EVIDENCE OF THE SEVERED LEG
EDUARD MANET'S Le Déjeuner sur l'herbe, THE "LUNCHEON ON THE GRASS" - THIS
PAINTING DEPICTS MANET HIMSELF WITH HIS BROTHER AND THEIR FEMALE
COMPANIONS ENJOYING A PICNIC. THE RENOWN PAINTING WAS A VEHICLE FOR
PICASSO AND HAS BEEN PARODIED BY NUMEROUS ARTISTS.
BAUDELLAIRE CALLED HIM "THE PAINTER OF MODERN LIFE." THIS IS VERY IMPORTANT
TO ME AS I FEEL DEDICATED TO PAINTING THIS LIFE AROUND ME - US. I SEE IT
DIFFERNTLY AND PERHAPS VIRTUALLY OR METAPHORICALLY, BUT BELIEVE MY WORK
IS ABOUT OUR MODERN LIVES TODAY AS MANET WORK WAS THEN.
I HAVE BEEN PROFOUNDLY INFLUENCED BY MANET'S WORK. SINCE MY MOTHER GAVE
ME A BOOK OF HIS WORK WHEN I WAS A KID. LATER I SAW MANY OF HIS PAINTINGS IN
PARIS AND NEW YORK.
MY WORK IS INVOLVED WITH FRAGMENTS, PARTS AND WHOLES, AND ICONOGRAPHIC
OR EVEN LOGO-LIKE IMAGES. THE SEVERED LEG IS AN ICON, THE FIRST I DEVELOPED
IN THIS MANNER.
THE SEVERED LEG IS A CHUNK OF A HUMAN, A FRAGMENT. IT IS ALSO VERY ICONIC.
I REALIZED MY ARTWORK WAS OBJECT ORIENTED AND ALSO FIGURATIVE, VERY
DIFFERENT FROM MOST LATE 20TH CENTURY ARTISTS. I DID NOT MAKE MINIMALIST
WORK OR CONCEPTUAL WORK DRAINED OF ALMOST ALL IMAGE. I RELY ON IMAGES,
I CREATE IMAGES. I SEE IMAGES AL OVER ACROSS THE LANDSCAPE. IN OUR HOMES,
IN BUSINESSES, ON THE STREET. I THINK ARTISTS SHOULD BE IMAGE MAKERS. THEY
MUST BE ABLE TO INTERPRET AND READ IMAGES. COMBINE IMAGES. ISOLATE
IMAGES. EDIT IMAGES. TODAY IMAGES ARE OVERTAKING WORDS AS SYMBOLS ON
COMPUTERS IN SIGN-AGE AND IDENTIFICATION - LOGOS BECOME MORE POWERFUL
THAN WORDS. THE MOVING IMAGE IS KING NOW. HOWEVER THERE IS AN AMAZING
CHURNING CONFLICT WITH IMAGES, IN PAINTING, DESIGN, AND PRINTING.
THE SEVERED LEG WAS INSPIRED BY MANET AND A CONNECTION I FELT TO HIS WORK
AND TO THE HISTORY OF FIGURATION.
IT IS NOT COMMONLY KNOWN, BUT MANET HAD HIS LEFT LEG REMOVED SHORTLY
BEFORE HE DIED DUE TO GANGRENE SETTING IN. THIS KNOWLEDGE THOUGH
HORRIFIC WAS INSPIRING. THUS I THINK OF THE SEVERED LEG AS THE LOST LIMB OF
EDUARD MANET. IN MY IMAGINATION IT DID NOT DIE, AS FIGURATION HAS NOT DIED.
NO, IT LIVED ON WITH OUT A HEAD OR BRAIN OR BODY. SOMEHOW. I INCLUDE SOME
INTERESTING ARTIST'S INTERPRETATIONS OF THIS BELOW.
PAINTING DEPICTS MANET HIMSELF WITH HIS BROTHER AND THEIR FEMALE
COMPANIONS ENJOYING A PICNIC. THE RENOWN PAINTING WAS A VEHICLE FOR
PICASSO AND HAS BEEN PARODIED BY NUMEROUS ARTISTS.
BAUDELLAIRE CALLED HIM "THE PAINTER OF MODERN LIFE." THIS IS VERY IMPORTANT
TO ME AS I FEEL DEDICATED TO PAINTING THIS LIFE AROUND ME - US. I SEE IT
DIFFERNTLY AND PERHAPS VIRTUALLY OR METAPHORICALLY, BUT BELIEVE MY WORK
IS ABOUT OUR MODERN LIVES TODAY AS MANET WORK WAS THEN.
I HAVE BEEN PROFOUNDLY INFLUENCED BY MANET'S WORK. SINCE MY MOTHER GAVE
ME A BOOK OF HIS WORK WHEN I WAS A KID. LATER I SAW MANY OF HIS PAINTINGS IN
PARIS AND NEW YORK.
MY WORK IS INVOLVED WITH FRAGMENTS, PARTS AND WHOLES, AND ICONOGRAPHIC
OR EVEN LOGO-LIKE IMAGES. THE SEVERED LEG IS AN ICON, THE FIRST I DEVELOPED
IN THIS MANNER.
THE SEVERED LEG IS A CHUNK OF A HUMAN, A FRAGMENT. IT IS ALSO VERY ICONIC.
I REALIZED MY ARTWORK WAS OBJECT ORIENTED AND ALSO FIGURATIVE, VERY
DIFFERENT FROM MOST LATE 20TH CENTURY ARTISTS. I DID NOT MAKE MINIMALIST
WORK OR CONCEPTUAL WORK DRAINED OF ALMOST ALL IMAGE. I RELY ON IMAGES,
I CREATE IMAGES. I SEE IMAGES AL OVER ACROSS THE LANDSCAPE. IN OUR HOMES,
IN BUSINESSES, ON THE STREET. I THINK ARTISTS SHOULD BE IMAGE MAKERS. THEY
MUST BE ABLE TO INTERPRET AND READ IMAGES. COMBINE IMAGES. ISOLATE
IMAGES. EDIT IMAGES. TODAY IMAGES ARE OVERTAKING WORDS AS SYMBOLS ON
COMPUTERS IN SIGN-AGE AND IDENTIFICATION - LOGOS BECOME MORE POWERFUL
THAN WORDS. THE MOVING IMAGE IS KING NOW. HOWEVER THERE IS AN AMAZING
CHURNING CONFLICT WITH IMAGES, IN PAINTING, DESIGN, AND PRINTING.
THE SEVERED LEG WAS INSPIRED BY MANET AND A CONNECTION I FELT TO HIS WORK
AND TO THE HISTORY OF FIGURATION.
IT IS NOT COMMONLY KNOWN, BUT MANET HAD HIS LEFT LEG REMOVED SHORTLY
BEFORE HE DIED DUE TO GANGRENE SETTING IN. THIS KNOWLEDGE THOUGH
HORRIFIC WAS INSPIRING. THUS I THINK OF THE SEVERED LEG AS THE LOST LIMB OF
EDUARD MANET. IN MY IMAGINATION IT DID NOT DIE, AS FIGURATION HAS NOT DIED.
NO, IT LIVED ON WITH OUT A HEAD OR BRAIN OR BODY. SOMEHOW. I INCLUDE SOME
INTERESTING ARTIST'S INTERPRETATIONS OF THIS BELOW.
MAGRITTE
OBVIOUSLY HAD
AN EARLY
INTEREST IN
FRAGEMENTATION,
DISJUNCT BODIES,
AND
ICONOGRAPHY.
OBVIOUSLY HAD
AN EARLY
INTEREST IN
FRAGEMENTATION,
DISJUNCT BODIES,
AND
ICONOGRAPHY.
MIRO, PICASSO, AND DALI
GEORG BASELITZ - DID
AN ENTIRE SERIES OF
VERY POWERFULLY
PAINTED SEVERED LEGS
AND FEET IN THE '60s.
AN ENTIRE SERIES OF
VERY POWERFULLY
PAINTED SEVERED LEGS
AND FEET IN THE '60s.
ANDY WARHOL - IN THIS
EARLY ILLUSTRATION
IMAGE WARHOL USES
CROPPING TO ISOLATE AN
IMAGE OF A LEG AND
ACCENT THE SHOE.
EARLY ILLUSTRATION
IMAGE WARHOL USES
CROPPING TO ISOLATE AN
IMAGE OF A LEG AND
ACCENT THE SHOE.
"STENOGRAPHIC FIGURE" JACKSON POLLOCK
THOUGH MAYBE NOT SEVERED IS CERTAINLY
A USE OF THE FIGURE IN A NON-TRADITIONAL
AND INTRIGUING WAY.
THOUGH MAYBE NOT SEVERED IS CERTAINLY
A USE OF THE FIGURE IN A NON-TRADITIONAL
AND INTRIGUING WAY.
ROBERT GOBER AND BRUCE NAUMAN BOTH HAVE USED
SEVERED LEGS AND OTHER APPENDAGES IN THEIR
SCULPTURAL WORK.
SEVERED LEGS AND OTHER APPENDAGES IN THEIR
SCULPTURAL WORK.
PHILLIP GUSTON'S WORK INCORPORATED
NUMEROUS SEVERED OR DISEMBODIED LIMBS.
NUMEROUS SEVERED OR DISEMBODIED LIMBS.
A.R. PENCK'S "THE WAR IN
THE GULF" (DETAIL) SHOWS
NUMEROUS SEVERED LEGS.
THE GULF" (DETAIL) SHOWS
NUMEROUS SEVERED LEGS.
R. CRUMB THEWELL KNOWN COMIC BOOK
ARTIST.
(ABOVE)
JEAN MICHAEL BASQUIAT (RIGHT) WAS
PERHAPS INFLUENCED BY BOTH. HIS
GRAPHIC AND EXPRESSIVE FIGURES,
LIMBS, AND TORSOS INHABIT HIS
CANVASES WITH VIBRANCY.
ARTIST.
(ABOVE)
JEAN MICHAEL BASQUIAT (RIGHT) WAS
PERHAPS INFLUENCED BY BOTH. HIS
GRAPHIC AND EXPRESSIVE FIGURES,
LIMBS, AND TORSOS INHABIT HIS
CANVASES WITH VIBRANCY.
JOHN BALDESSARI HAS
USED FRAGMENTED AND
COLLAGED IMAGES FOR
DECADES. IN THIS
RECENT WORK HE USES
TWO DIFFERENT
REPRESENTATIONS OF
WOMEN'S LEGS.
USED FRAGMENTED AND
COLLAGED IMAGES FOR
DECADES. IN THIS
RECENT WORK HE USES
TWO DIFFERENT
REPRESENTATIONS OF
WOMEN'S LEGS.
DUCHAMP'S IMMORTALISED
"Nude Descending A Staircase"
SHOWS PERHAPS NOT A
SEVERED LEG BUT AN ARRAY
AND A FASCINATION WITH
FRAGMENTAION.
SIMILARLY THE FUTURISTS
DECIDED FRAGMENTATION
WAS A KEY TO THEIR MODERN
EPOCH EXOLIFIED IN MOTION
AND THE ATTEMPT TO
CAPTURE IT PICTORALLY OR
IN THIS CASE IN SCULPTURE,
BOCCIONI'S "Unique Forms of
Continuity in Space"
"Nude Descending A Staircase"
SHOWS PERHAPS NOT A
SEVERED LEG BUT AN ARRAY
AND A FASCINATION WITH
FRAGMENTAION.
SIMILARLY THE FUTURISTS
DECIDED FRAGMENTATION
WAS A KEY TO THEIR MODERN
EPOCH EXOLIFIED IN MOTION
AND THE ATTEMPT TO
CAPTURE IT PICTORALLY OR
IN THIS CASE IN SCULPTURE,
BOCCIONI'S "Unique Forms of
Continuity in Space"
SEVERED : to put or keep apart : divide ; especially : to remove (as a part) by or as if by cutting
LEG : a limb used esp. in supporting the body and for walking: as one of the paired vertebrate limbs that in bipeds extend
from the top of the thigh to the foot, or the part of such a limb between the knee and foot, a portion of a trip, a branch or part
of an object or system
LEG : a limb used esp. in supporting the body and for walking: as one of the paired vertebrate limbs that in bipeds extend
from the top of the thigh to the foot, or the part of such a limb between the knee and foot, a portion of a trip, a branch or part
of an object or system
A. GOTTEIB
"RUNNING"
"RUNNING"
