Ferreomodelo Marklin

Ferreomodelo Marklin
maquete Marklin

quarta-feira, 28 de novembro de 2012

Obras de Murat no suporte a artes decorativas

Visite a página de seminários corporativos para sensibilização de executivos e empresários para o papel da pintura nas artes decorativas.

http://muratartcourse.blogspot.com.br/

http://muratartcourse.blogspot.com.br/

As obras de Murat têm decorado hotéis no exterior. Entre eles estão os hotéis Fundador em Guimarães,Browns em Dartmouth - Devon  e NH Bálago em Valladolid, le Reve Hotel Boutique em Santiago e Loi Suites Recoleta Hotel que exibiram algumas de suas peças em seu acervo e em selected collector private sales and marketing  sessions por ocasião de Expo Murats exclusivas.

Portugal

Hotel NH Bálago -  Valladolid Espanha









Le Reve Boutique Hotel Providencia Santiago 


                               

Já no Rio de Janeiro seus quadros estarão permanentemente dando suporte a artes decorativas dos  apart Hotéis da DOMINUS, desde o stand de vendas, ao apartamento modelo e a todos os quartos.







OBRAS DE MURAT NA REGIÃO OLÍMPICA





DÍPTICO DOMINUS MARRIOTT 
em tons FENDI DARK, OCRES, MARRONS, Mostardas, 
Pretos e Brancos em código Pantone ENGINEERS



O primeiro AC Hotel by Marriott no país é na Barra da Tijuca.

 
Para atender a demanda de customização em massa de artes decorativas digitais o Atelier Murat criou uma cadeia produtiva de alto desempenho constituída de processos internos e terceirizados de alta qualidade. Tudo gira em torno da criatividade do Imaginarius que cria as imagens por um processo exclusivo e único.


As expo Murat como as  ilustradas abaixo também atraem colecionadores e investidores corporativos.










A obra de Murat integrada com a de 
outros artistas nas coleções particulares


David Rockfeller, banqueiro e presidente do Museu de Arte Moderna de Nova York: “Não gosto de falar com banqueiros; só querem saber de arte. Gosto de falar é com artistas; só querem saber de dinheiro”.
Para criar uma ponte necessária entre estes dois mundos sem perder a ternura nem o pragmatismo Murat desenvolveu um modelo de negócios que tem garantido a seus colecionadores além de uma valorização constante de seus quadros, mas também uma atenção ao olhar, personalidade e gosto dos compradores. A co-criação que a multimídia permite dá a ele esta vantagem em suas obras. Todavia com tem feito em suas EXPO MURAT ele recomenda complementos decorativos  de outros artistas também.
Considerando que suas obras de arte são também mercadorias tem obtido de leiloeiros, marchands, galeristas e avaliadores certificados que definem  valores  pecuniários que garantem sua liquidez. Analistas de investimento têm dado suporte a criação de carteiras de aplicações equilibrando comodities, ações, Letras do Tesouro Nacional, moedas, ouro e em obras de arte. Talvez, as mais sólidas estas últimas ficam em mixes que sempre contam alguma obra de Murat, por sua penetração nos meios corporativos.  Por outro lado em suas consultorias de arte decorativa Murat integra seus trabalhos com os de outros artistas em coleções particulares, harmonizando-as num ambiente como se faz com o vinho ou com os perfumes.
O s Adquirentes da obra de Murat em diversos países (Inglaterra, Argentina, Brasil, Rumânia, Colômbia, Alemanha, Itália, Iran, Estados Unidos, Portugal, Espanha, Canadá, Suíça, Uruguai, Holanda, Venezuela, Chile, China, Dinamarca, Finlândia, Turquia.) têm verificado o valor da sua obra  em si, por sua técnica, cor, profundidade, beleza, mas também pelo que ela pode retornar em termos de ganho de capital. Isto é particularmente verdadeiro quando, como consultor, ele complementa seus trabalhos com  os de outros artistas. 
Como consultor e avaliador de arte Murat também tem ajudado a customização de coleções fazendo com que os colecionadores escolham educadamente, com seus próprios olhos no universo de possibilidades que a arte oferece. Graças a esta metodologia original Murat tem aconselhado colecionadores a formar algumas das mais apaixonantes e inusitadas coleções particulares. Eventualmente aconselhando a compra cuidadosamente  equilibrada entre os artistas do mainstream, com aqueles ainda em ascensão e os totalmente marginais de qualidade, ele cria conjuntos significativos, singulares, referenciais. Isto previne grandes danos e perdas devidas às oscilações de mercado que ocorrem com o surgimento de novos padrões, com as mudanças culturais, com as flutuações da moda, com as manipulações de mercado, etc... . 

Atuando também como perito forense Murat mantém pesquisas de campo para avaliar flutuações de valor de obras de alguns artistas destacados ao longo de suas respectivas carreiras. Abaixo vê-se dois exemplos de amostras colhidas em leilões  entre 2005 e  2010 que mostram tai variações ao longo da vida artística dos autores Di Cavalcanti e Scliar.



Estas avaliações mercadológicas são baseadas em amostras homogêneas, mas mesmo assim estes valores estão sempre variando em função dos negócios em andamento representando um snapshot do cenário de artes que precisam estar permanentemente observados.  
Este método de Murat garante, com o portfólio variado, que  por exemplo, nomes que foram importantes numa época, quando deixam de o ser, não provoquem desvalorização irremediável da coleção. Sabe-se que em algumas praças, Antonio Bandeira, nos anos 80, valia menos da metade de um Antonio Parreiras. Hoje, o Antonio modernista vale 20 vezes mais em alguns lugares. Amanhã esta tendência pode se reverter.
Assim, o colecionador orientado por Murat consegue, perceber e dialogar com suas obras, estabelecendo casos de amor, desejos e busca, para poder dar continuidade e sentido a sua coleção e  a seu colecionismo de forma esclarecida e auto-confiante. Com isto estabelece-se por intermédio do culto a uma Beleza pictórica  personalizada  um significado  e sentido de eternidade à existência efêmera. A persona do colecionador, seu gusto, seu poder financeiro e sua visão de futuro  ficam expressos em sua coleção e assim  extraindo desse caleidoscópio de arte os signos, símbolos que o representam como indivíduo sensível e de poder,  poderá passar a partilhar  com todos um pouco de sua história. Nestas coleções assim formuladas a obra de Murat se destaca por sua universalidade e complementaridade.

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Presença em eventos internacionais 




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Rio´s  Digital Atelier Murat under Verrochio´s Spell

--> Heitor Luiz Murat de Meirelles Quintella, DSc and Doctor Honoris Causa in Arts
--> President of Stratimidia’s Murat MAGIC (Maison d’Art Galerie et Imaginarium Contemporain) Atelier
 
-->Vice President of IHGN (The Historical and Geographic Institute of Niteroi )
--> Life occupant of Portinari Chair of ANBA (The Fine arts Academy of Niteroi )
--> Former Professor and Collaborator of The Universidade Federal Fluminense  

Abstract
This paper presents a pioneering experiment in digital art carried out in Brazil,  UK, USA since the years 1970.  An account of the origins, development of the achievements of methods, disciples and partners in the advance of the use of technology in art and art historic legacy. An analysis of the overall action philosophy identifies the convergence with the renaissance ideals of  Verrochio’s Bottega. A summary of main works commissioned by corporate and collector clients is presented with considerations on future activities and overall market trends. The overall framework of the atelier Murat has been used as a pattern to implement similar organizations as a consulting service.

Digital Art in principle
Digital Arts in Murat Atelier combine new media and visual art theory with strong technical sophistication, a rich sense of visual design, and an ability to articulate artistic research, by emphasizing creative thinking, experimentation, visual communication delivery systems and intense research. In so doing the inspiration was the revival some  of Verrochio´s Bottega atmosphere at least in five-up aspects (Quintella, 1994):
a)     On demand production
b)     complete production and value chain
c)      multidisciplinarity by integrating  past and future
d)     research environment integrating arts, technologies and sciences
e)     permanent learning environment.
According to Vasari, Verrocchio was not only Commission-oriented but highly devoted to details. He practiced deeply and occupied himself with studies of horses, and regularly took casts in gesso of different parts of the body, arms, legs, hands and feet, in order to study them with more facility. Verrochio sets an example for thosewhowork in digital art to exercise thoroughly all sorts of computing techniques and their software tools. Following Verrochio’s philosophy atelier Murat works exclusively on-demand and offers courses and laboratories emphasizing intense testing and experimenting with various stechniques searching optimization of result. (Covi, 2005), (Vasari, 2008), (Cast, 2014)
This new media art tackled by Murat Atelier is  a genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art technologies, computer robotics, and art as biotechnology without abandoning traditional and conventional art whenever necessary. In order to achieve and promote this the atelier - school develops multiple communication skills capable of mashing up any product based in a common digital language to reach both local and universal ideas of individual artists for the collective mind. The philosophy that guides the activity can be translated by Francastel´s words:

Art and technology are not set against each other, nor are they in an all-encompassing correspondence. The conflict arises when the realm of the imaginary is supposedly shielded from reality. It is in technology that art and other human endeavor converge. Art’s domain is not that of the absolute but that of the possible”. (Francastel,  2000 )

With this concept in mind this modern revival of Verrocchio´s entrepreneurial spirit views the artistic object  as a process - procedure – intervention -  collaboration – product  digital  art aiming at an open dialogue with the viewers (Ligon, 2010).  Embracing the same experimental renaissance boldness, the atelier recognizes that since  pre-historic era man (essentially a  technology and instrument generator that amplify his own physical, mental and sensorial potential) has been using production and defense artifacts to produce art and pleasure, why shouldn’t today artist use cameras,  telescopes, microscopes, computers, circuits, X rays, guns, pharmaceuticals, chemicals, recyclable material, etc… together with conventional material? This New Digital art is the convergence of every possible instrument to represent ideas and feelings in art form.(Christensen,2001)

Brief historical account of the atelier Murat
Experiments of the atelier Murat started with mainframe technologies in the sixties  maturing after successive developments  and application of digital techniques together with artificial intelligence to poetry, novels  and 2D visual art. In the first decade manual techniques were still dominant approaching noir and indigenous Brazilian themes, combining mainly photo techniques with enlarging lenses, with a few computing effects. Main applications were illustrations for newspapers, educational strips and cartoons with some experimental nudes for art expos. Inspirational and patrons of the arts in this decade were mainly Schulz and Al Capp. In the 70’s the use of software is intensified to cover more universal themes such as skylines, linear landscapes, mostly black and white. The use of filters to photos to be processed by computers used frequently as inspiration and patrons Hopper, Blake and Di Cavalcanti. In the 80’s minicomputers and more powerful software started to be used  to transform hybrid manual images that were applied to product and textile design an also to  illustrations for childrens books.  In the 90’s with the support of IBM a greater cooperation of computerized methods with photos and  conventional drawings covering naturalist and amerindian  themes improving the studies of nudes with advances in the colour of the subtleties of female skin. Inspirational artists and patrons of this decade were mainly Portinari and Scliar. In the 2000’s the atelier dives fully in  digital art with full integration with other forms of art. Mosaics,  street scenes, sea views, sports and professionals at work exploring new colours mainly under the inspiration of Rapoport, Escher and Rockwell. In the current decade the corporate marketing has commissioned  regularly works of the atelier  after being awarded a number of important medals and participation in international Expos.   A small number of disciples and partners were slowly being developed to establish the personality of the atelier and assemble a reliable outsourced value chain capable of fast, high quality response to the  exacting demand of corporate clients. Also some social efforts of education for the needy were conducted together with local governmental bodies and universities.

Conceptualization, Style  and Personality of the atelier
In order to define a unique concept and personality the atelier  viewed Digital art as a revolution and a major progress in the potential  to redefine and amplify the creative process of art products. A number of vectors propel this view:
• use of multimedia connectivity to suppress boundaries among means of expression;
•endless experimentation in search of quality and freedom of expression
•the possibility of option for either  elitist unicity or democatice replication of the work of art preserving the quality both in process and in product;
•possible elimination of intermediate agents in sale
•full freedom of creation with no aesthetic, Philosophical or technical limitations
•continuous upadte of technical resources
•potential  mass customization  and cost reduction of works of art

 A rational productive process to generate a digital work of art has been used consisting of a series of steps as follows:
•definition of  a central Idea;
•build structures or themes around the  central idea;
• introducing secondary elements to bring complexity and depth;
•define purpose by either or both focusing, stabilizing, varying and repeating themes;
•organize and position the elements  to provide  logic e fluidity  to the work of art.

The style of the atelier had an organic birth and keeps under constant development to adapt to market conditions and demand. The freedom required for creativity imposed the idea that traditional and digital elements should be combined in any sequence envisaging the aesthetic goal, not some rigorous program.  However some guidelines were discovered along the years that resulted in better products and processes:

1 Dilemma of the center of interest – There are always two alternatives in a digital composition: either select an area to be more important and unique at first glance or equalizing and distributing points of interest for the viewer. The advantage of digital approach is that simulations with multiple tools can be carried out and tested before final rendition in a variety of values, colours, sizes, forms etc… to elect the best possible design  in 1D, 2D, 3D, 4D in optimum time and cost.

2 Harmony pattern – the integration of the elements of the composition with other similar units can be achieved by a smart combination the software cocktail tools to provide the viewer with the various levels of a unifying sensation of degrees of  harmony.

4 Contrast – Digital tools have shown to be very powerful to produce visual dystonia by change in value, hue etc… or by eliciting differences in forms and depth specially with  digital tools of texture and layering.

5 Directional Movement and Emphasis – Digital variation tests can be conducted to enable preview and fine tune the visual flow that crosses the composition suggesting movement and capture the attention of the viewer while the eye moves from one object to the other or even from ‘chiaros’ to ‘oscuros’. The important part or  center interest  can be emphasized by lines or colours  to enhance its presence and visibility. The endless possibility simulation of various situationscan only be provided by the digital approach.   

6 Rhythm – Specific software features allow for qualitative and quantitative measurement to permit the artist to assess the impact of various alternatives  for the use of  movement of elements such as form or colour as if was a dance or a music beat.

7 Cultural Symbolism, Image Semantics and emotional project–  Various data bases of objects and patterns  are currently available in libraries to obtain the perfect aesthetic anima and animum provided by  the historical and cultural sinergy between the expression of the artist and the perception of the viewer.  In the same manner the psychological messages can attract the targeted people  by means of signs that reflect taste, ethics, behaviours, lifestyles, yearnings and desires of observers. Thus symbolism and semantics can effectively guide the transmission of emotions to do the magic trick of mobilizing the observer to be affectively linked to the design proposed by the artist.


8 – Inclusion of secrets and challenges -   Art refinement is just as expressive as interesting as it contains characteristics and hidden ideas that are only perceived by diligent, cult, attentive and observant viewers. Powerful art  provokes the viewer to question trivial, common and poor concepts or assumptions and seek world transformation. The digital catalogue of remarkable paintings present in the ateliers’s history, methodology and technology of art can help the artist in finding ideas for these refining aspects.

Methods and partners
The Principles aligned with Verrochio‘s Bottega Philosophy that were partially embraced and magnified by Leonardo  - the most distinguished Verrochio disciple- (Covi, 2005) and were used as much as possible as guidelines for Stratimidia were: Organization,  Focus on Objectives, Discipline, Excellence and Continuous Improvement, Strategic Planning, Art -Technology and Science Integration, Teamwork, Learning and Experiment Environment, Market Driven action. The strongest motives to adhere and diffuse this spirit, expressed by Leonardo’s words: “Studia la Scienza dell’arte, Studia l’arte della Scienza” are: first  the conviction that this is a safe way of peacefully overcome in the long range poverty, suffering, illness, caducity, and eventually death; secondly that this is a rational and emotional  path to respond to deep questions on the origin of self, life, universe, human nature and other phenomena of mankind, and finally that it is a secure way of aligning values and methodologies of human ingenuity towards the freedom of the individual. Partners for this endeavor are architects, associate artists, industrial 2 D and 3D printers, framework artisans, specialized logistics firms. (CAVALCANTI, 1970), (Quintella, 2016).
The general method of production   starts with any element or object arising from data, voice or image obtained by conventional manual gestures or by  photos or computer images. These elements are  artistically transformed and digitized to become what is defined as techno-bricks which are handled by a software cocktail (both old discarded software mixed with modern ones) to be used in isolation – as techno atoms- or  combined with other techno bricks – as techno molecules stored in a technotec. These techno elements are  combined successively to map the virtual world images thus created into real images that can be rendered and delivered to clients.

The value chain developed at the atelier makes it possible to involve the client in the first steps of the design customize the final image to demand of the aesthetic need of the interior. The overall rendering is then carried in the imaginarium, and if the requirement is hundreds or thousands of paintings for a hotel, for instance, they can be produced and delivered just – in - time  at the clients site.

Innovative goto market practices
Innovative purchase models such as Art Leasing, Art Rental, Advance Art Acquisiton, Swop Art Sale or Art Trunk Show allow a variety of art loving clients to enjoy what is best in Multimedia and Digital Art by the highly prized and praised atelier Murat.

The Business model created at Stratimidia for the atelier Murat encompasses not only the traditional direct sale in installments ranging from one to sixty, but also makes it possible to offer varied size batches of paintings to be delivered in record time. Themes are co-imagined and / or co-authored  with clients  customizing the art fully to client’s taste and aesthetic  needs to be produced on-demand, after approval,  in numbers, sizes and shapes to be delivered just-in- time to specific  locations of client’s choice. By working together with highly acclaimed architects Stratimidia has had as typical clients so far Hotels, large shops, Corporations, Condominiums, Government  and Religious Institutions.
Conclusion and Trends in Digital Art
Digital art  is  complex, fast-changing, fuzzily bordered  with other forms of art. In general  its popularity  goes back to Andy Warhol’s recently rediscovered images made on his Commodore Amiga home computer in the mid-1980s and other, less-famous artists who preceded him. However less popular but much more structured, varied  and systematically  produced  are digital works of art from IBM Scientific Centers linked and sponsored artists such as those associated to the atelier Murat that  started some 15 years earlier than the popular issues. (IBM, 2006)
Currently the market for digital  is split between art that’s created and displayed on a screen and the paintings, prints and photos that are generated digitally and then printed. The atelier Murat has focused in the second area for the first one is still nebulous and the market  remains skeptical about the commercial potential of art shown on a screen due to the practice of  free downloading, it is a common sense belief that  a proper market exists only if copies are securely limited, signed and numbered.
Art sales and auctions have happened all over the world and  the atelier Murat has been present in some of them in Portugal, Spain, Buenos Aires, Brasilia and Rio de Janeiro. The price of most digital works might not yet have reached a high level in this open market because it depends on galleries and even with  certificates of authenticity and the appearance  of a new group of international collectors that proved to be more  confident about five-figure purchases, this market is small. The go to market approach of the atelier Murat has been to address corporate sales especially to hotels, religious institutions, hospitals and firms in general.  The advantages are that access to the client is without intermediation of galleries, but it is done in cooperation with architects. As the market for “fine” (a better term should be - aca - analogic conventional art) contemporary art becomes more and more expensive, and as advances in  the proliferation of conventional artists trying their luck with doubtful competence and ingenuity, it is clear that  the sheer affordability and accessibility of digital art subverts the market.
The global art market continued to recover in 2011, with the market as a whole advancing 7% year-on year to €46.1 billion, an increase of 63% from the market crisis of 2009 , (TEFAF, 2012), on the other hand the digital art market (partly due to the fact that it is still small) has grown considerably more. This progress is still invisible by conventional art market studies because it is not based on galleries, but on-line, according to (Statista, 2016) Global on line art market grew steadily (1,57USD in 2011 to 2,64USD in 2014) with a forecast of 6.3 billion USD in 2019. How much of it is actually digital art is not known. But artnet  News gives a hint that some 50% digital print ranks second in buyers preference. (Johnson, 2014)
 This might in the future cause the emergence of an art market bubble  due to the expansion of digital art not only in its pure  form of paintings and  3d Printed sculptures ,  but also in the fields of restoration and cultural legacy preservation.
Trying to follow Verrochio’s  ideal the atelier has put forward a rather practical, market driven and results oriented approach  for sales and also an educational effort on –line not only in techniques but also in history of art to prepare artists and public alike for the digital art revolution that lies ahead.




           

BIBLIOGRAPHY
Cast, David, The Ashgate Research Companion to Giorgio Vasari Ed Ashgate, Farnham, 2014.
CAVALCANTI. História da Arte.  Civilização Brasileira: Rio de Janeiro, 1970
Christensen, C. O dilema da inovação, Makron / Mcgraw-Hill, SP, 2001
Covi, Dario A. (2005). Andrea Del Verrocchio: life and work. Editrice Leo S. Olschki Florence.
Francastel, P.   Art & Technology in  the XIXth and XXth centuries, Zone Books, New York ,2000.
IBM, Threshold gives a new face to digital animation with an innovative,  real-time process, In Innovation that  Matters, IBM Corporation, Armonk, 2006.
Johnson, P. The Truth About the Murky Online Art Market,  Wednesday, July 2, 2014, https://news.artnet.com/market/the-truth-about-the-murky-online-art-market-53811.  Artnet, Berlin, 2014.
Ligon, S. Digital Art Revolution, McGraw-Hill, New York, 2010.
Mac Andrew, C. TEFAF (The European Fine Art Foundation), The Global Art Market in 2011,  TEFAF, Maastricht, 2012.
Quintella, H Manual de Psicologia Organizacional da Consultoria Vencedora,  Makron / Mcgraw-Hill, SP, 1994.
Quintella, H Murat Art Styles and History Course, http://muratartcourse.blogspot.com.br/, 2016.
Statista,  http://www.statista.com/statistics/284586/global-online-art-market-sales-2012/ Statista GmbH, Hamburg 2016
Vasari, Giorgio, The Lives of the Artists (Oxford World'sClassics) Reissue Edition Oxon Press, 2008.
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