¿Qué pasa cuándo tocamos un instrumento?

pinchar aquí:
https://www.youtube.com/watch?v=CZDIcx2GorI

Más del MoMa interactivo: Paul Gauguin

http://www.moma.org/interactives/exhibitions/2014/gauguin/print-series

Eugène Henri Paul Gauguin (Paris, 7 de junio de 1848 - Atuona, Islas Marquesas, 9 de mayo de 1903) fue un pintor postimpresionista. Jefe de filas de la Escuela de Pont-Aven e inspirador de los Nabis, desarrolló la parte más distintiva de su producción en el Caribe (Martinica) y en Oceanía (Polinesia Francesa), volcándose mayormente en paisajes y desnudos muy audaces para la época por su rusticidad y colorido rotundo, opuestos a la pintura burguesa y esteticista predominante en la cultura occidental.

Su obra está considerada entre las más importantes de los pintores franceses del siglo XIX y mantuvo su influjo más tiempo que los impresionistas, contribuyendo decisivamente al arte moderno del siglo XX. Sus experimentos sobre el color y, en general, el conjunto de su obra influyeron en la evolución de la pintura, tanto en Picasso como en el expresionismo alemán, y tuvieron especial impacto sobre el fauvismo (movimiento que se desarrolla entre 1898-1908).

The Mistery of the Ordinary

René Magritte, MoMa Multimedia, algunas de sus obras:     http://www.moma.org/interactives/exhibitions/2013/magritte/#/featured/1

Between 1926 and 1938 René Magritte (Belgian, 1898–1967) developed key strategies and techniques to defamiliarize the familiar—to make, in his words, “everyday objects shriek aloud.” During this period of intense innovation he was closely aligned with the Surrealist movement, and his work of these years constituted an important new approach to Surrealist art.

This exhibition begins with paintings and collages Magritte created in Brussels in 1926 and 1927, in anticipation of and immediately following his solo exhibition at the Galerie Le Centaure—the exhibition that launched his career as Belgium’s leading, indeed only, Surrealist painter—and then follows him to Paris, where he lived from 1927 to 1930, to be closer to the movement’s center. It concludes in 1938, the year he delivered “La Ligne de vie” (“Lifeline”), an autobiographical lecture that provided an account of his career as a Surrealist.Like the other artists and poets associated with the Surrealist movement, Magritte sought to overthrow what he saw as the oppressive rationalism of bourgeois society. His art during these essential years is at times violent, frequently disturbing, and filled with discontinuities. He consistently interrogated conventions of language and visual representation, using methods that included the misnaming of objects, doubling and repetition, mirroring and concealment, and the depiction of visions seen in half-waking states—all of them devices that cast doubt on the nature of appearances, both in the paintings and in reality itself. The persistent tension Magritte maintained during these years between nature and artifice, truth and fiction, reality and surreality is one of the profound achievements of his art.