The document provides details on several paintings that depict symbolic and surreal themes. It describes James Ensor's 1897 painting "Death and the Masks" which imparts lifelike qualities to a central skull and masks to symbolize the decadence of bourgeois society. It also discusses Odilon Redon's 1914 work "Cyclops" portraying a dream world with a large eye symbolizing the human soul. Mikhail Vrubel's 1890 painting "Demon (Sitting)" is described as the first significant work of Russian symbolism defining the artist's quest for beauty through the contradictory image of a spiritual yet mighty demon.
Frogs and toads are small and humble creatures, hardly attractive themes for the artist.
They’ve had their moments in paint though ...
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not surprising to find flies in the paintings ...
can simply mean misery, loneliness, the vanity of earthly things
can be an allusion to the ephemeral of life, beauty, the symbol of death, the Passion of Christ, corruption and venality ...
women who waited by the side of the road to catch travelers and eat them,
women who could kill a guy with a single, icy look …
ruthless, cunning, scandalous man-eating women,
temptresses with their sexual charms
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Frogs and toads are small and humble creatures, hardly attractive themes for the artist.
They’ve had their moments in paint though ...
DOWNLOAD:
http://www.authorstream.com/Presentation/guimera-4709422-frogs-toads-western-painting/
not surprising to find flies in the paintings ...
can simply mean misery, loneliness, the vanity of earthly things
can be an allusion to the ephemeral of life, beauty, the symbol of death, the Passion of Christ, corruption and venality ...
women who waited by the side of the road to catch travelers and eat them,
women who could kill a guy with a single, icy look …
ruthless, cunning, scandalous man-eating women,
temptresses with their sexual charms
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4864648-bats-european-paintings/
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4764605-concerts-paintings/
Saint Michael the Archangel in Western paintingsguimera
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strong women with their weird animal bodies, from the snake tail to the awkward little lion body of the Sphinx ...
creepy-crawly, fanged, winged and otherwise-terrifying creatures
were only rarely the true subject of paintings until the Age of Enlightenment started to celebrate science and technology ...
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mythical, biblical, erotic
apple of original sin, apple of the discord, from the Hesperides garden, apples of the still life, Cézanne's apples to impress Paris, Magritte's floating apple
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one of the most beautiful magical creatures
an imaginary animal more important in the Christian West from the Middle Ages to the end of the Renaissance
Landscape painting in the Renaissance (2) The Landscape and Figuresguimera
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a fabulous imagination
a style that did not correspond to any artistic current of the time
countless details, numerous symbols, moralizing messages
images evoking the defects and decadence of society at the time, the fears of the end of the world and the last judgment
Baroque Masters in the Museum of Fine Arts of Seville (1)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
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Saint Michael the Archangel in Western paintingsguimera
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http://www.authorstream.com/Presentation/guimera-4827789-crows-ravens-european-painting/
strong women with their weird animal bodies, from the snake tail to the awkward little lion body of the Sphinx ...
creepy-crawly, fanged, winged and otherwise-terrifying creatures
were only rarely the true subject of paintings until the Age of Enlightenment started to celebrate science and technology ...
DOWNLOAD:
http://www.authorstream.com/Presentation/guimera-4696169-bridges-western-painting/
mythical, biblical, erotic
apple of original sin, apple of the discord, from the Hesperides garden, apples of the still life, Cézanne's apples to impress Paris, Magritte's floating apple
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4783327-cast-shadows-western-paintings/
one of the most beautiful magical creatures
an imaginary animal more important in the Christian West from the Middle Ages to the end of the Renaissance
Landscape painting in the Renaissance (2) The Landscape and Figuresguimera
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4733810-landscape-painting-renaissance-figures/
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4839222-dream-european-painting/
a fabulous imagination
a style that did not correspond to any artistic current of the time
countless details, numerous symbols, moralizing messages
images evoking the defects and decadence of society at the time, the fears of the end of the world and the last judgment
Baroque Masters in the Museum of Fine Arts of Seville (1)guimera
Baroque is a perspective on life and is, at the same time, its expression through art.
The Seville school of this period is renowned for the genius of its artists, including Velázquez, Zurbarán, Murillo …
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations
http://www.authorstream.com/Presentation/guimera-4815215-glasses-paintings/
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
The perfect Sundabet Slot mudah menang Promo new member Animated PDF for your conversation. Discover and Share the best GIFs on Tenor
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thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
24. MUNCH, Edvard
The Dance of Life
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
25. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
26. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
27. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
28. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
29. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
30. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
31. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
32. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
33. MUNCH, Edvard
The Dance of Life (detail)
1899-1900
Oil on canvas, 125 x 191 cm
National Gallery, Oslo
34.
35. KLIMT, Gustav
Death and Life
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
36. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
37. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
38. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
39. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
40. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
41. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
42. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
43. KLIMT, Gustav
Death and Life (detail)
1910-1915
Oil on canvas, 1,805 x 2,005 mm
Leopold Museum,Vienna
44.
45. GAUGUIN, Paul
Vision after the Sermon (Jacob Wrestling
with the Angel)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
46. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
47. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
48. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
49. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
50. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
51. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
52. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
53. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
54. GAUGUIN, Paul
Vision after the Sermon (Jacob
Wrestling with the Angel) (detail)
1888
Oil on canvas, 73 x 92 cm
National Gallery of Scotland, Edinburgh
55. Art in Detail_ Symbolism, The most notable
Paintings
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56. GAUGUIN, Paul
Vision after the Sermon (Jacob Wrestling with the Angel)
The literary source for the artwork is Genesis 32: 22-31. The story entails Jacob struggling with his conscience, with other men, and God represented by the
angel in a struggle for truth and redemption. After the struggle and blessing, Jacob was able to continue his journey, crossing the river into the Promised
Land - seen in the distant background of the image. In this biblical context, the red field is significant, differentiating between the lands of struggle from the
land of peace.
The apple tree of knowledge in the painting symbolizes man's decision to comprehend good and evil, caused by his fall from grace. Its green foliation also
symbolizes the promise of man's redemption and return to Paradise.
In the foreground of the painting, 12 Breton women and a priest watch the event. 12 is a significant number in itself, representing Jacob's progeny in
founding the 12 tribes of Israel.
Gauguin also includes a cow in the painting, further adding to the symbolism. The cow is the symbol that reveals the means of man's redemptions. In
addition to its traditional meaning, the cow is the symbolic of four Breton saints venerated as protectors of horned beasts (Saints Cornley, Nicodeme,
Herbot, and Theogonnie). Through the blessings of these saints, animals and pastures are made fertile and the sick are healed.
The Chapel of Saint Nicodemus in Brittany, and its surroundings have also been depicted.
57. ENSOR, James
Death and the Masks
Ensor imparts lifelike qualities to the skull of Death in the center, with its chilling grin, and to the masks of the people; the mask becomes the face, and
yet it is still a mask that tries to cover up the spiritual hollowness of the bourgeoisie and the decadence of the times.
Ensor was heir to the whole Northern tradition of caricature, the grotesque, and fantasy, as seen in the work of Hieronymus Bosch and even Pieter
Bruegel. But as opposed to the naturalistic underpinnings of the work of Bosch and Bruegel, Ensor works with a light, bright palette that suggests
whimsy and absurdity at the same time that he employs a rough and textural application of paint, which signals the depth and horror of the malaise of
the times.
Thus, Ensor's contribution to Symbolism was that before the Expressionists of the early twentieth century, he called upon raw color and savage
texture to strip down to the layers of the human psyche, plumbing its depths -- in addition to supplementing his Symbolic vocabulary with subtle
political overtones.
58. REDON, Odilon
Cyclops
The work of Redon portrays a dream world, inhabited by fairies, monsters, spirits and other fantasy figures. This makes him typically representative
of symbolism, an art movement in the late 19th century with a strong leaning towards the subconscious, the extraordinary and the inexplicable.
In this painting, the Cyclops Polyphemus spies on the sleeping Nereid Galathea from behind a tall mountain. The one-eyed giant’s love remains
unrequited, as Galathea prefers the river god Acis. The unnaturally large eye is the most conspicuous part of the painting. In Redon’s work, the eye is
often an all controlling, independent creature, a symbol of the human soul and of the mysterious, unknown inner world.
The menace of the giant, or rather of the eye, that spies the naked woman, is reinforced by the unusual bright colours. With this personal, dreamlike
depiction of a theme from the realm of the Greek gods, Redon has painted one of the masterpieces of symbolist art.
59. VRUBEL, Mikhail Aleksandrovich
Demon (sitting)
The painting is the first significant work of Russian symbolism to define its central theme: the creative artist's quest for supreme beauty.
The artist he states that his hero "is a spirit, but a spirit that is not so much vicious as suffering and melancholic, but for all that, a spirit that is
majestic and power-hungry".
Demon's image is full of contradictions: a spiritual face and mighty body. The gesture of clasped strong hands is like the effort of breaking
chains. The hero is lost in melancholic contemplation of the dying colours of sunset.
But Demon's sadness is not sterile. The world around him emerges in a new transformed state. The artist portrays the metamorphosis of shapes,
with flowers appearing as crystals as a result.
60. MUNCH, Edvard
The Dance of Life
Munch presents the three stages of woman (all portraits of his lover Tulla Larsen): the virgin symbolized by white, the carnal woman of
experience in red, and the aged, satanic woman in black.
The sea is the beyond, eternity, the edge of life into the vast unknown, and finally, death. In the background a lone, female figure stands in front of
the Freudian male phallic symbol of the setting sun's reflection.
In the foreground a couple - Larsen and Munch, himself - is physically proximate, in fact symbolically entwined through the shapes of the lower
parts of their bodies. Their faces, however, indicate their separation from each other.
The Dance of Life is thus also a dance of death. When Munch painted Dance of Life in 1899 he was inspired by symbolism and used colours
symbolically to express different feelings: red for love, passion and pain; white for youth, innocence and joy; and black for loneliness, sorrow and
death.
61. KLIMT, Gustav
Death and Life
In this updating of the seventeenth-century theme of vanitas (the vanity of earthly life), Death stares across the negative space as Life reveals
itself in the figures who come into being, exist, and pass out of existence; they are born, live, and die as part of the great stream of life.
The decorative schema locks the figures in place and counteracts their existence as physical beings. Rather, they serve as symbols for states of
being. It has been pointed out that Klimt offers a note of hope; instead of feeling threatened by the figure of death, his human beings seem to
disregard it.
The painting also reflects the time and ideas of Sigmund Freud who identified the main motivating actors of the human psyche to be eros (the
sexual instinct for the purpose of the continuation of life) and thanatos (the death instinct for the purpose of ending the anxieties of life).
62. Symbolism, a late 19th-century movement of Post-Impressionist painting, flourished throughout Europe between 1886 and 1900
in almost every area of the arts. Initially emerging in literature, including poetry, philosophy and theatre, it then spread to music
and the visual arts.
Symbolist art had strong connections with the Pre-Raphaelites and with Romanticism, as well as the Aestheticism movement.
Like all these movements, Symbolism was in large part a reaction against naturalism and realism, and became closely
associated with mythological painting of all kinds.
Where realists and naturalists sought to capture optical reality in all its objective grittiness, and thus focused on the ordinary
rather than the ideal, Symbolists sought a deeper reality from within their imagination, their dreams, and their unconscious.
Famous symbolist painters included Gustave Moreau (1826-98), Arnold Bocklin (1827-1901), Ferdinand Hodler (1853-1918), Max
Klinger (1857-1920), Paul Gauguin (1848-1903), James Ensor (1860-1949), Edvard Munch (1863-1944), Odilon Redon (1840-1916),
and Puvis de Chavannes.
Although shortlived, the movement had a strong influence on German art of the 19th century, and a big impact on 20th century
European artists, particularly those involved in Les Nabis and Art Nouveau, and also the Expressionism and Surrealism
movements.
It also influenced artists like Whistler, Giorgio de Chirico, Joan Miro, Paul Klee, Frida Kahlo and Marc Chagall.