Lucky in Love
Monthly Archives: February 2012
The Lion and the…Goat?
This, now. Please? *.*
“Free Men Surfing in Heronymus Bosch Painting”“Hommes libres surfant dans la peinture de Jérôme Bosch”#: 20120227
Size /Tamanho/Dimension:
35x50cm
Category: acrylic on canvas
Description: In a part of Hell by Hieronymus Bosch where naked women and men are maltreated /abused by monsters/evils etc. 5 naked and free men are surfing or playing into a nice blue water. In the frontground a boy is undressing… “One should choose between being calm/resting and being free” THUCIDIDE
Dans une partie de L’Enfer de Jérome Bosch où une femme nue avec un crapaud sur les seins est entourée de monstres, une autre femme dans une bulle tombe du ciel et un monstre diabolique mange quelqu’un d’où sort une nuée d’oiseaux, où un homme nu tient une flute géante torturé par une autre flute dans l’anus etc. sept hommes nus et libres s’amusent dans l’eau ou surfent sur un bleu magnifique… “Il faut choisir entre se reposer/être calme ou être libre” Thucidide
Hairy Lite
Duncan L. & Joshua Seven | Tee guy.
Follow Homografías on Facebook & Twitter.
Treptower Park, 2004.
To Play With Fire, 2006.
Asflasnkfkjdsn!
“Free Men Surfing in Heronymus Bosch Painting”
“Hommes libres surfant dans la peinture de Jérôme Bosch”
#: 20120227
Size /Tamanho/Dimension:
35x50cm
Category: acrylic on canvas
Description: In a part of Hell by Hieronymus Bosch where naked women and men are maltreated /abused by monsters/evils etc. 5 naked and free men are surfing or playing into a nice blue water. In the frontground a boy is undressing… “One should choose between being calm/resting and being free” THUCIDIDE
Dans une partie de L’Enfer de Jérome Bosch où une femme nue avec un crapaud sur les seins est entourée de monstres, une autre femme dans une bulle tombe du ciel et un monstre diabolique mange quelqu’un d’où sort une nuée d’oiseaux, où un homme nu tient une flute géante torturé par une autre flute dans l’anus etc. sept hommes nus et libres s’amusent dans l’eau ou surfent sur un bleu magnifique… “Il faut choisir entre se reposer/être calme ou être libre” Thucidide
Conclusion before I start painting: What is sure is that under this terminology of Compulsive Art (@ Flickr) a lot of artists which we could say “outsider artists find their style (today 44 463 éléments!!) for instance Peter Seeling with
“The last dance five hours before the big bang at Luzern”
I came from a world you may not understand
New Friend
© Ebru Sidar
The Entombment, 1603
Michelangelo Merisi da Caravaggio
Vatican museums, Rome
Oil on canvas 300 x 203cm
“The form of Caravaggio’s Entombment is strictly linked to the location for which it was originally destined and thus to its liturgical and devotional use. The chapel in the Chiesa Nuova in which it hung until 1797 was dedicated to the Pietà. The chapel’s first patron, Pietro Vittrice, was particularly devoted to the Shroud of Turin, which is represented on the entrance arch. In Caravaggio’s painting, too, Christ’s winding sheet is a prominent feature. Giovan Pietro Bellori described Caravaggio’s altarpiece as surprisingly static. The figures merely hold up Christ’s dead body, unmistakably presenting it to the viewer, at whom Nicodemus looks directly. despite their dramatic gestures, the women at the rear also seem strangely inactive. Nevertheless the composition is impressive in its unity. In Caravaggio’s painting the Madonna plays a central role: her arms flung wide, she takes leave of her dead son. This is not an iconographical novelty. The best known example is Pontormo’s Deposition (1527) in Santa Felicita in Florence in which the Virgin with her dramatic gesture bids farewell to her dead son. Caravaggio’s image is thus first and foremost a somewhat surprising variation on the Pietà. The Madonna’s right hand hovers above Christ’s head in a gesture of valediction. This is a common pictorial formula, which can also be seen in Annibale Carracci’s Pietà (Museé du Louvre, Paris). In Caravaggio’s Entombment it is their very inactivity that makes the women’s mourning of the dead saviour so monumental. The striking diagonal placement of the tomb has been interpreted as a symbolic reference to Christ as the cornerstone of the Church. Just as Good Friday commemorates the Entombment, the liturgy for Easter Saturday refers to Christ as the cornerstone at the very beginning of the service. Caravaggio’s painting was made for a chapel that, in a certain sense, demonstrates that Christ is the cornerstone of the universe. It thus played an important role in the overall programme of the Chiesa Nuova, which was fundamentally Marian.” (The Genius of Rome 1592-1623, ed. Beverley Louise Brown, Royal Academy of Arts 2001)
“Christ’s burial was a deeply moving picture for all the wrong reasons. Not that any of its admirers seemed to notice, then or ever after. It briskly eliminated mourning, swooning or keening and got down to the practical question of man-handling a naked corpse and lowering it into the ground. The physical awkwardness was clear when the process was seen from below. Christ did for once look like a real corpse and a dead weight, a well-made man killed in his prime, his lips already turning blue. It was a strictly private burial, two close male associates, John and Nicodemus, dealing with the body and three women formerly close to the deceased pressing up close behind. The dead man’s mother showed considerable self-control in her set face, while one of the younger women, a very pretty girl whose fancy hairdo was coming undone in wisps, was bent forward crying quietly to herself. Only the third woman, a young relative at the back, made a slight show of public emotion with her upraised hands.
The moment of stasis in the action had come when this group had arrived at the edge of the stone slab and finished moving forward. The two men were about to lower the body. Everyone was bunched up close into a single sculptural group. A curving declension of bowed heads led the eye ineluctably to the horizontal reality of the dead body. They were all on top of each other, the corpse’s legs encircled in Nicodemus’ arms, John taking the weight of the torso with his fingers in the wound, the women backing up behind – the five living figures were quite distinct, none looking at another, locked in their own thoughts but locked together by the intimacy of the task in hand, a collective unity packed into the canvas. They were felt as a looming solid presence. M’s fascination with three-dimensionality in painting – not in Leonardo’s old renaissance sense of perspective and a depth that receded from the plane of the picture’s surface, but as an invasive bodying forth out of that surface – went back to his experiments with the curved surface in the Medusa shield, the Basket of fruit on its ledge, sticking out from the wall the painting was hanging on. Now it was solid figures looming out of the dark. He was always having quiet slapstick fun with this illusion of physical imminence, with the fruit basket about to topple of the table in front of Christ in Emmaus, Matthew’s stool about to crash out on to the altar and send the saint flying, or turning the space of a chapel where the viewer stood into a paleochristian plunge pool. This was a painter who enjoyed training his black poodle Crow to walk on its hind legs.
Now he was realising this effect of physical imminence as an answer to the old question of action in narrative painting. If feeling could be rendered in its moment of stillness as inwardness, action could be done as the stillness in which movement impended into your space – it was the acrobat’s trapeze at its furthest point from you, about to swing toward you and be grabbed. The friends burying Christ were neither facing nor in profile to a person looking at M’s painting. As the corner of the stone slab they stood on made clear, jutting massively out of the bottom at the viewer, their impending movement was diagonal to the picture plane. Nicodemus caught the viewer’s eye with a sharp and wary sideways glance out of the front of the picture. This pulled you into a peculiar and almost furtive intimacy with the event – like an actor glancing at an observer in the wings – as the visual aggression of his elbow, jutting like the slab sharply into the observing eye, made the viewer even more of an intruder into this private and sorrowful task.
Most powerfully, though, it made the whole group look as if it were going to follow Nicodemus’s gaze and swivel round toward the viewer and dump the body – since anyone in the chapel was looking up at these figures from somewhere down in the tomb, which was more of M’s subdued visual fun – if not in your lap at least on the altar below the painting. < had set up a powerfully monumental group in his studio – a group whose sculptural classicism the critics all admired in the finished painting, as they were intended to – and then moved his easel over to paint from the corner. It was a move that his Nicodemus model, lately seen as Thomas probing Christ’s wound, clearly found disconcerting. He was unaware that the oblique glances he kept shooting over at the painter from his long bony face, and his pointy elbow and the curve of his hunched back and his big feet with the raised veins over the ankle bones, sturdily planted at eye level, would be at the heart of a great pathos.
Christ’s burial was a triumph of fine-tuning. M now knew how to seize the telling instant of utter stillness that always occurred in any collective event, between one movement and another, like the stillness of a pendulum at the furthest point of its arc. Busy tumult vanished from his work.” (M, Peter Robb, 1998)
Haywain is a triptych panel painting by Hieronymus Bosch which is housed in the Museo del Prado,Madrid, Spain. A date of later than 1510 has been established by means of dendrochronologicalresearch. The centre panel measures 140 by 100 cm and the wings measure 147 by 66 cm. The outside shutters of the triptych show a scene entitled The Path of Life, featuring a version of Bosch’s The Wayfarer character. A second version of the painting is housed in El Escorial.
The Haywain triptych has a similar narrative to The Garden of Earthly Delights. The left panel shows God as he creates Eve. Unlike the Garden, though, a narrative sequence flows through the panel in different scenes. At the top, the rebel angels are cast out of Heaven while God sits enthroned, the angels turning into insects as they break through the clouds. Below this, God creates Eve from the rib of Adam. Next, Adam and Eve find the serpent and the tree;the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve looks ahead to the right in a melancholic pose.
The central panel features a massive wagon of hay surrounded by a multitude of figures engaged in a variety of sins, not just the sin of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden. An angel on top of the wagon looks to the sky, praying, whereas none of the other figures see Christ looking down on the world. The rightward bow of the figures around the wagon provides the force for the viewer’s eye to move with them on their journey and the cart is drawn by infernal beings which drag everyone tohell, depicted on the right panel.
The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the left side of this panel bends back into the middle ground, but the right side figures continue in a straight line as the wagon, giving the viewer a more evident progress into damnation.[1]
King Philip II of Spain purchased two copies of the work, both signed, one of which hangs in The Prado and the other of which remains at El Escorial.[2]
http://en.wikipedia.org/wiki/The_Haywain_Triptych
Le Chariot de foin est le titre attribué au panneau central d’un triptyque exécuté vers 1501-1502 par le peintre néerlandais Jérôme Bosch (et son atelier), et, par extension, au triptyque lui-même. Comme les autres triptyques de Jérôme Bosch, il évoque, selon une perspective allégorique moralisante qui condamne en même temps qu’elle cherche à prévenir, le parcours de l’humanité en proie aux vices et aux tentations terrestres, que désigne métaphoriquement le chariot de foin, depuis le Péché originel, sur le panneau de gauche, jusqu’à la Damnation aux Enfers, sur le panneau de droite. Les volets refermés représentent quant à eux Le Colporteur, qui peut être interprété comme une version figurative du même parcours, de l’homme sur le chemin semé d’embûches de la vie.
Today I continued my research / creation of freedom, perhaps in an attempt to deflect my compulsion precisely from male nude to freedom through the nudity … Hieronymus Bosch, despite his great age and perhaps because of it (sixteenth century here) seems close to this research, which is why the last two weeks I’m on my fourth intrusion into the art of H Bosch … here I will add yet another deviation: from hell to paradise … for now I painted the hell but I should paint the paradise from him too! Geo …
(things I found and liked)
(by Hush Hush photos)
Aujourd’hui j”e continue ma recherche/ création sur la liberté, peut-être pour tenter de dévier justement ma compulsion du nu masculin vers la liberté à travers la nudité… Hieronymus Bosch malgré son grand age et peut-être grâce à lui (seizième siècle ici) me semble proche de cette recherche, c’est pourquoi depuis deux semaines j’en suis à mon quatrième intrusion dans l’art de Jérome Bosch… Ici je vais pourtant ajouter une autre déviation: de l’enfer au paradis… Pour l’instant je peins l’enfer mais devrais peindre aussi le paradis d’après Bosch… Geo
Everything Is Illuminated (2005)
Trouble obsessionnel compulsif
Le trouble obsessionnel compulsif (abrégé TOC) est un trouble anxieux caractérisé par l’apparition récurrente de pensées intrusives liées ou non à une phobie. Ces pensées dites obsessions génèrent des angoisses qui, selon certaines théories psychiatriques, seraient la cause des compulsions observés chez ces patients. Ces compulsions sont des séries de gestes reconnus comme irrationnels par le malade mais néanmoins répétés de façon ritualisée et envahissante parfois jusqu’à la mise en danger de sa propre vie. Les symptômes peuvent s’exprimer de façon très variable d’un patient à l’autre (incluant phobie de la saleté, lavage des mains, vérifications, obsessions sexuelles).
D’après les critères du manuel diagnostique et statistique des troubles mentaux (DSM-IV) et de la CIM-10, le TOC est considéré comme une entité psychopathologique qui remplace la névrose obsessionnelle. Le TOC est à distinguer du trouble de la personnalité obsessionnelle aussi caractérisé par des obsessions, notamment de perfectionnisme et de désir de contrôle et des compulsions mais dont le malade ne se plaint pas.
Maintenant je comprend pourquoi je ne me sens pas proche de la psychologie occidentale…
http://fr.wikipedia.org/wiki/Trouble_obsessionnel_compulsif
J’aime bien cependant ce que dit Freud à l’homme aux rats : http://fr.wikipedia.org/wiki/L%27homme_aux_rats
mésalliance entre le contenu d’une idée et l’affect qui l’accompagne du fait d’une connexion fausse : ici l’affect – se considérer comme un criminel – est trop fort par rapport à son manquement le jour de la mort de son père. Il y a une connexion fausse entre la culpabilité et son manquement. En réalité, la culpabilité « se rattache à un autre contenu qui n’est pas connu (inconscient) et qui doit d’abord être recherché »5, et Freud ajoute : « nous ne sommes pas habitués à ressentir en nous de forts affects sans contenu représentatif. Quand ce contenu fait défaut, nous nous saisissons d’un autre contenu qui convient plus ou moins et qui sert de substitut ».
À ce moment du récit, Freud donne une définition de l’inconscient :
« L’inconscient, dis-je, est l’infantile, c’est-à-dire qu’il est cette part de la personne qui s’est séparée dans l’enfance, qui n’a pas suivi le développement de la personne et qui de ce fait a été refoulée. Les dérivés de cet inconscient refoulé sont les éléments qui alimentent ces pensées involontaires qui constituent son mal6. »
Thus I look for Compulsive Art on Flickr… J’ai donc cherché parmi “art compulsif” sur Flickr: lookingf if some artist has the same obsession with Male Nude like me… creating art always with naked men, excited or not, soft or hard… http://www.flickr.com/groups/ocat/pool/but I found no artist with such trouble so I don’t belong to this group even if I am sure that Cmpulsive aRT is my style today :) Geo
La masturbation compulsive, est-ce que ça existe? La question tourmente plusieurs hommes, qui s’interrogent sur la fréquence et la normalité de leur comportement. Quand se masturber devient-il malsain?
Comme bien d’autres hommes, Mathieu se masturbe. Il le fait de façon régulière, et la plupart du temps, en utilisant de la pornographie. Mathieu se cache parce que Catherine trouve qu’il le fait trop souvent. Il se demande si son comportement est normal ou non. Lorsqu’on se pose la question, il est important de regarder le cadre et la façon dont se vit la masturbation.
Masturbation normale ou masturbation compulsive?
Plusieurs éléments permettent de distinguer ce qui est compulsif de ce qui est normal. Dans la masturbation normale, le désir de se masturber est présent. Il peut être occasionnel et aller jusqu’à être quotidien. La masturbation permet de gérer le désir sexuel auquel on ne peut répondre dans la relation de couple. Dans ce contexte, le désir est présent. On peut avoir recours à des images externes, mais très souvent, les fantasmes suffisent pour s’autostimuler et arriver à l’éjaculation. Le tout peut se faire rapidement sans interférer avec le quotidien.Toutefois, Mathieu ressent une incapacité à s’empêcher de se masturber. S’il repousse le moment de le faire parce qu’il doit aller travailler, il continue de penser à son besoin. Il lui arrive d’aller s’isoler dans les toilettes au bureau pour faire passer la tension qui ne se calme pas. En fait, Mathieu confie qu’il lui est difficile de s’empêcher de se masturber, qu’il planifie d’avoir du temps seul pour pouvoir le faire. Il se couche souvent plus tard le soir et peut passer plusieurs heures à chercher des images qui le stimuleront. Il lui arrive de se lever plus tôt le matin ou même parfois en pleine nuit pour s’asseoir devant son ordinateur et se masturber.
Se refusant à admettre qu’il ne maîtrise pas la situation, Mathieu a décidé d’arrêter de se masturber et à réussi à s’abstenir durant une semaine. Mais la rechute a amené un comportement encore plus fréquent.
Je pense vraiment que mon art est une réponse compulsive à ce besoin exprimé ici…. ou mieux: une réponse à ce besoin compulsif… C’est pourquoi je pense que mon style est de “l’art compulsif”… Geo
Reflection of Nature by Joe K Ng Photography on Flickr.
Andrew Salgado. The Archivist, 2010. Oil on canvas, 88 x 55”.
Carlson Twins not yet wet….nice
Mario Loncarski
Photo by Saverio Cardia
Basilica di San Marco by Octanou on Flickr.
Venise, Cana Grande (notturno), (1894 post) by Tomaso Filippi
IRE (Istituto di Ricovero e di Educazione di Venezia)
k13n:
Venise 2011
I miss my hair.
