drawing the ancient Indian epic, the Mahabharata, using Italian Renaissance era influences | paintings by Giampaolo Tomasetti — he drew 23 large sized paintings which is now housed in Florence, Italy.
[a thread with a few of those paintings]
Kunti and Surya, Oil on Canvas, 230 x 130 cm
The Pandavas enter Hastinapura, Oil on Canvas, 175 x 350 cm
[detail]
[detail 2]
Krishna arrives in Dwaraka, Oil on Canvas, 150 x 200 cm
[detail 1]
[detail 2]
Krishna and Balarama at home in Dwaraka, Oil on Canvas, 150 x 200 cm
The demoness Hidimbi meets Bhima, Oil on Canvas, 130 x 90 cm
Kunti and Draupadi, Oil on Canvas, 160 x 120 cm
[detail]
Krishna in Indraprastha, Oil on Canvas, 200 x 250 cm
The four Pandava brothers and their wife Draupadi (on Bhima’s shoulders) head to the peak of the Gandhamadana mountains to await the arrival of Arjuna from the Heavens, who had gone to wage war against the Nivatakavachas on behalf of the Gods.
Oil on Canvas, 100 x 70 cm
Sishupala Insults Krishna, Oil on Canvas, 150 x 200 cm
[detail]
Strange Charioteer, Oil on Canvas, 200 x 250 cm
[the ‘abduction’ of Subhadra, who takes over the reins of the chariot so that Arjuna may repel the attacks of her kinsmen who want to ‘save’ her]
[detail]
[detail]
O Brother! Bhima and Hanuman, Oil on Canvas, 170 x 120 cm
[i think this is my favorite]
[detail]
Karna and Kunti, Oil on canvas, 150 x 150 cm
The Choice, Oil on Canvas, 180 x 230 cm
[Krishna wakes up to find Arjuna by his feet and Duryodhana by his headstand, both have come to seek Krishna’s alliance in the war to come, Krishna offers Arjuna an opportunity to choose: Krishna or Krishna’s army of many million soldiers]
[original plan]
the charioteer of Arjuna, oil on canvas, 200 x 300 cm
[detail]
In the tent, Oil on Canvas, 175 x 230 cm
[detail]
la morte di Abhymanyu
The Young Hero, Oil on Canvas, 150 x 350 cm
Bhima and Bhagadatta, Oil on Canvas, 200 x 300 cm
[detail]
The Rush of the Hero, Oil on Canvas, 70 x 100 cm
[detail]
Shoot Him Now, Oil on Canvas, 300 x 200 cm
The End of an Age, Oil on Canvas, 200 x 150cm
the Universal Form. Oil on Canvas, 200 x 200 cm
Giampaolo Tomassetti, was born on March 8, 1955, in Terni, Italy. One of his great loves is painting frescoes and walls. He worked on the Mahabharata project for the last twelve years in Città di Castello, Perugia, Italy. [my respects]
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Call me,
like a grasshopper in a May meadow
like silent sentinels all around the town
like leaves upon this shepherd’s head
like a snow hill in the air.
like a candle moving about in a tomb.
like a Czar in an ice palace made of frozen sighs,
like the segment made in the new-mown grass by a long-armed mower
like a corkscrew,
like a restless needle sojourning in the body of a man
like another cursed Jonah,
like a bench on the Battery
like a coffer-dam
like an ape
like a string of inions
like the stained porcupine quills round an Indian moccasin
like a hamper
like lightning
like a mildewed
like polished ebony
like a tenpin between the andirons
like a strip of that same patchwork quilt
like a Newfoundland dog just from the water
Narendra Pachkhede on G. N. Devy's new book abt the relationship b/w India & Mahabharata: "He does not dwell on what is the relationship of this greatest literary work with our people, but rather he delves into how this relationship functions." thewire.in/books/gn-devy-…
"The allure of the Mahabharata and how it provides insight into its cultural memory in India could be best explained through the idea of a controlling text – a reference point for all thinkers and a recourse to fall back on for the nation."
This review also kindly makes a mention of my book and compares it to the writings of Hilda Doolittle and her poems marked by Greek/Roman myth. Didn't know who she was so had to google her. 😎 literaryladiesguide.com/classic-women-…
word meaning to perish, which comes from an even older word meaning to separate or cut apart. The modern sense of misplacing an object only appeared later, in the thirteenth century; a hundred years after that, “to lose” acquired the meaning of failing to win. 2/3
In the sixteenth century we began to lose our minds; in the seventeenth century, our hearts. The circle of what we can lose, in other words, began with our own lives and each other and has been steadily expanding ever since.”
A story about the Gibraltar skull, involving Darwin, always reminds me of how difficult it is to truly speak about the world as we see it. This incident, involving the skull, in a world-historic life such as Darwin's often reminds me of a line by V. S. Naipaul.
In 1864, Charles Darwin had been very sick for weeks. (He suffered various ailments for much of his adult life.)
To "see how I stand change", he and his wife, Emma Darwin arrived at 4 Chester Place in London where his sister-in-law Sarah Wedgewood lived.
[Charles & Emma]
It was a convenient location for Darwin because despite being sick, he could walk over to the Royal Botanical Society and the Zoological Society. In those months and past few years he was writing a book/monograph on climbing plants then.