Svisveti / Babica Mozes, 1955.

Uglavnom nisam ljubitelj (komercijalizovane) naive u umetnosti,

medjutim, ovde me je najpre dobilo svetlo u slici.

Le Couronnement d'Inès de Castro en 1361

Naslikao Pierre-Charles Comte, inspirisan portugalskom legendom.

Princ Pera se jako zaljubi u dvorsku damu Ines, ali se tome njegov ćaća žestoko protivio. Prvo je protera u manastir, ali pošto su ovo dvoje nastavili da se ljubavišu, čak su i decu imali, naredi da je pogube. Kad je Pera postao kralj, nađe stražare koji su je ubili i iščupa im srca (jer ga nisu imali, kad su njegovo slomili). Onda iskopa leš svoje drage, svečano je kruniše i natera podanike da joj ljube skute.

Vrlo romantićno. 🌚

Inače, princ Pedro I je bio već oženjen kada se zaljubio u Ines. Njih dvoje su dobili decu nakon smrti njegove supruge, pošto se Ines tada vratila na dvor. Njeno iskopano telo je preneto u grobnicu u jednom manastiru, gde su oboje smešteni.

Ceremoniju krunisanja pokojnice i celivanja je dodao, čini mi se, španski pisac Heronimo (https://www.madrid.org/fo/2020/en/nise.html) .

Snimljen je i film po navedenim motivima.

Bio par dana u Hagu na nekom festivalu. Naravno da sam vec prvog dana otisao do kazamatatm nisam mogao da odolim. Koliko sam samo puta vidjao tu zgradu na TVu tokom zivota, cesce nego siru familiju. Ispred suda ima neka tabla o Srebrenici i kratak opis razvoja dogadjaja. Nakon toga otisao do plaze, napravio par fotografija pa nazad u centar. Kasno sam video (dogodine, jebiga) da nekih 40ak minuta hoda plazom severno od Sheveningena ima niz bunkera iz ww2 - Atlantic wall.

Ali pisem na ovom topiku iz drugog razloga. Danas sam, za oprostaj od grada otisao u Mauritshuis, muzej koji se nalazi u sklopu zgrade parlamenta i ima te najznacajnije slike od holandskih majstora (Cas anatomije, Devojka sa bisernom mindjusom itditd)

https://en.wikipedia.org/wiki/Mauritshuis

Zgrada iznutra raskosna, burzujska, sve ono sto ne volim a sam taj princ po kome muzej nosi ime ima sumnjivu kolonijalnu proslost, doduse bar se na par mesta u muzeju otvoreno pise o tome. Nisam neki fan muzeja generalno jer se uvek osecam kao da sam u trci s vremenom, kao da nista necu stici da vidim a i ono sto vidim da ce da ispari iz glave, ali cini mi se da sam vremenom provalio taktiku: posto nema sanse da se sve vidi sa podjednakom paznjom, onda uglavnom hodam kroz sobe dok mi nesto ne zapadne za oko, pa stanem ako me zainteresuje. Sam taj deo muzeja gde su slike iz zlatnog doba je dosta mali, dva sprata sa po 4-5 soba, obidje se relativno brzo. Na prvom spratu mi se skoro nista nije dojmilo, ali onda sam se popeo na drugi i usao u sobu gde je Vermer i odlepio na ovu sliku

View of Delft (1661)

Jako retko mi se desi da se u muzeju zablentavim, izgubim i blenem vise od 15 minuta u jedan eksponat. Izuzetak je Mikelandjelov David u kojeg sam gledao 45 minuta iz raznih uglova, plakao, zabezeknut, samo cekao da se ovaj pomeri ozivi i prohoda. I dalje tvrdim da nijedan film nijedna pesma nijedna knjiga ne mogu ni da pridju tom osecaju, to je definitivno najvece umetnicko delo koje cu videti za zivota jer je neverovatno , u bukvalno smislu te reci.

Medjutim i ovde sam ostao u mestu 15ak minuta kao ukopan. Delft je Vermerov rodni gradic i ovo je jedan od prizora koje je verovatno gledao milion puta u svom zivotu. Neverovatno hipnotisuca slika, verovatno zbog kontrastnosti i igre sa svetlom, izgleda u sobi kao da lebdi, kao da je u sobi otvoren prozor i pogled kroz njega, pocinjem da cujem zvucnu sliku atmosfere grada. Definitivno mi je zasenio Devojku sa bisernom mindjusom, koja je odmah prekoputa.

Odlican je bio i Rembrantov Saul and David. Jako intenzivna i napeta slika, kao neko konstantno iscekivanje smrti/uzasa/nevolje

kao poneki bioskop, ovo sigurno vredi videti u originalnoj veličini (215 x 176).

Mene plaši. :(

listajući opus izložen na sajtu, tema slabog i ranjivog telca, bačenog u svet je sveprisutna /ko i produžni kabao/ tako da mi najpre izaziva saosećanje.. jezu od neposrednog kontakta tanke opne/kože i grube fakture tkanine mizanscena.

On 11/10/2025 at 1:28 AM, Tsai said:

Zgrada iznutra raskosna, burzujska, sve ono sto ne volim a sam taj princ po kome muzej nosi ime ima sumnjivu kolonijalnu proslost, doduse bar se na par mesta u muzeju otvoreno pise o tome.

View of Delft (1661)

Nije to nikakva sumnjiva kolonijalna proslost, bio je regularni guverner Brazila u kontekstu Zapadno-indijske kompanije, uspesno je to odradio i pritom se obogatio, zato se njegova palata u Hagu koja je sad muzej zvala u vreme valjda njegovih savremenika "sugar huis".

Nisi isao u Escher museum u Hagu?

View of Delft je jedna od najboljih slika svih vremena.

adolf frankl / osam figura logoraša, 1980.

začkiljiš.. i ukaže se plafon opere garnije (шагал, prošlo vreme hodanja)

James Ensor - The Baths at Ostend, 1890

The Belgium art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."

Andrej Bunuševac, maestro. Prilažem i jedan ekstran crtež kao dokaz

Basquiat Painting — Gold Griot, 1984

‘I’ve never been to Africa. I’m an artist who has been influenced by his New York environment. But I have a cultural memory. I don’t need to look for it; it exists. It’s over there, in Africa. That doesn’t mean I have to go live there. Our cultural memory follows us everywhere, wherever you live.’

– Jean-Michel Basquiat, 1981

A griot was a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history in parts of West Africa. Without a doubt, Basquiat saw himself as a griot of Manhattan.

The Basquiat painting below, completed on a series of wooden slats, represents a strong dose of his graffiti background in his mainstream pieces.

Like Picasso, the young artist believed that “people’s magic and strength rubbed off on the things they wrought”. In this case, the Gold Griot represents alchemy spread over wood and paint.

It tells the story of Basquiat’s cultural memory of his ancestral heritage, transplanted into a post-slavery world. Most likely, it is the image of an Ejagham Nnimm woman from Cambodia or Nigeria.

The Ejagham people disproved the myth that African tribes did not have a written history, as they developed a system of ideographic writing. Basquiat’s knowledge of this came from his extensive reading, and he was certain to have loved this fact enough to create an alchemical talisman of it.

Srđan Arsić, Žitije Elvisa Prislija (iz ciklusa Žitija nesvetih, 2018.) Srđan je moj najbolji drug s fakulteta (s tim što je on išao na FLU, a ja na FPU). Žitija nesvetih sastoje se od četiri žitija: Kurta Kobejna, Elvisa Prislija, Bobija Fišera i Džeka Trboseka. Te četiri slike rađene su deset godina. Nisu nešto mnogo poznate kod nas, bila je ta mala doktorska izložba u Galeriji FLU i to bi to. Najbolji umetnici kod nas trte mrte sve. https://gallery-shots.blogspot.com/2018/08/sran-arsic-zitija-nesvetih-galerija.html

Edited May 30May 30 by Hermetico

'Pearblossom Highway' shows a crossroads in a very wide open space, which you only get a sense of in the western United States. . . . [The] picture was not just about a crossroads, but about us driving around. I'd had three days of driving and being the passenger. The driver and the passenger see the road in different ways. When you drive you read all the road signs, but when you're the passenger, you don't, you can decide to look where you want. And the picture dealt with that: on the right-hand side of the road it's as if you're the driver, reading traffic signs to tell you what to do and so on, and on the left-hand side it's as if you're a passenger going along the road more slowly, looking all around. So the picture is about driving without the car being in it.

Victor Brauner - Prelude to a Civilization (1954)

Prelude to a Civilization represents a giant white animal in profile against a blue-and-green ground, within whose body are stylized renderings of some forty animals, figures, masks, and abstract symbols. Brauner may have based this composition on the pictographic robes of the Plains Indians. Such a robe—fashioned of animal hide—records its warrior-owner's exploits in decorative inscriptions covering the surface. Although the creatures Brauner depicts resemble Mexican codex illustrations, they also seem to be purely imaginative, and evoke the art of both Paul Klee and Max Ernst. Brauner executed this work in encaustic, a technique in which paint is mixed with molten wax. Into the resulting hardened surface, the artist incised the figures with pen and ink. He had first employed this medium after he was forced to take refuge from World War II in the Pyrenees and was unable to obtain his usual working materials. Here, the overall effect suggests an ancient cave painting.