A message to you today from Artemisia Gentileschi, kick-arse 17th Century feminist artist.
Oh hell yes. For those of you who don’t know (a) the story of Artemisia Gentileschi (b) the subject matter of her painting, let me give you a quick heads-up.
First, the topic of the picture is “Susanna and the Elders”. It’s a story from the Book of Daniel, Old Testament, the Bible.
A beautiful young married woman, Susanna, is having a bath in her own garden. She sends all her maids away for some privacy. Two Elders (and these are supposed to be respectable older men, the pillars of society in both religion and secular leadership) are spying on her. They threaten Susanna that, unless she agrees to have sex with them, they’ll spread a false story that she was meeting a young man on the sly.
Now, the point of the story is this: Susanna is a married woman. If she’s accused of adultery, she will be sentenced to death. The two elders know they can get away with this, because they’re respectable leaders of society and who is going to be believed: them or the woman?
Susanna refuses to be blackmailed into sex, and sure enough they carry out their threat. Susanna is only saved when a young man named Daniel interrupts the trial, says that the two men should be questioned separately, and he cleverly picks out the flaws in their testimony to prove they are lying and she is innocent.
Now, for the artist: Artemisia Gentileschi was a 17th century Roman woman, the eldest child of a painter who, unusually, encouraged and trained his daughter to be an artist as well as his sons (and she was better than her brothers).
Her father was working with another painter whom he also hired to tutor Artemisia. This guy raped her, but they continued to have a sexual relationship with the promise of marriage (this was because marriage was the only hope she had of keeping her reputation). Well, being a sleazeball, he never followed through on the promise of marriage and so her father took him to court.
Artemisia also supported the charge of rape, and while maintaining her testimony that she had been a virgin before being seduced/raped, she was subjected to torture by thumbscrews - this was standard practice to make sure witnesses/plaintiffs were telling the truth, but of course, it was important that she was tortured to make sure she wasn’t lying about him because she was a jilted vindictive woman, but he wasn’t tortured to make sure he wasn’t lying about being a rapist. Same old, same old, yes?
The point of this little history lesson? From the second century B.C. (the setting of Susanna’s story) to the 17th century to today, men have tricked, lied, bullied and threatened women with death if they didn’t have sex with them; treated them as whores and sluts if they did have sex with them, and the whole of society was stacked in favour of the men and not the women.
It’s not “one mentally disturbed young man” that’s the problem.
It’s the whole bloody attitude of entitlement: that women exist only and mainly as sexual property for men.
Rosie Weetch, curator and Craig Williams, illustrator, British Museum
Read the whole blog here: http://blog.britishmuseum.org/2014/05/28/decoding-anglo-saxon-art/
Anglo-Saxon metalworkers were like the Michelangelo of the 8th century!
for those who need some reminding that dot eyes and noodle limbs and faux-naive styles aren’t a recent thing, here are some of the illustrators that I grew up with who have always inspired me.
Antoine de Saint-Exupéry, 1943
Quentin Blake, 1964
Dr. Seuss, 1957
Edward Gorey, 1990s
Ludwig Bemelmans, 1942
Jules Feiffer, 1961
Eric von Schmidt, 1988
William Steig, 1960s
James Thurber, 1932
James Stevenson, 1972
Feel free to add your own!
James Ensor, Les Vents, 1888, etching. Getty Research Institute, Los Angeles
Hieronymus Bosch, The Temptation of Saint Anthony, c. 1500, oil on panel. Museu Nacional de Arte Antiga, Lisbon
Hieronymus Bosch, The Temptation of Saint Anthony (copy), before 1516, oil on panel. Musée de Beaux Arts, Brussels
Chen Wenling, What You See May Not Be Real, 2009, fiberglass and paint. Installation in Beijing Art Gallery in 2009
Marco Zoppo, Three Putti and a Dog with Four Figures Behind from the Rosebery Album of 26 folios, c. 1455-65, pen and brown ink, brown wash on vellum. British Museum, London (1920,0214.17.1 17 verso)
Anonymous Flemish artist, Satirical Diptych, early 16th century, oil on panel. Université de Liège
Aubrey Beardsley, Lysistrata Defending the Acropolis, 1896, illustration. Photo courtesy of eBooks@Adelaide; The University of Adelaide Library, University of Adelaide, South Australia 5005
He-Gassen (屁合戦 Farting Battle), Edo Period (1603-1868), ink on paper. Waseda University
Fart History: Maerten van Heemskerck, Allegory of Nature (detail), 1567, oil on panel. Norton Simon Museum, Pasadena
Some speed doodles of hyenas to get inspired. I chose this animal for the upcoming Animystics show.
A parody of course of the famous "Le Chat Noir" poster by Rodolphe Salis.
Will be available as a poster at Anime Expo! You can also purchase it online in my storenvy HERE.
I’m pretty sure this has been done before… I don’t care I’m doing it anyway cuz TOOTHLESS *dies of cuteness* (watch HTTYD2. DO IT. Do it NOW.) I’m also sorry if I butchered any French (THANKS teechew for correcting me so grateful aaaah) or the Viking symbols.
NIGHT TIME REBLOG!
In case you guys missed it, I fixed the French. Also! It is now restocked again on my storenvy so get them now while they’re available!
Frans Francken the Younger, The Witches’ Kitchen, c. 1604. Private collection, on view at the Guggenheim Museum, Venice
“Master glassblower and stained glass artist Loren Stump in California has wowed the internet with an extraordinary display of virtuosity. He created a “loaf” of glass, called murrine, out of carefully layered glass rods that, when sliced, reveal a painstakingly detailed work of art in cross-section.
"The most impressive thing about his work is that the resulting image can only be seen in its entirety after the murrini is cut…"
Fine Art, installation, mixed media, Sculpture, Wim DelvoyeHailing from Ghent, Belgium, Wim Delvoye is one of those nutty artists who literally creates everything in every medium. Literally. Sculptures, photography, installations, paintings, tattooing sedated pigs without PETA hunting for his head (from what we know), everything. Not to mention, his personal website is like SimCity meets Roller Coaster Tycoon
"Goodbye, Onion Head" 👻💕
My piece for Gallery1988’s Ghostbusters 30th Anniversary show and maybe also my favorite thing I’ve ever made ever.
Le génie du mal [The genius of evil, aka; Lucifer]; Guillaume Geefs
“The statue was originally a commission for Geefs’ younger brother Joseph, who completed it in 1842 and installed it the following year. It generated controversy at once and was criticized for not representing a Christian ideal.The cathedral administration declared that “this devil is too sublime.” The local press intimated that the work was distracting the “pretty penitent girls” who should have been listening to the sermons.” [x]
[The original ‘sublime’ version shown below, and the ‘revised’ one in the photoset above]
> Make sculpture of the devil
> No this sculpture is too hot for church
> Make another one
> It’s even hotter
I usually don’t upload coursework, but I’m incredibly happy with how this project turned out. Long story short, it is a sleeping bag and pillow set modelled off my little pink pencil case that you can see in pretty much all of the pictures. I’m planning on adding a few more pencil and pen pillows over the summer, and maybe sell some if I can figure out shipping.
Also, I can fit inside the sleeping bag along with all four pillows. It’s true! I am very small.