In this post we are going to see that through the years humanist thought has encouraged artists like Michelangelo to think that the future was extremely bright versus the place today where many artist who hold the humanist and secular worldview are very pessimistic. In contrast to Michelangelo’s DAVID when humanist man thought he could conquer anything,the current day artist Paul McCarthy doesn’t think he can cure himself let alone anyone else.
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Francis Schaeffer pictured below
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Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.
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Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 “The Age of Fragmentation”, episode 7 “The Age of Non-Reason” , episode 6 “The Scientific Age” , episode 5 “The Revolutionary Age” , episode 4 “The Reformation”, episode 3 “The Renaissance”, episode 2 “The Middle Ages,”, and episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!
J.I.PACKER WROTE OF SCHAEFFER, “His communicative style was not that of a cautious academic who labors for exhaustive coverage and dispassionate objectivity. It was rather that of an impassioned thinker who paints his vision of eternal truth in bold strokes and stark contrasts.Yet it is a fact that MANY YOUNG THINKERS AND ARTISTS…HAVE FOUND SCHAEFFER’S ANALYSES A LIFELINE TO SANITY WITHOUT WHICH THEY COULD NOT HAVE GONE ON LIVING.”
Francis Schaeffer’s works are the basis for a large portion of my blog posts and they have stood the test of time. In fact, many people would say that many of the things he wrote in the 1960’s were right on in the sense he saw where our western society was heading and he knew that abortion, infanticide and youth enthansia were moral boundaries we would be crossing in the coming decades because of humanism and these are the discussions we are having now!)
There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.
Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.”
Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.
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Francis Schaeffer pictured below:
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프란시스 쉐퍼 – 그러면 우리는 어떻게 살 것인가 introduction (Episode 1)
How Should We then Live Episode 7 small (Age of Nonreason)
#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer
The clip above is from episode 9 THE AGE OF PERSONAL PEACE AND AFFLUENCE
In above clip Schaeffer quotes Paul’s speech in Greece from Romans 1 (from Episode FINAL CHOICES)
A Christian Manifesto Francis Schaeffer
In the film series HOW SHOULD WE THEN LIVE? Francis Schaeffer teaches that although the Renaissance revived the realization that man and nature are important, it went overboard by making man the measure of all things-and by that destroyed the importance of man. Michelangelo started down that road with his sculpture of David. Schaeffer noted, “Hope springs eternal,” says the poet. And in the David is a “statement of what the humanistic man saw himself as being tomorrow!” Two examples of this below starting with Michelangelo’s “Awakening Slave.”
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On the left as you walk in is the “Awakening Slave.”
This piece is one of the most powerful and expressive works of art I’ve ever seen. The figure feels like it is writhing and straining, and going to imminently explode out of the marble block that holds it. The latent power one feels is extraordinary. Is this a Herculean effort to be born physically from the imprisoning stone, or a titanic struggle to escape the bounds of physical reality and move onto some other plane? I certainly don’t know for sure, but it feels like the business at hand here is cosmic.
Michelangelo is famous for saying that he worked to liberate the forms imprisoned in the marble. He saw his job as simply removing what was extraneous. The endless struggle of man to free himself from his physical constraints and liberate the more enlightened spirit within, was part of the Neo-Platonic philosophy that was in vogue in Florence at this time. The burden of the flesh constrains the soul. This is by far the most dynamic and expressive battleground of these forces I’ver ever encountered. The metaphor is inescapable.
From Tony Bartolucci’s website:
These were in the Academy at Florence where on each side were statues of men tearing themselves out of the rock. Man will free himself and make himself great.
In the same place is his statue of David. Not the biblical David, as many think. This statue is not circumcised! Michelangelo used a piece of marble so flawed that no one thought he could do anything with it. David was representative of what man will one day be. This is also seen in his oversize hands. Later, Michelangelo may have softened his views (he later was in close touch with Vittoria Colonna who was herself influenced by Reformation thought). His two Pietas (Mary holding Jesus in her arms) were his last works.
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https://www.youtube.com/watch?v=qTa9BE2LNZM
Saturday, March 7, 2009
Michelangelo, Schaeffer, and the Kingdom of Washington
By Rick Pearcey • March 7, 2009, 01:01 PM
The great Renaissance painter and sculptor Michelangelo was born March 6, 1475, 534 years ago yesterday. He began work on his famed statue the David in 1501 and completed it in 1504. Michelangelo was 29 years old.
Let’s consider this man and his art and its relevance for our day, interacting with comments from Francis Schaeffer in his work How Should We Then Live? (Crossway: Complete Works of Francis Schaeffer, Vol. 5, pp. 114-115).
Schaeffer begins inside the Accademia in Florence, where the David is located:
Here we see on either side Michelangelo’s statues of men “tearing themselves out of the rock.” These were sculpted between 1519 and 1536. They make a real humanistic statement: Man will make himself great. Man as Man is tearing himself out of the rock. Man by himself will tear himself out of nature and free himself from it. Man will be victorious. . . .”
I saw and touched (winning the polite attention of security) one of these statues during my first and only (thus far!) visit to Florence. I had hitched a ride from L’Abri in Switzerland and carried with me a copy of Irving Stone’s The Agony and the Ecstasy. Having that book in your mind was a tremendous way to see Florence.
“At the focal point of the room,” Schaeffer continues, is the “magnificent statue of David (1504).”
As a work of art it has few equals in the world. Michelangelo took a piece of marble so flawed that no one thought it could be used, and out of it he carved this overwhelming statue. But let us notice that the David was not the Jewish David of the Bible. David was simply a title. Michelangelo knew his Judaism, and in the statue the figure is not circumcised. We are not to think of this as the biblical David but as the humanistic ideal. Man is great!
Man, human beings — you and me, our neighbors, all of us red and yellow, black and white — in fact are great. But not, as the unfinished statues of Michelangelo may suggest, because we have to tear ourselves out of nature.
Rather, consistent with what the Declaration of Independence avows (which is the “Vision Statement” or “Mission Statement” of the United States), what makes humanity great is that we are the magnificent work of a Divine Sculptor, who happens to be the Creator by virtue of whom every single human being is endowed with “certain unalienable rights.” And, by the way, Nature is also great and not a meaningless piece of particulate junk, because she too is a gift from the Creator and therefore ought to be cared for and respected, just like Genesis 1:28 liberates humanity to do.
As Schaeffer describes it, the political situation of Michelangelo’s day bears some resemblance to our our own:
The statue was originally planned to stand forty feet above the street on one of the buttresses of the cathedral, but was placed outside the city hall in Florence, where a copy now stands. The Medicis, the great banking family which had dominated Florence since 1434, had run the city by manipulating its republican constitution. A few years before David was made, the Medicis had been thrown down by the people and a more genuine republic restored (1494). Thus, as the statue was raised outside the city hall, though Michelangelo himself had been a friend of the Medicis, his David was seen as the slayer of tyrants. Florence was looking with confidence toward a great future. (Emphasis added.)
We see in our own day a manipulating of a “republican constitution” (think: “living” Constitution). Central to the truly living Mission Statement of United States (in the Declaration of Independence) is that a republic under the Creator would respect unalienable rights from that Creator, resulting in a balance of “form and freedom” (a phrase often used by Schaeffer). This amazing and unique balance maximized individual liberty among the people and states but without chaos, and it also established a unity of purpose nationally but without overweening control out of Washington.
To put this in contemporary parlance, it wasn’t “unity is our strength” or “diversity is our strength,” but rather “unity and diversity under God is our strength.” All the difference in world.
To the degree that secular elites have imposed an alien agenda that casts away the founding Mission Statement of the United States (or keeps the form but denies the meaning), to that degree we have seen a corresponding loss of individual freedom, including direct attacks on the unalienable rights hardwired into humanity by the verifiable and knowable Creator. Not unrelated to this, the economic crisis we see today emerges in no small degree from a secularist, power-minded Washington-centrism and is the natural outworking of uprooting the American experiment in liberty from what the Founders knew is the soil of liberty as gifted to humanity by the Creator.
“Hope springs eternal,” says the poet. And in the David is a “statement of what the humanistic man saw himself as being tomorrow!,” says Schaeffer.
In this statue we have man waiting with confidence in his own strength for the future. Even the disproportionate size of the hands says that man is powerful. This statue is idealistic and romantic. There was and is no man like the David. If a girl fell in love with the statue and waited until she found such a man, she would never marry. Humanism was standing in its proud self and the David stood as a representation of that.
The challenge for humanism is not its ideals per se, but that it lacks an adequate intellectual basis to sustain those ideals, so that when crisis comes, we see breakdown instead of recovery. And we do see the breakdown, despite the concerted efforts of political, PR, and marketing types working overtime to simultaneously distract (e.g., attack Rush Limbaugh) and overlay a comfortable but Orwellian spin upon the breakdown (e.g., the president not concerned about market “gyrations”).
However, in the world beyond the teleprompter, the press release, and the attack dog, what we are witnessing today is not just the loss of economic power and freedom, but also assaults on freedom of speech, freedom of thought, freedom of religious exercise, and so on. Man is great, but man is not God. You could put all the smartest people in the world in Washington and still the federal government is not God, as the original Vision Statement of the United States clearly understands. Secularist Washington-centrism must decrease if a humane American liberty is to increase. Read the directions.
Our Founders understood this, but many of today’s elites seem to reject it. It’s not that the secularists are too smart for their own good, but that they are operating out of an inadequate philosophic framework. We’ll recover as a nation if we return to the original Mission Statement and mark progress from that point forward.
Perhaps the later Michelangelo can help lead the way forward:
[T]here are signs that by the end of his life Michelangelo saw the humanism was not enough. Michelangelo in his later years was in close touch with Vittoria Colonna (1490-1547), a woman who had been influenced by Reformation thought. Some people feel they see some of that influence in Michelangelo’s life and work. However that may be, it is true that his later work did change. Many of his early works show his humanism, as does his David. In contrast stand his later Pietas (statues of Mary holding the dead Christ in her arms) in the cathedral in Florence and in the castle in Milan, which was probably his last. In the Pieta in the cathedral in Florence, Michelangelo put his own face on Nicodemus (or Joseph of Arimathea — whichever the man is), and in both of the Pietas humanistic pride seems lessened, if not absent.
Michelangelo’s Florence Pietà
I began this post this morning simply as an effort to show an appreciation for one of my favorite artists, a person that I and a host of others would surely have liked to have known. He, like all of us, had his struggles. But even the Great Michelangelo of the Pietas was willing to place himself at the feet of a flesh and blood rebel condemned as a common criminal who happened to be the Savior and Son of God. That’s right: A resurrected guy from the Middle East outback whose love and truth challenged and overturns the hopeful but inadequate humanism of then and now.
The Founders understood the centrality and necessity of the Creator, and they rejected the idolatry of the federal state and the Kingdom of Washington. Many of us today get it. Hope and freedom never die. They are unalienable. They are hardwired into humane and human existence. Yes, we get it. Let’s hope Washington hears before it’s too late.
File:Michelangelo’s Pieta 5450 cropncleaned edit.jpg
Conversations | Premiere | Artist Talk | Paul McCarthy
Published on Dec 12, 2012
Paul McCarthy, Artist, Los Angeles
In conversation with Massimiliano Gioni, Artistic Director, Fondazione Nicola Trussardi, Milan; Director of Special Exhibitions, New Museum, New York
Date | Wednesday, June 16, 2010
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In this video above at the 55:00 mark we have these words from McCarthy:
In Los Angeles I never felt I cured anything and I never saw myself where I think the AAA and some of Otto Muehl’s ideas that somehow we could change society and I think that is a European village idea where you are in a place where you can affect society...and I never thought of myself as any healer of anything…Art for me is not therapy in the sense that I am not getting well. I am still [messed up].…I was quite influenced by the iconic imagery of Disney Land or television world and then the facade of Hollywood and how the facade of Hollywood and how it appears that everything is okay. That Disney Land is a dream world and you enter Disney Land and you are in a dream where in my case it is a dream that is just covering something up. INTERVIEWER: “You are more of the sympton than the cure?” I am part of the disease…(laughter).
Paul McCarthy
| Paul McCarthy | |
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| Born | August 4, 1945 (age 68) Salt Lake City, Utah, U.S. |
| Nationality | American |
| Field | Performance art Sculpture |
| Training | San Francisco Art Institute University of Southern California |
| Works | Sailor’s Meat from 1975, The Garden from 1991, Bossy Burger from 1991 |
Paul McCarthy (born August 4, 1945), is a contemporary artist who lives and works in Los Angeles, California.
Life
McCarthy was born in Salt Lake City, Utah, and studied art at the University of Utah and Weber State University in 1969. He went on to study at the San Francisco Art Institute receiving a BFA in painting. In 1972 he studied film, video, and art at the University of Southern California receiving an MFA. From 1982 to 2002 he taught performance, video, installation, and performance art history at the University of California, Los Angeles. McCarthy currently works mainly in video and sculpture.
Originally formally trained as a painter, McCarthy’s main interest lies in everyday activities and the mess created by them.[1] Much of his work in the late 1960s, such as Mountain Bowling (1969) and Hold an Apple in Your Armpit (1970) are similar to the work of Happenings founder Allan Kaprow, with whom McCarthy had a professional relationship.[1]
Work
Sweet Brown Snail by Jason Rhoades and Paul McCarthy at the Bavariapark and the Verkehrszentrum of the Deutsches Museum in Munich.
“Boxhead” (2001), Collection of the Centro de Arte Contemporânea Inhotim in Brumadinho/Brazil
McCarthy’s works include performance, installation, film and “painting as action”. His points of reference are rooted, on the one hand, in things typically American, such as Disneyland, B-Movies, Soap Operas and Comics – he is a critical analyst of the mass media and consumer-driven American society and its hypocrisy, double standards and repression. On the other hand, it is European avant-garde art that has had the most influence on his artistic form language. Such influences include the Lost Art Movement, Joseph Beuys, Sigmund Freud and Samuel Beckett and particularly the Viennese Actionism.[2] Although by his own statement the happenings of the Viennese Actionists were known to him in the 1970s, he sees a clear difference between the actions of the Viennese and his own performances: “Vienna is not Los Angeles. My work came out of kids’ television in Los Angeles. I didn’t go through Catholicism and World War II as a teenager, I didn’t live in a European environment. People make references to Viennese art without really questioning the fact that there is a big difference between ketchup and blood. I never thought of my work as shamanistic. My work is more about being a clown than a shaman.”[3] In his early works, McCarthy sought to break the limitations of painting by using the body as a paintbrush or even canvas; later, he incorporated bodily fluids or food as substitutes into his works. In a 1974 video, Painting, Wall Whip, he painted with his head and face, “smearing his body with paint and then with ketchup, mayonnaise or raw meat and, in one case, feces.” This clearly resembled the work of Vienna actionist Günter Brus.[4] Similarly, his work evolved from painting to transgressive performance art, psychosexual events intended to fly in the face of social convention, testing the emotional limits of both artist and viewer. An example of this is his 1976 piece Class Fool, where McCarthy threw himself around a ketchup spattered classroom at the University of California, San Diego until dazed and self-injured. He then vomited several times and inserted a Barbie doll into his rectum.[1] The piece ended when the audience could no longer stand to watch his performance.[1] Concerned that the University’s custodians would have to clean up the mess, graduate students Virginia Maksymowicz and Blaise Tobia, along with art historian Moira Roth, spent several hours cleaning up the ketchup and vomit. Maksymowicz can be seen in the rear left of a documentary photo of the event.[5]
McCarthy’s work in the 1990s, such as Painter (1995), often seeks to undermine the idea of “the myth of artistic greatness” and attacks the perception of the heroic male artist.[1]
McCarthy’s transfixion with Johanna Spyri’s novel Heidi led to his 1992 video and installation, Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone, which he collaborated on with Mike Kelley.
During the summer of 2008, Paul McCarthy’s inflatable “Complex Shit”, installed on the grounds of the Paul Klee Centre in Bern, Switzerland, took off in a wind bringing down a power line, breaking a greenhouse window, and broke a window at a children’s home.[6] This incident was widely reported internationally via news outlets in several languages with headlines like “Huge turd catastrophe for museum”[7] and “Up in the sky: is it a turd or a plane?”[8]
McCarthy has created several Christmas-themed works. Through them, he combines the dismal aesthetic and the real meaning of Christmas.[9] In 2001 he created ‘Santa Claus’ for the city of Rotterdam in the Netherlands. Originally it intended to be placed next to the concerthall at the locally famous square ‘Schouwburgplein’, but it never was. This was due to controversies around the statue (the work is seen by many citizens to have a sexual connotations, and therefore it also is colloquially referred to as ‘Butt Plug Gnome’[10]), and besides the original location it was also rejected by (citizens and retailers of) several other proposed locations. On the 28th of November 2008 did it, however, receive a permanent destination: the square Eendrachtsplein, within a walkway of statues project.[11]
In November 2009, an exhibition called “White Snow” was held at Hauser & Wirth New York, featuring McCarthy’s mixed-media works centered on the character Snow White from Disney’s Snow White and the Seven Dwarves.
Exhibitions (selection)
- 2013 Park Avenue Armory, WS, New York
- 2009 De Uithof, Paul McCarthy – Air Pressure, City of Utrecht
- 2009 Hauser & Wirth, White Snow, New York
- 2009 Zachęta National Gallery of Art, Paul McCarthy & Benjamin Weissman – Quilting Sessions, Warsaw
- 2008 Whitney Museum of American Art, Central Symmetrical Rotation Movement – Three Installations, Two Films, New York
- 2007 S.M.A.K. Stedelijk Museum voor Actuele Kunst, Paul McCarthy – Head Shop / Shop Head, Ghent
- 2007 Middelheim Sculpture Museum, Paul McCarthy – Air Born / Air Borne / Air Pressure, Antwerp
- 2006 Moderna Museet, Paul McCarthy – Head Shop / Shop Head, Stockholm
- 2005 Haus der Kunst, Paul McCarthy – LaLa land parodie paradies, Munich
- 2004 Van Abbemuseum, Paul McCarthy. Brain Box – Dream Box, Eindhoven
- 2003 Hauser & Wirth, Paul McCarthy. Piccadilly Circus, London
- 2003 Tate Modern, Paul McCarthy at Tate Modern, London
- 2001 New Museum, Paul McCarthy, New York
Bibliography
- Blazwick, Iwona. Paul McCarthy: Head Shop. Shop Head. Stockholm: Steidl/Moderna Museet, 2006.
- Bronfen, Elisabeth. Paul McCarthy: Lala Land. Ostfildern, Germany: Hatje Cantz Publishers, 2005.
- Glennie, Sarah. Paul McCarthy at Tate Modern: Block Head and Daddies Big Head. London: Tate, 2003.
- Monk, Philip. Mike Kelley and Paul McCarthy: Collaborative Works. Toronto: Power Plant Contemporary Art Gallery at Harbourfront Centre, 2000.
- Phillips, Lisa. Paul McCarthy. Ostfildern, Germany: Hatje Cantz Publishers, 2001.
- Rugoff, Ralph, Kristine Stiles, Giacinto Di Pietrantonio. Paul McCarthy. London: Phaidon Press, 1996.
- Sauerlander, Kathrin. Paul McCarthy: Videos 1970-1997. Cologne: Walther König, 2004.
- Sherer, Daniel. “Heidi on the Loos. Ornament and Crime in Mike Kelley and Paul McCarthy’s Heidi.” PIN-UP 3 (2008), 59-62.
- Zebracki, Martin. Engaging geographies of public art: indwellers, the ‘Butt Plug Gnome’ and their locale. Social & Cultural Geography 13(7), 735–758
References
- ^ Jump up to: a b c d e Klein, Jennie (May 2001). “Paul McCarthy: Rites of Masculinity”. PAJ: A Journal of Performance and Art 23 (2): 10–17. doi:10.2307/3246503. JSTOR 3246503.
- Jump up ^ Paul McCarthy’s Low Life Slow Life. Edited by Stacen Berg, Jens Hoffmann, texts by Jens Hoffmann, Paul McCarthy, interview with Paul McCarthy by Stacen Berg. Ostfildern (Hatje Cantz Verlag). 2010. ISBN 978-3-7757-2573-6
- Jump up ^ Petersen, Magnus af:„Paul McCarthy’s 40 years of hard work-an attempt at a summary”, in: “Head Shop/Shop Head”, Steidl Verlag, Göttingen, 2006, p.20
- Jump up ^ Roberta Smith (May 15, 1998). “Art Review: Work on the Wild Side, Raw, Rank and Morbid”. The New York Times. Retrieved 2007-05-26.
- Jump up ^ page 73, Live Art in LA: Performance in Southern California, 1970 – 1983; ed. Peggy Phelan, Routledge Press, ©2012
- Jump up ^ (August 12, 2008). Complex Shit causes museum chaos, The Australian. Retrieved July 25, 2010.
- Jump up ^ (August 12, 2008). Huge turd catastrophe for museum. Metro (London, UK). Retrieved July 25, 2010.
- Jump up ^ (August 13, 2008). Up in the sky: is it a turd? Is it a plane? The Sydney Morning Herald. Retrieved July 25, 2010.
- Jump up ^ Nielson, Emma (2007). “The World as Pirate’s Lair – Paul McCarthy’s LaLa Land, Parody Paradise”. Pulse Berlin (Relation). Retrieved 2007-09-01. “McCarthy has a predilection for American myths and icons. In most of his works, he takes the models and role models of that world and skewers them. Santa Claus, Pinocchio and the cowboy play just as important a role in the imagery as Bush or the Queen of England” Review of McCarthy’s 2007 LaLa Land exhibition at the Whitechapel Gallery, London , and Haus der Kunst, Munich.
- Jump up ^ Zebracki, Martin (2012). Engaging geographies of public art: indwellers, the ‘Butt Plug Gnome’ and their locale. Social & Cultural Geography 13(7), 735–758
- Jump up ^ (November 28, 2008). Santa Claus Finds A Permanent New Home In Rotterdam, TAXI. Retrieved July 25, 2010.
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Wikimedia Commons has media related to Paul McCarthy. |
External links
Media related to Paul McCarthy at Wikimedia Commons- New Museum archive
- New York Times article: Fairy Tales, but Strictly Adults-Only
- Hauser & Wirth, Zürich, London, New York
- frieze review of ‘Low Life Slow Life’
- New York Times review
- Paul McCarthy in the Video Data Bank
- Tate Modern
- Galerie Georges-Philippe et Nathalie Vallois, Paris, France
- Paul McCarthy, HEAD SHOP/SHOP HEAD, 2007, SMAK, Ghent
- Black and White Tape, 1972
- (fr) Article sur Paul McCarthy in Art and You
- “aftershock” review of ‘Low Life Slow Life’
- Paul McCarthy at Kadist Art Foundation
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Francis Schaeffer: How Should We Then Live? (Full-Length Documentary) ________ Today I am looking at Jacob Bronowski and his contribution to spreading the thought of Charles Darwin to a modern generation. The artist Ellen Gallagher is one of those in today’s modern generation that talks about how evolution is pictured in his art works. What […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 12 H.J.Blackham and Materialistic Humanism: The World-View of Our Era (Feature on artist Arturo Herrera)
Today I am going to look at H.J. Blackham and the artist featured today is Arturo Herrera. Herrera’s art interests me because it is based on the idea that accidental chance can bring about something beautiful and that is the same place that materialistic modern men like Blackham have turned to when they have concluded […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 11 Thomas Aquinas and his Effect on Art and HOW SHOULD WE THEN LIVE? Episode 2: THE MIDDLES AGES (Feature on artist Tony Oursler )
___________________________________ Francis Schaeffer pictured below: _______________- _________ _______________________ Size of this preview: 560 × 599 pixels. Other resolutions: 224 × 240 pixels | 449 × 480 pixels | 561 × 600 pixels | 718 × 768 pixels | 957 × 1,024 pixels | 2,024 × 2,165 pixels. Original file (2,024 × 2,165 pixels, file size: 392 KB, MIME type: image/jpeg) This is a file from the Wikimedia Commons. Information from its description page […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 10 David Douglas Duncan (Feature on artist Georges Rouault )
___________________________________________________________________________________________________________________________ Francis Schaeffer: How Should We Then Live? (Full-Length Documentary) Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 “The Age of Fragmentation”, episode 7 “The Age of Non-Reason” , episode 6 “The Scientific […]
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