Мило Манара. Альбом ''Venus & Salome'' by Мило Манара
By Мило Манара
Главной темой альбома Мило Манары "Venus & Salome " ( "Венера и Саломея ") является эротическая мифология (прежде всего ХХ века), в основе которой лежат древние легенды о прекрасной богине любви Венере и коварной красавице-обольстительнице Саломее. Причудливое смешение черт, присущей каждой из героинь, по мысли Манары и составляет тайну любой женщины, которую разгадать до конца невозможно. Источником вдохновения для данного альбома художника послужили различные произведения мировой культуры, среди которых пьеса Оскара Уайльда "Саломея ", фильмы Федерико Феллини и Луиcа Бунюэля, книги маркиза де Сада и даже знаменитая графическая новелла самого Манары - "Клик ". Другие альбомы Мило Манары на сайте: Aphrodite Bolero Gullivera reminiscence The version Борджиа: Кровавый папа
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And where do these artificial vapors fall back in beneficent rain? or through what areas of atmosphere exist, as invisible, though perhaps not innocuous, cloud? All these questions were put, closely and precisely, four-and-twenty years ago, in the 1st chapter of the 7th part of ‘Modern Painters,’ paragraphs 4 to 9, of which I can here allow space only for the last, which expresses the final difficulties of the matter better than anything said in this lecture:— 33 The Storm-Cloud of the Nineteenth Century “But farther: these questions of volatility, and visibility, and hue, are all complicated with those of shape.
This continued for about a quarter of an hour. The same was observed on the 27th of the month, but not so bright. ’ On the 1st February the temperature was 38° below zero, and on the 27th February 26° below. ‘On the 23d and 30th (of March) the same splendid appearance of clouds as mentioned in last month’s journal was observed. , it was extremely beautiful. ’ The temperature was 21° below zero, Fahrenheit. There may have been other colors—blue, perhaps—but I merely noted the most prominent; and what I call green may have been bluish, although I do not mention this last color in my notes.
And yet observe: that thin, scraggy, filthy, mangy, miserable cloud, for all the depth of it, can’t turn the sun red, as a good, business-like fog does with a hundred feet or so of itself. By the plague-wind every breath of air you draw is polluted, half round the world; in a London fog the air itself is pure, though you choose to mix up dirt with it, and choke yourself with your own nastiness. Now I’m going to show you a diagram of a sunset in entirely pure weather, above London smoke. I saw it and sketched it from my old post of observation—the top garret of my father’s house at Herne 26 The Storm-Cloud of the Nineteenth Century Hill.