Frank Frazetta vs Norman Rockwell

[line b]

I didn't know you were a tattooist.

Are you making fun of me?

 

[Mr. Tea]

This isnt who he works for but his own personal work, and its pretty amazing from a trchnical standpoint. This is all airbrushed without any digital altering

View attachment 18051View attachment 18052View attachment 18053View attachment 18054

Incredible. Hard to believe that that fourth one isn't a photo of a real Pokémon.

 

[vershy versh]

I quite like it. It’s the logical conclusion of Jan van Eyck and Flemish still life painting.

The dreaded "quite like"!

 

[luka]

 

[vershy versh]

Michael Portillo drip.

 

[luka]

 

[Mr. Tea]

@luka did you ask Midjourney "what if Quentin Crisp was Terry Nutkins"?

 

[sus]

I think you've got to capture your own world, I think good ethnographic kitsch is superior to romantic idealized images of the past kitsch. I vote Rockwell

 

[line b]

Thats great. Suggestive but not expository insight. Can be taken many different directions. Thats whats the thread needed

 

[Corpsey]

View attachment 18048

must admit i was looking at this on my phone before and i didn't see the point but

on my laptop screen i can see that there's a healthy degree of stylisation going on here

and therefore it passes muster before the great judge of Art, Jack Law

 

[Corpsey]

i was wondering if these paintings would be more impressive in the flesh and it would appear so

you really can't judge any painting off a computer screen

perhaps the photorealistic drawings of chadwick boseman would bring me to my knees if i saw them in front of me

 

[line b]

This is definitely the worst frazetta

 

[line b]

Ive seen some photrealism in person amd it stikes me the exact same way. You give it a contended nod and go on your way. Though I havent seen any as good as the guy version and luka are talking about

 

[Mr. Tea]

View attachment 18070
This is definitely the worst frazetta

"Wrestling the giant serpent" again eh, Onan the Barbarian?

 

[Mr. Tea]

Direct line of descent to:

 

[Corpsey]

 

[Corpsey]

Modernist writer Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good.[7] According to Walter Benjamin, kitsch, unlike art, is a utilitarian object lacking all critical distance between object and observer. According to critic Winfried Menninghaus, Benjamin's stance was that kitsch "offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, without sublimation".[6] In a short essay from 1927, Benjamin observed that an artist who engages in kitschy reproductions of things and ideas from a bygone age deserved to be called a "furnished man"[8] (in the way that someone rents a "furnished apartment" where everything is already supplied).

Kitsch is less about the thing observed than about the observer.[9] According to Roger Scruton, "Kitsch is fake art, expressing fake emotions, whose purpose is to deceive the consumer into thinking he feels something deep and serious."[10]

Tomáš Kulka, in Kitsch and Art, starts from two basic facts that kitsch "has an undeniable mass-appeal" and "considered (by the art-educated elite) bad", and then proposes three essential conditions:

1. Kitsch depicts a beautiful or highly emotionally charged subject;
2. The depicted subject is instantly and effortlessly identifiable;
3. Kitsch does not substantially enrich our associations related to the depicted subject.[11][12]

A Point of View: The strangely enduring power of kitsch

Modern art was born from a desire to destroy kitsch, but time and again it is drawn back to its lure, says Roger Scruton.

www.bbc.co.uk

 

[Corpsey]

For some reason I was thinking about this particular image last night (which in certain ways resembles franzetta's muscular axe men) and wondering why it isn't deemed kitsch-y, and I suppose it's because it has a serious moral/spiritual message underlying it, the despair of the damned soul being dragged down to hell—and the soul isn't even looking at the demons dragging it, it's staring into space or into the eyes of the observer, its an internal torment that's really torturing it.

 

[line b]

Theres also stylistic choices made in the goofy way the faces are rendered and the proportions of the bodies that hint at something more going on than just the objects in the scene. That creates a 'distance between object and observer'

 

[mixed_biscuits]

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He takes that thing everywhere.