A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. Enjoy your visit.
Born in Caracas, Venezuela, in 1991, Elys Berroteràn is a photographer, fashion designer, model and actor. He started his career in fashion modeling and television commercial appearances. Deciding to make the fashion industry his career, Berroteràn formed Caracas Fashion in 2009, which, under his direction, is now one of the largest fashion showcases in Venezuela. One of his latest photography projects is “Moda Caracas Moda”, running the current fashion campaign “Born to be Wild”.
Nicolas Quevedo is a model signed with the fashion and talent company Grupo 4 Colombia.
Jean-Auguste Dominique Ingres, “The Ambassadors of Agamemnon in the Tent of Achilles”, Detail and Full Canvas, 1801, Oil on Canvas, École Nationale Supérieure des Beaux-Arts
The monumental history painter Jean-Auguste Dominique Ingres was born in August of 1780 in the southern French town of Montauban. After receiving early instruction from his artist father, he was enrolled at the Academy of Toulouse, studying under neo-classical painter Guillaume-Joseph Roques. In 1797 Ingres left for Paris to study with Jacques-Louis David, who recognized his talent and allowed Ingres to assist on his “Portrait of Madame Récamier”.
Admitted to the Ecole des Beaux-Arts, Ingres won the Rome Prize in 1801 with his first major work, “The Ambassadors of Agamemnon in the Tent of Achilles”. Living in Paris and studying medieval church sculptures and the works of early Italians and Flemings at the Louvre, Ingress drifted away from the classicism he studied under Roques and David. He developed a new style, intricately designed with nearly shadowless figures, formed of distinct areas of color. Ingress exhibited four works at the Salon of 1806; though three were ignored by the critics, his “Napoleon on the Imperial Throne”,with its hard Gothic-styled artificiality and symmetry, scandalized them.
Between 1806 and 1814, Ingress spent his time painting in Italy, surviving on a four year stipend from the French Academy of Rome, painting portraits, before receiving patronage from, among others, Caroline Murat, sister of Emperor Napoleon and Queen of Naples. His works during this time includes “Oedipus and the Sphinx” and the “Valpincon Bather”, both executed in 1808 and now in the Louvre. Ingres was also among the painters charged with decorations for the Quirinale Palace, the residence of Napoleon’s infant son, king of Rome, producing two large paintings: the romantic 1813 “The Dream of Ossian” and the 1812 tempera painting “Romulus Victorious over Acron”.
Ingres received his first major commission from the Restorative government for two major works: an altar piece for the church of Santa Trinita dei Monti in Rome and, for the cathedral of Montauban, a painting to depict King Louis XIII’s vow to consecrate his kingdom to the Virgin Mary in Her Assumption. “The Vow of Louis XIII” achieved critical success at the Paris Salon of 1824, establishing Ingres’s reputation as the main classical artist. He was awarded the Legion of Honor and elected to the Royal Academy, staying in France and opening a teaching studio in 1825.
After the Revolution of 1830, Ingres received honors but little work from the liberal monarchy of Louis-Philippe. He labored for ten years on a commission for the Autun Cathedral entitled “Martydom of Saint Symphorian”, only to find dismissal from the critics at the 1834 Salon as outmoded in subject matter and style. Ingress departed for Rome, staying for six years, returning only after the popular success of his 1840 “Antiochus and Stratonice”, painted for the Duke of Orlénas, the king’s eldest son.
In the 1840s and 1850s, despite spending much of his energy on large mural works, Ingress achieved his honors from his portraits of society women, including the portraits of “Baroness Rothschild” in 1948,;“Madame Moitessier” in 1851 and now in the National Gallery of Art; and “Princess de Broglie” in 1853. For the government of Napoleon III, he painted “Apotheosis of Napoleon I” and was honored with a retrospective exhibition at the Universal Exposition of 1855.
Ingress finished his painting “Turkish Bath” in 1862 at the age of eighty-two; in the same year, he was appointed to the French Senate. He died, after a brief illness, in January of 1867, of natural causes at the age of eighty-seven. His daring individual style, often criticized, was dedicated to an idea of beauty based on the relationship between forms, and harmonies in the use of line and color.
Photographers Unknown, The Parts and Pieces Making a Whole: Set Nine
“The blue mountains are constantly walking.” Dōgen is quoting the Chan master Furong. — “If you doubt mountains walking you do not know your own walking.”
— Dōgen is not concerned with “sacred mountains” – or pilgrimages, or spirit allies, or wilderness as some special quality. His mountains and streams are the processes of this earth, all of existence, process, essence, action, absence; they roll being and non-being together. They are what we are, we are what they are. For those who would see directly into essential nature, the idea of the sacred is a delusion and an obstruction: it diverts us from seeing what is before our eyes: plain thusness. Roots, stems, and branches are all equally scratchy. No hierarchy, no equality. No occult and exoteric, no gifted kids and slow achievers. No wild and tame, no bound or free, no natural and artificial. Each totally its own frail self. Even though connected all which ways; even because connected all which ways. This, thusness, is the nature of the nature of nature. The wild in wild.
So the blue mountains walk to the kitchen and back to the shop, to the desk, to the stove. We sit on the park bench and let the wind and rain drench us. The blue mountains walk out to put another coin in the parking meter, and go down to the 7-Eleven. The blue mountains march out of the sea, shoulder the sky for a while, and slip back to into the waters.”
Mary Fraser Tytler-Watts, The Watts Mortuary Chapel, Compton, Surrey, England
Born in November of 1849 in India, Mary Seton Fraser Tytler was a Symbolist craftswoman, designer, and social reformer. She spent her early years in Scotland, being raised by her grandparents, before moving to England in the 1860s. In 1870 Tytler studied at the South Kensington School of Art, and later studied sculpture at the Slade School of Art in 1872 and 1873. Initially a portrait painter, she associated with the Freshwater art community on the Isle of Wight, becoming friends with Julia Margaret Cameron, a British photographer known for her soft-focus portraits of Victorian men.
Mary Tytler met painter George Frederic Watts, who was thirty-three years her senior, and married him in November of 1886 in Epsom, Surrey. After her marriage, Mary Watts worked in the fields of Celtic and Art Nouveau, producing pottery, bas-reliefs, metalwork, and textiles. Watts exhibited her work in The Woman’s Building at the 1893 World’s Columbian Exposition, held in Chicago, Illinois. Through the Home Arts and Industries Association, she created employment in the rural communities; she also trained workers in clay modeling, which led to the establishment of the Compton Potters’ Guild in 1899.
Mary Watts designed, built, and maintained the Watts Mortuary Chapel in Compton from 1895 to 1904. It is a chapel in an Art Nouveau version of the Celtic Revival style. The main structure is inspired by the 11th and 12th-century Romanesque architecture; but the terracotta relief carving and painting is Celtic Revival. Virtually every village resident was involved in the chapel’s construction, with local villagers, under Watt’s guidance decorating the interior with a fusion of art nouveau and Celtic influences. George Watts, Mary’s husband, paid for the entire project and painted the allegorical “The All-Prevading” for the altar just three months before he died in July of 1904.
Mary Watts strongly supported the revival of the Celtic style, the indigenous artistic expression of Scotland and Ireland. In 1899, she began designing rugs in this style for the carpet company Alexander Morton & Company, which was Liberty & Company’s, the luxury department store, main producer of fabrics. Watts pioneered the department store’s Celtic style with designs for the Celtic Revival textiles, carpets, book-bindings, and metal work.
Mary Watts was President of the Godalming and District National Union of Women’s Suffrage Society and convened at least one women’s suffrage meeting in Compton, Surrey. A firm believer that everyone should have a craft with which they could express themselves, Mary Watts died at Limnerslease, her home in Compton, on the sixth of September in 1938. Her remains are buried in the Watts Mortuary Chapel.
Note: The Watts Mortuary Chapel at Compton, Surrey, is managed by the nearby Watts Gallery, dedicated to the paintings and sculptures of George Frederic Watts. The chapel is open Monday to Friday (8AM to 5PM) and Saturday to Sunday (10AM to 5:30PM). There is no entrance charge.
Photographer Unknown, (The Lived and Perceived Worlds)
“Everything that I know about the world, even through science, I know from a perspective that is my own or from an experience of the world without which scientific symbols would be meaningless. The entire universe of science is constructed upon the lived world, and if we wish to think science rigorously, to appreciate precisely its sense and its scope, we must first awaken that experience of the world of which science is the second-order expression. Science neither has, nor ever will have the same ontological sense as the perceived world for the simple reason that science is a determination or an explanation of that world.
Scientific perspectives … always imply, without mentioning it, that other perspective – the perspective of consciousness – by which a world first arranges itself around me and begins to exist for me. To return to the things themselves is to return to this world prior to knowledge, this world of which knowledge always speaks, and this world with regard to which every scientific determination is abstract, signitive, and dependent, just like geography with regard to the landscape where we first learned what a forest, a meadow, or a river is.”
—-Maurice Merleau-Ponty, Phenomenology of Preception
Carl Friedrich Johannes Unger, “Salomé (Portrayed by Eva von der Osten)”, 1917. Oil on Canvas, 135 x 90 cm, Museen der Stadt Dresden
Born in 1872 at Bautzen, a hill-top town in Germany, Carl Friedrich Johannes Unger was a painter, who during his lifetime, was a highly respected Art Nouveauand Symbolist artist. In 1887, he took an apprenticeship as a decoration-painter in Bautzen; but later, between 1888 and 1893 studied painting in the Royal Dresden Court Theater. Unger continued his studies at the Dresden Academy of Fine Arts, under land and seascape painter Friedrich Preller the Younger and historical painter and sculptor Hermann Prell.
After making a series of watercolors on the island Bornholm in the Baltic Sea, Unger effectively launched his international career in 1896 with his “Plakat” poster for the Dresden-based organ manufacturer Estey. In 1897, his painting “Die Muse (The Muse)” was eagerly purchased by the Old Masters Gallery, part of the Dresden State Art Collections. Unger continued his studies at the Académie Julian in Paris from October 1897 to March of 1898, under the tutorage of painters Tony-Robert Fleury and Jules Lefebvre.
In 1899, Hans Unger exhibited his work at the German Art Exhibition in Dresden; his “Self Portrait in a Sweater” and his landscape “Farewell” were displayed among his other works. At the 1900 Paris World’s Fair, he won the bronze medal for his exhibited works. After becoming a member of the newly established German Artists Union, Unger traveled the North Sea and Baltic areas, visited Italy and Egypt, producing pastel paintings and watercolors. For his work exhibited at the St. Louis 1904 World’s Fair, he won another bronze medal.
During 1917 and 1918, Hans Unger participated in several major Dresden exhibitions, including the 1918 Dresden Art Exhibition, with eleven paintings and ten drawings, and the Dresden Artists Society exhibition, where he entered six paintings and designed the catalogue’s cover image. With the cultural change in Germany after the loss of the war in 1918, Unger’s works of idealized women in pastoral landscapes fell out of popularity. Still a wealthy man, he continued to travel through Europe and Africa, visiting Egypt, exhibiting, and becoming an artist under the patronage of King Fuad I of Egypt.
An exhibition for Hans Unger’s sixtieth birthday was organized by the Art Association of Saxony in 1933. After this celebration Unger’s health steadily deteriorated, with a late diagnosis of kidney disease. He died at his home in Loschwitz, Dresden, on the 9th of August in 1936, and was buried in Loschwitz Cemetery. The resurgence of interest in Jugendstil decorative art of Germany in the 1960s brought Hans Unger’s work back to the attention of the art world, resulting in an increase in popularity and several museum retrospectives.
Note: Hans Unger’s 1917 “Salomé”, a portrait of German suprano opera singer Eva von der Osten in her performance as Salomé, was exhibited at the 1917 exhibition of the Dresdner Kunstgenossenschaft, Dresden Artists Society.
Sid Avery, “Rock Hudson at Home in North Hollywood”, Date Unknown, 1950-1979, Silver Gelatin Print
Sid Avery, a Hollywood photographer, was known for capturing the private moments of stars like Elizabeth Taylor, Rock Hudson, James Dean and Audrey Hepburn. His work in the 1950’s and 60’s was a departure from the glamorized, soft-focus portraits of an earlier Hollywood era when images of the stars were tightly controlled by the major studios. He showed celebrities on the movie set between takes and away from the job, relaxing with the family or engaged in household chores. Among his candid photographs are ones of Marlon Brando taking out the garbage, Rock Hudson emerging from the shower to take a phone call, and Audrey Hepburn riding her bike at Paramount Studios with a shaggy Yorkshire terrier in the basket.
The established stars, used to the old system, were not easily convinced to let a photographer document them in their unvarnished private lives, but Avery succeeded where others failed—he managed to get in where no one else could—and he soon became the man magazine editors and art directors called on for their candid photo layouts. Avery’s most effective tool was not his technical skill as a photographer, but his personality. His friendly, unassuming style put his subjects at ease and made them open up.
Among Avery’s first odd jobs as a young man was that of taking glamour shots of the chorus girls at Earl Carroll’s Vanities and the Florentine Gardens. When drafted into the Army, Avery was assigned to the Signal Corps and selected to receive six months of training at LIFE in New York before being sent overseas. Stationed in London, he was placed in charge of the Army Pictorial Service Laboratory, where all the still and combat footage coming out of the European theater passed through his hands. When Avery returned to Hollywood after the war, he was ready for the photo journalism boom. Avery eventually became one of the top advertising photographers in Los Angeles, moving from still photography into directing television commercials and receiving numerous awards.
In the eighties, Avery redirected his energies toward preserving the history of Hollywood as depicted in still photography, founding the non-profit Hollywood Photographers Archive which was donated to the Los Angeles County Museum of Art and the Academy of Motion Picture Arts. Avery then rebuilt the collection which still thrives today, the Motion Picture and Television Photo Archive (mptv Images), representing over fifty of Hollywood’s best-known photographers. Avery’s photographs have been exhibited all over the world, from Australia to Japan to England and throughout Europe.
Kevin Desabrais, “The Ragged Man”, 2009, From the Album “Nothin’ But the Road”
The song”The Ragged Man”, written and sung by Kevin Desabrais, was released in September of 2009 on the album “Nothin But the Road” by the label Boy and The Bear Records. The album contains twelve songs that are available on Spotify, Apple Music, and YouTube Music. A great song by a talented artist.
Rateb Seddik, “Sans Titre”, 1940. Oil on Wood, 120 x 220 cm, Musee Rateb Seddik Le Caire, Egypt
Founded in December of 1938, the Art et Liberté group in Egypt provided a young generation of intellectuals, artists and activists with a platform for promoting political and cultural reform, with the members playing an active role in the network of the Surrealist movement. At the start of the second World War, the Art et Liberté became part of the international movement defying fascism, nationalism, colonialism, including the British colonial domination of Egypt.
In line with Surrealism’s rejection of the alignment of art with political propaganda, the Art et Liberté rebelled against the merging of art and national sentiment. With their December 1938 manifesto entitled “Vive L’Art Dégéneré (Long Live Degenerate Art)”, the group declared their opposition to the reactionary attacks on art in Hitler’s Germany, epitomized by Munich’s 1937 Entartete Kunst exhibition which ridiculed modern art,and attacks elsewhere, notably in Vienna and Rome.
Rateb Seddik completed his formal artistic education at both Chelsea College of Art in London, where he was a student of the English surrealist painter Robert Medley, and later in Cairo. Seddik became a member of the Art et Liberté and participated in the group’s fourth exhibition, entitled “For Independent Art”, held on May 12, 1944, at the Lyceé Francais School in Cairo. Despite obstacles that occurred, the show was able to exhibit 150 works of art, including painting, sculpture and photography.
Rateb Seddik’s 1940 “Sans Titre (Untitled)” combines his passions for opera and ancient Egyptian art. The oil-on-wood painting depicts a group of diversely featured human beings who are all equally united by a white cloth symbolizing death or suffering. While the scene resembles a Turkish bathhouse, it also references Stravinsky’s opera of the tragedy of Oedipus Rex. This surrealist masterpiece is a prime example of an artwork that is at once locally rooted and universally informed.
Fabrizio Campanella, “Painting of a Young Man”, 1980, Oil on Canvas, 91 x 61 cm, Private Collection
Born in 1965 in Rome, abstract artist Fabrizio Campanella’s creative work was primarily inspired by the culturally tumultuous period of the 1980s. The Neo Geo and The Pictures Generation became prominent art movements during this decade, alongside Neo-Expressionism which became well-known in Germany, France and Italy. Currently living and working in Rome, Campanella isa member of Art Club International, the independent artistic association founded by Italian abstractionist painter Piero Dorazio in 1995.
Campanella had his first solo exhibition in 1992 at the La Gradiva Gallery in Rome. He has subsequently had solo shows at Studio Soligo in Rome, Palazzo Collicola Visual Arts in Spoleto in 2012,Palazzo Ca Bonvicini in Venice in 2013, and at the Officina delle Zattere in Venice in 2014. His works have also been shown in many international exhibitions, including the XIV Rome Quadriennale andthe “Hommage à Vlado Gotovac” second exhibition at the Klovicevi Dvori Gallery in Zagreb.
The “Painting of a Young Man” is one of several 1980s figurative works by Campanella painted before he began his abstractions in the 1990s.
Photographers Unknown, (An Infinite Number of Lives)
“Down fabled roads reverting now to woods Winer felt himself imprisoned by the dark beyond the carlights and by the compulsive timbre of Motormouth’s voice, a drone obsessed with spewing out words without regard for truth or even for coherence, as if he must spit out vast quantities of them and rearrange them for his liking, step back, and admire the various patterns he could construct: these old tales of love and betrayal had no truth beyond his retelling of them, for each retelling shaped his past, made him immortal, gave him an infinite number of lives.”
― William Gay, The Long Home
Joseph Stella, “The Virgin”, 1926, Oil on Canvas, 100.8 x 98.4 cm, Brooklyn Museum, New York
Joseph Stella, “Purissima”, 1927, Oil on Canvas, 193 x 145 cm, High Museum of Art, Atlanta, Georgia
Born in Muro Lucano, Italy, in 1877, Joseph Stella came to the United States at the age of nineteen to study medicine. He soon, however, abandoned his medical studies and entered the New York School of Art, studying with painter and teacher William Merritt Chase. A remarkable draftsman, Stella worked from 1905 to 1909 as an illustrator, publishing drawings in magazine periodicals. He continued expressing himself in drawings throughout the different phases of his career.
Beginning his career as a Realist, Stella made a visit to Italy in 1909, and associated with artists involved in the Italian Futurism and Modernism art movements. He traveled to Paris in 1911 , often attending Gertrude Stein’s salon and meeting artists there. Stella began to incorporate Futurist principles into his artwork; however, he was also interested in the structure of the Cubists and the dynamic color of the Fauvists..
In January 1913, just after his return to New York from Paris, Stella submitted five works to the Armory Show’s Domestic Committee for possible inclusion in the February exhibition; they selected his oil on canvas “Still Life”.In New York during the 1920s Stella, fascinated with the geometric architecture, assimilated the elements ofCubism and Futurism in his works, an example of which is his “Brooklyn Bridge” with its sweeping diagonal cables. Working for the Federal Art Project, a WPA project in the 1930s,he traveled extensively around the world, painting through a series of styles from realism to abstraction to surrealism.
By the late 1930s, Stella’s work attracted less attention than it had in the past decades, his style no longer relevant to the time. He became emotionally cut off from the New York art world. Stella’s 1939 retrospective exhibition at the Newark Museum, though successful as a presentation, was less enthusiastically reviewed than expected. Diagnosed with heart disease in the early 1940s, subject to periods of anxiety, Joseph Stella succumbed to heart failure in November of 1946.
At the same time that Stella was painting his Italian Futurist works, he was also working in pastel colors producing works with stylized birds and landscapes with long, curvilinear rhythms and sharp silhouettes. It was from this style that Stella developed his Madonna paintings in the 1920s. His paintings, “The Virgin” and “Purissima”, with their naturalistic faces and totally stylized figures, are part of that series. These complex allegorical and religious works, with elaborate floral motifs, demonstrate Stella’s devotion to 15th century Italian painting and familiarity with the aesthetics of Catholic rituals.
Born in Palermo, Sicily, Fabio Dolce started dancing at eleven years of age with ballroom dances. At sixteen, he began his ballet training and contemporary dance at the “Teatro Massimo di Palermo, later participating in several years of competitive Latin ballroom dancing. Dolce completed his studies of ballet at the National Academy of Rome. joining upon graduation the Cannes Jeune Ballet where he danced works by choreographers Jean-Christophe Maillot, George Balachine, Marc Ribaud, and Edward Cook.
Joining the CCN Ballet de Lorraine at age twenty-one, Dolce performed for nine years, dancing a varied repertoire of works by Emanuel Gat, Merce Cunningham, and Vronislava Nijinska, among others. At thirty years old, he joined DeNada Dance Theater in 2017 for the company’s second national tour ofchoreographer Carlos Pons Guerra’s seductive and provocative “Ham and Passion”, where Dolcedanced the roles of Anna in “Passionaria” and the role of Maria in “O Maria”.
After working internationally for many years, Fabio Dolce is now a freelance dance artist, choreographer, and teacher, working in England and France. In France, he is a collaborative director with the dance company Antonino Ceresia, seeking funding for the new work “La Commedia Divino”. Dolce is also involved with the EU funded project “Lifelong Dancing”, a series of learning pathways about dance for adult educators.
Photographers Unknown, A Collection: A Trip Takes Us
“When I was very young and the urge to be someplace else was on me, I was assured by mature people that maturity would cure this itch. When years described me as mature, the remedy prescribed was middle age. In middle age I was assured greater age would calm my fever and now that I am fifty-eight perhaps senility will do the job. Nothing has worked. Four hoarse blasts of a ships’s whistle still raise the hair on my neck and set my feet to tapping. The sound of a jet, an engine warming up, even the clopping of shod hooves on pavement brings on the ancient shudder, the dry mouth and vacant eye, the hot palms and the churn of stomach high up under the rib cage. In other words, once a bum always a bum. I fear this disease incurable.
I set this matter down not to instruct others but to inform myself….A journey is a person in itself; no two are alike. And all plans, safeguards, policing, and coercion are fruitless. We find after years of struggle that we not take a trip; a trip takes us.”
—-John Steinbeck, Travels with Charley: In Search of America
Born in 1978, Conan Chadbourne received his BA in Mathematics and Physics from New York University in 2011. He has worked in the fields of experimental physics research, digital imaging and printing, graphic design, and documentary film production.. Chadbourne lives in San Antonio where he works as a freelance graphic designer and documentary film producer.
Chadbournedraws inspiration for his work from his experience in mathematics and the sciences. He is motivated by his fascination with the occurrence of mathematical and scientific imagery in traditional art forms, and the mystical, spiritual, or cosmological significance that is often attached to such imagery.
Mathematical themes both overt and subtle appear in a broad range of traditional art: Medieval illuminated manuscripts, Buddhist mandalas, intricate tilings in Islamic architecture, restrained temple geometry paintings in Japan, complex patterns in African textiles, and geometric ornament in archaic Greek ceramics. Often this imagery is deeply connected with the models and abstractions these cultures use to interpret and relate to the cosmos, in much the same way that modern scientific diagrams express a scientific worldview.
Conan Chadbourn’s works have been exhibited at the Grace Museum in Abilene, Texas; The Art Center of Corpus Christi,;the Museum of Geometric and MADI Art in Dallas, Texas; and the Bridges Conference for Mathematics in the Arts.
“There are 212,987 distinct ways to partition a 4×4 grid of square tiles into component shapes composed of contiguous tiles, assuming any two such partitions are considered equivalent if they differ only by a symmetry transformation such as a rotation or reflection. There are exactly thirteen of these configurations which partition this grid of sixteen tiles into two component shapes of equal area, each composed of eight tiles. This image presents this set of thirteen equal divisions of this group of tiles.”
—Conan Chadbourne, Discussing his image “Concise Lesson in Uniform Partitions”
Thomas Eakins, “Between Rounds”, 1898-99, Oil on Canvas, 127 x 101cm, Philadelphia Museum of Art
Most of Thomas Eakins’s paintings after 1886 were probing portraits; however, he returned to sporting subjects in the late 1890s with a series that he began after attending professional boxing matches at the Philadelphia Arena, which was then located diagonally across from the Pennsylvania Academy of the Fine Arts. The resulting canvases were as revolutionary in their subject matter as his rowing scenes had been more than two decades earlier.
Thomas Eakins’s boxing and wrestling paintings are, however, even bolder in their subject matter than his early rowing pictures. Although the popular press, starting about 1900, featured images of prize fighting and accounts of boxers such as the famous John L. Sullivan, most artists turned away from depicting ring sports, which were associated with sanctioned violence, gambling, and alcohol.
Eakins fastidiously planned his “Between Rounds”. Every person portrayed in the painting posed for him. Eakins invited Billy Smith, a local featherweight, to pose for the boxer, asked other figures from the boxing world to re-enact their real-life roles in his Chestnut Street studio, and enlisted friends and relatives to pose for the spectators. The interior scenic location was the actual hall used by the fighters.
Although the painting does not depict a specific bout, Thomas Eakins combined details from several to give it verisimilitude and worked diligently to capture the atmospheric effects of dust and smoke in the arena. As usual, he minimized the drama, showing Billy Smith catching his breath rather than struggling against Timothy Callahan, his unseen, and ultimately successful, opponent.
His Butt: Beguiling the Senses and Enchanting the Mind: Photo Set Eleven
“Every day we slaughter our finest impulses. That is why we get a heartache when we read those lines written by the hand of a master and recognize them as our own, as the tender shoots which we stifled because we lacked the faith to believe in our own powers, our own criterion of truth and beauty. Every man, when he gets quiet, when he becomes desperately honest with himself, is capable of uttering profound truths. We all derive from the same source. There is no mystery about the origin of things. We are all part of creation, all kings, all poets, all musicians; we have only to open up, only to discover what is already there.”
Louis Eugene Larivière, “Academic Drawing of a Nude Male with Arm Raised”, 1820, Black Pencil, Charcoal, and Stump on Paper, 58.6 x 43.7 cm, Private Collection
Born in Paris in December of 1800, Louis-Eugene Larivière was the second son of the painter André Philippe Larivière, and grandson of Charles Lepeintre, Painter to the Duke of Orleans. Three years separated Eugene from his elder brother, Charles-Philippe. The sons having demonstrated natural abilities for painting, the father placed both with French painter Anne-Louis Girodet who in turn presented them to the Special School for Fine Arts: Charles-Philippe in 1813 and Louis-Eugene in February 1816.
Following in his older brother’s footsteps, Louis-Eugène Larivière participated in the historic composition competition as Girodet’s student. Ranked thirteenth, he did not enter the second round, but was noticed and, as a painter, was exempted from military service. Unfortunately, illness prevented Larivière from competing again in 1823; and the illness finished by carrying him off prematurely in June of 1923 at the age of twenty-one years old.
A few family portraits by Louis-Eugène Larivière survive: one full of candor of his sister Pamela-Eugenie conserved at the Louvre; a protrait of his brother Edmond Larivière, and a “Self-Portrait”, both at the Museum of Picardy in Amiens. The works come from the collection of the painter Albert Maignan, the artist’s nephew by marriage who donated them to the Amiens Museum from the contents of the Lariviere brothers’ studio.
A few male acacemy drawings by Eugene can be found at the Amiens Museumsimilar to the image above. One of them is inscribed on the verso, “Eugène Larivière. 18 août 1817”, and countersigned by his teacher, the painter Pierre-Narcisse Guérin ,who corrected the student exercises of the Fine Arts students that day. Another academy drawing, dated 1818, and a few anatomical studies are know to exist in private collections.
R Breathe Photography, Untitled, (The Edge of Things)
“Birds know themselves not to be at the center of anything, but at the margins of everything. The end of the map. We only live where someone’s horizon sweeps someone else’s. We are only noticed on the edge of things; but on the edge of things, we notice much.”
Born in Lebanon, Salem Beiruti is a conceptual artist and illustrator residing in Madrid. Working after graduation as an art director in the fields of advertising, graphics, and fashion design, he has more than seventeen years of client and freelance work. Upon his move to Madrid, Beiruti became a full=time illustrator and artist.
Beiruti’s skillful digital illustrations are unique and inspired by such artists and photographers as Patrick Fillion, Paul Freeman, Issauro Cairo, and Francisco Prato. His projectof mixed-media works “Morphosis” is a result of his personal journey as a man of an Arabic mid-eastern culture and its traditions to the man he is today. The art book was published in June of 2017 by German publisher Bruno Gmnuender.