Satanism in ART [Trigger Warning]
- Thread starter Vmort
- Start date
Pay atention to that square shaped line.Prince Hall Freemasons carry around black stones of the Muslim Kaaba with them.
Mystery religions, mystery cults, sacred mysteries or simply mysteries, were religious schools of the Greco-Roman world for which participation was reserved to initiates (mystai).[1] The main characterization of this religion is the secrecy associated with the particulars of the initiation and the ritual practice, which may not be revealed to outsiders.
Does it sound like Masonry to you? RITE! Masonic Rites! And you can see black goat here.
Explanation:
The square symbol, is related to the female value which is related to the number four. The square is also linked to the constructions of Man (the circle being considered as the spiritual representation). All these symbols include, in addition to the water symbol, in the form of a 9 or a 6, they represent waves.
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I spend a lot of time looking at ancient art trying to find connections, thank you for pointing that out Vmort!Pay atention to that square shaped line.
Mystery religions, mystery cults, sacred mysteries or simply mysteries, were religious schools of the Greco-Roman world for which participation was reserved to initiates (mystai).[1] The main characterization of this religion is the secrecy associated with the particulars of the initiation and the ritual practice, which may not be revealed to outsiders.
Does it sound like Masonry to you? RITE! Masonic Rites! And you can see black goat here.
Naïve art
Naïve art is usually defined as visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing).[1] When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art,[2] or faux naïve art.[3]
Naïve art[7] is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide.
The characteristics of naïve art have an awkward relationship to the formal qualities of painting, especially not respecting the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance):
Whereas naïve art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, 'pseudo naïve' or 'faux naïve' art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original.
Henri Rousseau
Naïve art is usually defined as visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing).[1] When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art,[2] or faux naïve art.[3]
Naïve art[7] is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide.
The characteristics of naïve art have an awkward relationship to the formal qualities of painting, especially not respecting the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance):
- Decrease of the size of objects proportionally with distance,
- Muting of colors with distance,
- Decrease of the precision of details with distance,
- Effects of perspective geometrically erroneous (awkward aspect of the works, children's drawings look, or medieval painting look, but the comparison stops there)
- Strong use of pattern, unrefined color on all the plans of the composition, without enfeeblement in the background,
- An equal accuracy brought to details, including those of the background which should be shaded off.
Whereas naïve art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, 'pseudo naïve' or 'faux naïve' art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original.
Henri Rousseau
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yes those images murderer my eyes omgParis Fashion Week artist
weinsanto's Murder in Paris collection
Pressiat
Thanks for the info! Rousseau also made the Tiger and Buffalo painting that Meta used in their commercial.Naïve art
Naïve art is usually defined as visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing).[1] When this aesthetic is emulated by a trained artist, the result is sometimes called primitivism, pseudo-naïve art,[2] or faux naïve art.[3]
Naïve art[7] is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide.
The characteristics of naïve art have an awkward relationship to the formal qualities of painting, especially not respecting the three rules of the perspective (such as defined by the Progressive Painters of the Renaissance):
The results are:
- Decrease of the size of objects proportionally with distance,
- Muting of colors with distance,
- Decrease of the precision of details with distance,
Simplicity rather than subtlety are all supposed markers of naïve art. It has, however, become such a popular and recognizable style that many examples could be called pseudo-naïve.
- Effects of perspective geometrically erroneous (awkward aspect of the works, children's drawings look, or medieval painting look, but the comparison stops there)
- Strong use of pattern, unrefined color on all the plans of the composition, without enfeeblement in the background,
- An equal accuracy brought to details, including those of the background which should be shaded off.
Whereas naïve art ideally describes the work of an artist who did not receive formal education in an art school or academy, for example Henri Rousseau or Alfred Wallis, 'pseudo naïve' or 'faux naïve' art describes the work of an artist working in a more imitative or self-conscious mode and whose work can be seen as more imitative than original.
Henri Rousseau
Primitivism
Primitivism is a mode of aesthetic idealization that either emulates or aspires to recreate "primitive" experience. It is also defined as a philosophical doctrine that considers "primitive" peoples as more noble than civilized peoples and was an offshoot of a nostalgia for a lost Eden or Golden Age.[1]
As example JIMMY KNIVES
Nude Descending a Staircase, No. 2
Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912.[1] The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.
Nude Descending a Staircase, No. 2 was reproduced by Guillaume Apollinaire in his 1913 book, Les Peintres Cubistes, Méditations Esthétiques. It is now in the Louise and Walter Arensberg Collection of the Philadelphia Museum of Art.[2]
Primitivism is a mode of aesthetic idealization that either emulates or aspires to recreate "primitive" experience. It is also defined as a philosophical doctrine that considers "primitive" peoples as more noble than civilized peoples and was an offshoot of a nostalgia for a lost Eden or Golden Age.[1]
ART SOCIETY 6. Pleanty of art with satanic themes.Thanks for the info! Rousseau also made the Tiger and Buffalo painting that Meta used in their commercial.
As example JIMMY KNIVES
Nude Descending a Staircase, No. 2
Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912.[1] The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.
Nude Descending a Staircase, No. 2 was reproduced by Guillaume Apollinaire in his 1913 book, Les Peintres Cubistes, Méditations Esthétiques. It is now in the Louise and Walter Arensberg Collection of the Philadelphia Museum of Art.[2]
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Vera Mukhina. Mukha in Russian means Flie. Belzebub the lord of flies!
The queen of Soviet sculpture died 6 October 1953 (aged 64). Occlut numbers.
She looks like transsexual herself
Bertran from Rose and Cross (1916)
Worker and Kolkhoz Woman
It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris,[1] and subsequently moved to Moscow. It also borders Moscow Botanical Garden and a smaller Ostankino Park. Ostanki -- human body parts.
Scythe and harvest -- Saturn themes.
Cube of Saturn both sides.
Exhibition of Achievements of National Economy
Have satanic signs all over it. Octogon, Saturn and harvest themes are here.
The queen of Soviet sculpture died 6 October 1953 (aged 64). Occlut numbers.
She looks like transsexual herself
Bertran from Rose and Cross (1916)
Worker and Kolkhoz Woman
Scythe and harvest -- Saturn themes.
Cube of Saturn both sides.
Exhibition of Achievements of National Economy
Have satanic signs all over it. Octogon, Saturn and harvest themes are here.
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Dragon symbols of the pope
Pope Gregory XIII - 16th century - Statue of Gregory XIII by Pietro Paolo Olivieri in S. Maria in Aracoeli
College Romano - Jesuit
Pope Gregory XIII (dedicated this building to) Religion and Achieving Good Studies; (right) Granary built by Pope Gregory XIII: inscription celebrating the event - Pope Gregory XIII, in the Jubilee Year 1575 (3rd of his pontificate) built a warehouse in Diocletian's baths to have a tool to cope with the difficulties of supplying (Rome)
Pope Gregory XIII - 16th century - Statue of Gregory XIII by Pietro Paolo Olivieri in S. Maria in Aracoeli
College Romano - Jesuit
Pope Gregory XIII (dedicated this building to) Religion and Achieving Good Studies; (right) Granary built by Pope Gregory XIII: inscription celebrating the event - Pope Gregory XIII, in the Jubilee Year 1575 (3rd of his pontificate) built a warehouse in Diocletian's baths to have a tool to cope with the difficulties of supplying (Rome)
André-Henri Dargelas (1828 - 1906)
It is a fatal mistake to think that HIVITES have some art styles. Thay can appear in any art style.
'André Henri Dargelas, born in Bordeaux on October 11, 1828 and died in Écouen in June 1906, is a French painter and designer of the realist movement....From 1850 on, his works enjoyed particular success in Great Britain after enthusiastic criticism from English art critic John Ruskin who appreciated Dargelas' sentimental vision of childhood.'
http://fr.wikipedia.org/wiki/André-Henri_Dargelas
1812 catastrophy theme. Empty city. Two boys have red socks, the secon have blak hypercube at his head.
It is a fatal mistake to think that HIVITES have some art styles. Thay can appear in any art style.
'André Henri Dargelas, born in Bordeaux on October 11, 1828 and died in Écouen in June 1906, is a French painter and designer of the realist movement....From 1850 on, his works enjoyed particular success in Great Britain after enthusiastic criticism from English art critic John Ruskin who appreciated Dargelas' sentimental vision of childhood.'
http://fr.wikipedia.org/wiki/André-Henri_Dargelas
1812 catastrophy theme. Empty city. Two boys have red socks, the secon have blak hypercube at his head.
juniper
Rookie
- Joined
- Oct 10, 2020
- Messages
- 58
Consider this, Jesus is the Son of God born of a virgin as prophesied thousands of years before it happened. God lowered himself to the form of a man, so that He could take on the sin of the world in the place of man, which He created and loved. Satan knew God loved the world so he set his mind to ruin God's perfect plan for mankind and the earth. Satan thought he could usurp God by ruining His beloved creation with sin. The wage of sin is death, satan knew this and lied to man about it then just as he continues to lie to this day. And man did sin and as a result, became destined for death . But, God is supreme. He is the creator of all things and Holy. He chose to save His creation with a love above all loves, sacrificing His own Son to buy it back with the price demanded, which is death, the death of Jesus. Jesus was man through His mother, yet He was also divine through His father. Death could not hold Him, and He rose from death to live. Satan lost the war, but continues to blind and divide people from God to this day with false, worldly promises, and false religions, until the end comes and the times are fulfilled. Proverbs says, there is a way that seems right to man but it leads only to death. God's ways and thoughts are not our thoughts. But is it not obvious that a sinful man cannot save himself with more of his own unclean works? So, God has provided the perfect sacrifice for all in love, not in anger. There is only one name under heaven by which we must be saved, that name is Jesus. Behold, He stands at the door and knocks, If anyone hears His voice and opens the door, He will come in and eat with that person, and they with Him. Amen.
Edgar Ende (1901–1965) thanks to @Sibi
Portrait of a Lady on Fire
It was nominated for Independent Spirit Awards, Critics' Choice Awards and Golden Globe Awards for Best Foreign Language Film and was chosen by the National Board of Review as one of the top five foreign language films of 2019.
At the end of the eighteenth century, Marianne, a painter, is teaching an art class in France. One of her students asks her about a painting of hers, which Marianne calls Portrait de la jeune fille en feu.
Years previously, Marianne arrives on a distant island in Brittany. She has been commissioned to paint a portrait of a young woman of the gentry named Héloïse, who is to be married off to a Milanese nobleman. Marianne is informed by Héloïse's mother, The Countess, that she has previously refused to pose for portraits, as she does not want to be married; she had been living in a convent before the suicide of her older sister necessitated her return and her betrothal. Marianne acts as Héloïse's hired companion to be able to paint her in secret and accompanies her on daily walks along the rugged coastline to memorize Héloïse's features.
Marianne finishes the portrait, but finds herself unable to betray Héloïse's trust and reveals her true reason for arriving. After Héloïse criticises the painting, which does not seem to portray her true nature, Marianne destroys the work. After seeing the destroyed work, Marianne explains her actions to The Countess by saying that she can create a better painting. As The Countess is getting ready to fire Marianne, Héloïse says that she will pose for Marianne. The Countess is shocked to hear this and gives Marianne five days to complete the new portrait while she is away on the mainland. Marianne is haunted throughout the house by visions of Héloïse in a wedding dress. One evening, they read the story of Orpheus and Eurydice and debate the true reason why Orpheus turns around to look at his wife, causing her to be returned to the underworld. Later, the two go to a bonfire gathering where women sing, during which Héloïse's dress briefly catches fire.
The next day, Marianne and Héloïse share their first kiss and have sex later that night. The pair spend the next few days together, during which their romance grows stronger, and they help Sophie, the house maid, have an abortion. With their affair about to be cut short by the ensuing return of The Countess, Marianne sketches a drawing of Héloïse to remember her by, and Héloïse asks Marianne to draw a nude sketch of herself on page 28 of her book. The Countess approves of the now completed portrait, and the next morning Marianne bids farewell. As she is about to leave the house, she hears Héloïse say, "Turn around". She turns and sees Héloïse in her wedding dress.
In the present, Marianne reveals that she saw Héloïse two more times. The first was in the form of a portrait at an art exhibition, in which Héloïse, with a child beside her, is portrayed holding a book and surreptitiously revealing the edge of page 28. The second time was at a concert in Milan, where she notices Héloïse among the patrons seated in the balcony across the theater from her. Unobserved, Marianne watches as Héloïse, overwhelmed with emotion, is brought to tears listening to the orchestra playing the Presto from "Summer" in Vivaldi's Four Seasons, the music that Marianne had played for her on a harpsichord years before.
Frogner Park
The sculpture area in Frogner Park covers 80 acres (320,000 m2) and features 212 bronze and granite sculptures, all designed by Gustav Vigeland.
Leonora Carrington
MIRIAM CAHN
FATIMA RONQUILLO
Aniela Sobieski
Edward Okuń
Portrait of a Lady on Fire
It was nominated for Independent Spirit Awards, Critics' Choice Awards and Golden Globe Awards for Best Foreign Language Film and was chosen by the National Board of Review as one of the top five foreign language films of 2019.
At the end of the eighteenth century, Marianne, a painter, is teaching an art class in France. One of her students asks her about a painting of hers, which Marianne calls Portrait de la jeune fille en feu.
Years previously, Marianne arrives on a distant island in Brittany. She has been commissioned to paint a portrait of a young woman of the gentry named Héloïse, who is to be married off to a Milanese nobleman. Marianne is informed by Héloïse's mother, The Countess, that she has previously refused to pose for portraits, as she does not want to be married; she had been living in a convent before the suicide of her older sister necessitated her return and her betrothal. Marianne acts as Héloïse's hired companion to be able to paint her in secret and accompanies her on daily walks along the rugged coastline to memorize Héloïse's features.
Marianne finishes the portrait, but finds herself unable to betray Héloïse's trust and reveals her true reason for arriving. After Héloïse criticises the painting, which does not seem to portray her true nature, Marianne destroys the work. After seeing the destroyed work, Marianne explains her actions to The Countess by saying that she can create a better painting. As The Countess is getting ready to fire Marianne, Héloïse says that she will pose for Marianne. The Countess is shocked to hear this and gives Marianne five days to complete the new portrait while she is away on the mainland. Marianne is haunted throughout the house by visions of Héloïse in a wedding dress. One evening, they read the story of Orpheus and Eurydice and debate the true reason why Orpheus turns around to look at his wife, causing her to be returned to the underworld. Later, the two go to a bonfire gathering where women sing, during which Héloïse's dress briefly catches fire.
The next day, Marianne and Héloïse share their first kiss and have sex later that night. The pair spend the next few days together, during which their romance grows stronger, and they help Sophie, the house maid, have an abortion. With their affair about to be cut short by the ensuing return of The Countess, Marianne sketches a drawing of Héloïse to remember her by, and Héloïse asks Marianne to draw a nude sketch of herself on page 28 of her book. The Countess approves of the now completed portrait, and the next morning Marianne bids farewell. As she is about to leave the house, she hears Héloïse say, "Turn around". She turns and sees Héloïse in her wedding dress.
In the present, Marianne reveals that she saw Héloïse two more times. The first was in the form of a portrait at an art exhibition, in which Héloïse, with a child beside her, is portrayed holding a book and surreptitiously revealing the edge of page 28. The second time was at a concert in Milan, where she notices Héloïse among the patrons seated in the balcony across the theater from her. Unobserved, Marianne watches as Héloïse, overwhelmed with emotion, is brought to tears listening to the orchestra playing the Presto from "Summer" in Vivaldi's Four Seasons, the music that Marianne had played for her on a harpsichord years before.
Frogner Park
The sculpture area in Frogner Park covers 80 acres (320,000 m2) and features 212 bronze and granite sculptures, all designed by Gustav Vigeland.
Leonora Carrington
MIRIAM CAHN
FATIMA RONQUILLO
Aniela Sobieski
Edward Okuń
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BOSCO FASHION
Sacro Bosco ("Sacred Grove"),[1]
MK ULTRA! RED SHOES, BLACK AND WHITE...
The Sacro Bosco ("Sacred Grove"),[1] colloquially called Park of the Monsters (Parco dei Mostri in Italian), also named Garden of Bomarzo, is a Mannerist monumental complex located in Bomarzo, in the province of Viterbo, in northern Lazio, Italy.[2]
The garden was created during the 16th century.[3] The design is attributed to Pirro Ligorio, and the sculptures to Simone Moschino. Situated in a wooded valley bottom beneath the castle of Orsini, it is populated by grotesque sculptures and small buildings located among the natural vegetation.
The park's name stems from the many larger-than-life sculptures, some sculpted in the bedrock, which populate this predominantly barren landscape. It was commissioned by Pier Francesco Orsini, called Vicino, a 16th-century condottiero, and patron of the arts, greatly devoted to his wife Giulia Farnese (not to be confused with her maternal great-aunt Giulia Farnese, the mistress of Pope Alexander VI). When Orsini's wife died, he created the gardens to cope with his grief.
During the 19th century, and deep into the 20th, the garden became overgrown and neglected, but after the Spanish painter Salvador Dalí made a short movie about the park, and completed a painting actually based on the park in the 1950s, the Bettini family implemented a restoration program which lasted throughout the 1970s, and today the garden, which remains private property, is a major tourist attraction.
The park of Bomarzo was intended not to please, but to astonish, and like many Mannerist works of art, its symbolism is arcane: examples are a large sculpture of one of Hannibal's war elephants, which mangles a Roman legionary, or the statue of Ceres lounging on the bare ground, with a vase of verdure perched on her head.
Niki de Saint Phalle was inspired by Bomarzo for her Tarot Garden, Giardino dei Tarocchi. Rothschilds have taken her works as the wine label. They have professional artists create their wine labels.
In the first picture, the serpent is offering Eve a bottle of Rothschild wine. It also refers to the "Niki-object."
"From the sun to the plate, taking in a sensual mouth and an outstretched hand, Niki de Saint Phalle’s composition for Mouton is a sparkling, festive allegory of the pleasures of the table. And then, running across the painting, there is the “Niki-object”, springing from a story as old as the world itself: the serpent tempter. But instead of the traditional apple, this serpent, more wine-loving than malign, is offering Eve a bottle … of Mouton Rothschild 1997 no doubt!"
Tarot Garden (1974–1998)
In 1976, she retreated to the Swiss Alps to refine her plans for the sculpture park.[51] In 1977 Ricardo Menon, an Argentinian, became her assistant; he would work closely with her until 1986.[13][78]
In 1977, she worked with the English writer Constantin Mulgrave to design sets for The Traveling Companion, based on a Hans Christian Andersen fairy tale, but the project was never completed.[51] She and Mulgrave lived together for around four years, but Tinguely remained a continually reappearing presence in her life.[24]: 101–103
In 1977, she also visited Mexico and New Mexico, in search of more extensive artistic inspirations.[51]
In 1978, Saint Phalle started to lay out her sculpture garden in an abandoned quarry in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome near the west coast of the Italian peninsula. The following year, sites were cleared, and foundations were established.[73]
In 1979, she produced the first of what would become a new series of sculptures, the Skinnies. These were flat, planar, see-through outlines of heads and figures, highlighted by patches of color. In some ways, they resembled her colorful sketches and drawings but scaled up to monumental size. The series also symbolized Saint Phalle's struggles against emphysema and illness.[79] She continued to produce her Nanas in addition to her new style of sculpture,[13] and both styles of figures would appear in her Tarot Garden project.
In 1980, Saint Phalle and her team began to build the first architectural sculpture in the garden. As the project progressed, Saint Phalle started taking lessons in the Italian language, to better communicate with local workers.[20] The second crew member she hired was Ugo Celletti, a 50-year-old part-time postal delivery man, who discovered a love for mosaic work on the project.[20][80] He would work on the project for 36 years and recruit his nephews to join in; some family members are still involved in maintaining the site.[81][80]
She invited artist friends from Argentina, Scotland, Holland, and France to help work on the sculptures.[20] Over time, Saint Phalle worked with dozens of people, including architects, ceramicists, ironworkers, bricklayers, painters, and mosaic artists.[82] The materials used in the Tarot Garden project would include steel, iron, cement, polyester, ceramic, mosaic glass, mirrors, and polished stones (which she called "M&M's").[12]
The structure of the more massive sculptures was very similar to the temporary Hon installation at the Moderna Museet in 1966, but this time the artworks were outdoors and needed to withstand the long-term weathering effects of sun and rain. The basic shape of the sculptures was established with frameworks made of welded steel rebar. A second layer of lighter-gauge steel reinforcement bars was added, followed by two layers of expanded metal. A specialist firm was then brought in to spray shotcrete onto the structure. A layer of tar for waterproofing and a final layer of white cement produced a sturdy, hollow structure ready for decoration.[73]
In 1980, she also began selling a series of polyester snake chairs, vases, and lamps.[13] That year, she recorded her first attack of rheumatoid arthritis, a painful disease affecting the joints of the skeleton.[13]
In 1980–1981, she designed a colorful paint scheme for a Piper Aerostar 602 P twin-engine airplane, which participated in the first trans-Atlantic race sponsored by the Peter Stuyvesant Foundation of Amsterdam.[13] As an act of playful rebellion against the cigarette manufacturer sponsor, she added a "No Smoking" sign visible on the belly of the plane (she was allergic to tobacco smoke).[83]
In 1981, Saint Phalle rented a small house near the Tarot Garden and hired young people from Garavicchio to help with construction of the garden. Jean Tinguely led a Swiss team, comprising Seppi Imhoff and Rico Weber, and started welding the frames of the sculptures.[51] The following year, Dutch artist Doc Winsen (also called "Dok van Winsen") took up the welding operations.[13]
In 1982, Saint Phalle developed and marketed an eponymous perfume, using the proceeds to help finance her project.[28][27][13][84] The perfume bottle top featured a small sculpture of two intertwined snakes, one golden and the other brightly multicolored.[85] This was one of the first of what came to be called celebrity perfumes, using fame and name recognition to sell scented products.[2] She may have raised as much as a third of the funds she needed for the garden in this way.[20] She actively solicited funding from friends and acquaintances, as well as by selling her artworks.[20]
In August 1982, Saint Phalle was honored at the Street Festival of the Arts in New York City.[86] Later that year, Saint Phalle collaborated with Tinguely to produce the Stravinsky Fountain, a 15-piece sculptural fountain for Igor Stravinsky Square, located next to the Centre Georges Pompidou in Paris. Because of its prominent location in Paris, it would become one of the best-known collaborations between the two artists.
From 1983 until 1988 when on site,[73] Saint Phalle lived in a small apartment built into The Empress, a house-sized sphinx-like sculpture in the garden. On the second level, her bedroom was inside one breast, and her kitchen was inside the other one.[20][84] Each of these two rooms had a single recessed circular window, appearing as an inverted nipple when viewed from the outside.[87] In 2000, she would recall: "At last, my lifelong wish to live inside a sculpture was going to be granted: a space entirely made out of undulating curves ... I wanted to invent a new mother, a mother goddess, and be reborn within its form ... I would sleep in one breast. In the other, I would put my kitchen".[47]
Sacro Bosco ("Sacred Grove"),[1]
MK ULTRA! RED SHOES, BLACK AND WHITE...
Gardens of Bomarzo
The Sacro Bosco ("Sacred Grove"),[1] colloquially called Park of the Monsters (Parco dei Mostri in Italian), also named Garden of Bomarzo, is a Mannerist monumental complex located in Bomarzo, in the province of Viterbo, in northern Lazio, Italy.[2]
The garden was created during the 16th century.[3] The design is attributed to Pirro Ligorio, and the sculptures to Simone Moschino. Situated in a wooded valley bottom beneath the castle of Orsini, it is populated by grotesque sculptures and small buildings located among the natural vegetation.
The park's name stems from the many larger-than-life sculptures, some sculpted in the bedrock, which populate this predominantly barren landscape. It was commissioned by Pier Francesco Orsini, called Vicino, a 16th-century condottiero, and patron of the arts, greatly devoted to his wife Giulia Farnese (not to be confused with her maternal great-aunt Giulia Farnese, the mistress of Pope Alexander VI). When Orsini's wife died, he created the gardens to cope with his grief.
During the 19th century, and deep into the 20th, the garden became overgrown and neglected, but after the Spanish painter Salvador Dalí made a short movie about the park, and completed a painting actually based on the park in the 1950s, the Bettini family implemented a restoration program which lasted throughout the 1970s, and today the garden, which remains private property, is a major tourist attraction.
The park of Bomarzo was intended not to please, but to astonish, and like many Mannerist works of art, its symbolism is arcane: examples are a large sculpture of one of Hannibal's war elephants, which mangles a Roman legionary, or the statue of Ceres lounging on the bare ground, with a vase of verdure perched on her head.
- The surreal nature of the Parco dei Mostri appealed to Jean Cocteau and the surrealist Salvador Dalí, who discussed it at great length.
- The poet André Pieyre de Mandiargues wrote an essay devoted to Bomarzo.
- Niki de Saint Phalle was inspired by Bomarzo for her Tarot Garden, Giardino dei Tarocchi.
- The story behind Bomarzo and the life of Pier Francesco Orsini are the subject of a novel by the Argentinian writer Manuel Mujica Láinez, Bomarzo (1962). Mujica Láinez himself wrote a libretto based on his novel, which was set to music by Alberto Ginastera (1967). The opera Bomarzo premièred in Washington in 1967, since the Argentine government had condemned it as sexually offensive.
- A reimagined version of the garden is the centerpiece of the novel A Green and Ancient Light, written by Frederic S. Durbin.
- Some scenes from the 1985 Frankenstein film The Bride starring Sting and Jennifer Beals were shot amidst the statuary at the Garden.
- A fight scene in the 1985 film The Adventures of Hercules takes place here and the Orcus' mouth acts as an entrance to a cave.
- The Dutch magic-surrealist painter Carel Willink used several of the park's statue groups in his paintings, e.g. The Eternal Cry and Balance of Forces.
- A replica of the Orcus mouth appears as a major setpiece in the 1997 film The Relic.
- In the 1999 film version of Alice in Wonderland, the grotto in the scene involving Gene Wilder as the Mock Turtle is composed of sculptural features copying the garden at Bomarzo.
- Orcus mouth appears in the 1964 Italian horror film Il castello dei morti vivi (also known as Castle of the Living Dead).
- The history and the mysteries of the gardens are featured in the 2015 board game "Bomarzo" by Stefano Castelli.
- The gardens are the main inspiration for Anna von Hausswolff's 2020 album All Thoughts Fly.
Niki de Saint Phalle was inspired by Bomarzo for her Tarot Garden, Giardino dei Tarocchi. Rothschilds have taken her works as the wine label. They have professional artists create their wine labels.
In the first picture, the serpent is offering Eve a bottle of Rothschild wine. It also refers to the "Niki-object."
"From the sun to the plate, taking in a sensual mouth and an outstretched hand, Niki de Saint Phalle’s composition for Mouton is a sparkling, festive allegory of the pleasures of the table. And then, running across the painting, there is the “Niki-object”, springing from a story as old as the world itself: the serpent tempter. But instead of the traditional apple, this serpent, more wine-loving than malign, is offering Eve a bottle … of Mouton Rothschild 1997 no doubt!"
Tarot Garden (1974–1998)
In 1976, she retreated to the Swiss Alps to refine her plans for the sculpture park.[51] In 1977 Ricardo Menon, an Argentinian, became her assistant; he would work closely with her until 1986.[13][78]
In 1977, she worked with the English writer Constantin Mulgrave to design sets for The Traveling Companion, based on a Hans Christian Andersen fairy tale, but the project was never completed.[51] She and Mulgrave lived together for around four years, but Tinguely remained a continually reappearing presence in her life.[24]: 101–103
In 1977, she also visited Mexico and New Mexico, in search of more extensive artistic inspirations.[51]
In 1978, Saint Phalle started to lay out her sculpture garden in an abandoned quarry in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome near the west coast of the Italian peninsula. The following year, sites were cleared, and foundations were established.[73]
In 1979, she produced the first of what would become a new series of sculptures, the Skinnies. These were flat, planar, see-through outlines of heads and figures, highlighted by patches of color. In some ways, they resembled her colorful sketches and drawings but scaled up to monumental size. The series also symbolized Saint Phalle's struggles against emphysema and illness.[79] She continued to produce her Nanas in addition to her new style of sculpture,[13] and both styles of figures would appear in her Tarot Garden project.
In 1980, Saint Phalle and her team began to build the first architectural sculpture in the garden. As the project progressed, Saint Phalle started taking lessons in the Italian language, to better communicate with local workers.[20] The second crew member she hired was Ugo Celletti, a 50-year-old part-time postal delivery man, who discovered a love for mosaic work on the project.[20][80] He would work on the project for 36 years and recruit his nephews to join in; some family members are still involved in maintaining the site.[81][80]
She invited artist friends from Argentina, Scotland, Holland, and France to help work on the sculptures.[20] Over time, Saint Phalle worked with dozens of people, including architects, ceramicists, ironworkers, bricklayers, painters, and mosaic artists.[82] The materials used in the Tarot Garden project would include steel, iron, cement, polyester, ceramic, mosaic glass, mirrors, and polished stones (which she called "M&M's").[12]
The structure of the more massive sculptures was very similar to the temporary Hon installation at the Moderna Museet in 1966, but this time the artworks were outdoors and needed to withstand the long-term weathering effects of sun and rain. The basic shape of the sculptures was established with frameworks made of welded steel rebar. A second layer of lighter-gauge steel reinforcement bars was added, followed by two layers of expanded metal. A specialist firm was then brought in to spray shotcrete onto the structure. A layer of tar for waterproofing and a final layer of white cement produced a sturdy, hollow structure ready for decoration.[73]
In 1980, she also began selling a series of polyester snake chairs, vases, and lamps.[13] That year, she recorded her first attack of rheumatoid arthritis, a painful disease affecting the joints of the skeleton.[13]
In 1980–1981, she designed a colorful paint scheme for a Piper Aerostar 602 P twin-engine airplane, which participated in the first trans-Atlantic race sponsored by the Peter Stuyvesant Foundation of Amsterdam.[13] As an act of playful rebellion against the cigarette manufacturer sponsor, she added a "No Smoking" sign visible on the belly of the plane (she was allergic to tobacco smoke).[83]
In 1981, Saint Phalle rented a small house near the Tarot Garden and hired young people from Garavicchio to help with construction of the garden. Jean Tinguely led a Swiss team, comprising Seppi Imhoff and Rico Weber, and started welding the frames of the sculptures.[51] The following year, Dutch artist Doc Winsen (also called "Dok van Winsen") took up the welding operations.[13]
In 1982, Saint Phalle developed and marketed an eponymous perfume, using the proceeds to help finance her project.[28][27][13][84] The perfume bottle top featured a small sculpture of two intertwined snakes, one golden and the other brightly multicolored.[85] This was one of the first of what came to be called celebrity perfumes, using fame and name recognition to sell scented products.[2] She may have raised as much as a third of the funds she needed for the garden in this way.[20] She actively solicited funding from friends and acquaintances, as well as by selling her artworks.[20]
In August 1982, Saint Phalle was honored at the Street Festival of the Arts in New York City.[86] Later that year, Saint Phalle collaborated with Tinguely to produce the Stravinsky Fountain, a 15-piece sculptural fountain for Igor Stravinsky Square, located next to the Centre Georges Pompidou in Paris. Because of its prominent location in Paris, it would become one of the best-known collaborations between the two artists.
From 1983 until 1988 when on site,[73] Saint Phalle lived in a small apartment built into The Empress, a house-sized sphinx-like sculpture in the garden. On the second level, her bedroom was inside one breast, and her kitchen was inside the other one.[20][84] Each of these two rooms had a single recessed circular window, appearing as an inverted nipple when viewed from the outside.[87] In 2000, she would recall: "At last, my lifelong wish to live inside a sculpture was going to be granted: a space entirely made out of undulating curves ... I wanted to invent a new mother, a mother goddess, and be reborn within its form ... I would sleep in one breast. In the other, I would put my kitchen".[47]
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