Jehanne of the Witches: October 2013

Sunday, 20 October 2013

fires rage over Australia . . .

. . . troubling and beautiful at the same time as fires ravage . . . not all pics of the Australian fires . .
results of a google search for "australian wildfires"

the Director explores Hell

As promised, here are the images I researched after my trip to the Glenbow today. It's the desolation of the landscapes, of war. After WWI Jackson could only paint the desolated landscapes. The exhibit not only paired Jackson and Dix, but it showed a lot of the influence of Tom Thomson and Jackson's Group of Seven partners...

The desolation is what I think of as hell. . . .

* These were from Winnipeg Art Gallery visit

A.Y. Jackson. A copse

Jackson/Northern Landscape

*Erich Heckel. The bearded man

*Heckel. Tubingen.

Frederick Varley. For what?

Varley. German Prisoners

Otto Dix. Flandern

Dix. Graben vor Rhems

Dix. Near Landemark

Dix. Self-Portrait as Mars

Paul Nash. The Menin Road II

Nash. Sunrise, Inverness

*William Kurelek. Hell (the worm that does not die)

Friday, 18 October 2013

more Gilles de R: all about the beard and the tats

more like below from here: http://www.dailymail.co.uk/news/article-2306120/Artist-Joseph-Olearys-Of-Beards-Men-portraits-subjects-facial-hair.html

some random posts on a stressful day

Tuesday, 15 October 2013

Alessandro Vellutello's Inferno

Alessandro Vellutello (b.1473, death date unknown)

Alessandro Vellutello was a Lucchese intellectual active in Venice from about 1515. In 1544 he published his commentary, La Comedia di Dante Alighieri con la nova esposizione with the printer Francesco Marcolini. Antonfrancesco Doni notes in his 1550 Libraria, Vellutello "strained his mind, expenses and expended considerable time" in having the 87 illustrations engraved. Possibly executed by Giovanni Britto, who worked as an engraver for Marcolini, these illustrations are the most distinctive Renaissance renditions of the poem after Botticelli's. Each scene records one or more scenes from the cantos illustrated. For the Inferno, the illustrator uses a striking a circular design and aerial-like perspective. Unlike the majority of illustrations which accompany sixteenth-century printed editions of the Commedia, these depictions are closely related to Vellutello's glosses. The illustrations seek to render the narrative accurately, much as Vellutello's exposition seeks to do.
from: http://www.worldofdante.org/gallery_vellutello.html