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In this fascinating series of works, Hungarian new media artist Bence Hajdu has removed the figures from a series of Old Master paintings with such precision that it’s almost hard to believe. While some compositions, like Jacques-Louis David’s “Oath of the Horatii” (1784) seem perfectly suited to such background reconstruction (see its clean, minimal lines and crisp shadows), others like Claude Lorrain’s “Seaport with the Embarkation of St. Ursula” (1641) seem like a more difficult selection, because of the picky details — in this case, waves and small scattered figures.
Hajdu’s works, which I’ve converted into GIFs (apologies to the artist) to make it clear what a fantastic visual feat the artist has achieved, also highlight the theatricality of the scenes. The pieces, which he has previously exhibited accompanied by smaller versions of the original images (a set up pictured below), have a silence that the original images lack. It is as if the characters have wandered off the stage and we’re left to ponder the world where such drama occurs.
In some cases, his erasures give a new life to the works, like Leonardo’s “Last Supper,” which seems a natural fit for the process as we’re all familiar with the table clutter of a meal. Somehow it makes the scene appear more human when the frozen figures disappear. I can’t say I had ever pondered the meal Jesus and his disciples shared in Leonardo’s masterpiece but it’s a curious revelation — is it just me or do the disciples on either end appear to be hoarding most of the food? #LOL
Others, like Botticelli’s “The Annunciation” don’t benefit much from the editing, as the sparse interior and idyllic view through the window tell us little if anything about the original scene.
In the case of Fra Angelico’s Annunciation, Hajdu has taken the liberty to leave a scarf behind for where the Virgin Mary was sitting. In this one scene, we’re left to feel that the angel has just left and the Madonna gone inside. And even if the floor shadows are a little bizarre in Hajdu’s rendering, it only helps us to see that the geometric arrangement of the scene in general is quite peculiar in and of itself.
One of the things I keep thinking about as I look at these scenes is how much I’d love to play a video game that wanders through familiar scenes like this. It’s like visiting a childhood home that you see anew after all these many years. The Old Masters don’t disappear, they’re just constantly reinvented.
h/t hypenotice via Zach Alan
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.