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Friday, June 29, 2012
ICONOGRAFIA OPERISTICA ITALIANA: Icaro
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Gilbert, Icarus.
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Leighton, Icarus.
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Icarus, bronze between the Clemons & the Alderman Libraries.
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Warren Criswell, Icarus (Splashdown), bronze, 10½ inches high. For the iconography of the 'fall', cfr. "Ippolito caduto", elsewhere -- (statue of Ippolito at the Louvre) -- Speranza, "Notes".
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Art Deco patinated bronze winged sculpture of Icarus. H: 20cm.
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Icarus. Statue in display at the "Icarus" club. One walks down an anonymous, cobbled residential street, goes down to the basement-level room, encountering the dramatic statue of Icarus, poised as if ready for takeoff, in the middle of the room.
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Icarus bronze, in snow.
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Janis Ridley, Icarus.
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Icarus, Finish school. An aerodynamical design. Note that if "Zefiro" gets Mercurio "volante" in the Giambologna, it is Daedalus who provides Icarus with the device -- the waxed wings. This has an effect on sculptoric design, since wings do not quite _fit_ the human anatomy. Yet...
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Pierre Riche, Icarus. Note the dramatic pose. It is not natural that Icarus should fly so well. The whole point of the myth is that it got carried away, aimed too high and too dangerously, looking for that embrace with the Sun, with disastrous consequences. And so on. --- Other sculptors focused on the _fall_, while a few (the born optimists?) looked to portray Icarus as he _soared_, almost. (Or something like that).
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Icarus, Umlauf Scupture Garden. Another one of the fall. Again, I prefer to focus on "Ippolito" for iconography (sculptoric) on falling. Since, well, Ippolito does NOTHING but fall. Icarus _tries_ to fly, and the optimist in me wants to capture that moment, rather?
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Lasalle, Icarus. Yet another of his fall, rather than rise. (We have "Ippolito" for real falls). Note the absence of wings. Yet, it is the wings (Dedalus's pressure -- unrealistic expectations -- on his son) that did the trick, badly.
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Tennesee river Icarus.
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Icarus, Sculpted in Europe during the 1920s, it depicts the mythological figure. Attired in a stylized Art Deco loincloth and with outstretched wings. The sculpture is finished with a classic rich patina in tones of browns and amber. Mounted onto a black marble base, Icarus stands 13½" high by 8" wide (32 cm high x 20 cm wide).
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"Icarus Soaring" H25" W24" Depth 17" Bronze.
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Icarus, relief frieze.
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Icarus. Note the arms unnaturally turned into wings.
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Andy Scott, Monckton Icarus. Scott captures the _pride_ in Icarus's attitude. Note the mythographically, he was trying to escape from the labrynth -- and it was all his _father_'s idea. Still... On the other hand, Gilbert, a Brit, more typically focuses on the innocence.
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Scott Slocum, Icarus. Note that this one focuses on the iconography of the sea (where Icarus ends).
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While Gilbert does not need to display Icarus _as flying_ (but his 'wings' are rightly marked), this one portrays him in full wing display.
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The fall of Icarus (1849).
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Rebeca Matte (1875-1929), Daedalus and Icarus.
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Stoldzt, Icaro caduto. Again, cfr. "Ippolito caduto", Louvre.
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Icarus, Tennesee river.
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Another angle of the R. Matte.
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J. Carpenter, Icarus. Perhaps the produest Icarus of them all.
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Carpenter, Icarus. He looks less proud if you focus on the facial physiognomy.
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Edwards, Icarus falling to Earth.
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Russell Whiting, "Icarus" -- in the most glorious setting: the Tennesee.
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Burkett.
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1920s. Art deco. Dynamic sculpture of Icarus flying dangerously close to the sun.
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Icarus - McClelland Gallery Sculpture Park. 2010-01-03 Frankston. Note the clumsiness of the 'wings', compared to a bird's! (He cannot, _really_, fly).
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Attributed to Andrea Sacchi (Rome(?) circa 1599 - 1661 Rome), Daedalus and Icarus oil on canvas. 49 by 41 7/8 in.; 124.5 by 106.5 cm. Estimate 70,000—90,000 USD NOTE: Amongst the artist's most inventive and certainly amongst his most popular compositions, the Daedalus and Icarus exemplifies the restrained and pure form of classicism promulgated by Andrea Sacchi. It exists in a number of versions, all with slight variations. The most famous of these is probably the canvas in the collection of the Palazzo Rosso, Genoa, although there is another in the Doria collection, Rome as well as one recently on the art market, London. 1 The present example follows most closely the Genoa type, which depicts Daedulus fastening the wings he has created around the neck of his son with a blue ribbon (as opposed to the pink ribbon thrown over the shoulder of Icarus seen in the London example). The Genoa canvas, however, extends further down, showing more fully the drapery worn by the two figures which is wrapped around their waist; the present painting appears to have been originally conceived in this format as the scalloping of the canvas caused by the original tacking edges along the bottom are still largely intact. Although the facture of the present Daedalus and Icarus is fairly consistent with Sacchi's hand, it has also been suggested that it may in fact be by Carlo Maratti, Sacchi's most celebrated student. Maratti was known to have copied his master's work when in his studio and Bellori relates an amusing story just how sucessful the younger artist was in imitating the older's style.2 Sacchi gave Maratti a drawing of his to copy as an exercise; upon completion, the teacher examined the two drawings and took back the copy as his own original. Maratti, feeling it inappropriate to point out the mistake, kept the original drawing himself. 1. See A. Sutherland Harris, Andrea Sacchi, Oxford and Princeton 1977, pp. 81-2, cat. no. 49, as well as Christie's, London, July 7, 2004, lot 100. 2. See G.P. Bellori, The Lives of the Modern Painters, Sculptors and Architects, trans. A.Sedgwick Wohl, H. Wohl, T Montanari, Cambridge 2005, p. 399. Sotheby's. Important Old Master Paintings, Including European Works of Art. 29 Jan 09. New York www.sothebys.com photo courtesy Sotheby's
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Charles Paul Landon, 1760-1826. A manierist 'jump'.
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Lebrun, Daedalus and Icarus. What a wicked (if not altogether silly) father, to think his son will fly with such clumsy (heavy) wings.
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Icaro, Palazzo Medici.
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Draper, "The Lament of Icarus".
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Piola, Dedalo ed Icaro.
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Van Dyck.
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Riminaldi.
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Sacchi.
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Davide Marangio
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UN ESPAÑOL CON UN CUBATA EN LA MANO LO SABE TODO Y PUNTO... ¡ES LO QUE HAY!
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Domenica vi rompiamo!!!
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no nos dejemos engañar por las apariencias...somos mejores y punto!!!
by:
UN ESPAÑOL CON UN CUBATA EN LA MANO LO SABE TODO Y PUNTO... ¡ES LO QUE HAY!
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Stefano Suppressa
ma tu non eri di destra mussoliniana una volta?
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tantissimi anni fa...why?
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Goodspeed's Opera House
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