williswillkillus

SMALL BUMPS and LOOPS, [revised]…acrylic and tempera pigment on wood panel, 2013 by Ted Willis.

GREY LOOP #’s 1-2, [revised]; SMALL DARK LOOP; LARGE DARK LOOP….acrylic and tempera pigment on wood panels, [first three], and linen, [last], 2013 by Ted Willis.

Sculpture by Michael Samuels.

http://www.michaelsamuels.co.uk/

May 09

Thorncrown Chapel by E. Fay Jones, Ozarks, Arkansas, 1980.

http://hyperallergic.com/70168/thorncrown-chapel-ozarks-landmark-under-threat/?utm_medium=email&utm_campaign=First+Western+Painting+of+Native+Ame

May 08

Some jokes I remember from too many evenings spent at my local pub….

Short Joke…

A historical marker seen outside a house in Germany… It says, “Heisenberg might have slept here.”

Longer Joke…

Two racehorses are are talking over the events of the last week. The younger horse says, “They take me out to the course, the little guy in silk jammies jumps on my back and starts whipping me. I run around and suddenly everybody is yelling and jumping. The owner kisses me on my nose, puts flowers around my neck and gives me a giant bag of oats.” From way on the other side of the bar a Greyhound interrupts, “Excuse me Gentlemen but I couldn’t help but overhear and I have to say that the exact same thing happened to me last week.” There’s a silence, then one horse looks at the other and says, “Imagine that….a Talking Dog!”

Pages from “The Futurist Cookbook” by F.T. Marinetti. First published in 1931, it included such recipe’s as Carne Plastico, Chicken Fiat, Aerofood, and Italian Breasts in Sunlight. Regrettably the book was approved by Mussolini.

May 07

Ceramic ware by Jennie Jieun Lee.

http://www.jenniejieunlee.com/product/etched-mug

workman:

The common perception is that the great statues and buildings of ancient Greece and Rome were all pure unpainted stone or green tarnished bronze, but researchers have been arguing that this may not been what these classic monuments really looked like back in the era of their creation. That, in fact, these statues were quite alive and vibrant, full of color.

Gods in Color: Painted Sculpture of Classical Antiquity is a travelling exhibition of varying format and extent that has been shown in multiple cities worldwide. Its subject is ancient polychromy, i.e. the original, brightly painted, appearance of ancient sculpture and architecture. It features more than 20 full-size color reconstructions of Greek and Roman works, alongside 35 original statues and reliefs.

The color reconstructions are based on close examination of the originals and on scientific analysis of the scarce traces of paint remaining on them. Ultraviolet light, says Ebbinghaus, “brings out ‘paint ghosts,’ differences in the surface structure of the stone caused by different paints and by the weathering of the paints. It can often give you an idea of patterns, even if no pigments survive.” The paint on these reproductions of stone sculptures appears flat, lacking the depth of, say, oil. “We can identify the colorants—mostly minerals and some plants,” says Ebbinghaus, “but binding media are hard to identify. Egg has been used for the reconstructions. If the minerals were ground more finely, a different binding medium used, the paint polished or covered with a protective coating, the effect would be quite different.”

“We now assume that almost all Greek marble sculpture was painted,” she says. “These reconstructions can only be approximations,” but at least they dispel a popular misconception—that most statues of antiquity were plain old white. Plain would not be thought ideal until the Renaissance.

Researchers believe, particalurly Vinzenz Brinkmann who has been doing this research for the past 25 years, that artists used mineral and organic based colors and after centuries of deterioration any trace of pigment leftover when discovered, would have been taken off during any cleaning processes done before being put on display, washing the historical art clear of its true colors.

The findings of this research completley changes the commonly held modern ideas of the ancient world, and the way we view modern sculpture and art today, much of which was based on those classical Greek and Roman styles.

Sources: x x x x.