Κυριακή, 22 Φεβρουαρίου 2015

Bach to Cuba





































Nude, By Cecil William Rea, 1860–1935, British
photo credit: Ferens Art Gallery

Album - Bach to Cuba, Emilio Aragón, Orquestra Sinfónica de Tenerife

Matthias Grünewald (c. 1470 – 1528), German













Παρασκευή, 20 Φεβρουαρίου 2015

trojan horse out of toledo





El Greco
Greek, 1541 - 1614
c. 1610/1614










detail





In his haunting painting Laocoön, El Greco depicts a violent Greek myth as if it had taken place in his adopted city of Toledo, Spain. According to Virgil’s Aeneid, Laocoön, the priest of Troy, recognized the monumental wooden horse proffered by the enemy Greeks for what it was: a trick rather than a gift. Hurling his spear at it, he implored the Trojans not to pull the horse into the city.




Laocoon's plea to Troy, Aeneid, 
written by Virgil in the first century BCE:

"O my poor people,
Men of Troy, what madness has come over you?
Can you believe the enemy truly gone?
A gift from the Danaans, and no ruse?
Is that Ulysses' way, as you have known him?
Achaeans must be hiding in this timber,
Or it was built to butt against our walls,
Peer over them into our houses, pelt
The city from the sky. Some crookedness
Is in this thing. Have no faith in the horse!
Whatever it is, even when Greeks bring gifts 
I fear them, gifts and all."











detail





The goddess Minerva, who favored the Greeks, avenged his action by sending two serpents to kill the priest and his two sons.


"But they went on straight toward Laocoön, and first each serpent
Seized in its coils, his two young sons, and fastened
the fangs in those poor bodies.  And the priest
Struggled to help them…
They seized him, bound him with their mighty coils…
He uttered horrible cries, not even human
More like the bellowing of a bull, when wounded"

Virgil, The Aeneid













El Greco’s painting is a study of tumult and anguish. The bearded Laocoön, sprawled awkwardly on his back, wears a look of terror as he struggles to fend off a writhing serpent, jaws agape, which lunges at his head. One son lies dead behind him. The second, at left, desperately twists and strains to keep the other serpent from piercing his thigh. The wooden horse is visible in the background (pointed to by the standing son’s outstretched hand) approaching Toledo’s gates. At the far right, two unfinished standing figures, perhaps Greek gods, witness the action without intervening. 



The meaning of El Greco’s Laocoön remains obscure. The artist’s only extant mythological scene, it likely represents a Christianized take on classical subject matter.  In substituting Toledo for Troy, El Greco may have been warning his fellow citizens not to succumb to some contemporary treachery, perhaps religious practices he viewed as antithetical to Counter-Reformation edicts.




Washington DC






Τρίτη, 17 Φεβρουαρίου 2015

allegory of history





Herbert Gustave Schmalz (1856–1935) English history painter

Schmalz was born in England as the son of a German father and an English mother.
In 1918, after Germany was defeated in World War I, 
he changed his name to John Wilson Carmichael.











Too Late, 1884


A Greek hero of the Christian period comes back from war but his great love, 
the princess or the queen has died.














Iphigenia











Faithful unto Death

signed 'Herbert Carmichael' (lower right)








Πέμπτη, 5 Φεβρουαρίου 2015

ΡΟΔΟΝ ΕΤΩΝ ΙΗ ΠΩΛΕΙΤΑΙ ΜΝΑΣ Ω










José Jiménez Aranda (1837 – 1903) Ισπανός ζωγράφος

Una esclavaen venta, μετά το 1892











Ρόδο ετών 18
Πωλείται 800 μνες

Rose 18 years old
For sale
800 minas