The Minotaur

In all of the myths I have read, all of them sad in their own right, none has quite bothered me more than that of the minotaur. I think what strikes me so is that the minotaur...well, he isn't a monster, by any means. It's true, like the common misconceptions about Frankenstein's monster, that the minotaur was misunderstood by the majority of the literary and artistic community. George Fredrick Watts got it right, however (right).
He was, in fact, a hybrid between a human and animal. This human was Pasiphae, wife of King Minos of Crete. The animal was a bull sent by Neptune. The exact details of their union are...as creepy and wrong as you would expect. She didn't have some fetish for these creatures, it was a "spell", for the lack of a better term. When Minos did not follow through with his promise of sacrificing a fine beast to Neptune he cursed Pasiphae in retaliation.
Pasiphae, now stricken with a lust for the bull Neptune sent, had Daedalus (father of Icarus, who's disobedience cost him his life) build her a wooden cow in which she could place herself. This little trick was successful as it mated with her and she soon became pregnant with an abomination of nature. She gave birth to a half-bull and half-human hybrid they named Minotaur, which means "Minos bull". They then shut him away in a labyrinth which was also constructed and designed by Daedalus.
Every year he was fed seven young men and young women as a tribute to the king. One year a prince named Theseus was selected and he killed the bull, with the help of Aridane, Minos's daughter.

What is so disheartening about this is his imprisonment and treatment. He was simply a hybrid, and as awful and monstrous as he seemed, he had to have more going on. In the painting done by Watts we get the sense of sadness and longing. He wants freedom and acceptance. This image and idea of a wanting and misunderstood creature has resonated with artists world over. His figure has been remastered and represented by artists well into the modern era, even Picasso took a swing at it. It has even been adapted into an opera by Harrison Britwistle and David Harsent, it opened in the fall of 2008 in London.
Maybe he did become evil in his own way, but perhaps his environment made him that way. Like Frankenstein's monster he was a product of his unusual entrance into the world and upbringing. There is an Etruscian view that offers us an alternative perspective, we see his mother balancing the infant minotaur on her knee, lovingly holding him in her arms. We make him the antagonist but we forget he had a mother and was part human himself. It isn't up to us to decided which part that was.
Maybe I'm too sensitive about it, but I think alternate views are important and I tend to have a bleeding heart for these misunderstood figures that dawn the pages of our art and history books.

Echo and Narcissus

There have been times in my life wherein I have been so beside myself with grief I could do nothing more but wander. When I was 18 or so I remember pacing the aisles at a bookstore. I wasn't looking for anything in particular, just...staring. But in my aimless pacing a print caught my eye. In my utter heartbreak I stumbled upon Echo and Narcissus by John William Waterhouse. Perhaps because her pain seemed to mirror mine, I'm not sure. But I picked it up and bought a book about them that day. I took it home and didn't put the book down, for what seemed like, days. The image of Echo and her myth left me mesmerized, entranced, completely enthralled. I sketched her countless times. But her story, is was captured me so completely.
The story of Echo is a sad one, but not unlike the ones we would expect from greek mythology. If you are opening a mythology book expecting anything but despair you will be disappointed, though Penelope from the Odyssey will at least help you regain some hope.
Zeus, well, he is known for his philandering and...other personality attributes and in the story of Echo this certainly becomes a factor. While Zeus was off gallivanting, Echo would prattle on and on to distract Hera. Echo, who really seemed to love the sound of her voice, did this without a second thought. This will result in her demise. Hera finds out about this trickery, as she usually does, and decides to punish Echo by taking away her voice and only allowing her foolishly repeat the words of another. Hence our the name for the echoing phenomenon. Now this punishment, is surprisingly tame compared to some of the others Hera has doled out, and for much less.
So Echo is off, wandering voiceless when she sees Narcissus. Narcissus, as prophesied by Teiresias, was to live into old age as long as he "never knew himself." He was out hunting stags when she spotted him, and she decided to follow him. She was quite stealthy about it until he finally heard her. He called out but all she could do was repeat his words. When she tried to embrace him he turned her away. She continued to watch him, however. One day he saw his reflection in a pool and became so entranced by his form he couldn't look away. Echo just watched on as he wasted away staring at his own reflection. Echo, all the while, was heartbroken and wasted away herself, until only her voice remained. 
Heart wrenching in all sorts of ways. Here I was; in love with a boy so distant from me in so many ways, he's further away now than he ever was (as he should be I imagine) and I find this. It gave me some sort of...validation. The validation I never received  from him.
There is something cathartic about mythology for me, and I think the same could apply to many others.

Medea

Medea was a figure of myth long before Tyler Perry stole the name for a series of extremely low brow comedies. In fact, I found myself quite annoyed when I went to google to find images for a mythology paper. The first few pages were nothing by images form Tyler Perry movies. Aggravating...
But I digress.

Medea was a play written by Euripides. The story is ever so interesting. In my mythology class I was assigned the play and had to give a presentation.I'm not the best public speaker, but I was fairly effective. Anyway, Medea is most commonly referred to as she exists within that specific play by her name, but she does appear in several other stories. Her major characteristics are that she was a sorceress and lover of Jason (the guy with the golden fleece).
She was the daughter of King Aeetes, granddaughter of Helios (the sun god), and niece of Circe (who was depicted in Odyssey for turning Odysseus's crew into pigs, she is also the mother of the minotaur). As you see she has a colorful lineage.
So Jason appears on her island to capture the golden fleece. Medea falls hopelessly in love with him and agrees to help him on his quests.
Medea creates a potion for Jason that prevents him from being injured by the fire-breathing bulls and then casts an enchantment over the dragon guarding the golden fleece so Jason can get by undetected. Basically...he cheated. When he completes the missions he agrees to take Medea away with him and marry her. As they are leaving the island Medea kills her brother, Apsyrtus, and scatters his body in pieces behind them. This slowed their pursuers down as it is dishonorable to leave the body in such a state.
Once in Jason's home of Iolcus Medea used her trickery to help him reclaim his throne from his uncle Pelias. Using magic tricks she convinced Pelias's daughters to kill him which opened up the place for Jason. Then they fled to Corinth. Shortly after this they were wed and had two children. This is where the story gets more interesting.
So they have been married for awhile, living comfortable in Corinth until Glauce, daughter of King Creon, catches Jason's eye. Jason then runs off with her in order to become next in ling to the throne in Corinth. Then he and the king have Medea cast out. With this betrayal Medea snaps. She devises a plan that results in the death of Glauce and the King, then she kills her own children to punish Jason further. Before she can be punished for her own actions she is rescued by her grandfather and ushered off the Athens where she marries King Aegeus, who we suspect she had been in cahoots with all along. Then they marry and her trail of despair and death continues.   
But I intend to focus more on the play by Euripides.While there is certainly no argument claiming Medea was a good woman who was wrong, you have to take into consideration what Jason did. He first used her in order to complete some tasks and promised her marriage later, getting her to kill her own brother. Then he does marry her and has children with her only to leave her and cast her out later? If there was a douche by any other name...pardon my comparison.
But if we take the fact that she was essentially an evil wizard out of the equation do you feel even the slightest bit of compassion? I certainly did, but once she murdered her children it faded away. And by faded I mean disappeared with the snap of my fingers (assuming I could snap my fingers). Then there's Glauce...pursuing a married man? For shame. This is something I would expect to see on trashy daytime television, though I suppose this behavior had to begin somewhere. But it seems Medea is simply a woman scorned.
Wouldn't you agree? I'm not defending the things she did, but I am saying that I can see where the desire might occur. If Joshua left me for another woman I would be destroyed and livid.
But this is one of the many endlessly entertaining myths I fill my time with studying. Sometimes it helps to identify to them. Echo served as a therapeutic comparison for a short time for myself.

I honestly need to start working on my homework instead of blogging about things I doubt very few people read.

Life updates:
I have resolved to get a tattoo. It will be a chambered nautilus shell, the proportions and measurements found using the golden ratio. Perfect balance. Done in dark brown ink on the inside of my left wrist. I will be going with my darling Christine when she gets her tattoo done. She is getting giraffe spots on the inside of her left wrist as well. Though more to cover up the tattoo she allowed her ex-boyfriend to give her. It is a simple peace sign (I love here but that is horrible cliche...) but something she wishes to forget all the same.


images:
Study for Jason and Medea by John William Waterhouse (top)
Medea by Eugene Delacroix

James Rosenquist

While working on some homework today I learn a little bit more about the post-modernist movement, though not enough to make me enjoy it in the least. I have always had a strong aversion to it and that hasn't changed, but I was surprised to find one painting in the bunch that I seemed to really enjoy. It is "Bedsprings" by James Rosenquist. I was flipping through his work, mostly unimpressed until this image caught my eye. There is just something about it I find so delicate and captivating. In his entire body of work I didn't find a single piece that captured me as much as this one. Perhaps it was the way he so precisely cropped her face, focusing solely on the eye, cheek, and nose. Unlike his other work this women is accurately and precisely rendered, and with some softness to boot. Compared to say the image of JFK in "President Elect"she is nearly a classical portrait.This woman has depth and life, and suggesting any sort of perspective or realism was quite rare for him.
Then suspending it by twine away from the stretching board. That, at first, gave me a sense of creepiness (a childish word, I'm aware). I felt like he was dissecting her - not literally, of course - but trying to break her apart, separating her from her various parts. Breaking her down by her flaws and perfections. But these warm and sensuous colors suggest something endearing, not calculating. The piece is both baffling and calming to me.

James Rosenquist, unlike most pop artists of the time, had a much more varied color palette and far more dramatic compositions. Most had neutral backgrounds with loosely rendered object or subjects, making them appear flat. But here Rosenquist eliminated the background and focus on one single aspect of beauty, rendering it to perfection. He won't make me like the modern or post-modernist movement, but he will make he appreciate him as an individual artist just a little bit more.

Gods in Art: Saturn/Cronus

I became fixated on a particularly dark painting recently, or more re-fixated. This piece is Saturn Devouring his Son (1819) by Francisco de Goya. It made me consider the various ways the gods are represented in art. They are shown in a godly way, shown as all powerful and to be feared beings. And on the other side we can see them depicted as malicious beasts. To understand the meanings behind these various depictions we need to know the history and story of Saturn or Cronus.

In Roman mythology he is Saturn and n Greek mythology he is Cronus, not to be confused with Chronos; the personification of time. The story behind him is roughly the same in both cultures. He was the leader and the youngest of the first generation of the Titans. The Titans were the descendents of Gaia/Terra (goddess of the earth) and Uranus/Caelus (god of the sky). Saturn/Cronus was the god of agriculture, justice, and strength. He was the deity of the harvest and often it is attributed for him to be holding a sickle in his left hand and a bundle of wheat in his right.

Gaia/Terra asked for help from Saturn/Cronus because Uranus/Caelus was placing some of his children under the earth, as he hated them - mainly the children with the fifty heads. Saturn/Cronus waited for his father and castrated him with his sickle. Fro the blood sprang forth the Giants, a fourth race of monsters, and the Furies whose purpose was to punish the sinners. They are referred to as "those who walk in the darkness". Aphrodite/Venus emerged where the member was cast into the sea.

As he desposed of his father he became ruler of the universe. He reignd with her sister, Ops/Rhea, who he also married, One day it was prophesied that he would lose power when one his children would rise up and kill him. To prevent this from happening he would swallow each of his children following their birth. Upon the birth of their 6th child, Jupiter/Zeus; he was spirited away to the island of Crete and Ops/Rhea placed a stone in swaddling cothes and tricked him into swallowing it. As Jupiter/Zeus grew up he was taken care of and aided by his grandmother Gaia/Terra. Once he reached adulthood he secured a job as cup-bearer to Saturn/Cronus and gave him a potion that caused him to vomit up Saturn/Cronus's five siblings; Vestia/Hestia, Ceres/Demeter, Juno/Hera, Pluto/Hades, and Neptune/Poseidon.

This started a war that nearly destroyed the universe. It ended with Saturn/Cronus being defeated and him and his brother being imprisoned in Tatarus, a dark region at the end of the earth. Jupiter/Zeus then took the throne and ruled. Another myth ends with Saturn/Cronus fleeing to Rome and establishing the Golden Age.

The myth and legend behind Saturn/Cronus paints various pctures about him. First he seems caring by helping his mother and siblings with the murder of his father, but it seems as though it was done to though selfish means. Then he becomes monsterous as he devours his children. And there there is the possibilty of him becoming a great leader in Rome. These conflicting views sotimes lead to confusion in how to show him in art but each artist figures out he wants to exemplify this god.

This is Cronus and Rhea (475 - 425 BCE) attributte to the Nausicaa painter. It is painted on a greek vase. Here we see Rhea handing over the stone for Cronus to swallow. This trickery among the gods is not umcommon in legends and is often depicted in the art world, but this story is the most commonly reference one. There is another depiction done in a relief sculpture.
This is Kronos and Rhea (Kronos is another accepted spelling). Artist is unknown.

Rhea is considered somewhat of a heroine for this. Had he known what might have he done?

He isn't aways shown this way, he often shown on his own as well.
This is Saturnus (1546) by Caravaggio. It is a drawing and shows him as a god; strong and powerful. This is a piece where Cronus/Saturn is exalted and adored. It looks similar to many of the statues adorning the Temple of Saturn located at the western end of the Forum Romanum, the heart of the commerce for ancient Romans.

This place is often visited during the festival of Saturnalia in ancient Rome.

The most interesting of pieces depicting Saturn/Cronus are the ones showing him as the mosterous being I imagine him to

be. Here we see Saturn Devouring his Son (1819) by Francisco de Goya. I love that here he seems primative and horrific. He grasps he body and literally tears it limb from limb. The blood and he look on his face is captivating. There is some weaknes in him eventhough he is the one devouring his son. It is as if he is completely fueled by fear. His twisted body and wide eyes leave me feeling uncomfortable, but I can't look away.

All in all, no matter how he is shown the general feeling is always the same, one of fear and power.

Painting Techniques: Layered Painting

I continue to branch off from my art history posts a little bit.

Bare with me.

I really felt like painting today but had neither the time nor materials at my disposal. I need more money as I've run low on acrylic paint and water colors, I'm not one for using oil much.

So I decided to read through my technique and history books, which did not quench my desire to paint, it merely exacerbated it.

I've been trying to improve my layering technique and thought reading about it and looking at various examples would help; it certainly wouldn't hurt. The method is a lengthy one, and is best suited to miniatures, photo-realism, and painting that requires a very high degree of detail and surface finish.

Following the steps properly are crucial, if you rush too much it won't have the same look or effect, which is the problem I run into the most...I always rush.

1. You begin with the idea of course and lay down some thin pencil lines and some broad washes of color.

(a broad wash of color is like a thin glaze, should be transparent for the most part)

2. Dry

3. Lay in another thin body of color.

4. Dry

5. Lay in second thin body color, within the contours of the first layer or overpainting it.

6. Continue building up the underpainting in a long, continuous process of trial and error. You can use a full range of techniques during this step.

7. Dry thoroughly

8. Lay in glazes and work wet into wet as neccessary.

9. Dry

10. Lay in thicker glazes, modifying previous glazes where necessary.

11. Add body color to recapture areas glazed too heavily.

It is also possible to alternate body color and glaze rather than leave all glazing to the end. Shadows may be created by glazes, and the final picture harmonized.

Here are some examples of finished pieces using layered painting technique-

This shows a good glazing thechnique, note being abe to see the music notes in the sky and the darkening around the edges and corners.

This is another good example.

Layering is good when you want nice transitions between different values and highlights.

Wet into wet — wet color into, over or alongside other wet color

Glazing — layer of transparent color: laid on when paint below is practically dry: any color can be used with glazing medium but transparent colors are best.

I think I might try and paint a bit this weekend, but with all my midterms coming up next week I probably shouldn't get wapped up too much in it...