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#symbolic painting
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Paul Delvaux, "Skeletons in an office", 1944
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larobeblanche · 3 months
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Gertrude Demain Hammond (British, 1862-1953) • Speed the Parting Sweet • 1896
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David Ligare | Landscape for Baucis and Philemon, 1984 | Classical Landscape, 1981 | Thrown Drapery, 1978 | Landscape with an Archer, 1991 |
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ahaura · 10 months
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Odilon Redon (French, 1840–1916) detail of Fallen Angel Looking at a Cloud (c. 1875) oil on canvas
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desolatus · 29 days
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Woman with Flower Head, C. 1937
Salvador Dali
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Men Shall Know Nothing of This Max Ernst , 1923
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collectionstilllife · 3 months
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Kolokolchikov Sergey (Russian) • Three Pomegranate Seeds • c. 2018
Likely a nod to the Persephone myth, where Hades tempts her to eat a few (accounts vary) pomegranate seeds in the underworld. By doing so, Persephone is forever tied to Hades, even after she's returned to the surface of the world.
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4eternal-life · 8 months
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Gertrude Abercrombie  (American, 1909–1977)
Strange Fruit,  1946
oil painting on canvas, 45.7 x 55.8 cm
Private Collection img source © 2021 İSTANBUL SANAT EVİ
...Abercrombie and poet Gwendolyn Brooks shared a concern about the horrors of lynching. Abercrombie’s 1946 painting, “Charlie Parker’s Favorite Painting,” was originally titled “Strange Fruit” after the song Billie Holiday recorded in 1939; it shows an eerie scene where a lynching looms.(Brooks wrote a lament titled “The Ballad of Pearl May Lee” about a woman whose lover was lynched by “a hundred hooting men.”)
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clintcatalyst · 5 months
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La llamada (The Call, 1961) — Remedios Varo
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artgate-blog · 11 months
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Eugene Carriere
her mother’s kiss
1899
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René Magritte, "La Grande Famille", 1963
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planarhead · 9 months
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Primal Guardian: Echoes of the Male Psyche
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In this artwork, I present an exploration into the depths of the male psyche, drawing upon ancient instincts and primal desires. Central to the scene is a warrior, a symbol of the age-old compulsion in men to protect and shield. His left-hand holds a shield, emblematic of defense, while his right hand brandishes a spear, signaling readiness to face impending threats.
The T-Rex, though historically inaccurate in its juxtaposition with humans, serves less as a literal representation and more as a metaphorical one. It embodies the myriad challenges and dangers that might have confronted our ancestors—whether in the form of wild beasts, natural disasters, or other humans with ill intentions. This creature stands as a testament to the chaotic elements that have always existed, challenging humanity.
The environment, with its dark waters and stormy skies, hints at a world in its formative stages, echoing tales of creation and genesis. The tumultuous atmosphere, painted in shades of purple and red, suggests a world that's raw and unpredictable.
A woman emerges from the waters, her posture a blend of vulnerability and determination. Her presence and the warrior's protective stance aim to evoke thoughts on the intrinsic male drive to safeguard. The composition, with its diagonals and contrasting colors, is designed to guide the viewer's gaze but also to leave ample room for personal interpretation.
The chosen color palette, with its warm sands and cool waters, is intended to create a visual balance, further emphasized by the reddish mountains in the backdrop.
At its core, this piece is an exploration, an attempt to delve into the inherent wiring of the male mind. It's not just a depiction but an invitation for introspection, urging viewers to reflect on the deep-seated instincts that, perhaps, still influence modern behaviors. Through this canvas, I hope to spark a dialogue on the timeless interplay of protection, vulnerability, and the inherent nature of humanity.
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Mary Magdalene in ecstasy, Artemisia Gentileschi.
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ahaura · 9 months
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Odilon Redon (French, 1840–1916) detail of The Beacon (1883) pastel on paper
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ordosmarkzero · 1 year
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Victor Brauner, Hypergenese de la reapparition, 1932
https://twitter.com/artistbrauner
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Funeral Symphony (VII) Mikalojus Konstantinas Ciurlionis, 1903
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