"Riding Death"
Jean-Michel Basquiat, 1988.
In February 1987, Andy Warhol died during an uncomplicated operation. For Jean-Michel Basquiat, it was the most serious blow of his life. Warhol had been his mentor, his teacher, his guru. When Warhol died, Basquiat went into meltdown. He practically stopped writing, cut off many contacts, disappeared for a long time. In one of the last days of his life, the artist created the painting "Riding Death".
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"A bull carcass"
Haim Sutin, 1924.
It is noteworthy that Haim Sutin always painted exclusively from nature. Accordingly, for "meat" still lifes he had to get acquainted with slaughterhouses. The carcass was delivered to the house, hung up, and the artist painted selflessly, occasionally pouring blood on the meat when it became weathered.
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"Two Heads"
Jean-Michel Basquiat, 1982.
Basquiat gave this painting to Andy Warhol, his idol at the time. The unexpected gift had an effect on the artist. Warhol, looking at the painting in front of the entire Factory, said: "He works faster than I do. I'm really jealous." And from that very day their friendship began.
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Hans Hillmann's iconic posters
Hans Hillmann has been one of Germany's most respected graphic designers for many years.
His works are more than 130 movie posters from the 50s and 70s. With his unique style and complex visualization of film content, he influences the younger generation of designers even today.
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Anatomical model of a pregnant woman, 17th century
The coffin-shaped case served as a reminder that anatomy could only be studied on dead people.
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"Three Etudes to the Figures at the Foot of the Crucifixion"
Francis Bacon, 1944.
Many have tried to explain "what the author wanted to tell us with his work". Some have no doubt that the artist encoded a self-portrait in the triptych. On the left "sash" - the image of the mother: bent, subdued, faded in wax humility. On the right is the figure of the father: screaming, dominating, centaur-like. In the center is Francis himself: hissing and writhing under the oppression of paternal love.
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"The Seven Deadly Sins"
Otto Dix, 1933.
Dix's allegorical painting should have been easy for his contemporaries to read: the gnarled old woman is Greed,
the white dwarf on her back is Envy,
the dancing skeleton figure is Sloth,
the voluptuous woman with bared breasts is Lust,
the horned monster is Malice, the creepy huge head with an anus instead of a mouth, nose up and ears covered is Vanity,
and the fat guy with the pot on his head is Gluttony.
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"Lee"
Hans Giger, 1974.
When Giger's muse, Lee Tobler, saw this painting, she said: "You've made me ugly!" - and tried to destroy it by breaking the frame and cutting up the canvas. Giger, however, managed to restore the painting, and it eventually became one of his most famous works.
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"Self-portrait as laboring woman, child and midwife", 2018
Thorarinsson Thandur
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"The Birth Machine"
Hans Rudolf Giger, 1967.
Creepy alien-like children are not just huddled in uncomfortable poses in the clip of a gun waiting for the "shot" to be fired. The future of each of them is already predetermined: in their hands are miniature copies of the same gun with the same clip of children.
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"Balloon with an eye"
Odilon Redon, 1898.
The work of the artist is usually divided into two periods: "black" and "colored". In the "black" period Redon, fascinated by the human subconscious with its fears and nightmares, created obsessive and in some places eerie charcoal drawings and printed graphics.
"Black," Redon said, "is born in the most secret depths of the soul.
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Illustrations for the novel "A Clockwork Orange" by E. Burgess
Artist Ben Jones, 2020
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"Painting 1946"
Francis Bacon, 1946.
In a rounded room draped with curtains the color of fresh minced meat, framed by meat carcasses, a man sits comfortably. He is dressed in dark clothes, a yellow boutonniere in his buttonhole, his foot tucked on his leg.
Bacon bets on black: the top of the man's head is hidden in the thick shadow of a black umbrella. It is possible, however, that the top of the gentleman's head is simply not there.
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"Grave Goods"
Jeff Christensen, 2014.
The sight of grave goods makes the viewer think about the fact that human life is transient and death is impossible to avoid. The eerie still life is painted in a dark, ominous color, creating in the viewer a sense of hopelessness of existence, despair and impenetrable gloom. The artist deliberately distorts the shapes of individual objects to enhance the grotesque and bring the painting to the point of absurdity.
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