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图片文件尺寸 : 4695 x 4391px

ERNIE BARNES:Solid Rock Congregation
1993

signed
acrylic on canvas

36 by 48 in.
91.4 by 121.9 cm.

This work was executed in 1993.

厄尼·巴恩斯 Solid Rock公理会1993

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图片文件尺寸 : 5455 x 4488px

奈良美智 实心拳

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图片文件尺寸 : 4194 x 4067px

A FINE ARMOR WITH A NUINOBU CUIRASS:Edo period (1615-1868), 18th century
The matching components lacquered black and laced in blue with purple and white highlights, comprising a russet-iron 62-plate suji kabuto, finished with a four-stage gilt-metal tehen kanamono engraved with scrolling vines, the mabizashi with a gilt-copper fukurin and gilt kuwagata and maedate formed as a rhombus within a circle, the bowl fitted with a three-lame solid shikoro, the top edge of each lame scalloped, finishing in long fukigaeshi applied with printed leather and gilt-brass matsukawabishi crests; the menpo lacquered russet brown and fitted with a three-lame yodarekake; the nuinobe do laced in sugake style, applied with gilt-metal saihai no kan and tenugui no kan, the edges of the cuirass trimmed in gilt-metal fukurin, fitted with seven sections of five-lame kusazari with scalloped upper edges, and with solid-plate hinged wakibiki; sode with applied leather trim; tsutsu-gote; Etchu haidate; with two wood storage boxes; no armor stand

一件镶有努伊诺布胸甲的精美盔甲 江户时代，18世纪

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图片文件尺寸 : 4694 x 5330px

MYOCHIN TAKAYOSHI (ACTIVE 1504-1550):A 62-plate suji kabuto
Muromachi period (1333-1573), 16th century
Russet-iron, constructed of 62 vertical plates riveted together, each plate with a vertical standing flange, the crown finished with a shakudo and gilt tehen kanamono pierced with scrolling vines, signed on the interior at the rear Myochin Takayoshi, the front mounted with a lacquered-wood maedate formed as an archery target decorated in rogin-nuri and black and red hiramaki-e, the interior inscribed with the character oni (demon), the bowl fitted with a four-lame solid-plate shikoro ending in large fukigaeshi, laced in sugake style in blue with white, purple, and green trim
10in (25.4cm) wide (across the helmet bowl)

肌球蛋白TAKAYOSHI（活性1504-1550） 公元16世纪，一个62个板块的suji kabuto室町时期

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图片文件尺寸 : 4417 x 4336px

MYOCHIN IEHISA (ACTIVE 18th CENTURY):A suji kabuto and menpo
Edo period (1615-1868), 18th century
The russet-iron helmet constructed of 16 plates riveted together, the crown mounted with a three-stage gilt-copper and shakudo tehen kanamono, the front adorned with a lacquered-wood maedate formed as a long-eared demon, the helmet bowl fitted with a five-lave solid shikoro lacquered black and laced in green and orange sugake style, the fukigaeshi applied with pebbled leather highlighted with gold lacquer and applied with gilt-copper plum-floret family crests; the russet-iron menpo with a hinged nose plate and deep wrinkles on the cheeks, the interior lacquered red, fitted with a four-lame yodarekake laced to match the shikoro
9 7/8in (25.1cm) wide (across the helmet bowl)

肌球蛋白（活跃的18世纪） 18世纪，一个歌舞伎和门波江户时期

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图片文件像素：6224 x 5523 px

Giuseppe Capogrossi，当代艺术I-

Giuseppe Capogrossi * - Zeitgenössische Kunst I-

(Rome 1900–1972)
Superficie n. 149, 1956, signed and dated; signed, titled and dated again on the reverse, oil on canvas, 65 x 50 cm, framed

We are grateful to Archivio Capogrossi, Rome for the kind assistance with the cataloguing of this work

Provenance:
Galleria d’Arte Selecta, Rome (stamp on the reverse)
F. Russoli Collection, Milan
European Private Collection

Exhibited:
Rome, Galleria Selecta, 1956
Paris, Galerie Rive Gauche, 1956, exh. cat. no. 18
Berlin, Fünf italienischte Maler der Galleria La Bussola, Turin und Rom, 1957
Wuppertal, Städtisches Museum, Fünf italienische Maler, 1957, exh. cat. with ill. (label on the reverse)

Literature:
G. C. Argan, Capogrossi, Editalia, Rome 1967, p. 29, p. 164 no. 235 with ill.

The theme he discovers - this claw, this hand, this trident, this gallows - is already a style. He bends it to his moods, imprints his fantasies on it, calms it or exacerbates it, unleashes it, puts it to sleep, haunts it, indulges it. There is nothing he cannot make it do, nothing he cannot make it say.

One theme: the whole world.

Since Mondrian, I have never seen such an intimate and tenacious union of personal style. Allowing for due differences, of course, as the contrast between the two is remarkable. Capogrossi is infinitely richer than Mondrian, who is infinitely deeper. One established solid and simple foundation from which the other can profit, build upon, and afford a thousand fantasies.
Michel Seuphor in the catalogue of the exhibition Capogrossi, Galleria del Naviglio, Milan 1953

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