Flames from His Soul

Photographer Unknown, (Flames from His Soul)

Optical Illusion

Optical Illusion: (An Ice Cream Cone Under a Strobe Light at 55 Hz.)

An optical illusion is characterized by visually perceived images that differ from objective reality. The information gathered by the eye is processed in the brain to give a perception that does not tally with a physical measurement of the stimulus source.

Physiological illusions, such as the afterimages following bright lights, or adapting stimuli of excessively longer alternating patterns, are presumed to be the effects on the eyes or brain of excessive stimulation or interaction with contextual or competing stimuli of a specific type—brightness, colour, position, tile, size, movement, speed, etc. That intense or repetitive activity causes a physiological imbalance that alters perception.

Industrial Pulley

Photographer Unknown, (Industrial Pulley and Hook)

Jesse Garbe

Jesse Garbe, Self-Portraits

Jesse Garbe is an artist that is based in Vancouver in, British Columbia. He is an 2004 alumni of Emily Carr University and a 2008 graduate of the Nova Scotia College of Art and Design’s MFA Program in Halifax, Nova Scotia, Canada. Garbe received the Joseph Beuys Memorial Award in 2007..

Garbe’s paintings are vigorous psychological studies of his self and the individuals around him. He has a continued interest in studying his own relationships, as well as the relationship between painter and sitter. Garbe’s paintings depict the people he knows such as his family, friends and fellow artists.

Jesse Garbe’s style has been influenced by the painting techniques of Rembrandt, the prints of the German artist Käthe Kollwitz and the figurative drawings and paintings of the 20th century British artists Lucian Freud and Euan Uglow.

Getting Wet by the Rain

Photographer Unknown, (Getting Wet by the Rain)

“The road was wet with rain, black and shiny like oilskin. The reflection of the street lamps wallowed like yellow jelly-fish. A bus was approaching- a bus to Piccadilly, a bus to the never-never land- a bus to death or glory.

I found neither. I found something which haunts me still.

The great bus swayed as it sped. The black street gleamed. Through the window a hundred faces fluttered by as though the leaves of a dark book were being flicked over. And I sat there, with a sixpenny ticket in my hand. What was I doing! Where was I going?”

–Mervyn Peake, “Same Time, Same Place”, Weird Shadows from Beyond

Pierre-Victor Ledure

Pierre-Victor Ledure, Mantle Clock with the Figure of Perseus, Early 19th Century Gilt Bronze

Born in Paris in 1783, Pierre-Victor Ledure became an apprentice of the famous bronzier André-Antoine Ravrio, who became one of his best friends. Ledure came to be one of the leading bronziers in the early 19th century, with an extensive and influential clientèle. Several important collections contain his work, like the Royal Pavilion in Brighton.

Hunger

Photographer Unknown, (Hunger)

Bartolomeo Manfredi

Bartolomeo Manfredi, “Cupid Chastised”, 1607-1610, Oil on Canvas, 175 x 130 cm, The Arr Institute of Chicago

Manfredi’s “Cupid Chastised” first appearred in art-literature in 1937, when it was published as a newly found work by Caravaggio. There is no date, signature, or inscription on the painted to indicate otherwise. The great Caravaggio expert had already recognized and published it as by Manfredi, when it was acquired in 1947 for the Chicago Art Institute as a Caravaggio.

“Cupid Chastised” was included in the epochal 1951 Caravaggio exhibition in Milan with an attribution to the “School of Caravaggio”. Soon after acquiring the painting, The Chicago Art Institute relabeled it with its current attribution to Manfredi. However, as recently as 1972, it was suggested that it is instead by an unknown Nordic follower of Carravaggio.

Following the example of Caravaggio, Bartolomeo Manfredi chose to depict ordinary individuals in his scenes from the Bible and Greek and Roman mythology. Caravaggio had demonstrated to Manfredi and an entire generation of European artists that such lofty themes could be transformed into events experienced by ordinary people. Employing dramatic lighting and locating the action directly before the viewer, these artists were able to endow their narratives with great immediacy and power.

The depiction of Cupid’s chastisement shows a moment of high drama: Mars, the god of war, beats Cupid for having caused his affair with Venus, the goddess of love, which exposed him to the derision and outrage of the other gods. Venus implores him in vain to desist. Surrounded by darkness, the three figures are boldly illuminated from the left, intensifying the dynamism and impact of the composition.

The sheer physicality of the figures — the crouching Venus, whose broadly realized face strays from the classical ideal; the powerful Mars, whose musculature and brilliant red drapery seem to pulsate with fury; and Cupid, whose naked flesh and recumbent position render him particularly vulnerable—conveys the violent discord of the scene. On one level a tale of domestic disturbance, the story also symbolizes the eternal conflict between love and war.

Festo Exo-Hand

Festo is a German industrial control and automation company based in Esslingen am Neckar, Germany.[1] Festo is an engineering-driven company that sells pneumatic and electric transducers primarily to the automation industry. They are using their Bionic Learning Network program to explore ideas and initiatives which go beyond the core business of automation and didactics and may lead to future products and product areas, currently these projects involve their new line of pneumatic actuators. Some of these projects are the Aqua Jelly, AquaPenguin, the Aqua Ray, Airic’s arm, the Airacuda and SmartBird.

The ExoHand from Festo is an exoskeleton that can be worn like a glove. The fingers can be actively moved and their strength amplified; the operator’s hand movements are registered and transmitted to the robotic hand in real time.

(Source: https://www.youtube.com/)