View allAll Photos Tagged consequence
Keeping everyone home to fight the spread of COVID19 has an unintended consequence. Fires have increased during the lockdown. Its an alarming trend, almost double the rate of last year. The leading cause of residential fires is unattended cooking and more people at home means more cooking. It also means more people smoking at home, another leading causes of home fires mostly caused by smokers flicking lit cigarette buts off a balcony.
(Hey everyone. This will be temporarily my last post as I will start work tomorrow. Peace out folks.)
My hand carries a detonator. Just one. Meaning it’s a only shot at destroying the Lazarus pit.
Onyx instructs me to take out the nearest guards before advancing further into the other important corners, which I seem to be familiar with, but not entirely. Guess I could make my way out of here then.
Anticipation feeds up my feelings with fear—because knowing it’s a trap, while also making a risky move. I certainly know it won’t make good consequences if I survive this.
Ben: “No sight of the other men. Should I blow it up now?”
Onyx: “Clear to go. Be ready when you are.”
Ben: “Here goes.”
I throw the detonator into the still bubbly pit, full of green stuff, like the ones they had at Ace Chemicals. Whatever it is, I tap the button while moving to a better position, blowing it up. In under two minutes, it all goes away, leaving nothing but rocks and a pile of mess.
Just as I try to leave the room, I feel my head getting wobbly, presumably with a person’s hand hitting me, making me go out cold.
***
Voice: “Wake up.”
Ben: “Who are you?”
Voice: “Darrk.”
Ben: “Ebenezer. Figured out your boss sent his leash after my head eh? Here’s the tiger for you.”
Darrk: “Indeed. Once again, your bounty’s high on the list, since the other Dragon failed to do so, it’s my pleasure.”
Ben: “For my traitorous acts, of course.”
Darrk: “So where is your other compatriot?”
Ben: “Who?”
Slade: “Her. Tell me.”
Ben: “I know nothing.”
Darrk: “Good. Bring him here. Maybe after this, you will tell me.”
As I lay chained and hurt, Darrk’s order brings none other than the man—my old friend, Richard. Richard Dragon. Brainwashed at the hands by the League. Well damn, that’s a surprise.
Ben: “If it is, I should be accommodated to a duel, right?”
Dark: “I would have eliminated traitors, but at per our common request, you will fight to the death. Either way, winning or losing will not fare well either. I will find the woman and kill her as well. Then I will go after Shiva. Your friends will all be gone because of the League.”
Darrk: “Hope it’s still stained while it lasts.”
Two men unchain me, returning my claws in the process. I find my footing hard to balance. That must be the effects of sedation, on a medium level. Darrk sits on his “throne”, and I’m sure he’s laughing under that ugly face of his.
Richard throws a punch at my face, due to me being distracted. He returns another to my stomach, yet another one I can’t retaliate back. I feel nothing but remorse seeing him brainwashed like me previously, but if it has to be done, I...I don’t know if I would hit him again.)
(Flashback to Ben’s mind, where he catches Richard stealing something from the dojo. Both are young and somewhat friendly. Back to the current fight, he is beaten to a bloody pulp, refusing to fight back.)
Ben: “Orange hair eh? I’d expect you to grow more of it. Heh.”
(Richard keeps punching)
Ben: “C’mon man, a bit more strength. Whatever happened to your training? You should know better than doing it to a punching bag!”
Slade: “There goes our entertainment!”
(Richard, expressionless, keeps on using his boxing skills)
By this point I should be dead now. The lad should be using Jeet Kun Do, but he doesn’t. What if he’s holding back as well? I guess I do have to test the waters then. Damn. One claw swipe and now he’s got three scratch marks on his shirt, now it’s ripped.
He takes away his shirt, revealing his sweaty, bare torso. Had I not seen him in years, I didn’t know he would get so much scratch marks. But either way, if I keep stalling, I’d die. Probably throwing him into stranglehold would make the trick.
Ben: “Wake the hell up, Richard Drakunovski!”
(Richard starts blinking, seemingly regaining his senses.)
Onyx: “Did I interrupt the party? Sorry if I came late!”
I knock Richard out into commission, as Onyx throws a knife right into Slade’s blinded eye, causing him pain. She flexes her bullwhip, knocking out a masked ninja, the man who chained me. Ling and Henderson also appear with dual handguns.
Ling: “Take him to safety! This place is gonna blow up!”
Ben: “What?”
Ling: “Darrk doused it with explosives. If we don’t get out of here, we’ll be burnt toast!”
Onyx: “Everyone get to cover!”
Darrk: And this won’t end soon! Next time, I will kill all you traitors!”
We rush out of the base’s entrance, as I carry Richard’s unconscious body onto the chopper. That’s the last thing I did before passing out again.
**One week later:**
I lie on the hospital bed. Pretty sure I ended up back in Gotham, heh. Or maybe Central City?
Onyx: “Ah, you’re up. Feeling better?”
Ben: “Feels like I broke a few bones. Must be what it’s like.”
Onyx: “Just about 8 days. Your suit....it got destroyed. Unless you stashed a old one somewhere, then I don’t know. You seem to be recovering quick.”
Ling: “Mr Turner? Sorry to interrupt, but it seems like the League base is gone. Good work.”
Ben: “So we did it?”
Ling: “Yep. FBI’s doing an investigation now, me and my partner are assigned to it. But promises are promises, I won’t mention anything about you guys. In the meantime, your friend seems to be doing well. I’ll catch up with him later. You can drop by to visit once you’re clear to leave.”
Onyx: “Thank you, agent.”
Ling: “No prob. But Onyx, I think there’s someone who wants to see Ben, you can check on him later.”
Onyx: “Alright.”
As they both leave, a woman carrying a briefcase grabs a chair and sits down.
Woman: “Hello Mr Turner. Good to see you’re still in shape.
Ben: “Thanks I guess?”
Woman: “It seems like you’ve proven to be something....big. You have made accomplishments.”
Ben: “Don’t tell me you’re here to recruit me into the CIA, or the head of FBI yourself with her fine champagne.
Woman: “Perhaps, but I am neither. I work for the government, Mr Turner; the states. For a man like you, your skills can and are highly needed.”
Ben: “But I usually operate alone. Even if it’s a team....”
Woman: “The world is full of meta-humans, Mr Turner. A team is just what I need for assembling. My name is Amanda Waller and I’m here to make you an offer.”
Ben: “What’s it called?”
Waller: “Task Force X. Suicide missions, if you dare to. You can partially lead it too.”
Ben: “Then I’ll take it as a yes.”
***
Explored!
This one is inspired by Gregory Crewdson and his use of light, and the way he sets up cinematic scenes. I did a recent inspiration bit with him on my site.
It was about 10pm at night when I did this. The setup is the westcott apollo softbox outside the shutters set to about 3/4 power on the canon 430exii, Lumiquest LTP softbox camera right and about 6 foot high on my tripod set to about 1/2 power on the canon 430exii. Settings are f/8, 1/125 (to block out any ambient light), ISO 1600 (so I could use f/8). There's also a reflector behind me to bounce some more light on me. The drink is actually water with a splash of coffee for color. This is a composite shot, one of me sitting, then another of me laying on the ground.
I hope to play with more lighting setups like this because they tie in my love for movies :D
Find me on Facebook
This photograph is of my mum in her bed and finally getting some sleep after days of insomnia. I took it as I lay on a makeshift bed on the floor that I'd put together next to her so that I could watch over her at night. It was taken on the morning of the day that my sister and I would take her for a month's emergency respite at a nearby care home.
Nearly five weeks previously mum's condition had taken a turn for the worse, primarily her psychological condition. All of a sudden she was aware of her Alzheimer's and its effects upon her (it's now thought she had a minor stroke that only affected her mentally), and that realisation devastated her, she became exceedingly anxious, even frightened on occasion – one night she said to me, "I know what I want to do but I just don't know how to do it!". The consequence of this was that she virtually stopped sleeping, which then made her more anxious, more confused and so a vicious circle started. Over a period of a month the situation became very serious with my sister and I struggling to cope; Sue with exhaustion from caring for mum during the day and me with sleep deprivation as I cared for her through the constant sleepless nights. It eventually all came to a head as mine and Sue's health deteriorated dramatically and mum's condition continued to worsen even with medication, so with the help of her doctor and social services we found a care home nearby that would give mum a place for a month of emergency respite. The home is fantastic, with excellent staff and facilities, and after a week there mum is finally sleeping properly and with the help of the right medication is coping better with her acute anxiety, she's actually smiling again and seems at peace to some degree. The staff said they've never met anyone with such a strong will, they were amazed by her ability to stay awake even though she could barely stand – we're not surprised, mum was the force of nature that our family was built on and held together with. Also, Sue and I are at last getting quality sleep and putting back on all the weight we lost during that month due to the stress and the emotional torture of watching someone going through hell and not being able to do anything about it.
There's much I could write about what happened during those five weeks but it's all too raw at the moment, I'd cry if I tried to type it down. We're still trying to process what happened during that time but especially with the emotional trauma of leaving mum on her own at the care home and, even though we are visiting her, dealing with the sense of loss. We both hope that mum will be able to come home at the end of the respite period but realistically we don't think she will, so the photograph above is probably a record of the last time mum slept in her own bed, and probably the last time that I was able to wake mum up and wish her good morning. Watching someone succumb to Alzheimer's is like watching someone turn into a ghost, fading bit by bit, day by day. I never thought the human heart could be broken so painfully and so deeply, I didn't know tears could hurt so much, I didn't know how profoundly you could love someone, but I do now.
[love and consequences]
photo take for setteperuno.
colours looks better on black.
|| web site || blog (ITA) || twitter || facebook ||
© All rights reserved. Use without permission is illegal.
Scandalous Consequences.
Salamandres nécromanciers empires respiration invisibles répercussions absurdes arriérés lois,
построенные молнии недобросовестный трудности зондирующие трупы перерывов несравнимо противный,
vigoratur actus timere chlamys ardet retro quaestiones recipiunt ad aenigmata,
επιδεικτική παιχνίδια δαιμόνιος διάνοιες αυστηρή περιττά γκροτέσκο περιστάσεις άγρια αποτελέσματα,
derivato deliberateness mentale distinti periodi meditativi assorbenti riflessioni comprensioni sorprendenti,
Beobachtungen genietet verstümmelte Untersuchungen gewalttätige Eindrücke, die unzufriedene Feinde kalt machen,
нанете осакаћени резултати необичног сведочење је прегледи тајанствени оптужити послови затворени Лаугхс,
Założenia przenoszony błahe zarzuty rzucanie zbieżne poglądy próbami uprzedzeń,
آراء قاطعة لا غنى عنها يتصور قطع الاتصالات فهم مجلة يدخل في,
消え去る詩の仮定悪党の理由収入極端な争いの抽出者裏切り者の夢.
Steve.D.Hammond.
Random Thoughts on Paul Jaisini… .
Paul Jaisini is not Marcel Duchamp, Yves Klein and all others.
There is a complex way to try to explain why, but there is also a less complex way. Not Duchamp, nor Yves Klein, etc came to the REDUCTION of visual means as early in Life as Paul Jaisini who started the GREAT REDUCTION as early in life as at the tender age of 10.
Clearly at such age there could be no such thing as artificiality or true sensitivity to what is called “the environmental trauma” with such a consequence to cause a young child- artist to refuse the LANGUAGE - visual or spoken.
At the age of 10 a child doesn’t know the philosophical depths of why any language could be deceiving.And yet at the age of 10 a child such as Paul Jaisini acts out straightforward without understanding or thinking about what he/she is doing.
The age factor is what significantly or completely opposes the artists such as Duchamp, Yves Klein who had arrived to the art reduction or destruction ideas at their mature age with long art career behind it.
Therefore to me any such attempt for reduction (on any scale from minor to major) of visual means is nothing but a self-serving attempt to reinvent own art. The only “true” “reductionist” among the existing visual artists was and remains Paul Jaisini.
He made his great breakthrough (the reduction of visual language) as early as at the age of 10.
This places him on the winning pedestal of the only known artist who from the very beginning of his artistic endeavors was already oriented not to accept what is known as visual language.
If someone wonders why wouldn’t Paul as a child artist just turn away from the arts if its known visual language had no appeal to him, just don’t get involved if you don’t believe in this visual or other languages (and since a child can’t really understand these sort of things written here still the child could find other interests in life…)
Paul can’t turn away from his gift in arts I assume due to his genetic predisposition to it.
He probably had little choice with his eidetic memory, the prodigious art talent manifested almost instantly after he was born.
Herewith having “no choice” he also is not “sold” to the visual language and its limitations.By the age of 10 he arrives to his own Great Reduction knowing nothing about art history and having zero interest in art. His "new" art must had proven truer to him if he continues.
As to what he creates on surface (paper, photography, etc) he calls it "killing time" at school and doing it without any pleasure. Any "normal" child gets huge pleasure from dealing with paints, drawings and crafts. Paul on the other hand has not experienced any such pleasure while drawing/painting on paper. He did it as I already mentioned to kill time and to give his artworks away to his peers who liked what he did.
Being popular among the school kids and especially girls was his only motivation. I find it very unusual that Paul as a child felt burdened by creating an artwork, that he never liked his artworks that were and remain quite notorious for their aesthetic beauty and mature technique.
At 5 years of age he shocked his father who is an accomplished sculptor when his son had made a three dimensional composition in a drawing for kindergarten, when what is commonly expected from a child would be a stick figures drawing. Paul created a detailed realistic drawing of a human figure, animals, landscape and so on with perspective of which he knew nothing… He was not trained in any art school growing up as a “normal” kid.
I want to point to what I find to be some striking things about P. Jaisini.
When he is asked about his childhood or past times he describes things in such detail that to someone like me would be inconceivable.
In short he remembers absolutely everything to a minute what was happening to him ages ago and can give the exact photo-like description.
If he perhaps (I don't know anything about his present life what he once told me I do know for a fact) doesn't have the same eidetic memory in present times, nevertheless what was once processed by his eidetic memory in the past remains memorized in such particular to eidetic memory quality.
It seems to me that Paul Jaisini sincerely doesn't like most visual arts. This must be due to the way how he sees things differently from how majority of us could see, the visual artists including.
He never really cared about his artworks he produced for whatever reason ever since he started producing from early childhood. pauljaisiniborntosee.pen.io/
Roman Zaslonov 1962
Atelier 1998
Augsburg Glaspalast Kunstmuseum Walter.
82x130
RETOUR A L'ART MODERNE ?
Le Glaspalast d'Augsburg réunit plusieurs musées d'art contemporain dont le Staatsgalerie Moderne Kunst et le Kunstmuseum Walter.
Le Kunstmuseum Walter est une galerie privée.
Le visiteur peut y apercevoir l'ordinaire de l'art contemporain officiel : L'anti-art officiel, sur commande, mondialiste, étatique et supra-étatique, public et privé, qui combine les sept constantes que l'on retrouve dans presque tous les musées européens: Il est laid, absurde, provocateur, bâclé, triste, déraciné, obsessionnel, et comme conséquence de tout cela, totalement artificiel. Une des grandes célébrités de l'anti-art contemporain officiel, AR Penck, est très représenté ici. Quelques exemples des "oeuvres" exposées suffiront tant leur laideur répétitive, obstinée, lasse le visiteur non initié aux prétendus mystères conceptuels de l'art contemporain officiel, l'art du Grand Oeil.
Mais le visiteur peut trouver aussi dans cette galerie un art contemporain différent, figuratif ou abstrait, qui échappe aux commandements de l'art officiel. Un art beau, ou qui se veut tel, significatif ou en tout cas pas totalement absurde, convivial, soigné, gai et sincère. Il est possible de rencontrer dans cette galerie de bonnes surprises. Chacun est libre d'aimer ou pas telle œuvre. Mais c'est un fait qu' un très grand nombre des œuvres exposées échappe à la systématique de la laideur, de l'absurdité et de la provocation qui est la caractéristique de l'art officiel contemporain. Il est possible de voir dans ce musée des artistes contemporains dont la démarche est manifestement emprunte de sincérité. Des artistes qui se consacrent à une recherche esthétique libre, exempte de toute posture artificielle, de toute obsession de conformité à des règles imposées de l'extérieur. On rencontre même à l'occasion quelques abominables passéistes qui font de l'art comme grand-papa. Le Kunstmuseum Walter permet de se replonger dans une atmosphère esthétique très proche des grandes tendances de "l'Art Moderne" tel qu'il s'est exprimé entre 1850 et 1950. Le goût du beau, le refus de l'absurde, l'innovation sans pédanterie intellectuelle ni artifice prétentieux et affecté, ce musée fait d'oublier les provocations et les fausses aventures révolutionnaires, totalement imposées et conformistes, de l'Anti-Art Contemporain Conceptuel. Le Kunstmuseum Walter est un des rares musées d'art contemporain dont le non-éclairé de la base de la Pyramide peut ressortir sans être indigné, ni déprimé. Un art que peut comprendre le peuple qui n'a pas voix au chapitre, celui que l'on oblige à voter une seconde fois quand les résultats du referendum n'ont pas satisfait "l'élite illuminée". Ce peuple peut même y reprendre espoir dans la peinture de son temps. L'art exposé ici est en fait à l'image de celui d'un grand nombre de galeries commerciales privées et d'une grande partie de l'art des rues: Authentique.
RETURN TO MODERN ART?
The Glaspalast in Augsburg brings together several contemporary art museums, including the Staatsgalerie Moderne Kunst and the Kunstmuseum Walter.
The Walter Kunstmuseum is a private gallery.
The visitor can see the ordinary of official contemporary art: The official anti-art, commissioned, globalist, state and supra-state, public and private, which combines the seven constants found in almost all European museums: It is ugly, absurd, provocative, botched, sad, uprooted, obsessive, and as a consequence of all this, totally artificial.
One of the great celebrities of official contemporary anti-art, AR Penck, is very well represented here. A few examples of the "works" on display will suffice. Their repetitive, obstinate ugliness wearies the uninitiated visitor of the so-called conceptual mysteries of official contemporary art, the art of the Big Eye
But the visitor can also find in this gallery a different contemporary art, figurative or abstract, which escapes the commandments of official art. A beautiful art, or one that is meant to be such, significant or at least not totally absurd, convivial, neat, cheerful and sincere. It is possible to meet in this gallery some good surprises. Everyone is free to like or not like a particular work. But it is a fact that a very large number of the works on display escape the systematic ugliness, absurdity and provocation that is the hallmark of contemporary official art. It is possible to see in this museum contemporary artists whose approach is clearly based on sincerity. Artists who dedicate themselves to a free aesthetic research, exempt from any artificial posture, from any obsession with conformity with externally imposed rules. We even met on occasion some abominable traditionalists who make art like Grandpa. The Kunstmuseum Walter offers an opportunity to immerse yourself in an aesthetic atmosphere very close to the main trends of "Modern Art" as it was expressed between 1850 and 1950. The taste for beauty, the refusal of the absurd, the innovation without intellectual pedantry or pretentious and affected artifice, this museum makes us forget the provocations and false revolutionary adventures, totally imposed and conformist, of the Contemporary Conceptual Anti-Art. The Walter Kunstmuseum is one of the few contemporary art museums whose unlit base of the Pyramid can come out without being indignant or depressed. An art that can be understood by the people who have no voice in the matter. The people who are forced to vote a second time when the results of the referendum have not satisfied the "enlightened elite". This people can even regain hope in the painting of their time. The art exhibited here is in fact similar to that of a large number of private commercial galleries and a part of street art: Authentic.
Berlin boasts two zoological gardens, a consequence of decades of political and administrative division of the city. The older one, called Zoo Berlin, founded in 1844, is situated in what is now called "City West". It is the most species-rich zoo worldwide. The other one, called Tierpark Berlin ("Animal Park"), was established on the long abandoned premises of Friedrichsfelde Palace Park in the eastern borough of Lichtenberg, in 1954. Covering 160 ha, it is the largest landcape zoo in Europe. And honouring its past as landscape park, it still has large gardened areas.
”Suddenly, as I was hulking out, I remembered Major Talbot’s family. I remembered bits and pieces of those nights. The faces were finally coming together.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Mass hysteria broke out last night in downtown New York as a hulking alien creature ravaged through New York. This alien creature is responsible for the unfortunate deaths of fifty-three civilians and the injuries of hundreds more. Authorities have informed us that they have the life form in captiv…” The television cut out as the news report was about to end. The viewer was obviously fed up with what they were watching. The lady sat on the couch slowly got up from her seat and slowly walked to her kitchen. She peered out her window and saw the city before her still filled with smoke. She thought to herself how she could be out there helping, but knew that it really wouldn’t make a difference. The woman knew that she was probably the only able person in all of New York that was still sat in her apartment. Slowly, she opened her cupboard and grabbed a bowl out. She then moved to another cupboard and got out a box of cereal out. Moments later she sat back on her couch and turned her television back on.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”I have a notebook. The notebook is filled with names. Not random names. No. All these names have one thing in common. They’re all the names of those lives I’ve taken. I do not do this to gain some sick pleasure. I do this to remind myself that my actions do indeed have consequences. My actions have consequences that some would feel are unforgivable…”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The lady’s television set flickered on and the news brought up images of the hulking figure that ravaged through New York just the night before. The news anchor came on scream and smiled.
”Sources have also have confirmed a wide suspicion that the creature is in fact not an alien, but a New York local. Doctor David Banner” As the news anchor said that name, the woman spat out a mouthful of cereal and jumped from her seat. She ran to her room and grabbed her shoes and keys. Quickly, she ran to the streets below her apartment and jumped into her car.
“Bruce? What did you get yourself into now?” The woman asks aloud to no one as she starts up her car.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”I cannot and will not live with myself if I ask for forgiveness. All I ask for is your understanding. Those of you that are wanting me to live a life in prison or even to die, I understand your thoughts. As I said, it’s completely understandable. All I ask for is, just for a moment, you hear me out…”
François Lemoyne. 1688-1737. Paris.
Pygmalion . (+791)
Le sculpteur Pygmalion grec (Chypre) est tombé amoureux de sa statue (Galatée). Il voit sa statue prendre vie grâce à l'intervention d'Aphrodite, déesse de l'Amour. Mythologie grecque transmise par les "Métamophoses" du poète romain Ovide (-43 +17)
Greek sculptor Pygmalion (Cyprus) fell in love with his statue (Galatea). He sees his statue come to life thanks to the action of Aphrodite, Goddess of Love. Greek mythology spread by "Métamophoses" the Roman poet Ovid (17 -43)
LA PEINTURE DE LA PÉRIODE CATHOLIQUE-HUMANISTE EN EUROPE
Au 17è et au 18è siècle la peinture française, comme celle de l'Italie, de l'Espagne et aussi de l'Allemagne appartient à la période Catholique-Humaniste quant aux thèmes (A), et de "la peinture pleine" quant au style (B).
A/ Période Catholique-Humaniste, car les thèmes des tableaux sont empruntés à deux origines principales qui coexistent sans aucun affrontement :
- La religion catholique d'une part, Ancien et Nouveau Testament. Thèmes anciens qui sont ceux de l'art pictural depuis le début de la peinture européenne, dès l'époque romane.
- Les thèmes tirés de l'Histoire et la Mythologie gréco-romaine d'autre part qui apparaissent vers 1500 essentiellement à partir de l'Italie. Ce que l'histoire officielle appelle la "Renaissance". Ces thèmes donnent à la représentation du nu masculin et féminin une très grande importance dans la peinture de ces régions de l'Europe.
- Il faut y ajouter le portrait, dans la haute société du temps.
Les mécènes sont le Roi, l’Église, l'Aristocratie et une très haute bourgeoisie financière.
Les thèmes tirés de la vie et des mœurs du temps sont rares, ou inspirés presque exclusivement par l'aristocratie et la très haute bourgeoisie. Les paysages servent de cadre à la religion, à l'histoire et à la mythologie. Les natures mortes ne sont pas ignorées, mais elles sont loin d'être très développées.
L'Angleterre est une île qui tient à le rester, et donc ces caractères sont un peu moins marqués, mais ils lui restent globalement applicables car la société est aristocratique et l'anglicanisme n'est pas aniconique.
Mais il faut tenir compte de trois particularismes :
La fascination pour l'antiquité est bien moindre dans un pays qui a été peu influencé par la romanité.
Le nu tant masculin que féminin est ignoré.
Le portrait, aristocratique, est un genre national.
L'Europe du Nord est sous influence allemande, française ou italienne.
L'Europe de l'Est est soit sous influence allemande française ou italienne et dans ce cas son art n'est pas très différent de la peinture de l'ouest de l'Europe. Soit sous influence slave-orthodoxe et dans ce cas son histoire est différente.
Un seul pays européen échappe à cette description: les Pays Bas du Nord.
L'idéologie protestante, de tendance calviniste, modérée par un pragmatisme et un matérialisme caractéristique de la culture de cette région a donné naissance à une peinture toute nouvelle quant aux thèmes :
- Disparition presque totale des thèmes tirés de l'histoire ancienne et de la mythologie dans une région de l'Europe qui n'a pas connu la colonisation romaine. Avec une conséquence très importante : disparition totale de la peinture de la nudité masculine ou féminine.
- Raréfaction très importante de la peinture religieuse du fait de la disparition des motifs inspirés par la Vierge et les Saints et d'une certaine tendance à l'aniconisme héritée du judaïsme. Les thèmes de la peinture religieuse se limitent le plus souvent à des sobres représentations du Christ en croix et à quelques scènes tirées de l'Ancien Testament.
- Développement de la peinture profane, celle des mœurs de la société contemporaine des peintres, avec une orientation bourgeoise très accentuée, mais aussi un intérêt certain pour l'artisanat et la paysannerie.
Les mécènes sont bien plus la bourgeoisie moyenne qu'ailleurs en Europe et ce sont les goûts de cette bourgeoisie moyenne qui dictent les particularismes de l'art néerlandais.
- Développement important de la Nature Morte.
- Développement de la peinture des paysages néerlandais ou européens, y compris l'Italie, mais sans aucun motif religieux, historiques ou mythologiques. C'est la naissance de "la peinture touristique", la peinture "carte postale".
B/ Le style de la peinture est le même dans toute l'Europe. Il est fixé depuis le début du 16è siècle et il se maintiendra, seul, jusque dans la seconde partie du 19è siècle : C'est "la peinture pleine", parfaite imitation de la nature, une peinture qui est parvenue a représenter exactement sur une surface en deux dimensions les trois dimensions du monde tel que l'oeil humain le perçoit.
A l'intérieur de cette catégorie, les styles de la période vont du classicisme au baroque avec une tendance très marquée vers une plus grande frivolité et un érotisme plus accentué au fur et à mesure que le temps passe. A la fin de la période le rococo est un baroque parfois très coquin dont les sujets peuvent être aussi la peinture animalière, le portrait, ainsi que des thèmes tirés de l'histoire et de la mythologie, mais traités dans un esprit anecdotique. Le style peut être classique ou annoncer par un certain flou du dessin, un léger tachisme, les expériences de certains romantiques ou l'art préimpressionniste.
THE PAINTING OF THE CATHOLIC-HUMANIST PERIOD IN EUROPE
In the 17th and 18th centuries French painting, like that of Italy, Spain and also Germany, belongs to the Catholic-Humanist period in terms of themes (A) and "full painting" in terms of style (B).
A/ Catholic-Humanist period, because the themes of the paintings are borrowed from two main origins that coexist without any confrontation:
- The Catholic religion on the one hand, the Old and New Testament. Ancient themes that are those of pictorial art since the beginning of European painting, since Romanesque times.
- The themes drawn from History and Greco-Roman Mythology on the other hand which appear around 1500 mainly from Italy. What official history calls the "Renaissance". These themes give the representation of the male and female nude a very great importance in the painting of these regions of Europe.
- To this must be added the portrait, in the high society of the time.
The patrons are the King, the Church, the Aristocracy and a very high financial bourgeoisie.
Themes drawn from the life and customs of the time are rare, or inspired almost exclusively by the aristocracy and the very high bourgeoisie. Landscapes serve as a framework for religion, history and mythology. Still lifes are not ignored, but they are far from being very developed.
England is an island that wants to remain so, and so these characters are a little less marked, but they remain generally applicable to it because society is aristocratic and Anglicanism is not aniconical.
But three particularities must be taken into account:
The fascination for antiquity is much less in a country that has been little influenced by the Greco-Roman antiquity .
Both the male and female nude are totally ignored.
The portrait, aristocratic, is a national genre.
Northern Europe is under German, French or Italian influence.
Eastern Europe is either under French or Italian German influence and in this case its art is not very different from Western European painting. Either under Slavic-Orthodox influence and in this case its history is different
Only one European country escapes this description: the Northern Netherlands.
The Protestant ideology, of Calvinist tendency, moderated by a pragmatism and materialism characteristic of the culture of this region has given rise to a completely new painting as regards the themes:
- Almost total disappearance of themes from ancient history and mythology in a region of Europe that did not experience Roman colonization. With a very important consequence: the total disappearance of male or female nudity painting.
- Very important rarefaction of religious painting due to the disappearance of the motifs inspired by the Virgin and the Saints and a certain tendency towards aniconism inherited from Judaism. The themes of religious painting are most often limited to sober representations of Christ on the cross and to a few scenes from the Old Testament.
- Development of profane painting, that of the mores of the contemporary society of painters, with a very accentuated bourgeois orientation, but also a certain interest for crafts and peasantry.
Patrons are much more the average bourgeoisie than elsewhere in Europe and it is the tastes of this average bourgeoisie that dictate the particularities of Dutch art.
- Important development of the Dead Nature (Sill Life)
- Development of painting of Dutch or European landscapes, including Italy, but without any religious, historical or mythological motives. It is the birth of "tourist painting", "postcard" painting.
B/ The style of painting is the same throughout Europe. It has been fixed since the beginning of the 16th century and it will remain alone until the second half of the 19th century: It is "the full painting", a perfect imitation of nature, a paint that has succeeded in representing exactly on a two-dimensional surface the three dimensions of the world as perceived by the human eye.
Within this category, the styles of the period range from classicism to baroque with a very marked tendency towards greater frivolity and eroticism as time goes by. At the end of the period the Rococo is a Baroque sometimes very naughty whose subjects may also be animal painting, portraiture, as well as themes drawn from history and mythology, but treated in an anecdotal spirit. The style can be classic or announce by some vague drawing, a slight tachism, the experiences of the some romantic or pre-impressionist art.
The wig is made of vegetal fibers and seeds.
The Tharaka live on the eastern side of Mount Kenya. About 10% of them live in towns, the rest in the villages of the area.Meaning "starving", the Tharaka belong to the Ameru ethnic group. They speak a Bantu-language, the Meru. They are farmers and shepherds: they grow cereal crops, cotton, and sun flowers and rear cows, goats and sheeps. The decrease in livestock holdings, attributed to droughts and declining cultivable lands, is a concern for the Tharaka. Goat meat in particular is central both for their diet and custom. The Tharaka are also merchants, since they trade with people all over the country. They live in small huts with a corrigated iron roof.Village life is better considered (compared to the life in towns) since it preserves their culture. They have a strong sense of belonging. The "mukuru" (elder) is the most important person of the community, who gives advice and settle conflicts. In this tribe, like in others, there are age-sets: men have to go through several stages before reaching the highest one. There are various important celebrations: the birth of a child, circumcision, marriage and the harvests of June and January. Before marriage, a high brideprice is paid by the prospective groom to the wife's father. They have also an important rite of passage called "Kirimo", name of the mythical animal that swallows human beings and spits it out thereafter. They use arrows and have very efficient fighting techniques. So they still have kept their traditions, even if they are now also christians. There is an estimated 20% active Christians, and 70% have now adopted the christian faith. Tharaka people have an elaborate set of myths, that they share with the other Meru groups and keep in through their oral tradition. One of them involves an exodus from an original homeland (called Mbwa) near a large body of water, another the origins of the Tharaka art of healing (called ugao). According to the legend, the clan of Nyaga was born with the ugao art, which comes from the Mbwa land. But since they were poor, they had to teach other clans this art, in order to get some goats and food. Consequently, as per the myth, the art of healing is a single clan’s attribute. Furthermore, in the myth, there is a reference to clans classified by colours (black, white and red), the red clans being associated with the ugao art. As a consequence, Kenya is a country of a great diversity, as much for its environment and climate (which changes from tropical along the coast to arid in the interior) as for its peoples. And even if they tend to homogenize because of the modern life in cities, some clans still preserve their traditional customs and lifestyle.
Les Tharakas vivent dans la partie est du Mont Kenya. Environ 10% d’entre eux vivent dans des villes, le reste dans les villages de la zone.Signifiant « affamé », les Tharaka appartiennent au groupe ethnique Ameru. Ils parlent une langue bantoue, le mérou. Ils sont agriculteurs et éleveurs : ils ont des cultures céréalières, du coton, et des tournesols et élèvent des vaches, chèvres et brebis. La diminution dans l’exploitation de bétail, attribuée aux sècheresses et aux terres cultivables en déclin, est un sujet de préoccupation pour les Tharaka. La viande de chèvre en particulier est centrale à la fois pour leur alimentation et coutumes. Les Tharaka sont aussi des marchants, puisqu’ils commercent avec des individus de tout le pays. Ils vivent dans des petites huttes au toit de tôles ondulées.La vie au village est davantage considérée (comparée à la vie en ville) puisque préservant leur culture. Ils ont un sens poussé de l’appartenance communautaire. Le « mukuru » (aîné) est la personne la plus importante de la communauté, qui prodigue des conseils et règle les conflits. Dans cette tribu, comme dans d’autres, il y a des classes d’âge : les hommes doivent passer par plusieurs étapes avant d’atteindre la plus élevée. Il y a diverses célébrations importantes : la naissance d’un enfant, la circoncision, le mariage et les moissons de Juin et Janvier. Avant le mariage, un paiement de la mariée élevé est fait par le futur époux au père de la fiancée. Ils ont aussi un rite de passage important appelé « Kirimo », du nom de l’animal mythique qui avale les êtres humains et les recrache ensuite. Ils utilisent des flèches et ont des techniques de combat très efficaces. Ils ont donc gardé leurs traditions, même s’ils sont maintenant aussi chrétiens. Il y a environ 20% de chrétiens actifs, et 70% ont désormais adopté la foi chrétienne. Les Tharaka ont un ensemble de mythes élaborés, qu’ils partagent avec les autres groupes Mérou et conservent grâce à leur tradition orale. L’un d’entre eux parle du départ d’une terre originelle (appelée Mbwa) située près d’un large plan d’eau, un autre des origines de l’art de soigner tharaka (appelé ugao). Selon la légende, le clan des Nyaga est né avec l’art ugao, qui provient de la terre Mbwa. Mais comme ils étaient pauvres, ils ont dû apprendre à d’autres clans cet art pour obtenir des chèvres et de la nourriture. En conséquence, selon le mythe, l’art de soigner est l’attribut d’un seul et même clan. De plus, dans le mythe, on trouve une référence au classement des clans par couleur (noir, blanc et rouge), les clans rouges étant associés à l’art ugao.En conséquence, le Kénya est un pays d’une grande diversité, autant pour son environnement et climat (qui change de tropical le long des côtes à aride à l’intérieur) que pour ses peuples. Et même s’ils ont tendance à s’homogénéiser à cause de la vie moderne des villes, certains clans préservent encore leurs coutumes et modes de vie traditionnels.
© Eric Lafforgue