An old house located in East-London. A place taken over by artists and designers. Their contemporary creations, sometimes sober and functional are melting up with the old walls of the house, where several layers of paintings betray the time passing. A spatial evading in these cracks and drips.
Une vieille maison désuète située quelque part dans le East-London. Un lieu investit par des artistes et des designers. Au milieu des créations contemporaines, parfois sobres, fonctionnelles et épurées se mélangent les vieux murs de la bâtisse, ou plusieurs couches de peintures, de tapisseries trahissent l'inexorable écoulement du temps sur celle-ci. Une perdition spatiale dans ces craquelures et coulures.
Our clients, a young couple, had just moved into a small two room apartment in a beautiful pre-WWII-building in one of the most wanted neighbourhoods of Wiesbaden. They both like the clean aesthetics of Scandinavian interior design and asked us to find a light and friendly, though individual style, for their new home.
First of all we had to take out the PVC coating in the entire apartment and free the original floor boards. The clients wanted the kitchen to be a light and clean space so we suggested to paint the floor boards in white. Instead of the old wallpaper we put on a new fine plastering. The backsplash behind the kitchen unit is made of Metro tiles in a charming craquelure look. Also the kitchen unit is an exclusively designed build cupboards made of antique windows that holds the large pottery collection of the owners. The spacious cupboard and enough storage space in the kitchen unit allowed us to go without wall units that would clutter the walls. Round holes in the drawers and doors substitute knobs and put an emphasis on the wooden material itself.
The hallways provides a lot of extra space that we used for a white floor-to-ceiling wardrobe. The light colour makes it almost disappear and even seems to prolong the hallway a bit. The protagonist of the hallway is a wooden bench made of an old stool and old boards. One of the two rooms should become an office but still be livable.
We solved the problem by building a loft bunk which serves as guest bed, cozy haven or extra storage. It provides little space with indirect illumination and a power outlet. Also the sideboards in front of the window along the walls may be used for plants or as exhibition space for art and books. The huge desk in the centre of the office provides enough work space for two.
Top Left: Typical 14th and 15 C Italian panel, grain vertical; Cracks on 15th C Italian panels can have two distinct generations or widths, tend to be jagged and have a predominant direction perpendicular to the wood grain.
Top Right: Typical 16th C Flemish panel, grain vertical; Cracks on 16th C Flemish panels tend to be small, orderly, of uniform width, and parallel to the wood grain.
Bottom Left: Typical 17th C Dutch canvas, warp horizontal; Cracks on 17th C Dutch canvas paintings may be straight, jagged, and perpendicular to the warp.
Bottom Right: Typical 18th C French canvas, warp horizontal; Cracks on 18th C French canvas paintings are more random, curved, large, and are usually connected.
None of these statements are always true, but can be used as a general guideline; many characteristics depend on the artist’s individual methods and materials.
Source: directly quoted from Conservation of Easel Paintings, Joyce Hill Stoner and Rebecca Rushfield, 2012.
“Sometimes I look at great paintings in a museum and note the craquelure and other flaws in the work and imagine what a great painting it must have been at one time. I sometimes want people to look at my work and have that same feeling. A feeling that if only the surface was clear, there must be something very beautiful beneath it."—Kim Keever
Portrait of a young girl. Circle of Sir Thomas Lawrence (English, 1769-1830). Oil on canvas.
This portrait of a young girl reading can not be attributed to Lawrence and with cause as it does not reach the quality of Lawrence’s works. However, despite the damage to the painting with cracking, lifting paint, craquelure and shrinkage, it is clear that the artist has talent, particularly in the depiction of the face.
This one was specifically inspired by the coat-suit-tie combination at the end of “Savoureux,” but as we started going through the Inspiration Folder for other ideas, we noticed that the mahogany/blue pairing shows up a lot, particularly in Hannibal’s house (front hall and dining room). And I like that you’d think a color called “Ripper” would be some kind of over-the-top red… but it’s not. It’s a very pretty, complex, yet wearable brown; you’d never guess the name just by looking at it. I think you see where I’m going with this.
(Also today: Craquelure, a “Sakizuke”-themed gold-shifting green, now live on the site. Ripper should be up shortly.)
So at the Saturday Q&A I asked this question (or words to that effect):
“At the start of season 2, how did you feel about Hannibal cavorting around YOUR lab as if he owned the place, telling you the meanings of words like ‘craquelure’ as if you needed to be told? Didn’t it make you at all suspicious?”
And the answer was a definite YES from Scott. They said that in season 1, they had Will coming in and telling them how to do their jobs and quivering all over the place, and now this? Jimmy did not take kindly to such condescension.
Whereas Aaron said he had Brian playing it like he totally looked up to Hannibal and IIRC maybe even hero-worshipped him a little bit, because he was the most wrong character in the history of being wrong on television, suspecting Will in season 1 and then admiring Hannibal in season 2. He went on a bit about how wrong he’d been and how nobody had ever been so wrongly wrong as him. In retrospect, maybe I should have reassured him a bit. I’ve been wrong too, on occasion, and I’m not even fictional.
Le soleil ne s'était pas encore levé. La mer et le ciel eussent semblé confondus, sans les mille plis légers des ondes pareils aux craquelures d'une étoffe froissée. Peu à peu, à mesure qu'une pâleur se répandait dans le ciel, une barre sombre à l'horizon le sépara de la mer, et la grande étoffe grise se raya de larges lignes bougeant sous sa surface, se suivant, se poursuivant l'une l'autre en un rythme sans fin.