Showing posts sorted by relevance for query satyr. Sort by date Show all posts
Showing posts sorted by relevance for query satyr. Sort by date Show all posts
Wednesday, August 24, 2011
Monday, April 11, 2011
Thursday, August 26, 2010
Austin Osman Spare... Satyr
from
The Later Work of Austin Osman Spare 1927-1956
The Later Work of Austin Osman Spare 1927-1956
by William Wallace
"I am the Living Lie. In a World of Lies it is necessary to create reality" Satyros in Stroud 1924
Satyros at Stroud, 1924
"The only teaching possible is to show a man how to learn from his own wisdom, and to utilise his ignorance and mistakes. Not by obscuring his vision and intention by righteousness."
from the Book of Pleasure - The psychology of ecstasy-
Austin Osman Spare
previous AOS posts
Wednesday, August 10, 2011
Liv Rainey-Smith... Woodcuts ... Satyr
Shub ~ The Early Years © Liv Rainey-Smith
"Shub-Niggurath" ~ 2008 © Liv Rainey-Smith
Monday, October 11, 2010
Saturday, May 5, 2012
Thursday, December 30, 2010
Austin Osman Spare ... Satyr... Happy Birthday!
Austin Osman Spare ~ 30 Dec 1886 –15 May 1956
O Give Thanks Unto!
:
O Give Thanks Unto scanned from a set of postcards from recent "Fallen Visionary" exhibition 2010
The Psychology of Believing.
If the "supreme belief" remains unknown, believing is fruitless. If "the truth" has not yet been ascertained, the study of knowledge is unproductive. Even if "they" were known their study is useless. We are not the object by the perception, but by becoming it. Closing the gateways of sense is no help. Verily I will make common-sense the foundation of my teaching. Otherwise, how can I convey my meaning to the deaf, vision to the blind, and my emotion to the dead? In a labyrinth of metaphor and words, intuition is lost, therefore without their effort must be learned the truth about one's self from him who alone knows the truth . . . . yourself.
from The Book of Pleasure (self-love) ~
The Psychology of Ecstasy
Sunday, August 29, 2010
Saturday, April 24, 2010
Thursday, February 10, 2011
Sunday, February 7, 2010
Sunday, February 28, 2010
Wednesday, April 6, 2011
Wednesday, August 4, 2010
Sunday, April 11, 2010
Saturday, October 2, 2010
Ex libris... Satyr
Leopold A. Chambliss - Bookplate was designed in 1928 by H.Hubert. The quotation is from The Revolt Of The Angels by Anatole France
Rev. Carl E. Peterson- was a bookplate collector. This exlibris was engraved in 1895 by Levy and company .The designer was Bessie Pease Gutmann who is better known for her illustrations of children.
from this great bookplate blog
Sunday, January 1, 2012
Charles Rickett... poster... 1920...satyr
click on image to enlarge
Poster advertising The Dynasts by Thomas Hardy c1920
Amid this scene of bodies substantive
Strange waves I sight like winds grown visible,
Which bear men's forms on their innumerous coils,
Twining and serpenting round and through.
Also retracting threads like gossamers—
Except in being irresistible—
Which complicate with some, and balance all.Thomas Hardy Tuesday, July 19, 2011
Saturday, April 11, 2009
Hypnerotomachia Poliphili...in dreams...
'Each one was divided at the groin, whereupon her fleshy thighs separated.'
The enigmatic, polyglot Hypnerotomachia Poliphili has fascinated architects and historians since its publication in 1499. Part fictional narrative and part scholarly treatise, richly illustrated with wood engravings, the book is an extreme case of erotic furor, aimed at everything -- especially architecture -- that the protagonist, Poliphilo, encounters in his quest for his beloved, Polia. Among the instances of the book's manifesto-like character is Polia's tirade defending the right of women to express their own sexuality, probably the first sustained argument of this type, which lifts the book's erotic theme from the realm of ribaldry to the more daring one of sexual politics.printed by Aldus Manutius Venice: 1499
Eros and the Metaphor of the Architectural Body
The name Poliphilo means "lover of many things." The name Polia, in turn, means "many things." And to be sure, Poliphilo does love many things besides Polia. ...But he loves architecture most: he loves it as much as he loves Polia, in the same carnal way. One after the other, the buildings in the book become objects of desire, metaphors for Polia’s solido corpo.
Indeed, among the dreamlike features of the buildings is the inordinate feeling of happiness they impart to the beholder. Poliphilo characterizes the marble of the triumphal arch as "virginal," the veinless marble of another surface as "flawless," which is the sma eterm he uses to describe the skin of a certain nymph. Upon seeing the buildings, Poliphilo feels "extreme delight," "incredible joy," "frenetic pleasure and cupidinous frenzy". The buildings fill him with the highest carnal pleasure" and with "burning lust." He loves them not just because they are beautiful to behold, but also because they are fragrant and agreeable to touch. He partakes of their pleasures with all his senses. In front of the frieze of a sleeping nymph, he cannot keep from plcing his hand on her knees and "fondling and squeezing" them, nor can he resist pressing his lips to her breasts and sucking them.
The sexuality of the buildings Poliphilo loves is polymorphic. He approvingly describes the column of a certain temple as "hermaphrodotic," because they combine male and female characteristics. The altar of Bacchus is made of darkly veined marble especially selected to express the virility of that deity, and it is carved with a grat phallus "rigidly regorous." Above the reclining nude body of a sleeping nymph leers a naked satyr with a watchful eye and an erect penis.
This erotization of architecture comes to its logical conclusion. In three cases, Poliphilo manages to locate the appropriate orifice through which he can engage in sexual congress with particular buildings. His response, always described at length and in great detail, is sheer coital ecstacy. In one case, the effect on the building is mutual. Liane Lefaivre
"The Nymph Polia perceiuing well the change of my colour and blood comming in more stranger sort than Tripolion or Teucrion, thrise a day changing the colour of his flowers, and my indeuoring to sende out scalding sighes deeply set from the bottome of my hart, she did temper and mitigate the same with hir sweete and friendly regards, pacifieng the rage of my oppressing passions, so as notwithstanding my burning minde in these continuall flames and sharpe prouocations of loue, I was aduised patiently to hope euen with the bird of Arabia in hir sweet nest of small sprigs, kindled by the heate of the sunne to be renewed."
HYPNEROTOMACHIA
Saturday, May 12, 2012
Paolo Farinati...The Punishment of Marsyas...1573
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Agathias (c. 536-582 AD)
translated by Richard Garnett
Satyr, whose listening ear so low is bent
Breathes with spontaneous strain thine instrument?
Smiling and silent thou remainest bound
In silvery fetters of delightful sound;
For sure that lifelong figure here doth dwell
Fixed not by Painting's, but by Music's spell.
translated by Richard Garnett
Satyr, whose listening ear so low is bent
Breathes with spontaneous strain thine instrument?
Smiling and silent thou remainest bound
In silvery fetters of delightful sound;
For sure that lifelong figure here doth dwell
Fixed not by Painting's, but by Music's spell.
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