the new emotional blackmailer's handbook

Friday, December 25, 2020

wimmin in white, part xv ...

a continuation of a long scrap-booking series... following on from ...

wimmin in white, part xiv ... 100 images https://thenewemotionalblackmailershandbook.blogspot.com/2020/09/#2211988498312515014

wimmin in white part xiii ... 100 images

http://thenewemotionalblackmailershandbook.blogspot.com/2020/08/#8096501805967665088

wimmin in white, part xii ... 100 images

https://www.blogger.com/blog/post/edit/7974631364621648458/6724875160461935856

wimmin in white, part xi ... 100 images
https://www.blogger.com/blogger.g?blogID=7974631364621648458#editor/target=post;postID=6999271656444856487;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=19;src=postname

by my very rough reckoning, parts i to xiv contained 2598 images ... but i don't have the best memory so there's a strong possibility of some pictures having been duplicated as time drifted by and the fog of forgetfulness gathered around me

https://youtu.be/1MQUleX1PeA

a few nativity scenes ...

bosch ...

giotto ...

conrad von soest ...

fra angelico and filippo lippi ...

giorgione ...

george de la tour ...

botticelli ...

gossaert ...

jacopo bassano ...

vicenzo di biagio ...

Saturday, December 19, 2020

a few bronzino's ... not all ...

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

An interesting letter to The Times Lit., concerning Bronzino's Allegory ... leads me to learn about the commission jointly executed by Michelangelo and Pontormo ...

In his review of the exhibition Sin at the National Gallery (November 13), James Cahill remarks on the “enigma” at the heart of Bronzino’s “Allegory of Venus and Cupid”, a “quixotic fantasy” with which “art historians have grappled vainly for answers”. Like Duchamp’s “Large Glass”, the painting “almost seems to be a joke at their expense – a mockery of the will to pinpoint and explain”. And yet those of us who work on Bronzino see no enigma here. Bronzino was responding to a painting by Michelangelo and Pontormo of Venus coupling with Cupid (the theme of coupling is relevant given the dual authorship), and knew the text it referred to: Columella’s De re rustica, where “in the mating time of the world” the goddess Venus, “driven to frenzy by Cupid’s passionate darts, makes love with her own children and fills with offspring … nor does the generating mother scorn the love of her son, but inflamed with desire accepts his embrace”. (More than “just a kiss”, in other words.) A poet as well as a painter, Bronzino amplified the focus on erotic vitality in his sources, above all their imaging of Eros as a turbulent force of nature that flouts boundaries of propriety and licit sexual expression. It is his intelligent handling of his sources that gives the painting resonance in multiple frames from his own time to the present: the “wounds of love” in Petrarchan convention, epidemic syphilis, the dynastic politics of the Medici and Bourbon courts, debates about the imitation of Michelangelo and Dürer, Freud’s Oedipus complex, queer aestheticism, and finally the present dialogue in the Sin exhibition with a work by Tracey Emin. If interpretations proliferate, that is not the result of the failure of a community of interpreters, any more than new interpretations of Hamlet signal a failure on the part of literary scholars to “get Shakespeare right”. Ambitious pictures respond to what interpreters (historians, artists, curators) bring to them: they are not puzzles to be solved.

Stephen J. Campbell
Johns Hopkins University, Baltimore, MD

https://www.metmuseum.org/blogs/now-at-the-met/2018/michelangelo-raffle-ticket-venus-kissed-by-cupid

... and here's a link to the Queen's painting ...

https://www.rct.uk/collection/405486/venus-and-cupid