How To Insulate A Tent

The umbrella broke

Story

By Norberto Alvarez Debans

That evening, the eve holiday, left the agency earlier than usual. Had not been well all day. He wanted to be alone with myself, in touch with nature. Without this environment, people, problems and closure. Felt cold despite the heat.

comforted me walk with the sun just warm on the back. Arenales walked down the street from the agency, decided to go without trouble to Plaza San Martín, I have always felt comfortable in that area. When he wished to compose myself, ordering my insides, (in that circumstance), I sat on a bench watching him ride away in the direction of British Plaza. Wrapped with the overcoat, the collar raised, warm wool scarf, hands in his pockets and his legs stretched ... well, remained calm until beginning to darken. Pleasure felt there. Inexorably, the Torre de los Ingleses time I returned.

The sun, as channeled through the streets, producing flashes in the windows of buildings, behind which was going down slowly. When traveling, cars reflect light in chrome and glass rear, revitalizing, and marched as fleeing from the sun to retreat. Shadows stretched languidly on the floor, ground illumination effect on objects. As I walked, I felt my tension is relaxed, feeling the rhythmic breathing, deep, brought by former teachers. The small cloud of vapor that was with me at times, grotesque, mysterious lit on my face. I had the impression of walking through an impasse. As we progressed, it became more and more noticeable this feeling to go elsewhere. I seemed to perceive less noise, like the murmur of the street was hushed.

Sometimes I amaze these mental processes, conducive to condition annoying errors in the perception of time and situations. However, he was aware that it could not be well ... was not a dead end, he was sure. On the other hand, and could see half a block the small square in front of the Chancellery and later, among the trees, the statue of San Martín. I wanted to walk faster, I wanted to be in the square that was my fate, and the sooner the better.

just finished crossing Esmeralda, folding saw, coming from the street Basavilbaso-an elegant old lady was coming in the opposite direction to me, allowing me to watch. He wore a long coat, cane, and a backlog of his left hand. Moved decisively moving the stick and pendulum rhythmically portfolio. I looked at the piso al andar, imbuida en sus pensamientos. Quizás muchos años atrás...

Me llamó la atención la hermosa iluminación que le confería el sol al caer. Blanqueaba su rostro y su cabello, que lucía recogido hacia atrás, algo suelto sobre la cabeza. Una brisa movía caprichosamente un mechón sobre la sien. Sus piernas, blancas, por efecto de las medias y la luz. El tapado, la cartera y su bastón, negros. Con sus pasos, movilizaba el brillo de los zapatos, inquietando la escena.

¿Cuántas veces habrá hecho este camino, cuántas veces habrá pasado por la Cancillería?, - I thought.

As noted, began to perceive it differently, as if it were much closer to me. I could almost breathe a pleasant perfume, its atmosphere ...-¡ How strange, we separated more than half a block. "I was away, had not yet passed that column ornate lighting. That was the reality, however, could feel her breathing. When he raised his face, I could see her bright eyes .. Time-faded sky and visions. -Figured.

With balancing their portfolios gave off from its golden hardware that hurt my eyes. I need to close them and rub it. When I regained vision, saw in the middle of a hazy, confused his figure with the steam of my breath. There he saw his image .. how he lost his footing and fell. His staff jumped from his right hand, breaking, as she was facing the floor at the start of the Chancellery. Slowly turned his body to be on your side, watching me.

However, the old woman was walking towards me with the same rhythm and the grace with which the discovery, leisurely walking, sleek and secure. And closer, I sensed what had been a beautiful woman, saw her young face and figure dressed in a beige outfit, living in brown corduroy and tone your portfolio. Brown hair, collected, detached a lock on the temple. Elegant and distinguished, he looked at me smiling while swinging his brown umbrella, with skill and mischief.

Is distorted or confused in my mind to reality? Despite the inquiry, I had a hunch that all this happened. It was like lightning, I knew for sure! Driven not know why sensory phenomenon, hurried pace, almost ran ... It was late! The old woman fell on the terrace of the building, tracing the figure of my thoughts, before me, exactly. As I approached fearful, lifted his stick in two. Kneeling next to him with respect-vi made his blue eyes. I watched in amazement as ecstasy, perhaps for the meeting, or the pain. I felt the memory of an old love ...

- Did you hit?, I managed to ask.

Without moving, lying on its right side, made an effort and supporting his warm hand gently on my arm, I said

- Where were José María? ... So many years!, When you come back?

And babbling, as if thinking aloud, he continued:

- What a coincidence, ¿te acuerdas cuando me conociste aquel ocho de julio, yo había estrenado ese trajecito beige que tanto te agradó después; -Sonriendo continuó; -¿Te acuerdas José María como me ponderabas los ojos?, salías de la Cancillería, regresabas de Inglaterra, para las ceremonias del nueve de julio...

¿Y el paraguas? -Inexplicablemente quiso saber.

-El paraguas se rompió, le respondí… Creo que ya no me escuchaba.

---

Del libro inédito, "Zangamanga". Copyright Norberto Álvarez Debans

Canon Dslr Leather Camera Bag

Marie L'acrobate (1936), a muse in my work Betty Boop

For Álvarez Debans

When I visit the National Museum of Fine Arts, always catches my eye, the painting by Fernand Léger, Marie L ' acrobate "of 1936 (oil painting 130x97cm).

painters usually see some paintings by other painters and "to desire", we would like to have them displayed in our home or workshop. Perceiving this picture carefully, trying to "understand" as a whole, composition, form, shape, depth, attracts attention. Then, to deconstruct this whole, in parts, something awakens us. Possibly be accomplished with limited resources, inviting recreation. I think, basically the organization, the balance achieved with pure colors, the demonstration, the harmony, the pose of "Marie L'acrobate" exposed in the foreground, a d substantially lurch, facing the viewer.

According to a catalog of the museum (Buenos Aires, 1996), states that applied here Léger aesthetics "engineer" to produce this portrait of monumental type, occupying all the space of representation. Demonstration de la figura humana con la que coincido, ya que las mujeres que pinto, suelen ser retratadas así, en mis obras, ocupando todo el cuadro, exhibiendo a la mujer actual, como mujer “alfa”. Las expongo al observador como un objeto de deseo; absoluta, segura de si, como suele presentarse hoy desde la visión de la moda, del mercado de los objetos-mercancías. La comunicación publicitaria ha hecho de la mujer objeto y sujeto de su discurso. A ella van dirigidos la mayoría de los mensajes y a la vez, es ella la encargada de mostrarnos los nuevos productos. En mi caso, la he presentado, mayoritariamente, como crítica a las tendencias del consumo.

Mi primer obra pensada “desde Léger” was, "A Diva", 23/04/1997, exhibited at the National Culture Halls (Palais de Glace) in a single sample (1999), titled "Women, clones and Divas" today is no longer in my workshop. Then followed another as, sometimes Léger, 25/08/2002; Again Léger, 07/09/2008, Thinking of Marie L'acrobate, 14/06/2010 and fine (for now), Oh Marie L'acrobate, 21/09/2010.

Maybe another day, recurrence of the representation of Marie L'acrobate of Fernand Léger, fortunately, the art takes us unpredictable ways.

works by location in Blog:

Marie L'acrobate, Fernand Léger, 1936

Thinking of Marie L'acrobate, 14/06/2010

Oh Marie L'acrobate, 21/09/2010

A Diva 23/04/1997

Again Léger, 07/09/2008

Sometimes Léger,

25/08/2002 --- Copyright

Debans Norberto Alvarez. Reproduction prohibited outside the Internet. Authorizing the publication of the text and reproduction of my work in academia.

Gay Cruising Locations Louisiana

The great Betty Boop
For Álvarez Debans


B Etty Boop was a liberal woman, a "flapper" (1920), something like a woman "alpha" today. He wore a short skirt, like his hair cut in "garçonne, and he liked jazz and dance.

The character was created by a Disney animator Wal, Gim Netwick, which were made constant modifications being made increasingly more sensual. is a lovable figure I like to paint.
Copyright
Norberto Alvarez Debans. Authorization to reproduce in areas of Internet and academics, mentioning the author and the Blog.

Quotes For Book Of Condolances

My time geometric


Review My Painting Geometric

For Alvarez Debans

S Ali of abstract painting of the 60's, to enter fully into the geometry, in the 70's. I would say that begins with a solo exhibition where 20 paintings hung in Nice Gallery, by Mario F. Garcia Celis, 21 September 1973, located in Esmeralda 1021, Buenos Aires, Argentina. Catalog show, a manifesto delivered on the date and a note that I did with that morivo. Then, like most painters, from time to time I go back to paint some geometric paintings. That is, the busiest styles always come back.

Manifesto:
MI geometric art.
For DEBANS ALVAREZ, Painter.

Manifesto (*) on my geometric art.
Written on the occasion of the inauguration of the individual sample presented at the Nice Gallery, Buenos Aires, Argentina 1973.

(Writing historical painter)

Suddenly the peaceful natural state of things, was slowly invaded by technology. Burst technology with increasing force, designed by mathematicians and physicists. They built and build the world around us today.

environment's landscape, the nature of today, mixed in the technological world and does not impact us with the force of old. From the first capsule landed, the land was no longer a mystery and the moon with its silver and gray spots, got off his romance poster to become a physical element arid, dusty, floating dead in space, satellite of its mother planet, our blue-green ground.

geometric painting sensitizes the technological world, it is: The Art of Order. Simply
art today. And in the words of Victor Vasarelly, geometric painting belongs to the planetary folklore, its atmosphere. Geometric painting, based at all in classical art, does not disdain the art, but is a descendant of the world in which we live every day. Our consumer society, the atom, physics and balances and imbalances created in the current world social man.

geometric painting shows to be nomadic, the auto, los aviones, los ramales de acero con sus dibujos de vías sobre la tierra, las carreteras como cintas de plata sobre el paisaje verde o las grandes ciudades de hoy, con las perspectivas de sus enormes edificios, que se elevan por sobre nosotros. Mis cuadros, equilibrios silenciosos de planos abiertos en el espacio, crean una atmósfera tranquila a través de colores armónicos, o se exaltan e inquietan, creando una situación vibrante, producida por el choque de colores contrastantes.

Mis cuadros quizás reflejen con sus cualidades monocromáticas o multicromáticas el estado físico del paisaje tecnológico de hoy, con la exactitud de la matemática, la física o el camino hacia la cibernética. The painting recreates the universal figures of geometry such as circles, squares, triangles, etc., creating new figures, impressive and beautiful, meaning the deep connotation of plastic. Teachers as Vasarelly, Ary Brizzi, Mc Entyre, Vidal, Polesello, Le Parc, have developed a rich universe as works.

utensils geometric painter, are: the rule, the square, drawing pens, table, test tubes, acrylic paint (although my work is built with oil), replace the easel, the palette of painters classics. The man has a duty to advance in society who live and recreate, as second nature. Being an artist is to search, investigate new arts that give meaning to life.

geometric painting is planned, carefully calculated, on that white cloth floating in space as a geometric element, circles, squares, rectangles, triangles, diamonds, for the artist to dump its interior space trying to build your message .

Now is the time of our geometric painting.

(*) Solo Exhibition Gallery
Nice, Mario F. Celis García, Esmeralda 1021, Buenos Aires, Argentina.
Buenos Aires, September 21, l973.

Review:
DIALOGUE WITH ALVAREZ DEBANS

Visit his studio on his presentation made on 21 September 1973 in Nice Gallery, Esmeralda 1021, Buenos Aires, Argentina.

For Dating Olga Núñez Rodríguez (*)

When I stood before the first exhibition of paintings by Alvarez Debans I knew I had been rowing, civilian pilot, about an architect, and optimal advertising photographer. He knew also that his final passion is painting. That painting had before me, hurting their colors almost aggressive, compulsive, who fought each other for overflow.

Me interesó entonces conocerlo, rescatar, de ser posible, la esencia de esa personalidad tan ansiosa, que con impulso joven, mostraba al público sus mensajes plásticos, traducidos en rombos, cuadrados y círculos, que equilibrados entre sí eran, sin embargo, irremediablemente dominados por el color.

Esto pienso mientras camino ahora la calle Corrientes, que, a la altura de Pasteur, me dejará en su estudio. Es tarde ya y ando rápido entre el ruido ensordecedor de los coches y el apuro de la gente que puja por llegar quién sabe adónde. Van y vienen, sometidas a las órdenes de los semáforos, que valiéndose de sus implacables luces verdes, rojas and yellow, determine ... "alert, stop, traveling ..." And all obey, without getting to know the impact of such grim determination. Of course, in the tumult, there may be someone who, like Alvarez Debans, do not pass indifferent and download their rebellion in the aggressiveness of a frame or shrill sound of a plaintive trumpet heralding a time of jazz.

Now I know why the color of his paintings and struggling to get out pushes the limits ... This thinking in his work the way I shortened. Just call his studio, the door opens, I show a presence that has nothing to do with what I imagined. Debans Alvarez, troubled in his work, is personally, serene, gentle, almost shy. Very dark, his hair, his angular face, his strange eyes, only a monochrome set relates quite discreet with his dress.

- begins to tell, I've gone through countless stages, always trying to do everything in depth.
- road led you to paint right?
- My last activity, the picture was the channel. I got tired of black and white and began to paint very strong geometry and color, trying not to be academic, not to stick to the laws of color harmony, so that they collide with the scope of the picture and the viewer.
- And it succeeded. To me, personally, in front of your work, it happens that I need respirar. Hay una carencia absoluta de espacio.
- ¡Esa es mi filosofía creativa! Desarrollar el espacio individual, único que se integra hasta masificar el ámbito que nos rodea. No podemos escapar de esa realidad convulsionada.
- Pero hay otra realidad, esa que nace detrás de un guijarro y que se encadena indefinidamente.
- ¿Pensás que no lo siento? Te explico. Se que todo tiene un proceso, y que intentar acortarlo forzadamente no conduce a nada positivo. No olvides que acabo de terminar mi primer muestra individual. Estoy en el comienzo de algo que para mi es muy importante. En este momento siento con fuerza el grito de América, su paisaje propio. De allí mi geometría corpórea, el color violento, shock. The technological age beats longer with us and follow the order different in the proposition of visual perception. Miro

their pictures which show a painting analyzed, math, strong and cold at the same time. A particular landscape, says Vasarelli, Folklore planetarium today. Alvarez Debans me about their new jobs and said: "I think in my next show, my final path, will have its starting point. Will develop bodily geometry, not flat, but tridimension.

- insist you return to your harmonious disharmony of color?
- I think so. I am a worrier by nature, so nothing in my es definitivo. Continuaré desarrollando con nuevas combinaciones geométricas un paisaje matemático y cromático.
- ¿Escalas e intervalos? ¿Pausas que ofrezcan aperturas?
- Claro que sí. Soy rebelde pero no obstinado. Además, por si te preocupa, mastico el sabor a suelo, pero mirando mucho más allá de los semáforos.

Vuelvo otra vez a sus cuadros, según sus palabras “interrumpidos solo un tiempo, ya que nunca tienen fin”, y descubro tres en los que advierto su gran apertura. Es hora de irme. Ya en la calle, elijo la vereda más quieta para seguir mi camino. Mientras voy, recuerdo un libro muy azul por dentro y por afuera. Se llama Salvador Gaviota- También a phrase that says "Do not believe what your eyes see. Only show limitations. Look with your understanding, find out what you know and find the way to fly "

(*) Published in Journal LYRA, No. 225/227, 1973. Illustrated with the work: "flat rectangle superimposed"

M current incursions is geometric painting.

soil are varied and make pictures with this school from a work or other, and that attracts me the freedom to express con mi estilo pero desde diferentes ismos.

---

Copyright Norberto Álvarez Debans, las obras se pueden reproducir en el ámbito de Internet o en trabajos académicos sobre arte, siempre nombrando al autor y el Blog.

Tuxedos With Ascots Pitures

GALLERY 10, Tan

Series: Eyes, 2010

For Alvarez-Debans

A painting following the work "dialogic Connection" and published in the Blog; http://artdebans.blogspot .com/2009/10/conexion-dialogica-59-09.html

I painted the picture, "We are looking " whose concept highlights are the eyes and can see it here: http: / / artdebans.blogspot.com/2009/10/conexion-dialogica-59-09.html

Then from there, a cascade of boxes sought to centralize this and go to create eyes, looks finally, some of them expose this Gallery 10 . creative fever not yet over, so I'm hard at work with this series .

The works on display are:

Satellite Eye, Eye Porteño, Ojo Consumer watchful eye and Eye of Horus.

All rights reserved. Forbidden su reproducción fuera del ámbito de Internet. Esta permitido su posteo o reproducción en Website de arte y en artículos sobre arte o académidos, siempre dentro de Internet. Mencinar al autor y al Blog.

Free Sis Msdict For N70

EYES mine.

Cuento.

Todas las mañanas; ¿sabes?, repetir la espuma cubriendo el rostro. Y así, casi la vejez de sólo una imagen con barba de jabón. Luego ese empecinamiento por manejar la filosa navaja, que contagiada de nieve, va develando la cara nueva. Entonces, las arañitas asomándose como buscando el sol, mirándome desde esa posición tan de costado. Y en ese desparpajo de piernitas negras; the innocent figure of them, such as ferns hanging from the inside of my ears attentive looking, looking.
is inevitable that your legs grow and grow, and I can not pasearme with ears full of them, like plants hanging from a balcony. And in that constant presence that I warn an alleged friendship beyond our differences: Oh, little spiders in the caves of my ears ...

But fate is inescapable. So every three or four days should I do: I take his legs, (with that cold executioner's own decision), and extend one by one, while the right hand shake with the sharp knife to refine the direction, then I cut the legs without hesitation. Immediately get restless, their mutilated limbs flutter and retreat into the caves of my ears, until the sore will disappear. Only a few days ... Every morning the spies, I watch through the mirror. What do you think very stubborn?: The return to pull the legs out of my ears. My acoustic caves overflowing again. But I know, I know! I feel an explicit apology. However, while pretending not to see them leave, "the very treacherous again displaying legs and not happy with the limits reached, grow, grow and grow ...

why mutilate, so the tortured, you know, for learn to live, not to be displayed. But they want the sun, the light, so of life. I confess that I fear his canvases. Awakening wrapped in cloth, somewhat worse, with the web inside my head with thoughts changed. That's why mutilate. And in that transformation without ceasing, in the daily sacrifice, is the return to be re them, showing their ability to rebel, to peer with new life, with shiny black legs near the prison of my ears.

Now I know that the mark positions mutual slaughter, cut and let it grow, I drive a balance so necessary to keep them in confinement, on the edge, and I that while the executioner, so to them ... ---

Debans Copyright Norberto Alvarez. Reproduction is authorized publication in the field of Internet, in academic papers, mentioning the author and the Blog.

Decorating Horse Stall Games

Works published in the Blog, in 2009.



Always Free
Acrylic paint on canvas. 50x60cm










Shooting Fish in water
Acrylic on canvas. 60x54cm










Farewell to McGiam
Acrylic on canvas. 56x45







Woman lying
Acrylic on canvas.
48x34cm










I nterviu
Pintura acrílica sobre tela.
50x40cm.








Entre el cielo y la arena
Pintura acrílica sobre tela.
55x65cm

Easy Designable Tech Decks

GALLERY 9 GALLERY 8 GALLERY 7

Retratos de seres reales otros recordados y algunos imaginados imaginados

Blanquita

Acrylic paint, detail. 56x22cm.

Pierre, the vitric

Acrylic, 70x60cm

Light eyes, black hair

Acrylic paint, detail. 54x65cm

Una vecina en Bariloche

Pintura acrílica, 5ox65cm

Borges

Pintura acrílica, papel Kraft

Hay otro cielo Rocamadur

Pintura acrílica, papel Kraft
"Hay otro cielo Rocamadur", visite: http://1690ta.blogspot.com/2009/11/hay-otro-cielo-rocamadour.html

Luca Prodan, Something broke. Acrylic

, Kraft

has happened to me, Kafka.

color pencil drawing on paper.

How Smoking Affects Your Larynx ?

works published during 2008 Blog

Snake women,

detail. Acrylics, 50x37cm.

The fate of women ,

detail. Acrylics, 70x50cm

Naked on the couch

Acrylic, 34x58cm

'm so informal

Acrylic, 7.5 x21cm

witch Mama

Acrylic, 29x38cm

Leger Again

Acrylic, 70x90cm

Debans Copyright Norberto Alvarez, all rights reserved. To publish in areas of Internet, cite the author and blog. Other publications contact the author.