Anna Dumontさんのイラストまとめ

WHERE DOES THIS GUY GET OFF

I mean, Bernardo Strozzi, get the fuck out of here.

Here’s a mad 1864 fantasy view of the canal by Albert Reiger, a mad sculptural tribute (Pietro Magni, 1864), and a little scale model brought back from Egypt, all in Rivoltella’s collection.

Two days in Trieste ask for a lot of thought about the extraction of both economic power and art objects from Egypt, btw the Rivoltella house museum financed by Suez Canal money, & the large Egyptian collection in the civic archaeology museum (incl. human remains).

Will absolutely never recover from Bernardo Strozzi painting fabric like this?!?!

Fame in a dress of eyes in a 16 c. Dutch glass panel. It’s a scene from Petrarch’s Trionfi (Time over Fame) but the dress is a wild invention. I love how the eyes seem to have lids, an uncanny melding of the way skin and fabric both fold. From my last visit to @MAG_Rochester

Great silk weaver's trade-card from Ambrose Heal's collection @britishmuseum, from the proprietor unfurling his wares flanked by be-wormed mulberry leaves, to the moth and cocoon, to the apprentice weaver and young silk-winder propping up the whole operation from below.

Penelope and her Maids, 16th c. engraving, by anonymous "Master FG," after lost Primaticcio murals at Fontainebleau. I love the balusters of the loom and the winders, giving a sense that these women have established a perfectly ordered system of mutual defense thru deception...

Massimo Campigli, '50s. The painting at left was shown @ the 1950 Biennale dominated by Rivera and Siqueiros. An instance of how craft imaginaries slip so easily between ideological positions - these rest awkwardly btw. Rivera's heroic workers & Sironi's right-wing primitivism.

Last archive encounter before...
Beautiful plates hiding at the back of Pietro Gentili's Sulla Manifattura Degli Arazzi showing the same tapestry loom from the front (with the cartoon as reference) and the back, with the weaver's face showing through the veil of warp. #tapestry