Death takes the innocent young,
The rolling-in-money,
The screamingly-funny,
And those who are very well hung."
~W.H. Auden
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Despina Papadopoulou . To be continued Acryl auf Karton 100 x 70 cm.
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Woman in Red Skirt (Naine Punases Seelikus) by Eduard Wiiralt, c. 1930
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L.A. based artist Ken Garduno creates speculative paintings touched with a blend of science fiction, sexual tension and 60’s-70’s nostalgia. Pairing watercolor and inks with exquisite line work, his subjects often find themselves in odd, unexpected roles whether as a supernatural vixen, an object of technological desire, or as man come to terms with a blackness growing over his face. Take a peek at more of the delightfully strange works below.Written by JL Schnabel
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Marc Chagall. Le Ciel embrase, 1952 - 1954. France.
After absorbing the techniques of Fauvism and Cubism, he was able to blend them with his own folkish style. He gave the grim life of Hasidic Jews the “romantic overtones of a charmed world”, notes Goodman. It was by combining the aspects of Modernism with his “unique artistic language”, that he was able to catch the attention of critics and collectors throughout Europe. Generally, it was his boyhood of living in a Belarusian provincial town that gave him a continual source of imaginative stimuli. Chagall would become one of many Jewish émigrés who later became noted artists, all of them similarly having once been part of “Russia’s most numerous and creative minorities”, notes Goodman.
World War I, which ended during 1918, had displaced nearly a million Jews and destroyed what remained of the provincial shtetl culture that had defined life for most Eastern European Jews for centuries. Goodman notes, “The fading of traditional Jewish society left artists like Chagall with powerful memories that could no longer be fed by a tangible reality. Instead, that culture became an emotional and intellectual source that existed solely in memory and the imagination… So rich had the experience been, it sustained him for the rest of his life. Sweeney adds that “if you ask Chagall to explain his paintings, he would reply, ‘I don’t understand them at all. They are not literature. They are only pictorial arrangements of images that obsess me…
During 1948, after returning to France from the U.S. after the war, he saw for himself the destruction that the war had brought to Europe and the Jewish populations. During 1951, as part of a memorial book dedicated to eighty-four Jewish artists who were killed by the Nazis in France, he wrote a poem entitled “For the Slaughtered Artists: 1950”, which inspired paintings such as the “Song of David” (see photo):
I see the fire, the smoke and the gas; rising to the blue cloud, turning it black. I see the torn-out hair, the pulled-out teeth. They overwhelm me with my rabid palette. I stand in the desert before heaps of boots, clothing, ash and dung, and mumble my Kaddish. And as I stand—- from my paintings, the painted David descends to me, harp in hand. He wants to help me weep and recite chapters of Psalms. (in Wikipedia)
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Marc Chagall. Portrait of Vava, 1953 - 1956. France.
One of Chagall’s major contributions to art has been his work with stained glass. This medium allowed him to further express his desire to create intense and fresh colors and had the added benefit of natural light and refraction interacting and constantly changing. Everything from the position where the view stood to the weather outside would alter the visual affect. It was not until 1956, when he was nearly 70 years of age, that he designed windows for the church at Assy, his first major project. Then, from 1958 to 1960, he created windows for the Metz Cathedral.
- Jerusalem Windows (1962)
During 1960, he began creating stained glass windows for the synagogue of Hebrew University’s Hadassah Medical Center in Jerusalem. Leymarie writes that “in order to iluminate the synagogue both spiritually and physically”, it was decided that the twelve windows, representing the twelve tribes of Israel, were to be filled with stained glass. Chagall envisaged the synagogue as “a crown offered to the Jewish Queen”, and the windows as “jewels of translucent fire”, she writes. Chagall then devoted the next two years to the task, and upon completion during 1961 the windows were exhibited in Paris and then the Museum of Modern Art in New York. They were installed permanently in Jerusalem during February 1962. Each of the twelve windows is approximately ll feet high and 8 feet (2.4 m) wide, much larger than anything he had done before. Cogniat considers them to be “his greatest work in the field of stained glass”, although Virginia Haggard McNeil records Chagall’s disappointment that they were to be lit with artificial light, and so would not change according to the conditions of natural light. (in Wikipedia)
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3: MARS, FROM THE H1703 FALNAMA, probably Iran, Safavid period, ca. 1580s, volume compiled in 1614-16 in Istanbul, opaque watercolour and gold on paper, 49 x 36 cm, Topkapi Museum, Istanbul. (via Falnama: The Book of Omens | Asian Art Newspaper)
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(via ‘Street Art Saved My Life’ at CAVE Gallery | Hi-Fructose)
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