« Le meilleur de la vie se passe à dire “Il est trop tôt”, puis “Il est trop tard”. »
Jacopo del Sellaio, Orfeo, Eurídice y Aristeo 1480
Albrecht Durer The death of Orpheus 1494
Titian Orpheus and Eurydice c.1508
Leu d. J., Hans Orpheus 1519
Jacob Savery Orpheus charming the animals 1567
Sebastian Vrancx Orpheus and the Beasts 1595
Nicolas Poussin, Orphée et Eurydice 1648
Giovanni Antonio Burrini, Orfeo y Eurídice 1697
Pieter Paul Rubens Orfeo e Euridice 1635
Orpheus (Ancient Greek: Ὀρφεύς) was a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music; his attempt to retrieve his wife, Eurydice, from the underworld; and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, opera, and painting. For the Greeks, Orpheus was a founder and prophet of the so-called “Orphic” mysteries. He was credited with the composition of the Orphic Hymns, a collection of which survives. Shrines containing purported relics of Orpheus were regarded as oracles. Some ancient Greek sources note Orpheus’s Thracian origins.The earliest literary reference to Orpheus is a two-word fragment of the sixth-century BC lyric poet Ibycus: onomaklyton Orphēn (“Orpheus famous-of-name”). He is not mentioned in Homer or Hesiod. Most ancient sources accept his historical existence; Aristotle is an exception.
Nicolas Poussin, Orphée et Eurydice 1648
Gregorio Lazzarini Orpheus and the bacchantes 1710
Michel Martin Drolling – Orphée et Eurydice 1820
Jean-Baptiste Corot Orphée ramenant Eurydice des enfers 1861
Gustave Moreau Orphée1865.jpg
Gustave Moreau, Orphée sur la tombe d’Eurydice 1890
Emile Levy, La mort d’Orphée 1866
George Frederick Watts Orpheus and Euridice 1870
John Roddam Spencer Stanhope Orpheus 1878
Pascal Adolphe Jean Dagnan-Bouveret, Orpheus lament 1876
Franz Von Stuck, Orpheus 1891
Auguste Rodin Orphée et Eurydice 1893
Gaston Bussiere, La gloire (ou Orphée) 1881
Pindar calls Orpheus “the father of songs” and identifies him as a son of the Thracian king Oeagrus and the Muse Calliope: but as Karl Kerenyi observes, “in the popular mind he was more closely linked to the community of his disciples and adherents than with any particular race or family”.Greeks of the Classical age venerated Orpheus as the greatest of all poets and musicians: it was said that while Hermes had invented the lyre, Orpheus perfected it. Poets such as Simonides of Ceos said that Orpheus’ music and singing could charm the birds, fish and wild beasts, coax the trees and rocks into dance, and divert the course of rivers. He was one of the handful of Greek heroes to visit the Underworld and return; his music and song even had power over Hades.
Jean Delville Orphée 1893
Odilon Redon, La mort d’Orphée 1900
Odilon Redon Orphée 1903
John William Waterhouse Nymphs Finding the Head of Orpheus 1900
Charles de Sousy Ricketts Orpheus and Eurydice 1922
Marc Chagall Orpheus 1977
From Jean Cocteau’s “Orphée” 1950
Orpheus with his lute made trees
And the mountain tops that freeze
Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Every thing that heard him play,
Even the billows of the sea,
Hung their heads and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.
“Language is like a cracked kettle on which we beat out tunes for bears to dance to, while all the time we long to move the stars to pity.”
― Gustave Flaubert, Madame Bovary
Alvin Langdon Coburn was born in Boston, Massachusetts, on 11th June, 1882. Coburn was an amateur photographer until he met Edward Steichen in 1899. Coburn opened a studio in New York City and became a member of the Camera Club. In 1903 Coburn joined with Alfred Stieglitz, Edward Steichen, Clarence White and Gertrude Kasebier to form the Photosecession Group. In 1904 Coburn moved to London where he developed a reputation for photographing the portraits of celebrities such as George Bernard Shaw and George Meredith. Coburn’s portraits were collected and published in the books, Men of Mark (1913) and More Men of Mark (1922). In London Coburn associated with a group of artists who called themselves Vorticists. The group included Wyndham Lewis, Henri Gaudier-Brzeska, Charles Nevinson, and William Roberts. In his journal, Blast (1914-15), Lewis attacked the sentimentality of 19th century art and emphasized the value of violence, energy and the machine. In the visual arts Vorticism was expressed in abstract compositions of bold lines, sharp angles and planes. At this time Coburn began experimenting with what he called vortographs. These were abstract pictures of crystals taken through a triangular tunnel of mirrors called a Vortoscope. In the 1920s Coburn became increasingly interested in mysticism. However, he continued to take photographs until his death in Denbighshire, Wales, on 23rd November, 1966.
Broadway At Night, c1910
Kensington Gardens 1910
Regent’s Canal, London, 1904
House of a Thousand Windows 1912
The Bubble, circa 1908
Minor Martin White (July 9, 1908 – June 24, 1976) was an American photographer born in Minneapolis, Minnesota. His were often photographs of barns, doorways, water, the sky, or simple paint peeling on a wall: things usually considered mundane, but often made special by the quality of the light in which they were photographed. One of his more popular photographs is titled Frost on Window, a close-up of frost crystals on glass. The specific objects themselves are of secondary importance either to the photographer or the viewer. Instead, such a photograph captures a sentiment or emotionally symbolic idea using formal and structural elements that carry a feeling or sense of “recognition”: a mirroring of something inside the viewer. White was a closeted bisexual man and felt tormented through much of his life by his then socially-unacceptable feelings for young men. Much of this erotic turmoil expressed itself in his post-war subject matter and style, and in his spiritual search for peace and simplicity. Several of his photographs of male nudes are considered to be the masterworks of the genre, but were only published in 1989. On his death White was hailed as one of America’s greatest photographers. He is remembered largely for his ideas about the spiritual in photography.
Moon And Wall, Encrustations – Pultneyville, New York
Movement Studies Number 56
San Mateo County Coast, California
Minor Martin White (July 9, 1908 – June 24, 1976). Fotógrafo, profesor, editor y crítico estadounidense. Considerado heredero artistico directo de Ansel Adams. Nació en Minneapolis, Minnesota en 1908. Estudió botánica en la Universidad de Minnesota en el 33 y trabajó varios años en diversas ocupaciones antes de dedicarse plenamente a la fotografía de la que simpre se sintió atraido. Fue completamente autodidacta y partidario de un enfoque directo y documental en sus primeros trabajos. Funo de los fotógrafos más influyentes de la segunda mitad del siglo XX, además de un reconocido profesor, crítico y editor. Homosexual en un momento en que la homosexualidad estaba estrictamente perseguida en U.S.A. Las imágenes fotográficas que Minor White nos ha legado son el testimonio de la importancia de lo sencillo, los graneros, las puertas, el agua, el cielo, o una simple pared, aquellas cosas a las que no solemos prestar atención y que el logra hacernos ver bajo nuevas formas, envueltas por la calidez de la luz con que fueron fotografiadas.
Herri met de Bles (also known as Henri Blès, Herri de Dinant, Herry de Patinir, and Civetta) (c. 1510 – c. 1555–1560) was a Flemish Northern Renaissance and Mannerist landscape painter, native of Bouvignes-Dinant (Wallonia). Very little is positively known about the artist. He is believed to be a certain Herry de Patenir who joined Antwerp’s Guild of St. Luke in 1535 as a painter and is also believed to be a court painter for the d’Este Dukes of Ferrara, where he ended his career known as “Il Civetta”. He contributed, along with his possible-uncle Joachim Patinir, to a distinct style of Northern Renaissance landscape painting that combined small history or religious scenes into compositions defined by perspective and atmospheric effects. Also, along with a group of Antwerp-based followers of Hieronymus Bosch that included Jan Mandyn, Pieter Huys, and Jan Wellens de Cock, Met de Bles continued the tradition of fantastic imagery into northern Mannerism.
John Atkinson Grimshaw was born 6 September 1836 in Leeds. In 1856 he married his cousin Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the Great Northern Railway to become a painter. He first exhibited in 1862, mostly paintings of birds, fruit and blossom, under the patronage of the Leeds Philosophical and Literary Society. He became successful in the 1870s and rented a second home in Scarborough, which became a favourite subject. Grimshaw’s primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he created landscapes of accurate colour, lighting, vivid detail and realism. He painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. His careful painting and skill in lighting effects meant that he captured both the appearance and the mood of a scene in minute detail. His “paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene.”
Full Moon behind Cirrus Cloud from the Roundhay Park Castle Battlements
The Lady of Shalott
The lotus gatherer
Liverpool Quay by Moonlight
In Peril (The Harbour Flare)
Endymion on Mount Latmus
The anguish expressed in the art of Marcel Roux – a complex blend of asceticism and decadence – makes him a unique and haunting figure. Roux was born in Bessenay (Rhône), where there is now a Musée Marcel Roux celebrating his art. After studying at the Beaux-Arts in Lyon, he became a pupil of Paul Borel. Both men shared a passionate, almost unhealthily fervent Catholicism. In Marcel Roux this devout faith is so feverish in its intensity it resembles no artists more than the princes of darkness, Félicien Rops and Charles Baudelaire. Marcel Roux was inspired to specialise in etching after seeing the etchings of Rembrandt. Rembrandt’s mastery of light and shade can be seen in Marcel Roux’s etchings, but they also have the phantasmagorical passion of Goya. Essentially a visionary, working within a Symbolist aesthetic, Marcel Roux was haunted by the idea of death and hell, and tormented by a sense of social injustice and human suffering. As a result, religious and social themes intertwine in his work in a mysterious and powerful way.Marcel Roux’s health never recovered from his experiences as a medical orderly in WWI, and he died prematurely in 1922 at the age of only 44.
Site of the Marcel Roux Museum: http://ampaen.mumaro.free.fr/index.html