skellingtons and cadavers in art ...

https://www.youtube.com/watch?v=bQboPOM6wYA

https://www.youtube.com/watch?v=cgiNudCXinE

... to be continued ...

venetia stanley, lady digby

https://en.wikipedia.org/wiki/Venetia_Stanley

confused ? how to separate tiepolo's capricci from piranesi's grotteschi ...

piranesi's skellingtons ... drawn in the 1730s ... plate size 54cm X 39cm

piranesi, the triumphal arch, from the grotteschi ...

https://www.metmuseum.org/art/collection/search/359965

piranesi, the monumental tablet ...

https://www.metmuseum.org/art/collection/search/362672



https://www.metmuseum.org/art/collection/search/361994

http://omeka.wellesley.edu/piranesi-rome/exhibits/show/giovanni-battista-piranesi/i-grotteschi

https://www.metmuseum.org/toah/hd/pira/hd_pira.htm




simple answer ... tiepolo's plates are much smaller

giovanni battista tiepolo ... death giving audience ... drawn about 1740 ... plate size 17cm X 14cm

https://www.rct.uk/collection/search#/1/collection/807843-f/the-figure-of-death-from-the-vari-capricci

tiepolo ... a chained woman regarding a pyre of bones ...

https://www.metmuseum.org/art/collection/search/363489

tiepolo, from the capricci ...

https://www.metmuseum.org/art/collection/search/397656?searchField=All&what=Etching%7cPrints&ao=on&ft=giovanni+battista+tiepolo+capricci&offset=0&rpp=20&pos=4

https://www.metmuseum.org/toah/hd/tiep/hd_tiep.htm


i'm not sure ... i'm guessing ... piranesi came to venice, saw tiepolo's work, and rose to the challenge ... i love them equally

a scholarly letter about a two thousand year old elegy for a dead parrot

a letter from the journal MNEMOSYNE, Volume 53, Issue 6 ...


OVID’S DEAD PARROT SKETCH: Amores II.6

In an article published in the Classical Journal for 1987, (1) B.W. Boyd cogently argued for an identification of certain characteristics displayed by Corinna’s parrot, famously commemorated in Ovid’s Amores II.6, with elements of the conventional self-depiction of the Roman elegiac lover.

There are none the less a number of parallels between parrot and love poet which Boyd in her study either omits or considers insignificant. The observations in this brief note are therefore intended to supplement the references adduced by Boyd to illustrate her contention that “to the last, this bird behaves like the lover-poet of elegy”, (2) and to support her interpretation of the poem as an allegorical treatment of Ovid’s literary predecessors.

Boyd is particularly concerned to emphasise the ‘Alexandrian’ qualities which the parrot  represents. (3) The description of the parrot’s grave (ossa tegit tumulus—tumulus pro corpore magnus—| quo lapis exiguus par sibi carmen habet, ( 59-60) is only ‘Alexandrian’, however, to the extent that Roman elegists professed and adopted Alexandrian aesthetic principles; (4) what is of greater significance is that the bird’s resting-place is Propertian  (5) (cf. Prop. II.1.72, breve in exiguo marmore nomen ero; II.13.33, sit in exiguo laurus super addita busto).

Likewise, although the Underworld reserved for piae volucres (49-58) contains elements which recall details of the Virgilian sedes beatae in Aeneid VI.367 V., it also includes features of the erotic Elysium of Tibullus I.3.57 V.  (Boyd 205).

The principal relevance of these allusions is to establish the parrot’s poetic analogue as primarily a Roman love elegist. Further resemblances are noted by Boyd (and Cahoon [n. 5],  (34): the parrot/poet is vox mutandis ingeniosa sonis (18); he produces tam bene verba (24); he is characteristically garrulus (26) and possessed of sermonis amore (29). Finally, he is described as loquax humanae vocis imago (37), and calls upon the mistress whom he served with his dying breath (48; cf. Tib. I.1.59-60; Prop. I.10.5-6).

Boyd’s article (202) identifies the elegiac connotations in the parrot’s epitaph (61-2) of placuisse and dominae, but it should be added that the theme of love enduring beyond the grave is itself a standard tñpow of Roman amatory elegy, 6) and is especially characteristic of Propertius’ sensibility—
cf. Prop. I.19.12, traicit et fati litora magnus amor, II.14.10, 15.39-40, IV.7.93-4 inter alia. Propertius’ epitaph on himself, ardoris nostri magne poeta iaces (I.7.24) also finds a parallel at line 20 of Ovid’s poem, infelix avium gloria nempe iaces, which, in addition to sharing the final word of the
Propertian line, resembles closely its metrical scheme.

The values observed by the parrot and its avian company are phrased in familiar terms: piae volucres (3, 51, 58), omni concordia (13), fides (14, 17; cf. Baker, n.  (6), concepts appropriate to the domain of Roman elegiac poets since the time of Catullus. (7) Furthermore, as a placidae pacis amator
(26), the parrot subscribes to the non-militaristic ethos of previous elegists, recalling in particular Propertius’ emphatic assertion (III.5.1):8) pacis Amor deus est, pacem veneramur amantes.

Commentators have not failed to observe the implications of Ovid’s presentation of doves, both in the parrot’s relationship (albeit a non-erotic one) with the turtur, and more specifically with the doves of the ornithological paradise of 49-58. On oscula dat cupido blanda columba mari (56), Schmidt (n. 5, 219) remarks, “Blandus ist ein Kennwort der Elegie”, while Propertius, speaking as the elegist inspired, addresses doves, traditionally associated with Venus, the goddess of love, (9) as Veneris dominae volucres, mea turba, columbae (III.3.31). (10) The symbolism attached to this particular species of bird thus reinforces the impression that Ovid’s depiction of the nemoralis sedes (57) granted to his mistress’ pet after death has a more than literal significance in the context of this poem.

By means of these references, Ovid makes Corinna’s treasured parrot embody a variety of the most clichéed characteristics and hackneyed motifs of his predecessors in the elegiac genre. (11) The similarities between this elegy and the lament for Tibullus, Amores III.9, may not, on this view, be
determined simply by the employment of conventional motifs, (12) although it is hard to believe that the poet intends to display malice towards his fellow-elegist in that moving piece. The effect is, of course, primarily humorous, but is it too fanciful to ask whether it could be the case that, in his
identification of demised parrot with stereotyped elegiac lover-poet, (13) Ovid allusively signals the death of traditional, ‘sincere’ (14) amatory elegy at Rome?

Such a reading is not only plausible in itself; it is also perfectly consonant with Ovid’s manipulation of the themes of his elegiac predecessors elsewhere in the Amores. (15)

Oxford, Merton College                                                                        L.B.T. Houghton

possibly the only teapot you'd ever need ... sold by sotheby's in 2016 for about ten times the estimated price ...

https://www.sothebys.com/en/auctions/ecatalogue/2016/important-chinese-art-n09541/lot.261.html?locale=en&fbclid=IwAR1ZvkJd4cbnoql0iGA5GmfbTP06tRMa8mUPjEKuUg5QD5zkQH7yD1NrxL4

another description ... possibly maybe from an earlier auction ...
http://www.alaintruong.com/archives/2019/10/10/37701723.html

ayana v jackson

her site ... https://www.ayanavjackson.com/

















a n extract from a longer video ... https://youtu.be/-iGgmgMiuB0




the too short wikipedia article ... https://en.wikipedia.org/wiki/Ayana_V._Jackson

https://www.thisiscolossal.com/2019/09/portraits-by-ayana-v-jackson/

https://www.artslant.com/la/articles/show/48473-ayana-v-jacksons-photographs-are-monuments-to-historys-unmemorialized-black-women

judgement of paris





lecture ... she doesn't get to the microphone until 6 minutes 46 seconds ...

https://www.youtube.com/watch?v=B-fmlC6NJ54

i'm not sure about this transcription ... but anyway, its a forty year ear-worm ...

https://www.youtube.com/watch?v=OMrNDnU6PPk

Uptown Top Ranking 2001

See me in me heels and ting
Dem check sey we hip and ting
True them no know and ting
We have them going and ting
Nah pop no style, i strictly roots
Nah pop no style, i strictly roots

See me pon the road I hear you call out to me
True you see mi inna pants and ting
See mi in a 'alter back
Say mi gi' you heart attack
Gimme likkle bass, make me wine up me waist
Uptown Top Ranking

See mi in mi Benz and ting
Drivin' through Constant Spring
Them check say me come from cosmo spring
But a true dem no know and ting
Dem no know sey we top ranking
Uptown Top Ranking

Shoulda see me and the ranking dread
Check how we jamming and ting
Love is all I bring inna me khaki suit and ting
Nah pop no style, i strictly roots
Nah pop no style, i strictly roots

Watch how we chuck it and ting
Inna we khaki suit and ting
Love is all I bring inna me khaki suit and ting
Nah pop no style, i strictly roots
Nah pop no style, i strictly roots

Love inna you heart dis a bawl out fe me
When you see me inna pants and ting
See me inna 'alter back
Say me gi' you heart attack
Gimme likkle bass, make me wine up me waist
Uptown Top Ranking

See mi pon the road and hear you call out to me
True you see me in me pants and ting
See me inna 'alter back
Sey me gi' you heart attack
Gimme likkle bass, make me wine up me waist
Gimme likkle bass, make me wine up me waist
Love is all I bring inna me khaki suit and ting
Nah pop no style, i strictly roots
Nah pop no style, i strictly roots

You shoulda see me and the ranking dread,
Check how we jamming and ting
Love is all I bring inna me khaki suit and ting
Nah pop no style, i strictly roots

Source: LyricFind

Songwriters: Althea Forrest / Donna Marie Reid / Errol Thompson