the white lighter

Admittedly, this blog and its maintainer have eclectic tastes. "Eclectic," as you might suspect, is a nice way of saying that there is very little intertwining theme to any of this. If you end up liking some (or most) of the things I like, you might find that wondrous.

I seek to post only items which are credited to the originator, be it fine art, photography, tattoos, or writing. If you see something uncredited, do feel free to point it out to me. Also: ask anything. Call me out if I fuck up. Give props if you feel like it. Ask questions. I like internet interaction.
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welovepaintings:

Berman, Eugene (1899-1972)
Sunset - Medusa
1945
(North Carolina Museum of Art, USA)
___
In Sunset (Medusa) the female figure, clothed in velvet and lace, kneels grandly on a shallow stage before a ruined wall—an ominous setting for this eerie and uncertain drama. The heightened clarity of the image as much as the trompe l’oeil monogram at the bottom edge suggest Northern Renaissance art, specifically that of the German master Albrecht Dürer. According to Emily Genauer, writing in Art Digest in 1949, Berman explained that the “curious, spattered, almost mouldy surface” of his paintings symbolized “all the bullet-holes with which the world’s walls have been peppered during [World War II], as well as our whole moral and spiritual degeneration.” The beauty of the writhing locks of Berman’s Medusa, modeled by the film actress Ona Munson (later Berman’s wife), suggests a comic, Freudian interpretation of the snake-haired Gorgon of Greek mythology, whose horrific features turned men to stone.
Artnc.org

welovepaintings:

Berman, Eugene (1899-1972)

Sunset - Medusa

1945

(North Carolina Museum of Art, USA)

___

In Sunset (Medusa) the female figure, clothed in velvet and lace, kneels grandly on a shallow stage before a ruined wall—an ominous setting for this eerie and uncertain drama. The heightened clarity of the image as much as the trompe l’oeil monogram at the bottom edge suggest Northern Renaissance art, specifically that of the German master Albrecht Dürer. According to Emily Genauer, writing in Art Digest in 1949, Berman explained that the “curious, spattered, almost mouldy surface” of his paintings symbolized “all the bullet-holes with which the world’s walls have been peppered during [World War II], as well as our whole moral and spiritual degeneration.” The beauty of the writhing locks of Berman’s Medusa, modeled by the film actress Ona Munson (later Berman’s wife), suggests a comic, Freudian interpretation of the snake-haired Gorgon of Greek mythology, whose horrific features turned men to stone.

Artnc.org

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