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sprawa-przybyszewskiej · 3 years

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Ekphrasis in The Danton Case, Thermidor, and their adaptations

Ekphrasis is invoking a piece of visual media into a literary piece. It can be done for a variety of reasons, from entirely pragmatic (mostly grounding the literature in reality - if the invoked piece is a real piece of art, one you could find in a museum, for example) or more poetic (drawing some symbolic meaning between the piece of art and the idea behind the text).

In Przybyszewska's plays ekphrasis is nonexistent, at least on the foreground. I don't recall any clearly established visual, given to the readers by the original author. It's not weird in any way - how many pieces of medai do you recall which refrain from its sophisticated and additional piece of subtext and iformation? Hundreds, probably. The only other artistic thing that she has weaved into her plays is La Marseillaise, which is invoked twice in The Danton Case. There are also three book references to Othello, Orlando furioso and this one book Robespierre summarizes to Saint-Just when he's talking about hatred (but of which I have no idea if it's a real one - it probably is - or not). Other than that - nothing, plus the books count only a little, forekpfrasis should be, as I said, visual in nature.

Of course, the historical aspect of her works is what grounds them in our reality, and so cleverly, too (seeing as they're not really historical plays in any way or form, but manage to fool most anybody). And thanks to her extensive stage directions, we have no need of any additional element helping us visualize the scenes, for she does it perfectly enough on her own.

However, seein as these are plays calls for a mirror ekpfrastic effect and thus theatrical and cinematographical adapations are born. And they, on the other hand, have a potential to be filled to the brim with visual refernces. Here I would like to have a look at a few, which are taken from one of the most well known staging and the famous Wajda movie (plus some). In no particular order, there goes:

This is the very first scene of a controversial theatre adaptation of The Danton Case. Instead on portraying Robespierre as a firm leader, who only in the very end collapsed temporarily under the huge responsibility he now had to bear, the director decided to portray him as someone physically weak, not in the sense Danton meant when he called him a weakling, but in the sense of somebody who already bears so much responsibility, pain, physical ailments, doubts and whatnot. Just: everything, everythin a human could possible deal with, he deals with, and has to do so in a way that doesn't make people suspiscious about his "shortcomings". There is a interesting parallel between him and Saint-Just, whose upright and unbreakeable character is symbolised by a neck braces, something which people wear after a spine endangering accidents - and incidentally, wasn't it Saint-Just who accused Robespierre of "breaking his spine"? But not in this adaptation, oh no - here their very last scene is cut extremely short and they recite the last few sentences along with some Thermidor lines as two floating heads, a vision into the future which awaits them.

Enough about Saint-Just, though, let's focus on Robespierre and Marat. I must admit I know next to nothing about him, only what some passage here and there in this or that historical study might tell me, but I know, as does everybody, that he was known as L'ami du Peuple, which is why of the reasons, I think, why the director took this image and transposed it onto Robespierre: to make him even more likeable, to show for the umpteenth time that it is Robespierre whom we should cheer on and whom we should feel sorry for. This might also be a parallel between their both's tarnished health, their premature deaths and - last but not least - the role of an icon of the Rvolution both of them play in nowadays' audience's minds. You don't have to study history to knowwho Robespierre was, you don't have to study art to know this painting. Even if you don't agree with some more in-depth explanation of linking this person to this painting, it is a good opening image. It captures our attention in a good way.

I had mention Saint-Just and there he is, in the background of the picture, symbolically assisting Danton and his clique in their last moments. Instead of shwoign them in torn shirts, the director went into another direction altogether and enshrouded them in white sheets from heads to toes, making them all look like very stereotypical ghosts, whom they will all become in just a couple of moments.

In Polish culture, the first thing that comes to mind when talking about ghosts is Dziady, an old slavic tradition that is now replaced with the Catholic All Souls Eve. Dziady is no longer, apart from perhaps some small minorities who still practice old pagan faiths, but as a ritual, they are immortalised in a play by Adam Mickiewicz, undoubtedly the greatest Polish poet ever. Everybody know this play, some scens - by heart, and they were and are being staged pretty much constantly from one point on. Needless to say, they inspire a lot of art, and I decided to show this very fmous poster by the most famous Polish poster designer, Franciszek Starowieyski…

…who is important in this case, because he played David in Wajda's movie.

Not many people know - because his other carreer overshadowed by a lot his first one - that Wajda was a painter. Who actually hated his art, some of his pieces are in the national museum of contemporary art in Łódź alongside stars such as Władysław Strzemiński (the hero of Wajda's very last movie), which is a fact he absolutely detested. I dont know, nor do I care, why was that, because what matters is his previous education as an artist at the very least helped him not only to envision the visuals of the movie, but also acquainted him with great works of art. On which he could model this or that setup. I think it's a nice little detail he catsed Starowieyski as David, a real painter acting as another real painter, it adds a layer of reality onto the movie, and presumably makes for a more natural acting in the few scenes he was in his studio (I also think they look alike).

Speaking of David's studio, I once stumbled upon a lecture which drew parallels between some scenes in the movie and some paitings, which was mostly focused on character and costume design, and truth be told didn't contribute much to the overall watching experience of Danton. However, I must admit the lecturer had a very good eye in this one particular case, in which he pointed out that this quick shot in David's studio pretty obviously invokes the Fussli's The Artist's Despair Before The Grandeur Of Ancient Ruins. I don't think it's a coincidence (or at the very least, would be funny if it were) this shot is shown during the scene where Robespierre starts to grasp at desperate measures to save the country/save his own face in the trial. It is an artist's despair, only artist of a different kind. And it is a despair when being faced with a (possible) ruin of something great, even if its greatness is not yet formed, as opposed to the greatness passed.

The very last example I was able to think of was this photo I found of The Danton Case from 1975. It is one of those old, very classical (I presume) adaptations, which are mostly filled to the brim with riddiculosly attractive people and very often deliberately drew from other sources of artistry, like the one pictured above. No matter what the real relationship between Louise Danton and her husband was, in the play it is portrayed as something atrocious, and I cringe whenever directors try to make it something else without good reasons for doing so, so I am very glad in the past at least they stuck with classicaly depicted acts of violation against women, not because it is a violation, but because in the classical stories (like the myth of Persephone shown in the sculpture above) the woman will usually get her revenge. Just like Przybyszewska's Louison did.

Thank you for bearing with me until the end, and if you have any other examples of this come to your mind, I compel you to share them with me!

List of pieces of art in the order of their appearance:

Jacques-Louis David, The Death of Marat

Franciszek Starowieyski, Dziady

Jacques-Louis David, Self-portrait

Heinrich Fussli, The Artist's Despair Before The Grandeur Of Ancient Ruins

Gianlorenzo Bernini, The Rape Of Persephone

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luckywilliams · 4 years

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APPRECIATING PAINTINGS

Paintings can be complex things to appreciate in an informed fashion. Such informed appreciation can be undertaken via a number of different methods:

Firstly, the artistic methods and techniques undertaken can be examined. Thus, Jan Van Eyck was famous for his oil painting technique, which produced a characteristic luminous finish. Michelangelo was renowned for his fresco technique, and for his skill with anatomy and male nudes. Leonardo da Vinci was famous for his sfumato, and Rembrandt for his chiaroscuro. Titian and Matisse (amongst others) were distinguished by their colourism, Caravaggio for his Tenebrism, and Frank Auerbach for his impasto. These techniques, and many others, are an important feature of informed art appreciation.

Secondly, COLOUR has always been a very important aspect to consider, and often, throughout history, the use of colour has been subject to certain rules and conventions. For example, Ancient Egyptian paintings only made use of 6 colours – red, green, blue, yellow, white and black. Red was the colour of power and authority. Green was used as a colour to indicate new life and fertility. Blue was the colour of rebirth, while yellow was used to represent eternal things like the sun, and gold. White was indicative of purity, and black was the colour of death. As an extension of some of these principles, male bodies were painted in darker colours than female bodies.

Byzantine icon paintings followed similar conventions: Blue was the colour representing human life, while white became the colour used to represent the resurrection and transfiguration of Christ. In icons of Christ and the Virgin Mary, Christ was usually depicted wearing a red undergarment, together with a blue outer garment (symbolising the idea of God becoming a man). Conversely, Mary was usually depicted wearing a blue undergarment, and a red outer garment (indicative of someone starting off entirely human and mortal, but moving closer to God).

During the Renaissance, burgeoning European art academies restricted the use of bright colours, which were only to be used in the most appropriate contexts. It is only much later in European history, with the advent of the French Impressionists and the Fauvists, that colour really became utilised independently, and without restriction. Of course, the development of new colour pigments also had a significant impact on the tonal range available to painters. – After all, a Renaissance colour palette was a very different thing to the palette available to a 19th century artist.

The narrative content of a painting (How to appreciate it).

In order to make an informed judgement, we can subdivide the narrative content of a painting into 4 parts: a) The main message. b) Subsidiary messages. c) Symbolism. d) References and analogies. (At the end of this section, under Activities, you will be given the opportunity of carrying out some research, and completing an initial assessment of the narrative content of a famous Renaissance painting, using these 4 subheadings).

Interpreting Western art (c.500 – 1700).

Byzantine art, and its icons, together with other hieratic styles such as the Gothic, was packed with narrative meaning and symbolism – but all of a Christian kind. This exclusive focus on Christian symbolism makes the art somewhat easier to decode, though the fantastic imagery of Renaissance alterpiece art of the sort produced by Bosch and Pieter Brueghel the Elder can be more difficult to work out. Much baroque painting was more straightforward, as (during the era of the Counter Reformation) its focus was mostly just on the promotion of Catholicism. Its best works consisted of trompe l’oeil ceiling frescoes and other monumental religious works. Even here, there were some exceptions, such as the Realist School within Dutch Baroque art, which possessed much complex imagery and symbolism.

Dutch Realism 1630-90.

Some exceptional schools arose in the newly independent (from Spain) protestant areas of the United Provinces, such as those in Amsterdam, Delft, Utrecht and Haarlem. Dutch realism really developed as a result of the historical context. – The 17th century was the period of the Dutch ‘Golden Age’ in which trade grew with the East Indies, and other areas of the world, and Dutch merchants grew rich on the profits. These merchants were a new type of art buyer, requiring a new type of painting, and they commissioned some of the most complex still life paintings ever produced, by the likes of Vermeer, Rembrandt, Willem Kalf, van Hoogstraten and others.

The Decline of Religious Paintings from 1700.

Religious art declined elsewhere (not just in the United Provinces) because of the decline in the number of ecclesiastical patrons available, and the rise of the secular, middle class/professional patron, who wanted – and paid for – small scale portable paintings which could be displayed in their homes. Moreover, these new buyers wanted portraits, landscapes or genre paintings (rather than massive religious allegorical works) which showed off their newly acquired power and status. As a consequence, this ‘new’ type of painting lacked obscure religious symbolism, and can be easier to interpret.

Interpreting paintings from 1700 onwards.

For analytical purposes, these can be divided into 5 main types: i) HISTORY paintings ii) PORTRAITS iii) GENRE paintings (of everyday scenes) iv) LANDSCAPES v) STILL LIFE.

History Paintings:

This category of paintings can include mythological, religious and historical works with a ‘narrative’ which can be difficult to interpret when designed to convey inspirational or philosophical sentiments.

Portraits:

This category of painting is generally easier to interpret, though it must be remembered that the buyer of a painting often prefers to purchase a ‘manipulated’ image showing him/her at their best (e.g. Sir Thomas Lawrence’s portraits of the Prince Regent during the Regency period).

Genre:

These can be relatively straightforward to interpret, when the artist is focused, principally, upon portraying the social history of a particular scene. However, a genre painting can also be used to convey a philosophical message, making the interpretation more complex to determine.

Landscapes:

In the hundred years between 1700-1800, many landscape paintings were commissioned by landowners who wanted a pictorial record of their estates. Thus, such paintings can be relatively straightforward to understand and interpret. However, in the later 18th Century, as the Romantic movement began to take hold, many painters went into the countryside in order to ‘capture’ the essence and beauty of nature – adding considerably to the meaning and purpose behind such works. Impressionists like Pisarro and Monet can fall into this category. There are also landscapes with more of a philosophical message, which can be quite difficult to interpret fully.

Still Life:

Some of this type of painting can look very static when looked at in a superficial manner. Nevertheless, the best of Still Life painting can still be loaded with symbolism, and influenced by artistic traditions going back to at least the 17th Century.

How to appreciate abstract paintings.

The key principal behind a proper appreciation of abstract paintings is the realization that FORM is just as important as REPRESENTATION. Thus, a picture of a human face could be a very anatomically inaccurate, ‘bad’ one, but it could have a very effective and striking use of colours or shapes, and might therefore be adjudged to be a ‘beautiful’ picture/painting.

Thus, form is everything, and we need to look at colours, shapes and surface textures (and their relationship to each other) when assessing and interpreting a particular piece of work.

ACTIVITIES

Now that you have completed this introductory section, please have a go at the following activities. You can either talk to your tutor about the possible answers on the telephone, or via skype, or send written responses via email or post. Please enjoy thinking about your answers, and the initial research that this entails!

Task 1: Try and find out more about the artistic techniques of sfumato, chiaroscuro, colourism, Tenebrism and impasto. What did these techniques/skills actually involve?

Task 2: Try and have a look at the painting “The Garden of Earthly Delights” by Hieronymous Bosch (1500-05) either on-line or in a suitable textbook, which is one of the great Renaissance paintings. Once you have looked at a copy of the painting, and maybe read a little about it, try and complete a brief assessment of the painting’s narrative content, using the 4 subheadings described earlier in this Section.

Task 3: Using the information supplied above about the 5 main types of paintings produced from 1700 onwards, say whether you think the following 11 paintings are either history, portrait, genre, landscapes or still life works of art: Some are more straightforward than others!

Death of Marat (1793) by Jacques-Louis David.

The Third of May 1808 by Francisco Goya

The Morning of the Execution of the Streltsy (1881) by Vasily Surikov.

Arrangement in Grey and Black: Whistler’s Mother (1871) by James Whistler.

Portrait of Madame X (1883-4) by John Singer Sargent.

Man with a Hoe (1862) by Millet.

Marilyn (1967) by A. Warhol.

At the Moulin Rouge (1890) by Toulouse-Lautrec.

Ennui (1914) by Walter Sickert.

Mr and Mrs Andrews (1750) by T. Gainsborough.

Hannibal and his Army Crossing the Alps (1812) by JMW Turner

Adrian L. Bridge

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art-of-eons · 6 years

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There’s a section from The Eighteenth Brumaire of Louis Napoleon where Marx writes that:

But unheroic though bourgeois society is, it nevertheless needed heroism, sacrifice, terror, civil war, and national wars to bring it into being. And in the austere classical traditions of the Roman Republic, the bourgeois gladiators found the ideals and the art forms, the self-deceptions, that they needed to conceal from themselves the bourgeois-limited content of their struggles and to keep their passion on the high plane of great historic tragedy. Similarly, at another stage of development a century earlier, Cromwell and the English people had borrowed from the Old Testament the speech, emotions, and illusions for their bourgeois revolution. When the real goal had been achieved and the bourgeois transformation of English society had been accomplished, Locke supplanted Habakkuk.

Thus the awakening of the dead in those revolutions served the purpose of glorifying the new struggles, not of parodying the old; of magnifying the given task in the imagination, not recoiling from its solution in reality; of finding once more the spirit of revolution, not making its ghost walk again.

Neoclassical art existed during 18th century France in two trends, as an austere opposition to the frivolousness and anti-rationalism of Rococo art (Jacques-Louis David) or in a hybrid ‘Rococo Classical’ form (Joseph-Marie Vien) that embraced Rococo values.

However, beginning in the 1780s the ‘severe’ classicalism of Jacques-Louis David begins to grow and popularity, and with the exhibition of his painting Oath of the Horatii, it becomes clear that his style is destined to become the dominant artistic form in France.

If the stoicism and spartan attitude of Jacques-Louis David’s rendered it attractive to artists fed up with the decadence of Rococo, they also appealed to the bourgeoisie and progressive middle-classes who were fed up with the stale and anemic state of the French monarchy.

And it’s the period right before and during the revolution that Jacques-Louis David does his best work (obviously The Death of Marat).

But as Marx pointed out, bourgeois society is decidedly unheroic - the gladiator imagery, the antique-historic mythology that it revolutionized was self-deception. Neoclassical art continued throughout the French Directory and the reign of Napoleon, but it was almost entirely stale and artificial. It had served its task - vanquishing Rococo and the vestiges of feudal-aristocracy, but there wasn’t anything substantive to it that allowed it to flourish as a style for an extensive period of time. Most Neoclassical works after say 1800 basically seem like matters of convention - they set their works in classical-antiquity out of habit not because of any meaningful source of inspiration.

#discourse

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burkeandharesworld · 4 years

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Hello again my freaky darklings Madame Tussuad here. Today's review features a rather interesting and inspirational art piece. The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat. It is one of the most famous images of the French Revolution. David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on 13 July 1793, after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it". Detail of The Death of Marat showing the paper held in Marat's left hand. The letter reads "Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance" which means "Given that I am unhappy, I have a right to your help" Now whether the artist himself feels like This or this is how he feels society is dictated and comes across as this is far to the unknown. But I do know this, I Madame Tussuad being of French society and history even I find this creepy to the bone. I would overall rate this artwork a 8/10 M. Tussuad x 💀 #art #famousart #paintings #deathofmarat #horrorart #jaqueslouisdavid #french https://www.instagram.com/p/CEH8zQ9FAbh/?igshid=3b105viw8b61

#art #famousart #paintings #deathofmarat #horrorart #jaqueslouisdavid #french

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the-arthub · 4 years

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Finding Art Inspiration in Films

Akin to how director Quentin Tarantino references and gets inspiration from various sources from different time periods for his own films (Lee, 2020), artists can get inspiration from different media for their artworks as well. Film is one of the most complex forms of art. In a way, it is not just one medium, but rather a collection of different forms of art-- music, photography, writing, design-- all masterfully combined to effectively tell its story.

While the writing and music are crucial components in films, the most significant part of it is the imagery; the composition of shots, framing, and colors, all take part in how stories, ideas, and emotions are delivered. The art of Film heavily relies on imagery as its form of communication. In an interview about Akira Kurosawa’s “Rashomon” (1950), director Robert Altman comments "It's the visual stimulation that hits the audience. That's the reason for Film, otherwise we should just turn the light out and call it radio."

Film, Photography, and Drawing all make use of imagery and visuals to tell a story. They use almost the same elements, thus techniques and styles used in film can also be used for painting and drawing, and vice versa. In fact, many filmmakers get inspiration from paintings, like how a scene in “About Schmidt” (2002) is inspired by Jacques-Louis David’s painting titled “The Death of Marat”.

(from Vugar Efendi on youtube)

Artists can use films as references. The actions and emotions of actors could be used as anatomy and expression studies. The set designs and locations, whether real or not, could be references when drawing backgrounds and environments. Like in all fields of art, colors are used to convey and elicit emotions as well as to set the mood of a certain scene or entire film. They are also used to give emphasis on a subject or message, like the little girl’s red dress in the otherwise black and white film “Schindler’s List” (1993). Being the only subject with color in the film, the audience’s attention is purposely drawn towards her and so we see the full impact of the happenings in the story.

Visual symbolism is also prominent in films, and upon understanding how filmmakers do this, artists can do the same with their art pieces. The aforementioned girl in a red coat is an example of this. In Bong Joon-Ho’s “Parasite” (2019), lines are subtly used to divide the characters of differing social classes, which is the main theme of the film.

In Denis Villeneuve’s “Prisoners” (2013) and Stanley Kubrick’s “The Shining” (1980), mazes are used to symbolize the character’s psychological struggle and growing insanity (Storytellers, 2017) .

Symbolism through color and cinematography are often subtle and could not be noticed right away, but it adds layers to the work. Most of the time, symbolism in films are not explicitly explained and would require further reading to fully grasp the intention of the filmmaker. However, it is this added depth that makes some films masterpieces, and adds to the film’s rewatch value. Researching about the symbolisms used in films can spark interest about certain topics such as the history of objects or the meaning of symbols, thus giving an artist inspiration. Watching how filmmakers incorporate symbolism through objects, framing, positioning of subjects, or the environment in which the subjects are in can teach artists how to add symbolism in their work as well.

Watching films of different genres from different countries and time periods can allow artists to explore various visual styles and help them to train their eyes and develop a more creative perspective.

With all that being said, here are a few movie recommendations that could, in one way or another, give artists some inspiration because of their artistry and visual brilliance:

The Mirror (1974) directed by Andrei Tarkovsky

Spirited Away (2001) directed by Hayao Miyazaki

Amelie (2001) directed by Jean-Pierre Jeunet

The Grand Budapest Hotel (2014) directed by Wes Anderson

In The Mood For Love (2000) directed by Wong Kar-wai

Blade Runner 2049 (2017) directed by Denis Villeneuve

Big Fish (2003) directed by Tim Burton

Parasite (2019) directed by Bong Joon-ho

If you are interested in knowing more about films and watching well made film analyses, some excellent Youtube channels are: CineFix, Indy Mogul, Now You See It, Every Frame A Painting, Lessons From The Screenplay

References

Lee, N. (2020). How golden globes winner quentin tarantino steals from other movies. Retrieved from https://www.businessinsider.com/quentin-tarantino-movies-steals-cinema-homage-reference-2019-7

Tihai. (2011, January 24). Robert altman on rashomon by kurosawa [Video file]. Retrieved from https://www.youtube.com/watch?v=oYWQa0GExt8

Vugar Efendi. (2016, September 20). Film meets art II [Video file]. Retrieved from https://www.youtube.com/watch?v=pfR8bH_Fe8Q

Storytellers. (2017, September 10). Prisners: symbolism done right [Video file]. Retrieved from https://www.youtube.com/watch?v=fekd6LcnSyw

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67435kris2002-blog · 6 years

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The painting I recreated is call “La Mort de Marat” painted by Jacques-Louis David in 1793. This is one of the most famous paintings of The French Revolution since it shows radical journalist, Jean-Paul Marat dead in his bathtub. This “oil on canvas” masterpiece caught my eye because it was used to document the death of Marat. Moreover, it shows how, before photography, painting was used to document events. My inspiration was to make the scene look as if time passed. I tried to make the walls look filthy and the body decayed. Also, I tried to the best of my abilities to achieve a chiaoscuro effect by darkening my blacks and intensifying my whites.

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georgiablacklidge-blog · 6 years

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Romanticism

This erie is based around a depended appreciation of the beauties around us. It is not to do with love or romance but it is all about passion, in their beliefs and their feelings. It is an act of personal expression, which changed the course of art. Romanticism was all based around being yourself, expression of powerful emotion, passion and revolution. This movement could be seen as the rejection of the precepts of order, calm, idealisation, and rationality. Instead individual expression, the irrational, the personal and the spontaneous. The Romanic movement originated in Germany, then it spread to England, France and the rest of Europe. It was at it’s height during the period 1780 to 1830, but continued to be an influence long after that. French poet Charles Baudelaire described it, "Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling.”

While looking into this movement I found that there was an obsessive interest in folk culture, national and ethnic culture origins and in the medieval era. Furthermore I've noticed an emphasis upon imagination as a gateway to transcendent experience and spiritual truth, also a liking for the occult, the mysterious, the monstrous and a lot of relation to satanic. For example John Henry Fuseli ‘The Nightmare’ (1782). This painting draws on folklore, science and classical art to create a new kind of sexually charged image. Fuseli wanted the painting to shock and intrigue, as well as to make a name for himself. He defiantly succeeded in this. The work is made for your own interpretation. Some people believe that it is some sort of sexual desire however I believe that this is a physical effect of a nightmare. The incubus, is a type of spirit said to lie on top of people in their sleep. Or in fact sleep paralysis. I believe this because the image is just how I felt when experiencing sleep paralysis. Fuseli’s painting is suggestive but not explicit. It seems be quite a frightening image. There has been many different reproductions of his work in many medias, from artists like Thomas Burke, William Blake and Thomas Rowlandson. ‘The Nightmare’ became an icon of Romanticism and a defining image of Gothic horror.

This movement was somewhat a reaction to the Industrial Revolution and Neo-classicism, which focused upon reason, rationality and order. Classicists believed art should every simplistic and calm grandeur. So this movement embraced the struggle of freedom and and equality. The movement affected philosophical thinking, literature, music, and art. After the French Revolution of 1789, a significant social change occurred within a single generation. Europe was shaken by political crises, revolutions and wars. New ideas and attitudes had taken hold after this. Jacques-Louis David was an artist deeply committed to the French Revolution. ‘The Death of Marat’ (1793) was one of his paintings that is essentially a piece of Propaganda. The government asked him to paint a series of three images that would heroicize martyrs. This was the beginning of a new republic that lets society participate in the government. The image shows Marat in a gruesome way, he is a victim of political violence.

Romanticism didn't just influence Visual Arts but music and literature too. This period ended around 1830 and then the was followed by realism. Beethoven 5th symphony is known to be what started romanticism in music. When listening to this piece there is a range of different emotions tracing through, from excitement through to the feeling of danger. The piece was all about expressing emotions which is what Romanticism is all about. Johann Wolfgang Goethe’s, is known to be a very famous writer. One of his greatest plays and some people credit to launch his success is Faust (1808 -1832 ) and is one of the most influential exponents of the movement. It is a play where Faust sells his soul for knowledge and to the devil. It expresses deep emotion and suffering in this play. Too add it inspired many great writers, musicians, and artists in their own work.

‘Wanderer above the Sea of Fog’ by Caspar David Friedrich. Is one of the most popular paintings of this movement. The wanderer is dressed in gentleman’s attire, garments wholly unsuitable for such a climb, suggestive that his task was accomplished. The cloudy sky and the man looking into the distance is as a sign of danger and fear of the unknown. Joseph Mallord William Turner was one of the most prolific english artists. He is best known for his studies of both urban and rural scenes including powerful seascapes. Such as ‘The Fighting Temeraire’ (1839). Showing a stunning sunset which highlights the transition between new and old technologies, between the warship and a black tugboat. He has painted around 96,000 watercolours, sketches and engravings. Turner is less interested in fine detail, so his pictures often have the hazy, dreamlike quality and private interpretations.Their is Romanticism in Contemporary culture too. Such as in Art, music, film and gaming. In the post-modern world, their is interest in landscape and its symbolic qualities prevailing our mood. Peter Doig ‘Figure in a Mountain Landscape’ (1998) is a great example of this.

The key thinkers of this art movement were William Blake (1757 –1827). Who was a poet, artist, and mystic. Blake is not considered a classical romantic poet, but his new style of poetry and mystical experience of nature had a significant influence on the growth of romanticism. John Constable (1776 – 1837) was also another key thinker in the romantic movement. He was an English painter. Popular for his landscapes of Dedham Vale. Moreover Eugène Delacroix (1798 – 1863) a french romantic painter was influential for the use of expressive colour, movement, imagination and romantic content. He was also influential to the impressionists.

Above all, Romanticism emphasised individuality, pure passion and emotion. Romanticism in Visual Arts explore both powerful emotion and also powerful sights of scenery in this erie. It shows that work can be interpreted rather than just representing something. As the poet Charles Baudelaire wrote in 1846 “Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling.” Romanticists believed art should excite the emotions, and in particular the emotions of fear. The romantic movement has permanently changed our sensibilities.

http://www.tate.org.uk/whats-on/tate-britain/exhibition/gothic-nightmares-fuseli-blake-and-romantic-imagination/gothic

https://www.biographyonline.net/famous-people-of-the-romantic-period/

Roe, N. (2005) Chapter 5. Oxford University Press Romanticism: an oxford guide pg. 68-75

#artandideas

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artmutt · 5 years

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Musée des Beaux Arts (Brussels, Pt. 2)

It’s hard to know where to begin in writing about the Brussels Museum of Fine Arts, or as it is now correctly called, the Royal Museums of Fine Arts of Belgium. A fancier name, indicating its new structure and status as a museum not just for the city but the nation. But I can never forget the poem by W.H. Auden, titled “Musée des Beaux Arts,” which was inspired by the collection here, and begins with the line “About suffering they were never wrong, the Old Masters.” The fact that, even in its new configuration, one whole section of the museum is called “Old Masters” continues to remind me that Auden’s observations about what art does and does not tell us about human existence began with a visit to this collection.

Brussels was a real center of European arts and culture in the 14th to 16th centuries, when painting and especially tapestries brought wealthy patrons from all over Europe to purchase the work being made here. No unsurprisingly, the museum’s collection has some very fine objects from that time period. Sometimes medieval paintings can feel generic, but the examples in Brussels are different. Consider this detail from a 14th century French painting of a Madonna & Child. Pictures of mothers and children often seem stiff, like someone holding a rather unpleasant doll. In this case, both mother and child seem to display real emotion, and are looking at each other with a combination of devotion and sadness. The painting has some major condition issues (peeling paint, holes in the wood) but manages to move beyond the conventions of the period into something genuine.

There are also plenty of examples of what I might characterize as Flemish surreal, the bizarrely imaginative world that tries to picture the demons of hell in the afterlife awaiting sinners. Bosch and Breughal are brilliant at this (and the museum has examples of both of them). I’m afraid that I tend to see flashes of Maurice Sendak’s “Wild Things” in these paintings, and the monsters look cute to me. I don’t think it’s coincidence that the Belgians have a macabre sense of humor at times, or that there is a museum dedicated to comic books in the city. These medieval works are precedents for both.

The city of Brussels is celebrating a 450th Breugel anniversary at present. There were several special exhibits in honor of him, and the museum looked like they had his works there cleaned up for the occasion. They’ve long had a room devoted to Breugel, but the paintings seemed unusually bright and clear all of a sudden. Special attention was being given to the painting “Fall of the Rebel Angels” from 1562. Long thought to be the work of Pieter Breugel the younger, it has now officially been attributed to the senior. There was a crowd being given a tour in front of the painting we we got there, and we had to wait a long while for the group to move along in order to get a better look at this work. It was OK - that left more time to look at the other examples of his work in the room. These included “Landscape with the Fall of Icarus,” which figured so powerfully in Auden’s poem, and the wonderful “Battle Between Carnival and Lent.” I also realized that Breugel’s painting about Mary and Joseph in Bethlehem also factored in Auden’s poem, something I hadn’t realized before.

As I said, it took awhile to get close to the “Fall of the Rebel Angels” work, and I’m tempted to share all the details I captured with my camera, but don’t want to bore you. Let’s just say that the rebels are being transformed before our eyes from handsome human figures into strange, hybrid animals. This figure, in particular, who is morphing from human into something oddly moth-like, is screaming with anguish at the change. As I said, it’s hard for us to be too shocked by these images, which might seem as cute as they do scary: the gift shop at the museum has turned a number of the figures from this painting into plush Christmas tree ornaments, so you can decorate your tree with just the right amount of artsyness, and a touch of the bizarre.

But the Middle Ages aren’t the only strengths of this museum. There are some amazing example from later periods as well, including a red-walled room of huge Rubens paintings that are quite amazing, in scale if nothing else. And one long room is flanked at one end by Jacques-Louis David’s iconic painting of “The Death of Marat” at one end, and a bizarrely fluffy painting from late in the artist’s life with naked people and doves in a truly odd configuration. It’s odd to think that the artist who could paint the Marat picture could also dash off this piece of fluff, but the art world is a peculiar place.

After lunch at the museum’s cafe, and fueled by some coffee, we plunged deeper into the Museum devoted to the Fin de Siécle, strong on Symbolist and Art Nouveau art. These galleries descend some seven stories underground, and contain some genuinely fascinating works, notably by the Belgian artist James Ensor, whose wonderfully twisted vision of humanity seems oddly contemporary and typically Belgian.

By the time we reached the end of the Art Nouveau collection, we were beginning to suffer from image fatigue, and we probably should have waited another day to push on to the Magritte Museum, but we foolishly pushed onward. I greatly admire the work of the Belgian surrealist, and the collection of images and material they have assembled in this museum is impressive. Magritte tends to be known for a handful of iconic works, and these do not give a full sense of his range as a painter and a thinker about the meaning and nature of art. Alas, the memory card in my camera began to flash full before we got to the Magritte collection, so I don’t have photos to share of the experience. I would just suggest that if you are looking for material about Surrealism as a phenomenon, the shop at the Magritte museum has a really extensive holding of books and material about the topic. It helps if you can read French, but they did have versions in English of many items. And some of the most amusing museum swag you’re likely to encounter. I’m also grateful to the guards at the museum, who steered me to a shop where I could pick up a new memory card for my camera. I might have wandered all over the city looking for something like that. Instead, within a few blocks of the museum, we found a shop that had a card with more memory than my previous one, and I was able to continue my crazy picture-taking agenda. I also found a copy of the French gay magazine Têtu - a bonus for my trouble!

#museum of fine arts brussels #magritte museum #breugel

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daisydaring · 5 years

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HOMEWORK TASK FOR BELLA'S TUTORIAL:

“Marat (Sebastiao)”

Vik Muniz,

“Pictures of Garbage Portfolio,” 2008-11.

Digital chromogenic print.

Vik Muniz is a Brazilian born artist who is known for recreating photography and old masters with found objects. The materials he uses hold conceptual meaning which relate to serious social and economic issues. However, this specific work came out of a project he did in 2008 in his home country at one of the world’s largest landfills know as Jardim Gramacho (it is apparently close now) which is located outside of Rio de Janeiro. The art project was a collaboration with a group of people who worked their informally as waste pickers. It entailed Muniz taking portraits of some of the workers which he then recreated, with the help of the workers, on a floor of a warehouse using rubbish from the land fill. He then photographed the results. This specific photo is a recreation of the classic Jacques-Louis David’s “The Death of Marat”. The subject, who Muniz befriended, is Sebastiao dos Santos, the leader of a worker’s union fighting for pickers’ rights. This is all documented in the documentary “Waste land” which came out in 2010. The documentary ends with Muniz taking Sebastiao to London with him where they see the photograph he posed for sell for $50,000 in an auction. This money was then donated to the pickers’ union.

Muniz feels that the realm of fine art is very exclusive and in response he aims to “change the lives of people with the same materials they deal with every day.” By involving the workers with the art project a sense of accomplishment and pride was created. They had made something that was considered high art and was selling for thousands of dollars which I think inspired them to look at their jobs in a new light. I think Muniz aimed to benefit the community by supporting the union that protected the workers rather than coming into a place with a savior complex and trying to help people with no permanent support structure. I think this project also gave the community resources to continue to make art out of the found object they once considered trash. To me this work also speaks about pollution and up cycling as a solution to this problem.

Parts of this project reminded me of what we spoke about in our tutorial. The sense of community that was created in this worker’s union made me think of Woodstock and how the image of family was strong. This idea of creating something out of nothing comes into play. I also thought about how Muniz brought our attention to these individual personalities and their stories. The workers were no longer faceless identities that could be easily ignored. This reminded me of the video clip of the auntie who lives in Bromwell street and how her story allowed me to see a different side of the area.

#bellatut1

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imanarchive · 7 years

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So I hung an art show at my school’s art gallery today, the show was titled Idyllic America, and it’s about acceptance and rejection, and taking a mostly rejected community ( the LGBT ), and showing in an accepted formatted?style based based off of Norman Rockwell’s The Saturday Evening Post. The artist titled this whole series The Sunday Afternoon Pride. It’s all beautiful colorful watercolor with abstract and realism mixed. The paintings have poc, drag queens, gay, trans, lesbians in them and all inspired from things he has seen at Pride parades, or people he has met, or queer organizations or gay clubs etc, ( and bdsm/kink clubs too ). Like there’s a painting of a trans woman, with the trans flag behind her, she’s in military attire and got a trans bracelet on too, and it’s big and beautiful and on the feature wall. We’ve got another painting of two ladies getting married, both wearing a half suit/dress, and then we have two paintings of a group of men who paint there faces and dress as nuns as this is based off of this real group who have like a monetary. And then the artist painted a parody(?) of The Grande Odalisque Painting by Ingres, but when a man nude, his face painted and it’s soooo gorgeous! Then he’s got another parody of The Death of Marat by Jacques-Louis David, but with a man with his face painted, and the letter in his hand saying something along the lines ( can’t remember of the exact of ) “I know that you have fought and that you have suffered. I will go forth to show that you have lived and I will be your voice” ( it’s really nice quote ) and then with name on the box Maddie A ( this painting is titled Maddie Bout You ). AND LIKE The Grande Odalisque and The Death of Marat of some of my favorite paintings that I’ve learned about, so seeing a beautiful parody of these two works that are so beautifully done in watercolor and just... It’s awesome!

I am so excited about this show, and also nervous about how people will react.

#>> i << OOC << Hey Vic what's going on?#like okay first i try to talk about my queer identity to my therapist and his first question and first response is what #pronouns and name do i want to go by; so he can use that with me from now on #so that's yay!#and then disney's show andi mack having a queer main character! on a child's show that #has a boy say I want her to think it's funny we have a crush on the same guy #AND THEN THIS ART SHOW'S SUBJECT IS ABOUT LGBT+ and the beauty and acceptance and rejection #AND AHHHH

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boughmangis4680-blog · 7 years

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Blog 1

I think of The Declaration of Independence as a very thoughtful, yet assertive, breakup text from the American colonies to Great Britain. It said that King George III didn’t provide the colonies basic unalienable rights that every government should give to its citizens. These rights include life, liberty, and the pursuit of happiness. Even though the United States took awhile to provide those rights to its own citizens, the message was on point.

The Declaration of the Rights of Man and of the Citizen embodied what the French Revolution was fighting for. It was a huge step in terms of advancing human rights and freedom and it helped set an example for other countries in Europe and around the world. It was inspired by the American Revolution and the American Declaration of Independence. Overall, it was a fairly monumental document. Personally, I like the American Declaration of Independence better.

As an economics major, I have a little bit I want to say about Adam Smith. One thing I’ve noticed is that people often use him as an example of someone who is a proponent of laissez-faire economics. He’s portrayed as someone who thinks there should be minimal government intervention and the state should be as small as possible. This is a bit of an oversimplified portrayal of Smith’s views and doesn’t take into consideration much of what he wrote in The Theory of Moral Sentiments and specific parts in The Wealth of Nations. In fact, Smith believed the market wouldn’t provide enough public goods that are available for all of society. He believed it was the responsibility of the state to represent “the great society” and provide public goods that no person could be excluded from. The public goods Smith was referring to included concerns about infrastructure, health, and education. Ultimately, he believed in a market based economy, but he also saw a role for the government to help ensure a more equal society.

Adam Smith is most known for the phrase “invisible hand”, even though it was used only once in his book The Wealth of Nations. This is an idea that says when people act to satisfy their own self-interest, the society will benefit and supply and demand will reach equilibrium. Many people interpreted this idea as the only necessary force in a market economy, but Smith actually referred to some other forces that can also benefit the market. He noted that people aren’t only motivated by self-interest, they can be motivated by "humanity, justice, generosity, and public spirit”. Smith also believed too much greed can hurt the market because it will lead to too much of a country’s capital to be concentrated in hands that will waste it, and not in the hands that will put it to good use. Personally, I’m a fan of Adam Smith and I appreciate the major contributions he’s made to the field of economics. I just wish people would stop cherry picking some of his quotes and using them to support unfettered, free-market capitalism.

John Locke was obviously a huge supporter of private property. One thing that stuck out to me was how many times Locke mentioned God. Most of his points were backed up and reasoned by invoking God and his intentions. I thought it was strange, but it probably wasn’t that unusual considering the time period.

To me, Jacques-Louis David’s The Death of Marat is a dark, gloomy painting. One thing that really caught my attention right away was the fact that the whole upper half of the painting is just black. That is something you don’t see too often in artwork. He could have filled that area with anything, but he purposely chose to fill it with just black darkness. It really plays into the mood the painting is trying to convey. Also, the way the body is laying lifeless adds to the gloomy, depressing imagery. It’s definitely not a painting I would hang in my house.

J.M.W. Turner’s painting Slave Ship is a very interesting, symbolic painting. It took me awhile to notice certain elements that I overlooked at first glance. The chains in the water are very prominent, but if you look closely you can see that there is a hand, or what looks to be a hand, in one of the chains. I also noticed that it looks like the ship is heading east, which I found interesting. Where was the ship headed to? The blood in the water was pretty nasty, but totally necessary given the purpose of the painting. I was wondering, would blood in the water be that noticeable? I also enjoyed seeing that huge fish in the bottom right corner. I thought that was a nice touch.

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researchprojectblog · 4 years

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3rd December 2019, reflection

So far I have researched the use for political art during the French Revolution, in particular, the work of Jacques Louis David and his martyr making art (Death of Marat) as well as the periodic symbolism used at the time to highlight propaganda against the royalists.

This has informed my practice by giving myself an understanding of what I believe the role politics has in art. In today’s society, there isn’t as big of a need for it as there are other sources people get their information whereas in the past art was needed as a tool to help the masses understand the political climate.

This has been beneficial as I was researching David’s practice I can see how I could implement some of his practices into my own. He has a flair for the theatrical with caricatures of people expelling excrement, I won’t go to that extreme on my own work but I have now a source of inspiration for going a more theatrical approach.

I enjoyed this part of the module very much because I have a pre-existing avid interest in researching art history and reading so this was more of a perfect excuse to do more of it. The area that was the most fun for me was researching French history and learning more about the art styles that were going around at that time.

Finding the right sources that were appropriate to my research was particularly challenging, as well as analysing them to a coherent point. It was also hard to not repeat myself as a few sources were saying the same thing in different wording.

The journaling was difficult to keep up weekly on the blog but it was helpful seeing it out there being able to keep track of my thoughts and research. In the future, I don’t think I will use a blog unless I can solely focus on one project and not many at once, this is because I had to balance so many different blogs it was difficult.

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jessicakehoe · 5 years

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From the FASHION Archives: Lady Gaga Was Always Going to be Famous

Since its launch in 1977, FASHION magazine has been giving Canadian readers in-depth reports on the industry’s most influential figures and expert takes on the worlds of fashion, beauty and style. In this series, we explore the depths of our archive to bring you some of the best fashion features we’ve ever published. This story, originally titled “Gaga” by Elio Iannacci, was initially published in FASHION’s February 2014 issue.

PHOTOGRAPHY BY INEZ AND VINDOOH AND STYLED BY BRANDON MAXWELL, LADY GAGA WEARS A JACKET, PRICE ON REQUEST, BY COME DES GARCONS AND GLASSES, PRICE ON REQUEST, BY EARLY HALLOWEEN. HAIR BY SHAY ASHAUL BY TIM HOWARD. MAKEUP BY YADIM FOR ART PARTNER. MANICURE BY JIN SOON CHOI FOR JED ROOT.

It’s hard to believe that it’s only been five years since Lady Gaga released her first album, The Fame. The sheer number of images, hits and sound bites the 27-year-old has ushered into popular culture is uncanny. The New York native’s wardrobe choices have inspired lookalike fans and popularized collections from such designers as Jean Paul Gaultier and Hussein Chalayan. Her first fragrance, Fame, launched in 2012, sold six million bottles during its first week. University courses have analyzed her socio-political significance. She’s the only chart-topper to have used the word “transgendered” in a Billboard number one hit (2011’s “Born This Way”), and her 40 million-plus Twitter followers and 60 million Facebook fans have witnessed her fight for equal rights for women and the LGBT community. Last year, Time Magazine’s readers named her the second most influential person of the decade (beating out U.S. President Barack Obama). Unlike so many in her line of work, Gaga’s affection for fashion is not a flirtation. Whether donning legendary labels, new technologies or message-based garments, the woman formerly known as Stefani Germanotta is a living, breathing canvas. Which is probably why Donatella Versace chose Gaga as the new face of her label. Before her upcoming world tour, Gaga sat down with features editor Elio Iannacci to talk about her latest obsessions and her current album, Artpop.

You once said you wanted to be regarded as the female Andy Warhol. Do you feel closer to that goal? When I said that, I didn’t have a concept of where my career was headed. When I was writing Artpop, I was really looking at where we are now as a culture. I was in H&M the other day, looking around just to see the effect that Monster culture has had on street fashion. People used to say, ‘Who is this weird girl with her crazy outfits?’

How did the subsequent surge of fame affect you? I never let anyone change who I was. I was always willing to go down with my own artistic ship. I create things that I really care about—I fight for images, for music and for the community of fans. Born This Way was all about equality and being yourself from the inside out, but now there’s a need to celebrate that. Artpop is a celebration.

You have a mandate to make a space where high and low art, fashion and music can live together. To many, this is still seen as a radical act. This is the dilemma. I don’t believe there’s pretension in art. You don’t have to know anything about art to love it. You just have to be next to it and feel it. I want my fans to know that we don’t have to succumb to what people think a pop star should be in order to be successful.

You were accepted into The Juilliard School as a child, but your parents placed you in a private Catholic school. Had you gone through that classical training, would there be a Lady Gaga? Probably. There’s this implication that if I wasn’t so successful I would have to stop. But I never would have stopped. I would be in some bar, being Lady Gaga.

You’ve recently taken workshops with Marina Abramović—the performance artist who has risked her life for her art. How have they changed your perceptions? I thought that after The Fame, The Fame Monster and Born This Way, it had all worn me down. It felt like my mind and every muscle in my body had been taken by the noise and the cameras—but it hadn’t. I went into the woods with Marina [for an artistic workshop] and I realized how strong I really was. [Marina] will balance on a stick between her legs for nine hours and go numb in the name of art. For her, it’s all about creating this experience with the audience where they’re watching her suffer for her work. Once I was out there with the sound of the river and Marina’s calm, sweet voice telling me to close my eyes and find my way home, I knew I could do anything.

Let’s talk about the paintings of you hanging in the Louvre in Paris. You sat with Robert Wilson to recreate some historic works. Which were the most challenging? I have a connection to old souls, so there was sort of a séance element where I asked artists of the past to give me permission to feel their pain. When I was doing [Jacques-Louis David’s] The Death of Marat, I lay in each position for six or seven hours. I also did my own piece, where I hung upside-down for 45 minutes in bondage. It wasn’t meant to be sexual. I believe everyone has the power to be an art hero. You don’t have to wait until you’re dead to be appreciated, [even though] this is the age when they wait until you die to write nice things about you.

At a time when you were criticized for gaining weight, you created the body revolution movement and asked fans of all body types to post photos of themselves on your site. Did seeing their bravery help your self-esteem? My self-esteem was fine. I didn’t have a problem with my weight—the world did. The body revolution was just my way of liberating myself from that criticism. That’s what I wrote ‘Do What U Want’ about. Did it heal me? No. But I was happy to see so many fans stripping naked to show they didn’t care either. I want to remind everyone that the people who win Nobel Peace Prizes and cure diseases are not supermodels. Your legacy does not need to be a perception of beauty that’s not realistic.”

In 2009, you gave a speech at the National Equality March in Washington and called it the most important moment of your career. The rage in that speech was directed at U.S. President Barack Obama. Do you think it had an effect? You don’t know exactly where your activism is going to land. I was just one person speaking out. I grew up with gay friends, and when I started to come out with my music, they were still there, supporting me. How could I sit down every night making money off a ticket that they’re buying for my show, knowing that they don’t have the same rights that I have? I can’t do that.

Donatella Versace once told me you are today’s quintessential role model. You’ve written a song about her on Artpop that hints at how misunderstood she is. Why do you think she’s so misjudged? Nobody really knows anything about her. She is the most kind, loving, sweet woman. The point I am making with a song like ‘Donatella’ is that you love to love her and you love to hate her. It’s this thing we have in common. The truth is, we’re having a blast doing what we are doing, so that’s our silver lining. We don’t mind being these blonde martyred icons as long as we have our champagne and our Marlboro cigarettes whenever we’re together. I went to her house in Milan last year, and I was having a really tough time. I was exhausted on the Born This Way tour and she opened her home to me and had 50,000 white roses in the house. I don’t always have anyone to look up to, but seeing Donatella, where she is and how far she’s come, I get to have a role model.

You’ve managed to give the Fashion Police less power by showing up on the red carpet in meat dresses and giant eggs. Was this a conscious choice? My whole life is a fucking red carpet. The red carpet has become ridiculous. All these women are starving themselves to look amazing because this is their big moment? Why shouldn’t the press adore them every day for being entertainers? I use the red carpet as a stage. I was supposed to do something at the VMAs that they didn’t let me do. I was very upset about it. I wanted to have five or six Gagas walk the carpet in all my looks from all my videos. A lot of exciting things happened at the VMAs, so it was strange that I couldn’t do that.

You’ve written three songs with the word ‘fashion’ in the title. What keeps drawing you to this contradictory, extreme, egotistical and often magical world? It was always the thing that made me feel like I could be anything, no matter what anyone said about me. When I felt small or unimportant, my ability to sew things and invent myself like an art piece meant everything. That’s why I’ve always cared about my costumes and my show. It’s never been marketing… fashion gave me a sense of who I am.

The post From the FASHION Archives: Lady Gaga Was Always Going to be Famous appeared first on FASHION Magazine.

From the FASHION Archives: Lady Gaga Was Always Going to be Famous published first on https://borboletabags.tumblr.com/

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