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Oh my..
The human condition 1933
Rene Magritte
INVADE
Logarithmic Spirals of the Nautilus Shell. The spiral is a common element of Sacred Geometry as well as to all natural development. Spirals in nature tend to follow the Golden Ratio (Phi) or Fibonacci Sequence in their rates of expansion. The key to Sacred Geometry is the relationship between the progression of growth and proportion. Harmonic proportion and progression are the essence of the created universe and is consistent with nature around us. The natural progression follows a series that is popularized in the West as the “Fibonacci Series” where the first two numbers in the series are added to create the third number for a series of number that begins 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987…and goes on ad infinitum. The ratio of the numbers gains great importance as the series continues. By dividing one number by the previous number, the answers result in or come closer to phi: 3/5 = 1.6666, 13/8 = 1.6250, 233/144 = 1.6180. These numbers can be demonstrated with the spiral of the Nautilus. The Golden Ratio (phi) is the unique ratio such that the ratio of the whole to the larger portion is the same as the ratio of the larger portion to the smaller portion. The ratio links each chamber of the nautilus to the new growth and symbolically, each new generation to its ancestors, preserving the continuity of relationship as the means for retracing its lineage. This geometry of the Nautilus can be found in the spiral patterns of cauliflower, the placement of the leaves on most plants, the arrangement of pattern on a pine cone. The ratios can be retrieved from the shape of our DNA and the measurement of distant galaxies as the Sacred Geometry demonstrates the blueprint of the sacred foundation of all things and the interconnectedness of all the various parts of the whole.
Attributed to Ivan Konstantinovich Aivazovsky
STORMY SEAS
Coastal Landscape, 1901, William Trost Richards
Forest Clearing, 1905, Yuli Yulievich Klever
Australian painter Lloyd Rees experimented with the effects of light. Sunlit Tower is a classic example of just how successful he was. An eloquent and emotive work from a philosophical mind. In his words:
From quite an early age I was overwhelmed with the fact of endlessness… Planetary systems can blow up, but the universe is endless, and our little life is set in the midst of this, and everything in it has a beginning and an end… [This] gives to life a sense of mystery that is always with me.
He travelled many times to Europe, connecting most strongly to Italy and France. The landscapes he saw there would influence his work right up to his final years in his nineties.