HANS MEMLING, UN DÍPTICO

Diptych of Maarten Nieuwenhove

1487
Oil on oak panel, 52 x 41,5 cm (each)
Memlingmuseum, Sint-Janshospitaal, Bruges

Mythology and Mistery

Hola a todos. Son las 10:20 pm. y estoy pensando que el Miércoles no pudimos hablar acerca de la mitología y el misterio de Sean. De pronto nos dejamos llevar por Paty, que está increíble, pero entramos en cuestiones resbalosos y pegajosos. Me sentí como cuando estás lúcido en el sueño y quieres quedarte, pero inevitablemente te dejas llevar por el siguiente sueño... sí brumoso. La cosa es que no dije lo que estaba pensando en el momento, mas bien me comí mi mango delicioso!
A partir del ejemplo de las máscaras africanas, Scully nos dice que el cuadro o el arte en general ( o por lo menos algunas piezas) pueden funcionar como depositarios de misterio y mitología: de espiritualidad. Esta idea me hizo pensar. Y entonces el cuadro no es espiritual per se, simplemente es un lugar donde metemos nuestro misterio, nuestros símbolos. El objeto no es mitológico---el objeto permite que reflejemos y veamos nuestra mitología, ya sea comprensible para 10 personas o por el universo entero. Con esta idea podemos llevar a este objeto más allá del pintor, el espectador ve este depósito y refleja su propio misterio al ver la mitología del artista..
Bueno ya me hize bolas.
besos

Berlín: epicentro del Arte, según Sean Scully

Entrevista a Sean Scully

Tomado de Journal of Contemporary Art

jca-online.com/interviews.html

( Hay muchas entrevistas interesantes)

Sean scully

R. Eric Davis: Why do you make art?

Sean Scully: I think that I wanted to do something in my life that wasn't ordinary - which wasn't normal. I couldn't bear to live my life as a normal person, put another way: conventionally. So if I had a choice between living in suburbia and being dead, I would rather be dead. That implies I am going to do something with my life that is not ordinary. Then it is only a question of what that is. I could have gone into a number of different things.

When I was young I was extremely political. We talked about this the other night. I don't think there is such a thing as effective political art. There is only art that is politicized. You either do politics or you do not. I wasn't interested in pretending to be political while I was an artist. There is another aspect to it. I came from an Irish background and started out life as an immigrant. I went to a convent school and I was yanked out because my parents had a big argument with them and I was put into a state school, which was full of emptiness and violence. In other words, I moved from something very exotic and difficult, but rich and full of mystery and the belief in another reality, in a reality that we couldn't see, that we could only imagine, into something that dealt with just what you could see. What you could imagine did not even seem to be a question. I found the banality of it crushing and the shock profoundly disturbing. I think at that point, taking all of those things into account, at some early moment in my life I decided I was going to be an artist.

Entrevista completa aquí

Mujeres en la Pintura...

Vean este!!

Dípticos

wilton diptych


Jan Van Eyck, Anunciación