A Few Aspects of the Artworks that Inspired the Artists of Following…
Dr. Dorit Kedar
Medusa (Caravaggio), descended from Gaia and Oceanus. Beautiful, unsullied, mortal. Religious officiant at the temple of the Goddess of War. Ensnared by the passion of the God of the Sea and forthwith, turned hideous, snakes teeming in her hair, eyes that bleed. Petrifying and wretched. Restlessly wandering to and fro until beheaded; a mysterious, winged horse emerging from within her.
Portrait of the Artist’s Mother (Dürer) terribly shriveled, metamorphosing into a skull. At the mercy of a vivifying, nurturing, encompassing, and preserving Mother. But also the one who veils, buries and annihilates.
Les demoiselles d’Avignon of Barcelona (Picasso) – their bodies bare and exposed, arms flung in the air, breasts jutting out, genitalia perspicuous, wearing masks, summoning demons and plagues that bring life gratification or death.
A majestic Shepherdess (Van Gogh), withered away by the sun, seated on a stool in a field of straws, like the Holy Virgin, Queen of blue heavens, adorned by a yellow halo.
Gargoyles (St. Vitus Cathedral, Prague). Malevolent animals, dragons, and chimeras, clandestinely spewing fire and openly omitting water. Warding off insects and heretics, specters, and evil presences.
Venus with a Mirror (Veronese) in which she attempts to catch her fleeting reflection, haphazardly offered to the viewer.
A blonde-haired beauty from a comic book (Man Ray), despondent by an untruthful love. And another type of Beauty, crowned, humble, weeping for the loss of her Son sacrificed by man in the name of God.
The Disasters of War do not retain the soldiers (Goya), nor their names or pedigree. They hang loose on a tree, bare, downcast, disparaged, deformed bodies and souls, degraded in the hunt for bread, famished, hardship and pain and nothing but desolation.
Under the great Blue Idol (Gauguin) loom three questions: from whence does life originate, what is its purpose, and where to does it disappear.
Girl with Hair (Bourgeois), unkempt, as a personal tribute of the artist to her mother.
The hair of Lilith and Samson, of the shaman and the yogi, the femme fatale, the fairy and the witch. One resurrects while the other abolishes.
Madame Ginoux (Van Gogh). Précis: owner of the Café de la Gare, Arles. Likes folklore and traditional costumes, ungainly, tends to read a lot, skims through the pages and folds their corners, poised as The Thinker (Rodin) against a background of drinks and game tables.
Triumph of Death (Nussbaum) after it snatched the metal wires from the clinging hands of a boy in his tomb to fly an iron kite.
Jews Praying in the Synagogue on Yom Kippur (Day of Atonement; Gottlieb) while the figure of the fiancée, who breached her betrothal promise, ubiquitously appears twice while the groom is depicted thrice, perhaps already planning out of despair, his terminal disease.
The Lady with the Ermine (Da Vinci). Young mistress of the duke, like the animal on her lap, is fair, supple, destined to be hunted by a beguiling nobleman.
Portrait of the Artist Holding a Thistle (Dürer) as a symbol of a faithful, providing, future husband and as a symbol of the religious morals suggested by Christ’s crown of thorns.
A Woman Bathing in a Stream (Rembrandt). Flowing waters, a former servant to a recently deceased woman, now a living wife of the artist, soaking a pair of sturdy legs.
Boy Bitten by a Lizard (Caravaggio) that leaped out of flowers and fruit, like the blooming of a white flower in the hair, a bare shoulder slumped, fleshy lips surging an inter-gender storm.
Follow us on Facebook – Center of Inter-religious Peace