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<p>[QUOTE="Tigermoth1, post: 7747354, member: 121422"]COMPARE the above, to Davinci's sketch for a proposed bronze for the DUKE the D'SFORZA or Kandinsky and Marc's BLUE RIDER.</p><p>[ATTACH=full]1326518[/ATTACH] </p><p>The figure of the blue rider (a man atop an arching horse), contrary to Kandinsky's own assertions, may have been borrowed from Leonardo Da Vinci. [(ABOVE)<b>A Rider on a Rearing Horse Trampling on a Fallen Foe.</b> Leonardo da Vinci (Vinci, 1452-Cloux, 1519). Metalpoint on blue prepared paper; 151 x 188 mm (5 15/16 x 7 7/16 in.). Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12358. (Cat. no. 53)]. This study for a proposed monumental bronze in honor of the Duke D'Sforza's father that was never completed, recently at the Metropolitan Museum of Art's exhibition: "Leonardo Da Vinci, Master Draftsman," would have served perfectly, with its intuitive fluidity of movement and masterful capturing of the essential in the horse and rider figure, as the true herald for the coming world-wide spiritual revival through Art that the Blue Rider movement eschewed. To prevent any backlash from the nationalistic fervor at that time in Germany, Kandinsky and Marc wisely demurred in revealing the true origin of this title. [Germans had their Expressionism; the Italians, their Futurism; and, the French, everything else from Impressionism, Fauvism, to Cubism! Instead of focusing on humanity in general and nurturing the flowering of its spiritual potential through planetary unification and international cooperation, energies were wasted on creating barriers and sabre rattling.]</p><p><br /></p><p>The very symbol and standard for the art movement that he founded in 1911, later vaguely ascribed to the more Teutonic legend of St. George and The Dragon, became a recurring dream motif in Kandinsky's artwork that suggests to me progression, more transcendence and sublimation into a more ethereal and elemental state of being and awareness, again a movement away from the merely representational (material, outer reality) to a more mathematical abstraction in space (spirituality or emotional inner reality). The Ego versus the ID, the path to individuation and self-realization, of the socialization of the individual, becomes a symbol for the universal struggle of mankind, for freedom from the bonds of history and acceptance of its concomitant responsibility to others.[/QUOTE]</p><p><br /></p>
[QUOTE="Tigermoth1, post: 7747354, member: 121422"]COMPARE the above, to Davinci's sketch for a proposed bronze for the DUKE the D'SFORZA or Kandinsky and Marc's BLUE RIDER. [ATTACH=full]1326518[/ATTACH] The figure of the blue rider (a man atop an arching horse), contrary to Kandinsky's own assertions, may have been borrowed from Leonardo Da Vinci. [(ABOVE)[B]A Rider on a Rearing Horse Trampling on a Fallen Foe.[/B] Leonardo da Vinci (Vinci, 1452-Cloux, 1519). Metalpoint on blue prepared paper; 151 x 188 mm (5 15/16 x 7 7/16 in.). Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12358. (Cat. no. 53)]. This study for a proposed monumental bronze in honor of the Duke D'Sforza's father that was never completed, recently at the Metropolitan Museum of Art's exhibition: "Leonardo Da Vinci, Master Draftsman," would have served perfectly, with its intuitive fluidity of movement and masterful capturing of the essential in the horse and rider figure, as the true herald for the coming world-wide spiritual revival through Art that the Blue Rider movement eschewed. To prevent any backlash from the nationalistic fervor at that time in Germany, Kandinsky and Marc wisely demurred in revealing the true origin of this title. [Germans had their Expressionism; the Italians, their Futurism; and, the French, everything else from Impressionism, Fauvism, to Cubism! Instead of focusing on humanity in general and nurturing the flowering of its spiritual potential through planetary unification and international cooperation, energies were wasted on creating barriers and sabre rattling.] The very symbol and standard for the art movement that he founded in 1911, later vaguely ascribed to the more Teutonic legend of St. George and The Dragon, became a recurring dream motif in Kandinsky's artwork that suggests to me progression, more transcendence and sublimation into a more ethereal and elemental state of being and awareness, again a movement away from the merely representational (material, outer reality) to a more mathematical abstraction in space (spirituality or emotional inner reality). The Ego versus the ID, the path to individuation and self-realization, of the socialization of the individual, becomes a symbol for the universal struggle of mankind, for freedom from the bonds of history and acceptance of its concomitant responsibility to others.[/QUOTE]
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