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| academicnudes19thcentury.blogspot.com |
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Only the tiniest of sprites —
like Tinker Bell — should merit them!
And so I've added a more classic sculpture. This type of sculpture, below, is known as a "term" (thanks, Stefan), and it very often incorporates the head of a god, but more usually the head of a satyr. Were the term used as a furniture leg, it would be known as a "terminal."
Because the children depicted with the Muse of Painting were not winged, I decided to drop the wings on this little attendant as well.
The finished Muse of Sculpture is below.
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Next week, we'll look at
the Muse of Architecture.
I hope you'll join me then!
In my last posting, several of my blogging friends suggested that something extra was needed around or above the muse. I want to assure my readers that I am still unveiling the Pompeii Room in its early stages, so please don't think for a moment that this is near completion!
Your muse rendering has Tamara de Lempicka qualities - very sleek. I like!
ReplyDeleteThank you, Columnist! Tamara de Lempicka has always been one of my favorite artists. I have often played the game of choosing which artist in history I'd want to sit for, and she is always on the list.
DeleteUsing the term "herm" rather than "term" is better.
ReplyDeleteDear anonymous commentor,
DeleteActually, in this particular case, "term" is the better label. A "herm" by definition includes male genitalia at the appropriate height on the post, which this rendering does not.
Hello Mark, I like all of the changes you made to the muse of sculpture. I agree with you about insect wings on human forms, and am not crazy about bird wings used similarly.
ReplyDeleteThe greatest inspiration was the substitution of the Muse's sculpture. By making it and the base the same color, they are apparently of the same stone, linking various elements of the composition together in a complex way. Your version moreover is very evocative of the ancient world.
--Jim
Hello, Jim,
DeleteI appreciate your observation about color use because I had started by painting the term a slightly different hue than the base, and quickly realized that it was too foreign to the overall color scheme. As the composition becomes more and more complex, paring back the colors will be all the more important.
I spent some time considering how to replace the muse's sculpture, settling on the classic quality of the the term, which has always intrigued me. As it turned out, the curve of the muse's arm and the curve of the term's shoulder make a nice interplay. Serendipity!
So amazing, Mark. I know, I know, you're getting tired of superlatives raining down upon your head. Ha. Well, I can only speak the truth. I love the references you're using and I will try and not be so impatient about the process. By the way, I found an trompe l'oeil artist for you to wonder over when you have a moment away from your Pompeian room. His name is John Frederick Peto. I just finished adding some of his work to one of my art boards. I think you'll like Peto's work. Google him when you have a mo.
ReplyDeleteDear Yvette,
DeleteThank you for your superlatives; you are very kind and I appreciate it more than you know.
I have been familiar with the work of John Frederick Peto for some time because I have a small collection of books on trompe l'oeil, and his name is usually mentioned in that connection. Our local fine arts museum has a delightful painting by Peto — it's a big barrel overflowing with money, and every single bill is an amazing little masterpiece in its own right. And I do wonder over him!
I should have known you'd know Peto's work. :) But I have another for you: Claudio Bravo, a Chilean artist whose paintings of cloth and paper are to die for. But you probably know his work already...?
DeleteP.S. Peto was probably burdened by fixation to minute detail. Been there. Done that. :)
DeleteHi, again,
DeleteYour suggestion of Claudio Bravo sent me on a google chase, and I agree that his paintings of paper and cloth are to die for. I thought it strange that I was completely unfamiliar with Bravo's work until I saw his portrait of Malcolm Forbes, which I knew from numerous readings on Forbes.
Thanks for that reawakening!
Dear Mark,
ReplyDeleteWhew! For a few seconds I thought that Tinkerbell was going to show up in your Pompeian masterpiece. Of course that would not be so, however, to see the image was unexpected.
Following your progress is like going on a treasure hunt. Every week a new and beautifully painted surprise.
Dear Gina,
DeleteYou have nothing to worry about; no Disney character will appear in the mural. But I did chuckle to myself that the Tinker Bell image gave you an initiial start. So far most of my inspiration has come from Renaissance imagery, and Bürkner's sculpture didn't fit in with the Renaissance or Pompeian styles. It struck me as more of an afterthought.
Hi Mark, she is absolutely beautiful and I can't wait to see what you have in mind for the space above her!
ReplyDeleteHi, Barbara,
DeleteI'll be introducing a new theme between the garlands and the muses, but that will be coming a little later . . .