Prof. Dr, Max Bruckner, Four Plates from the Book “Vielecke und Vielflache”, (1900)
Regular convex polyhedra, frequently referenced as “Platonic” solids, are featured prominently in the philosophy of Plato, who spoke about them, rather intuitively, in association to the four classical elements (earth, wind, fire, water… plus ether). However, it was Euclid who actually provided a mathematical description of each solid and found the ratio of the diameter of the circumscribed sphere to the length of the edge and argued that there are no further convex polyhedra than those 5: tetrahedron, hexahedron (also known as the cube), octahedron, dodecahedron and icosahedron.
second annual deep blues music festival, lake elmo, minnesota, usa
Sacred Geometry in the Solar System and in the Galaxy
© 2001 John Martineau - A little Book of Coincidence
#nofilter #tattooflash #traditionalflash #painting
Disponible para tatuarlo :)
Arkham Tattoo Bogotá
Kra 9 no 60.70
Water Experiment No. 33 Automata
What a beautiful work of craftsmanship.
By: Dean O’Callaghan
… David Lozeau
Just freshly painted flash: zombies, candies and thingamagigis oh my!
Museums, art critics, mainstream galleries, etc., have been uncertain as to the status of lowbrow in relation to the fine art world, and today it has been largely excluded - although this has not stopped some collectors from buying the works. Some art critics doubt that lowbrow is a “legitimate” art movement, and there is thus very little scholarly critical writing about it. The standard argument of critics is that critical writing arises naturally from within an art movement first, and then a wider circle of critics draws upon this writing to inform their own criticism. This apparent absence of internal critical writing may be because many lowbrow artists began their careers in fields not normally considered fine art, such as illustration, tattooing and comic books. Many lowbrow artists are self-taught, which further alienates them from the world of museum curators and art schools.
Many in the art world have deeper difficulties with lowbrow’s figurative focus, its cultivation of narrative, and its strong valuing of technical skill. All these aspects of art were deeply disparaged in the art schools and by curators and critics throughout the 1980s and 90s.
Some origins of lowbrow’s approach can be traced to art movements of the early 20th century, specifically the works of the Dadaists and the leading proponents of the American Regionalism movement (artists such as Thomas Hart Benton) in which such art movements have questioned the distinctions between high and low art, fine art and folk art, and popular culture and high-art culture. In some sense lowbrow art is about exploring and critiquing those distinctions, and it thus shares similarities with the pop art of the 1960s and early 70s. One can also note that just as the lowbrow artists play in the blurred (or perhaps evaporated) boundaries between high and low culture, other more “mainstream” contemporary artists use artistic strategies similar to those employed by lowbrow artists.