Adoration's Juxtaposition to Aversion

What force draws us to certain individuals, objects and places yet repulses us to others? Is this mystical power less distinguishable than the surface shows? Love or lust, fascination or obsession, one thing's for sure: Whatever this energy is, a uniqueness and complexity surround it in much the same way as does the following artwork.

The Birth of Venus succeeds in visually representing the feminam form as a thing of beauty. Delivered from the sea upon civilization, this vision of grace and diligent grand design serves only to inspire. The first instinctual response by society, as portrayed in the scene, is to obstruct her magnificent physical perfection. (Though relevance exists in the fact [and should be fully expressed] that it is another woman enacting the covering.) Eyes and thought are immediately drawn into the work via twenty-six contrasting lines of the shell in which Venus stands. Upwards, attention spans traversing her legs, abdomen and vivacious coquelicot hair. As though a star going supernova, focus quickly expands radially. And so, the process is restarted as the viewer is returned from the outer realm in due part to strong supporting suggestion of a jealous mortal, generous supernatural beings and an illuminating, omnipresent sun.
Ciclistas introduces Ibere Camargo's vision of two nude cyclists on a late night ride through a rustic setting. With heavy use of grey and red a somber attribute governs the piece. Also notable is how the artist utilized yellow highlights on the subjects legs to give the perception of motion. While a certain eeriness distracts from the actual scene being construed it is nevertheless enchanting. This is a wonderful piece to explore and blur the lines of standardized allure.
Two rabbits nuzzle together against a soft plain. As anyone can claim there is usually an appeal with rabbits. This painting holds these same ideals. Placed slightly low-to-center an albino rabbit affectionately gravitates towards the second rabbit. This hare, black and white with bulbous, shined eyes is perched steadily, giving ever-so-present reciprocation to the dirty-cotton colored company.
Two grotesque abstract facial forms press together in an attempt to both deliver surrealism to the viewer as well as for they themselves to peer from beyond the canvas. First reaction is to abhor Gleeson's piece. Curdled and rocky features present discomfort in concert with drab colors. Yet, somehow the picture still stirs contemplation and curiosity. Internal organs in a seeming fiery inferno spew smoke and dim illumination into a sliver of cold sky. Misshapen and deformed bodily features protrude from a myriad of fleshy crevices. Burn and rot can well-nigh be found flirting with our own olfactory receptors after spending just a few minutes engaged with this piece.
In this piece, titled Orange Car Crash (5 Deaths 11 Times in Orance), Andy Warhol transposes a photograph of a car wreck scene eleven times over. Utilizing shades of orange and black the urgency strikes an internal alarm. As anyone who is familiar with a society based around the automobile will tell you, there is an intrigue to the scene of an accident. Akin to gladiator deaths that once took place within the Roman Coliseum, mortality and carnage appeal to many.
A chalice, a few walnuts, a handful of grapes and some peaches are the subject of this still life painting. Cast in a shallow breath of fading evening luminescence, representations of the top major textures are in attendance. Metal and wood offer a stark distinction to the delicate flesh and juices of the ripened fruits. Holding the same station in general census as kittens, puppies and chicks, the fuzz-laden peaches beg to grazed across the viewers cheek.
Woman and child of nobility pose for a session of immortality in a prosperous garden setting. As the young girl grasps the leash of her pet, she and her mother look on with a sense of repressed despair delicately veiled behind poise. Elisa Bonaparte dons an elegant flowing scarlet dress that commands the scene. Although smaller in stature and wearing colors that blend the foreground into the background, the child in this picture still steals the show. This is thanks to a marriage of positional centering and the innocence of her face. The adoration for mother and child is both timeless and one of the most obvious and understood connections that exists.
Virgin and Child, a non-secular themed piece of art, shows the Virgin Mary holding biblical character Jesus Christ. While the surface association is plain to see, there is a deeper link that exists on a metaphysical level. An allure of peace that comes from comfort of protection, nurturing and innocence can also be construed from this picture, and indeed the story of Christianity. Warm, glowing skin tones set the emotion of this piece apart from the chaos of darkened nothingness that support it from behind Just as some find harmony in this historic piece of art, so too do others find disaccord. After all, it is understandable that a certain percentage of contemporary civilization would want to eventually grow out of diapers.
In this untitled work from Lady Aiko, an elated girl is doted and nuzzled by a male figure. Focused on the emotion expressed from the figures faces, the shot is a close-up. Painted in a pop art style, this piece by Aiko encompasses the warmth of touch. The two characters seem to become one before the viewers very eyes. Hearts, stars and a vibrance of palette choices assist in sharing the joy being experienced within the moment. Strong lines and chunky shapes give a dominating power to an otherwise fragile state of existence.
Upon the knob of a flowery grassy knoll lovers transcend space, time and solidarity while their molecules intertwine. Purposively, the male figure funnels adoration and care upon the girl's rosy cheek by way of his first warm, then cool moist lips. Golden shapes from the duo's garments flow downwards till eventually blending into ambiguity amongst the blossoms and petals in audience. Geometry and organic design play fancifully as though the ebb of flow of existence itself. The coup de maitre of the art world (as portrayed by paint), The Kiss by Gustav Klimt is the crown upon the most royal of cosmic affairs. All thought, lexiconic design, art and that which lies beyond observation are drawn to the moment this picture attempts to capture.
Credits: All media
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