art
- Excerpt from Soviet Space Graphics, print graphic
What's not to dig -- the colors, the workers, the vision
- Yuri Gagarin: The first human in space.
"Dear friends, both known and unknown to me, fellow countrymen, men and women of all lands and continents! In a few minutes a mighty spaceship will take me into the far-away expanses of the Universe. What can I say to you in these last minutes before the start?
I see my whole past life as one wonderful moment. Everything I have experienced and done till now has been in preparation for this moment. You must realise that it is hard to express my feelings now that the test for which we have been training ardently and long is at hand.
I don't have to tell you what I felt when it was suggested that I should make this flight, the first in history. Was it joy? No, it was something more than that. Pride? No, it was not just pride. I felt very happy - to be the first in space, to engage in an unprecedented duel with Nature - could one dream of anything greater than that?
But then I thought of the tremendous responsibility of being the first to accomplish what generations of people had dreamed of, the first to show man the way into space... Can you think of a task more difficult that the one assigned to me. It is not responsibility to a single person, or dozens of people, or even a collective. It is responsibility to all Soviet people, to all mankind, to its present and its future. And if I am nevertheless venturing on this flight, it is because I am a Communist, because I draw strength from unexampled exploits performed by my compatriots, Soviet men and women. I know that I shall muster all my will power the better to do the job. Realising its importance, I will do all I can to carry out the assignment of the Communist Party and the Soviet people.
Am I happy to be starting on a space flight? Of course I am. In all times and all eras man's greatest joy has been to take part in new discoveries.
I would like to dedicate this first space flight to the people of communism, a society which our Soviet people are already entering, and which, I am confident, all men on earth will enter. It is a matter of minutes now before the start. I say to you good-bye, dear friends, just as people say to each other when setting out on a long journey. I would like very much to embrace you all - people known and unknown to me, close friends and strangers alike.
See you soon!"
"Orbiting Earth in the spaceship, I saw how beautiful our planet is. People, let us preserve and increase this beauty, not destroy it!"
- Ukiyo-e.org • A searchable site with 213,000 Japanese woodblock prints
I found that print by searching for
cat
. I only used the site for a couple minutes but it seems pretty cool. There's no copyright protection or other annoying crap.> Utagawa Kuniyoshi: Umegae muken no mane 梅が枝無間の真似 (Parody of Umegae Striking the Bell of Limitless [Hell]) / Ryuko neko no tawamure 流行猫の戯 (Fashionale Cat Games) - British Museum - Ukiyo-e Search > > Description: > > Woodblock print, oban tate-e. A cat impersonating a female kabuki character has struck an octopus on the head with a wooden scoop.
- 'Mallard' steam locomotive - Gerald Coulson (1938) oils.
Fastest steam train in the world! Goes by like a Blur.
- 3D Population density map of China (plus Korea and a bit of Vietnam), by Alasdair Rae
interesting how Taiwan's population is distributed, apparently the east is mostly mountains
- I like making fake paintings with AI. This one is my favorite so far
Made with Stable Diffusion
~(Are AI pics allowed?)~
- 3D population density map of the Middle East, by Alasdair Rae
damn, look at that Nile river !stonks-up
- (shitpost) a furry comrade to balance out that cring troop post [OC]
In response to: https://hexbear.net/comment/3656677
short sketch, thought it'd be funny idk lol
- One People, One Planet / Everything For Everyone
OC based on some ecofashist bullshit I've seen online.
https://t.me/TheRevolutionWillNotBeOnTelegram
- Present! (by @asterisk_kome on Twitter)
https://twitter.com/asterisk_kome/status/1615692669841477634
- A bathroom (digital illustration)www.tumblr.com fattylime
a study i did because i realized idk how to draw environments at all LMAO a few people have asked, so this is a now a print <3
- Nicholas Gurewitch
Unveiling the Darkly Hilarious World of The Perry Bible Fellowship Comics
Just came across this. The avocadoposts website is weird but this article has a good sample of Perry Bible Fellowship Comics.
- Origami faces
Origami Shadow Art of Actual Faces
A tweet.
> This extraordinary piece by artist Kumi Yamashita created for the American Express office lobby in Tribeca, New York, was made using carefully creased origami paper and a single light source to sculpt the employees profiles from their photos.
- Toucan Lamp
> The True Story of the Toucan Lamp | Barnebys Magazine > > Born in the 1970s from the brilliant mind of Enea Ferrari, the Toucan Lamp is one of the most sought-after vintage items on the market. Alessandro Zavater, the designer's nephew, tells us more.
- 12,795 possessions! Woman who photographed every single thing she owns - Discovers she doesn't need 99% of themwww.theguardian.com 12,795 possessions! Meet the woman who photographed every single thing she owns
Barbara Iweins spent four years taking pictures of every object in her home, from her own clothes to her kids’ toys. She realised she could live without 99% of them
"If I had known how much work was involved, perhaps I never would have started.” Belgian photographer Barbara Iweins is thinking about the decision she made six years ago to photograph every object she owned. The project took four years and 12,795 photos later, her task was complete. Now her work is on show at the Cortona on the Move photography festival in Tuscany.
- I scribbled down a thing
There were a lot of good suggestions though which I might come back to. I just quickly did this as a sort of warm up.
Also did I mention I'm a shit artist?
Also did I mention I can't draw circles?
- S-F Magazine, a Japanese Sci-Fi publication from 1982 with Guin Saga on the cover.
Some day I should actually learn Japanese so I can read Quin Saga in full and the treasure trove that's out there of cool JP hobby magazines.
- Buggin Up
Did some concept sketches and design docs for bug game today, here's some of the enemy design art. We've got a half-dead husk and some banditos. Not pictured: the giant Grub - I've still gotta figure out how to make the anatomy work on that guy.
- Norwegian Dad hiking with family discovers bronze age paintings on rock face
https://news.artnet.com/art-world/norway-dad-hiking-bronze-age-rock-paintings-2325758
- A railway in a small Chinese village
https://www.flickr.com/photos/32681890@N06/7294095916/in/pool-bestofchinarailway/
- Magdalena Carmen Frida Kahlo - New General Megathread for the 6th of July 2023
(Magdalena Carmen Frida Kahlo; Coyoacán, Mexico, 1907 - id., 1954) Although she moved in the environment of the great Mexican muralists of her time and shared their ideals, Frida Kahlo created an absolutely personal painting, naive and deeply metaphorical at the same time, derived from her exalted sensitivity and several events that marked her life.
At the age of eighteen Frida Kahlo suffered a serious accident that forced her to a long convalescence, during which she learned to paint, and which probably influenced the formation of the complex psychological world that is reflected in her works. In 1929 she married the muralist Diego Rivera; three years later she suffered an abortion that deeply affected her delicate sensibility and inspired two of her most valued works: Henry Ford Hospital and Frida and the Abortion, whose complex symbolism is known through the explanations of the painter herself.
Her self-portraits, also of complex interpretation, are also highly appreciated: Self-Portrait with Monkeys or The Two Fridas. When André Breton became acquainted with Frida Kahlo's work, he said that the Mexican was a spontaneous surrealist and invited her to exhibit in New York and Paris, the latter city where she was not very well received. Frida never felt close to surrealism, and at the end of her days she openly rejected that her artistic creation was framed in that trend.
In her search for Mexico's aesthetic roots, a trait she shared with Diego Rivera and the muralists (David Alfaro Siqueiros, José Clemente Orozco), Frida Kahlo produced splendid portraits of children and works inspired by pre-Conquest Mexican iconography, but it is the canvases that focus on herself and her eventful life that have made her a leading figure in 20th century Mexican painting.
The work of Frida Kahlo
The production of the Mexican artist is an example of that type of art that serves as a powerful instrument with which to exorcise the anguish of a hostile reality. The tragic sign of her existence, marked by the struggle against illness, had begun when, at the age of six, she contracted polio, which left her with serious after-effects. In 1925 she suffered a serious traffic accident that fractured her spine and pelvis. In addition to making it impossible for her to have children, the accident was the cause of numerous future operations and her health was always precarious.
Through painting, which she began to practice during the long months of immobility after the accident, Frida Kahlo would superbly reflect the collision between her longing for happiness and the insistent threat of its destruction, while conjuring the irreducible duality between dreams (of love, of children) and reality (pain and impotence).
During her convalescence from the accident, unable even to sit up, she began to paint, taking herself as her main model. A mirror was placed under the canopy of her bed and a carpenter made her a kind of easel that allowed her to paint while lying down. This was the beginning of a long series of self-portraits, a theme that occupies the bulk of her production, fundamentally autobiographical in nature. On one occasion she stated, "I portray myself because I spend a lot of time alone and because I am the subject I know best." In a short time Frida developed a symbolic vocabulary of her own; with it she accompanied her portraits to metaphorically represent her experiences and her thoughts.
Influenced by the ideas of identity vindication propagated by revolutionary nationalism, Frida dressed in long Mexican skirts, bows braided with colorful ribbons and pre-Columbian necklaces and earrings. Thus we find her in Self-Portrait as a Tehuana (1943, Natasha Gelman Collection, Mexico City), represented as an "authentic" Mexican and accentuating her mestizo features (she had Spanish, Indian and German blood). The backgrounds of some of her works are a product of this same nationalist ideology, such as Self-Portrait with Monkeys (1943, Natasha Gelman Collection, Mexico City), in which her figure appears cut out on jungle plants and surrounded by animals, or those in which she takes up images of pre-Columbian culture, such as My Nanny and I (1937, Dolores Olmedo Collection, Mexico City).
At other times, as in Autorretrato - El Marco (1938, National Museum of Modern Art, Georges Pompidou Center, Paris), he draws his inspiration from popular imagery and very specifically from the retablos charged with that naïve and colorful baroque style so specifically Mexican that vividly combines the spectacular with the scatological.
One of the most common forms of Mexican folk art are the votive offerings. Frida links her narrative paintings to this tradition by synthetically representing the most significant and expressive elements. The small size of the paintings and the technique (oil on metal plate) also come from them.
This fusion between personal themes and the forms of popular imagery is emblematically expressed in the work Henry Ford Hospital (1932, Dolores Olmedo Collection, Mexico City). Despite the accident, Frida hoped that her second pregnancy would come to term, but her fractured pelvis could not accommodate the development of a child. The traumatic experience of a new miscarriage was the origin of the painting.
The adoption of the narrative forms of votive offerings is best exemplified in a singular piece entitled Retablo (1943, private collection). Frida had found an ex-voto depicting the collision between a train and a bus; an injured girl lay on the tracks and the image of the Virgen de los Dolores floated above the scene. Adding his own eyebrows to the girl and some lettering to the train and bus, he turned it into a representation of his own accident. At the bottom he wrote: "Husband and wife Guillermo Kahlo and Matilde C. de Kahlo give thanks to the Virgen de los Dolores for saving their little girl Frida from the accident that occurred in 1925 at the corner of Cuahutemozin and Calzada de Tlalpan."
After overcoming some serious health crises, and in the same way as believers do with the saints of their devotion, Frida showed her gratitude to the doctors by means of paintings that rigorously follow the conventions of the votive offering. Examples of this are the works dedicated to Dr. Eloesser and Dr. Farill.
But it was not only illness that was the cause of her disorders and the metaphor for her paintings; the setbacks of her emotional life were also thematized in paintings that constitute refined symbolic syntheses. In The Heart (1937, Michel Petitjean Collection, Paris), the absence of hands expresses his impotence and despair in the face of the love affair between Diego Rivera and his sister Cristina. Her heart, literally ripped out, lies at her feet and has an inordinate size that reflects the intensity of her pain. Next to her, a feminine dress, alluding to her sister, hangs by a thread, while a single linking arm emerges from her sleeves and a stick pierces the hole left by her own heart.
Frida and surrealism
The dreamlike appearance of her images favored the relation of her symbolism with surrealism, something that Frida Kahlo would flatly deny: "I was taken for a surrealist. This is not correct, I have never painted dreams, what I have represented was my reality".
But Frida not only rejected the surrealist character of her painting, she professed a deep aversion towards the representatives of the movement. She had met Breton in Mexico in 1938 and the following year, on the eve of World War II, she spent several months in Paris, where she had the opportunity to come into contact with the other surrealists.
In contrast to the oneiric representations or the psychic automatism of the surrealists, the numerous symbols that Frida Kahlo introduces in her paintings have precise meanings and are the product of conscious activity. Her work originates and proceeds from a continuous inquiry into herself, and manifests moods in a precise and deliberate way, materializing the oscillations between suffering and hope. The symbolic character of her painting gives way to the vehement expression of a passionate personality for whom art is a challenge and a combat, a violent struggle against illness, but also a self-absorbed retreat into her inner self and a trace of the painful recognition of her battered identity.
Megathreads and spaces to hang out:
- ❤️ Come listen to music and Watch movies with your fellow Hexbears nerd, in Cy.tube
- 💖 Come talk in the New Monthly queer thread
- 💛 Read and talk about a current topics in the News Megathread
- ⭐️ October Movie Nominations ⭐️
reminders:
- 💚 You nerds can join specific comms to see posts about all sorts of topics
- 💙 Hexbear’s algorithm prioritizes struggle sessions over upbears
- 💜 Sorting by new you nerd
- 🌈 If you ever want to make your own megathread, you can go here nerd
- 🐶 Join the unofficial Hexbear-adjacent Mastodon instance toots.matapacos.dog
Links To Resources (Aid and Theory):
Aid:
- 💙Comprehensive list of resources for those in need of an abortion -- reddit link
- 💙Resources for Palestine
Theory: