Term
| Nicolas kalmakoff had obsessions with |
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Definition
| Obsessions with martyrdom, asceticism, spirituality, sexuality, religion, and Satan |
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Term
| In 1905,a friend and actor remarked that Kalmakoff insisted that he saw the ____ and showed the man drawings to prove his story |
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Definition
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Term
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Definition
| Nicolas Kalmakoff. Satan, 1923. Charcoal. |
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Term
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Definition
| Nicolas Kalmakoff. The Women of Nadjis, 1923. Pastel. |
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Term
| Kalmakoff's resplendent compositions of bright colors, elongated forms, and expressive line are certainly reminiscent of __________ |
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Definition
| the Secessionists and Art Nouveu |
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Term
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Definition
| art that fears empty space |
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Term
| _____ pervades Kalmakoff’s body of work, and he portrayed women as both sexually irresistible and dangerous |
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Definition
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Term
| Islamic connection: Nadjis-people regarded as ________ |
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Definition
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Term
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Definition
| Nicolas Kalmakoff. The Victim, ca. 1925. |
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Term
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Definition
| The androgynous male “victim” appears as the crucified Christ, however, the cross is replaced with the silhouette of the femme fatale |
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Term
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Definition
| Nicolas Kalmakoff. Stage Design: The Serpentine Crypt, 1910. Gouache on card |
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Term
| The serpentine crypt is influenced by ___ and ____ art and Kalmakoff's obsession with ______ iconography |
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Definition
| nordic, celtic, Luciferien |
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Term
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Definition
| Nicolas Kalmakoff. Costume Design: Salome, 1908. Gouache on card |
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Term
| What is most important about Salome, 1908? |
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Definition
| This costume design is from a production that was so ribald that it ruined the career of a young starlet, Vera Kommissarjevsky, and led to her demise |
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Term
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Definition
| Nicolas Kalmakoff. Heavenly Wrath, 1915. Lithograph. |
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Term
During the late 18th and early 19th century, Russia was embroiled in conflict
_________ were on the rise |
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Definition
|
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Term
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Definition
| A “visionary” image of war which perceives the conflict in images of divine judgment and wrath |
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Term
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Definition
| Nicolas Kalmakoff. Wrath of War, 1917. |
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Term
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Definition
| Nicholas Kalmakoff, Household Ghosts, 1927, oil on canvas. |
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Term
| The _____ were the personification of hunger that lingered near cesspools and latrines |
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Definition
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Term
| A human could be reborn as a gaki, but such reincarnation could be avoided by _________ |
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Definition
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Term
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Definition
| Kalmakoff, The Chapel of the Resurrected: The Triumph of Man, 1927. Oil on board |
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Term
| Chapel of the Resurrected is a splendid example of_______ |
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Definition
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Term
| The demons in Chapel of the Resurrected have no ______ source |
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Definition
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Term
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Definition
| Kalmakoff, The Darkness, ca. 1940. Oil on board |
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Term
| Ernst Fuchs (1930-2015) sparked the _________ which enthralled admires who, in the post war re-enchantment of the 1960s, were hungry for spiritual content and narrative form |
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Definition
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Term
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Definition
Ernst Fuchs, Metamorphosis of the
Flesh, oil and tempera o/board, 1949 |
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Term
| Ernst saw his _____ as a spiritual mentor and the former recalled the later sharing wisdom, values, and spiritual truths through song and story |
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Definition
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Term
| Ernst’s Fuchs grandfather was a strict ________ who wish above all things for his sons to become Rabbis |
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Definition
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Term
| Fuchs always considered the Bible the _______ (from a creative and expressive standpoint) |
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Definition
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Term
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Definition
| Ernst Fuchs, The Passion, oil and tempera o/board, 1948 |
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Term
| Fuchs was moved by the _____ story and was inspired by “mystical visions” of Christ |
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Definition
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Term
| Already in his early work (The Passion), one can observe Fuchs’s contemplations of __________ that would guide his work. |
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Definition
| divinity, putrification; birth, death; purity, eroticism—paradoxes |
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Term
|
Definition
| Ernst Fuchs, Metamorphoses of Lucretia, oil and tempera o/board, 1958 |
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Term
| Metamorphoses of Lucretia recalls a common motif __________ as mythohistorical moment that coaxed Rome into rebellion |
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Definition
|
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Term
| In Metamorphoses of Lucretia, Fuchs paints the suicidal moment as a __________ |
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Definition
| transcendent transformation |
|
|
Term
| Nicolas kalmakoff had obsessions with |
|
Definition
| Obsessions with martyrdom, asceticism, spirituality, sexuality, religion, and Satan |
|
|
Term
| In 1905,a friend and actor remarked that Kalmakoff insisted that he saw the ____ and showed the man drawings to prove his story |
|
Definition
|
|
Term
|
Definition
| Nicolas Kalmakoff. Satan, 1923. Charcoal. |
|
|
Term
|
Definition
| Nicolas Kalmakoff. The Women of Nadjis, 1923. Pastel. |
|
|
Term
| Kalmakoff's resplendent compositions of bright colors, elongated forms, and expressive line are certainly reminiscent of __________ |
|
Definition
| the Secessionists and Art Nouveu |
|
|
Term
|
Definition
| art that fears empty space |
|
|
Term
| _____ pervades Kalmakoff’s body of work, and he portrayed women as both sexually irresistible and dangerous |
|
Definition
|
|
Term
| Islamic connection: Nadjis-people regarded as ________ |
|
Definition
|
|
Term
|
Definition
| Nicolas Kalmakoff. The Victim, ca. 1925. |
|
|
Term
|
Definition
| The androgynous male “victim” appears as the crucified Christ, however, the cross is replaced with the silhouette of the femme fatale |
|
|
Term
|
Definition
| Nicolas Kalmakoff. Stage Design: The Serpentine Crypt, 1910. Gouache on card |
|
|
Term
| The serpentine crypt is influenced by ___ and ____ art and Kalmakoff's obsession with ______ iconography |
|
Definition
| nordic, celtic, Luciferien |
|
|
Term
|
Definition
| Nicolas Kalmakoff. Costume Design: Salome, 1908. Gouache on card |
|
|
Term
| What is most important about Salome, 1908? |
|
Definition
| This costume design is from a production that was so ribald that it ruined the career of a young starlet, Vera Kommissarjevsky, and led to her demise |
|
|
Term
|
Definition
| Nicolas Kalmakoff. Heavenly Wrath, 1915. Lithograph. |
|
|
Term
During the late 18th and early 19th century, Russia was embroiled in conflict
_________ were on the rise |
|
Definition
|
|
Term
|
Definition
| A “visionary” image of war which perceives the conflict in images of divine judgment and wrath |
|
|
Term
|
Definition
| Nicolas Kalmakoff. Wrath of War, 1917. |
|
|
Term
|
Definition
| Nicholas Kalmakoff, Household Ghosts, 1927, oil on canvas. |
|
|
Term
| The _____ were the personification of hunger that lingered near cesspools and latrines |
|
Definition
|
|
Term
| A human could be reborn as a gaki, but such reincarnation could be avoided by _________ |
|
Definition
|
|
Term
|
Definition
| Kalmakoff, The Chapel of the Resurrected: The Triumph of Man, 1927. Oil on board |
|
|
Term
| Chapel of the Resurrected is a splendid example of_______ |
|
Definition
|
|
Term
| The demons in Chapel of the Resurrected have no ______ source |
|
Definition
|
|
Term
|
Definition
| Kalmakoff, The Darkness, ca. 1940. Oil on board |
|
|
Term
| Ernst Fuchs (1930-2015) sparked the _________ which enthralled admires who, in the post war re-enchantment of the 1960s, were hungry for spiritual content and narrative form |
|
Definition
|
|
Term
|
Definition
Ernst Fuchs, Metamorphosis of the
Flesh, oil and tempera o/board, 1949 |
|
|
Term
| Ernst saw his _____ as a spiritual mentor and the former recalled the later sharing wisdom, values, and spiritual truths through song and story |
|
Definition
|
|
Term
| Ernst’s Fuchs grandfather was a strict ________ who wish above all things for his sons to become Rabbis |
|
Definition
|
|
Term
| Fuchs always considered the Bible the _______ (from a creative and expressive standpoint) |
|
Definition
|
|
Term
|
Definition
| Ernst Fuchs, The Passion, oil and tempera o/board, 1948 |
|
|
Term
| Fuchs was moved by the _____ story and was inspired by “mystical visions” of Christ |
|
Definition
|
|
Term
| Already in his early work (The Passion), one can observe Fuchs’s contemplations of __________ that would guide his work. |
|
Definition
| divinity, putrification; birth, death; purity, eroticism—paradoxes |
|
|
Term
|
Definition
| Ernst Fuchs, Metamorphoses of Lucretia, oil and tempera o/board, 1958 |
|
|
Term
| Metamorphoses of Lucretia recalls a common motif __________ as mythohistorical moment that coaxed Rome into rebellion |
|
Definition
|
|
Term
| In Metamorphoses of Lucretia, Fuchs paints the suicidal moment as a __________ |
|
Definition
| transcendent transformation |
|
|
Term
|
Definition
| Ernst Fuchs, The Temptation of the Victor, watercolor, 1950 |
|
|
Term
| ____ (Eros and Thanatos) are always two sides of the same coin for Fuchs |
|
Definition
|
|
Term
|
Definition
| Ernst Fuchs, Psalm 69, tempera o/board, 1949/60 |
|
|
Term
| universal spirituality across different religions is common theme in all of Otto’s work |
|
Definition
|
|
Term
| Especially _____ and _______ stand out as major influences in Otto’s paintings |
|
Definition
|
|
Term
|
Definition
| Otto Kadlecsovics, The Last Flame, oil o/canvas, 1979 |
|
|
Term
| Flame of title is the flame of ____; _____ as creator of life |
|
Definition
|
|
Term
|
Definition
| Otto Kadlecsovics, Nirvana I, oil o/canvas, 1979 |
|
|
Term
| She associated with surrealists (Max Ernst, Georges Bataille, Dalí, Breton), but here contributions are woefully ignored |
|
Definition
|
|
Term
|
Definition
| Leornora Fini, The Sphinx, Oil on canvas, 1942 |
|
|
Term
| Often considered the first erotic nude of a male painted by a woman |
|
Definition
|
|
Term
|
Definition
| Leornora Fini, Le Carrefour D’Hecate, Oil on canvas, 1977-78 |
|
|
Term
| the Greek goddess associated with Magic and Witchcraft |
|
Definition
|
|
Term
| What does Le Carrefour D'Hecate |
|
Definition
| Implies initiation and transfiguration |
|
|
Term
|
Definition
| Leornora Fini, Le train, Oil on canvas, 1975 |
|
|
Term
| She was known to have intimate relationships with woman |
|
Definition
|
|
Term
|
Definition
| Michel Henricot, Le Prince et la mort, Oil on canvas, 1973 |
|
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Term
|
Definition
| Michel Henricot, Le Prince et la mort, Oil on canvas, 1973 |
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Term
|
Definition
| Johfra, The Guardian of the Pearl, Oil on canvas, 1971 |
|
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Term
|
Definition
| Hieronymus Bosch, Garden of Earthly Delights Triptych (Open), ca. 1504. Oil on wood |
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Term
|
Definition
| Johfra, Unio Mystica, Oil on canvas, 1973 |
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Term
|
Definition
| Ernst Fuchs, The Transfiguration of the Resurrected, 1961-1982. |
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Term
|
Definition
| Johfra, Visions of Hermes Trismegistos, Oil on canvas, 1985 |
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Term
|
Definition
| Johfra, Witch’s Sabbath, Oil on canvas, 1977 |
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