Posted onFebruary 12, 2021byifnm|Comments Off on The “Greek Slave” was the most famous sculpture of the 19th century in America. The inspiration was the struggle of the Greek revolutionaries and the Ottoman slave markets
The most famous American statue of the 19th century depicts a naked Greek slave. It was an innovative work of art that provoked reactions from the first moment, but in the end, it was much loved.
Hiram Powers is considered one of the greatest American sculptors of all time. Born in 1805, the American artist inscribed himself in the neoclassical school. He deeply admired Greco-Roman culture and drew inspiration from ancient sculptors. In fact, in 1837 he decided to move permanently to Florence.
At that time, the situation in post-revolutionary Greece was still turbulent and the bloody memories of the struggle were still fresh. Greek-Turkish conflicts had not ceased, while Greeks living in unredeemed territories suffered under the Turkish yoke. Powers had constantly followed the development of the Greek revolution through the news that reached his homeland. The heroic struggles of the Greeks had moved him, and this was a source of inspiration.
So close to Greek reality, in 1843 he began carving the statue that would go down in history as his most important work. The “Greek Slave” represents a naked young woman, with chains in her hands. Between her bonds she holds a small cross, while at the same time resting on a colonnade.
Norman Perceval Rockwell (February 3, 1894 – November 8, 1978) was a 20th-century American author, painter and illustrator. His works enjoy a broad popular appeal in the United States for its reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. Among the best-known of Rockwell’s works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He also is noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys’ Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others.
“Not since the days of the Sophists had scholars risen to so high a
place in society and politics. They transformed the ideal of a gentleman
from a man with ready sword and clanking spurs into that of the fully
developed individual attaining to wisdom and worth by absorbing the
cultural heritage of the race. The prestige of their learning an…d
the fascination of their eloquence conquered transalpine Europe at the
very time when the arms of France, Germany, and Spain were preparing to
conquer Italy. Country after country was inoculated with the new
culture, and passed from medievalism to modernity. The same century that
saw the discovery of America saw the rediscovery of Greece and Rome;
and the literary and philosophical transformation had far pro-founder
results for the human spirit than the circumnavigation and exploration
of the globe. For it was the humanists, not the navigators, who
liberated man from dogma, taught him to love life rather than brood
about death, and made the European mind free.”
~ Will Durant, The Renaissance
Conceptual art leaves even rich people, feeling stupid. Modern Art has no financial value and certainly no cultural value, on the long run. The reason you can’t tell a good modern art from a bad fake is that all garbage stinks. Modern art is mad, bad and dangerous to know. And apparently to buy as well. Such diatribes invite a patronizing “You don’t understand art.” But at least I know enough to tell when I’ve been slapped in the face with a canvas, or ripped off in the spirit of pop icon Andy Warhol’s “Art is what you can get away with.”
Posted onNovember 27, 2017byifnm|Comments Off on Auguste Rodin: $12m Masterpiece Missing Since 1920 Found In New Jersey
A long-lost marble bust by Auguste Rodin depicting Napoleon Bonaparte, has turned up in a municipal building in Madison, New Jersey. The major work by the French sculptor was last seen in an exhibition at the Metropolitan Museum in New York in the 1920s.
The masterpiece dating from 1908 had been sitting on a plinth in a committee room gathering dust for the past 85 years. Geraldine Rockefeller Dodge, The daughter of William D. Rockefeller, donated the work along with the building erected in 1935. It was named after her son, who had died in a car accident.
Recent research done by the foundation uncovered that Mrs Rockefeller Dodge a serious art collector had acquired Rodin’s bust at auction from the family of Thomas Fortune Ryan, a tobacco magnate, who had loaned it to the Metropolitan Museum of Art in New York from 1915 to 1929.
The 700 pound work of art has been authenticated by a Rodin expert, the work will now go on loan to the Philadelphia Museum of Art later this month in time for the centenary of the artist’s death.
The work came to light by an inquisitive 22-year-old graduate student. Mallory Mortillaro, said “She was running her finger along the base and felt a chiseled mark, got a flashlight, got on a chair and peered over, and there was the signature of A. Rodin.”
Posted onOctober 25, 2017byifnm|Comments Off on Christina Hoff Sommers & Sir Roger Scruton: Free speech, philosophy, and art (Video)
Do modern campuses actually value ideas and intellectual discourse? Should there be limits on capitalism? Is modern architecture bad? Sir Roger Scruton and Christina Hoff Sommers discuss each of these topics and more.
Comments Off on Christina Hoff Sommers & Sir Roger Scruton: Free speech, philosophy, and art (Video)
Posted onJuly 29, 2017byifnm|Comments Off on In Germany, there’s a replica of The Parthenon made from 100,000 banned books
Some of the literature included are Salman Rushdie’s The Satanic Verses, Mark Twain’s The Adventures of Tom Sawyer, and The Kite Runner by Khaled Hosseini.
South American artist Marta Minujin has built a stunning replica of Athens’ famous Parthenon using not concrete, but instead, an unconventional construction material: books – 100,000 copies of them.
Part of this year’s 100-day ‘Documenta 14’ art exhibition in Kassel, Germany, the installation features 100,000 books wrapped around the Greek temple’s façade. It’s called The Parthenon of Books, and it comprises 170 titles that have been censored around the world.
To find these books, the 74-year-old artist from Argentina asked help from students at Kassal University in coming up with a list of 170 banned titles, then she asked the public in finding donated copies.
Posted onJune 10, 2017byifnm|Comments Off on Prof: ‘white marble’ in artwork contributes to white supremacy
In a recent op-ed, Professor Sarah Bond argued that the “white marble” often seen in classical artwork was initially colored. As a result, she suggests that “the equation of white marble with beauty” contributes to “white supremacist ideas today.”
A University of Iowa professor recently argued that appreciation of “white marble” used in classical artwork contributes to “white supremacist ideas today.”
Professor Sarah Bond demonstrates in an article published in Hyperallergic that “many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted,” meaning the “white marble” often seen in such pieces of art were intended to be colored.
Consequently, Bond argues that “the equation of white marble with beauty is not an inherent truth of the universe,” and is thus “a dangerous construct that continues to influence white supremacist ideas today.”
Bond goes on to point out that “most museums and art history textbooks contain a predominantly neon white display of skin tone,” which “has an impact on the way we view the antique world.”
“The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region,” she adds, later stating that misconceptions of the classical era provide “further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority.”
Posted onMay 16, 2017byifnm|Comments Off on How Leftism And The U.S. Government Corrupted American Art
In the last century, few crafts have changed as radically as the visual arts. Painting and sculpture was transformed by a radical shift in style. Traditionalism and aestheticism disappeared, replaced by abstract expressionism and postmodernity. But this didn’t happen by accident, or even organically: it was, at least in part, the deliberate product of social engineering.
In 1947, the U.S. State Department organised an international modern art exhibition titled, “Advancing American Art.” The purpose was to disprove Soviet claims that America was culturally inferior. One such Soviet claim was the phrase, “??????????? ?????” which meant, “rotting West” and was used to describe the moral and social decline of the United States in particular.
The State Department’s efforts achieved precisely the opposite effect to the one intended. “If that’s art, I’m a Hottentot,” declared President Harry S. Truman. One congressman publicly denounced the show: “I am just a dumb American who pays taxes for this kind of trash.” The tour was cancelled. Humiliated, the U.S. Government devised a plan; the State Department was kicked off the project and the CIA was brought in.
Under normal conditions the CIA is supposed to be responsible for obtaining information from internal and external threats and deliver them to the U.S. President and his cabinet. Apparently Truman’s administration felt either embarrassed enough, or considered this matter enough of a national security risk, to involve the agency. Now the goals were to promote modern and abstract art, in order to make America seem more sophisticated and cosmopolitan and to make the Soviets look out of touch.
I watch Hollywood awards ceremonies where a supposed artist screams out for punching people in the face for political disagreements, and the entire horde of Botoxed brain zombies leaps to their feet in an ungodly and unholy howl of rampant bloodlust approval.
“We can call it Cultural Marxism, but at the end of the day, we experience it on a day to day basis, by that I mean a minute by minute, second by second basis. It’s political correctness and it’s multiculturalism.” – Andrew Breitbart