Scots Taffer on 25/5/2006 at 00:15
If allowed, please take photos!
Ko0K on 25/5/2006 at 03:25
I've seen similar paintings, but not that particular one. Does it reflect an actual event, or was this guy a major stoner?
Para?noid on 25/5/2006 at 14:04
Quote Posted by BR796164
I wonder that myself, since I'm such case.
But yeah, he went too pop. Pity.
I never insinuated that he went 'too pop'. The concept of selling out and going 'pop' is a fantastic dream only teenagers buy into. Giger does his art and promotes it how he sees fit. If that art becomes popular then kudos - especially him; it reflects on society as being open minded and appreciative of new emotions and structures in art.
Rogue Keeper on 25/5/2006 at 15:01
He went "too pop" in the way how GBM described it. It's a natural process of projection and transformation of high culture elements into popular culture.
Shevers on 25/5/2006 at 15:01
Quote Posted by Ko0K
I've seen similar paintings, but not that particular one. Does it reflect an actual event, or was this guy a major stoner?
I'm guessing you're talking about TGGP's pic. It's called Triumph of Death and iirc it's about how we're all gonna die. (I did an essay on it a few years back) It's a favourite of mine actually.
I love how we've went from "childlike fantasy" to Giger and the Triumph Of Death.
TheGreatGodPan on 26/5/2006 at 21:26
Quote Posted by Shevers
I love how we've went from "childlike fantasy" to Giger and the Triumph Of Death.
They're likely the fantasies of some children, but ones that need medication and therapy.
Morgane on 26/5/2006 at 22:22
Quote:
What's the freakiest painting you've seen that was made before the 20th century?
Hm, I think Hieronymus Bosch (yay!) did some interesting stuff. Especially the tryptich "The Garden of Earthly Delights".
Links bookmarked. That´s amazing, absolutely amazing...
Para?noid on 26/5/2006 at 22:48
Quote Posted by BR796164
He went "too pop" in the way how GBM described it. It's a natural process of projection and transformation of high culture elements into popular culture.
I don't know if you've noticed, but certainly here in England the majority of art galleries are free entry. There is no art that starts in some kind of upper echelon that mere mortals cannot attain, it is available to anyone at any time. You're talking out of your ass.
demagogue on 27/5/2006 at 00:20
It's no wonder some of those artists you picked out look so surrealist, since the movement took direct inspiration from them (e.g., Bosch). I like this paragraph, sort of tells you what sorts of other artists and periods in history the surrealists liked and why. You can take all the technical mum-jum with a grain of salt; I just liked the general thinking behind it. They're all worth looking up.
Quote:
Admiring the primitive mystery suggested by Gauguin's work in Tahiti, the Surrealists wanted an art to wonder and marvel at, not an art of reason and balance but something miraculous and mystical. They were great collectors of the products of 'primitive' cultures such as Oceanic sculpture. (The Fauves and the Cubists had already 'discovered' African sculpture.) In European painting they looked behind the classical tradition for obsessions and eccentricities of vision and imagination: for example, the views of hell with its hybrid monsters by Hieronymous Bosch (1453-1516); the bizarre results of the obsession of Paolo Uccello (1396/7-1475) with perspective; the fantastic and menacing prisons of Giovanni Piranesi (1720-1778), nightmares of Henri Fuseli (1741-1825) and the black period of Francisco de Goya (1746-1828). In the nineteenth century, they found Impressionism too naturalistic, too rational. They preferred Pre-Raphaelite and Symbolist dreamlike images. Scorning fashion, Breton was a devotee of the visionary paintings of Gustave Moreau (1828-1898), and at a time when art nouveau was disregarded by the cognoscenti, the Surrealists marveled at its wrought iron plants as though the transformation of natural organic forms into metal was a sort of alchemy. They found Cubism, too rational, too logical (although an exception was made for Picasso's totemic proto Cubist painting Les demoiselles d'Avignon. Picasso himself was also a special case, being held in awe as a phenomenon and a sort of unordained priest of Surrealism.) The Surrealists preferred the 'primitive' vision of Henri Rousseau (1844-1910). They rejected Futurism, preferring the Metaphysical painters, especially the haunting enigmas of Giorgio de Chirico (b 1888).