The continuation.
The beginning in the issue №92
The youth of Marie de’Medici
So happened that Rubens ended up with the
difficult task of commemorating a huffy and puffy
commode, which looked like it had to hold too much
liquor, while giving it the appearance of a majestic
queen, presented like top fresh meat, and a low-fat
one at that. Plastic surgery, which purged the wrongs
with fire and steel, was at that time in exclusive use of
the inquisition and was a real killer, in all senses, and
Photoshop was yet to be invented. So,in orderto get
the de-sired result, the face was constantly hidden at
the back-ground, as if Medici herself wasn’t the main
character. But the complexion of the aristocratic
muffin was truly exalted by Peter Paul, to honor her
ability to keep a good shape. And though the shape
itself grew closer to an orb as years passed, and the
artist believed that curves make the lady, Marie was
adamant: in all paintings she was to look as slim as
they get.
The condition was so strict, that even in “the Birth
of the Princess”, the baby with the halo looks less
delicious than the other characters. Meaning she
looked simply famished. And there’s the use of similar
tone for the halo and the torch in the hands of Lucina
(goddess of childbirth), making it look like she set it
aflame, before giving to the hands of Florence (the
city in which Medici was born), by whose feet lies
the fertile Arno(the god of the river on which the
city is built). It’s citizens, who support the shield of
France, the flo-ra and fauna, the new construction
at the background, and also all kinds of clockmakers
and horny men1 (meaning horn bearers) are also
symbolic, butnot as interesting as the maiden with
the flowers in her hands, whose head is in the clouds.
Before a surgery performed by the painter, it was an
archer, because according to Rubens’ calculations,
Mary was born under the sign of Sagittarius1. But
some Asian stargaz-er’s horoscope insisted that the
end of April is in fact Taurus, therefore they remade
the archer into something more milk bearing. It’s
not like it’s proper to paint flowing cattle above the
gathering.
Immediately after the birth in the previousframe,
the princess was framed for studying in the
chronologically sixth painting, “Education of the
Princess”, despite her being far from sharpest crayon
in the box. The author didn’t list the classes, deeming
them obvious, so I’ll dare to suggest that Minerva
taught her sapphism2 (pardon my sophism), Hermes
uses her to use the staff at the staff (caduceus, in his
hand), and the musician Orpheus, with his huge
violin-to play the meat flute (the shortest way to a
man’s heart). The three Graces teach nothing-they
seem to be off topic here. But since Rubens had no
PC with internet access, he had to paint his own
naked chicks, wherever he could. And while technically,
the femmes have no direct connection with the
school-ing of the main heroine, in my male opinion,
they teach her mEnagement, as in ménage-à-trois.
Same thought supposedly crossed the mind of those
who criticized the nudity, because half a century later,
the pornog-raphy was thinly veiled, and at the pass
of two centuries heavily curtained, with only a hand
sticking out, holding the wreath which crowned
the student. The main irony showed later, when the
censorship was removed, and the named women
stood out clearly on the faded canvas. Considering that
the twenty four pictures were a part of a singlecycle,
contrast cleaning was needed not only by that piece
alone. I find it to be a strong allegory to the sexual
revolution, which occurred centuries later.
1 – The genius of clocks (at the left) and the genius with the
horn of Plenty (right), in which lie the scepter and the crown.
2 – Rubens did the calculations himself, deeming the sign
that reigned April 26th 1575, which is mentioned in his
correspondence with the astronomer Peiresque.
3 – Sapphism-the study of the poetess Sappho, who was the
first to depict the love of one woman for the other. Resided on
the island of Lesbos.
The marriage of Marie de’Medici
After learning all the things important for a woman,
Marie was locked on the wedlock. The vows were
about to be tak-en with the “wow”-the king of France,
a smiling bearded fellow, if the various painting by
many artists were an indi-cation. From those hanging
in the Louvre, my favorites are the depictions of
theschool of Toussaint Duhreuil, where Henry the
4th, with the look of “made a bit of a mess here”
stands above the Lernean Hydra, which represents
the Cath-olic League. And in his series about the
Italian princess, Ru-bens is the first to present the
king notenface, but he still kept the beard and the
smug physiognomy. The princess on the portrait
in the story of the “Presentation of Her Portrait to
Henry IV” (a bit of a tongue-breaking here), had to
settle without any hesitation for neither the first nor
thesecond man-the painting was a mindless copypaste
from a real painting sent before the wedding.
Искусствоведение
2016 год № 4 (93) С О В Р ЕМ Е Н НА Я ВСЕМИРНАЯ ЛИТЕРАТУРА
In the modern world, love begins in Tweeter,
continues in Skype and dies in a Facebookblacklist,
then it starts again, because there so much Tweets in
the Tweeter, that one might think we didn’t evolve
past the avian stage. On the ancient times, Henry
had to settle for rumors about the girls’ next country,
and in the current situation-with a single depiction
of the potential spouse in the hands of Hymney
and Cupid. Pretty much the way it is nowadays, the
userpic was a pretty weak proof of the face of the real
faces of the unpretty own-ers, so the smiling monarch
had a surprise coming, along with a change in his
expression. But France, obviously tired from wars,is
definitely whispering (if you read the lips).
“Just do it”-and pushes the king to the avvie. “Yeah,
take her!”-Cupid seconds, while poking his finger
at the portrait, while lesser amours steal the kings’
military gear.
And so, in the imagination of Rubens, the charmed
warri-or crown-bearer agrees to bear the throes
of marriage. But in reality, the second marriage of
Henry comes less from hot love, and more from the
cold calculation-as is the way of all the smart people.
Besides, the first wifedidn’t leave any kids; therefore
no child support was set in the court.
The morning of the wedding is the best moment in
any woman’s life, because for once she knows for sure
what she’s going to wear. And how good it was, to feel
young, popular, from therichest family and about to
marry a king. If you count out the money, everything
was good about her, but what can go wrong if you
have more money than you can count? And it’s even
better that the alarm clock didn’t go off, and for
Mariede’Medici it all remained a great reality.
In this very day, as testified by Hymney, which hold
the folds of her wedding uniform, she was wed by her…
uncle, and as depicted by Peter Paul (who was in fact
present in person) in the 8th painting, “A marriage by
agreement” (where he was, in fact, not present). Uncle
Medici was quite the resourceful fellow, often sticking
to the rules (unless they put sticks in his wheels). And
since Henry himself didn’t bother to show up to his
own wedding in the Florentine Ca-thedral, the kin
member just kind of stood in.
The sneaky scenarist was about to grab the
moment, spin-ning it off in all genres, starting from
sitcom to personal drama. But, after watching over
more than 30 seasons of the most interesting series
“life in first person”,I was convinced that the reality
that was forced upon us by the artists’ imagi-nation
was beyond comparing. Thus, the abovementioned
producer spared us from another American-style
“master-piece” on historical basis. As for this picture,
the geniuses of Hollywood, who don’t remember how
the vampire Harry Potter searched Pandora for the
Cloud Atlas that will lead him to Tony Starks’ Iron
Throne, could actually film an “un-even marriage”,
where there are French, and there’s Kutuzov across
the trench. And as a secondary plot-the Terrible father
who kills his son.
Shaking off the terrible thoughts about modern
cinema, I moved to the next painting, where a month
later, a ring bear-ing Medici arrived to Marcel, and
the Fame with the trum-pets was already to help
theking face the music. France himself and Marcel
herselfprostrated themselves before Her Majesty with
open embrace, offering food and wine.
Now if she’d be kind enough to still the engine
named Neptune, and may Fortune, steering the ship,
will pull tgolden galley over and park it in our humble
port. The one in charge about smaller vessels… no,
not a cardiologist, but the black-clothed crusader
struck with his staff against the wooden deck and
the wood-headed Fortune, which half-grew into the
ship, obediently pushed the breaks. Above the aft
deck, parking and breaking lights came alight, except
the one that burned out, and the Caravel placed the
gangplank with the velvet carpet.
The thinned queen just came in, steps onto the
pierce with the red sheets-a crucial part of contrasts
for the narrative part of those paintings. The
background and the small de-tails, as usually, contain
attributes of triumph of virtue over war, and the front
part is dedicated to nereids and tritons. And despite
the fact that the classic objective of “losing weight by
summer” was an epic failure forthe lovely half of the
underwater kingdom (then again, it was November),
they successfully pull the attention away from the
unattractive First Lady. After all, it makes sense that
if Marie has two “apples” to offer, the divas below
expose two melons each, and that’s the delight that
attracts the eye.
Rubens already applies delicate hints to prepare the
be-holders for his next masterpiece, trying to show
through the attributes and gestures of the characters
the events to come. And I, personally, felt that by
setting foot upon the French soil, the somewhat
twenty-five years old, supposedly virgin (!) Marie
relishes the thoughts of meeting her crown-bearing
spouse, who, as far as she believed, was driven mad
by ex-pectation, somewhere in the halls of Lyon. And
if she’s truly innocent, her mind’s already full of with
images of the French kisses and the first wedding
night, unsuspecting what the French are all about.
1 – On the painting, the grand Duke, standing in for the
groom, puts the ring on Maries’ hand. On the right we can see
the French ambassadors, on the left-the family of the bride.
Above the Cardinal there’s an atypical pieta, where instead of
the grieving mother of Christ the father is painted.
To be ended
The beginning in the issue №92
The youth of Marie de’Medici
So happened that Rubens ended up with the
difficult task of commemorating a huffy and puffy
commode, which looked like it had to hold too much
liquor, while giving it the appearance of a majestic
queen, presented like top fresh meat, and a low-fat
one at that. Plastic surgery, which purged the wrongs
with fire and steel, was at that time in exclusive use of
the inquisition and was a real killer, in all senses, and
Photoshop was yet to be invented. So,in orderto get
the de-sired result, the face was constantly hidden at
the back-ground, as if Medici herself wasn’t the main
character. But the complexion of the aristocratic
muffin was truly exalted by Peter Paul, to honor her
ability to keep a good shape. And though the shape
itself grew closer to an orb as years passed, and the
artist believed that curves make the lady, Marie was
adamant: in all paintings she was to look as slim as
they get.
The condition was so strict, that even in “the Birth
of the Princess”, the baby with the halo looks less
delicious than the other characters. Meaning she
looked simply famished. And there’s the use of similar
tone for the halo and the torch in the hands of Lucina
(goddess of childbirth), making it look like she set it
aflame, before giving to the hands of Florence (the
city in which Medici was born), by whose feet lies
the fertile Arno(the god of the river on which the
city is built). It’s citizens, who support the shield of
France, the flo-ra and fauna, the new construction
at the background, and also all kinds of clockmakers
and horny men1 (meaning horn bearers) are also
symbolic, butnot as interesting as the maiden with
the flowers in her hands, whose head is in the clouds.
Before a surgery performed by the painter, it was an
archer, because according to Rubens’ calculations,
Mary was born under the sign of Sagittarius1. But
some Asian stargaz-er’s horoscope insisted that the
end of April is in fact Taurus, therefore they remade
the archer into something more milk bearing. It’s
not like it’s proper to paint flowing cattle above the
gathering.
Immediately after the birth in the previousframe,
the princess was framed for studying in the
chronologically sixth painting, “Education of the
Princess”, despite her being far from sharpest crayon
in the box. The author didn’t list the classes, deeming
them obvious, so I’ll dare to suggest that Minerva
taught her sapphism2 (pardon my sophism), Hermes
uses her to use the staff at the staff (caduceus, in his
hand), and the musician Orpheus, with his huge
violin-to play the meat flute (the shortest way to a
man’s heart). The three Graces teach nothing-they
seem to be off topic here. But since Rubens had no
PC with internet access, he had to paint his own
naked chicks, wherever he could. And while technically,
the femmes have no direct connection with the
school-ing of the main heroine, in my male opinion,
they teach her mEnagement, as in ménage-à-trois.
Same thought supposedly crossed the mind of those
who criticized the nudity, because half a century later,
the pornog-raphy was thinly veiled, and at the pass
of two centuries heavily curtained, with only a hand
sticking out, holding the wreath which crowned
the student. The main irony showed later, when the
censorship was removed, and the named women
stood out clearly on the faded canvas. Considering that
the twenty four pictures were a part of a singlecycle,
contrast cleaning was needed not only by that piece
alone. I find it to be a strong allegory to the sexual
revolution, which occurred centuries later.
1 – The genius of clocks (at the left) and the genius with the
horn of Plenty (right), in which lie the scepter and the crown.
2 – Rubens did the calculations himself, deeming the sign
that reigned April 26th 1575, which is mentioned in his
correspondence with the astronomer Peiresque.
3 – Sapphism-the study of the poetess Sappho, who was the
first to depict the love of one woman for the other. Resided on
the island of Lesbos.
The marriage of Marie de’Medici
After learning all the things important for a woman,
Marie was locked on the wedlock. The vows were
about to be tak-en with the “wow”-the king of France,
a smiling bearded fellow, if the various painting by
many artists were an indi-cation. From those hanging
in the Louvre, my favorites are the depictions of
theschool of Toussaint Duhreuil, where Henry the
4th, with the look of “made a bit of a mess here”
stands above the Lernean Hydra, which represents
the Cath-olic League. And in his series about the
Italian princess, Ru-bens is the first to present the
king notenface, but he still kept the beard and the
smug physiognomy. The princess on the portrait
in the story of the “Presentation of Her Portrait to
Henry IV” (a bit of a tongue-breaking here), had to
settle without any hesitation for neither the first nor
thesecond man-the painting was a mindless copypaste
from a real painting sent before the wedding.
Искусствоведение
2016 год № 4 (93) С О В Р ЕМ Е Н НА Я ВСЕМИРНАЯ ЛИТЕРАТУРА
In the modern world, love begins in Tweeter,
continues in Skype and dies in a Facebookblacklist,
then it starts again, because there so much Tweets in
the Tweeter, that one might think we didn’t evolve
past the avian stage. On the ancient times, Henry
had to settle for rumors about the girls’ next country,
and in the current situation-with a single depiction
of the potential spouse in the hands of Hymney
and Cupid. Pretty much the way it is nowadays, the
userpic was a pretty weak proof of the face of the real
faces of the unpretty own-ers, so the smiling monarch
had a surprise coming, along with a change in his
expression. But France, obviously tired from wars,is
definitely whispering (if you read the lips).
“Just do it”-and pushes the king to the avvie. “Yeah,
take her!”-Cupid seconds, while poking his finger
at the portrait, while lesser amours steal the kings’
military gear.
And so, in the imagination of Rubens, the charmed
warri-or crown-bearer agrees to bear the throes
of marriage. But in reality, the second marriage of
Henry comes less from hot love, and more from the
cold calculation-as is the way of all the smart people.
Besides, the first wifedidn’t leave any kids; therefore
no child support was set in the court.
The morning of the wedding is the best moment in
any woman’s life, because for once she knows for sure
what she’s going to wear. And how good it was, to feel
young, popular, from therichest family and about to
marry a king. If you count out the money, everything
was good about her, but what can go wrong if you
have more money than you can count? And it’s even
better that the alarm clock didn’t go off, and for
Mariede’Medici it all remained a great reality.
In this very day, as testified by Hymney, which hold
the folds of her wedding uniform, she was wed by her…
uncle, and as depicted by Peter Paul (who was in fact
present in person) in the 8th painting, “A marriage by
agreement” (where he was, in fact, not present). Uncle
Medici was quite the resourceful fellow, often sticking
to the rules (unless they put sticks in his wheels). And
since Henry himself didn’t bother to show up to his
own wedding in the Florentine Ca-thedral, the kin
member just kind of stood in.
The sneaky scenarist was about to grab the
moment, spin-ning it off in all genres, starting from
sitcom to personal drama. But, after watching over
more than 30 seasons of the most interesting series
“life in first person”,I was convinced that the reality
that was forced upon us by the artists’ imagi-nation
was beyond comparing. Thus, the abovementioned
producer spared us from another American-style
“master-piece” on historical basis. As for this picture,
the geniuses of Hollywood, who don’t remember how
the vampire Harry Potter searched Pandora for the
Cloud Atlas that will lead him to Tony Starks’ Iron
Throne, could actually film an “un-even marriage”,
where there are French, and there’s Kutuzov across
the trench. And as a secondary plot-the Terrible father
who kills his son.
Shaking off the terrible thoughts about modern
cinema, I moved to the next painting, where a month
later, a ring bear-ing Medici arrived to Marcel, and
the Fame with the trum-pets was already to help
theking face the music. France himself and Marcel
herselfprostrated themselves before Her Majesty with
open embrace, offering food and wine.
Now if she’d be kind enough to still the engine
named Neptune, and may Fortune, steering the ship,
will pull tgolden galley over and park it in our humble
port. The one in charge about smaller vessels… no,
not a cardiologist, but the black-clothed crusader
struck with his staff against the wooden deck and
the wood-headed Fortune, which half-grew into the
ship, obediently pushed the breaks. Above the aft
deck, parking and breaking lights came alight, except
the one that burned out, and the Caravel placed the
gangplank with the velvet carpet.
The thinned queen just came in, steps onto the
pierce with the red sheets-a crucial part of contrasts
for the narrative part of those paintings. The
background and the small de-tails, as usually, contain
attributes of triumph of virtue over war, and the front
part is dedicated to nereids and tritons. And despite
the fact that the classic objective of “losing weight by
summer” was an epic failure forthe lovely half of the
underwater kingdom (then again, it was November),
they successfully pull the attention away from the
unattractive First Lady. After all, it makes sense that
if Marie has two “apples” to offer, the divas below
expose two melons each, and that’s the delight that
attracts the eye.
Rubens already applies delicate hints to prepare the
be-holders for his next masterpiece, trying to show
through the attributes and gestures of the characters
the events to come. And I, personally, felt that by
setting foot upon the French soil, the somewhat
twenty-five years old, supposedly virgin (!) Marie
relishes the thoughts of meeting her crown-bearing
spouse, who, as far as she believed, was driven mad
by ex-pectation, somewhere in the halls of Lyon. And
if she’s truly innocent, her mind’s already full of with
images of the French kisses and the first wedding
night, unsuspecting what the French are all about.
1 – On the painting, the grand Duke, standing in for the
groom, puts the ring on Maries’ hand. On the right we can see
the French ambassadors, on the left-the family of the bride.
Above the Cardinal there’s an atypical pieta, where instead of
the grieving mother of Christ the father is painted.
To be ended
