Kaleidoscope Eclectic : L'aguirre Arts

Sep 21

surrealism:

Les presage de la guerre by Felix Labisse, 1940. Oil on canvas.

surrealism:

Les presage de la guerre by Felix Labisse, 1940. Oil on canvas.

surrealism:

Cuatro Habitantes de Mexico (Four Inhabitants of Mexico) by Frida Kahlo, 1938. Oil on metal, 32.4 x 47.6 cm. Private Collection, Palo Alto, California.

surrealism:

Cuatro Habitantes de Mexico (Four Inhabitants of Mexico) by Frida Kahlo, 1938. Oil on metal, 32.4 x 47.6 cm. Private Collection, Palo Alto, California.

surrealism:

La Llamada (The Call) by Remedios Varo, 1961. Oil on Masonite, 98.5 x 68 cm.

From Polyxeni Potter’s article in the journal Emerging Infectious Disease:


  The Call, on this month’s cover of Emerging Infectious Diseases, is inhabited by apparitions and has the eerie stillness and depthless unreality of a dream. A flaming female figure charged by a celestial body emanates energy and lights up the scene; around her neck, a single ornament, a chemist’s mortar; in her hand, a laboratory flask, a retort. The lurid presence casts a glow on the dim walls of a hallway. From these walls, like a hallucinogenic distortion, a mournful array of human forms bulge forward, feet anchored to the floor, eyes downcast, bodies lost in outlandish folds: female phantoms, pillars and structural support, trapped in a paralyzing nightmare.
  
  Mysterious and provocative, the architectural stage is cluttered with conflicting clues. The walls are tall; the windows small and out of reach; the sky inflamed; the morbid folds props of oppression. Yet, the floor is elaborately tiled, the doorways arched, the steps well-tended. The stage is firmly cast, oppression is institutionalized.
  
  Varo’s enigmatic Call, part dream part symbolic reality, seems at once a calling and a call to action. The flaming figure wears the signs and halo of science. Bathed in the light of knowledge, she steps forward boldly to dispel the darkness. In the painter’s surreal universe as well as ours, the female phantoms on the wall stand for poverty, confinement, disease. Overlooked by societies, biomedical research, and healthcare systems; battered by AIDS, malaria, and other infections; victimized by globalization; and stigmatized by the very diseases that confine and kill them (5), women slumber in the shadows. The flaming figure’s flask contains the science. Her call is a wake-up call.1




Polyxeni Potter, “Scientific Discovery and Women’s Health" (accessed 2014 July 03) http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3329062 ↩

surrealism:

La Llamada (The Call) by Remedios Varo, 1961. Oil on Masonite, 98.5 x 68 cm.

From Polyxeni Potter’s article in the journal Emerging Infectious Disease:

The Call, on this month’s cover of Emerging Infectious Diseases, is inhabited by apparitions and has the eerie stillness and depthless unreality of a dream. A flaming female figure charged by a celestial body emanates energy and lights up the scene; around her neck, a single ornament, a chemist’s mortar; in her hand, a laboratory flask, a retort. The lurid presence casts a glow on the dim walls of a hallway. From these walls, like a hallucinogenic distortion, a mournful array of human forms bulge forward, feet anchored to the floor, eyes downcast, bodies lost in outlandish folds: female phantoms, pillars and structural support, trapped in a paralyzing nightmare.

Mysterious and provocative, the architectural stage is cluttered with conflicting clues. The walls are tall; the windows small and out of reach; the sky inflamed; the morbid folds props of oppression. Yet, the floor is elaborately tiled, the doorways arched, the steps well-tended. The stage is firmly cast, oppression is institutionalized.

Varo’s enigmatic Call, part dream part symbolic reality, seems at once a calling and a call to action. The flaming figure wears the signs and halo of science. Bathed in the light of knowledge, she steps forward boldly to dispel the darkness. In the painter’s surreal universe as well as ours, the female phantoms on the wall stand for poverty, confinement, disease. Overlooked by societies, biomedical research, and healthcare systems; battered by AIDS, malaria, and other infections; victimized by globalization; and stigmatized by the very diseases that confine and kill them (5), women slumber in the shadows. The flaming figure’s flask contains the science. Her call is a wake-up call.1


  1. Polyxeni Potter, “Scientific Discovery and Women’s Health" (accessed 2014 July 03) http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3329062 

surrealism:

Extrême Nuit by Leonor Fini, 1977. Oil on canvas, 115 x 89 cm.

I wish I had a better resolution image of this. If you have one, please send it to me.

surrealism:

Extrême Nuit by Leonor Fini, 1977. Oil on canvas, 115 x 89 cm.

I wish I had a better resolution image of this. If you have one, please send it to me.

surrealism:

Arbol de la Esperanza (Tree of Hope) by Frida Kahlo, 1946. Oil on masonite, 22 × 16 inches.

surrealism:

Arbol de la Esperanza (Tree of Hope) by Frida Kahlo, 1946. Oil on masonite, 22 × 16 inches.

surrealism:

The Secret Double by René Magritte, 1927. Oil on canvas, 44 ⅞ × 63 ¾ inches. Art Institute of Chicago, Chicago, IL.

Lesley Peterson writes:


  Called grelots, the bells appear as mysterious spheres in many of Magritte’s works, their slits hinting at something hidden within, a symbol of Magritte’s obsession with concealment.

surrealism:

The Secret Double by René Magritte, 1927. Oil on canvas, 44 ⅞ × 63 ¾ inches. Art Institute of Chicago, Chicago, IL.

Lesley Peterson writes:

Called grelots, the bells appear as mysterious spheres in many of Magritte’s works, their slits hinting at something hidden within, a symbol of Magritte’s obsession with concealment.

surrealism:

LUCID by Ruben Martinho, 2014. Collage.

surrealism:

LUCID by Ruben Martinho, 2014. Collage.

surrealism:

Modern dependence: dreaming by Anyuta Pilitsyna, 2012. Oil on canvas, 35 x 40 cm.

surrealism:

Modern dependence: dreaming by Anyuta Pilitsyna, 2012. Oil on canvas, 35 x 40 cm.

surrealism:

In einem spateren Jahr (Wenn auch von anderer Schönheit II) (In One of the Following Years (When Also of Another Beauty II)) by Richard Oelze, 1967. Oil on canvas, 39⅜ x 31½ inches.

surrealism:

In einem spateren Jahr (Wenn auch von anderer Schönheit II) (In One of the Following Years (When Also of Another Beauty II)) by Richard Oelze, 1967. Oil on canvas, 39⅜ x 31½ inches.

surrealism:

This is Not a Surrender by Nico, 2014. Oil on panel, 18 x 27 inches. $2,015.

surrealism:

This is Not a Surrender by Nico, 2014. Oil on panel, 18 x 27 inches. $2,015.

surrealism:

Es Quiador by Remedios Varo. Painting.

surrealism:

Es Quiador by Remedios Varo. Painting.

surrealism:

Large Painting Representing a Landscape by Yves Tanguy, 1927. Oil on canvas.

surrealism:

Large Painting Representing a Landscape by Yves Tanguy, 1927. Oil on canvas.

surrealism:

The Departure by Conroy Maddox. Painting.

surrealism:

The Departure by Conroy Maddox. Painting.

surrealism:

The Giantess by Leonora Carrington, 1950. Oil on canvas.

surrealism:

The Giantess by Leonora Carrington, 1950. Oil on canvas.

70sscifiart:

Bob Eggleton

70sscifiart:

Bob Eggleton