November 15, 2014
Originally posted on Patricia Beykrat - the Roving Aesthete:
My lover, creature of the written word gushing with instinctive heartbeats straight from the arteries of feeling, always in stream of consciousness on pages filled by the minute, told me at one point he cannot understand how someone like Vermeer would work for months to create a single painting. Because, surely, the initial emotion, the original impulse, would’ve long waned.
I never replied- incentives of his physical closeness distracted me.
But as I was recently talking to my muse about an elaborate composition she was planning to start well aware it might take weeks to perfect, an idea became clear to me that the artistic process by which we write – or draw – or sculpt – or compose is a timeless container of the inner state we want our creation to convey.
So during the interval between the first and last brushstroke our primary inspiration is preserved and can…
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September 23, 2014
Check this art project my friend proposes to you!
Originally posted on Psycharma:
You are just like the resplendent fire that lies provokingly outside the painting depicted in this ingenuous painting: you influence and drastically change what appears in any work of art. But doesn’t this sound paradoxical, that an outside person, completely unrelated to a painting, could possibly change the already existing, physical content of it?
Ah, but that’s precisely what cunning Rene Magritte tried to tell us through his whole ouvre, that art is not in the least concerned with what a work means by itself alone, but with what that content means to you. Even if we physically look at the same object, we all perceive it through the countless veils of our personal experiences. Hence, fortunately, no two people see the same painting, but rather they paint a meaning in their own minds, inspired by what they are facing.
“So…What do YOU think of this painting?”, he’d…
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September 19, 2014
January 25, 2014
October 16, 2013
I only celebrate the birth of artists who, through the utterly sublime value of their work, make me think of them as being still alive at the other end of the reader-writer wire, continuing infinitely to transmit a message, an idea, an aesthetic truth beyond a tomb’s earthly limit. Really. And dear boy Oscar Wilde’s just the persona to illustrate my idea of immortal writer.
His “Picture of Dorian Gray”, a flabbergasting compilation of epigrams brilliantly woven with the actual plot, was the object of my first genuine literary infatuation after finishing Homer’s heavy Iliad and has continued inciting my imagination ever since. Needless to confess I can’t eschew reading it least once a year and am actually unable to expel it from my frequent-comparison-terms list (together with David’s Michelangelo and Virginia Woolf’s Orlando). Its amaranthine aspects keep exerting a seemingly imperishable fascination which I always invariably bite. The wit, the beauty, the whole philosophy of dandyism and vanity in a decadent age: my pronounced affinity for them all has rendered my senses, well, sensible to Oscar’s only novel although I’m perfectly aware plenty other books surpass it in their overall value. Alas (or perhaps not), I am a voluntary victim of Dorian Gray’s witchery.
But enough about the creation: I say happy birthday to the marvelous wordsmith Wilde perfectly embodied and especially to the shrewd observer, the keen intellectual, the lobster-walker, the astute social animal and incorrigible fop coexisting within his fleshly borders. So incredible a man as he deserves the most bona fide greeting on these anniversary days despite being, physically, a mere pile of bones devoid of the possibility of hearing them. However, I wouldn’t refrain from wishing the man a formally expressed “happy birthday” before his tomb in Père Lachaise Cemetery (an occasion I’ve simply missed the last time I’ve been to Paris). There’s something very captivating in paying your compliments to a beloved author before their grave and I’m planning on capturing a drop of the respective feeling with the post you’re currently reading.
To commemorate Wilde I’m dedicating today to watching all the ‘Picture of Dorian Gray’ movies ever made and contriving a top of related subjects I could write about here. Nothing grand or equally off-the-wall to his deeds, unfortunately, but rather a good, valid excuse to do what I’ve been yearning to for a while now. What can I say: nice justification, a dead man’s 158th birthday… :)
Ah, and furthermore exploiting the occasion, I’d like heading what’s (if any) your relationship with the defunct yet still lively Oscar; associations, opinions, life stories, practically all you’re kind enough to share.
August 2, 2013
In my assiduous attempt to provide my intellect with quality lectures favoring the breeding of uncountable thoughts I genuinely consider a chief condition for one’s happiness to achieve substance, I rarely came across spiritual themed books. Mysticism’s not really my cup of tea and reading its adepts has yet to attract me, you should know, but while relishing a dose of Borges’ oral speeches the other day (Borges being quite a brilliant modern mind, if you’d ask my opinion) I became unexpectedly intrigued by the man he was talking about, a certain Emanuel Swedenborg (1688-1772).
Swedenborg who? Apparently, the guy was the proud possessor of a brilliant mind which Kant took some time in studying with expressed regrets he could never meet its owner, dead a decade earlier. Reputed scientist for the first half of one of those lives uncommonly long in the not so healthy 18th century (he managed to survive the age of 80), obedient student and offspring of a wealthy Lutheran bishop quite respected by the Swedish King, he was much appreciated himself for researches (truly ahead of his times) on human brain (developing the “neuron” concept barely occurred as an important matter to Swedenborg’s contemporaries), psychology and complex anatomy, although international recognition came with a treaty on similarities between metallurgy and philosophy. Later, he even took some time in designing a flight machine, reaching the sky otherwise than through death being a dream he had in common with da Vinci.
Great variety in preoccupations, do observe.
But not sufficient to conquer historic immortality.
Until Providence generously opened the gates of a new domain Swedenborg could usefully study in a wholly eccentric perspective: theology. Now, how he came to have the transcendent visions on which his following works were heavily based one may effortlessly find on omniscient Wikipedia without my mentioning it, yet I’d like sketching their content as it explains my decision of boring you with this particular Swede.
Upon experiencing an elevating journey of the type Dante made famous worldwide at the end of a swift adjustment, Swedenborg established a few marvelously novel religious ideas definitely surpassing, in context, Rudolph Steiner’s esoteric movement centuries later.
According to him, our souls are directly responsible for their entry in either hell or Paradise since, here goes the surprise, each man is let to decide where to spend his afterlife. Swedenborg explains that, after an interval spent hanging in a neutral zone where angels and demons could freely pass, we are put to chose the place of our eternity, the only space in which we’re able to find happiness. Shockingly, some actually desire to reside in the fiery depths of infernal terror, which he doesn’t interpret as punishment.
“The life of any one can by no means be changed after death; an evil life can in no wise be converted into a good life, or an infernal into an angelic life: because every spirit, from head to foot, is of the character of his love, and therefore, of his life; and to convert this life into its opposite, would be to destroy the spirit utterly.” Explained, it means a predominantly mischievous spirit, without being damned, can never pass Heaven’s doors because it would condemn him to tremendous misery; it’s not his nature to stay among those essentially good or graceful for he’s destined to hate, spite, breath in torturing vices alongside those assembling his temper, a theory most sophisticated in comparison with Bible’s old-fashioned variant -reminiscent, though, of Shaw’s “Man and Superman” third act.
Evidently, there’s much more to say about Swedenborg regarding his concepts and the authenticity of his mystical connections; I promise to incorporate sometime in a longer post if interested, probably subsequent to reading the “Heaven & Hell” work which won him posterity.
For now, what do you think about his rather strange philosophy? Heresy? Madness? A wild but nevertheless genuine hunch?
July 18, 2013
The ancient world saw the birth of pantheons and singular gods who emerged as icons to be piously worshiped and duly feared (like the Greek word “thambos” suggests) but was particularly the heyday of mortals deified by deeds of such audacious character or so astounding a trait people could not refrain eventually granting them supernatural statute. From the much-revered Osiris to the now less popular Asclepius, faith elevated the extraordinary to heights unparalleled ever since and Antinous, reputedly the most handsome creature to have pleased the eyes of men, perhaps best exemplifies these hasty canonizations that were ultimately ensued by the plethora of mythological figures currently known.
But what did this ostensibly common youth, whose pulchritude seemed his sole distinctive feature, to deserve being an object of veneration for a cult even our contemporaries perpetuate?
What they all do: make themselves fervently loved.
Apparently, Antinous, a Bithynian Greek of no aristocratic breed, stirred a most unlikely passion in the eminent Roman Emperor Hadrian that would not cease to consume him the whole span of his lengthy life, which turns the case quite similar to Alexander and Hephaestion‘s. Thus the story goes that the named Augustus from Nervan-Antonine dynasty, being a declared philhellene who took a liking to the old Greek habits, penchant for homosexuality included, so ardently cherished the boy that when he was found drowned in the Nile river a whole sophisticated mechanism of propaganda ensured his place between the immortals. Countless statues bearing his marvelously beauteous features were consequently produced, sanctuaries erected to commemorate him and at one point Hadrian had coins struck with Antinous’ profile, a prerogative previously resumed to the gods or their earthly representatives, the Imperial family.
Across time, this most handsome lover of royalty secretly inspired all the gay intellectuals and J.J. Winckelmann, reputedly the father of art history, is said to have more ore less been influenced by Antinous in his pursuit of Greek and Roman culture.
How do you feel about it, though? to learn it’s outrageously easy to ascend a heavenly reputation through a very humane sovereign’s obsessive infatuation?
My, that’s love to shape destinies. Wonder what Freud would comment.
July 6, 2013
“There was a statue made not long since of Voltaire, which the sculptor, not having that respect for the prejudices of mankind which he ought to have, has made entirely naked and as meagre and emaciated as the original is said to be. The consequence is what might be expected; it has remained in the sculptor’s shop, though it was intended as a public ornament and a public honor to Voltaire, as it was procured at the expense of his contemporary wits and admirers.”
(Reynolds, “Seven Discourses on Art“)
Fortunately, since Pigalle’s Voltaire now neighbors Michelangelo’s Slaves in the Louvre with the blessing of a reputed curator, Reynold’s valuation of the peace doesn’t prove equitable enough to concur immediately. Indeed, the great philosopher’s nude realistically depicts the atrophied, skeletal physique of a septuagenarian crooked by age, secular and spiritual difficulties to an admirably small degree. No attempt to idealization being made, François-Marie Arouet‘s body appears feeble, humane in what may seem a depreciating way, as the English portraitist put it. Besides these features of decay, though, one can find that the sagacious expression on his face, together with a dynamic pose, redeem the decrepit members so as to convey the “triumph of mind over matter”.
And it was this victory Jean Baptiste Pigalle wanted to illustrate when “a literary society whose members included Diderot and d’Alembert (the authors of the Encyclopédie) decided to pay tribute to Voltaire” by commissioning a “marble statue in his likeness”.
Drawing inspiration from the majestic masterpieces of Greek and Roman art, Pigalle’s idea was to sculpt his model “entirely naked except for the flowing drapery that crosses his left shoulder and covers his loins. Such a portrayal, unprecedented in the modern period, caused a scandal and prompted a multitude of sarcastic comments, King Gustavus III of Sweden offering to contribute to the cost of a coat. Fearing ridicule, Voltaire attempted to dissuade the sculptor, but finally agreed to his project in the name of artistic freedom.”
But there’s no surprise such an “overly naturalist portrayal of the patriarch philosopher prompted unanimous disgust and rejection” since only “Jean-Antoine Houdon approach to the problem with a statue of Voltaire Seated, his whole body wrapped in swathes of timeless cloth” met with general approval and was finally displayed in the foyer of the Comédie Française.
It remained with the notorious sitter who eventually “bequeathed the work to his grand-nephew”, reaching the Louvre due to a donation at the beginning of the 19th century.
(Incidentally, the Louvre has an extended version of this article on its public site, from which descend all quotes here employed, plus a few more.)
So, what’s your personal opinion of it?
Mere tasteless representation of an old Voltaire or an image that rightfully invites to ponder on the triumph of mind over matter?
Having recently been to Austria (again) and inevitably but nevertheless unpremeditatedly stumbled upon an earthly remnant of the famed Sissi, Franz Joseph’s bohemian Empress, in the form of a palace called Kaiservilla, my fascination with her legend instantly rekindled. Thus I ended up buying yet another biography depicting the bizarre destiny of the much idolized monarch whose blazing icon still lingers over the lore-inspired part of our collective memory quite as if time would not attempt diminishing such rarefied a charm – although perhaps time in itself shares not half the merits for its transcendence in the detriment of intensive propaganda which doubtlessly enhances the Austrian economy with its touristic value. So, out of a melange of eagerness and spontaneous, exceptional magnanimity, I made my pecuniary contribution by purchasing Sophie Zavadill’s “Elisabeth, Empress of Austria” and Jean des Cars’ “Sissi, Empress of Austria” (do note I’m aware of the phenomenal difference between these two exceedingly dissimilar titles), managing to devour them in a bit under 2 days.
Here’s one delicious fragment to justify my enthusiasm and concomitantly provide an insight in Sissi’s complex personality:
‘During a carnival she and Ida Ferenczy attended a masked ball in secret. It was the Redoute, which is still held annually in the grand ballroom of the Hofburg. The emperor knew nothing of his wife’s escapade. She also deceived her servants by having herself undressed as usual, going to bed, and pretending to sleep – just as in a novel. When her servants had withdrawn, Ida Ferenczy slipped into her room with the fancy-dress costume, a magnificent yellow domino made of heavy brocade. Ida also brought the empress a red blonde wig and mask with long black tassels to completely cover her face. Ida wore a red domino and was also masked- as is still the custom at the Redoute.
‘The two slipped into the hall and at first only watched the goings-on from the the balcony. Elisabeth was fascinated. She had been to every sort of functioning by then but never to a masked ball. When she became tired of looking, the empress selected from the crownd a young man who was obviously without an escort. Ida brought him, a government employee in his late twenties, to the masked empress, who spent the rest of the evening in the company of this Fritz Pacher. She questioned him about politics, asked whether he was satisfied with the government, inquired what he thought of the empress and finally spoke about her favorite poet, Heinrich Heine. She flirted with the young man but could not be moved to lift her mask by a centimeter. The ball of the yellow domino was followed by a series of letters between the blonde “Gabrielle” and Pacher. These letters have survived and confirm the fairy-tale story.
”More than ten years later, Elisabeth wrote a poem called “Long, long ago: the song of the yellow domino”.’
(“Elisabeth, Empress of Austria” by Sophie Zavadill)
June 17, 2013
Everybody at a certain point harbors the desire or curiosity or simple, sheer interest to gather a collection of various things in diverse quantities, some parameters more eccentric than others. Empress Elisabeth of Austria, commonly nicknamed “Sissi“, a character to whom Madame has dedicated a plethora of posts, had her own phenomenal assortment which put together a considerable number of photos immortalizing the most beauteous women of the age. But I already wrote about it here. Yet what I didn’t know at the time when that account of her oddities was given and subsequently learned to be a crucial factor in explaining her peculiar idea of a collection refers to the strikingly similar propensity for putting together images of beautiful ladies which dominated the life of Sissi’s uncle, King Ludwig I o Bavaria. No longer content with getting most of the pulchritudinous grand dames of the time in his bed for fleeting moments of passion, the monarch who is (in)famous for abdicating the throne following a tempestuous scandal involving his mistress, Lola Montez, determined to forever own the marvelous physical charm of these resplendent females. And thus took shape the Gallery of Beauties, the original inspiration for Empress Elisabeth’s identically themed albums.
This chamber, wholly dedicated to the celebration of corporal attractiveness, exhibits a selection of 36 portraits ordered by Ludwig between 1827 and 1850. They were all commissioned to have the same size so as to perfectly fit in the allocated space and all feature the enchanting profiles of mid 19th century women coming from sundry social backgrounds like the German aristocracy or the European middle-class. This way, characters who otherwise never spoke in real life were forced by circumstance to keep each other company while hanging on the walls of the King’s gallery of visual splendor inside Nymphenburg Palace. So Ludwig’s sister, Sophie (between brackets: the mother of Emperor Franz of Austria, Sissi’s husband), rested alongside such notorious figures as English aristocrat Jane Digby, actress Charlotte von Hagn (a former concubine to Franz Liszt) and, inevitably, Lola Montez, quite an outrageous arrangement, given the epoch. Sort of like compelling Whistler’s Mother to face Courbet’s “Origin of the World” non-stop.
Don’t you just fancy having a place resembling this?