Painting

sus

Moderator
that last one caspar davis friedrich
It's The image of the Sublime isn't it. On Shelley and Nietzsche editions. It's almost hard to imagine the concept without in some way making reference to it. Contemplation and oversight of the Wondrous and Terrible.

It's the visual equivalent of Wagner's Rheingold Vorspiel and indeed they pair well together
 

sus

Moderator
And then Sea Of Ice pairs with the Modern Prometheus: a frozen world, and a man lit from within by electrical fires.

All the explorers of the Poles, ships stuck in ice, Ridley Scott's Terror
 

sus

Moderator
Cross In The Mountains is great too, captures that idea of the Gothic temple as a pagan forest, the trees pillars, the stretching spandrel branches.
 

sus

Moderator
I've been enjoying a couple of the Australian Impressionists recently.

Arthur Streeton, Fire's On (1891)

800px-Arthur_Streeton_-_Fire%27s_on_-_Google_Art_Project.jpg


Tom Roberts, An autumn morning, Milson's Point, Sydney (1888)

1920px-Tom_Roberts_-_An_autumn_morning%2C_Milson%27s_Point%2C_Sydney_-_Google_Art_Project.jpg
Impressionism is much more appealing to me when it's not depicting cute Continental gardens cafes cherubim children and other pastoralisms, but something heatbaked and halfway brutal
 

IdleRich

IdleRich
It's The image of the Sublime isn't it. On Shelley and Nietzsche editions. It's almost hard to imagine the concept without in some way making reference to it. Contemplation and oversight of the Wondrous and Terrible.

It's the visual equivalent of Wagner's Rheingold Vorspiel and indeed they pair well together

 

IdleRich

IdleRich
Impressionism is much more appealing to me when it's not depicting cute Continental gardens cafes cherubim children and other pastoralisms, but something heatbaked and halfway brutal

This is a good point. However much we're told that impressionism was a radical form at one point it's hard for us to see (or perhaps I mean feel) that now - as, in fairness, is the case with pretty much any art form that has become accepted to the extent that it's become canon.

With Impressionism though it's particularly hard to get past the idea it was always safe, cos as a rule the content we are exposed to is water lillies, hay fields rippling gently in the breeze and prettily drifting clouds of smoke. Viewing some impressionist works without that reassuring and comforting subject matter surely gives us a better chance of understanding how it might once have felt.
 
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sus

Moderator
I want to talk about Thomas Kincaid. Do they have a real power. Why do they sell so well. Can we redeem them?
 

sus

Moderator
I can see why someone wouldnt like this but there are a few interesting things going on

The way the smoke, the clouds, the water, the snow in the mountain all echo each other, and the smoke/clouds seem to blend into the atmosphere, so you get a sense of this cycle of vapor and condensation
 

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sus

Moderator
Why is he obsessed with canoes and cabins? Wood. He worships wood and the warm lighting of hearth. It's very elemental. Water air fire earth wood.
 

sus

Moderator
The campfire & the man. the chimney & the home. Their whispy smokes attesting to a form of life inhabiting each of their sources. The steam released by metabolism. And the whispy vapor rising from the forests and into the sky, backdropped by frozen lifeless peaks, attesting to a third and enveloping metabolism of the environment
 

sus

Moderator
He's in a vest and the trees are red, so you know it's starting to get chilly, as if the lifelessness of the peaks were descending, as if the fires were soon to go out, a twilight
 

sus

Moderator
And yet a beatific gold and purple (color of royalty) Godly glow on the setting horizon, the greatest burning battery in the system, that says "I will return"
 

version

Well-known member
Those Giger paintings of NYC I was on about are good. Almost all the alien stripped out, just circuit boards and skyscrapers and machinery.

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