Saulė

amore morde, con muta mascella, tutte le tette, in tutte le budella

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Giovanni Boldini, “nudo di donna seduta” (1880-1885)

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The Spring (1856)  by Jean Auguste Dominique Ingres

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Ford Madox Brown,  “Take your Son, Sir” (1851-1856)

Take Your Son, Sir! (1851-6) is an unfinished painting by Ford Madox Brown which depicts a woman showing her newborn son to its father. She is offering her baby towards the viewer of the painting, who is implicitly equated with the father - seen in the mirror behind, opening his arms to receive the baby. The mirror also forms a halo behind the mother's head, and the pattern on the wallpaper suggests the starry heavens. Brown's principal influence was Jan van Eyck's painting the Arnolfini Marriage Portrait, recently acquired by the National Gallery. The mirror resembles the circular mirror in van Eyck's painting, which reflects an image of the artist looking at the couple in the image. The woman is wearing crinolines, which expand to cover the whole of the lower part of the painting. Brown has left this part incomplete, roughly squaring up and sketching the dress in outline. The title is written on the unfinished dress, underneath the child at the right. Brown's own wife was pregnant whilst he was painting this picture and she gave birth to a son which they named Arthur. Arthur then died at just 10 months old and it is considered Brown was unable to complete the painting through grief for his son, so he abandoned it.

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Gustave Courbet ,  “L'origine Du Monde (the Origin Of The World)” (1866)

The first owner of The Origin of the World, who probably commissioned it, was the Turkish-Egyptian diplomat Khalil-Bey (1831-1879). A flamboyant figure in Paris Society in the 1860s, he put together an ephemeral but dazzling collection devoted to the celebration of the female body, before he was ruined by his gambling debts. Exactly what happened to the painting after that is not clear. Until it joined the collections of the Musée d'Orsay in 1995 – by which time it belonged to the psychoanalyst Jacques Lacan – The Origin of the World epitomised the paradox of a famous painting that is seldom actually seen. Courbet regularly painted female nudes, sometimes in a frankly libertine vein. But in The Origin of the World he went to lengths of daring and frankness which gave his painting its peculiar fascination. The almost anatomical description of female sex organs is not attenuated by any historical or literary device. Yet thanks to Courbet's great virtuosity and the refinement of his amber colour scheme, the painting escapes pornographic status. This audacious, forthright new language had nonetheless not severed all links with tradition: the ample, sensual brushstrokes and the use of colour recall Venetian painting and Courbet himself claimed descent from Titian and Veronese, Correggio and the tradition of carnal, lyrical painting. The Origin of the World, now openly displayed, has taken its proper place in the history of modern painting. But it still raises the troubling question of voyeurism.

https://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/the-origin-of-the-world-3122.html

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Théodore Géricault, “Anatomical Pieces“ (1819)

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Stelarc, “Third Hand”

The hand was completed in 1980 in Yokohama. It was based on a prototype developed at Waseda University. It was constructed with the assistance of Imasen in Nagoya. It has been used in performances by the artist between 1980- 1998 in Japan, the USA, Europe and Australia. It has become the best- known and longest-used performance object for the artist. Originally it was designed as a semi- permanent attachment to the body, but because of skin irritation from electrode gel and the weight of the hand, support structure and the battery pack (approx. 2 kgms), it could not be worn continuously and thus it became a special performance device. The Third Hand has come to stand for a body of work that explored intimate interface of technology and prosthetic augmentation- not as a replacement but rather as an addition to the body. A prosthesis not as a sign of lack, but rather a symptom of excess. The Third Hand performances, with amplified body signals and sounds, have contributed to cyborg discourses on the body, included in more recent performances such as FRACTAL FLESH, PING BODY and PARASITE.

https://stelarc.org/?catID=20265

[bellezzagrande]

Henri Riviere

[tuamatre]

Quando credevo di sentire Dio, il mio il vostro che importa… sussurrarmi accanto: «Sono qua, non vado via, chiamami». E invece… Invece vi vedevo morire.  [...] Anche al colmo dell’orrore e della pietà non ho mai cessato di vedere quello che balza agli occhi: che la fede ottiene dall’essere umano ciò che nessun’altra dottrina ha mai ottenuto. Nel bene e nel male. [...] Mi si ripete: «È l’antico terrore, è quella paura degli dei che ha creato gli dei, quella vergognosa paura che sopravvive alla fede stessa». [...] Questi elementi corruttibili delle tua fede come definirli? È una evidenza, sono una evidenza santini e bandiere, lapidi e scritte. Chi avrebbe potuto immaginare che pezzi di metallo, di legno, graffiti di vernice potessero assumere tante forme quanti sono i singoli destini? Eppure è così: sono fatti a nostra misura, di buon grado o no, nell’odio o nella rivolta o nella sottomissione o nell’amore, bisognerà che li stringiamo in pugno.

domenico quirico, “arma il prossimo tuo”

[cactuslands]

ivan alifan

[yanjuncheng]

no name

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Ruprecht von Kaufmann

[exercicedestyle]

Emma Fineman

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JOHN HARRIS Coming Home Oil on Canvas

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Astropolis, 1987 by John Harris. Image from the book the Art of John Harris: Beyond the Horizon (2014)

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[my-secret-eye-deactivated201902]

Carlo Mollino, Erotic Polaroid,1970s

[lukegiord99]

O Demônio de Néon