The blog
About
Got Feedback?
Classical Depicted
Classical Depicted
Browsing Category
Abrahamsen
Alfred Brendel
Andris Nelsons
Anne-Sophie Mutter
Arturo Benedetti Michelangeli
Bach
Barbara Hannigan
Beethoven
Bernstein
Boccherini
Brahms
Cecilia Bartoli
Chopin
Classical Music
Claudio Abbado
Daniil Trifonov
Debussy
Dvorak
Emanuel Ax
Evgeny Kissin
Funny
Glenn Gould
Grigory Sokolov
Gustavo Dudamel
Herbert Blomstedt
Herbert von Karajan
Horowitz
Iván Fischer
Ivo Pogorelich
Kirill Petrenko
Krystian Zimerman
Ligeti
Liszt
Mahler
Mariss Jansons
Martha Argerich
Maurizio Pollini
Maximilian Hornung
Mischa Maisky
Mstislav Rostropovich
Peter Oundjian
Phillipe Jaroussky
Prokofiev
Rachmaninoff
Rafał Blechacz
Rameau
Schubert
Schumann
Seong-Jin Cho
Shostakovich
Simon Rattle
Skrjabin
Steffani
Stravinsky
Uncategorized
Verdi
Victor Borge
Vivaldi
Vladimir Ashkenazy
Williams
Yo-Yo Ma
The Blog
About
Got Feedback?
Classical Depicted
Browsing Category
Abrahamsen
Alfred Brendel
Andris Nelsons
Anne-Sophie Mutter
Arturo Benedetti Michelangeli
Bach
Barbara Hannigan
Beethoven
Bernstein
Boccherini
Brahms
Cecilia Bartoli
Chopin
Classical Music
Claudio Abbado
Daniil Trifonov
Debussy
Dvorak
Emanuel Ax
Evgeny Kissin
Funny
Glenn Gould
Grigory Sokolov
Gustavo Dudamel
Herbert Blomstedt
Herbert von Karajan
Horowitz
Iván Fischer
Ivo Pogorelich
Kirill Petrenko
Krystian Zimerman
Ligeti
Liszt
Mahler
Mariss Jansons
Martha Argerich
Maurizio Pollini
Maximilian Hornung
Mischa Maisky
Mstislav Rostropovich
Peter Oundjian
Phillipe Jaroussky
Prokofiev
Rachmaninoff
Rafał Blechacz
Rameau
Schubert
Schumann
Seong-Jin Cho
Shostakovich
Simon Rattle
Skrjabin
Steffani
Stravinsky
Uncategorized
Verdi
Victor Borge
Vivaldi
Vladimir Ashkenazy
Williams
Yo-Yo Ma
previous article
Brahms
,
Classical Music
,
Emanuel Ax
,
Yo-Yo Ma
Brahms, Cello Sonata No.1, Yo-Yo Ma & Emanuel Ax
Nov 18, 2017
Cello Sonata No.1 in E minor op.38 (J.Brahms)
SHARE
facebook
twitter
pinterest
google +
YOU MIGHT ALSO LIKE
The best of Victor Borge (in 2 acts)
October 16, 2017
Mstislav Rostropovich – Bach Cello Suite No 3 in C major, BWV 1009
October 11, 2017
Brahms – Ein Deutsches Requiem (DRSO, Herbert Blomstedt)
October 3, 2017
Rafał Blechacz: Chopin Concerto N°1 (Allegro maestoso)
September 26, 2017
Alfred Brendel – Schubert – Four Impromptus, D 935
September 22, 2017
LEAVE A COMMENT
/ Cancel Reply
Name
Email
Website
This site uses cookies:
Find out more.
Okay, thanks
![[... continue from the last post ]
In the picture, he is lifting it almost effortlessly. He is posing for the camera, and the (unknown) photographer surely knows his stuff and chooses the right angle to take the picture. Still, it's not fake, or at least not entirely. The cannon could be dismounted in 5 parts, and the carriage doesn't seem to be in place. In another picture, he lifts four of his companions on the shoulders, so we can assume that he could pick up between 250 to 300 kg. My grandfather, a very strong man himself, never missed an occasion to show his father's picture to friends and visitors with pride.
During the years, Nonno Umberto's photo became almost a symbol of physical and mental strength for my family. Physical for self-explanatory reasons, mental for the context in which it was taken. What made me think the most though, while I dissected this picture for my exercise, was the dichotomy between the curved lines of his body, bending under the weight, and the straight, metallic, inhuman lines of the cannon. And there it clicked back: the sense of oppression of wars and violence that got lost with the time.
#illustration #war #umberto](http://scontent-ams3-1.cdninstagram.com/vp/1204049839f2d1004e730ca1b78db8dc/5CA48D72/t51.2885-15/sh0.08/e35/s640x640/29094679_348439902330307_5511951261483663360_n.jpg "[... continue from the last post ]
In the picture, he is lifting it almost effortlessly. He is posing for the camera, and the (unknown) photographer surely knows his stuff and chooses the right angle to take the picture. Still, it's not fake, or at least not entirely. The cannon could be dismounted in 5 parts, and the carriage doesn't seem to be in place. In another picture, he lifts four of his companions on the shoulders, so we can assume that he could pick up between 250 to 300 kg. My grandfather, a very strong man himself, never missed an occasion to show his father's picture to friends and visitors with pride.
During the years, Nonno Umberto's photo became almost a symbol of physical and mental strength for my family. Physical for self-explanatory reasons, mental for the context in which it was taken. What made me think the most though, while I dissected this picture for my exercise, was the dichotomy between the curved lines of his body, bending under the weight, and the straight, metallic, inhuman lines of the cannon. And there it clicked back: the sense of oppression of wars and violence that got lost with the time.
#illustration #war #umberto")
![When he was around my age, my great grandparent Umberto just finished his first great war. One more to go. Born in 1888, he was 27 years old in 1915, and 52 in 1940.
A copy of the picture with a 65/17 cannon (modello 13) on his shoulders is in a first world war museum in northern Italy. The original has been in my family house for a century now.
I wanted to sharpen my pen-tool skills working on a new picture, and one morning I woke up with this familiar image in mind. The odd thing with "familiarity" is that it lays down a veil of fogginess that covers details and meanings, no matter how strong they are. Somehow, living with a compelling picture on the way to the bathroom makes it invisible. The environment digests it, and you just get used to it.
To recover its original meaning, you need distance, objectivity, and time.
During the first war, Umberto is a veterinary assigned to the mules that bring provisions to the front. The 65/17 cannon (modello 13) is designed to be as portable as possible, with wheeled carriage for ease of use between the Italian mountains that were neighboring the potential enemies of the period, the Austro-Hungarian troops. It's relatively lightweight: 560 kg in total, which a small team has to lift, attach to the mules and move where the cannon is needed. [ ... To be continued into the next post ]
#illustration #war #umberto #1888](http://scontent-ams3-1.cdninstagram.com/vp/2f3d2c03c93665d4c562d0122816f1d7/5CA673FF/t51.2885-15/sh0.08/e35/c0.135.1080.1080/s640x640/29716356_2058608994416334_3525653475494985728_n.jpg "When he was around my age, my great grandparent Umberto just finished his first great war. One more to go. Born in 1888, he was 27 years old in 1915, and 52 in 1940.
A copy of the picture with a 65/17 cannon (modello 13) on his shoulders is in a first world war museum in northern Italy. The original has been in my family house for a century now.
I wanted to sharpen my pen-tool skills working on a new picture, and one morning I woke up with this familiar image in mind. The odd thing with \"familiarity\" is that it lays down a veil of fogginess that covers details and meanings, no matter how strong they are. Somehow, living with a compelling picture on the way to the bathroom makes it invisible. The environment digests it, and you just get used to it.
To recover its original meaning, you need distance, objectivity, and time.
During the first war, Umberto is a veterinary assigned to the mules that bring provisions to the front. The 65/17 cannon (modello 13) is designed to be as portable as possible, with wheeled carriage for ease of use between the Italian mountains that were neighboring the potential enemies of the period, the Austro-Hungarian troops. It's relatively lightweight: 560 kg in total, which a small team has to lift, attach to the mules and move where the cannon is needed. [ ... To be continued into the next post ]
#illustration #war #umberto #1888")