The document provides details about several paintings by Gustave Moreau including Oedipus and the Sphinx (1864), The Apparition (1876-1877), Galatea (1880), Venus Rising from the Sea (1866), and Jupiter and Semele (1895). It includes descriptions of the subject matter depicted in each painting and contextual information about the artist's process and symbolism. Moreau was a French symbolist painter focused on illustrating mythological and biblical figures through vivid imagery and complex symbolism that appealed to symbolist writers and artists.
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
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-4839222-dream-european-painting/
you can download my presentations at
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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
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-4839222-dream-european-painting/
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4827789-crows-ravens-european-painting/
a ferocious, fire-breathing beast, bad tempered with impenetrable scales, bat-like wings, jagged fangs, and sharp claws
enemy, evil, symbol of sin, wickedness and ferocity
Wanderers, wayfarers, pilgrims have walked through the countryside, over mountain passes …
Some have sought wisdom or spiritual enrichment, others just a bite to eat and somewhere
Decadent myths in a digital era, by Dr. Martha Vassiliadi, Aristotle Universi...Martha Vassiliadi
It is well known that the Decadent movement in European literature (fin de siècle) depends on the narrative of the antiquity, as it is revealed from the discoveries of archaeology in the second half of the 19th century. Amid the ruins of the past authors, painters and poets reconceptualize time and history through a modernist vision based on a imaginary reconfiguration of the antiquity. In this context, the myth of a city (Pompei) or of a woman (Salomé) offer examples which would illustrate in a great variety the synergy of a multi temporal and multi cultural memory of the myth. We describe a methodology on how mixed reality simulations should capitalize on these literary mythical notions in order to provide an enhanced feeling of presence for the heritage site visitor. These are early results of a researchproject from the Aristotle University of Thessaloniki that seeks to study and present to the research community a comparative interpretation of female myths of biblical heroines using modern theoretical readings on gender and retrospectively historical and literary texts combined with mixed reality simulation technologies.
Frogs and toads are small and humble creatures, hardly attractive themes for the artist.
They’ve had their moments in paint though ...
DOWNLOAD:
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you can download my presentations at
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http://www.authorstream.com/Presentation/guimera-4864648-bats-european-paintings/
The presentation produced for Los Cuadernos de Julia blog looks at various aspects of depicting the famous story of a musical contest between Apollo and Marsyas in European art.
No one can deny that William Shakespeare is one of the best playwrights in the history of world literature, if not the best of them. This study will deal with one of the important plays related to Shakespeare, he was active in writing tragic plays during the era of Queen Elizabeth.The study first seeks to conduct an analytical study for the appearances of the ghost characters in the plays of Shakespeare,ghosts have appeared in five plays: ( Hamlet, Julius caesar, Macbeth, Romeo and Juliet, Richard 3).
The first four plays had four ghosts appearances , they are ( Hamlet’s father, Banquo, Julio Cesar, Valentine) .
The study covered the appearance of the ghost character in each of them, commented on the most important observations of the scene of the appearance of ghosts in each of these four plays, and gave an overview of the common characteristics.
Thinking of ghosts in most other plays in all, Shakespeare helps one to take into account current ghost perceptions as these plays are produced. When remembering how these scenes have happened over the years, one can also read how perceptions about fantasies have evolved over time.
a ferocious, fire-breathing beast, bad tempered with impenetrable scales, bat-like wings, jagged fangs, and sharp claws
enemy, evil, symbol of sin, wickedness and ferocity
Wanderers, wayfarers, pilgrims have walked through the countryside, over mountain passes …
Some have sought wisdom or spiritual enrichment, others just a bite to eat and somewhere
Decadent myths in a digital era, by Dr. Martha Vassiliadi, Aristotle Universi...Martha Vassiliadi
It is well known that the Decadent movement in European literature (fin de siècle) depends on the narrative of the antiquity, as it is revealed from the discoveries of archaeology in the second half of the 19th century. Amid the ruins of the past authors, painters and poets reconceptualize time and history through a modernist vision based on a imaginary reconfiguration of the antiquity. In this context, the myth of a city (Pompei) or of a woman (Salomé) offer examples which would illustrate in a great variety the synergy of a multi temporal and multi cultural memory of the myth. We describe a methodology on how mixed reality simulations should capitalize on these literary mythical notions in order to provide an enhanced feeling of presence for the heritage site visitor. These are early results of a researchproject from the Aristotle University of Thessaloniki that seeks to study and present to the research community a comparative interpretation of female myths of biblical heroines using modern theoretical readings on gender and retrospectively historical and literary texts combined with mixed reality simulation technologies.
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/
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4864648-bats-european-paintings/
The presentation produced for Los Cuadernos de Julia blog looks at various aspects of depicting the famous story of a musical contest between Apollo and Marsyas in European art.
No one can deny that William Shakespeare is one of the best playwrights in the history of world literature, if not the best of them. This study will deal with one of the important plays related to Shakespeare, he was active in writing tragic plays during the era of Queen Elizabeth.The study first seeks to conduct an analytical study for the appearances of the ghost characters in the plays of Shakespeare,ghosts have appeared in five plays: ( Hamlet, Julius caesar, Macbeth, Romeo and Juliet, Richard 3).
The first four plays had four ghosts appearances , they are ( Hamlet’s father, Banquo, Julio Cesar, Valentine) .
The study covered the appearance of the ghost character in each of them, commented on the most important observations of the scene of the appearance of ghosts in each of these four plays, and gave an overview of the common characteristics.
Thinking of ghosts in most other plays in all, Shakespeare helps one to take into account current ghost perceptions as these plays are produced. When remembering how these scenes have happened over the years, one can also read how perceptions about fantasies have evolved over time.
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
The immortal female triads in paintings.ppsxguimera
Greek mythology has several female triads, four of which, according to Hesiod, are immortal:
the terrible Fates, the avenging Erinyes, the sweet Seasons and the charming Graces.
associated with the soul, the image of the destiny of the soul, symbol of resurrection,
allegory of the transience and fragility of existence,
her beauty and short lifespan made it a symbol of physical beauty that threatens virtue and leads to human downfall …
The cypress tree in European paintings.ppsxguimera
In Greek mythology associated with Cyparissus beloved by Apollo, and with Hades, god of the underworld.
Symbol of Immortality, of life and death, of mourning …
you can download my presentations at
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http://www.authorstream.com/Presentation/guimera-4783327-cast-shadows-western-paintings/
A R T O F T H E M I D D L E A N D L A T E
1 9 T H C E N T U R Y
Realism in Painting and
Literature
Learning Objectives
To understand the forces which led to the
development of the Realist style
To recognize the major characteristics of Realist
painting
To be able to identify the major subjects of Realist
painting and literature
Realism in Painting
In part due to the impact of photography, the Realist painters wanted to branch
away from fantastic or Romanticized representation of life and nature and
instead strove to depict real-life events with real-life detail.
Realists tried to move away from their own feelings and ideas and instead
represent life as it actually was – not filtered through just one person’s
understanding or emotion. They wanted to represent life without any
embellishments and this meant even dealing with its ugly, dirty, or low sides.
Ultimately, they aimed for objective rather than subjective representation.
They were also concerned with contemporary events – with the here and now
rather than some romanticized past or utopian future.
The subject matter consists almost exclusively of the lower classes and rural poor.
Realists tried to convey the idea that ordinary people in modern times, not
archaic gods or kings and queens, were the proper subject for modern art.
The Realists also generally refused to use traditional iconography in their
paintings, such as Biblical allusions, mythological subjects, or complex symbols.
Gustave Courbet (1819-1877)
Courbet was one of the leading figures in this shift away from Romantic,
sublime, and idealized art toward a more true-to-life style in painting. He,
like most Realists, was also a social activist on the side of the working classes.
What follows are a few quotes from Courbet that reveal his new approach to
painting and which reinforce the characteristics on the previous slide:
“To be able to translate the customs, ideas, and appearances of my time as I
see them – in a word, to create a living art this has been my aim…”
“The art of painting can consist only in the representation of objects visible
and tangible to the painter…[who must apply] his personal faculties to the
ideas and the things of the period in which he lives…”
“I hold also that painting is an essentially concrete art, and can consist only
of the representation of things both real and existing…An abstract object,
invisible or nonexistent, does not belong to the domain of painting”
“A painter should paint only what he can see.” When asked why he never
painted angels, Courbet replied, “Show me an angel, and I’ll paint one.”
Courbet
Self-Portrait
1848
Here is Courbet’s self-portrait. You can tell he
has not tried to create an idealized image of
himself or an overly sentimental image either. It
is simply what he sees in the mirror – for better
or for worse!
Gustave Courbet The Stone-Breake.
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 ...
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
Personnages de la mythologie grecque ....ppsxguimera
exceptionnels par leur intelligence, leur bravoure et leur force,
mais aussi parfois arrogants, fiers, prétentieux, vaniteux, vindicatifs et un peu infantiles ...
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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.
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.
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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.
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.
27. MOREAU, Gustave, Featured Paintings in Detail
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28. MOREAU, Gustave
Jupiter And Semele
The first sketch for this painting is dated 1889, but it was only delivered to Leopold Goldschmidt, who commissioned it, in 1895. He donated it to the museum in 1903. A true synthesis of
Gustave Moreau’s art, it can be regarded as his pictorial testament. It depicts the moment when Semele – daughter of Harmonia and Cadmos the founder of Thebes –is struck by lightning,
overwhelmed by the vision of Jupiter transfigured, revealed in all his glory.
Semele had listened to the words of the perfidious Juno, his legitimate wife. She, in a jealous rage, had taken on the features of Beroe, Semele’s old nursemaid, in order to gain her confidence,
and suggested that Semele demand this metamorphosis from her lover knowing it would be fatal for a mere mortal. The winged figure hiding its eyes is, for Moreau: “The genius of terrestrial
love, the genius with the goat hooves”. However it is sometimes identified as Bacchus, fruit of the tragic union of the god and Semele. Bacchus, torn early from the maternal womb, according
to the myth, was quickly sewn into his father’s thigh and developed there into a fully-grown baby.
Around the throne, hidden by the vegetation, a number of figures become aware of a supraterrestrial life. Breaking with the traditional iconography, Moreau depicts the god as beardless, and by
placing a lyre in his hands, the usual attribute of Apollo or Orpheus, makes him into a poet god. At the base of the throne are two allegories: Death, which has just finished its work, holds a
bloodied sword, and Sorrow, crowned with thorns like Christ, holds a lily, a symbol of purity. For the painter, these “form the tragic basis of human life”. Near these two figures we can see, on
the one side, the Eagle with outstretched wings, Jupiter’s attribute; on the other, Pan, the god with cloven hooves, on whose thighs a multitude of small creatures endeavour to free themselves
from their worldly bonds.
A telluric divinity, Pan forms a link between the Heavens and Hell where Hecate reigns, the Night. She appears at the bottom of the painting, with a crescent moon on her head. Near her “is piled
the sombre phalanx of the monsters of Erebus, hybrid beings […] that must still wait for life in the light, creatures of shadow and mystery, indecipherable enigmas of darkness.” The two
sphinxes, at the bottom of the painting, symbolise the past and the future, and are the guardians of this diabolical flock. Moving away from the lower part of the painting, its vertical
development should be construed as the path the soul must take towards increasingly spiritual regions.
29. MOREAU, Gustave
Oedipus and the Sphinx
One of the surprises of the 1864 Salon was the sensational debut of Gustave Moreau, who leapt to immediate fame and from then on attracted many loyal admirers. Oedipus and the
Sphinx was bought by Prince Napoleon, a noted collector and an admirer of Ingres.
The painting depicts Oedipus meeting the Sphinx at the crossroads on his journey between Thebes and Delphi. Oedipus must answer the Sphinx's riddle correctly in order to pass.
Failure means his own death and that of the besieged Thebans. The riddle was: "What walks on four feet in the morning, two in the afternoon and three at night?". Oedipus answered:
"Man: as an infant, he crawls on all fours; as an adult, he walks on two legs and; in old age, he uses a walking stick". Oedipus was the first to answer the riddle correctly and, having
heard Oedipus' answer, the Sphinx was astounded and inexplicably killed herself by throwing herself into the sea. Oedipus thereby won the freedom of the Thebans, the kingdom of
that city and a wife Jocasta, who it was later revealed was his mother.
30. MOREAU, Gustave
The Apparition
Seduced by the erotic dancing of his stepdaughter, Salome, the biblical ruler Herod Antipas promised to grant her a wish. Salome demanded the head of the prophet John the Baptist,
who had resisted her advances. Here the severed head, with a cascade of blood, stares from mid-air at the bejeweled and scantily clad princess, who points to her trophy. By placing
the figure of the enthroned king in the shadows at the left, opposite the radiant head of the ascetic prophet, Moreau depicts a psychologically and narratively ambiguous scene. Has
the henchman standing to the right of the exotic stage just executed the order, or is the suspended head a symbol of the girl’s desire?
31. MOREAU, Gustave
Galatea
The subject of this painting has been taken from the 12th fable of Book XIII in Ovid's Metamorphoses which tells the story of the Cyclops Polyphemus' jealousy over Galatea's love for
the shepherd Acis. Gustave Moreau's interest in the theme was revealed by two photographs that he hung in his dining room: one of Raphael's Triumph of Galatea and the other of
Sebastiano del Piombo's Polyphemus.
Here, far from illustrating the story, Moreau has gone no further than the first line: "Here is a terrible giant who loves a beautiful nymph". He gives a personal, modern, magical
interpretation of the pagan myth, rejecting the anecdotal and concentrating on the opposition between exquisite beauty and hideous ugliness, beauty and the beast, love and disdain.
His composition stages a struggle between shadow and light, mineral and liquid, good and evil. Moreau's Polyphemus is nevertheless not an ogre, but a melancholy being, lost in one-
eyed contemplation of the inaccessible woman. Galatea, who has taken refuge in a cave too narrow for the giant to enter, is a pearl gleaming in its setting. The change in scale
between the two figures is repeated between Galatea and the tiny nereids almost invisible in the lacework of aquatic plants and coral…
This vegetation looks supernatural but was derived from drawings meticulously copied from a book of marine botany in the Museum d'Histoire Naturelle, where Moreau had registered
as an unofficial student in 1879. The rubbed, scratched texture of the oil paint gives the work a precious, enamelled look. The Salon of 1880 was the last in which Moreau took part.
Galatea was a triumph there and marked the height of his career.
32. MOREAU, Gustave
Venus rising from the sea
Gustave Moreau worked alone, illustrating a quiet world of seraphim and silent, brooding women. Though he lived in France during rise of Impressionism, Moreau’s work was
influenced by Michelangelo and Da Vinci, and attempted to capture the le rêve fixée, the fixed dream — a hypnotic state where a person is “rapt in sleep and borne toward other
worlds than ours.”
Moreau’s work was alien in his world. He worked alongside Gustave Courbet and Édward Manet, but his images were neither realistic nor impressionist — Moreau was a
melancholy romantic, and his haunting artworks were considered naive, melodramatic and childish. His own student, Degas mocked his attempts at rendering the angelic saying
“He would have us believe that the gods wear watch chains”.
33. MOREAU, Gustave
French painter, whose main focus was the illustration of biblical and mythological figures. As a painter of
literary ideas rather than visual images, he appealed to the imaginations of some Symbolist writers and
artists, who saw him as a precursor to their movement.
He entered the studio of François Picot at the Paris Beaux-Arts in 1846. He was a friend of Théodore
Chassériau, whom he frequented from 1850 until the latter's death in 1856. From 1857 to 1859 he travelled
in Italy. He won considerable reputation at the 1864 Salon with his Oedipus and the Sphinx, one of his first
symbolist paintings. His unfavourable critical reception in 1869 meant that he returned to the Salon only in
1876 with his Salome Dancing Before Herod, which was admired by many critics, notably Huysmans. He
made many variations on the theme of Salome. Over his lifetime, he produced over 8.000 paintings,
watercolours and drawings, many of which are on display in the Musée national Gustave-Moreau, Paris.
In 1884 succeeded Elie Delauney as a teacher at the Beaux-Arts. Matisse, Marquet, Camoin and Roualt
were among his students and their works show his influence.