Tuesday, July 31, 2007
Art & The Law
http://alexwade.com/articles/20060905_art_and_the_law.html
Saturday, July 21, 2007
Pottermania Hits Dawson Street
An Open letter from Kathy Sinnott MEP to John Gormley TD

Dear John Gormley
TD,
20/07/07
At our meeting on Wednesday 27^th June, you told the petitions committee
that you would make the entire Tara file public. I as vice president of
the committee and my fellow members have been waiting to receive a copy,
but as yet you have not provided one.
When do you intend to do this? Had it been done sooner we would have
known that the government has been put on notice by the European
Commission that the Environmental Impact Assessment for the whole M3
project is no longer valid thus making it unlawful.
Further, the European Commission has informed you it is challenging the
National Monuments Act on which the continuation of the M3 project in
its present route is based. Had you opened the file as promised and in a
timely manner rather than leaving me to unearth the truth only recently,
the public would have discovered that the government is in the European
Court of Justice this autumn over the current illegality of the M3
project and clearly road works should be halted until the ECJ makes its
ruling. The NRA would also have been unable to claim ignorance of the
illegality of the project as they are currently doing.
With this in mind, I must demand that you open the entire Tara/M3 file
to the public as promised and that you do so now. In the interest of the
transparency and dedication to our environment we all hoped your party
would bring to this government, I insist that you release the Tara/M3
file to the public, the petitions committee and to me.
Tara is a treasure which cannot be replaced, I would have hoped that you
would move heaven and earth to preserve it. If you are willing to
sacrifice Tara, what hope have we of preserving anything else?
Yours in hope
*Kathy Sinnott MEP*
021 4888793
kathysinnott@iol.ie
Thursday, July 19, 2007
'Leonardo Comes To Town' by Frederico Bertelli
From June 13th to august 12th The Chester Beatty Library will display the Codex Leicester an autograph manuscript by Leonardo da Vinci (1452-1519) containing his observations on the nature and properties of water as well as other aspects of science and technology. Of particular interests is the correlation between science and painting that spreads from these pages. In particular, if we look at the Leonardo’s “treaty about painting” this idea emerges with particular strength:
Scienza è detto quel discorso mentale il quale ha origine da' suoi ultimi principî, de' quali in natura null'altra cosa si può trovare che sia parte di essa scienza, come nella quantità continua, cioè la scienza di geometria, la quale, cominciando dalla superficie de' corpi, si trova avere origine nella linea, termine di essa superficie; ed in questo non restiamo satisfatti, perché noi conosciamo la linea aver termine nel punto, ed il punto esser quello del quale null'altra cosa può esser minore. Adunque il punto è il primo principio della geometria; e niuna altra cosa può essere né in natura, né in mente umana, che possa dare principio al punto
Treaty about painting – Volume 1
In brief the meaning of this passage is: science is a mental discourse that starts from geometry, which is about the study of volumes, areas and lines, and in final instance, of points. So are the points the starting point of geometry because nothing can be found either in nature or in the human mind as more axiomatic. But this straightforward idea can be also found if we look at the painting of Markey Robinson. Some critics sees him just as a good primitive, but this would just be reductive. It is true that the term primitive is often used in relation to Markey’s work, but primitive is also an elusive term. If we think at primitive as the works of untutored artists, yes, aspects of Markey’s work are naïve, but however, Markey’s mature work was too knowing to be just classified naïve: his works became more and more absorbed in exploring and communicating the essence of form and the mood and emotion beneath the surface of the paintings through strong volumes, structural control and sense of pattern. In particular Markey was interested in the shell of an old form not out of nostalgia for a lost Celtic Eden or because of romantic yearnings but because of the artistic potential for line, structure, color and mood. One of his favorite subject were cottages, because of their versatility. In particular cottages created great possibilities for line, because of their versatility. Cottages could be positioned together in informal groupings or they might visually echo the shapes of hills or mountains. They could be used in order to give a decorative “modern” flatness or to produce spatial relationships with other figure. With the cottage, Markey abstracted conventional imagery. He reinterpreted the landscape, creating new shapes, allowing him also to test the agility of his line. And in same way this is close to the Leonardian idea of geometry applied to painting.
'Markey Robinson' by Kevin Rafter, A Documentary
Following some excellent reviews, RTE Radio One now have Kevin Rafter's brilliant documentary on the life of Markey Robinson available as a podcast on their website.
http://www.rte.ie/radio1/doconone/1130382.html
The Art Economy by Dr Clare McAndrew
We say: An essential read for all experienced or new investors in the Irish Art Market.
http://www.theliffeypress.com/proddetail.php?prod=09-4