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 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.
Eric Michael Johnson for The New York Times
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.
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))
2 〈反乱などを〉そそのかして［扇動して］起こさせる
［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・tor
[名]
daub (dôb) 
v.,
daubed,
daub·ing,
daubs.
v.tr.
- To cover or smear with a soft adhesive substance such as plaster, grease, or mud.
- To apply paint to (a surface) with hasty or crude strokes.
- To apply with quick or crude strokes: daubed glue on the paper.
v.intr.
- To apply paint or coloring with crude, unskillful strokes.
- To make crude or amateurish paintings.
- To daub a sticky material.
n.
- The act or a stroke of daubing.
- A soft adhesive coating material such as plaster, grease, or mud.
- Matter daubed on.
- 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.]
(
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）
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.
daub・er・y〔-
ri〕
,
-i·er,
-i·est.
- Nervous or irritable: The performers were edgy as they waited for the show to begin.
- Having a sharp or biting edge: an edgy wit.
- 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".
https://plus.google.com/.../posts/9NqTfxS3fvR
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]
[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 ]
[名]
2 胸像；人物像.
3 （人物についての）言葉による描写, 叙述.
［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."
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Vivid: Andy Warhol's Marilyn
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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.
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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
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
Origin
early 20th century: French, literally 'disastrous woman'.
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rot・gut 〔俗〕 強い安酒.
