I like art in all his expressions. My favoured painters are: Jan Van Eyck, Tiziano, Leonardo, Caravaggio, Bruegel the older, Bosh, Memling, Cranach, Van der Weiden, Dalì, De Chirico, Pollock, Mirò, Magritte e Botero. My favoured sculptors are Donatello, Michelangelo, Canova and above all the great Bernini. My favoured architectures are the ones of the Gothic era and Baroque era. I also like to workout in the Gym every week: I do this from 23 years. I love bodybuilding.
Eduardo Kawak (r.i.p.) in heaven..............Short story of Ed:Born in Lebanon on February 28, 1959, he then moved to France and started his competitive career in 1980 and soon became a top star in other bodybuilding organizations. In 1986 he moved to the IFBB, competing in the top contests like Mr. Olympia (three times), Night of Champions and Grand Prix series. His best achievements in the IFBB are: 8th place in 1987 Mr. Olympia and 4th place at the IFBB World Championships the same year. In 1988 he couldn’t enter the top ten at the IFBB contests and then returned to the other organizations, placing in the top three once again. In 1996 he went back in the IFBB and placed 13th at the Nigh of Champions. He took the same position in the 1999 Masters Olympia and this was his last contest. Kawak died of a heart attack on May 23rd, 2006 in Beijing, China. He was 47 years old.His titles:1980World Championships - WABBA, Overall Winner World Championships - WABBA, Medium, 1st1981World Championships - WABBA, Professional, 1st1982European Championships - WABBA, Professional, 1st Universe - Pro - NABBA, Winner World Championships - WABBA, Professional, 2nd1983Universe - Pro - NABBA, Winner World Championships - WABBA, Professional, 2nd1984European Championships - NABBA, Professional, 1st Universe - Pro - NABBA, Winner World Championships - WABBA, Professional, 1st1985European Championships - NABBA, Professional, 1st Universe - Pro - NABBA, Winner World Championships - WABBA, Professional, 3rd1986Los Angeles Pro Championships - IFBB, 8th Night of Champions - IFBB, 8th Olympia - IFBB, 13th World Pro Championships - IFBB, 8th1987Grand Prix France - IFBB, 8th Grand Prix Germany - IFBB, 8th Night of Champions - IFBB, Did not place Olympia - IFBB, 8th World Pro Championships - IFBB, 4th1988Grand Prix England - IFBB, 17th Grand Prix Germany - IFBB, 11th Grand Prix Greece - IFBB, 10th Grand Prix Spain - IFBB, 14th Olympia - IFBB, 16th World Pro Championships - IFBB, 12th1989Universe - Pro - NABBA, 2nd World Championships - WABBA, Professional, 2nd1990World Championships - WABBA, Professional, 1st1991World Championships - NABBA, Professional, 3rd1992Universe - Pro - NABBA, 2nd1993Universe - Pro - NABBA, Winner1995World Championships - WABBA, Professional, 2nd1996Night of Champions - IFBB, 13th1999Olympia - Masters - IFBB, 13thMy favored artist is Jan Van Eyck, flamish artist of 15th century......The date of van Eyck's birth is not known. The first extant record of van Eyck is from the court of John of Bavaria at The Hague. It dates to 1422 and mentions a payment to Jan van Eyck as court painter, which indicates he had to have been born no later than 1395, and indeed probably earlier. His apparent age in his probable self-portrait suggests to most scholars an earlier date than 1395.Following the death of John of Bavaria, in 1425 van Eyck entered the service of the powerful and influential Valois prince, Duke Philip the Good of Burgundy. Van Eyck resided in Lille for a year and then moved to Bruges, where he lived until his death in 1441. A number of documents published in the twentieth century record his activities in Philip's service. He was sent on several missions on behalf of the Duke, and worked on several projects which likely entailed more than painting. With the exception of two portraits of Isabella of Portugal, which van Eyck painted on Philip's behest as a member of a 1428-9 delegation to seek her hand, the precise nature of these works is obscure. As a painter and "valet de chambre" to the Duke, Jan van Eyck was exceptionally well paid. His annual salary was quite high when he was first engaged, but it doubled twice in the first few years, and was often supplemented by special bonuses. His salary alone makes Jan van Eyck an exceptional figure among early Netherlandish painters, since most of them depended on individual commissions for their livelihoods. An indication that Van Eyck's art and person were held in extraordinarily high regard is a document from 1435 in which the Duke scolded his treasurers for not paying the painter his salary, arguing that Van Eyck would leave and that he would nowhere be able to find his equal in his "art and science." The Duke also served as godfather to one of Van Eyck's children, supported his widow upon the painter's death, and years later helped one of his daughters with the funds required to enter a convent.Jan van Eyck produced paintings for private clients in addition to his work at the court. Foremost among these is the Ghent Altarpiece painted for Jodocus Vijdts and his wife Catherine Borluut. Started sometime before 1426 and completed, at least partially, by 1432, this polyptych has been seen to represent "the final conquest of reality in the North", differing from the great works of the Early Renaissance in Italy by virtue of its willingness to forgo classical idealization in favor of the faithful observation of nature.It is housed in its original location, the Cathedral of St. Bavo in Ghent, Belgium. It has had a turbulent history, surviving the 16th-century iconoclastic riots, the French Revolution, changing tastes which led to its dissemination, and most recently Nazi looting. When World War II ended it was recovered in a salt mine, and the story of its restoration drew considerable interest from the general public and greatly advanced the discipline of the scientific study of paintings. No less turbulent was the history of the interpretation of this work. Since an inscription identifies it as a collaborative effort of Jan van Eyck and his brother Hubert, the question of who painted what, or "Jan or Hubert?" has become a mythical one among art historians. Some even question the validity of the inscription, and thus Hubert van Eyck's involvement. In the 1930s, Emil Renders even argued that "Hubert van Eyck" was a complete fiction invented by Ghent humanists in the 16th century. More recently, Lotte Brand Philip (1971) has proposed that the Ghent Altarpiece's inscription has been misread, and that Hubert was (in Latin) the "fictor," not the "pictor," of the work. She interprets this as meaning that Jan van Eyck painted the entire altarpiece, while his brother Hubert created its sculptural framework. Exceptionally for his time, van Eyck often signed and dated his paintings on their frames, then considered an integral part of the work (the two were often painted together). However, in the celebrated Arnolfini Portrait (London, National Gallery), van Eyck inscribed on the (pictorial) back wall above the convex mirror "Johannes de Eyck fuit hic 1434" (Jan van Eyck was here, 1434). The painting is one of the most frequently analyzed by art historians, but in recent years a number of popular interpretations have been questioned. This is probably not a painted marriage certificate, or the record of a betrothal, as originally suggested by Erwin Panofsky. The woman is probably also not pregnant, as the hand-gesture of lifting the dress recurs in contemporary renditions of virgin saints (including Jan van Eyck's own Dresden Triptych and a workshop piece, the Frick Madonna). I admire people doing extreme jumps:
I like all kind of music but above all the ancient music from XIV to XVIII centuries in particular Isaac, Senfl, Di Lasso, De Victoria, Palestrina, Tallis, Byrd, Dowland, Monteverdi, Corelli, Vivaldi, Charpentier, Buxtehude, Handel, Bach but above all the great Henry Purcell. Also some rock: and some heavy: