SERIES: The Provocatives

ORIGINAL OIL PAINTINGS & GRAPHITE DRAWINGS:
THE PROVOCATIVES
[Truth Exhibited]

The taproot of our work.

Loud, brassy. Much here.

Take time browsing

* * *

GO TO THIS FIRST

EXHIBITION OF THE SERIES

Summary & Details

plus

Highlights of the First Show

_______________

STAY ON TOP

Only two PROVOCATIVES will be painted per year (along with their associated drawings). It’s a matter of allotting time & energy – and letting the controversy born from each work itself out.  What’s listed here is a five/six year project. 

Be a pioneer, be the first.

Note: order listed does not indicate order of production. Discounts available.

* * *
COMMENTARY:
Thoughts on Painting The Provocatives

Selecting our PROVOCATIVES is not all that arbitrary: painterly tips of pictorial icebergs sunk beneath the surface of mind and heart.

That these canvas-bergs are oversize, and overlarge in concept, is not denied.  Their painterly sunken mass wait upon the titanic work of brush to make a delicious, provoking wreck out of what’s frozen and silent.

When looked at – once painted and exhibited – what havoc!

The PROVOCATIVES will certainly get-talk-going.  There’s something about them (and within them) that will stay the public’s attention – something conversational, controversial.

Why not!  As long as the price of the controversy is truly integral to the work and not slapped on for the sake of “talk” . . .

. . .  Art is not simply the carrier or vehicle of provocation.  Art provokes because it is worth the look.

For what gets talked about- that is, worth the time and trouble of being provoked – is the pictorial purpose of our work . . .

Send them forth!

[Cont’d: Thoughts on Painting the PROVOCATIVES]

* * *
PRICE LIST FOR CURRENT & PROJECTED WORKS
  • ORIGINAL OIL PAINTINGS
  • SELECT PREPARATORY STUDIES & SKETCHES RELATED TO OIL PAINTINGS: Graphite & Oil. Drawings sold matted. (limited discounts available)
  • ORIGINAL DRAWINGS (not related to Oil Paintings)
  • DISCOUNTS ON ORIGINAL OILS: Collectors, Broker & Galleries
  • Broker & Gallery Discount:  25% off List Price. (see charts below)
  • Added Broker & Gallery Discount: 15% off Prior Discount Price if purchased before completion, for a total Discount of 40%.  (see charts below)
  • Studio Sale (Collector) Discount: 20% off List Price. (see charts below)
  • Sales Tax: not included in the List Price. Will be added where applicable.
  • NOTE ON SHIPPING & INSURANCE:
    • Shipping & Insurance for Oil Paintings (Original & Sketches): If delivered, exact shipping & insurance added to subtotal (domestic & international). Original Oils and Oil Sketches are shipped UPS 2-Day (domestic). Shipping & insurance cost not included if buyer uses own shipper account.
    • Shipping & Insurance for Studies: Shipping & Insurance cost included in price (continental U.S. & Canada). Exact Shipping & Insurance added to subtotal if shipped outside continental U.S. & Canada. Shipping & Insurance cost not included if buyer uses own shipper account.
  • NOTE ON FRAMING:
    • Framing for Oil Paintings & Sketches, and Original Drawings: Not included in the List Price. If requested, exact cost only. (Note: framing will increase cost of Shipping & Insurance.)
    • Matting for Graphite Studies & Sketches: Included in the List Price.
  • ORIGINAL OILS:  Painted on linen/canvas.  Dimension varies.  Painted in the Artist’s signature style.  Limited palette used to bring out the fullness of Artist’s approach to theme and composition.  The Artist’s unique technique makes these Original Oils stand out and apart.  Original Oils are available framed, see Charts below.
  • SELECTED PREPARATORY STUDIES:  
    • Graphite & Oil Studies.  Drawn on acid-free drawing paper: 100lb. (260 gsm.) wt; or, acid-free watercolor cold-pressed paper: 140 lb. (300 gsm.) wt. Medium texture, regular or off-white. Limited use of charcoal and colored pencil.  No pastels.  Graphite Studies are sold matted.
    • Oil Studies painted on canvas; sold framed or unframed.  Oil Studies done to work out composition and color themes.
    • Selection made from multiple studies. (See charts below.)  Selected to highlight the approach, the attack, the cobbling together of the Original Oil.
  • SELECTED PERIPHERAL COMPLETED DRAWINGS (GRAPHITE): Drawn on acid-free drawing paper: 100lb. (260 gsm.) wt; or, acid-free watercolor cold-pressed paper: 140 lb. (300 gsm.) wt. Medium texture, regular or off-white. Limited use of charcoal and colored pencil.  No pastels. Peripheral Drawings are sold matted. Framing available.

* * *

Prices and Conditions subject to change without notice.

Works purchased before completion are not subject to price changes and adjustments. 

CONTACT: stephengolay@gmail.com(209) 206-3758 (voice/text)

* * *
SERIES (0500): THE PROVOCATIVES

NOTE:

The sequence of any list does not indicate order of production.

Entries under “Sources” to be posted when the work is placed on the easel.

 * * *
(0501) “THE GUARDIAN ANGEL OF HETCH-HETCHY (One Damn Beautiful Dam)”

THE POINT & THEME OF IT: 

[NOTE: Painting this work is the focus of our upcoming inaugural volume of the Book Series, Notes & Definitions on Picture-Painting. Review the content outline on the page above. Posted on our companion site.]

* * *

OUR MUSE

Know our reluctant muse: The Great California Drought. Here’s the sad inspiration for our work.

AND THIS WORD:

Climate Change Hysteria is a Crock, a Fool’s Errand, and a Thrust of the Totalitarian Spear in the Side of Human Flourishing

Three Simple Facts that Scuttle the Global Warming Paradigm

by David Solway (PJ Media)

Links & Resources on Climate Change, Global Warming – Whatever

* * *

EXHIBITION & SHOW

The out-sized Provocative Series is at the heart of our pictorial project. Here is a brief description of the paintings – when completed – on exhibit.  Includes description of the upcoming exhibition of this work, “The Guardian Angel of Hetch-Hetchy”. Worth a look.

* * *

This painting of Hetch-Hetchy is our first PROVOCATIVE out the gate, off the pad: a sterling steed rocketing into view.

The gate and pad rocking this champion paints up California’s current angst and crisis – the state’s drought tolling year into year.

The painting provokes, pulls into view, California’s great failure in preparing for it. Unlike Patriarch Joseph of Egypt, the state – its elite betters, that is – rejected good reason and imagination in preparing California for what was easily predictable.

The necessary preparation to stave off a future crisis was the building – a doubling, no less – of the state’s reservoir capacity. In short, the building of dam after dam until any future water crisis could be safely contained. Why was this not done?

Our painting is an exploration of the devilish genesis of the crisis (polluting the Eden of human flourishing on the Pacific Slope) and the promise of hope which the construction of O’Shaughnessy Dam fulfilled for the Peoples of California.

One of the engineering wonders of the modern age is California’s Great Water Project, of which the damning of Hetch-Hetchy Valley is its crown jewel.

Our painting is a nod of honor to California. In times past, she elected the flourishing of men and women (and unborn babes) over the oppressive dogmas of the moment – those of Environmentalism the Religion!

No surprise, heere in our work, the Guardian Angel of Hetch-Hetchy stands large and bold, athwart dam and water, defending the patrimony of California.

Yet, for whom? That’s the challenge of our painting. Certainly not for trash fish downstream, but, once more, for men and women (and unborn babes).

* * *

Is there more to it than the suffocating dogmas of Post-Modernism? Is there is primal taproot which feeds both Post-Modernism & Environmentalism? Could it even be mothered from a many Hydra-Headed balled up root?

For one,  there is the Fascist Root of Environmentalism the Religion. Important to dig that one up, slice it open and take a hard look at its grafting into Environmentalism. Fascism – itself mother/fathered from the revolutions of the Left – manured the soil in which Environmentalism took root.

The Guardian Angel of Hetch-Hetchy knows.

Then, there is the heady root of Islamism: so old  but newly allied to Environmentalism the Religion. Yet, what does Islam have in common with Post-Modernism, Environmentalism’s public parent? Together, they hold in common a wont for Totalitarian Temptation: pairing the Totalitarian Oneness of Allah with the Totalitarian Politics of Post-Modernism?

The Guardian Angel of Hetch-Hetchy knows.

* * *

Hetch-Hetchy in the Sierra-Nevadas was the twin to Yosemite Valley, until God sent man to dam it up.

So far God remains obeyed.  The Valley stays dammed.

Some damn dam can be as beautiful as some damn valley that got filled to the brim with joy for being at the service of Mankind. The handiwork of Creation’s Crown crowning Creation itself.

If anything be dammed up and damned, it should be Environmentalism the Religion!

The dammed up water was a gift; it unlocked and unfolded Hetch-Hetchy’s secreted nature and hidden purpose: to quench the thirst of the County & City of San Francisco.

San Francisco (glory be and bless her once manly soul) damned this stunning mountain jewel with O’ Shaughnessy Dam to shower the City with the purest of snow-melt.

The Dam, anchored into the valley floor holding back the stewardship of waters, . . .

[Cont’d in POST: “Hetch-Hetchy, the Point & Theme of it

* * *

THE LOOK OF IT:

Under-wraps, to a point! Except . . .

. . . to say that a giant of a Guardian Angel stands massively before Hetch-Hetchy reservoir and O’ Shaughnessy Dam. Michelangelo’s David will have its rival!

No less than any of the PROVOCATIVES this work is bound to provoke, kicking up stinging dust.  Isn’t that the chore of art on the edge – being edgy!

Up to a point, yes: giving ear and expression to truth – the truth about Hetch-Hetchy. The truth about building one damn beautiful dam!

The truth of art (any art) is held, first, by the subject observed, and then recorded by one’s painterly looking-about.

Art does not create truth, it serves it. The first act of service is a hard-look at the subject with a clear and honest eye, giving the subject the respect it is due.

That which art observes possesses its own nature independent of observation and interpretation. The first stroke of the brush and pencil, or strike of a chisel, must be an act of respect for (what we call*) the “itness” of a thing, of what is being painted or sculpted.

We look upon Hetch-Hetchy Valley & O’Shaughnessy Dam and ask: “What is their nature; what is their purpose? Since all Creation is tasked to serve, how can a damn valley be put to work for the flourishing of men, women (and unborn babes)? How can one damn beautiful dam task Hetch-Hetchy’s nature from the valley’s floor and out of the Sierras to quench a city’s thirst?”

But, back to our earlier question – and it’s a fair one – what will this painting look like: its composition, its mood and method of approach? To unwrap it a bit, just pursue the breakout of the preparatory sketches listed in the chart below. It will clue you in.

[*Actually, Aristotle & Aquinas called it first.]

 SOURCES

TITLE: “THE GUARDIAN ANGEL OF HETCH-HETCHY (One Damn Beautiful Dam)” (oil on canvas) 78 x 117 (orientation: portrait)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%) Broker Pre-Completion Discount (Oil: 15%, total 40%) NOTE
0501 Original Oil 37, 800 30,240 28,350 22,600
0501.a Study: G/Angel, Whole Figure Options 450 360 338 n/a
0501.b Study: G/Angel, Wings Placement Options 450 360 338 n/a
0501.c Study: G/Angel, Weapons (Sword) Options, w/Hands 450 360 338 n/a
0501.d Study: G/Angel, Head #1 450 360 338 n/a
0501.e Study: G/Angel, Head #2 450 360 338 n/a
0501.f Study: G/Angel, Wings (left) 450 360 338 n/a
0501.g Study: G/Angel, Wings (right) 450 360 338 n/a
0501.h Study: G/Angel, Torso (left) 450 360 338 n/a
0501.i Study: G/Angel, Torso (right) 450 360 338 n/a
0501.j Study: G/Angel, Arm/Hands (left) 450 360 338 n/a
0501.k Study: G/Angel, Arm/Hand (right) 450 360 338 n/a
0501.l Study: G/Angel, Groin/Pelvis #1 450 360 338 n/a
0501.m Study: G/Angel, Groin/Pelvis #2 450 360 338 n/a
0501.n Study: G/Angel, Lower Torso & Pelvis 450 360 338 n/a
0501.o Study: G/Angel, Genitals Options (for an angel!) 450 360 338 n/a
0501.p Study: G/Angel, Upper Leg (right) 450 360 338 n/a
0501.q Study: G/Angel, Upper Leg (left) 450 360 338 n/a
0501.r Study: G/Angel, Lower Leg (left) 450 360 338 n/a
0501.s Study: G/Angel, Lower Leg (right) 450 360 338 n/a
0501.t Study: G/Angel, Feet #1 450 360 338 n/a
0501.u Study: G/Angel, Feet #2 450 360 338 n/a
0501.v Study: G/Angel,: Legs, Full View 450 360 338 n/a
0501.w Study: Dam & Res, Sightline Options 450 360 338 n/a
0501.x Study: Dam (setting values) 450 360 338 n/a
0501.y Study: Reservoir w/Mountains #1 450 360 338 n/a
0501.z Study: Reservoir w/Mountains #2 450 360 338 n/a
0501.aa Study: Sky & Horizon 450 360 338 n/a
0501.bb Study: Foreground, Flora #1 450 360 338 n/a
0501.cc Study: Foreground, Flora #2 450 360 338 n/a
0501.dd Study: Foreground, Flora #3 450 360 338 n/a
0501.ee Study: Foreground, Fauna #1 450 360 338 n/a
0501.ff Study: Foreground, Fauna #2 450 360 338 n/a
0501.gg Study: Foreground, Fauna #3 450 360 338 n/a
0501.hh Study: Bird Wings #1 450 360 338 n/a
0501.ii Study: Bird Wings #2 450 360 338 n/a
0501.jj Study: Bird Wings #3 450 360 338 n/a
0501.kk Oil Sketch: The Wings (Color Keying) 4,650 3,720 3,487.20 n/a
0501.ll Oil Sketch: Torso & Arms 4,650 3,720 3,487.20 n/a
0501.mm Oil Sketch: The Legs 4,650 3,720 3,487.20 n/a
0501.nn Oil Sketch: Reservoir, Mts., Sky (Color Keying) 4,650 3,720 3,487.20 n/a
0501.oo Oil Sketch: Foreground (Color Keying) 4,650 3,720 3,487.20 n/a
INTERPRETIVE STUDIES OF PAST MASTERS RELATED TO SUBJECTS
0501.pp Past Master Studies of Angels #1 2,550 2,040 912.50 n/a
0501.qq Past Master Studies of Nudes (Male) #1 2,550 2,040 912.50 n/a
0501.rr Past Master Studies of Angels #2 2,550 2,040 912.50 n/a
0501.ss Past Master Studies of Nudes (Male) #2 2,550 2,040 912.50 n/a
0501.tt Past Master Studies of Angels #3 2,550 2,040 912.50 n/a
0501.uu Past Master Studies of Nudes (Male) #3 2,550 2,040 912.50 n/a
0501.vv Past Master Studies of Nudes (Male) #4 2,550 2,040 912.50 n/a
0501.ww Past Master Studies of Flora & Fauna #1 2,550 2,040 912.50 n/a
0501.xx Past Master Studies of Flora & Fauna #2 2,550 2,040 912.50 n/a
0501.yy Past Master Studies of Flora & Fauna #3 2,550 2,040 912.50 n/a
 * * *
(0502) “FATHER JUNIPERO SERRA WELCOMES THE MI-WUK TRIBE INTO HEAVEN”

THE POINT & THEME OF IT: 

Why not? Just paint it out!

The Franciscans of the California Missions had little or no contact with the Foothill tribes or bands. What if they had? Would the Indians have been better protected from the 49er Miners and their brood of Gold Rush towns?

Our betters tell us that the California Missions were all bad, with Fr. Junipero Serra whipping up the worst of it.  If that be so, then Fr. Serra has no business welcoming anyone anywhere, least of all Heaven!

But, we’ll take a stab – with a brush no less – and draw out a different picture of Fr. Serra and the Missions. There is truly a story hidden and ensconced behind the misplaced bitterness of some. It’s worth poking about. Who is to say that the Tuolumne Band of Mi-Wuk Indians, even out of curiosity, would not have welcomed a mission creek-side of their villages?

Picture it, Heaven descending, nestling among the acorn oaks of the Sierra-Nevada Foothills.

If that’s where God decides to take his stand – striding tribal water and tribal land – how dare any large bad bird swoop down and carry Him off?  It’s enough that Mi-Wuk water and Mi-Wuk land is home enough for Him.

Take care – you who belittle God striding among the affairs of men – that you do not deny him his welcome! Don’t think the Tuolumne Band of Mi-Wuk Indians would.  As with water & land, that is grace enough. If only for that, they are due a welcome in Heaven.

If you don’t get it (forget the Franciscan tomes), it seems you haven’t read your Book of Enoch, the one of Jubilees, or even the words within the visions of Black Elk & Chief Joseph! To ignore, to refuse to listen, is the Humiliation of the Word.

[What for God’s sake, does Black Elk & Chief Joseph have to do with all this? These chiefs were not Mi-Wuk, nor did they flit through the mind of Fr. Serra. We’ll paint that out, too: the lives and words of Black Elk & Chief Joseph baptized under cascading waters of Yosemite Falls. Heaven’s potluck if there ever was one.

If you can’t do a proper exegesis of the above statement, then you need to take an honest look at our painting. The clues are in the hues and composition.]

THE LOOK OF IT: 

The composition will be cruciform: that is, the image painted upon a cross, a cross that takes upon itself all things Mi-Wuk. The history of salvation will be told in the story of the Tuolumne Band of Mi-Wuk Indians.

As for the look of it, wish not to say much: once again keeping the look of it under wraps, embargoed.

Will say this: the painting’s cruciform will be epic, will command the whole canvas like an ascending or descending Rubens’ passion-cross. Like pulling aside a ripped temple veil, the viewer will peek at a composition both earth-rooted and heaven-towered. The corpus on the cross – if we pin Christ to it – will be enfleshed as Mi-Wuk.

The composition’s interior movements are entwined, anchored, and extended from the central cruciform image. The image, itself, is an enmeshed scene complex of both California and Heaven. The look of Heaven, a joyous tangle of Franciscan Missions and creekside Mi-Wuk villages.

NOTE: The Preparatory Studies done for “The Guardian Angel of Hetch-Hetchy: One Damn Beautiful Dam” will also be useful for this work.

SOURCES

TITLE: “FATHER JUNIPERO  SERRA WELCOMES THE MI-WUK TRIBE INTO HEAVEN” (oil on canvas) 72 x 90 (orientation: portrait)                                        
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount (Oil: 15%, total 40%) NOTE
0502 Original Oil 37, 800 30,240 28,350 22,600
0502.a Study: Upper Passages, Heaven’s Architecture (Mission style) 450 360 338 n/a
0502.b Study: Upper Passages, Heaven’s Architecture (Mi-Wuk style 450 360 338 n/a
0502.c Study: Upper Passages, Heaven’s Portal (Mi-Wuk style) 450 360 338 n/a
0502.d Study: Upper Passages, Mission Figures 450 360 338 n/a
0502.e Study: Upper Passages, Mi-Wuk Figures 450 360 338 n/a
0502.f Study: Upper Passages, Fr. J. Serra 450 360 338 n/a
0502.g Study: Mid-Passages, Mi-Wuk Christ on Cross 450 360 338 n/a
0502.h Study: Mid-Passages, Mi-Wuk Holy Spirit 450 360 338 n/a
0502.i Study: Mid-Passages, Landscape (Mts) 450 360 338 n/a
0502.j Study: Mid-Passages, Landscape (Yosemite Falls) 450 360 338 n/a
0502.k Study: Mid-Passages, Landscape (Foothills) 450 360 338 n/a
0502.l Study: Mid-Passages, Landscape (Coastal California) 450 360 338 n/a
0502.m Study: Mid-Passages, Mi-Wuk Village 450 360 338 n/a
0502.n Study: Mid-Passages, Mission Complex 450 360 338 n/a
0502.o Study: Lower Passages, Foothill Flora #1 450 360 338 n/a
0502.p Study: Lower Passages, Foothill Flora #2 450 360 338 n/a
0502.q Study: Lower Passages, Foothill Fauna #1 450 360 338 n/a
0502.s Study: Lower Passages, Foothill Fauna #2 450 360 338 n/a
0502.t Study: Lower Passages, Mi-Wuk & Mission Mourners 450 360 338 n/a
0502.u Study: Lower Passages, The Lamb’s Feast (Mi-Wuk style) 450 360 338 n/a
0502.v Study: Full Composition Keying #1 450 360 338 n/a
0502.w Study: Full Composition Keying #2 450 360 338 n/a
0502.x Study: Sketches of S. Dam.  Different views. 450 360 338 n/a
0502.y Study: Sketches of the construction of S. Dam. #1 450 360 338 n/a
0502.z Study: Sketches of the construction of S. Dam.  #2 450 360 338 n/a
0502.aa Study: Sketches of the construction of S. Dam. #3 450 360 338 n/a
0502.bb Study: Sketches of approaches to Hetch-Hetchy #1 450 360 338 n/a
0502.cc Study: Sketches of approaches to Hetch-Hetchy #2 450 360 338 n/a
0502.dd Oil Sketch: Mission/Mi-Wuk Heaven (color keying) 4,650 3,720 3,487.20 n/a
0502.ee Oil Sketch: The Cruciform (color keying) 4,650 3,720 3,487.20 n/a
0502.ff Oil Sketch: Mid-Passage Landscape (color keying) 4,650 3,720 3,487.20 n/a
0502.gg Oil Sketch: Lower Passage Landscape (color keying) 4,650 3,720 3,487.20 n/a
0502.hh Oil Sketch: Horizon (color keying) 4,650 3,720 3,487.20 n/a
INTERPRETIVE STUDIES OF PAST MASTERS RELATED TO SUBJECTS
0502.ii Past Master Studies of Mission Architecture #1 2,550 2,040 912.50 n/a
0502.jj Past Master Studies of Mission Architecture #2 2,550 2,040 912.50 n/a
0502.kk Past Master Studies of California Tribes #1 2,550 2,040 912.50 n/a
0502.ll Past Master Studies of California Tribes #2 2,550 2,040 912.50 n/a
0502.mm Past Master Studies of California (Foothill) Landscape #1 2,550 2,040 912.50 n/a
0502.nn Past Master Studies of California (Foothill) Landscape #2 2,550 2,040 912.50 n/a
0502.oo Past Master Studies of California (Foothill) Landscape #3 2,550 2,040 912.50 n/a
0502.pp Past Master Studies of California Flora & Fauna #1 2,550 2,040 912.50 n/a
0502.qq Past Master Studies of California Flora & Fauna #2 2,550 2,040 912.50 n/a
0502.rr Past Master Studies of Christ Crucified #1 2,550 2,040 912.50 n/a
0502.ss Past Master Studies of Christ Crucified #2 2,550 2,040 912.50 n/a
0502.tt Past Master Studies of Christ Crucified   (American) 2,550 2,040 912.50 n/a
0502.uu Past Master Studies of Heaven #1 2,550 2,040 912.50 n/a
0502.vv Past Master Studies of Heaven #2 2,550 2,040 912.50 n/a
* * *
(0503) “THE TRIUMPH OF RONALD REAGAN”

THE POINT & THEME OF IT: 

Why Reagan?  Because, for a president, he, with Lincoln, is as near to a national savior we will ever get: a called out one, a God sent one.

No, not in that way! 

Yet, Ronald Reagan is the man who saved America from the tyranny of the state, the crushing weight of debt and the suffocation of collectivism.

If America strays from her salvation it’s not for lack of God sending forth a called out prophet.  At the appointed time, Ronald Reagan came.

Our painting will be storied, imaging the epic of an age – that of Reagan.

Our painting will be a vision of his triumph – that is, of God’s.  It will picture-out President Reagan’s shackling of tyranny, his pulverizing the stony heap of taxes, and the victory of the human person over the dank, dark evil empire of the collective.

Is this idolatry or simple hagiography? Neither!

[Abraham Lincoln, as we paint out our duty, pray for us.]

The Reagan Revolution had one great failing – that which does in all revolutions.  It failed to extend its reach (to revolutionize) all aspects, all the nook and crannies of the culture.

There was no lasting upheaval of “the institutions”: those sad places walked through and trampled over (brought down and shackled) by the philistine barbarians of the ’60’s. Left to the shrill, ossified sentries of Post-Modernism: the universities, the foundations, the hydra-headed nonprofits and NGOs, let alone the institutional sentries of publishing and the arts.

All these, high and low, remained squatted upon and bonded to the Left.  James Piereson in his magnificent piece, “Future Tense, X: the Fourth Revolution”, exposes and lays down the charge. Explosive!

By our heavy-loaded Pig-Bristle Brush, The Triumph of Ronald Reagan will upend the leftist/fascist myth that Ronald Reagan did not have his triumph – or was not worthy of it. Our image will smash false idols.

NOTE:  The smashing of the Berlin Wall was as much the work of Margret Thatcher and John Paul II.  We know that.  We’ll brush in cameo appearances of those two.  But don’t get on our case for leaving it at that – this is a painting about Ronald Reagan.  For a good read on the three straddling history together, here’s this on The Great Triumvirate.

THE LOOK OF IT: 

As always, with all the PROVOCATIVES, some things are best kept mum.

In some ways the painting’s composition will fall in line with other master works exhibiting and symbolizing a great leader at his triumph.  Usually that figure stands striding forward from the picture plane, often on or near his horse.  Items or markers symbolizing the leader’s success do more than just lie about; they compose the image, incarnating the leader’s presence through history and the lasting effects of his words and deeds.

No different here with our Ronald Reagan. You’ll see. Put another way, the look of it has all to do with a man and his horse: who the man is, and what is meant by the horse.

SOURCES

  • GOOGLE Images of the Fall of the Berlin Wall
  • GOOGLE Images of Reagan on a Horse.  We’re not interested in these takes.  Our image of Ronald Reagan on a horse is more triumphal.  On that stead he tore down the Berlin Wall and rounded up America’s entrepreneurial spirit.
  • THE HORSE IN ART: “Anne Woolett on Equine Painting”.  Were you expecting something on the horse in Western American Art?  That’s coming.  For now, take a look at this curated exhibit. It’s insightful.  The horse, itself, does bridle meaning; the Great Alexander taught us that.
  • VIDEO: Reagan on Taxes.  Now how does one picture that out in a painting such as ours? What image best suits Ronald Reagan triumphing over taxes and the suffocating state: how to paint it out without being cartoonish?
  • Links & Resources on Reagan & California
  • Links & Resources on Reagan & the Soviet Union
  • Links & Resources on Reagan & the Fall of the Berlin Wall
  • Links & Resources on the Economy
  • Links & Resources on Painting Presidents
  • Links & Resources on Painting Horses
TITLE: “THE TRIUMPH OF RONALD REAGAN” (oil on canvas) 72 x 120 (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0503 Original Oil 37, 800 30,240 28,350 22,600
0503.a Study: Reagan, Full Figure (isolated) 450 360 338 n/a
0503.b Study: Reagan, Lean Against Horse (keying form) 450 360 338 n/a
0503.c Study: Reagan, Head & Hat (keying values) 450 360 338 n/a
0503.d Study: Reagan, Left Shoulder & Arm on Horse 450 360 338 n/a
0503.e Study: Reagan, Torso & Right Arm 450 360 338 n/a
0503.f Study: Reagan, Right Side (neck to knee) 450 360 338 n/a
0503.g Study: Reagan, Legs (keying stance) 450 360 338 n/a
0503.h Study: Reagan, Right Leg & feet 450 360 338 n/a
0503.i Study: Reagan, Left Leg & Feet 450 360 338 n/a
0503.j Study: Reagan,, Full (keying against background) 450 360 338 n/a
0503.k Study: Horse, Full Figure (keying tones) 450 360 338 n/a
0503.l Study: Horse, Head & Mane 450 360 338 n/a
0503.m Study: Horse, Rear & Legs 450 360 338 n/a
0503.n Study: Horse w/Reagan (keying tones and shadows) 450 360 338 n/a
0503.o Study: Foreground of Reagan & Horse(keying elevation & fauna) 450 360 338 n/a
0503.p Study: Background to Reagan & Horse(keying elevation & fauna) 450 360 338 n/a
0503.q Study: Mid-Passage, Thatcher #1 450 360 338 n/a
0503.r Study: Mid-Passage, Thatcher #2 450 360 338 n/a
0503.s Study: Mid-Passage, John Paul II #1 450 360 338 n/a
0503.t Study: Mid-Passage, John Paul II #2 450 360 338 n/a
0503.u Study: Foreground to Mid-Passage Figures 450 360 338 n/a
0503.v Study: Keying Mid-Passage Figures to Central Reagan Figure 450 360 338 n/a
0503.w Study: Mid-Passage, Fall of Berlin Wall #1 450 360 338 n/a
0503.x Study: Mid-Passage, Fall of Berlin Wall #2 450 360 338 n/a
0503.y Study: Fall of Lenin Image 450 360 338 n/a
0503.z Study: Fall of Taxation Image 450 360 338 n/a
0503.aa Study: Background & Horizon to Fall of Berlin 450 360 338 n/a
0503.bb Oil Sketch: Reagan, Full Figure (color keying) 4,650 3,720 3,487.20 n/a
0503.cc Oil Sketch: Horse, Full Figure (color keying) 4,650 3,720 3,487.20 n/a
0503.dd Oil Sketch: Mid-Passage Figures & Landscape (color keying) 4,650 3,720 3,487.20 n/a
0503.ee Oil Sketch: Mid-Passage, Fall of Berlin Wall (color keying) 4,650 3,720 3,487.20 n/a
INTERPRETIVE STUDIES OF PAST MASTERS RELATED TO SUBJECTS
0503.ff Past Master Studies of Public Figures with Horses 2,550 2,040 912.50 n/a
0503.gg Past Master Studies of Horses #1 2,550 2,040 912.50 n/a
0503.hh Past Master Studies of Horses #2 2,550 2,040 912.50 n/a
0503.ii Past Master Studies of John Paul II 2,550 2,040 912.50 n/a
0503.jj Past Master Studies of Margaret Thatcher 2,550 2,040 912.50 n/a
0503.kk Past Master Studies of Victory over Tyranny #1 2,550 2,040 912.50 n/a
0503.ll Past Master Studies of Victory over Tyranny #2 2,550 2,040 912.50 n/a
0503.mm Past Master Studies of   Presidential Portraits 2,550 2,040 912.50 n/a
0503.nn Past Master Studies of Foliage & Architecture in Po9rtraits #1 2,550 2,040 912.50 n/a
0503.oo Past Master Studies of Foliage & Architecture in Portraits #2 2,550 2,040 912.50 n/a
* * *
(0504) “EVE: IF ONLY SHE HAD BEEN A MOTHER”

THE POINT & THEME OF IT:

Eve, in Eden, had her Great Fall.

It did not have to be; the story could have been other.

Upon Eden’s floor Adam took to his wife, and was made whole for it. Adam’s great longing, his trench deep emptiness, was one that not even God, his Creator, could consummate or fill. He found his satisfaction upon the Garden Bed of Sinless Eden – with (that is, within) the Woman.

Think of it, God, out of his fathomless love, created Man & Woman whose deepest longing was not for Him! What scandalous affection.

For the Woman it was the same as with the Man, yet other. How that came to be is enfolded in her name: Eve, the Mother of All the Living.

Eve received her husband’s satisfaction but wrapped the gift of it and sought to present it to another, bringing a triune third into their love. She did not return her receiving to the Man, did not even surrender it as an offering to God her Creator. Eve bound her satisfaction and gave it to her namesake – her child, the children to be born from her receiving on Eden’s Garden Floor.

Or, this how it should have been!

How it was meant to be, before the brittle, glowering glow from the Snake-eyed Serpent smothered that satisfaction in its coils. Satan caught her, unawares, before Eve fully became the Mother bound within her Womanhood.

Upon Eden’s Floor Eve unfolded Adam’s manhood into her reception, completely. In this fullness, the Man’s satisfaction no longer lingered for spirit or beast, or – in the burst of it – even for God. The Woman had received him utterly, that was enough.

But, not for the Woman.

Eve rose from Eden’s Garden Bed seeking to seed her satisfaction in a third. Hovering over her reception of Adam’s abandonment lingered her wont to bind his gift to other flesh. Until that was had (done) her wont remained a seeking, for Eve had not yet become – a Mother.

Without her motherhood Eve was not yet whole, not yet in complete possession of her creature-hood. She was therefore (frightfully) vulnerable. More open to temptation. Not for being a woman – one weaker than her husband – never that, but susceptible for not knowing the swelling fruit of the Man’s satisfaction. Not yet swollen from knowing why she so easily took to the Garden Floor – not yet in full possession of that knowledge – made hisses about fruited trees testy to the eye.

It was then that Bright Lucifer, coiling temptation around weakness, snaked himself into Satan and slithered up the tree. Slithering, hanging high, snake-clothed Satan tempts the not-yet Mother: “Fruited seed over here, Eve; not inside. Taste and see the flesh of it.”

No it’s not, Woman!

Fruit swells from within. Give no ear to hisses snaking from the glowering glint of lidless eyes. Wait upon the swelling of the belly, like yeast fruiting the leaven of love.

Like Adam, Eve too had a longing that not even God could fill, that not even He could penetrate to calm a quivering heart. That was the risk God took when He molded Adam from the earth and Eve from a rib – all done with the adhesive spittle of liberty..

[Cont’d in POST: “The Point & Theme of it (Eve, if only. . .)”]

* * *

This painting will upturn the story of Genesis. Painted out, the tale of Adam’s fall and Eve’s deception will disappear in the netherworld of dream horrors, of sleepless rest and beds un-tumbled in.

In short, our work will picture-out Eve in the fullness of her name, her belly swollen with motherhood as the Mother of All the Living.

[The work will be massively controversial; we know that. Our “Eve . . .” will please few. Don’t second guess how! Wait for the look of it . . . or, pick up a clue or two when we begin its companion PROVOCATIVE piece, “The Purpose of Sex”.]

THE LOOK OF IT:

Again, once more, in part, under-wraps and embargoed.

Painting composed as a Holy Trinity of sorts: Adam facing Eve with both longing and satisfaction; Eve directing her attention towards the child at their feet – and, once again,with swelling in her belly; the child, caring only for his play on the ground, leans against his father’s legs. This is the holiest of trinities: one that best images the One God – father, mother & child; or, Israel, the Land & Jerusalem.

[That last is the other trinity, the Covenantal One incorporating Israel, the bone & flesh of Salvation History. That’s for another painting, “The Mother of Israel with Her Seven Sons on the Temple Mount (God’s Jewish Footstep)”. Here, in our “Eve”, the subject is the Original Trinity of Creation.]

The work is composed of two major figure groups: the Family Group, Adam, Eve & Child (the Trinity of Creation) and the Temptation Tree Group (the slithering Snake Satan; but this time he’s the one expelled from Eden, hounded back to Hell’s Gate by a warrior band of angels and children).

The larger and smaller passages of movement within each group – as they cross-fertilize their reasons for expressing color, tones, and values – is the pictorial force of the painting.

As for the setting, we’re going to take a cue from the Medievalists and Early Renaissance painters and place our Eden – not in the seigniorial plazas and hillocks of Italy – but in Mother Lode California. Why not? The original emblem of three-in-one, brightly nude in the flush of Creation – as God, himself, is naked to himself –  is certainly at home in California’s Edenic gold fields, her Mother Lode.

Will, though, admit, much of the look of it is happily snatched from William Hunt’s glowing rendering of the Slaughter of the Innocents leading the Holy Family to Egypt. Our work is an excavation of Hunt’s theme (his painterly exegesis of the story). We gladly plunder Hunt’s masterpiece, down to the slaughtered innocents. We will route what we snatch to o9ur reading of the story of Eden.

Our pictorial raiding makes sense! The Mother of Jesus is the Second Eve; it is she who makes way to redeem Eve’s failing fault by second birth.

[And, to fill our excavation cart, we will take a detour to Qumran, to Enochic Judaism, and the Ethiopian Book of Enoch, that of Jubilees and the Testaments of the Twelve Patriarchs. You will see! Doing it all for our Rewritten Eve and, what we call in another context, California Enoch.]

SOURCES

  • Links & Resources on the staying power of Eden’s story in the history of art.  And how this relates to the history & character of California!
  • Links & Resources on the history of the interpretation of the story of Eden.  And how this relates to the history & character of California!
  • Links & Resources: Does Gender/Queer Theory have anything to contribute to Eden’s story?  And how this relates to the history & character of California!
  • Links & Resources on the Intelligent Design of Man & Woman.  And how this relates to the history & character of California!
  • Links & Resources on the history of Satan in art.  And how this relates to the history & character of California!
  • Links & Resources on Womanhood.  And how this relates to the history & character of California!
  • Links & Resources on Manhood.  And how this relates to the history & character of California!
  • [As we begin to compose this work there will be more linked resources & commentary.  And how this relates to the history & character of California!
  • GOOGLE: Images of Adam & Eve
TITLE: “EVE: IF ONLY SHE HAD BEEN A MOTHER” (oil on canvas) 80 x 110 (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0504 Original Oil 37, 800 30,240 28,350 22,600
0504.a Study: Figure Group (Adam, Eve & Child) Larger Forms 450 360 338 n/a
0504.b Study: Figure Group (Adam, Eve & Child) Tone & Value 450 360 338 n/a
0504.c Study: Adam, Full Figure (attention directed to Eve, the look of arousal towards the Woman as Image of God) 450 360 338 n/a
0504.d Study: Adam, Head & Hair, Larger Forms & Movements (face 3/4 turn towards Eve). 450 360 338 n/a
0504.e Study: Adam, Head & Hair, Expression Indicators (one of both longing & satisfaction; not that he ignores the child . . .see note above) 450 360 338 n/a
0504.f Study: Adam, Upper Torso & Shoulders (energetic, muscles tense in anticipation of both work & begetting) 450 360 338 n/a
0504.g Study: Adam, Left Arm, Hand & Left Torso (turned towards Eve) 450 360 338 n/a
0504.h Study: Adam, Right Arm, Hand & Right Torso (“ready for work”) 450 360 338 n/a
0504.i Study: Adam, Lower Torso & Pelvis (come on, this is Eden; this guy’s nude!) 450 360 338 n/a
0504.j Study: Adan, Groin. Swollen a bit in anticipation towards Eve. (point: this is pre-Fall, Man is uncircumcised).. 450 360 338 n/a
0504.k Study: Adam, Legs (options for stance) 450 360 338 n/a
0504.l Study: Adam, Legs; Dew Mist on Hairs (setting tones) 450 360 338 n/a
0504.m Study: Eve, Full Figure (attention directed to Child at their feet; look of fulfillment for God’s Image is repeated in the Child) 450 360 338 n/a
0504.n Study: Eve, Head & Hair, Larger Forms & Movements (facing downward towards Child) 450 360 338 n/a
0504.o Study: Eve, Head & Hair, Expression Indicators (one of fulfillment as she looks upon the Child; not that she ignores Adam . . .see note above) 450 360 338 n/a
0504.p Study: Eve, Upper Torso & Shoulders; Eve’s upper torso & breast – both a mother’s & a wife’s.  The Snake has no suckling privileges here. (breasts full of care for the Child; relaxed) 450 360 338 n/a
0504.q Study: Eve, Arms & Hands; Eve’s stretched out arm to first child, second cradling pregnant belly right touching Child, left under breast or over belly {she’s pregnant!) 450 360 338 n/a
0504.r Study: Eve, Lower Torso & Pelvis (the look of it highlighting pregnancy) 450 360 338 n/a
0504.s Study: Eve, Full Legs (leaning towards Child, holding) 450 360 338 n/a
0504.t Study: Sketches of Eve’s hair.  Redhead.  Her Covering Glory. 450 360 338 n/a
0504.u Study: The Child, Full Figure, Squatting at Parent’s Feet Playing; get the Man & Woman Right the Child will come (most likely a boy, to follow the sequential pattern of Creation: male/female) 450 360 338 n/a
0504.v Study: Temptation Tree Figure Group (larger forms & movements) 450 360 338 n/a
0504.w Study: Temptation Tree Figure Group (keying tones & values) 450 360 338 n/a
0504.x Study: Snake Satan Expelled from Garden (setting the cold brilliant tones) Reptilian shown exiting the picture-frame 450 360 338 n/a
0504.y Study: Warrior Angels Prodding Satan Out (sketch of larger movements) 450 360 338 n/a
0504.z Study: Warrior Angels, Various Figures #1 450 360 338 n/a
0504.aa Study: Warrior Angels, Various Figures #2 450 360 338 n/a
0504.bb Study: Warrior Angels, Various Figures #3 450 360 338 n/a
0504.cc Study: The Warrior Children Prodding Satan Out (sketch of larger movements) 450 360 338 n/a
0504.dd Study: Warrior Children, Various Figures #1 450 360 338 n/a
0504.ee Study: Warrior Children, Various Figures #2 450 360 338 n/a
0504.ff Study: Warrior Children, Various Figures #3 450 360 338 n/a
0504.gg Study: T. Tree, Larger Forms (taken from California) 450 360 338 n/a
0504.hh Study: T. Tree, Tones & Value (taken from California) 450 360 338 n/a
0504.ii Study: Flora & Fauna Background to Family Group (taken from California) 450 360 338 n/a
0504.jj Study: Flora & Fauna Background to Temptation Group (taken from California) 450 360 338 n/a
0504.kk Study: Foreground Flora & Fauna #1 (taken from California) 450 360 338 n/a
0504.ll Study: Foreground Flora & Fauna #2 (taken from California) 450 360 338 n/a
0504.mm Study: Foreground Flora & Fauna #13 (taken from California) 450 360 338 n/a
0504.nn Oil Sketch: Adam; the Man is a Redhead (color keying hair & skin tones) 4,650 3,720 3,487.20 n/a
0504.oo Oil Sketch: Eve; a Redhead of a Different Hue (color keying hair & skin tones) 4,650 3,720 3,487.20 n/a
0504.pp Oil Sketch: Child Playing at Feet of Adam & Eve (color keying) 4,650 3,720 3,487.20 n/a
0504.qq Oil Sketch: Brigade of Warrior Angels & Children expelling Satanic Snake #1 (color keying) 4,650 3,720 3,487.20 n/a
0504.rr Oil Sketch: Brigade of Warrior Angels & Children expelling Satanic Snake #1 (color keying) 4,650 3,720 3,487.20 n/a
0504.ss Oil Sketch: Flora &Fauna #1 (taken from California) 4,650 3,720 3,487.20 n/a
0504.tt Oil Sketch: Flora &Fauna #2 (taken from California) 4,650 3,720 3,487.20 n/a
0504.uu Oil Sketch: Background Flora & Fauna (taken from California) 4,650 3,720 3,487.20 n/a
INTERPRETIVE STUDIES OF PAST MASTERS RELATED TO SUBJECTS
0504.vv Past Master Studies of Adam & Eve #1 2,550 2,040 912.50 n/a
0504.ww Past Master Studies of Adam & Eve #2 2,550 2,040 912.50 n/a
0504.xx Past Master Studies of Creation #1 2,550 2,040 912.50 n/a
0504.yy Past Master Studies of Creation #2 2,550 2,040 912.50 n/a
0504.zz Past Master Studies of Satan 2,550 2,040 912.50 n/a
0504.aaa Past Master Studies of Angels #1 2,550 2,040 912.50 n/a
0504.bbb Past Master Studies of Angels #2 2,550 2,040 912.50 n/a
0504.ccc Past Master Studies of Children #1 2,550 2,040 912.50 n/a
0504.ddd Past Master Studies of Children #2 2,550 2,040 912.50 n/a
* * *
NOTE:
THE FOLLOWING PROVOCATIVES TO BE SIZED, DETAILED AND BROKEN-OUT LATER.  FOR NOW, WE LIST THEM.

* * *

(0505) “THE MOTHER OF ISRAEL WITH HER SEVEN SONS ON THE TEMPLE MOUNT (God’s Jewish Footprint)”

The greatest horror story of Jewish & Christian Scriptures; when the Seleucid tyrant, Antiochus IV, brutally slaughtered Israel’s mother and her sons in Jerusalem.* (II Maccabees, chapter seven)

Out-sized, mind-ripping, soul-rendering.

A painting not to be exhibited in Ramallah or Berkeley’s Sproul Plaza!

We place the mother and her sons in an arresting portrait group on a swept-clean Temple Mount: vacant of all but God’s Jewish footprint! Which was the mission of the Maccabees, and the triumph of a mother’s shed blood.

As proud Maccabean Jews, confident in the Ancient One of Israel, Mother & Sons stand sentry on the Mount before they, themselves, are swept away by martyrdom..

Our canvas reads this as the story of Israel’s covenant history: each son painted as a representative of historic junctures of the Jewish People, from the call of Abraham to the current expulsion of Jews from an increasingly Islamized Europe. The mother portrayed as the Jewish Eve, the Mother of All Living Israel – even as she is bloodily slaughtered.

[*Based on the sources there are several readings on where the killings occurred, in Jerusalem or Seleucid Antioch. Will clear that up during our breakout of the painting’s composition.]

SOURCES

[Sources & commentary posted here prepare us for tackling this out-sized work as much as the preparatory studies & oil sketches.]

  • Links & Resources on the Maccabees: their revolt in Judea against the Greek Tyrant: in brief, the Jews saying no to Alexander the Great. And how this relates to the history & character of California!
  • Links & Resources on Second Temple Judaism: the culture and thought of the Jews between Israel’s return from Babylonian Captivity to the destruction of Jerusalem by Titus & Vespasian and the Fall of Masada. One cannot truly understand why a mother would sacrifice her sons and herself without it.  And how this relates to the history & character of California!
  • Links & Resources on the Covenantal History of Israel: there is no history of the world without it. And how this relates to the history & character of California!
  • Links & Resources on the Jewish Founding & Foundation of Jerusalem. And in this, and by this only, is Jerusalem the universal capital of the world. And how this relates to the history & character of California!
  • Links & Resources on any Christian Claim to Jerusalem: there is none, but there is an exchange of gifts. And how this relates to the history & character of California!
  • Links & Resources on how Israel has been Pictured in Art: Why do Christians, and other assorted characters, take to painting to Jews? And how this relates to the history & character of California!
  • Links & Resources of what this Episode Reveals about Islam. Even though Islam didn’t whirlwind out of Arabia until eight centuries later, this story illuminates (belies, lays bare, exposes to historical scrutiny) one of Islam’s pivotal doctrines. And how this relates to the history & character of California!
  • Links & Resources on Answering the Question: Is Jew-Hatred Integral to Islam’s Theology & Politics: fear not the answer. And how this relates to the history & character of California!
TITLE: “THE MOTHER OF ISRAEL WITH HER SEVEN SONS ON THE TEMPLE MOUNT (God’s Jewish Footprint)” (oil on canvas) x (orientation, landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0505 Original Oil 37, 800 30,240 22,600
0505.a Study: 450 360 n/a
* * *
(0506) “THE THREE GREAT REPENTANTS: St. Mary of Egypt, St. Moses the Black of Egypt & Jeffrey Dahmer of Milwaukee”

Be patient with the inclusion of Jeffrey Dahmer!

The look of it will be near to overpowering. Wait & see.

The first two saints lived in Fourth Century Egypt.  St. Mary was a prostitute who discovered her salvation outside the walls of Jerusalem, when God himself refused to escort her through the city’s gates.  St. Moses the Black was an Ethiopian who sought forgiveness among the Desert Fathers of Egypt for brutal thievery & murder. Jeffrey Dahmer: the Great Repentant of Milwaukee was a homosexual rapist, murderer & cannibal. He found his redemption in prison before his own cruel murder.

The three of them, together – on our canvas – was meant to be.  For our own repentance pray for us, St. Mary, St. Moses the Black, Jeffrey Dahmer.

Regarding Jeffrey Dahmer – it’s personal! This painting will give testimony to how . . .

SOURCES

[Sources & commentary posted here prepare us for tackling this out-sized work as much as the preparatory studies & oil sketches.]

  • Links & Resources on St. Mary of Egypt
  • Links & Resources on St Moses the Black of Egypt
  • Links & Resources on Jeffrey Dahmer of Milwaukee
  • Links & Resources on Repentance & Conversion.  And how this relates to the history & the character of California!
  • Links & Resources on Mercy & Judgment. And how this relates to the history & character of California!
  • Links & Resources on Crime & Human Nature.  And how this relates to the history & character of California!
  • Links & Resources on the History of Sin.  And how this relates to the history & character of California!
  • Links & Resources on the Coptic Orthodox Church (Egypt & Ethiopia).  And how this relates to the history & character of California!
  • Links & Resources on the Desert Fathers of Egypt & Sinai.  And how this relates to the history & character of California!
  • Links & Resources on the Book of Enoch & the Book of JubileesAnd how this relates to the history & character of California!
TITLE: “THE THREE GREAT REPENTANTS: St. Mary of Egypt, St. Moses the Black of Egypt, & Jeffrey Dahmer of Milwaukee” (oil on canvas)   x   (orientation: portrait)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0506 Original Oil 37, 800 30,240 22,600
0506.a Study:
450
360
n/a
* * *
(0507) “THE MARTYRDOM OF FR. PRO: Men of Mexico Unsheathe Manliness and Slay the Yoke of 1917”

The true Mexican Revolution was a defeated one.

One sunk in the blood of Mexicans, drown dead in martyrdom by no less than Lenin & Trotsky. This was the Cristero War: a war fought just a holler away from America’s front stoop. Mexico’s vibrant & muscular culture was bound over to serve an alien ideology.

In November, 1927, Fr. Miguel Augustín Pro Juarez was so slaughtered.

President Plutarco Elias Calles, Tyrant of Mexico, was quite pleased to indulge. So tickled happy he invited a litter of reporters to record the murder. They obliged. The photos shot are as disturbing as they are wondrous: a life shedding its blood for others – and a truth. Truth which will have its judgment: the Devil himself photographing the instrument of his doom, the inevitable coming of his defeat.

With a simple nod to their witness, these photos painlessly draw our composition: their hue and tone, their pictorial passages and theme.

Will Trotsky, assassinated himself in Mexico, undead himself and take an axe to our painting?

SOURCES

[Sources & commentary posted here prepare us for tackling this out-sized work as much as the preparatory studies & oil sketches.]

  • Links & Resources on Fr. Pro.  And how this relates to the history & character of California!
  • Links & Resources on Mexico’s Cristero War.  And how this relates to the history & character of California!
  • Links & Resources on Ideological (Marxist committed) Mexico.  And how this relates to the history & character of California!
  • Links & Resources on Pre-Ideological (Pre-Marxist) Mexico.  And how this relates to the history & character of California!
  • Links & Resources on the Lingering Question of the Lingering Aztec.  And how this relates to the history & character of California!
  • Links & Resources on the Spanish, Good & Bad.  And how this relates to the history & character of California!
  • Links & Resources on Mexican Catholicism.  And how this relates to the history & character of California!
  • Links & Resources on Mexican MartyrdomAnd how this relates to the history & character of California!
  • Links & Resources to Our Lady of Guadeloupe.  And how this relates to the history & character of California!
TITLE: “THE MARTYRDOM OF FR. PRO: Men of Mexico Unsheathe Manliness and Slay the Yoke of 1917” (oil on canvas) x (orientation: landscape)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0507 Original Oil 37, 800 30,240 22,600
0507.a Study: 450 360 n/a
* * *
(0508) “THE ARCHANGEL MICHAEL SLAYS THE TOTALITARIAN SPIRITS: THE THREE EVILS (Fascism, Leftism & Islamism)”

Ever since Satan was cast out of Heaven evil has been hounded by Archangel Michael: cornered, wounded, slain.

Just ask John Milton composing Paradise Lost in his blindness, or the court builders of Assyro-Babylon adorning the city’s temples with frightful demons. It’s an old story.

Rove an eye over images of Archangel Michael slaying demons and devils, including its pagan precursors; the image has a hefty pedigree. It summarizes, pictures-out, a story of cosmic consequences: the day Satan was kick-butted out of Heaven and Archangel Michael mustered to keep him out.

Question is: can we do the image one better?

Michael takes to our canvas and, once more, throws the Devil to the ground. This time with righteous judgment.

If the picture of it is so common why bother?

A Post-Modernist would take the notion of a high-end angel slicing through the top dog devil and deconstruct it into prick-points of “privileged power” or “gender”. That’s not our take. We’re more interested in the image’s stability as a pointer to the foundations and fundamentals of – for wont of a better phrase – the human condition.

The image of a speared devil, done in by an angelic war commander, can illumine our own fight against the Totalitarian Spirits which haunt and hover over our age.

Our duty is clear. We will stand our easel as a bulwark sentinel, weaponize our oils and brushes, and set Archangel Michael to work spearing the demons which have wrecked such havoc in our day:  Fascism, Leftism & Islamism.

When pushed to the edge, dangling over crevices and crags – when their hearts are cored and examined – these ideologies are totalitarian: from their hardhearted dogmas to their insatiable wont to cannibalize every land & people, every man & woman, & unborn babe.

Our picturing-out will be – how should it be put – provocative!

The old-time Devil is who he is, but in our painting we recruit Che Guevara to stand-in for him.

Think Che will make a delicious and well-suited proxy. His life was devilish enough: brutal, bloody, and marinated in an insatiable hunger for totalitarian tyranny. It’s a nauseating mystery why, to the Left, Che Guevara images (like Muhammad for islamists) the perfect revolutionary man  in spite of his personal and political cruelty.

It would be enough just reading the rolls of those whom Che, personally and by order, took out with gun and bludgeon. Count them in their thousands.

With that as our take, what will be the look of our canvas?

We have a powerfully handsome, brilliantly lit, heavenly hued winged Archangel Michael thrusting the Lord’s spear through Che’s devilish body, twisted and shriveled-up from hunger of totalitarian power he could not fill. Che’s whitewashed groveling flesh starkly set against Michael’s bronzed angelic self.

As the spear drives through Che’s shriveled wizened chest and spine, it thrusts through the earth into the cavernous cavity below. There, falling into the hellish doom of the chasm below, a horde of totalitarian minions (tyrant spirits all) coil as a nesting mess of serpents.

The tumbling tangled horde is toe-tagged with the names of grooms and handmaidens of the Totalitarian Spirits. Names known and unknown. Viewing the painting one reads them with both shock and recognition.

There’s no mistaking the gravity of the totalitarian clump weighing down mind, action, loves and simple affections. To get the right look of it we crisscross the history of Last Judgment Paintings: borrow and raid notions and hints.

Like some Pictorial Apocalyptic Lord, we pose our brush and easel, painting the Totalitarian Spirits into a corner so the Host of the Ancient One can bloodily fling them into the pit.

(We have stopped by at Qumran, have read our Book of Enoch well, that of the Jubilees and the Testaments of the Twelve Patriarchs.)

Scoping out the battlefield of our canvas, positioning our muscular oils & brushes, we ambush the sniveling sulfur-stench little devils, those fascists/leftists/islamists minions nipping at the heels of our poor, worn out politics and culture.

On the foreground, laid-low on the canvas’ bottom under Michael’s lance, squirms Che Guevara doing what he couldn’t do in life – give up his life for others. In this case, his wretched, shriveled body is a welcome mat, on Hell’s threshold, for the dark grooms and handmaidens of the Totalitarian Spirits.

Che’s mortal end rests upon our canvas, not on t-shirts flapping in peddler stalls on Berkeley’s Telegraph Ave!

* * *

The Raft of the Medusa by Theodore Gericault.  We raid the “Medusa” with great delight, and no little humility. Here is our guiding muse.

* * *

STUFF ON CHE: Why he’s a good stand-in for the Devil sprawled on the ground under the Archangel’s spear. When one can put names and faces to his victims, it matters.

Stella McCartney’s New ‘Anti-Cruelty’ Fashion Line Celebrates Che Guevara and Fidel Castroby (FrontPage) the Left, mass murder is always in style.


Exposing the Real Che Guevara and the Idiots Who Idolize Him by Humberto Fontova

HUMBERTO FONTOVA ARCHIVES

ANOTHER GOOD BOOK

MURDERED BY CHE

ONEW BOOK ON CUBA

Will post others. Any suggestions?


Cuba: A History by Hugh Thomas\

* * *

POPE FRANCIS IN CUBA:  PLEASE NOT! THE MAN’S NOT POPE BENEDICT

 

* * *

SOURCES

[Sources & commentary posted here prepare us for tackling this out-sized work as much as the preparatory studies & oil sketches.]

  • Links & Resources on the Archangel Michael: Sorting out his staying power in art: With reference to his role as the Arch-Defender of Israel (and how that role has been understood by Christianity). In short, who is this Great Spirit Commander?  And how this relates to the history & character of California!
  • Links & Resources on Satan (the Arch-Devil): Sorting out his staying power in art: With reference to his role as the Arch-Enemy of both God & Humanity (and how that role has been understood by both Judaism & Christianity). And how this relates to the history & character of California!
  • Links & Resources on Satanism in America.  And how this relates to the history & character of California – lots & lots!
  • Links & Resources on Che Guevara: his bloody, violent life as a Marxist Missionary. And how this relates to the history & character of California!
  • Links & Resources on Cuba: its truest self weighed down and crushed by revolution. And how this relates to the history & character of California!
  • Links & Resources on President Obama Going Hog-Wild Over Revolutionary Cuba & the Demonic Che: That Obama has done this puts the Urgency in Painting-Out this Picture.
  • Links & Resources on Fascism as a Totalitarian SpiritAnd how this relates to the history & character of California!
  • Links & Resources on Leftism as a Totalitarian Spirit.  And how this relates to the history & character of California!
  • Links & Resources on Islamism as a Totalitarian Spirit.  And how this relates to the history & character of California!
  • Links & Resources on the History of Evil: can even the notion of evil – personal, cultural or historical – be defined?  And how this relates to the history & character of California!
  • Links & Resources on the Last Judgment in art.  And how this relates to the history & character of California!
  • Links & Resources on the theme of the Apocalypse in art.  And how this relates to the history & character of California!
  • Links & Resources on our Muse, Theodore Gericault and his “The Raft of the Medusa”. And how this relates to the history & character of California!
TITLE: “THE ARCHANGEL MICHAEL SLAYS THE TOTALITARIAN SPIRITS: THE THREE EVILS (Fascism, Leftism & Islamism)” (oil on canvas) x (orientation: portrait)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
0508 Original Oil 37, 800 30,240 22,600
0508.a Study: 450 360 n/a
* * *
(0509) “SHE DIED ON RUBY RIDGE (Idaho)”

How does one picture-out a shot-dead woman and her shot-dead baby? Better, why? Why this woman? Why this infant in arms?

Paint this one in fear & trembling.  God is not done with us, yet.

“Return to Ruby Ridge” by Ben Stein (American Spectator)

[with Peripheral Drawings & Oil Sketches of the Sagebrush Rebellion]

SOURCES

  • {to be posted later]
TITLE: “SHE DIED ON RUBY RIDGE (Idaho)” (oil on canvas)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre-Completion Discount ((Oil: 15%, total 40%) NOTE
0509 Original Oil 37, 800 30,240 22,600
0509.a Study: 450 360 n/a
* * *
(05010) [TITLE: Under-Wraps. Theme of Painting Embargoed}

SOURCES

  • [to be posted later]
TITLE: [UNDER-WRAPS & EMBARGOED]  (oil on canvas) x (orientation: portrait)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
05010 Original Oil 37, 800 30,240 22,600
05010.a Study: 450 360 n/a
* * *
(05011)  [TITLE: Under-Wraps. Theme of Painting Embargoed}

On 9/11: “Americans awakened to the crudest possible reminder that some things aren’t a matter of opinion. You can’t explain away three thousand freshly slaughtered corpses.” This from New York theatre and dance critic, Terry Teachout.

Factoring in the (seemingly) unstoppable advance of fundamentalist Islam (better, the fundamental supremacy integral to classical, orthodox, historic Islam) has sharpened our sense of duty.

So, what is truth owed? What liberty is required to give it voice or image?

Some years ago we designed a series of paintings to explore these thoughts. Done, in part, to release pent-up anger that our duty as an artist was put upon. The sheer event of it was a distraction from pictorial subjects and themes, at the time, more dear to mind and heart. Yet, the impulse to look upon the bloody imposition and respond was not easily shunted aside.

The result of being so imposed upon and distracted?

Ten paintings (a few listed below) sketched themselves in the journals. Called the effort, The Muhammad Paintings Collection. Someday, maybe, we’ll publish selections from the journals.

The labor spent in designing the Collection was interesting, arresting, even enriching, Much the better artist and citizen for it. But it’s time to return to one’s first vision.

[It is in the intuition of one’s first vision that the beholding of First Things begins.] .

Still, holding on to lessons learned, The Muhammad Paintings Collection has been decamped from the easel. The north window, once overwrought and heavy-laden with Islam’s wont to conqueror all, has been wiped clean. Day’s filtered light shines bright.

[Frankly, our work, “The Mother of Israel and Her Seven Sons on the Temple Mount (God’s Jewish Footprint)”, addresses the mission of the Muhammad Paintings perfectly.]

* * *

SOME OF THE LAID ASIDE PAINTING TITLES:

“The Genesis of 911: Muhammad Massacres the Jews of Medina”:

Comment: Before Muhammad came to Medina, escaping his Meccan enemies, the place was a Jewish city. In pogromming the city of its Jews Muhammad was performing a pivotal theological act, while establishing his political motives – for Islam, for Allah.

Has Islam been other, since? In that regard, the falling of the towers of New York was the greatest act of Jew-hatred since the Holocaust.

9/11 was Medina redone.

The look of the painting would have linked, by a bloody thread, Muhammad’s massacre of the 800 Jews of Medina to the burned, crushed, and tumbled out innocents from those incinerating New York towers. In our painting, the massacre of these two cities – these hinges of history – are pictured meshed, their islamic theological purpose strung and wound in one bloody knot.

“The Qur’an Murders Theo van Gogh (in Amsterdam):

Comment: The slaughters in Paris – those cartoonists & those Jews – were done for the victims’ theological crime of blasphemy: the cartoonists for drawing this & that, the Jews for being Jews.

Theo van Gogh was the several great-great nephew of Vincent van Gogh. He was knifed, and nearly beheaded, in Amsterdam by a Moroccan Islamist-Jihadist. Done – as he and his ilk nauseatingly told us – on authority of the Qur’an. The stabbing/beheading knife was used to nail Quranic verses into Theo’s chest.

The chore here – in the tragedy of van Gogh’s murder – is to picture-out how such a worldview of submission and violence sits so easily within Islam’s theology and politics.

In composing this work the long, varied history of martyrdom paintings was being image-mined to construct the just right look. The man was a martyr, though Christian he was not.

Wherever sent to, Theo van Gogh, pray for us.

* * *

For now, not listing the other laid aside titles. If any will be revived, it will, most likely, be this one about Theo van Gogh. Of them all, our sketching-out thoughts had been the most developed: its way of looking addressing the most urgent theme of our confrontation with Islam – liberty.

SOURCES

  • [to be posted later]
TITLE: [UNDER-WRAPS & EMBARGOED] (oil on canvas)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
05011 Original Oil 37, 800 30,240 22,600
05011.a Study: 450 360 n/a
* * *
(05012)
[TITLE: Under-Wraps. Theme of Painting Embargoed}

This will be our premier Anti-PostModernist work: painted-out with prophetic righteousness!  Check back, will be posting clues & hints on its specifics.

We are much aware, that in discussing our PROVOCATIVES  we have not “privileged” the language & dogmas of Post-Modernism, banishing all Foucaultisms & Queer Theoryisms. The choice was just that – deliberate.

Yet, there is place and need to give voice (should say, picture-out) to our thoughts regarding Post-Modernism. Will be doing that in this “embargoed” title as we will be doing our above work, “The Archangel Michael Slays the Totalitarian Spirits”. In that painting the Righteous Warrior Angel, standing-in for our pictorial worldview, spears Post-Modernism through its hardhearted heart.

Stay tuned, as they say, for the subject of this painting.

TITLE: [UNDER-WRAPS & EMBARGOED] (oil on canvas)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
05012 Original Oil 37, 800 30,240 22,600
05012.a Study: 450 360 n/a
* * *
(05013) “TITLE: Martha, Martha”

A monumental thank-you to my wife. A delicious image of good cheer & hope.

TITLE: “MARTHA, MARTHA” (oil on canvas)
Control Number ITEM LIST PRICE Studio Sale Discount (20%)   Broker Discount (Oil: 25% Study: 30%)  Broker Pre- Completion Discount ((Oil: 15%, total 40%) NOTE
05013 Original Oil 37, 800 30,240 22,600
05013.a Study: 450 360 n/a
* * *

 [Cont’d: “On Painting the PROVOCATIVES”]

* * *

Talking of “talk”, we’re speaking of talk that both sustains and expands the public’s attention of our work: the PROVOCATIVES, and all the rest.

Sustains, because the character of any work deepens, improves over time: deepens and improves the good about them.

Yes, the good!  For, like beauty, art, bound to its nature is moral; it makes a bid for righteousness – even when the art of it must detour through the ugly.

Expands, because each painting builds upon the others: even if, at first glance, they may seem unrelated by theme or subject.

In short, taking an Aristotelian clue and a Thomist hint, a good work of art both acts and is acted upon (a nod to James W. Schall).

* * *

Exhibit the first PROVOCATIVES and the public perks up and talks.

Talk gets going, not only because what gets kicked-up and provoked is worth talking about (that’s obvious), but because of the look of it (the way it is pictorially put). In this our PROVOCATIVES will not disappoint.

Yet, provoking & dust-up kicking is not the primary meaning or duty of art. That is never, in itself, the point of it: Provocative Art for the sake of Provocative Art (like crucifixes in piss water).

Art provokes because it is worth the look, a looking-about which is earned by provoking something greater than itself. Truth . Even the ugly – low-down and evil as it is – is compelled to give a nod to it.

Our PROVOCATIVES sweet God we pray – paint-up the Truth.

Painterly purpose copulating with oils and canvas (flesh and vision): the very act of doing grasping God’s finger, the one used to stir up Eden’s dust into flesh.  It is this, the putting of Truth into flesh that gets “talk” going.

Like an image taking to oils on canvas, Truth concedes the need – the very necessity of essence – to be seen and touched. Even love sees the point, incarnating her universality into particular affections.

Truth, like love, yielding to physicality.

Here is the point of it, the purpose of picture-painting: fleshing-out the love for Truth, the Hog-Bristle Brush slap-dapping it onto the canvas.

* * *

The PROVOCATIVES are not sent forth because time’s running out for the Artist, because the Artist, like St. Paul, has come of late!

There’s nothing to make up, no lost years to recoup, no need for panic. That would do the Body of Work no good.

One cannot paint upon a canvas of regret.  No good is had in sending forth works of desperation.  That only gets the truly ugly – this is, the untruth – talked about.

OK, maybe there’s no panic, no excessive grief over wasted time, but there is urgency, a hurrying up.  For we do confess, the PROVOCATIVES as all our works – are broad of shoulder, hairy-chested, and got the balls for the job at hand.

The PROVOCATIVES participate in the working out of our salvation.

Guilt’s not the prod here. We paint up the PROVOCATIVES because they will make good on redeeming misused time: the past saved for the future by the present standing up.

* * *

With the good done – done by the PROVOCATIVES being goodly to look at – our Body of Work sustains a wide, long look-about, each one unloading a glancing grace upon the whole.

Send them forth!

* * *

 © Stephen L. Golay

 

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s