portraiture, Self-Portrait, daub, head-and-shoulders, portrait Swinging Sixties. eye-catching, edgy, swastikas, gammadion, femme fatale, stiletto

Emily Dickinson head-and-shoulders portrait via The Library of Congress

BBC Culture
Sex on legs?

The spiky-heeled stiletto has been the femme fatale's footwear of choice since the 1950s. Katya Foreman pays tribute to an icon of style:

http://www.bbc.com/culture/story/20140124-sex-on-legs-the-stiletto

Royal portraiture

The queen is dead

The real subject of a royal portrait is never the monarch

http://en.wikipedia.org/wiki/Swastika
The Sanskrit term has been in use in English since 1871, replacing gammadion (from Greek γαμμάδιον). Alternative historical English spellings of the Sanskrit phonological words with different meanings to include suastika, swastica and svastica.

Bronze Age Mycenaean "doll" with human, solar and tetragammadion (swastika) symbols. Louvre Museum, Paris.

Eric Michael Johnson for The New York Times

In Brooklyn, a March With a Message

By BETH KORMANIK

After spray-painted swastikas見上圖之旗幟 and burnt cars appeared on Friday in Midwood, a heavily Jewish neighborhood, residents gathered on Sunday preaching unity.

Not literally of course. The plot of "Youth Without Youth" is an otherworldly blend of moods and genres. At first Matei's story, which begins in Bucharest in 1938, seems like a World War II-era spy thriller, complete with Nazi agents in trench coats and a femme fatale with swastikas on her garters. But the political intrigue dissipates once Matei falls in love with a young woman who seems able to travel backward in time, and the movie settles into a curious blend of romance, mystery and philosophical speculation.


TAIPEI—A Taiwanese regulator approved an application by Asian media tycoon Jimmy Lai to start a television news station on the island, reversing two years of rejections that reflected concerns about his edgy style but that also drew criticism from media freedom advocates.
The decision by the National Communications Commission, announced Wednesday, paves the way for Mr. Lai's Next Media Ltd. to set up a channel as soon as it can find a distributor.




Vandals daub former Nazi concentration camp with swastikas

Right-wing vandals have daubed swastikas at a former Nazi concentration
camp. They slipped unseen into the Neuengamme camp, which is now an open
memorial site, along with the general public during normal opening hours.

The DW-WORLD Article
http://newsletter.dw-world.de/re?l=ew4fegI44va89pI5






Edgy Capital Pours Back Into Japan, and Yen Soars

According to the International Energy Agency, based in Paris, Japan consumed half as much energy per dollar worth of economic activity as the European Union or the United States, and one-eighth as much as China and India in 2005. While the country is known for green products like hybrid cars, most of its efficiency gains have been in less eye-catching areas, for example, in manufacturing.

Day in pictures

Eye-catching images from around the world

Paul McIlhenny, Tabasco Empire Chief, Dies at 68

By KEN BELSON

The chief executive and culinary instigator of the McIlhenny Company invited guests to lick fiery daubs of Tabasco sauce, earning them entry into the Not So Ancient Order of the Not So Silver Spoon.

instigate

in • sti • gate

発音

ínstəgèit

レベル

社会人必須

instigateの変化形

instigated (過去形) • instigated (過去分詞) • instigating (現在分詞) • instigates (三人称単数現在)

[動](他)

1 〈人を〉扇動する, 〈人に〉（…するよう）そそのかす((to do))

instigate the students to violence
学生を扇動して暴力に訴えさせる.

2 〈反乱などを〉そそのかして［扇動して］起こさせる

instigate a rebellion
そそのかして反抗をさせる.

［ラテン語instigātus（in-上に＋stinguere刺す＋-ATE¹＝刺してそそのかす）. △INSTINCT, DISTINGUISH］

ín・sti・gà・tive

[形]

ín・sti・gà・tor

[名]

daub (dôb)
v., daubed, daub·ing, daubs. v.tr.

1. To cover or smear with a soft adhesive substance such as plaster, grease, or mud.
2. To apply paint to (a surface) with hasty or crude strokes.
3. To apply with quick or crude strokes: daubed glue on the paper.

v.intr.

1. To apply paint or coloring with crude, unskillful strokes.
2. To make crude or amateurish paintings.
3. To daub a sticky material.

n.

1. The act or a stroke of daubing.
2. A soft adhesive coating material such as plaster, grease, or mud.
3. Matter daubed on.
4. A crude, amateurish painting or picture.

[Middle English dauben, from Old French dauber, from Latin dēalbāre, to whitewash : dē-, intensive pref.; see de- + albus, white.]

dauber daub'er n.
daubery daub'er·y (dô'bə-rē) n.

音節

daub

発音

dɔ'ːb

daubの変化形

daubs (複数形) • daubed (過去形) • daubed (過去分詞) • daubing (現在分詞) • daubs (三人称単数現在)

daubの慣用句

dauber, daubery, （全2件）

[動](他)

1 〈壁などを〉（しっくい・泥などで）塗りつぶす, に（…を）塗る((with ...))（▼全面を塗る意）；〈しっくい・泥などを〉（壁などに）塗る((on ...))（▼全面でなく一部を塗る意）

daub a wall with paint
壁をペンキで塗りつぶす

daub mud on the wall
壁に泥をつける.

2 …を（意図的に）よごす.

3 〈絵を〉へたに描く.

━━(自)塗料を塗る；へたな絵をかく.

━━[名]

1 塗りつけられた物；しみ, よごれ.

2 [U]塗ること；[C][U]壁塗りの材料：しっくい・モルタルなど.

3 へたな絵.

4 （粘着性のある物の）少量((of ...))

a daub of paint
少量のペンキ.

daub・er

[名]左官；へぼ絵かき；はけ.

daub・er・y〔-ri〕

[名][U][C]へたな絵；いいかげんな仕事.

eye-catching Show phonetics
adjective
particularly attractive or noticeable:
an eye-catching poster


edgy

adj., -i·er, -i·est.

1. Nervous or irritable: The performers were edgy as they waited for the show to begin.
2. Having a sharp or biting edge: an edgy wit.
3. Daring, provocative, or trend-setting: an exhibition of edgy photographs; an edgy menu.

edgily edg'i·ly adv.
edginess edg'i·ness n.

Swinging SixtiesThe 1960s decade refers to the years from January 1, 1960 to December 31, 1969, inclusive. The Sixties has also come to refer to the complex of inter-related cultural and political events which occurred in approximately that period, in Western countries, particularly Britain, France, the United States and West Germany. Social upheaval was not limited to just these nations, reaching large scale in nations such as Japan, Mexico and Canada as well. The term is used both nostalgically by those who participated in those events, and pejoratively by those who regard the time as a period whose harmful effects are still being felt today. The decade was also labeled the Swinging Sixties because of the libertine attitudes that emerged during this decade.

Wikipedia article "Swinging London".

Van Gogh's 'Self-Portrait Dedicated to Paul Gauguin' http ...

https://plus.google.com/.../posts/9NqTfxS3fvR

Hanching Chung

Jan 24, 2016 - Van Gogh's 'Self-Portrait Dedicated to Paul Gauguin' http://www.thecrimson.com/article/2015/3/3/arts-cover-van-gogh Portrait of the Artist: Behind Van Gogh's ...

Self-Portrait= Autoportrait
1905 - 1906
Huile sur toile
54 x 46 cm
© Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP
© domaine public

portrayal
the act or process or an instance of portraying : representation 2 : portrait

portraiture[por・trai・ture]

• 発音記号[pɔ'ːrtrətʃər]

[名]

1 [U]（絵画・写真などによる）人物描写, 肖像画法；言葉での描写.

2 肖像画.

head-and-shoulders  上半身照

portrait[por・trait ]

• 発音記号[pɔ'ːrtrit]

[名]

1 肖像（画）, （特に）似顔絵, 顔写真

family portraits
家族の肖像画.

2 胸像；人物像.

3 （人物についての）言葉による描写, 叙述.

4 似ているもの, 生き写し

He is an exact portrait of his father.
父親そっくりだ.

［中フランス語pourtraire （pour-前に＋traire描く＝描き出す）＋-t（過去分詞語尾）＝描き出されたもの. △TRACE¹］

por・trait・ist

[名]肖像画家.

The other face of Pop Art

Last Updated: 12:01am BST 16/10/2007

The artists who celebrated Swinging Sixties glamour and consumerism also changed the course of portraiture, says Jane Neal

Pop Art Portraits It's 50 years since Richard Hamilton gave his seminal definition of Pop Art: "Pop Art is popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, big business… This is just the beginning." Vivid: Andy Warhol's Marilyn Though he may have felt like the pioneer of something hugely exciting, Hamilton could never have anticipated just how big a business Pop Art would become. His contemporaries included Robert Rauschenberg, Roy Lichtenstein, Peter Blake, James Rosenquist and Andy Warhol – artists who have produced some of the 20th century's most recognisable imagery, such as Warhol's vivid, 1967 silk-screen series, Marilyn. Pop Art has become synonymous with the Swinging Sixties, art for a new age driven by consumerism, mass production and technology. Reinforced in part by comments from critics such as the late David Sylvester, who said "the peculiar thing about Pop Art is that it is more often a form of still-life painting than of figurative painting… it doesn't depict men drinking, but the can of beer", Pop Art has come to be regarded as being all about consumption and objects. Yet, according to Paul Moorhouse, curator of the National Portrait Gallery's new Pop Art Portraits exhibition, this is only half the story. Pop Art Portraits is the first show to consider the significance of the portrait within the movement. It tells the story of the development of Pop's relationship to portraiture through 51 works, beginning with London-based artist Eduardo Paolozzi's BUNK! Evadne in Green Dimension (1952), a groundbreaking collage featuring a photograph of celebrity strongman Charles Atlas using one hand to lift a "new" family saloon car.

Before this edgy piece with its bizarre arrangement of imagery sourced from American magazines, British artists had never considered the impact of mass production on society. America was warming to shopping, but Britain was still experiencing rationing. Paolozzi could see what was coming. His Atlas is a god of consumerism.

The exhibition progresses chronologically, but it is also divided into six distinct sections. The most intriguing is "Portraits and Style". This room could be named "Men in Suits" – the gallery is full of them, beginning with Jim Dine's freaky Green Suit (1959), an actual suit daubed with green paint, and continuing with Patrick Caulfield's painted portrait of Juan Gris (1963). The works are a humorous and pointed reference to Pop's male-domination: paradoxically, while nearly all of Pop's artists were male, their subjects were predominantly attractive females.

Moorhouse acknowledges this in the following section, "Fantasy", a cul-de-sac of pin-up imagery. The sexy imagery doesn't simply eroticise women; it also reveals the growing trend of using women to sell products and shows how fame can transform a person into a "thing" robbed of personal identity.

The exhibition makes it clear that the price of fame was the motivation behind many of Pop's portraits. By 1967, even Warhol seems weary of the circus of celebrity – his luridly pink Self Portrait (1967) depicts him partially obscuring his face with his hand, a classic gesture of concealment.

Pop Art Portraits is engaging and insightful and Moorhouse's argument that "Pop Art is about people in a world of objects" is convincing. The show is a Who's Who of 1950s and '60s icons, punctuated with unexpected treasures such as Claes Oldenburg's chilling sculpture Ghost Wardrobe (for MM) (1967). In common with all the works on display in the dimly lit "Marilyn" room, the sculpture refers to Marilyn's death, and, in this case, the annihilation of her personal identity as the price of fame.

Coinciding with the National Portrait Gallery's show, Pop Art Is… at the Gagosian Gallery in Britannia Street, central London, also takes its lead from Hamilton's statement. In addition to considering Pop Art's original giants, the exhibition examines the practice of their successors, presenting works by more than 40 artists. The show is visually stunning, an eye-catching array of bold and brilliant shapes and colours.

The exhibition begins with early Rauschenberg silk-screens such as Transom (1963), with its weird mélange of Velázquez's Toilet of Venus and military imagery, and continues by looking at the various ways Pop Art has sustained its position in contemporary art.

The show raises a big question: how have subsequent generations of artists such as Jeff Koons, Richard Prince, Mike Kelly and Damien Hirst continued to refer to consumerism, mass production and pop phenomena?

Most recently, Nate Lowman takes re-appropriation to another level with his winsomely erotic It's Nothing Personal/Curtains (2007), a grainy black-and-white version of Vanity Fair's 2006 cover featuring Tom Ford, Keira Knightley and Scarlett Johansson, itself a reworking of Manet's Le Déjeuner sur l'herbe (1863).

In an age of rampant consumerism and the glorification of celebrity, these two exhibitions couldn't be more timely.

'Pop Art Portraits' until Jan 20; tickets 0870 013 0703. 'Pop Art Is…' until Nov 10; information 020 7841 9960         femme fatale Line breaks: femme fa¦tale Pronunciation: /ˌfam fəˈtɑːl   / noun (plural femmes fatales pronunc. same) an attractive and seductive woman, especially one who will ultimately cause distress to a man who becomes involved with her: a femme fatale who plays one man off against another in pursuit of money More example sentences Origin early 20th century: French, literally 'disastrous woman'.