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/hobby/ - Hobby

"Our hands pass down the skills of the last generation to the next"
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Can we have a thread for art? Post masterpieces and amazing art work crafted through out history.



>prayer in cairo
Yes, it looks very good, although it's Orientalist shit. I still like it though


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Edward Hopper is brilliant imho.


Jean-Léon Gérôme was an absolute orientalist, no questions asked. But in regards to this painting in particular, what's so orientalist about it?


how does one become an orientalist? asking for a friend


In essence, 'orientalism' is the view that holds middle eastern, Asian and north African cultures and societies as "exotic" when compared to the 'more refined' and 'developed' to their European counterparts

From wikipedia:
>Since the publication of Edward Said's Orientalism in 1978, much academic discourse has begun to use the term "Orientalism" to refer to a general patronizing Western attitude towards Middle Eastern, Asian, and North African societies. In Said's analysis, the West essentializes these societies as static and undeveloped—thereby fabricating a view of Oriental culture that can be studied, depicted, and reproduced in the service of imperial power. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior.[2]


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where's the anteater




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I fucking love Deco.


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Last post, some weird stuff.


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Fuck you all, it might not be perfect, but I still love it. It's perfect to me.


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I wonder if this poster's meaning was clearer back in the 20's.


I mean, it's annotated:
>With a red wedge, beat the Whites!
Can't get more obvious than spelling it out


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Guminer, Yakov. (1923). 1 мая [The 1st of May].


From Dostoyevsky's "The Possessed"
>“In my sleep I had a dream which was completely new to me, for I had never had one like it. In the Dresden gallery there is a picture by Claude Lorraine, called in the catalogue, I think, ‘Acis and Galatea,’ but I always called it ‘The Golden Age,’ I don’t know why. I had seen it before, but about three days ago, as I passed through Dresden, I saw it again. I even went on purpose to have a look at it, and possibly for this alone I stopped at Dresden. It was that picture I dreamt of, but not as of a picture, but as of a reality.
>“A corner of the Greek Archipelago; blue caressing waves, islands and rocks; fertile shore, a magic vista on the horizon, the appeal of the setting sun—no words could describe it. Here was the cradle of European man, here were the first scenes of the mythological world, here its green paradise…. Here had once lived a beautiful race. They rose and went to sleep happy and innocent; they filled the woods with their joyful songs; the great abundance of their virgin powers went out into love and into simple happiness. The sun bathed these islands and 65sea in its beams, rejoicing in its beautiful children. Wonderful dream, splendid illusion! A dream the most incredible of all that had ever been dreamt, but upon it the whole of mankind has lavished all its powers throughout history; for this it has made every sacrifice, for this men have died on the cross and their prophets have been killed; without this, nations will not live and are unable even to die. I lived through all these feelings in my dream; I do not know what exactly I dreamt about, but the rocks, the sea, and the slanting rays of the setting sun—all these seemed to be still visible to me, when I woke and opened my eyes and, for the first time in my life, found them full of tears.


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"The Embarkation of the Queen of Sheba"
From Ivan Chtcheglov's "Formulary for a New Urbanism"
>Other examples of this desire to construct situations can be found in the past. Edgar Allan Poe and his story of the man who devoted his wealth to the construction of landscapes [“The Domain of Arnheim”]. Or the paintings of Claude Lorrain. Many of the latter’s admirers are not quite sure to what to attribute the charm of his canvases. They talk about his portrayal of light. It does indeed have a rather mysterious quality, but that does not suffice to explain these paintings’ ambience of perpetual invitation to voyage. This ambience is provoked by an unaccustomed architectural space. The palaces are situated right on the edge of the sea, and they have “pointless” hanging gardens whose vegetation appears in the most unexpected places. The incitement to drifting is provoked by the palace doors’ proximity to the ships.


>This new vision of time and space, which will be the theoretical basis of future constructions, is still imprecise and will remain so until experimentation with patterns of behavior has taken place in cities specifically established for this purpose, cities bringing together — in addition to the facilities necessary for basic comfort and security — buildings charged with evocative power, symbolic edifices representing desires, forces and events, past, present and to come. A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.

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