The cinematic quality in the paintings of Henri-Paul Motte (1846–1922)
If you’re wondering, the first painting, the top left, painted by Motte in 1881, shows Cardinal Richelieu standing on the sea wall of La Rochelle during the siege (le siège de La Rochelle), which occurred during the conflict between the French royal forces, led by Louis XIII, and the Huguenots of La Rochelle, from 1627 to 1628. And the name Cardinal Richelieu might sound familiar also because of his appearance in The Three Musketeers by Alexandre Dumas
The second painting needs no further explanation, I suppose... As for the third, La Fiancée de Bélus (1885), it is based on a fanciful Babylonian ritual associated with the deity Bēl (Latin: Belus), who was offered a young girl to sit on the lap of his statue overnight, only to be replaced the next day by another, all winners of daily beauty contests. Motte references the Greek historian Herodotus, although it was later discovered that the citation was fabricated
A deer-maid from the Tsaatan tribe in Mongolia as photographed by explorer, photographer and filmmaker Hamid Sardar-Afkhami
“We exist in relation to three things,” a Duhalar shaman told Hamid Sardar, “the forest, wild animals, and our ancestor spirits. Once we lose the connection to these things, we invite demons to take hold of our destiny” doorofperception.com/2019/10/hamid-…
Just a reminder that Hariton Pushwagner's visual novel ‘Soft City’ (1969–1975) is one of the most astounding depictions of dystopian, alienating reiteration
The narrative of Soft City is deeply rooted in traditional dystopian science fiction. While it recalls the societal divide of Fritz Lang’s Metropolis and the aesthetic of Blade Runner, as well as Hilberseimer’s imagery in Großstadt, Terje Brofos (Pushwagner’s birth name) drew his primary inspiration from the dystopian visions of novelist Axel Jensen, whose works he illustrated
Silkscreen prints from the series 'One Day in the Life of the Mann Family', which arose from a lengthy visual/literary collaboration between Pushwagner and the author Axel Jensen. The series was printed by the screen printer Gunner Fredriksen in 1980