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Thread: Painting

  1. #31
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    Quote Originally Posted by luka View Post
    i dont know what you mean by this exactly.
    I guess I found it uncanny and mysterious when I didn't think of it as a story of an angel literally coming to save a woman in the wilderness. (But of course the story in the Bible IS a symbolic story.)

    Without knowing that story I still understood the meaning - I suppose it felt more universal than a specific story. The despair of Hagar expressed not just in her expression but in the shadowy palette of the foreground, and then in the distance the angel approaching with the warm and bright palette of sunrise.

    You're right that it's a landscape painting, and a landscape painting in which the landscape expresses the emotions of the figures within it (or what they represent). I suppose Corot uses the biblical story as a pretext for painting the landscape but also uses his skill as a landscape painter to express the emotions of that story more powerfully.

    I like how in art history there's often multiple (to say the least) versions of the same biblical or mythological scene

    e.g. https://www.nationalgallery.org.uk/p...-and-the-angel Claude's take on hagar and the angel

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  3. #33
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    who's that by?

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  5. #35
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    its by william burroughs mate brion gysin

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    there was a nice little exhibition of his stuff in london a year or two ago

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  13. #43
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    i'm glad you posted these because it was through the lens of this sort of painting that i viewed that corot - symbolist, i suppose

    (though would these be grouped with surrealism?)

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    Whistler

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  16. #45
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    Musée des Beaux Arts
    WH Auden.

    About suffering they were never wrong,
    The old Masters: how well they understood
    Its human position: how it takes place
    While someone else is eating or opening a window or just walking dully along;
    How, when the aged are reverently, passionately waiting
    For the miraculous birth, there always must be
    Children who did not specially want it to happen, skating
    On a pond at the edge of the wood:
    They never forgot
    That even the dreadful martyrdom must run its course
    Anyhow in a corner, some untidy spot
    Where the dogs go on with their doggy life and the torturer’s horse
    Scratches its innocent behind on a tree.

    In Breughel’s Icarus, for instance: how everything turns away
    Quite leisurely from the disaster; the ploughman may
    Have heard the splash, the forsaken cry,
    But for him it was not an important failure; the sun shone
    As it had to on the white legs disappearing into the green
    Water, and the expensive delicate ship that must have seen
    Something amazing, a boy falling out of the sky,
    Had somewhere to get to and sailed calmly on

    icarus.jpg

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