source?
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source?
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Moscow, Russia based artist Denis Forkas Kostromitin, born in...
Moscow, Russia based artist Denis Forkas Kostromitin, born in a town of Kamyshin on the Volga river. My work is the result of an on-going research of the occult, philosophy, history and various spiritual traditions of the past. I am profoundly inspired by Ancient Greek art, the Renaissance, fin de siècle aesthetics and experiments of early surrealists. In my studies I attempt to revive the interrupted symbolist tradition and create potent artifacts, which would help me - and the viewers, - penetrate the veil of the routine world. I aim at reinstatement of artistic mysticism, retrieving visuals directly from the Unconscious by dint of meditation and ritual practices.
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Occupation Wall Street 3rd October.
Occupation Wall Street 3rd October.
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necspenecmetu: Lavinia Fontana, The Dead Christ with Symbols of...
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welovepaintings: John Collier (1850-1934)The Land BabyOil on...
John Collier (1850-1934)
The Land Baby
Oil on canvas
1909
112.4 x 142.2 cm
(3’ 8¼” x 4’ 7.98”)
Private collection
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Athens, anti-austerity protests by angel.tz. on...
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2headedsnake: frankstockton.comFrank Stockton Frank Richard...
frankstockton.comFrank Stockton
Frank Richard Stockton (April 5, 1834 – April 20, 1902) was an American writer and humorist, best known today for a series of innovative children’s fairy tales that were widely popular during the last decades of the 19th century. Stockton avoided the didactic moralizing, common to children’s stories of the time, instead using clever humor to poke at greed, violence, abuse of power and other human foibles, describing his fantastic characters’ adventures in a charming, matter-of-fact way in stories like “The Griffin and the Minor Canon” (1885) and “The Bee-Man of Orn” (1887), which was published in 1964 in an edition illustrated by Maurice Sendak. “The Griffin and the Minor Canon” won a Lewis Carroll Shelf Award in 1963.
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I could trace this picture to one “irestinpeace” at...
I could trace this picture to one “irestinpeace” at photobucket.
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darksilenceinsuburbia: Fernando Vicente. Atlas.
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welovepaintings: Danny O’Connor Ready To Release The...
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thedailywhat: We’ll remain in his debt.
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r0llerdisc0: stelae of hammurabi
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Cesare Ripa (c. 1560 – c. 1622) was an Italian aesthetician who...
Cesare Ripa (c. 1560 – c. 1622) was an Italian aesthetician who worked for Cardinal Anton Maria Salviati as a cook and butler. Little is known about his life. He was born in Perugia and died in Rome. After the death of the cardinal, Ripa worked for his relatives. He was knighted after his highly successful book called Iconologia, which he wrote in his free time, was published. The Iconologia overo Descrittione Dell’imagini Universali cavate dall’Antichità et da altri luoghi was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations. The book was used by orators, artists and poets to give substance to qualities such as virtues, vices, passions, arts andsciences. The concepts were arranged in alphabetical order, after the fashion of the Renaissance. For each there was a verbal description of the allegorical figure proposed by Ripa to embody the concept, giving the type and color of its clothing and its varied symbolic paraphernalias, along with the reasons why these were chosen, reasons often supported by references to literature (largely classical).[1] The first edition of his Iconologia was published in 1593 and dedicated to Anton Maria Salviati. A second edition was published in Rome in 1603 this time with 684 concepts and 151 woodcuts, dedicated to Lorenzo Salviati. The book was extremely influential in the 17th and 18th centuries and was quoted extensively in various art forms. In particular, it influenced the painter Pietro da Cortona and his followers. Also Dutch painters like Gerard de Lairesse, Willem van Mieris based work on Ripa’s emblems. Vermeer used the emblem for the muse Clio for his The Art of Painting, and several others in his The Allegory of Faith. A large part of Vondel’s work cannot be understood without this allegorical source, and ornamentation of the Amsterdam townhall by Artus Quellinus, a sculptor, is totally dependent on Ripa.[2] An English translation appeared in 1709 by Pierce Tempest.[3]
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sorry I forgot to give the link in the previous entry….
sorry I forgot to give the link in the previous entry….
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Read the description of the image when you click on the next...
Read the description of the image when you click on the next image—- the use of this page is really very nifty:
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mermanonfire: Depiction of Tomis Fortuna, Constanta Museum
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mermanonfire: Fortuna
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Steve Kuhn and Steve Swallow from the 2007 album Steve Swallow...
Steve Kuhn and Steve Swallow from the 2007 album Steve Swallow “Gentle Thoughts”
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ratak-monodosico: «La recette d’un travail artistique - ses...
«La recette d’un travail artistique
- ses ingrédients
- le savoir-faire
- sa formule.
1. Il doit y avoir une préoccupation de mort évidente - pressentiments quant au fait d’être mortel… L’art tragique, l’art romantique etc, traitent de la connaissance de la mort.
2. Sensualité. Notre fondement pour être concrets quant au monde. C’est une relation de plaisir aux choses qui existent.
3. Tension. Que ce soit un conflit ou un désir courbe.
4. Ironie. Voici un ingrédient moderne - l’effacement et l’examen de soi grâce auxquels un homme peut un instant poursuivre autre chose.
5. L’esprit et le jeu… pour l’élément humain… pour l’élément humain.
6. L’éphémère et la chance… pour l’élément humain.
7. L’espoir. 10% pour rendre le concept tragique plus supportable.»
Tapuscrit d’une conférence au Pratt Institute (novembre 1958), Ecrits sur l’art (1934-1969), Mark Rothko (éd. Flammarion, Champs)
Biographie et oeuvres de Mark Rothko sur Numartis
“ La nouvelle vision de Rothko essayerait donc de s’adresser aux exigences de la spiritualité de l’homme moderne et aux exigences créatives mythologiques, à l’identique de Nietzsche clamant que la tragédie grecque est une recherche humaine pour racheter les terreurs d’une vie mortelle. Les objectifs artistiques modernes ont cessé d’être le but de Rothko.
À partir de ce moment là, son art soutiendrait en tant que but final, le fardeau de soulager le vide spirituel fondamental de l’homme moderne ; un vide créé en partie par l’absence d’une mythologie adressée correctement à « la croissance d’un esprit enfantin et (…) à la vie et les luttes d’un homme » et pour fournir la reconnaissance esthétique nécessaire à la libération des énergies inconscientes, précédemment libérées par les images, symboles et rituels mythologiques.”
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Concerto for 3 Trumpets, Timpani, 2 Oboes, bassoon and Violin in...
Concerto for 3 Trumpets, Timpani, 2 Oboes, bassoon and Violin in D major, FWV L D3 I. Allegro
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