#profane

[itsjungleoutthere]

Bathing scene. Profane frescoes from Quseir 'Amra (private residence in east Jordan), 8th century

[midnightimaging]

Once Sacred, Now Occult

[smbhax]

From “At the Mercy of Loki, Prince of Evil!” in Journey into Mystery #108, September 1964. Stan Lee script, Jack Kirby pencils, Chic Stone inks, Artie Simek letters. Photoshop color reduction.

Info from Grand Comics Database

[classicartverso]

Marguerite Sauvage - Profane

[mybeautifulchristianjourney]

A Gold Ring in a Pig's Snout

Like a gold ring in a pig’s snout is a beautiful woman who shows no discretion.

아름다운 여인이 삼가지 아니하는 것은 마치 돼지 코에 금고리 같으니라 — Proverbs 11:22 | New International Version (NIV) and Korean Holy Bible (KOR) Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® All rights reserved worldwide and The Korean Holy Bible, which is in the public domain. Cross References: Genesis 24:47; Proverbs 11:21

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How is a beautiful woman without discretion like a gold ring in a pig’s snout?

[artverso]

Karen Darboe - Profane

[margueritesauvage]

Hello! Here's my cover for #boomstudios #Profane #1 by #PeterMilligan and #RaülFernandez @raulfdez.bsky.social "Create an Arthouse Thriller at BOOM! Studios BANG!" - Revisiting old noir icons thanks to @writeneski.bsky.social !!

[blackswaneuroparedux]

If Caravaggio were alive today today, he would have loved the cinema; his paintings take a cinematic approach. We filmmakers became aware of his work in the late 1960s and early 1970s, and he certainly was an influence on us. The best part for us was that in many cases he painted religious subject-matter but the models were obviously people from the streets; he had prostitutes playing saints. There’s something in Caravaggio that shows a real street knowledge of the sinner; his sacred paintings are profane.

Martin Scorsese on Caravaggio

Michelangelo Merisi, known to most of us as “Caravaggio,” was born on September 29, 1571 in Milan, Italy, to parents who were from the small town of Caravaggio. In the span of his 38 years long life he revolutionised painting with innovations like a unique use of chiaroscuro - with dark shadows contrasting with dramatic areas of light - and a deep sense of realism that later inspired the Baroque movement. But most of all, he developed such an iconic style that most of us can probably look at a painting and know if it’s a Caravaggio, or Caravaggio-inspired. 

Merisi spent the first few years of his life in Milan, studying painting, and later moved to Rome, where his early talent impressed Cardinal Del Monte, who introduced the young painter to other high-profile Catholic figures who became commissioners of some of Caravaggio’s best work. It seemed there was no end to the artist’s creative genius. Caravaggio, much to his patron’s delight, would pump out one masterpiece after another. It seemed the more out of control his personal life became (cheating, brawling and murder were standard fare), the more his art would become more refined, more potent.

In the long list of masterpieces he left behind, both secular and religious works stand out. But it is perhaps in his religious works that the artistic transition of the master is more evident. Caravaggio is, in fact, known to have changed his style after harsh personal life experiences led him to reassess his outlook on life.

In May of 1606 Caravaggio took part in a deadly brawl in Rome and was charged with murder. He fled to Malta, in search of asylum from the Order of Saint John, a Catholic order dedicated to helping the sick and the poor. The order commissioned some of the most important late life works of the Milanese artist.

It is in these works that we notice the shift in Caravaggio’s art, from a strong focus on aesthetics to an interest in the spirituality of his subjects, which critics believe was motivated by his own introspection.

On the streets surrounding the churches and palaces, brawls and sword fights were regular occurrences. In the course of this desperate life Caravaggio created the most dramatic paintings of his age, using ordinary men and women - often prostitutes and the very poor - to model for his depictions of classic religious scenes.

By representing biblical characters in a naturalistic fashion, typically through signs of aging and poverty, Caravaggio's populist modernisation of religious parables were little short of trailblazing. Although not without his critics within the church, by effectively humanising the divine, Caravaggio made Christianity more relevant to the ordinary viewer.

For some, though, his art was too real. Bare shoulders, plunging necklines, severed heads; this raw humanity didn’t always fly in 17th century Rome. As a result, many of his pieces were rejected as altar pieces and as church hangings. One such piece, the Madonna of Loretto (now hanging in a church in Rome) was widely criticised upon its unveiling. The people of the day were shocked to behold the Mother of God leaning nonchalantly against a wall in her bare feet while holding baby Jesus in her arms.

It is ironic that the very art that today we consider “classical” and “iconic” to the Catholic faith was considered questionable and perhaps void of modesty and virtue. Yet, the fact remains that no individual artist has made such a lasting impression on the world of modern art. Truly, many have called Caravaggio the “first modern artist”. It is no surprise, then, that his style has sparked both widespread admiration and imitation throughout the centuries.

Before Pope John Paul II refined a theology of the body beautiful, Caravaggio's paintings suggested a reverence for the inherent beauty of human form.

Troubled though he may have been, his art speaks eloquently of the dignity of the mundane. Though the original medium may be weathered and cracked, the message of beauty still echoes down the centuries. And this same beauty still fuels, escapes and reduces artists to relentless seekers as surely and as forcefully as it did in Caravaggio's life.