MAL

akaixab:

Relocation of the Abu Simbel

akaixab:

Relocation of the Abu Simbel

roelofsart:

Salvador Dalí (1904‑1989)
Metamorphosis of Narcissus
1937Oil on canvas
511 x 781 mm
Collection Tate
Purchased 1979
This painting is Dalí’s interpretation of the Greek myth of Narcissus. Narcissus was a youth of great beauty who loved only himself and broke the hearts of many lovers. The gods punished him by letting him see his own reflection in a pool. He fell in love with it, but discovered he could not embrace it and died of frustration. Relenting, the gods immortalised him as the narcissus (daffodil) flower. For this picture Dalí used a meticulous technique which he described as ‘hand-painted colour photography’ to depict with hallucinatory effect the transformation of Narcissus, kneeling in the pool, into the hand holding the egg and flower. Narcissus as he was before his transformation is seen posing in the background. The play with ‘double images’ sprang from Dalí’s fascination with hallucination and delusion.
This was Dalí’s first painting to be made entirely in accordance with the paranoiac critical method, which the artist described as a ‘Spontaneous method of irrational knowledge, based on the critical-interpretative association of the phenomena of delirium’ (The Conquest of the Irrational, published in The Secret Life of Salvador Dalí, New York 1942). 
http://www.tate.org.uk/art/artworks/dali-metamorphosis-of-narcissus-t02343

roelofsart:

Salvador Dalí (1904‑1989)

Metamorphosis of Narcissus

1937

Oil on canvas

511 x 781 mm

Collection Tate

Purchased 1979

This painting is Dalí’s interpretation of the Greek myth of Narcissus. Narcissus was a youth of great beauty who loved only himself and broke the hearts of many lovers. The gods punished him by letting him see his own reflection in a pool. He fell in love with it, but discovered he could not embrace it and died of frustration. Relenting, the gods immortalised him as the narcissus (daffodil) flower. For this picture Dalí used a meticulous technique which he described as ‘hand-painted colour photography’ to depict with hallucinatory effect the transformation of Narcissus, kneeling in the pool, into the hand holding the egg and flower. Narcissus as he was before his transformation is seen posing in the background. The play with ‘double images’ sprang from Dalí’s fascination with hallucination and delusion.

This was Dalí’s first painting to be made entirely in accordance with the paranoiac critical method, which the artist described as a ‘Spontaneous method of irrational knowledge, based on the critical-interpretative association of the phenomena of delirium’ (The Conquest of the Irrational, published in The Secret Life of Salvador Dalí, New York 1942).

http://www.tate.org.uk/art/artworks/dali-metamorphosis-of-narcissus-t02343

(via artyvintage)

roelofsart:

Gustave Courbet
L’origine du monde 
en 1866
huile sur toileH. 0.463 ; L. 0.554
musée d’Orsay, Paris, France
©photo musée d’Orsay / rmn

roelofsart:

Gustave Courbet

L’origine du monde 

en 1866

huile sur toileH. 0.463 ; L. 0.554

musée d’Orsay, Paris, France

©photo musée d’Orsay / rmn

(via artyvintage)