EXCITED ELECTRON

a miserable old soul trying her best to recreate the 80s. in her head.

[acrosscenturiesandgenerations]

▪Female bust, ideal portrait of Laura (?). Place of origin: Milan Date: ca. 1490 Artist: Francesco Laurana (Vrana at Zara ca. 1430 - 1502 France, Avignon) Medium: Marble, colored, wax applications.

[galleriegrotesque]

Alfred Kubin

Death

India ink on paper

24.5x19.2 cm

[galleriegrotesque]

Follower of Francisco Goya

Hag riding broomstick, ca. 1800

Pen and ink

26.8x19.5 cm

[galleriegrotesque]

Francisco Goya

Man Mocked by Two Women, 1819-1823

Museo del Prado, Spain

Oil on canvas

125x66 cm

[galleriegrotesque]

Monique Charbonneau

The Tribulations Of Little Antoine, 1971

Tate Gallery, England

Lithograph on paper

67x49.8 cm

[galleriegrotesque]

Agathe Dupire

Last Smile, 2019

Mixed media

4.7x6.6 inches

[galleriegrotesque]

Todd Sullivan

Popcorn, 2019

Acrylic, ink, collage on canvas

16x20 inches

[hinducosmos]

A bronze figure of Sambandar Southern India, Tamil Nadu, Chola period, 10th century

Kapoor Galleries Inc. wrote : The child saint Sambandar stands here with his proper-left arm outstretched and leg lifted to represent his devotion to Shiva.

Sambandar, who lived in the seventh century, is traditionally the favorite of sixty-three nayanar or Shaivite saints that were widely venerated in southern India. He came to be a nayanar when he was just three years old while visiting a temple with his brahmin father. The father left Sambandar in a courtyard to take a ritual bath when he heard the boy’s cries. When his father returned to him, the child was smiling and holding a golden cup with milk running from his mouth. When asked where it came from, Sambandar gestured toward the image of Shiva and Parvati in the temple, and burst into song and dance in adoration of the deities.

The right hand of the present image points upwards towards the heavens to show reverence to Shiva and his partner in an expression of bhakti or devotion. Sambandar is known for traveling far and wide praising Shiva, and is credited with writing thousands of hymns which came to form the beginning of the Tamil Shaivite cannon. Despite his prolific piety, he died at a young age and is thus celebrated in that form here.

(via Instagram: Kapoor Galleries Inc.)

[k00263329]

WIRE SCULPTURE

So the sculpture is coming along quite nice, and I really like what the mask added to it. I really wanted to make copies of the mask using different materials but I’m limited not being able to use the facilities at LSAD so this will do for the time being. 

I’m really enjoying experimenting with light and I’m getting all sorts of ideas for a possible installation. Going to develop it more and get some more concrete ideas now, but I’m liking the idea of studying body language in animatronics and A.I. technology, or what it is to move like a human. 

[fromthedust]

Alberto Giacometti (Swiss,1901-1966) - plaster

Roni Horn (American, b.1955) - Hollowed mass group II: 5, solid cast lead - 6″x 10¾”x 12" - 1984-1985

Giancarlo Franco Tramontin (Italian, b.1931) - Silhouette II - Carrara marble

Franz Hagenauer (Austrian, 1906-1986) - Tête (Head) - bronze - c.1930

Barbara Hepworth (English, 1903-1975) - Image II - marble - 1960

Paul Philp (Welsh, b.1941) - ceramic

Jan Dries (Belgian, 1925-2014) - Smile - marble (edition of 50) 30 x 30 x 15.5 cm - 1968

Elena Hariga (Romanian, b.1938) - Chimera - bronze

Louise Bourgeois (French/American, 1911-2010) - Untitled (Germinal) - bronze - 1967

Ana Bešlić (Serbian, 1912-2008) - Sculpture 2A - fiberglass - 36 x 52 x 40 cm - 1973

[egypt-museum-deactivated2021071]

Unfinished Head of Queen Nefertiti

The unfinished brown quartzite head of Queen Nefertiti was part of a composite statue. Each element was sculpted separately to be later assembled into one statue. As it remained unfinished, the head retained the guiding lines of the sculptor: the eyebrows were marked with brown and the eyes with black. Like the rest of Akhenaten’s family, the head portrayed the queen according to the Amarna style of art.

Nefertiti’s oval face reflected the sensibility and grace of a woman of great spirit. The eyebrows were elongated naturally towards the temples, projecting supercilious arches and cheekbones. The eyes were half-dimmed by the slightly downcast eyelids. The shape of her mouth hinted a mysterious quality. All of these features, which were rendered with harmonious proportions, created a beautiful portrait of the queen.

New Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, ca. 1353-1336 BC. It was found near the famous complex of the sculptor Thutmose, in whose workshop was found the famous bust of Nefertiti. Now in the Egyptian Museum, Cairo. JE 59286

[opalrarity]

Sculptured shoes by DATT

[architectureofdoom]

Sculpted capital by Jaap Kaas, Amsterdam-Zuid, 1928

[galleriegrotesque]

Jesse Berlin

The Damaged 2, 2020

Stoneware, porcelain, acrylic

15x16x9 inches

[egypt-museum-deactivated2021071]

Head of a Princess from Tell el-Amarna

In Amarna art the daughters of Akhenaten and Nefertiti express the tenets of the new religion. Gathered playfully near their parents, they suggest creative force, emphasize the sacred grouping that is the royal family, and enact the intimacy that was a subject for the newly expressive art.

Portrait head of one of the daughters of Akhenaten and Nefertiti from a composite statue. It was discovered within the workshop of the royal sculptor Thutmose at Tell el-Amarna, or Akhetaten. New Kingdom, 18th Dynasty, Amarna Period, reign of Akhenaten, ca. 1353-1336 BC. Now in the Egyptian Museum of Berlin. 21223

[neapolis-neapolis]

Tripode con satiri itifallici (I sec.), dalla Villa di Giulia Felice - Pompei, Museo Archeologico Nazionale, Napoli.

[nobrashfestivity]

Takehiko Mizutani 

Sculpture made of three circular parts made of sheet brass, spatially deformed and inserted into one another 1927 sculpture Inv. No. 1614 Object dimensions (HxWxD): 73.5 x 50 x 40 cm Height: 73.5 cm Brass sheet