Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

From historic Egypt during the 19th century, Sexual Personae explores the provocative connections among paintings and pagan ritual; among Emily Dickinson and the Marquis de Sade; among Lord Byron and Elvis Presley. It finally demanding situations the cultural assumptions of either conservatives and standard liberals. forty seven photos.

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Nefertiti is like Athena born from the forehead of Zeus, a head-heavy armoured goddess. She is gorgeous yet desexed. She is hieratic decorum and reserve, her head actually a reservoir of containment and curtailment, like her stunted torso. Her ponderous, ostentatious crown is the chilly breeding flooring of Greek express idea. Her tight brow-band is stringency, rigor, channeled principles. The miasmic cloud of mom nature has lifted. Nefertiti's imperious jutting face is the leading edge of western conceptualization and projection. In her profile, all roads bring about the attention. From the facet, diagonals converge in peaking vectors of strength. From front, she rears up like a cobra head, girl as royal intimidator. She is the eyeintense west, the overenlargement and grandiosity of head-culture. The bust of Nefertiti is eye-pleasing yet oppressive. It seems ahead to Bellini's androgynous Doge Loredan, to Neapolitan silver reliquary busts, to Fifties delusion drawings of smiling armless ladies in stylish night robes. Authority, goodwill, aloofness, asceticism. Epiphany as a totem of vibrating passivity. together with her welcoming yet uncanny smile, Nefertiti is western character in its ritual bonds. beautiful and synthetic, she is mind-made photo eternally stuck in radiant Apollonian freezeframe. three Apollo and Dionysus The Greek gods are sharp personalities, interacting in dramatic area. Their visualization was once first completed through blind Homer, in his epic arcs of cinematic mild. Homer's conceptions have been proven by means of Pheidias, the nice sculptor of excessive vintage Athens, from which got here the chilly white monoliths of Roman paintings and structure. In Egypt, sky-cult and earth-cult have been harmonized, yet in Greece there's a break up. Greek greatness is Apollonian. The gods continue to exist a top touching the sky. Olympus and Parnassus are mountain shrines of artistic energy spurning the earth. In that swerve upward is the elegant conceptualism of western mind and paintings. Egypt gave Greece the pillar and huge sculpture, which Greece turns from Pharaoh to kouros, from divine king to divine boy. Hidden in those presents lay Egypt's Apollonianism, which Greek artists so wonderfully boost. The orderly mathematic of the Doric temple is an orchestration of Egyptian principles. Pheidias brings individual and development jointly at the Acropolis or excessive urban, Athens' magic mountain. Egypt invented readability of snapshot, the essence of Apollonianism. From previous nation Pharaohs to Pheidias is 2 thousand years yet one step within the heritage of artwork. Greek sky-cult is an Egyptian colonnade of stony issues, the difficult, harsh blocks of western character. In Judeo-Christianity guy is made in God's picture, yet in Greek faith God is made in man's photo. The Greek gods have a better human good looks, their flesh incorruptible but sensual. Greece, not like Egypt, by no means worshipped beast gods. Greek sky-cult stored nature in her position. The visibility of the Greek gods is highbrow, symbolizing mind's victory over subject. paintings, a glorification of . subject, wins its independence within the gods' perfection.

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