This is where I will be featuring various artist as we go along with gwyllm.com, I strived for the longest time on Facebook to curate art in such a way that people could enjoy work that was not readily known, or had a slight edge to it. Unfortunately, the slight edge got me banned more than a few times, hence, my curation here. I hope you enjoy the works that I will be bringing to you all.
We should be rotating artist weekly, or even more frequently. Please check back for updates!
Lang Jingshan & Li Bai
One of the great photographers of the 20th century. Amazing work. I have often mistaken his composite photographs for paintings, and I have a very well trained eye. Anyway, here is our entry for this week. More to follow soon.
Lang Jingshan (Chinese: 郎靜山; 4 August 1892 – 13 April 1995), also romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called “indisputably the most prominent figure in the history of Chinese art photography”, and the “Father of Asian Photography”. He joined the Royal Photographic Society in 1937 and gained his Associateship in 1940 and Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world’s top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique “composite photography” technique he created. (Thanks to Wikipedia)
Li Bai (701–762), also known as Li Bo, was a Chinese poet acclaimed from his own day to the present as a genius and a romantic figure who took traditional poetic forms to new heights. He and his friend Du Fu (712–770) were the two most prominent figures in the flourishing of Chinese poetry in the Tang dynasty, which is often called the “Golden Age of Chinese Poetry”. The expression “Three Wonders” referred to Li Bai’s poetry, Pei Min’s swordplay, and Zhang Xu’s calligraphy.
Around a thousand poems attributed to him are extant. His poems have been collected into the most important Tang dynasty poetry anthology Heyue yingling ji,compiled in 753 by Yin Fan, and thirty-four of his poems are included in the anthology Three Hundred Tang Poems, which was first published in the 18th century. In the same century, translations of his poems began to appear in Europe. The poems were models for celebrating the pleasures of friendship, the depth of nature, solitude, and the joys of drinking wine. Among the most famous are “Waking from Drunkenness on a Spring Day”, “The Hard Road to Shu”, and “Quiet Night Thought”, which still appear in school texts in China. In the West, multi-lingual translations of Li’s poems continue to be made. His life has even taken on a legendary aspect, including tales of drunkenness, chivalry, and the well-known fable that Li drowned when he reached from his boat to grasp the moon’s reflection in the river.
Clouds bring back to mind her dress, the flowers her face.
Winds of spring caress the rail where sparkling dew-drops cluster.
If you cannot see her by the jewelled mountain top,
Maybe on the moonlit Jasper Terrance you will meet her.
I met Tu Fu on a mountaintop
in August when the sun was hot.
Under the shade of his big straw hat
his face was sad–
in the years since we last parted,
he’d grown wan, exhausted.
Poor old Tu Fu, I thought then,
he must be agonizing over poetry again.
“Bathed in fragrance,
do not brush your hat;
Washed in perfume,
do not shake your coat:
“Knowing the world
fears what is too pure,
The wisest man
prizes and stores light!”
an old angler sat:
You and I together,
Let us go home.
Amongst the flowers I
am alone with my pot of wine
drinking by myself; then lifting
my cup I asked the moon
to drink with me, its reflection
and mine in the wine cup, just
the three of us; then I sigh
for the moon cannot drink,
and my shadow goes emptily along
with me never saying a word;
with no other friends here, I can
but use these two for company;
in the time of happiness, I
too must be happy with all
around me; I sit and sing
and it is as if the moon
accompanies me; then if I
dance, it is my shadow that
dances along with me; while
still not drunk, I am glad
to make the moon and my shadow
into friends, but then when
I have drunk too much, we
all part; yet these are
friends I can always count on
these who have no emotion
whatsoever; I hope that one day
we three will meet again,
deep in the Milky Way.
The spring wind comes from the east and quickly passes,
Leaving faint ripples in the wine of the golden bowl.
The flowers fall, flake after flake, myriads together.
You, pretty girl, wine-flushed,
Your rosy face is rosier still.
How long may the peach and plum trees flower
By the green-painted house?
The fleeting light deceives man,
Brings soon the stumbling age.
Rise and dance
In the westering sun
While the urge of youthful years is yet unsubdued!
What avails to lament after one’s hair has turned white
like silken threads?
All the birds have flown up and gone;
A lonely cloud floats leisurely by.
We never tire of looking at each other –
Only the mountain and I.
See how the Yellow River’s water move out of heaven.
Entering the ocean,never to return.
See how lovely locks in bright mirrors in high chambers,
Though silken-black at morning, have changed by night to snow.
… Oh, let a man of spirit venture where he pleases
And never tip his golden cup empty toward the moon!
Since heaven gave the talent, let it be employed!
Spin a thousand of pieces of silver, all of them come back!
Cook a sheep, kill a cow, whet the appetite,
And make me, of three hundred bowls, one long drink!
… To the old master, Tsen,
And the young scholar, Tan-chiu,
Bring in the wine!
Let your cups never rest!
Let me sing you a song!
Let your ears attend!
What are bell and drum, rare dishes and treasure?
Let me br forever drunk and never come to reason!
Sober men of olden days and sages are forgotten,
And only the great drinkers are famous for all time.
… Prince Chen paid at a banquet in the Palace of Perfection
Ten thousand coins for a cask of wine, with many a laugh and quip.
Why say, my host, that your money is gone?
Go and buy wine and we’ll drink it together!
My flower-dappled horse,
My furs worth a thousand,
Hand them to the boy to exchange for good wine,
And we’ll drown away the woes of ten thousand generation!
The moon shimmers in green water.
White herons fly through the moonlight.
The young man hears a girl gathering water-chestnuts:
into the night, singing, they paddle home together.
Chuang Tzu in dream became a butterfly,
And the butterfly became Chuang Tzu at waking.
Which was the real—the butterfly or the man ?
Who can tell the end of the endless changes of things?
The water that flows into the depth of the distant sea
Returns anon to the shallows of a transparent stream.
The man, raising melons outside the green gate of the city,
Was once the Prince of the East Hill.
So must rank and riches vanish.
You know it, still you toil and toil,—what for?
The lovely Lo Fo of the western land
Plucks mulberry leaves by the waterside.
Across the green boughs stretches out her white hand;
In golden sunshine her rosy robe is dyed.
‘my silkworms are hungry, I cannot stay.
Tarry not with your five-horse cab, I pray.’
See the waters of the Yellow River leap down from Heaven,
Roll away to the deep sea and never turn again!
See at the mirror in the High Hall Aged men bewailing white locks – In the morning, threads of silk, In the evening flakes of snow.
Snatch the joys of life as they come and use them to the full;
Do not leave the silver cup idly glinting at the moon. The things that Heaven made
Man was meant to use; A thousand guilders scattered to the wind may come back again.
Roast mutton and sliced beef will only taste well If you drink with them at one sitting three hundred cups.
Great Master Ts’êen, Doctor Tan-ch’iu, Here is wine, do not
stop drinking But listen, please, and I will sing you a song.
Bells and drums and fine food, what are they to me Who only want
to get drunk and never again be sober? The Saints and Sages of old times are all stock and still,
Only the might drinkers of wine
have left a name behind. When the prince of Ch’êen gave a feast in the Palace of P’ing-lo With twenty thousand gallons of wine
he loosed mirth and play.
The master of the feast must not cry that his money is all spent;
Let him send to the tavern and fetch wine to keep our tankards filled.
His five-flower horse and thousand-guilder coat – Let him call the boy to take them along and
pawn them for good wine, That drinking together we may drive away the sorrows of a thousand years.
Merab Abramishvili said: “My paintings are stories of peace in this world”
Occasionally one stumbles into art that overwhelms, and transforms. Merab Abramishvili’s works have that quality, and more. I have been in love with his work for years, finding them here and there… It is a hard thing to realize that an artist rose up, and left a blazing trail of brilliance, and was gone before his time. Merab was such a character. He had such a short life. Such talent, and vision. I am pleased to present his art here…. and to honour his memory, and deep talent.
Merab Abramishvili (Georgian: მერაბ აბრამიშვილი; 16 March 1957 – 22 June 2006) was a Georgian painter whose works were influenced by medieval arts and European neo-expressionism.
Abramishvili was born in Tbilisi, the capital of then-Soviet Georgia. He graduated from the Tbilisi State Academy of Arts in 1981. His future aesthetics were influenced by medieval Georgian frescoes and Orientalist miniatures which were introduced to him by his father, Guram Abramishvili, an expert in Georgian medieval art at the Art Museum of Georgia.
Impressed by the medieval frescoes from the Ateni Sioni Church, the artist adopted the gesso technique to create the texture of a mural in his easel painting as well. Due to his unique visual language and aesthetics, Abramishvili emerged as one of the leading Georgian artists, who went beyond the established Soviet-era clichés. In the period of post-Soviet political instability, Abramishvili became preoccupied with mystical imagery.
His works were displayed as part of solo and group exhibitions in both Georgia and abroad. His painting are treasured by the Art Museum of Georgia and National Gallery of Art in Tbilisi as well as Museum Ludwig, Cologne, and private collections in Finland and the United States.
One of my favourite artist to emerge over the last several years. Iconoclastic, living outside Bologna in Italy from what I understand is a 17th century home and studio. I hope you enjoy his works as much as I do, and wow is he ever prolific as an artist!
“Agostino Arrivabene was born at Rivolta d’Adda, near Cremona, Italy on June 11, 1967. After graduating in 1991 at the Brera Art Academy in 1991, he focused on painting, drawing and etching. From the outset his attention was drawn to the Ancient Masters, Leonardo, Dürer and van Eyck above all else, leading him to travel extensively in Europe’s museums to gain a first hand view of their masterpieces of which he often made faithful reproductions. This research allowed him to revitalise and apply forgotten painting techniques (above all egg tempera), to utilise neglected materials and to prepare colours according to traditional methods (from lapis lazuli, cinnabar, pure indigo, madder, bistre, dragon’s blood, orpiment and from other materials). At the same time he also focuses on drawing and etching techniques. It was as an etcher that he won in 1998 the first prize as the Leonardo Sciascia amateur des estampes international competition presided by Piero Guccione. He held, the following year, his first one-man exhibition at Rivolta d’Adda and took part at the 32nd Suzzara Prize, where he won the President of the Republic’s silver medal. In 1994, the Museo Civico of Crema dedicated him a one-man exhibition entitled Memoria e desiderio. The following year, the Palazzo Sormani public library in Milan hosted an exhibition of the works he made between 1990 and 1995. The following year, he held his first exhibition in the United Sates, at the CFM Gallery of New York.. In the meanwhile, he held other one-man exhibitions (at Reggio Emilia, curated by Alberto Agazzani, in 1997; and at Milan’s Spazio Bocca, curated by Gian Franco Grechi) and took part in various collective shows (5th Cremona Biennale of Contemporary Art; 1st Postumia Biennale Giovani at the Gazoldo degli Ippoliti museum; La Nef de Fous at the Centre Internationale de l’Art Fantastique of Gruyères in Switzerland, which ultimately purchased from him a large-sized Pandora). A large monograph published by the Milan-based publishing house Bocca Editore was presented in 2001 during the anthology exhibition, curated by Alberto Agazzani at the Museo Civico of Crema, on works dating between 1988 and 2000. In that same year, he was invited by the art critic and historian Vittorio Sgarbi to take part in Surrealismo Padano and Pittura Fantastica in Italia, two big exhibitions respectively held in Piacenza and Trieste. Also in 2002 a one-man exhibition was held at the “Le Muse” centre of Andria. He started cooperating in 2003 with the Antonia Jannone gallery of Milan where he held a one-man exhibition entitled Paesaggi, which came with a catalogue introduced by Giorgio Soavi. He worked in the same year with the great set designer Pier Luigi Pizzi for Heinrich Marschner’s Hans Hailing, which was staged in Cagliari. A cycle of his paintings illustrated Oscar Wilde’s The Picture of Dorian Gray which was published in a special edition as part of Telecom’s “Progetto Italia” initiative for Christmas 2004 with an afterword by the art critic Philippe Daverio. The latter would dedicate in February 2005 ample space to Arrivabene’s work on his program Passepartout, which is broadcast on Raitre, the third channel of the Italian state TV. In the same month, Vittorio Sgarbi invited him to take part in the exhibitions Il Male. Esercizi di pittura crudele at the Stupingi Hunting Lodge of Turin and, successively, Il ritratto interiore. Da Lotto a Pirandello at the Archaeological Museum of Aosta, and L’inquietidune del volto. Da Lotto a Freud, held in November at the Banca Popolare di Lodi’s Renzo Piano designed exhibition hall.”
Mihály Zichy is the first artist that we are featuring.
Mihály Zichy (Hungarian pronunciation: [ˈmihaːj ˈzit͡ʃi]; German: Michael von Zichy; October 15, 1827 in Zala, Hungary – February 28, 1906 in St. Petersburg, Russia) was a Hungarian painter and graphic artist. Descended from an old family of Magyar nobility dating from the thirteenth century (1260). Younger brother of Antal Zichy (1823–1898), Hungarian politician and honorary member of the Magyar Tudományos Akadémia. Born at the family estate (now Zichy Mihály utca 20) in the village of Zala in Somogy comitatus in western Hungary (1827). Studied under Venetian artist Giacomo Antonio Marastoni in Pest (1842) and Ferdinand Georg Waldmüller in Vienna (1843–47).
Mihály Zichy was a significant representative of Hungarian romantic painting. During his law studies in Pest from 1842, he attended Jakab Marastoni‘s school as well. In Vienna he was Waldmüller‘s pupil in 1844. “Lifeboat”, his first major work, comes from this time. Invited by Grand Duchess Elena Pavlovna to St Petersburg (1847), where he taught drawing to her daughter Grand Duchess Ekaterina Mikhailovna (1847–49) and married a local girl called Alexandra Yershova (1849). Worked as a retoucher in the St Petersburg studio of Viennese daguerreotypists Joseph and Heinrich Weninger (from 1850) and published an album of lithographs entitled Scènes du Caucase (1853). He swore allegiance to freedom by painting the portrait of Lajos Batthyány, the first Hungarian prime minister, in 1849. From 1850 onwards, he worked as a retoucher, but he also did pencil drawings, water colours and portraits in oil.
He died in St Petersburg (1906) and was buried at Kerepesi Cemetery in Budapest (1906) with a gravestone sculpted by Alajos Stróbl (1916).
His erotic drawings have a particular warm intensity in which both members of the couple seem equal partners. You can find examples of those at the bottom of the page, or give them a miss if you like…
Paintings & Illustrations:
The Triumph of the Genius of Destruction 1878
Adam & Eve
The Erotic Work…
These are so beautiful. Full of tenderness, and a quiet erotic tension. Mihály Zichy was a master of understatement, and simple elegance of line.
If you like these works, you can purchase a fine collection of his erotic works by clicking the picture below.
Thanks for visiting!