator)
Owner: Bedroom of the S. M. Nickerson residence

The Richard H. Driehaus Museum immerses visitors in one of the grandest residential buildings of 19th-century Chicago, the Gilded Age home of banker Samuel Mayo Nickerson. 

The Life and Work of Edward J. Burling, Architect



Wikipedia
The Samuel M. Nickerson House, located at 40 East Erie Street in the Near North Side neighborhood of Chicago, Illinois, is a Chicago Landmark. It was designed by Edward J. Burling of the firm of Burling and Whitehouse and built for Samuel and Mathilda Nickerson in 1883. Samuel M. Nickerson was a prominent figure in the rising national banking industry, who was said to have owned at one point more national bank stock than anyone else in the United States.
The house is listed on the National Register of Historic Places and today is home to the Richard H. Driehaus Museum.







Architect: G. W. Lloyd
0wner: Bar room




CHICAGO TONIGHT. ARTBEAT CHICAGO.DRIEHAUS MUSEUM. YOU TUBE




jueves, 19 de octubre de 2017

Burham and Root Augustus Byram residence Chicago, Illinois

Con ocasión de un viaje a Nueva York tuve ocasión de ver uno de los iconos de Nueva York como es el edificio Flatiron. Al mirar los datos sobre su historia comprobe que de su arquitecto Burham and Root tenía en mi colección una foto.
Este post es una actualización del post así como un recuerdo a la actividad de dicho arquitecto

architect: Burham and Root
owner: Augustus Byram residence
http://photocollection.alonsorobisco.es/architecture_index.html

 


 Chicago Tribune April 28. 1901. Byram' will

Obituario de Augustus Byram

 Archive org.

Full text of "City of Chicago Landmark Designation Reports


The Augustus H. Byram 
House was built in 1881 at 29th Street and Michigan Avenue. In contrast to the Kent 
House, the Byram House was faced with limestone and its detailing was derived more 
from the Gothic than from the Renaissance, but the massing and the French detailing 
indicate a striking affinity between these two designs. 
 
 
Daniel Hudson Burnham   
Daniel H. Burnham (1846-1912) was one of the earliest modern city planners and, with his partner, John Wellborn Root, the architect of the first American skyscrapers. At his death in 1912, Frank Lloyd Wright eulogized, "(Burnham) was not a creative architect, but he was a great man."
Daniel Hudson Burnham  gained his early architectural experience with William Le Baron Jenney, the so-called "father of the skyscraper."
In 1873, Burnham formed a partnership with John Wellborn Root (1850-1891) that produced such commissions as the Kent House, Masonic Temple, Monadnock Building, Reliance, Rookery, St. Gabriel's Church, and the Union Stock Yard Gate.  The Masonic Temple has been demolished.
He directed  the construction of the 1893 World’s Columbian Exposition that inspired the City Beautiful Movement, and created urban plans for San Francisco, Washington, DC. Chicago.

The Rookery. Frank Lloyd Trust

.....Amidst the atmosphere of experimentation and innovation that defined post-fire Chicago, the architectural firm of Burnham and Root rose to prominence. Daniel H. Burnham (1846-1912) and John Wellborn Root (1850-1891) formed their partnership in 1873. By the time they received the commission for The Rookery, in 1885, the firm had already established a strong reputation in tall commercial structures



Links:





El edificio de estilo Beaux Arts fue diseñado por el arquitecto de la escuela de Chicago Daniel Burnham. Al igual que una columna clásica griega, su fachada de caliza y terracota está dividida horizontalmente en tres partes. El uso del acero en su construcción permitió que la obra alcanzase los 87 m de altura, lo que habría sido muy difícil empleando las técnicas habituales de la época.
El diseño inicial de Burnham era similar al del edificio que se levantó, pero mucho más elaborado en la parte superior y con las fachadas dotadas de numerosos escalones cerca del pináculo. También se distingue la esfera de un reloj, que de igual modo fue eliminada del diseño final.


En la Halic Collection del Art Institute de Chicago hay otra vista de este edificio

Title/Project Name Byram, Augustus, Residence
Street Address/Neighborhood 2909 S. Michigan Ave.
City Chicago
State/Province Illinois
Country United States
Date Designed or Built 1881
Architect/Designer/Creator Burnham and Root
Date of View c.1885
View or Detail Type Exterior
Image Notes view from NW from across the street before adjoining buildings existed
Caption/Inscription Text BRC: 3
Photographer Taylor, J.W. [Chicago] [?]

miércoles, 18 de octubre de 2017

Links. Arquelogía. Cueva de Lascaux. Culture France.

Si algo tengo que agradecer a la fotografía es, curiosamente, que me ha enseñado a mirar a la arquitectura y, también, a la arqueología.
Es por ello que me permito recomendar la excelente web de la famosa Cueva de Lascaux
Espléndida la visita virtual.

martes, 17 de octubre de 2017

Exposiciones para ver. William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña. Fundación Juan March. Madrid

The Getty.
Title:
Kelmscott Manor: In the Attics (No. 1).
Artist/Maker:
Frederick H. Evans (British, 1853 - 1943)

Welcome to Kelmscott Manor

About the Manor

Kelmscott Manor was the inspirational Cotswold retreat of William Morris and his family, friends and colleagues. When Morris first saw the Manor in 1871, he was delighted by this 'loveliest haunt of ancient peace'; he signed a joint lease for the property with his friend and colleague Dante Gabriel Rossetti, the Pre-Raphaelite artist.

La fotografía que se incluye en el post como cabecera es una de las más conocidas de Frederick Evans y representa el ático de la casa de William Morris y estaba destinada a ilustrar un artículo en homenaje suyo a su muerte.

La exposición de la March que, evidentemente, no es de fotografía es totalmente recomendable de ver por la belleza y calidad de los objetos que se nos muestran, raros de ver en colecciones españolas. 
También nos ayudan a entender un tiempo y lugar donde la fotografía empieza a formar parte de la vida de la gente en, precisamente, estos entornos domésticos.

William Morris y compañía: el movimiento Arts and Crafts en Gran Bretaña



Como complemento recordamos este dossier de una antigua exposición en el Museo d' Orsay dedicado expresamente a la fotografía inglesa de ese tiempo.


Sobre Frederick Evans es recomendable ver las mas de 100 fotos que Google arts pone a nuestra disposición.