POSE: [piXit] Cyberbilly - Pose Pack (Cyberbilly_F3R)
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POSE: [piXit] Cyberbilly - Pose Pack (Cyberbilly_F3R)
"If one looks for some time, from a slight distance and with a certain 'distant fixedness', at the hypnotically immobile figure of Narcissus, it gradually disappears until at last it is completely invisible,"
For this picture of Dalí, we're 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.
Now the great mystery draws near,
the great metamorphosis is about to occur.
Narcissus in his immobility, absorbed by his reflection with
the digestive slowness of carnivorous plants, becomes invisible.
There remains of him only
the hallucinatingly white oval of his head,
his head again more tender,
his head, chrysalis of hidden biological designs,
his head held up by the tips of the water’s fingers,
at the tips of the fingers
of the insensate hand,
of the terrible hand,
of the excrement-eating hand,
of the mortal hand
of his own reflection.
When that head slits
when that head splits
when that head bursts,
it will be the flower,
the new Narcissus,
Gala –
my narcissus.
"In the center of this portrait is a world divided into two parts. The wrought-iron gate is a a world in shadow from frustration. Here in the middle, you have a man’s image, shrunken to the size of a small potato, moving away from reality, toward the black angel of desctruction. Below you see a ship without any sails about to capsize in the rough seas of frustration. Now, the other half of a man’s inner world is of sunlight, of coincidence, here in the luxury brand of Artcurial. Here, man’s image is ten feet tall and is walking towrad the sun. Below you see a ship in calm waters about to reach port. And what is this port? Peace of mind! We can learn to walk away from this shadow world of frustration into the dawn of a new world, through confidence.” adoctorwithoutborders Just another WordPress.com site
en.wikipedia.org/wiki/Metamorphosis_of_Narcissus
Dalí's wish was to translate the fetishes and obsessions of his unconscious into volume and solid matter. In this way, he rendered the major themes of his pictorial work in sculptural form. The collection presented here includes more than fifteen sculptures, making this exhibition the largest of its kind in France.
In Secret Life, one of his autobiographical accounts, Salvador Dalí recounts how, as a child, he made a model of the Venus de Milo because it appeared on his pencil box: it was his first attempt at sculpture. By the 1930s, Dalí was already experimenting with the third dimension. As a surrealist artist seeking to translate the unconscious, dreams and feelings, and following in the footsteps of Marcel Duchamp with his ready-mades (Fontaine, 1917), he became interested in "object art", using unexpected materials and materials. He created objects with symbolic functions, such as Buste de femme rétrospectif, assembling a painted porcelain milliner's marotte with various other salvaged objects (1933). "The surrealist object is not practical; it serves no purpose other than to tenderize men, exhaust them, dumb them down. The surrealist object is made solely for honor, it has no other purpose than the honor of thought." Dalí gradually returned to a traditional technique. He began with a soft paste of wax, to which he imposed the shape he wanted, concretizing the irrationality of his imagination. Then, he gives his creation the necessary hardness by casting it in bronze so that it can take its place in the outside world. These sculptures are made using the lost-wax technique. They represent a significant aspect of Dalí's artistic creation, and provide a synthesis of his interest in form. These bronze sculptures are effectively Surrealism in the third dimension. Based on his most famous paintings, bronze sculptures such as Persistance de la mémoire, Profil du temps, Noblesse du temps, Venus à la girafe, Toréador hallucinogène, Venus spatiale, Alice au pays des merveilles, Éléphant spatial, testify with extreme vigor to the expressive power of his surreal iconographic images.
LOST-WAX CASTING TECHNIQUE:
This technique makes metal objects from a wax model. The wax is coated with a refractory mixture to form a mold. The mold is subjected to a source of heat to melt the wax. This operation is called "dewaxing". When the mold is empty, it is filled with liquid metal. Later, the bivalve mold is opened to reveal the raw casting. Finishing operations are then carried out to give the object a beautiful appearance: trimming, repairing, chasing and patina.
Translated with www.DeepL.com/Translator (free version)
This was Dalí's picture 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). Robert Descharnes noted that this painting meant a great deal to Dalí, as it was the first Surrealist work to offer a consistent interpretation of an irrational subject.
"In the beginning, when they were less long, I ate a few dates but mostly I held them in my fingers. And afterwards instead of washing [sic] or before washing my fingers, I stroked and put in order my mustaches. And the sugar, in fact the viscous side of the date, was enough for a whole day to hold my mustaches. That, moreover, I had found in an oriental recipe. There were Hindus who put dates , which had a kind of thing of dates [sic] for mustaches. After which I wanted more classic and I found in the place Vendôme [sic] the Pinot house which sells a thing called 'Hungarian pomade '."The fang mustache is a very raised mustache reminiscent of a pair of antennae. It can be considered as a real ornament. It is often associated with Salvador Dalí and is an expression of his eccentricity, which is why it is often referred to as Dali's mustache.
Food and eating have a central place in Dalí's thoughts and work. He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating her mate after copulation. Bread was a recurring image in Dalí's art, from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris using a 12-meter-long baguette an illustrative prop. He saw bread as "the elementary basis of continuity" and "sacred subsistence". The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love. It appears in The Great Masturbator, The Metamorphosis of Narcissus and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat as well as at the Dalí Theatre-Museum in Figueres. Both Dalí and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaqués. The radial symmetry of the sea urchin fascinated Dalí, and he adapted its form to many artworks. Other foods also appear throughout his work.
The famous "melting watches" that appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese. Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial.[6] His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst.From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys, and sea urchins) are idiosyncratic and have been variously interpreted. Some commentators have cautioned that Dalí's own comments on these images are not always reliable.
Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941, the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest." When Dalí was elected to the French Academy of Fine Arts in 1979, one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries". In 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!" In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window. In 1955, he delivered a lecture at the Sorbonne, arriving in a Rolls-Royce full of cauliflowers. To promote Robert Descharnes' 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording. After World War II, Dalí became one of the most recognized artists in the world, and his long cape, walking stick, haughty expression, and upturned waxed mustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí". Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.[236] He was also known to avoid paying at restaurants by executing drawings on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct. Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on the Tonight Show with Johnny Carson on 7 January 1963 The Mike Wallace Interview and the panel show What's My Line?.Dalí appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater. He also appeared in numerous advertising campaigns such as Lanvin [fr] chocolates and Braniff International Airlines in 1968.
en.wikipedia.org/wiki/Salvador_Dal%C3%ADhttps://en.wikipe...
Located on the Rond-Point of the Champs-Élysées, auction house Artcurial's newly renovated café pays tribute to Italian food and design. French interior architect Charles Zana imagined a setting that evokes the works of Giò Ponti and Ettore Sottsass, with walls covered with geometric patterns and lined with charcoal leather banquettes. Enhanced by a new glass roof and large windows, the linear arcade is flooded with natural light and has views onto secluded gardens.Built in 1844, it was bought in 1952 by Marcel Dassault before becoming in 2002 one of the most famous auction houses in the capital.
www.artcurial.com
If I were someone I would like to be a fool
No one would know me, and I think that would be cool
I'd paint a picture of my life upon your wall
And use the colors that have made life seem small
www.youtube.com/watch?v=rtpBhzSFUM4
I Want To Live (Remastered) this mortal coil
But you've got a way of understanding me
And I just call it one of your mysteries
The Three Sub-Bosses Goro, Kintaro and Motaro
Fallen Elder God Lord Shinnok Lord of the Brotherhood Of Shadow and Corrupted Shinnok
The Dragon King Onaga, former Emperor of Outworld
The Big Bads from Mortal Kombat 1992 Evil Sorcerer Shang Tsung and Prince Goro, Prince of Shokan
All the Original Bosses Lego Shang Tsung, Goro, Kintaro, Motaro, Shinnok, Corrupted Shinnok, Emperor Shao Kahn and The Dragon King Onaga
Original Bosses from MK, MKII and MK3 Shang Tsung, Goro, Motaro, Kintaro, and Shao Kahn
Lego Sub Zero brothers Kuai Liang (unmasked) and Bi Han (masked) Lin Kuei Warriors
Lego Sub Zero brothers Kuai Liang (L) and Bi Han (R) Lin Kuei Warriors
Scorpion aka Hanzo Hasashi unmasked
From the mortar team’s firing position: Gunner and assistant gunner.
In the picture: a Finnish 81 mm mortar from 1935 (81 Krh/35).
SA-images # 75226, photographer: Second Lieutenant K. Borg.
Syväri power plant sector, 03.03.1942.
