Reciclaje en el arte

Arte Victoriano, Epoca Victoriana por la reina Victoria I de Inglaterra, pero

historiadores asumen q comenz antes (1832) Manifestaciones sociales,
culturales y polticas.
Sociedad. Clases sociales. Mujeres. Erotismo prohibido. Prostitucin.
Trabajo Infantil.
El ineludible sentido de la novedad dio como resultado un profundo inters por la relacin entre la
modernidad y la continuidad cultural. El Renacimiento Gtico en la arquitectura se convirti en algo cada vez
ms significativo durante el periodo, llevando a la Batalla de los Estilos entre los ideales Gtico y Clsico. El
diseo arquitectnico de Charles Barry del nuevo Palacio de Westminster, que haba sido gravemente daado
en un incendio en 1834, se construy siguiendo el estilo medieval de Westminster Hall, parte an en pie del
edificio. Constitua una narracin de la continuidad cultural, en oposicin a la violenta separacin de la
Revolucin francesa, una comparacin comn al periodo, como expresaron Thomas Carlyle en La Revolucin
francesa: una historia y Charles Dickens en Historia de dos ciudades. El arte gtico fue tambin apoyado por
John Ruskin, que argument que ejemplificaba los valores comunales y sociales, al contrario que el
Clasicismo, el cual l consideraba que realzaba la estandarizacin mecnica.
En el terreno literario, consiste en una reaccin frente al movimiento romntico ingls del primer cuarto de
siglo. Los nuevos escritores rechazan la fantasa romntica de Byron o Shelley y buscan un nuevo realismo -el
poeta Tennyson, los novelistas Thackeray y Dickens, el filsofo Carlyle encarnan los nuevos valores de la era-.
La mitad del siglo vio la Gran Exposicin de 1851, la primera Feria Mundial, la cual mostr las mejores
innovaciones del siglo. En su centro estaba el Palacio de Cristal, un enorme y modular edificio de estructura
de cristal y acero, el primero de su tipo. Fue condenado por Ruskin como el perfecto modelo de
deshumanizacin mecnica en diseo, pero ms tarde se convirti en el prototipo de la Arquitectura
Moderna. La aparicin de la fotografa, que fue exhibida en la Gran Exposicin, condujo a importantes
cambios en el arte victoriano. John Everett Millais fue influido por la fotografa (especialmente en el retrato de
Ruskin), as como otros artistas prerrafaelitas. Ms adelante fue asociado con las tcnicas impresionistas y el
Realismo social que dominaron los siguientes aos del periodo en los trabajos de artistas como Walter Sickert
y Frank Holl.

George Melies. Viaje a la luna. Ciencia ficcin de 1902.

1995 doble album
2 horas
3er lbum
28 canciones
Dawn to dusk amanecer a anocher
Twilight to starlight
Del crepsculo a la luz de las estrellas.
Arte conceptual. 2 partes q representan el dia y la noche.
However, Billy Corgan has also said that the album is based on "the human condition of mortal sorrow

Melancola como aspecto caracterstico de todos los tiempos y se

representa en distintas formas artisticas a travs de la historia.

Jean-Baptiste Greuze (1725, Tournus 1805, Pars) fue un pintor francs.

Jean-Baptiste Greuze's The Souvenir (Fidelity), 1787-1789. Yuriko Jackall, a curator at the National Gallery of Art in Washington,
D.C., says Grueze's subject may be cluching her dog in fear of the storm gathering behind her. "The viewer may, however, also
imagine that she is portrayed in the throes of longing for an absent lover," Jackall says

Tras realizar sus primeros estudios de pintura con Grandon en Lyon, Greuze se traslad a Pars en 1750 y
entr, como alumno de Natoire en la Real Academia de Pintura y Escultura. En 1755, su cuadro Padre de
familia explicando la Biblia a sus hijos, tambin conocido como La lectura de la biblia obtuvo un gran xito.
Su popularidad se confirm con otras pinturas de corte melodramtico, representando escenas de familias
pequeo burguesas de provincias. Uno de sus defensores pblicos fue Diderot; el famoso crtico de arte hizo
un encendido elogio de sus pintura por la moralidad de sus imgenes.

Raffaello Sanzio (Urbino, 6 de abril de 1483 Roma, 7 de abril de 15201 ), tambin conocido como Rafael de Urbino o,
simplemente, como Rafael1 n. 1 fue un pintor y arquitecto italiano del Alto Renacimiento. Adems de su labor pictrica, que sera
admirada e imitada durante siglos, realiz importantes aportes en la arquitectura y, como inspector de antigedades, se interes en
el estudio y conservacin de los vestigios grecorromanos.3
Raphael's Saint Catherine of Alexandria, circa 1507. NGA curator David Brown says, "His depiction adopts Catherine's traditional
attribute the wheel that broke during her martyrdom but instead of stressing the horrific aspect of the event, Raphael has her
leaning on the broken wheel in a relaxed classical pose.

Entre sus grandes xitos puede mencionarse La boda pueblerina o Acorde de village presentada en el saln
de 1761, donde una vez ms muestra un interior pequeo burgus y dos mundos enfrentados. A la izquierda
de la composicin el mundo femenino de la intimidad y en la parte derecha el universo masculino de las
leyes y los negocios

Mellon Collie's figurehead is a girl who never really existed: a daydreaming star nymph with a split
personality.
Her creator is John Craig, an illustrator from Pittsburgh who was living in Wisconsin when he
began communicating with Corgan about what visual elements could bring the enormous ambition
of Melon Collie to life. A collage artist, Craig had spent most of his career doing editorial
commissions for magazines; here, he worked from Corgan's scribbled notes and crude sketches,
most of which arrived via fax. Craig made other illustrations that appear throughout the album's
packaging animals smoking pipes, celestial bodies with faces, wayward children walking eerie
dreamscapes all with a vaguely antique quality. But the cover image, of a girl adrift on a
celestial raft, was the simplest and the most indelible. (como el dark side, pink floy pedia
portadas sencillas a veces a storm thorgerson, diseador grafico de floy, zepellin, gnesis, mars
volta.)

She is assembled, like the rest of Craig's creations, from scraps of paper ephemera, but she but
doesn't look like a collage. Speaking from his home in Wisconsin, the 68-year-old Craig talks about
his inspiration for the image, its implied eroticism and the moment it bloomed into something more
than the sum of its parts.
John Craig nunca haba escuchado de los Smashing Pumpkins.
Como las ideas se relacionan indirectamente. No requieren de la presencia de la obra.
They were looking for a retro style, and I liked to use lost and vintage imagery. Billy had such a big
idea in mind; he must have had this whole booklet idea already conceived. He really wanted to do
Victorian paintings, so after looking at my portfolio, I think he liked what he saw but still wanted to
find someone who could paint in that style. So it sort of came up and then went away.
They found a woman who actually did do Victorian-style painting and had her do something, and it
just didn't work out. It still didn't look really dark and dusty like that period. At the same time, they
had been working with Frank Olinsky, a designer in New York
Frank Olinsky hizo el arte del empaquetado. Tipografa, etc.
Y recomendo de nuevo a jonh Craig para la portada, aunq nunca se haba conocido, conoca su
trabajo. La comunicacin en el arte, fax, mails, etc. La msica tambin se hace asi ahora.
It was originally only to do the booklet illustrations, of which there were only five. He sent me a
couple of faxes, and I mocked up a couple versions of one of the pieces I think it was the children
in the field. I presented that to him and he liked it.
Obra que inspiro:
I came across a famous engraving by the artist Albrecht Drer. It is made in 1514 and
subject of many interpretations. What struck me were the seemingly resemblances
with the album Mellon Collie.
There is the title of this artwork "Melencolia I"
And secondly, a lot of symbols used in the booklet from the album can be seen in it
The hourglass, the ladder, the cherub, the keys (hanging at the skirt) and the skull
(reflected in the block).

Simbolos tomados de los freenmasons.

Un libro sobre la interpretacin de esta obra Peter-Klaus Schuster

Y una influyente discusin del historiador del arte Erwin Panofsky (alemn)que influencio en el
estudio de la iconografa y estudio el arte renacentista. 1943 hace un estudio de durer.
http://en.wikipedia.org/wiki/Erwin_Panofsky
1513 durer: melanocolia I
EL ARTE NOS INSPIRA A CREAR MAS
SE REUTILIZA SE REINVENTA
AUNQ SE DIGA LO MISMO, NO SE DICE CON LAS MISMAS PALABRAS.
Monograma
stead it seems more likely that the "I" refers to the first of the three types of melancholia defined by
the German humanist writer Cornelius Agrippa. In this type, Melencholia Imaginativa, which he held
artists to be subject to, 'imagination' predominates over 'mind' or 'reason'.
La francmasonera o masonera se define a s misma como una institucin discreta de carcter
inicitico, no religiosa,1 filantrpica, simblica y filosfica fundada en un sentimiento de fraternidad.
Tiene como objetivo la bsqueda de la verdad a travs de la razn y fomentar el desarrollo
intelectual y moral del ser humano, adems del progreso social. Los masones se organizan en
estructuras de base denominadas logias, que a su vez pueden estar agrupadas en una
organizacin de mbito superior normalmente denominada "Gran Logia", "Gran Oriente" o "Gran
Priorato".
Aparecida en Europa entre finales del siglo XVII y principios del XVIII, la masonera moderna o
"especulativa" ha sido descrita a menudo como un sistema particular de moral ilustrada por
smbolos. Se presenta a s misma como una herramienta de formacin, con un mtodo particular
que, basado en el simbolismo de la construccin, permite a sus miembros desarrollar su capacidad
de escucha, de reflexin y de dilogo, para transmitir estos valores a su entorno.
GRABADO
One interpretation suggests the image references the depressive or melancholy state and
accordingly explains various elements of the picture. Among the most conspicuous are: The tools of
geometry and architecture surround the figure, unused The 4 4 magic square, with the two middle
cells of the bottom row giving the date of the engraving: 1514. This 4x4 magic square, as well as
having traditional magic square rules, its four quadrants, corners and centers equal the same
number, 34, which happens to belong to the Fibonacci sequence. His age in 1514 was 43, reverse
of 34.[original research?] The truncated rhombohedron[5] with a faint human skull on it. This shape
is now known as Drer's solid; over the years, there have been numerous articles disputing the
precise shape of this polyhedron[6]) The hourglass showing time running out The empty scale
(balance) The despondent winged figure of genius The purse and keys The beacon and rainbow in
the sky[7] Mathematical knowledge is referenced by the use of the symbols: compass, geometrical
solid, magic square, scale, hourglass.

An autobiographical interpretation of Melencolia I has been suggested by several historians. Ivn

Feny considers the print a representation of the artist beset by a loss of confidence, saying:
"shortly before [Drer] drew Melancholy, he wrote: 'what is beautiful I do not know' ... Melancholy is
a lyric confession, the self-conscious introspection of the Renaissance artist, unprecedented in
northern art. Erwin Panofsky is right in considering this admirable plate the spiritual self-portrait of
Drer.

Those faxes from Billy Corgan, which are reproduced in the deluxe box, call for a lot of
strange juxtapositions rats and squirrels in an opium den, or a pair of cats getting
married. In retrospect, collage seems like the ideal medium for what he wanted. What drew
you to that way of making art?
JC: All through art school I was always most inspired by the Dadaists and the Surrealists, who used
collage quite a bit. They actually picked it up from a commercial source, mostly postcards from the
turn of the century, which I use a lot myself. They would do these fantasy cities of the future, or
these overgrown vegetables on railroad cars, just playing with photography in those early days
amazing stuff when you consider it was all somehow done by hand. I remember visiting a guy that
had a shop in Chicago; he collected all sorts of paper paraphernalia, ephemera, postcards, labels,
posters, any printed material. I just fell in love with that old color, that old surface. Working with this
fax from Billy, I'd go through a box of unrelated images and dismiss a lot them, but every now and
then I'd grab a piece and say, this might work. They start to become something new just by their
association.
REUNIR DISTINTAS FORMAS PARA CREAR UNA COMPLETUD NUEVA.
The origins of collage can be traced back hundreds of years, but this technique made a dramatic
reappearance in the early 20th century as an art form of novelty.
The term collage derives from the French "coller" meaning "glue".[1] This term was coined by both
Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a
distinctive part of modern art.[2]

We talked about it and he sent me some more faxes, and I looked through a lot of the
period books I had and showed him some examples of other people's paintings that
related to the celestial idea he was looking for. He was really talking about a ship's
maiden you know, the ones carved into the front of old ships.

The designer of the new deluxe package has included a decoupage page, where there
are images that you can cut out and rearrange. He asked me if I would take the cover
image and cut it apart so people could put it together themselves. And I told him that I
wouldn't, that the magic of it would be lost if it became a collage by number. I don't think
it would be very satisfying to anybody to see it all broken down. Anybody familiar with art
history will tell you what those pieces are; for that reason only, I guess I can't.
NPR: Tell me about the process. Were you working by hand?
JC: It was done with a color copier, so I had some flexibility in tweaking the color and
adjusting the size. The background is a celestial image that came from an old children's
encyclopedia or book of knowledge. While I was looking for the body and the face, I was
also looking for something to carry it beyond just a standing figure. And I had this
whiskey ad, which happened to have these drinks floating on stars. If you look closely,
you can see that where the body is inserted into the star, there's a little lip that was
the stem of a cocktail. The face is [by the French painter Jean-Baptiste] Greuze. I had a
nice, clean lithograph of that with lots of detail, from the turn of the century. That face
was laid out on my table, probably with another dozen or so faces.
PR: And then the body is from a Raphael painting of Saint Catherine of
Alexandria.
With any collage piece, I'm always I'm trying all the possibilities. It's almost like one of
those changing heads books, where you move the eyes and nose until you get what you
want.
NPR: The head and body seem made for each other; you'd never
know they came from two different women, let alone two different
works.
JC: Well, that's the kind of magic I want to achieve. Most collage is thought of as cut and
torn, and really has a surface to it. I'm looking for a seamless thing. I think I have in all
my work.
NPR: What did you like about these two once you put them
together?
JC: With the Greuze, there was something very dreamy or ecstatic about her expression
that certainly wasn't in the Raphael painting. And then the flow and color of the Raphael
dress, just the way it's rippling and almost traveling. I guess it's those primary colors too.
That's what happens you don't know if it's going to work, but you put the body on the

star and the head on the body and you just know it's right somehow. Though I look at it
now and see some tweaks I would do.
NPR: Such as?
JC: There's a little more texture in the hands, and that bothers me. I can't really change
that. Her shoulders are a little too pinched; she should have more cleavage somehow, or
a suggestion of a beginning of that. The hair should be more transparent around the
wispy part. I mean, you can work it to death.
NPR: Let's talk about the hands, which are really interesting to me. I
was probably 12 when I got this album, and I don't think I looked
twice at the art. When I revisited it a few years later, I remember
thinking there was something really risqu about it especially the
left hand, draped below the waist. Is there a sexual element there?
JC: Is she masturbating?
NPR: That's my question.
JC: You know, I have to be honest with you: I see that in a lot of paintings of women from
those periods.
NPR: That they appear to be masturbating?
JC: Not necessarily but that there's a lot of fondling, self-fondling. She may be, and
maybe only Raphael knows. There's something about the placement of the hands and
the whole look this woman has on her face that implies it. I think that's the unspoken
eroticism in a lot of that early art. That's all they could get away with.
NPR: Have you ever made sense of how all the different elements
the cover, those strange scenes in the booklet and the music itself
fit together?
JC: I guess it's a bit like pages from a lost book. There's not enough there to really see a
continuity; the whole relationship of the different pieces is a collage in a way.

NUNCA CONOCIO A BILLY CORGAN

All art is derivative.

Estamos perdiendo el contacto con el arte por la tecnologa y los medios

Es fcilmente reemplazable y no considerada.