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Art reviews by Zephyros

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Picture #2 is by Gerome and is of the slave market in Cairo at the time of the Barbary Pirates (late 18th/early 19th century). Barb and I included it in the thread of our story, "Barbary Coast". And #5 looks oddly more Indian than Greek, like the figures on the temple at Khajurao. But of course a great many cultures had temple prostitutes of one variety or another. The universal language?
 
P And #5 looks oddly more Indian than Greek, like the figures on the temple at Khajurao. But of course a great many cultures had temple prostitutes of one variety or another. The universal language?
Minoan Art Island of Crete The younger snake goddess from the palace of Knossos
 
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"Had Mary Magdalen been legally married to Jesus, as some believe . . . there would have been a fourth cross on Golgotha's summit, for Roman law required a bride to share in her husband's fate"
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A delicious idea and the source of much fantasy. In the stories that have come to us she was a close witness.
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What if she had been a participant, a victim?
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A bride? Married to the crucified one. Married to her own cross?
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Bumping this thread

"Had Mary Magdalen been legally married to Jesus, as some believe . . . there would have been a fourth cross on Golgotha's summit, for Roman law required a bride to share in her husband's fate"
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:sconf:

What if she had been a participant, a victim?
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A bride? Married to the crucified one. Married to her own cross?
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Perhaps she was. There's the (admittedly out-of-left-field) thesis that there were more than three people crucified that day, all of them members of Jesus' merry band.
 
Mary Magdalene - sometimes the Magdalene - is a figure in Christianity who, according to the Bible, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named at least 12 times, more than most of the apostles.

In »The Da Vinci Code«, Mary Magdalene played an important role: Jesus’ earthly partner and mother of his children. And even though much of the speculation contained therein doesn’t hit the mark, with this book Dan Brown explained to millions of readers that, in religious matters, woman and the feminine need to be brought back into balance with man. In this way, »The Da Vinci Code« is also an homage to the Goddess.

Here are some of my favorites …

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Orazio Lomi Gentileschi
(*1563 Pisa, +1639 London)

View attachment 420726»Penitent Mary Magdalene«
about 1626/1628

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Orazio Lomi Gentileschi
Mary Magdalene In Ecstasy

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Guido Cagnacci
1601 San Arcangelo di Romagna - 1663 Wien
»Die büßende Maria Magdalena«
after 1659

The Lost Art Project: Batoni’s St. Mary Magdalene
Pompeo Girolamo Batoni (25 January 1708 – 4 February 1787) was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures.
»Die büßende Maria Magdalena« after Pompeo Batoni (Italian, 1708-1787) ST. MARY MAGDALENE oil on canvas 24 by 37.5in., 60 by 93.75cm. The present lot is after Pompeo Batoni`s Saint Mary Magdalene, which formerly hung in the Gemäldegalerie, Dresden. The original was destroyed in World War II, during three Allied bombing raids of Dresden between 13 and 14 February, 1945.The sheltered grotto scene depicts a recumbent Mary Magdalene, with exposed shoulder and chest; hands clasped reading a book propped up by a human skull. Hints of a mountainous landscape in the distance can be seen in the right middle ground and above centre where the rocks part slightly to shine light on the scene. Batoni was influenced by Raphael and was celebrated for his technique, draughtsmanship and reverence for antiquity. Born in Lucca, Batoni studied inRome, where he moved in 1727, setting up a studio and home there in Via Bocca di Leone. From 1735 he received numerous commissions for altarpieces, mythological and historical pictures as well as portraits. Papal commissions ensued and he became curator of the Papal collections. He died in Rome. His work can be found in the collection of the Galleria Borghese, Rome, Uffizi, Florence, Musée du Louvre, Paris, Museo del Prado, Madrid and Liechtenstein Museum, Vienna among others.

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Pierre & Gilles: »Magdalena«

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Auguste Rodin: »Christ et la Madeleine«
Auguste Rodin (1840 -1917)
CHRIST AND THE MAGDALEN
Circa 1894
Christ and the Magdalen is one of the rare surviving sculptures inspired by religion in Rodin’s oeuvre, and possibly corresponds to a reworked version of an earlier lost Christ, influenced by Antoine-Augustin Préault (1809-79).
Clinging to this emaciated, suffering Christ, whose overly heavy head seems to have dropped sideways, is a woman, the Magdalen, a figure originally designed for one of the damned souls on The Gates of Hell , who was then used in Meditation , the muse in Monument to Victor Hugo. The present group, which would be translated into marble for Baron Thyssen circa 1905, underscores, as Rilke wrote, “the contrast between the two bodies, imposed by the marble, [which] immediately produces an impression of the boundless sadness emanating from this subject.” The Symbolistic character of the work is enhanced by it, while the sensuality of the female figure distracts the spectator from the subject.


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Félicien Rops
There are around thirty works by Félicien Rops covering the width of his oeuvre. His career commenced as an illustrator of the publication L’Uylenspiegel, which he himself set up. Here he published artistic, political and social caricatures in lithography. Like Goya, Rops defended freedom of speech and strived against the moral rigidity of the bourgeoisie and the clergy. He cherished the fact that he was unknown and did not wish to become famous.

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The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1533, signed 'TITIANUS' on the vase to the left. It is now in the Palazzo Pitti in Florence.
The Penitent Magdalene is a 1565 oil painting by Titian of saint Mary Magdalene, now in the Hermitage Museum in Saint Petersburg. Unlike his 1533 version of the same subject, Titian has covered Mary's nudity and introduced a vase, an open book and a skull as a memento mori. Its colouring is more mature than the earlier work, using colours harmonising with character. In the background the sky is bathed in the rays of the setting sun, with a dark rock contrasting with the brightly lit figure of Mary.

And finally an art work based on Hayez:

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Thanks for this Great report! Think I will use 'The fourth cross theory' in a future story.
 
Reka Nyari - »Female Erotic Photography«

Reka Nyari originally hails from Helsinki, Finland, but currently is based out of New York, USA. Nyari started as a model, working in front of the camera, until years later when she realized that her true calling was to work behind the camera as a photographer herself. Nyari’s body of work is fairly diverse as it ranges from fashion, nudes, (self-) portraits, and the likes. She has always been attracted to erotica and the adult world of sexuality. When she went to art school it was natural for her to combine this fascination for fleshliness with her obsession to create. In her pictures, she tells stories that stimulate the mind, while her treatment of black and white as well as colour is astonishing. Like many New York photographers, Reka Nyari‘s career started on the other side of the lens. Though the European transplant originally came to New York to study at the School of Visual Arts, she turned to modeling post-graduation in an effort to save some money and travel the world. In 2004, she grew weary of her nomadic lifestyle, Nyari moved back to New York and turned back to her craft. Though she had always envisioned herself a painter, her camera skills were indisputable – friends suggested she focus on photography, and Nyari applied much of what she learned as a model to developing her own practice. While working in nightlife in the trendy Meatpacking district, Nyari was meeting scores of fashion industry execs and models.
In 2011 Reka Nyari published her first book named »Female Erotic Photography«. The book shows the sensuality of the female body through the eyes of a woman. I should not forget to mention that in some images Reka Nyari is both the model and the photographer. This makes the book almost a personal diary displaying her own erotic fantasies. A new book by her hand is to be released later this year. Also later this year, september to be precise, a nude photography workshop in southern Spain is given by Reka . If you are interested you can contact Reka at her website.

http://www.rekanyari.com

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Nude York showcases the seductive beauty, freedom, and inspiration in both the opportune city, and the intriguing female form. The series follows women passionately posed on the tops of towering city structures, their delicately commanding bodies towering over the unforgivable concrete as they escape subordination, in an invigorating expedition fueled by passionate momentum, and navigated by bold defiance. Prominently lacking clothing, each poised figure solely bares the impassioned implications of her intimate portrayal. The works categorically consist of drastic, definitive juxtapositions. In this instance, the comparisons pertain to sharp, structured edges next to the soft, rolling curvature of female forms, as well as the heat that courses through their bodies against the cold, inanimate harshness of pictured industrial materials. The aesthetically balanced out usage of elements helps to create a rhythmic flow as alluring and sensual as each uncovered subject.

Much more @ http://www.rekanyari.com/nude-york

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Valkyrie Ink traces the compelling story of Eowyn, a resilient and rebellious young woman, who endured emotional and physical pain since childhood. Inextricably linked to the story of her difficult life, this series portrays her brave spirit and her marked skin, which both bear the scars of her past and the signs of her resistance. In an act of strength best understood as “putting on her own skin,” of arming herself, Eowyn adorned her body with a shield of tattoos. Yet, before the first emblem was inscribed on her skin in permanent ink, she developed the sense that empowerment laid in the rhythms of cuts and their scars which seemed to form an increasingly impenetrable shell. By cutting herself, she literally thickened her skin. Her metamorphosis continued when, at the age of 16, she got her first tattoo and connected to the power of ink to fortify her body and amplify her personality. The titillating lines, undulating images, and powerful words that cover her skin are marks of their bearer’s bravery, and evidence of her insubordination. The ink is who she is, desires to be, and who she has become.

You will find more: http://www.rekanyari.com/valkyrie-ink

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That pussy can scratch and bite! :eek: :p

Nude York showcases the seductive beauty, freedom, and inspiration in both the opportune city, and the intriguing female form. The series follows women passionately posed on the tops of towering city structures, their delicately commanding bodies towering over the unforgivable concrete as they escape subordination, in an invigorating expedition fueled by passionate momentum, and navigated by bold defiance. Prominently lacking clothing, each poised figure solely bares the impassioned implications of her intimate portrayal. The works categorically consist of drastic, definitive juxtapositions. In this instance, the comparisons pertain to sharp, structured edges next to the soft, rolling curvature of female forms, as well as the heat that courses through their bodies against the cold, inanimate harshness of pictured industrial materials. The aesthetically balanced out usage of elements helps to create a rhythmic flow as alluring and sensual as each uncovered subject.

Much more @ http://www.rekanyari.com/nude-york

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These just remind me that, however I try to suppress it, I'm just shit-scared of heights! :eek:
 
Nude York showcases the seductive beauty, freedom, and inspiration in both the opportune city, and the intriguing female form. The series follows women passionately posed on the tops of towering city structures, their delicately commanding bodies towering over the unforgivable concrete as they escape subordination, in an invigorating expedition fueled by passionate momentum, and navigated by bold defiance. Prominently lacking clothing, each poised figure solely bares the impassioned implications of her intimate portrayal. The works categorically consist of drastic, definitive juxtapositions. In this instance, the comparisons pertain to sharp, structured edges next to the soft, rolling curvature of female forms, as well as the heat that courses through their bodies against the cold, inanimate harshness of pictured industrial materials. The aesthetically balanced out usage of elements helps to create a rhythmic flow as alluring and sensual as each uncovered subject.

Much more @ http://www.rekanyari.com/nude-york

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to be continued ...

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Clever, as well as erotic
 
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