Another Word For War Torn

David Lawrence
• Wednesday, 09 December, 2020
• 10 min read

The fourth book in the Jimmy Vargas ‘ SHADOW BRIDE’ Series is due for U.S. release SEPT 2017, out on DARK MOON PRESS. JIMMY VARGAS” new sideline combo the BLACK MARIA launched their zoom vintage sound at Americana bar ‘Miss Peaches’ on last Sunday the Tenth Of June.

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Dark Moon Press release a reprint of the second novel in the Jimmy Vargas ‘My Shadow Bride’ series, entitled ‘TEMPLE OF LILY’ (REQUIEM). The novel is set in Los Angeles 1947, interweaving a fascinating narrative of a Hollywood crooner-racketeer Jimmy Vargas, and a refugee from Weirton Florence, one Maria Salve, during the tumultuous era of the post-war nineteen forties, who becomes a contracted star-icon with glitter gulch movie company Eagle Lion, through the machinations of a WW2 hero priest ‘The Parachuting’ Padre’ to create his own catholic cult to offset the rise of Communism in the U.S.A.

The extended tome unveils the mystery of Elizabeth Short’s (the Black Dahlia), violent death in Hollywood seventy years ago, through the intercession of a San Francisco sorceress. With Peter Gage in the producers seat, and Tate Paul as engineer, Jimmy Vargas séances with the classic SM’58, laying vocal tracks on new original tools ‘Mohawk’ ‘Marilyn’ and ‘Noir’.

With After Cochin on Drums, Scotty Baseman on Bass and Jimmy Vargas on Vocals and guitar. 29Nov In order to compare two things, they need to have a common element, a control, which takes away any room for error.

While comparing the effectiveness two different styles of art is nearly impossible because rarely do artists paint the same thing, Las Meanings by Pablo Picasso and Diego Velasquez allows for this comparison. Velasquez’s original is a portrait from the Baroque Period of a young princess, and the relaxed court scene around her.

By using Cubism, Picasso was able to convey an entirely new message by copying and old painting, Las Meanings, in a new style. The style started as a religious form of painting in a way that sought to glorify God and awe the public with dramatic and theatrical, but real, scenes.

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To ensure that the number of followers, and its power, remained strong, the Church used art, along with other means, to idealize biblical scenes. After the scandal of Luther’s movement, the Church needed to overcome this migration of followers; it turned inwards and looked to connect more with the people.

The Baroque style allowed for just that: still dramatic and glorious, the subjects of the art were more real, making it easier for the common people to equate their sufferings and lives to those in the paintings. The luxury of the Baroque period spread to royalty as monarchs rose to power over the Catholic Church throughout Europe; the richness of the paintings showed the world the opulent lifestyle of the royals, that they could and would spare no expense.

All these characteristics point towards the goal of Baroque art: to seem real and lifelike in order to connect with many people, thereby transmitting the artist’s message, whatever that may be, more decisively. In here lies the essence of Baroque art: the delicate use of paradox to remind audiences of the fragility of life and the basis of human nature.

Extreme cruelty is shown next to extreme love in depictions of the crucifixion, greed and hubris exist in coalition with the pure innocence of a young child in Velasquez’s “Meanings.” It is through these comparisons that the style is able to impact viewers in such a way that they do not readily forget the picture nor the message. Cubism is a relatively new style of art, developed by Picasso and Braque in the early 20th century.

The technique releases any hold on the conventional idea of beauty and focuses instead on a “geometric… approach to form and color” (Cubism: 1908). Because of this, some believe that the cubist style is more realistic because it tries to mimic what a brain does, skipping over the sense of sight, which can be misleading.

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In their article “Cubism as a Catalyst in Design,” Roger Rot hem and Ian Overseen describe the essence of Cubism saying, “what distinguishes Cubism…is not it’s abandonment of iconic representation, but its unique commitment to exposing the iconic for what it really is- a structural condition in which “to represent” means “to correspond,” not “to copy”…” (Rot hem and Overseen 291). When Diego Velasquez painted “Las Meanings” in 1656, he had no idea the impact it would have on another young artist, over three hundred years later.

The original painting depicts a young girl being fitted for a dress in the home of the Spanish ruling family. Velasquez was commissioned to paint this work by King Phillip IV who was the ruling monarch at the time.

Connecting his work to one of such value and magnitude was a means for Picasso to ensure that his art remained relevant. By freeing himself of the boundaries Baroque art places on the artist, Picasso was able to infuse this painting with how he saw and understood Velasquez’s original.

Instead of claiming piety as the source, Erenkrantz cites Picasso’s portrayal of innocence through the infant in the white dress. He believes that by choosing to focus his work on such a broad subject, there was no way Picasso could cover all the meanings and implication of the idea in one painting.

Both aspects of his argument remind the audience of Picasso’s message: that life is fleeting and nothing lasts forever. While I can understand Other’s view on the matter, her analysis doesn’t fit with the state of min Picasso was in when he painted the works.

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While he was extremely reverent as a child when he first saw the painting, fifty years later when he put a brush to the canvas, Picasso was more concerned with the preservation of his legacy, his style and himself the acclamation of another artist’s work. Moving away from that aspect, in his article, “Las Meanings (The Maids of Honor), James Harris chooses to focus on why Picasso reverted to painting copies after a life of original work.

The connection between the infant the in painting, immortalized forever by Velasquez, and his sister, struck a chord with the mourning Picasso. Mortality and death are an inevitable part of humanity; by removing this aspect, Picasso renders his paintings immortal, frozen in time.

Erenkrantz, for example, argues that Picasso’s Cubist style accompanies a loss in detail that distances audiences from the painting. “ can no longer relate to the infant with all the maids of honor surrounding her” (Erenkrantz The Mask and the Mirror).

What Erenkrantz fails to account for is the other elements to Picasso’s painting, such as color scheme and the relationship between the figures, which can have just as profound an effect on the viewer as what is shown in the scene. However, their brains are aware of all the little pieces of the art, for example, the colors used or the way the light draws attention to a particular area of the work.

Cubism grabs hold of this idea and inflates it until the focus of people’s scrutiny becomes less about the individual images and more about the painting as a whole. The questions of why and to what end sprang into the minds of many art historians who studied Velasquez and his original.

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Picasso must have known the agitation in the art world it would cause and this added to his goal of building a legacy. The connection between his copies and the original draws together two artistic masters in a way that was nearly as revolutionary as the style used to create both paintings.

He brought about a new style that is seen to be “the very definition of modern art, providing the contemporary artist with an entire range of available approaches” (The Case of “Las Meanings” 1957). If you began by having the same intro, then stating your argument (that you feel Picasso’s painting symbolizes something different from what other critics think), the reader would be able to pick up on your purpose a little quicker and understand it better.

2Nov During the early to mid twentieth century, a rise in abstract and cubic art coincided with political and cultural turmoil throughout the world. One painter in particular, Pablo Picasso, exemplified the cohesion of these two aspects of art: style and message.

As a respected and revered contemporary painter, many of Picasso’s works have been picked apart and analyzed to discover the arguments he intended to make. In one of his most famous paintings, Guernica, Picasso utilizes a number of symbolic images as well as a cubist style to create a lasting piece that demonstrates his own antiwar feelings to the audience.

The work has been the subject of a number of different controversies over the past sixty years, as many scholars debate its subtleties and pick apart Picasso’s use of imagery. Towards the end of the decade, a civil war broke out between the Nationalists and Republicans that encompassed the entire country and had disastrous effects on civilian life.

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(Source: www.bsiarchivalhistory.org)

The population divided, people supporting either side were brutally persecuted, tortured and murdered for their political and religious beliefs. In 1937, the fragile Spanish Republican government commissioned, Pablo Picasso, one of the most respected artists of that time to create a work for the Paris World Fair (Guernica: Testimony of War).

In her article, “’Guernica’: The Apocalypse of Representation,” Kathleen Brunner discusses the longevity of controversies surrounding Picasso’s work. She goes on to say that the main controversy stems from the fact that the painting doesn’t show the “actual bombing in the Basque town…” and that this entices confusion and discussion (Brunner 80).

The scene depicted in the painting is made clear by its title and leaves little room for discrepancies. The debate that started from the painting’s first showing in 1937 remains alive today in the minds and words of scholars who choose to discuss the imagery.

This adds to Guernica’s impact and contemporary worth by ensuring that the painting remains relevant and discussed. In the article, Picasso’s Guernica”, by Eugene Antelope, the author focuses on the geometric structures found in the cubism of the painting.

The Greeks incorporated many geometric shapes into their places of worship, but they also utilized much detail into robust images of gods and goddesses. Whereas in Guernica, the geometric figures lack detail and serve to add to the chaos and disembodiment of the terrors depicted in the painting.

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The cubist abstract ism in this case actually adds to the display of tumultuous panic and the argument against senseless war by appealing to the emotions of audiences. The chaotic shapes representing things from dismembered limbs to terrified livestock transfers the horror of the event to the viewer and allows him to understand the passion behind Picasso’s antiwar feelings.

Picasso was able to manifest his feelings so prominently because they were in line with those of the authorities, the Republican government of Spain. The painting’s goal of impacting those who viewed it was furthered by the fact that it was displayed in such a prominent setting.

Also, his claim that “Europe wandered by” the Spanish Civil War is erroneous; while it is true that most Western governments ignored the scuffle, volunteers from both the United States and the Soviet Union came to the aid of the Republicans in Spain fighting the Nationalists. Other crucial elements of Picasso’s Guernica is the nature and position of the subjects (most specifically the bull and horse).

He draws on examples from Picasso’s past work to explain his conclusions, most importantly, Minotauromachy. This work is an etching done by Picasso only a few years before Guernica and one that also features prominent bull and horse imagery.

She comments on the location and stance of the bull saying, “it stands at the Western end and turns its head away from the nightmarish event” (Gottlieb 12). In this way, Gottlieb seems to be saying that the bull represents the governments of Western Europe, who stood by and did nothing to help relieve Spain of their sufferings.

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Guernica, a synthesis of pop culture and political statement, is a constant reminder of the horrors of war and destruction that is caused by it. Picasso draws upon both cubist style and obfuscation symbolism to convey his antiwar message to audiences and ensure its relevance in to years to come.

13Oct Painters Painting, a 1973 film directed by Emile de Antonio, is an exposé on the blossoming art scene that began to grow in New York during and after the Second World War. The story unfolds through various interviews with different artists, some American some foreign, who contributed to the abstract expressionist movement that characterized the work of this time period.

The interviews take no real shape; they flow in whatever way the artist chooses to answer the question. The movie exemplifies how in this new movement of abstract expressionism, the thought and meaning behind a painting can have more importance than the skill or aesthetic value of the work.

For example, one artist painted a stripe down a piece of canvas; not a lot of work involved in that endeavor. However, when he went on to explain how the stripe was to represent light coming from inside the painting itself, the true message behind the art was revealed.

This goes along with the idea the art during this period was beginning to be more intellectual; artists worked for themselves instead of in the past when they were hired for jobs like portraits or decoration. The way in which the interviews take place seems to be a version of abstract ism: no real structure but a lot of meaning.

However, I could understand the general idea behind the film and appreciate the ingenuity in some of the artists who truly care about what they are doing and hope to share their feelings and beliefs with audiences. This film helps to display much of the New York art scene to viewers in a way that is thorough and real.

However, the choppy film and sound editing along with the narrow subject may leave some viewers confused and disinterested. The extensive collections offer a world tour of famous artists from Van Gogh to Rembrandt to El Greco to Picasso and everything around, in between, above and below.

This work uses rich colors and textures to create a simple, but memorable picture that resonates with audiences. Bright, warm colors used to depict cheerful scenes fill people with a happy feeling; very little does one come across an impressionist painting focused on sadness or ugliness.

They paint in the light, when the colors are best and show scenes focused on the outdoors, when their subjects are surrounded by the natural glow. In this way, Wheat stacks goes against the popular opinion that impressionist paintings are not lifelike because the stroke style takes away from the fine details.

The way the setting sun plays with the light and throws the shadows adds something to the painting that holds my gaze. Even though they are shadows, literally absences of light, Monet adds color and brightness to them in a way that brings out the beauty and joy of a sunset.

The ability to use simple elements such as color and texture to create beautiful masterpieces is a skill I wish I possessed. In one episode entitled “Play” audiences get a look into specific artists’ inspiration and techniques as they work on museum and private collections.

Art, as a whole, is a free flowing expression of passion that artists build upon with style and purpose to create an effect on both themselves and their viewers. Jessica and Arturo were both influenced as people and artists by their culture and upbringing in a way that is exemplified in their work.

In turn, Jessica’s work tends to reflect feelings, emotions, and thoughts that can be seen using sight, instead of relying on spoken or written language. Both these artists show how their style has grown over the years and been influenced by the surrounding things in a way that is personal, yet they choose to share it with the world.

From this chaos he creates beautiful works that help to broadcast his message: that everyone is a sum total of parts. The strength behind this piece of evidence is that the decision makers behind the awards are generally considered to be a reliable mouthpiece for the opinions of the masses.

The fact that he, himself, directed this video helps to ensure viewers that the content, that is, the argument taken from the work has not been diluted by outside influences, such as a different director. In many instances, when people are buying products, they look for those that are grown or manufactured nearby, thus supporting the local economy and culture.

Lave chose to use an Israeli model named Sir Sharon in his video, thus sticking close to home and helping to promote someone from his own culture. Throughout history, artists have been pushing boundaries, challenging their audiences to see the world through a different set of eyes.

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