Bobnearled = Bobinder

[Hondoboot2]

Depicting The Dead 3

VAC Gatrell notes that two hundred years ago, not only artists but the viewing public and society in general became, "more pathos-laden, more preoccupied with death's beauty" -

"In the gothic novel or in the art of Henri Fuseli and William Etty death and macabre desire were erotically bonded. The beautiful and desired corpse came to be encased in a morbidity which by the nineteenth century was in full flower. 'The death of a beautiful woman is unquestionably the most poetic subject in the world' as Edgar Allan Poe wrote in 1846." (VAC Gatrell 'The Hanging Tree' 1996.)

Poe, the acknowledged master of gothic horror, has perfectly anticipated my exploration of the tension between beauty and decay. Taken further, the artist's motivation in the portrayal of death goes beyond mere empathy and has to do with a fascination with a state and condition the living have yet to experience. Elisabeth Bronfen considers this in detail when she speculates about artists' strange compulsion to depict the death of beautiful women, and our pleasure in such images:

"How can we delight at, be fascinated, morally educated, emotionally elevated and psychologically reassured in our sense of self by virtue of the depiction of a horrible event in the life of another, which we would not have inflicted on ourselves? These depictions delight because we are confronted with death, yet it is the death of the other. We experience death by proxy. In the aesthetic enactment, we have a situation impossible in life, namely that we die with another and return to the living. Even as we are forced to acknowledge the ubiquitous presence of death in life, our belief in our own immortality is confirmed. There is death but it is not my own.

"The artistic representation of death expresses a displaced anxiety about death and a desire for death as well. It expresses something that is so dangerous to the health of the psyche that it must be repressed and yet so strong in its desire for articulation that it can't be. In a gesture of compromise, the artist deals with the danger by representing death in the body of another person and at another site." (Elisabeth Bronfen 'Over Her Dead Body: 'Death, Femininity and the Aesthetic' 1992.)

'Via Appia 4b' betrays my Pre-Raphaelite inclinations in the voluptuous, cascading locks of red hair. John Everett Millais' 'Ophelia' is arguably the best known Pre-Raphaelite painting of a beautiful dying woman, which illustrates Gatrell's thesis perfectly. The model, Lizzie Siddal (herself a somewhat overlooked Victorian artist and poet) posed immersed in a bath of cold water, which ironically nearly brought about her own death from pneumonia. 'Via Appia 12pp' is a variation in which the exhausted central figure is gratefully succumbing to death's release.

Another great post Bobinder, I really like your explanations on what the inspiration was for your artwork. They are interesting, please keep them coming

 

[bobinder]

I think after died sink the blod in the legs. Also must have the legs a another Color. Violet, darkpink. Same dead spots.

True that would be an accurate description of the post mortem discolouration. I'm not sure how soon it sets in, probably fairly swiftly. Trouble is, realistic-looking dead bodies look like real dead bodies and begin to lose their charm...

 

[bobinder]

Another great post Bobinder, I really like your explanations on what the inspiration was for your artwork. They are interesting, please keep them coming

Thanks. I might get a bit analytical from time to time, but I really thought Gatrell and Bronfen had some good insights which are relevant to afficionados like ourselves - maybe they 'get it' too?

 

[bobinder]

Depicting The Dead 4

'I'm a-goin' back out 'fore the rain starts a-fallin'
I'll walk to the depths of the deepest black forest
Where the people are a many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
And the executioner's face is always well hidden.'

(From 'A Hard Rain's A-Gonna Fall' by Bob Dylan 1962)

My non-crux depictions of the dead and dying appear in the 'Pyracie' series. These A4 gouache watercolours, with their detail and sepia variations, illustrate executions by strangulation both on the gallows and by garrote. Francisco Goya seems to have been an unconscious influence here, and I am assuming that my garrotted pirates have been captured in Spain. The series title is intended to evoke an old English spelling appropriate to the eighteenth century, and encapsulates the crime for which the girls are condemned.

The public garrotting scenes only made sense if there were spectators, but I have given these a subsidiary role and pushed them into the shadows (avoiding detailed painting) where they are anonymous participants, devoid of feelings or, with few exceptions, expressions. The executioners only make a partial appearance, in just two pictures, without faces. In one picture we only see a boot and the hands on the twisting lever. It is the victims who take centre stage, sometimes apprehensive, sometimes defiant (#2 gives the finger to her executioner) or already dead. #2 and #3 were intended to hang as a pair, overlooking the cliffs and sea, the scene of their crimes, which involved some ambitious background painting.

 

[bobinder]

Depicting The Dead 5

'You know that the coming is so close at hand.
You feel alright.
I guess only women in cages can stand
This kind of night.
I guess only women in cages
Can play down
The things they lose.
You think no tomorrow will come
When you lay down.
You can't refuse.'

(from 'The Razor Boy' by Steely Dan 1973)

'Pyracie 5' is currently the only gibbet cage illustration in the 'Pyracie' series. Skatingjesus has done some excellent pictures on this theme with a live subject. Mine shows the aftermath of a hanging, the noose still attached to her neck and being used to support the corpse. The painting has elicited no comment in the gallery, although it represents my most extreme conflict between beauty and decay. Death has begun the process of putrefaction in the collapsed, lifeless body and perhaps the beauty has faded sufficiently for the picture to be less than appealing. The cold iron of the small cage has a permanence which contrasts with the frail body which will soon be reduced to skeletal remains. Meanwhile the half-open mouth and sightless eyes engage us directly, as if to say this was so recently a person capable of communicating her feelings.

Disturbing it may be, but perhaps it presents a powerful image in terms of the oppression of women. The metaphorical caged woman (e.g. trapped in an abusive relationship) like a caged bird, might have an opportunity of escape, particularly with so few bars on the cage. But it is far too late for this woman to extract herself, since she was already dead when enclosed. Only the physical beauty now held captive behind bars will find release, via the inevitable decay.

 

[Barbaria1]

#2 would be rebellious insolent me!

Interesting how #5 crosses her legs. Imagining what that might indicate

 

[bobinder]

#2 would be rebellious insolent me!

Interesting how #5 crosses her legs. Imagining what that might indicate

I like the idea of identifying with such a final gesture, which is presumably why I couldn't resist including it. #5 is obviously feeling a little self-conscious at present but she is shortly to lose all her inhibitions, along with everything else she knows in this life...

 

[Hondoboot2]

Depicting The Dead 4

'I'm a-goin' back out 'fore the rain starts a-fallin'
I'll walk to the depths of the deepest black forest
Where the people are a many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
And the executioner's face is always well hidden.'

(From 'A Hard Rain's A-Gonna Fall' by Bob Dylan 1962)

My non-crux depictions of the dead and dying appear in the 'Pyracie' series. These A4 gouache watercolours, with their detail and sepia variations, illustrate executions by strangulation both on the gallows and by garrote. Francisco Goya seems to have been an unconscious influence here, and I am assuming that my garrotted pirates have been captured in Spain. The series title is intended to evoke an old English spelling appropriate to the eighteenth century, and encapsulates the crime for which the girls are condemned.

The public garrotting scenes only made sense if there were spectators, but I have given these a subsidiary role and pushed them into the shadows (avoiding detailed painting) where they are anonymous participants, devoid of feelings or, with few exceptions, expressions. The executioners only make a partial appearance, in just two pictures, without faces. In one picture we only see a boot and the hands on the twisting lever. It is the victims who take centre stage, sometimes apprehensive, sometimes defiant (#2 gives the finger to her executioner) or already dead. #2 and #3 were intended to hang as a pair, overlooking the cliffs and sea, the scene of their crimes, which involved some ambitious background painting.

'Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell and speak it and think it and breathe it
And reflect from the mountain so all souls can see it'
-Bob Dylan 'A Hard Rain's A-Gonna Fall'

I will speak it, Bobinder is a great artist, and I hope all will see it.
Great garrotting scenes Bobinder, I really like these, very intense. Also, great choice in music......Bob Dylan, and Steely Dan

'Will you still have a song to sing
When the razor boy comes
And take your fancy things away
Will you still be singing it
On that cold and windy day'
-Steely Dan 'Razor Boy'

Here is another interesting lyric:

'In her white lace, you could clearly see the lady sadly looking
Saying that she'd take the blame
For the crucifixion of her own domain'
-Yes 'Close To The Edge'

 

[Jollyrei]

Thanks. It's an early manipulation all in Windows Paint, which was very time consuming, but I'm still happy with the result.

I'm frankly in admiration for your work using Paint. Beautiful art, the more so considering the time and effort put into getting your splendid results.

 

[bobinder]

'Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell and speak it and think it and breathe it
And reflect from the mountain so all souls can see it'
-Bob Dylan 'A Hard Rain's A-Gonna Fall'

I will speak it, Bobinder is a great artist, and I hope all will see it.
Great garrotting scenes Bobinder, I really like these, very intense. Also, great choice in music......Bob Dylan, and Steely Dan

'Will you still have a song to sing
When the razor boy comes
And take your fancy things away
Will you still be singing it
On that cold and windy day'
-Steely Dan 'Razor Boy'

Here is another interesting lyric:

'In her white lace, you could clearly see the lady sadly looking
Saying that she'd take the blame
For the crucifixion of her own domain'
-Yes 'Close To The Edge'

Thanks, you know the songs! I have also been a Yes fan in my time and remember that powerful and softly sung lyric from 'Close to the Edge'. Must dig out those old vinyls! Here's another:
'Sad preacher nailed upon the coloured door of time
Insane teacher be there reminded of the rhyme
There'll be no mutant enemy we shall certify
Political ends as sad remains will die
Reach out as forward tastes begin to enter you.'
- Yes 'And You And I'

 

[bobinder]

#2 would be rebellious insolent me!

Interesting how #5 crosses her legs. Imagining what that might indicate

Just for you, Barb, on the subject of losing inhibitions, here's an unfinished painting of another self-conscious pirate, facing down her approaching executioner with the most obscene gesture of which she is capable...

 

[Barbaria1]

Just for you, Barb, on the subject of losing inhibitions, here's an unfinished painting of another self-conscious pirate, facing down her approaching executioner with the most obscene gesture of which she is capable...

And just for that, he will be sure to be extremely slow about turning that garrote ...

 

[bobinder]

And just for that, he will be sure to be extremely slow about turning that garrote ...

Well, it might delay the start, since he has to work behind her (ostensibly to avoid being distracted by the facial expression) where he will be denied this view...

 

[Barbaria1]

Well, it might delay the start, since he has to work behind her (ostensibly to avoid being distracted by the facial expression) where he will be denied this view...

Looking down over my shoulder will be good enough ... just a couple cranks to begin with ... enough to apply a little pressure and create a little panic ... laugh at my vain attempts to change position, open and close my legs ... beg for mercy ...

 

[bobinder]

Looking down over my shoulder will be good enough ... just a couple cranks to begin with ... enough to apply a little pressure and create a little panic ... laugh at my vain attempts to change position, open and close my legs ... beg for mercy ...

I think she knows mercy is not an option...

 

[Barbaria1]

I think she knows mercy is not an option...

I don't think the crowd would ever allow it ... and my executioner knows it!

 

[bobinder]

I don't think the crowd would ever allow it ... and my executioner knows it!

The show must go on.

 

[Hondoboot2]

Thanks, you know the songs! I have also been a Yes fan in my time and remember that powerful and softly sung lyric from 'Close to the Edge'. Must dig out those old vinyls! Here's another:
'Sad preacher nailed upon the coloured door of time
Insane teacher be there reminded of the rhyme
There'll be no mutant enemy we shall certify
Political ends as sad remains will die
Reach out as forward tastes begin to enter you.'
- Yes 'And You And I'

'And You And I' is a great song, I love Yes, and 'Close to the Edge' is my favorite Yes album. I'm glad you are a fan of Yes, and vinyl records.....I am at the moment listening to 'Tales From Topographic Oceans', on vinyl.

 

[bobinder]

Not sure why my last Pyracie pic seems to have disappeared (bbdd6 (b archive) Pyracie 10a.jpg.) If it's not been censored as too tasteless even for this forum (!) I might try re-posting it in a day or two.

 

[thehangingtree]

Not sure why my last Pyracie pic seems to have disappeared (bbdd6 (b archive) Pyracie 10a.jpg.) If it's not been censored as too tasteless even for this forum (!) I might try re-posting it in a day or two.

Site problem... it happened to everyone. Please repost...