Mythic Art: The Myth of Deucalion and Pyrrha

Missy Rosenthal

The Myth of Deucalion and Pyrrha, Niccolò Giolfino,1550 

Mythic Art
By MISSY ROSENTHAL 

The Myth of Deucalion and Pyrrha depicts a narrative similar to that of the Noah's Ark story of the Judeo-Christian Bible. Zeus, the king of the g-ds, decides to annihilate all humanity via flood. Deucalion constructs an ark for him and his wife, Pyrrha. They then sail to Mount Parnassus, upon arriving to the mountain top, they solicit permission to recreate the human race. They were subsequently ordered to cast behind them the bones of their mother. Deucalion and Pyrrha interpreted their message to throw stones on the mountain or mother earth. Deucalion's stones became male children and Pyrrha's female. 

This tempera on panel work portrays the story while remaining true to the artistic elements of the Renaissance. Giolfino illustrates his message through staging by employing the use of mountains and other natural features. In addition, he uses creases and lifelike bodily characteristics similar to his other Renaissance counterparts. The dark background gives meaning to the mood of the piece, the destruction of one civilization and the dawning of a new one. Additionally, the buildings in the background show the promise for a prosperous society. Similarly, the sprouting of trees also illustrates hope for renewed life. The part in the Earth between Deucalion and Pyrrha illustrate the impending gender divide of women in the private sphere and men in the public. However, the commonality of Pyrrha's yellow headpiece and Deucalion’s yellow robe, shows that men and women are "cut from the same cloth".

The Myth of Deucalion and Pyrrha emphasizes concepts such as mourning, the emergence of new found life and hope for the incoming generation. Giolfino's work exemplifies Greek myth and expresses ideals that humans confront in their daily lives.
  • 7:00 AM

Mythic Art: Sovereign of the Clouds of Dawn

Ming Dynasty
Sovereign of the Clouds at Dawn, Ming Dynasty
Mythic Art
By MISSY ROSENTHAL 

Sovereign of the Clouds was created and commissioned for the last group of the Chinese dynastic cycle, the Ming dynasty. The piece tells the story of the Saintly Mother or the story of the Sovereign of the Clouds of Dawn, which came to existence fairly late in Chinese history, early Ming era. The Saintly Mother of the Shandong province and many come to worship her on the east peak of the Five Sacred Peaks. The Saintly Mother's father, the g-d of Mount Tai, controls the gateway to death. Contrarily, the Saintly Mother exhibits compassion in relation to life such as childbirth. The Saintly Mother's bright aura and her father's dark aura are essential to the balance of life. The relationship illustrated by these two deities are what originate the Taoist principle of yin yang, where without two opposing forces a balanced society would cease to exist. 

Sovereign of the Clouds depicts the Saintly Mother in her celestial court. The Mother is shown with birds on her headdress showing her support of all life. The intricate patterns and decadent clothing illustrate Ming culture. Red in Chinese culture symbolizes luck and prosperity, which the Saintly Mother expresses in her garments. Cultures from all over the world contain myths that still play an active role in society. The principle of yin yang was applied to Chinese culture as a result of this myth and remains a quintessential marker of Chinese culture. For this reason Sovereign of the Clouds should be classified as Mythic Art. 
  • 7:00 AM

Mythic Art: Calumny of Apelles

Calumny of Apelles
Sandro Botticelli, Calumny of Apelles, 1497
Mythic Art

By MISSY ROSENTHAL 

Calumny of Apelles depicts a dramatic court case where the physical manifestation of Slander or Calumny (illustrated in brown with a decadent golden staff) with the help of his assistants drag an innocent man to the King. Each figure in the piece represents a different emotion or action, for instance, those who assist Slander are Fraud and Conspiracy. One of the attendants attempts to break apart the bond (exemplified by the physical bond of the characters through their hair) of Slander, Fraud and Conspiracy. The woman in the black cloak (Repentance) mourns for the young man's salvation while staring at Truth. Envy dressed in green and Ignorance dressed in red surround King Midas and whisper into his ear. 

Botticelli created this work based off of the painting completed by Apelles. Apelles', a renowned artist of the Hellenistic period of Alexander the Great, work did not survive. However, Lucian of Samosata who was a writer and commentator of the time period, recorded the details of the piece and the story itself. Although, the contents of the story are myth, Apelles himself was wrongfully accused of assisting Theodutus of Aetolia in revolting in Tyre. Shortly before Apelles was sent to execution, Apelles' friend revealed the truth and his accuser was sold into slavery. 

The Renaissance in Italy sought to revive the old cultures of Greece and Rome. Renaissance Italy was fascinated by the story of the myth and Apelles' actual story. A Florentine banker commissioned Botticelli to paint this work in the Papal Mint. The piece contains decadent sculpture and gold throughout the palace, a reference to the famous fable about King Midas, in which everything he touches subsequently turns to gold. Botticelli's Calumny of Apelles discusses bias in the legal justice system, prejudice in Roman and contemporary society and importance of art in lives of the ruling class. For these reasons, Calumny of Apelles serves a representative piece of mythology in art. 

  • 7:00 AM

The Schizophrenic Van Dycks

Anthony Van Dyck
 

By EMMA SHAPIRO

The "Schizophrenic Van Dycks" made their debut in 1690 with this album. Their works follow a Flemish folk style, mainly consisting of instrumental tunes, and popularly featuring harpsichords, lutes, viols, and cellos. Like their namesake, Anthony Van Dyck's, transformation of classic stiff British painting into fluid artworks, the "Schizophrenic Van Dycks" wanted to abandon stuffy ornamental baroque music.

 They invented a genre that allowed people to think about their different selves. Their music promotes a withdrawal from reality into a state of delusion. The cover choice reflects this theme of self reflection and confusion. After discovering this album within Rubens and Rubenesque I have done a fair amount of listening and thinking. I felt particularly connected to their song "Sir stole my goatee," as I believe society lacks creativity in the realm of new styles, and many times people seem to evolve into copies of each other. I wonder whether the cover intends to tell people to look at the different people they are in various mindsets, or if the Van Dyke's also noticed a sameness in Baroque culture. 

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 


  • 7:00 AM

Useless Lamentations and Rose-Colored Men

Rembrandt





By MEGAN GANNON

Useless Lamentations and Rose Colored Men 
The Counterproductive Resurrection 



Excerpt from back of the Album: 
In their first ever duo album, Useless Lamentations and Rose Colored Men have teamed up to bring you The Counterproductive Resurrection, an album bred in gospel tunes and head banging tracks. Stevie Urban and Francis Barefoot, the lead singers of the bands, describe their album as the heart and soul of nothingness, describing how no matter hard you try all of our actions in the end up being counterproductive...hence the album title. They explore their counterproductiveness through the rough tones and soft melodies of handcrafted banjos.

Rembrandt's The Abduction of Ganymede, struck the band’s fancy due to its dark undertones yet surprisingly optimistic outlook with the hawk’s successful capture. The bands see the child as a representation of humanity, and view themselves as the hawk, charged with drawing the voice from the screaming child. Useless Lamentations has opted to not take profits from the album’s launch, only wishing that listeners give them their soul instead. They mean this in the sense that fans send in a piece of hair, so the band can use it for their costumes for their upcoming world tour. In their final note about the album, both bands reiterate the importance of title, saying “Do not, do nothing, and let the hawk come down upon and carry you screaming soul away." 


Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

Saturn and Sons

Rubens
       
By Bhux

Saturn and Sons
Midnight Delight

Saturn and Sons has finally released their must anticipated album, Midnight Delight. This death metal band is no stranger to controversy after their previous album, Screaming Babes, landed them in hot water. Fans and critics alike have been quick to praise Midnight Delight.

I met lead singer, Titan Cronus, for an interview to discuss his inspiration for his album. During the short interview, he described the impact of recently having a son with his wife. After his birth, he described his feelings, “It was such an emotional time for me. I just felt so much competition after the birth of my son, he could be a better musician than me. I wanted to make music to reflect this fear in me. Imagine what it’d be like to be a god of your art and a little jerk comes around and threatens that!” 

The other band-members were unavailable to interview, as per Titan’s insistence. The mysterious veil that surrounds this band continues to fascinate fans with Midnight Delight. Little is known about the band, and their notorious screechy screaming and distorted but impact lyrics only adds to their mysterious complexity. Recent press surrounding the controversy of their new album has shed little light on the band. Saturn and Sons is currently under fire and face a potential lawsuit for allegedly violating copyright law. Psychedelic rock legend known only as Goya, has claimed that Saturn and Sons stole his original album cover art for his album, Saturn Devouring his Son. When asked about the recent accusations, Titan, of Saturn and Sons, claimed original ownership of the album cover’s subject. In our interview he explained, “Yeah I can’t believe Goya is trying to rip off my work. I made this from my heart. The birth of my son inspired me to create the cover, how could Goya feel anything like that? He doesn’t even have a son! My album is raw, from the heart. It’s flesh ripping good.”

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

Girl Sense

Nayoung Kwon


By NAYOUNG KWON
Girl Sense  
Motorcycle 

Oohyo, a Korean indie musician has brought candy like music to the listeners. Although she is not well known like the others, it's easy to fall in love with her unique flat and high toned voice. The album Girl Sense by Oohyo gives calm and indie vibe to anyone who listens to it. With her soft voice she harmonizes it with techno to give a bit of Jazzy feeling. Some of her other songs can bring out tears because she sing with 100% emotion which I like that about her... In her album she sings mostly about becoming an adult and the past she brought with her to this day. 10/10 would recommend. 

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

THESE WOMEN B CRAAAZy

Judith and the Head of Holofernes

By SAI GONDI

THESE WOMEN B CRAAAZy.
Rube the Dude 

 Tracklist:

1. Who needs relationships when you have cereal (3:28)

2. Single only plannin' to mingle (2:30)

3. Netflix and kill (feat. The RemBRATS) (3:03)

4. WhyD she slash my tires (1:27)

5. I WANT MY HOODIEZ BACK (feat. Snoop Dogg) (4:22)

6. New PHoNE WHo DIS (3:12)

7. make up YOUR D*M* mind where to eat (1:13:45)

8. shes still worth it (0:04)

Bonus Track: nvm track 8 iz wrong she CRAZŸ (12:42)

Rating: ✭✭✭✭✩

BOOM. Notorious rapper and R&B vocalist Rube the Dude, originally named Ver Meersux, revives his otherwise lackluster career with his latest album THESE WOMEN B CRAAAZy. The concise yet absurdly long album, credited to Track 7, narrates the extremely unstable relationship of Rube the Dude. The masterful storytelling, skilled lyricism, and poetic flow rivals some the likes of today's leading artists such as Jermaine Cole and Drake. In an TMZ interview, Rube states his girlfriend, Carrie Vaggio, does not mind the album. Since his breakthrough success, the young artist has entered the world of art collecting. His fascination with art might explain his choice to use a classic painting as his album cover. Judith with the Head of Holofernes by Peter Paul Rubens encapsulates the essence of the album, according to Rube, who chose his stage name based of his favorite painter Rubens. The rising star believes the story of attraction and betrayal between Judith and Holofernes highlights some of his tracks, such as Tracks 1 and 4. Highly recommend this album for those who desire a mix between storytelling rap and soul piercing vocals. Not to mention two fantastic features who help spice up this already blazin' hot track list. Now plug in those headphones and hope your brain doesn't melt of Rube the Dude's sheer musical genius.

This review was written and sponsored by Rube the Dude.

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 

  • 7:00 AM

Dead Man Walking and the Etched Cherubs

Ellie Schneider

By ELLIE SCHNEIDER

Dead Man Walking and the Etched Cherubs
Chimney Smoke

Dead Man Walking and the Etched Cherubs were your average garage-band, literally.. for they played in the garage of the lead singer’s house until they were discovered by Mr. Rembrandt at the Renaissance Man Talent Agency. The group comprised of three young men at the ripe age of 24 who have been playing music together after meeting in Sunday school at the neighborhood church. When Mr. Rembrandt suggested changing the band name to something else, the band refused to abandon the name that reminded them of their founding. Chimney Smoke was their debut album, containing songs named after the five books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. The album name was inspired by the house on their street that burned down while they were practicing in the garage. Lead singer, Josiah Marks, said, “We think G-d was speaking to us, like he did with the burning bush to Moses. That was the night I knew selling my car to purchase an authentic lute from biblical times was going to be worth it.” Dead Man Walking and the Etched Cherubs have gained popularity among church youth groups and will be touring on college campuses starting next fall.


Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

Lovestruck and Livestock, Thisbe

Ethan Doskey

By ETHAN DOSKEY

Lovestruck and Livestock
Thisbe (Deluxe Edition)

In the front cover of this album lay several scattered sheets of notebook paper covered with sloppy handwriting. These words transcribed an interview with Bean Handerson, the lead band member of Lovestruck and Livestock.

"Bean, what caused you to temporarily leave Deathro Dull to for Lovestruck and Livestock?"

"Well chap, I felt like letting go, you know? I feel like as a society we a too clingy and feel like we have an umbilical cord connecting us with these false desires and 'needs' as if we're grown babies swimming in this pool of helplessness, to put it frankly."

"You are a renown self-taught oboe player and you used to make masterful solos back with Dethro Dull; I don't remember hearing any of that in Thisbe.

"Actually, it is still there, but we decided to record them from across the pasture in France where the recording studio."

"So that explains this thirty seconds of seemingly silent audio in 'Automotive Gasp'..."

"Exacto-runey, I wanted to fabricate this sense of confusion and intrigue in the piece."

"And why did you chose Rembrandt's Slaughtered Ox as the album cover?"

"Well, you know... *unintelligible*.... and I think it really speaks to our music, you know? And the woman in the background is like this mystifying being who is casting a spell of the viewer and... *unintelligible*... you know? *unintelligible*... so that's why we decided on the name Thisbe."

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

The Bulky Babes

Libby Rohr
Two Satyrs, Peter Paul Rubens, 1619
By LIBBY ROHR

The Bulky Babes
Myths and Monsters

Busting into the indie rock scene with their first hit album Myths & Monsters, this up-and-coming trio heads draws on older ideas and stories while incorporating the steady roller coaster of emotional expression and the juxtaposition of light and dark content you find in some of our more contemporary music.  Petal, Pauline, and Ruby, the founding members of this group, say the band came into being one day in late June while these music major friends were in Germany for the summer. One day while wandering the winding streets of the small village of Siegen, the girls bonded over a mutual desire to see a shift in the music world from the more grandiose and poised nature of the previous era to one that recognizes the same dramatic elements in a more realistic way. From this craving, they began to make music that brings classic images to life in the human world. Now, three years later, they're poised to top the list of next year's "Artists to Look Out For."

These imaginative (and busy) ladies often address issues of body image in their deeply sensual music. Sometimes they take a more individual look at humanity, while other times they bring to life stories we all know by heart, centering around the noble sacrifice, love, and devotion. Their smooth rhythmic beats seem to rock you in circles while more striking moments pop out here and there. Lyrically, their words seem to capture a vibrant image of life without ignoring the darkness in the background of it. They have a way of making their audience feel the conflict they're expressing while maintaining a focus on the emotion of it all.

When interviewed about their process, the girls took a humble stance, best summed up by Ruby's comment, "We're just simple women standing alone with our instruments, asking God for inspiration." To which, Pauline added, "Every child has the spirit of creation. The rubbish of life often exterminates that spirit. We're just looking to get back to that." The girls expressed a fondness for their fans and supporters as well as their countless mentors and heroes from which they take such inspiration. By the end of our little chat, they'd convinced me that their popularity is best attributed to a recognition of their own passion for the work as well as their focused transformation of archetype stories into relatable yet lively tunes. Whether or not that's something you believe, there is no doubt that they're a talented trio.

This album has kicked off a long European tour that will end in Antwerp the last week of May. Check out their music on iTunes, SoundCloud, and Spotify. @TheBulkyBabes

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 

  • 7:00 AM

MAKE aMERIka GR8 AGAIN

Charnai Anderson


By CHARNAI ANDERSON

1. i <3 Russia

2. what is sexual harassment?

3. my hair > yours

4. "obamacare is dead"

5. orange iz my fav color

6. fake media: the lies

7. silly north korea

8. $$$

9. wallzz

10. boo demokrats

RoNaLd Dump a resounding underground artist. This is his first official album since joining the record label, Korupshun Party. He has gained previous accolades from his two singles College Rip-off and Towerzz, so it was anticipated that this album be nothing less than great, and rightfully so. RoNaLd Dump is an artist that won't soon be forgotten. No onehit wonder here. So far it seems as if he's invincible. This album not only reflects his somber outlook on many concepts of life and political ideologies, but also his external self. The goal of this album is for the audience to really be able to know RoNaLd Dump to greater extents than before. This album really allows its listeners to be able to relate to RoNaLd Dump on a deeper level. The album cover pretty much says it all RoNaLd Dump as a whole. 


Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

Lump in the Wrong Place

Caption This

Lump in the Wrong Place
Caption This

As I am not a paid musician, band member, or music critic, I apologize in advance for what you are about to read. Please bear with me, I'll try my best to give my favorite band justice. 

Raphaël Gauthier was born into an impoverished family living in the south of France in a small town called Seillans. He had thirteen brothers and sisters, all of whom never respected his musical talents. At the young age of five, Raphaël began taking voice "lessons" from an old man who lived in the village. Although these "lessons" got him far, they did not quench his thirst to learn more about music. By the age of nine, Raphaël gained a following in the small town by being a street performer. He could bring home up to ten francs a day by performing in the streets, giving half to his family and keeping the rest, saving up for a trip to Paris for an audition. 

On the opposite side of the country, a girl by the name of Margot Évelyne lived in the town of St. Malo, who too had a hunger to learn music. However, her family supported her in every possible way, mostly because they had the means to. She was a prodigy, learning first how to play string instruments and then onto wind instruments. By the age of thirteen, Margot knew how to read music and play seven different instruments. Little did she know, she would meet someone who was just like her in Paris at the same audition. 

At the audition in Paris, when Raphäel and Margot were around the age of eighteen, they traveled to Paris to show off their talents. Here is where they met, and their lives forever changed. Deciding to combine their talents, they decided to make a "band" of themselves. Since Margot knew how to play multiple instruments and Raphaël had a gorgeous voice, they were quite successful when they first started. However, they did not know what to call themselves until one day Raphäel found a lump that was suspicious. He and Margot went to a doctor, and the doctor told them that there was a "lump in the wrong place," sparking a thought in Margot's head to name their band "Lump in the Wrong Place." And it actually stuck.

Here is their latest album, Caption This, featuring hits such as "Thorny Psycho," "Supernatural Soldier," and my personal favorite, "And God Said Let There be Hospitality." 


Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
  • 7:00 AM

Ribbon and Spears by Trendoid Age

Company of Captain Reinier Reael



Band: Trendoid Age
Album: Ribbon and Spears
Trendoid Age's Ribbon and Spears showcases the best of today's punk music scene. Trendoid Age features awe striking guitar solos with infectious drum beats. The band decided that Frans Hal's Company of Captain Reinier Reael illustrates the true camaraderie of band while contributing to the band's unique style. They appear in concert dressed in 17th century garb and they rely their passion for the punk genre. Trendoid Age jets off on their latest world tour that showcases their newest album. Ribbon and Spears contains hit music that experts in the music business favorite to win several Grammys. 

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 












  • 7:00 AM

Skim Milk by the Order of the Blue Aprons

Harper Truog



Band: Order of the Blue Aprons
Album: Skim Milk
Cover Art: Vermeer

She will rise.  From rivers of blue, bread crusts, and warm milk; she will rise.  She molded the world out of the soft innards from a loaf of bread, the first loaf of bread.  She ripped her blue apron to shreds and created all of the oceans, lakes, and rivers.  From the warm milk of her pitcher, the core of the Earth was formed.  The bread absorbed the milk which heated the crust.  She used the steam from the warm milk to create the clouds and the rain and the storms.  The Sun baked the bread world so it was crispy on the surface, but the milk kept the center soft and fluid.  Overtime, mold grew on the new world, which is the trees and all things green.  She thought the world beautiful, but it had no consciousness.  So, she took a bit of mold, milk, and bread dust and created the animals and humans.  She will rise.  She will awaken and finish perfecting the world, creating the perfect feast.

Songs include:
- The First Loaf of Bread
- Trees of Mold
- Blue Aprons

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 


  • 7:00 AM

Les FC Paqueté à la party

Elizabeth Ellis


Band Name: Les FC
Album Name: paqueté à la party 


Les FC are a Canadian pop punk band new onto the Quebec scene this summer.  Their name, Les FC, stands for "The French Canadiens." They're emerging with their first album, paqueté à la party (wasted at the party), that combines hard hitting beats, life of the party troubles, and French Canadian slang with songs like "Habs and Dabs" and "SCW" (Stanley Cup Woes). The album art is just as eye-catching as the songs on the album. Les FC, in an interview with Rolling Stone, said they choose the art because of the vibrant red, reminiscent of the Canadian Flag, the muscular man with the physique of a hockey player, and the sick eagle. 

This album's reignited the Canadian pop punk genre, calling back to bands like Jersey and Avril Lavigne. Their smooth song "je m'en sacre" features maple-syrupy-slow lyrics and a French chorus that will have you singing along on those late night drives. This unapologetically Canadian band will have you singing along to "Sorry, eh" while eating poutine.

Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 


  • 7:00 AM

Baroque Records Project

Baroque Records

Greetings art history denizens,

Recently, as we were researching the aristocratic Baroque in France, the Netherlands, and that tiny island nation, the students uncovered a treasure in an oversized Rubens monograph.

The book, Ruebens and the Rubenesque by Wilhem Gregorius Sprinklesleeves, actually functioned as a type of safe. Junior Missy Rosenthal sprung the book safe open by accidentally holding page three at 30 degree angle for 15 seconds.  The attendant BOING sound and Ms. Rosenthal's audible gasp caused a collective head-turn that witnessed a small hydraulic lift that raised nearly one foot above the open book. After the taking necessary safety precautions, we determined that the objects on the lift were long-playing records, those things known today as vinyl, wax, or platters.

Oddly, all of the records had covers that were paintings from the era, and there were as many albums as there were us, so we each took a record to explore. You can read the student findings over the next few days. Mine, dear reader, you can peruse below.


Dead Onion and Birds
The Anatomy Lesson 
1974 Ruysch Records
Creem Magazine Review by Bester Langs

In her younger days, Dead Onions and Birds frontwoman Jacoba van Heemskerck would sit on a milk crate at her parents' flower booth on Singel Street in Amsterdam and sing traditional Dutch folk songs to passerby. Early one fine spring morning several years ago, rock impresario Bill Graham was stumbling back to his hotel room at the Intercontinental Amstel when he heard Jacoba singing "Wees nu verblijd in 't mensen heelal" (roughly translated as "Now be happy in the human universe"). Graham dropped to his knees in front of her, produced a template contract he kept in his jacket and begged Jacoba to come to the recording studio immediately. When she demurred, he wrote her a check for 35,000 guilders.

Within a week, Graham had his girl,  a host of session musicians (Johnny Leyster, Bon Frelminum, and Pilly Vander Snal), and masters for Dead Onions and Birds breakout debut "Nightwatch." Jacoba's Dutch-eyed-soul carried a strange fusion of folk, jazz, and pop and was cut with Snal's singular backbeat, the fuzzed weirdness of Frelminum's lead guitar, and the ska-tinged off-beats of Leyster's bass explosion. The record simply exploded in the U.K. after an earth-shaking performance on Top of the Pops where the band, clad in 17th century breeches and collars, ripped through their first single "Steenasty" and a haunting cover of Velvet Underground's "Waiting on My Man." Arena tours followed and the record shot to #1 on the U.K. charts.

Tensions within the band were played out in shocking honesty on their second record "Syndics of the Draper's Guild." Each band member wrote two songs for album and they all recorded their own parts at the studio without the presence of the others. The proof, as they say, was in the pudding, as the record earned dreadful reviews, including the memorable Robert Christagau line "Syndics stinks like like dead onions and deader birds."

But now - but a year later - the band has returned to form with The Anatomy Lesson, a product of a long trip to Morocco, where they spent time with Paul and Jane Bowles, read a book on Maria Merian  (whose painting graces the album's cover) and put their petty jealousies aside. The new record has the greasy nastiness of T. Rex, forays into deep funk, Pet Sounds instrumentation and Jacoba's startling, sometimes staccato delivery.

 It's unconventional music for a politically turbulent time. Since Tricky Dick would not approve, we gladly do.

9.5/10
  • 7:00 AM

Fray Hortensio Felix Paravicino - rte

El Greco
Fray Hortensio Félix Paravicino, El Greco, 1609
By ELIZABETH ELLIS 


In his earlier style of painting, El Greco depicts the Fray Hortensio Felix Paravicino, a famous poet and orator. It is one of his more stylized portraits, showing Paravicino head-on, his head tilted slightly to give an air of superiority with his books balanced on his hip. El Greco adds warmer tones of brown and red rather than focusing solely on colder blacks, as seen in his earlier portraits. The warm tones from the background and his books adds the glow in his skin and makes him seem more lifelike. 

The body language in the portrait and El Greco's use of rough strokes and shadows in the clothing and hair add to the emotional drama of the painting. El Greco is only beginning to develop his style with this portrait. We can start to see the emergence of his later glossy and thick painting style with the slight smudging of color around Paravicino's head and shoulders, giving his a slight glow. 

El Greco is also becoming more talented in his use of whites, making the white of Paravicino's collar brighter and highlighting his face so that the contrast between the black and white is sharper, in contrast to the rough off-white of his robe. His use of white gives the impression that the two white cloths are different types of cloth. El Greco is only starting to develop his style and talent as a painter with the portrait, as his human form is not quite lifelike, his painting style has not developed into the brighter and glossier technique he's well known for, and he has not yet pushed into more religious subjects. Still, El Greco's talent as a painter comes through in this portrait with its emotional depth seen in Paravicino's face. 
  • 7:00 AM

Piazza San Pietro

Bernini

Piazza San Pietro, 1666, Bernini 
BY REID GUEMMER

The Piazza San Pietro, otherwise known as the St. Peter's Piazza was commissioned by Pope Alexander VII, Bernini designed and completed the construction in under five years. I like to think of the Pope Alexander VII and Bernini having a tight relationship and perhaps the Pope as somewhat of a fanboy, since Bernini was his favorite architect of the period.

The Pope explained his desire for the project that would later become the smallest country in the world - Vatican City. The design of the Piazza was based off St. Peter's Basilica, which stands as one of the most iconic Christians in the world. The goal was to create a sanctuary, safe from the outside harms of the world. 

When discussing the teams aspirations Bernini once said, "considering that Saint Peter's is almost the matrix of all the churches, its portico had to give an open-armed, maternal welcome to all Catholics, confirming their faith; to heretics, reconciling them with the Church and ti the infidels, enlightening them about the true faith." Creating such an experience took  tedious planning, as Bernini had to work around preexisting architecture. Despite these difficulties, Bernini's genius is responsible for the construction of what is now regarded as an extremely progressive and religiously stimulating piece of architecture.

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Oratorio San Filippo Neri-

Charnai Anderson
Francesco Borromini, Oratorio San Filippo Neri, 1637
by CHARNAI ANDERSON
Francesco Borromini a well-renowned Roman Baroque architect, built the Oratorio San Filippo Neri in 1637. This oratorio was built in honor of Philip Neri, an Italian priest noted for founding a society of secular clergy called the Congregation of the Oratory. Philip Neri is also known as the Third Apostle of Rome, behindSsaints Peter and Paul. After the death of Philip the Oratorians chose have Borromini work with Signor Paolo Maruscelli.


"By deciding to have two architects on the project, the Oratorians created an arrangement destined to fail. And it did" (Morissey 26). 

Borrimini's initial role was to execute Maruscelli's blueprints, Borromini almost instantly proposed alterations. Soon after his appointment with Borromini, Maruscelli resigned from the project, not able to handle Borromini's overbearing persona. Though Oratorio became what is now not by Borromini himself, considering that it was built in large part to Maruscelli's creation. "He had determined where it would stand and how the rooms around it should be arranged. What Borromini added was a greater sense of importance, of seriousness. Right beside the oratory is a church called the Santa Maria or also known as the Chiesa Nuova. Borromini's job was not to  compete with the Chiesa Nuova, but to make the oratory compelling enough to be worthy of residing next to it.

Martino Longhi the Elder, Santa Maria in Vallicella,1575

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Bust of Louis XIV

Bernini
Bust of Louis XIV, Gian Lorenzo Bernini, 1665
By BHux


Created in 1665, Bernini’s bust of Louis XIV is known as the “grandest piece of portraiture of the baroque age.” The king commissioned the sculpture during Bernini’s visit to Paris. The visit was made to not only improve relations between the Italian papacy and the French court, but to also design plans for the Louvre. While the plans for the Louvre were discarded and considered a failure, the bust is Bernini’s most significant and successful contribution to the French from his visit. 



Louis’s bust was created over the course of three and a half months. The king sat for 13 hours total, an hour for each sitting. Paul Freart de Chantelou documented Bernini’s voyage and also detailed the process of creating the bust. To begin the portrait, Bernini made small clay models and drawings of the king after having chosen the marble. During the process people constantly came into Bernini’s studio to critique his work. One royal mistress insisted to Bernini, “Leave it alone now, another touch and you’ll spoil it.” Comments like these went ignored as Bernini toiled over the piece until satisfied. 



Paul Freart de Chantelou described Bernini working late into the afternoon into a state of collapse and being unable to eat. Bernini carved the pupils after first marking them with charcoal as his final step. Bernini chipped away at the marble during each sitting and finished several months later. Louis rushed to the studio when he heard of its completion. Bernini placed the bust on a richly colored carpet to contrast with the whiteness of the marble. He told the king, “it is done. I wish it could have been even better. I have laboured over it with so much love that I honestly think it is the least bad portrait ever done by my hands.” It is then recorded that Bernini burst into tears and ran out of the room. Bernini’s intense pride for the bust was greeted with instant success from the French. 



Bernini beautifully showcases his skill for sculpture in this piece. The long curls twist and wind gently down the king’s face and his robe blows gracefully in the breeze. Louis’s armor can partially be seen under the drapery but is not emphasized or particularly ornate. He faces the direction of the wind confidently and assertively, preparing to give a command. During one sitting, Bernini rearranged the king’s hair to give more exposure to his forehead and brow. Considered strange and odd looking at the time, the look quickly gained popularity through the French courts and became know as the “Bernini Modification.”



However, some art historians believe Bernini did this intentionally to create an unflattering shape for the king’s head. Louis’s face is not depicted proportionally - he has too high of a forehead and too small of eyes. However, this did this not hinder its reception. Louis proudly displayed the bust in the Palace of Versailles where it has remained for centuries. The popularity of the portrait has endured the centuries as it is still praised to be a masterpiece to this day. 


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Fontana dei Quattro Fiumi-rte

Bernini
Bernini, Fontana dei Quattro Fiumi, 1651
By ELIZABETH ELLIS

The commission of the design for the fountain meant to be at the center of the Piazza Navona furthered the intense rivalry between Borromini and Bernini. Pope Innocent X asked Borromini to engineer a new pipeline, redirecting the water from the Fontana di Trevi commissioned by Pope Urban VIII. The pope said that if Borromini could redirect the water, the commission for the design of the fountain would essentially be his, even while the Pope would hold a small competition for the commission. Upon learning about the engineering feat he would have to perform, Borrimini decided to base his design of the idea of all four rivers of the known world meeting in the fountain; the Ganges, the Danube, the Nile, and the Plata in South America. 

However, once Borromini presented the design, the pope was less than impressed. The drawing that Borromini is credited with creating was so uninspiring that some experts maintain that it was not his drawing at all. Looking to get back into the new Pope's favor, Bernini sent in his design for the fountain. His design featured the human personifications of major rivers of the four known continents of the world, even though it had been Borromini's idea to feature the four rivers coming together with a tall obelisk in the center with a dove on top. The Pope was so moved and excited by Bernini's plans that he immediately gave Bernini the commission. 

In Bernini's design, the four corners of the fountain each represented one of the rivers. In one corner there is the Ganges, represented by a man with an oar to represent the ability to move across the land on river with a dragon swimming in the water beneath him. In the next corner, there is Danube, represented by a Christian style coat of arms, a sword, and a horse emerging from the crevice underneath the obelisk. In the next corner, there is the Plata. This is likely the most recognizably different styled men. His head is shaped almost like that of a child, with his hair shaved and a curiously formed beard. He looks above and seems to almost shield himself from the snake looming, while gold coins are scattered below him to represent the wealth of the New World. 

Lastly there is the corner of the Nile. The man is pulling a cloth over his head to represent that the source of the Nile was unknown. There is a palm tree and a lion crouching in the crevice in the water. The obelisk in the center pushes up seemingly endlessly into the sky when standing at the base with a dove perched on top with an olive branch in its beak. 

Bernini was able to use his fountain to get back into the favor in grand fashion: 3,000 scudi, almost a tenth of the fountain's total cost. The Fontana dei Quattro Fiumi was the climax project of both Bernini and Borromini's careers, rocketing Bernini back into popularity and essentially finishing Borromini's career.

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