Max Klinger, A Glove (Ein Handschuh) , 10 etchings, portfolio published 1881-1898 also known as “Paraphrase on the Finding of a Glove.” Printed 1881 the images were composed much earlier
This one is image 4, titled “rescue”…
Max Klinger, A Glove (Ein Handschuh) , 10 etchings, portfolio...
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joe dallesandro (photography by Duane Michals)
joe dallesandro (photography by Duane Michals)
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de Chirico The Great Metaphysical Interior Ferrara,...
de Chirico The Great Metaphysical Interior
Ferrara, April-August 1917
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A street in Istanbul- can’t figure out which one…
A street in Istanbul- can’t figure out which one…
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darksilenceinsuburbia: Laurie Lipton. The Three Fates, 1997....
Laurie Lipton. The Three Fates, 1997. Pencil on paper, 146 x 93 cm.
All images by courtesy of the artist,
Thank you Laurie.
© 2010 Laurie Lipton
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2headedsnake: flickr.com:photos:xxxoma
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This black thangka depicts the skullcup-bearing Hevajra...
This black thangka depicts the skullcup-bearing Hevajra Father-Mother in the center. He is dancing ecstatically in alidha on four maras and closely embracing his consort Nairatmya. Hevajra is surrounded with eight dancing dakinis; each one is dancing on a being. The dark setting of the painting is effective in creating a serious mood. The expression of Hevajra is ecstatic and wrathful.
Hevajra is an unexcelled yoga Tantra deity, perhaps closely related to the developments in the cult of Shiva Nataraja. Hevajra’s art is considered especially valuable in kindling the central nervous system inner fury fire that melts the inner drops from brain to groin and generates the subtle subjectivity of great bliss so essential in Tantric practices in the perfection stage. Nairatmya Hevajra’s consort is also a deity of subtle wisdom in her own right, a Tantric form of Prajnaparamita, Mother of all Buddhas. Hevajra has sixteen-arms, eight faces and four legs. The eight faces indicate the purification of the eight releases. His four legs crush four maras, who symbolize the fourfold obstacles to enlightenment the obstacle of the aggregated constituent elements of existence(skandhamara), the obstacle of egoistic entanglements (kleshmara), the obstacle of(mrityumara), and the obstacle of rebirth in the form of gods (devaputramara). According to a commentary of the Hevajra Tantra, four Hindu gods, Brahma, Yaksha, Yama, and Indra, respectively personify the four maras. The sixteen arms of Hevajra signify the purification of the sixteen voidnesses. In each of his hands he hold a skullcup. Each of the cups in his right hands contain, starting with his principal hand and moving to the lower, an elephant, horse, ass, man, camel, ox, lion and cat. Those in the left hold Earth, Water, Air, Fire, Moon, Sun, Yama, and Vaishravana. The elements in the skulls held in the left hands are usually visually represented in human form as shown in the present painting. Carrying skullcup in all of the hands is one of the most distinctive features of Hevajra. The skullcup represents the mind aspect of the body, speech, and mind notion. It also represents death and impermanence, the illusory nature of all the phenomena. The animals and gods in Hevajra’s skullcup may symbolize a universal range of all matter and beings, alive, on earth, in the heavens. Thus, the sixteen skullcups collectively symbolize the sixteen voidness orshunyata . Nairatmya, the consort of Hevajra has two hands and two legs. She is embracing Hevajra by her left hand, while the right hand holds a vajra-marked chopper. Her left leg is along with his, while her right leg is wrapped around his waist. Her expression is also wrathful. Both of them are adorned with bone ornaments and wear long garland of skulls. Nairatmya is wearing a skirt of tiger-skin. The upper center of the painting is rendered with the figure of great siddha Tilopa, while the bottom center is with Jambhala (Vaishravana). Among the eight dancing dakinis surrounding Hevajra Father-Mother, four are depicted in the background, and the remaining four in the middle ground and foreground, respectively. These dakinis starting from the upper left corner are - 1. Chandali, holding wheel and plough 2. Pukkasi, holding boar and skullcup 3. Chauri, holding drum and wild boar. 4. Gauri, holding knife and bowl. 5. Shabari, holding snake and bowl 6. Ghasmari, holding snake and bowl 7. Dombi, holding vajra-marked chopper and fish 8. Vetali, holding conch and fan.
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An elephant ornament is seen amongst the rubble in Kesennuma,...
An elephant ornament is seen amongst the rubble in Kesennuma, Japan.
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ratak-monodosico: MET Georgia O’Keeffe | Black Abstraction...
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effyeaharthistory: Blue Nude (Souvenir of Biskra), Henri...
Blue Nude (Souvenir of Biskra), Henri Matisse (French), 1907, oil on canvas, 92 × 140 cm, Baltimore Museum of Art, Baltimore
This is part three of a three part series on Primitivism, go here and here if you want to read the rest of the convoluted posts on the subject.
People took issue with Matisse’s Blue Nude (Souvenir of Biskra) from the start. In 1913, it was burnt in effigy at the Armory Show in Chicago, where it had toured from New York, because it offended the sensibilities of artists and critics. The painting echoes countless works depicting odalisques, courtesans and Venuses that came before, but the woman is intentionally ugly. Her pose is impossible and she is constructed from some incredibly harsh lines. Blue Nude is problematic today (and when I say problematic, I mean fucked up) due to its basis in the ‘Primitive’. As I have discussed earlier in this series, the decorative features of this painting (the flattened pictorial space and the bright colours) are based in the racist idea of the ‘Primitive’ in so far as the decorative nature of the painting is “simpler” and more “authentic” in the manner of ‘Primitive’ artifacts. Likewise based in the ‘Primitive’ are the exaggerated buttocks and hips of the woman, culled from statues from Africa and Oceania (a direct influence of Gauguin), then viewed as ethnographic artifacts of the monolithic ‘Primitive’ rather than individual works of art made by individual people from disparate cultures. Also problematic, and fundamentally tied to concepts of the ‘Primitive’ is the depiction of the woman as an odalisque. Within Primitivist art, such depictions have their roots in Orientalist depictions of women as odalisques in harems, objects of male desire uninhibited by the lack of intervention of “civilization” (of course such images can be taken back further to depictions of Venus and Eve, and throughout they implicitly carry the judgment of “whore”). Such depictions of women were subsumed into the ‘Primitive’ thanks to men’s conception of women as sexy irrational things (fundamentally primitive), and actually worked to gender the concept, erecting it and the cultures it represented as the uncivilized, savage, feminine counterpart to the rational, ordered, masculine Civilization of Europe. Because women were conceived of as primitive themselves, their intelligence was discounted, and their art, even though it was as smart (and not infrequently superior to) that of the male Avant-Gardes, was rendered unimportant. Even though artists of the early 20th century were oft in revolt against bourgeois Imperialist society, their work, in perpetuating these misogynistic and racist ideas, was complicit in Imperialism and Patriarchy, even as those very ideas served to transform art and art theory in Western society completely.
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Amarna is the name that excavators have given to the site of...
Amarna is the name that excavators have given to the site of King Akhenaten’s residence in Middle Egypt, Akhetaten (the horizon of the god Aten). Akhenaten’s reign (beginning ca. 1353 B.C.), including the years when the pharaoh resided at Amarna (ca. 1349–1336 B.C.), was characterized by a major revolution in ancient Egyptian religion and art. The king promoted worship of one sole god, the solar deity Aten. His artists—liberated from some of the confines of tradition—created works of hitherto unseen inventiveness and subtlety of execution.
Relief decoration in the Amarna temples included naturalistic details, such as this one, and transitory gestures that are unique in Egyptian art. Here, a gesture of Akhenaten’s hand was captured at the moment he dropped a lump of fat or a drop of incense onto a pile of offerings. The languid grace of the bent wrist and the sensitivity of the long fingers—represented with an unusual sense of perspective that depicts the thumb and index finger in the foreground—express perfectly the essence of Amarna art.
Source: A Royal Hand [Egyptian] (1985.328.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
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hotparade: Elizabeth Taylor
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Dhafer Youssef - L’Ange Aveugle (O Anjo Cego) (by rijogo)
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Allegory of the Seven Liberal Arts - Vos, Marten de - Renaissance (Late, Mannerism) - Other/Unknown technique - Allegory - TerminArtors
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Nuptials of Thetis and Peleus - Clerck, Hendrik de - Baroque - Oil on metal - Mythology - TerminArtors
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Assereto, Gioachino (1600 - 1649) The Torture of...
Assereto, Gioachino (1600 - 1649)
The Torture of Prometheus
Date: Not dated
Movement: Baroque
Theme: Mythology
Technique: Oil on canvas
Museum: Musée de la Chartreuse
Location: Douai, France
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i12bent: Man Ray of course placed his friend Magritte on his...
Man Ray of course placed his friend Magritte on his Surrealist Chessboard in 1934 - a mosaic of portraits Man Ray had done of the members of the movement. From top left-hand corner they are: Breton, Ernst, Dalí, Arp, Tanguy, Char, Crevel, Eluard, De Chirico, Giacometti, Tzara, Picasso, Magritte, Brauner, Peret, Rosey, Miro, Mesens, Hugnet, Man Ray himself…
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mrkiki: František KupkaEstudio para “Sol de otoño”1905. Lápiz y...
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It's 8:37pm.
And it feels like 56 years since this morning.
56 isn’t all that bad :)) at least doesn’t feel like that yet….
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Jacquet, Alain Date of birth and...
Jacquet was born in Neuilly-sur-Seine. Though he studied architecture at École des Beaux-Arts as a painter he was an autodidact. He was a French artist representative of the American Pop Art movement. Camouflage Botticelli (Birt of Venus) (1963-64) is a famous work of his. In a series of camouflage paintings, he often used motifs from older, very famous paintings, such as in this case from the painting The Birth of Venus by Sandro Botticelli. Jacquet also borrowed the form of Manet’s Luncheon on the Grass, which itself had referred to the 1515 engraving The Judgment of Paris by Raimondi.Jacquet, Alain
Date of birth and death: 1939-2008
Nationality: French
Uploaded artworks: 10About the artist:
Jacquet lived in New York and Paris and taught at the École Nationale Supérieure des Arts Décoratifs. He was married (1992) to Sophie Matisse, great-granddaughter of the French Fauvist artist Henri Matisse. Jacguet died of esophageal cancer in Manhattan
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