ART 4 2-DAY 08 March v.9.60
on 08 March 1843: Ernest-Ange Duez,
French painter who died on 05 Apr 1896.
— He studied under Isidore-Alexandre-Augustin Pils and made his début at the Salon in 1868. One of his earliest paintings, The Honeymoon (1873), caused a scandal at the Salon owing to its depiction of two lovers in modern dress walking through a sunlit forest. His triptych St Cuthbert (1879) was hailed as a masterpiece of modern art and bought by the State for the Musée du Luxembourg in Paris. The painting depicts the stages of St Cuthberts life, from child to hermit. Contemporary viewers were struck by the artists use of a real landscape setting, based on Villerville in Normandy where Duez spent much of his time. In addition to genre, religious, and history paintings, in 1876 he began to produce portraits: Alphonse de Neuville (1880) is a typical example. His brooding, suggestive portrait of Mme Duez (1877) shows the influence of Symbolism. However, he soon returned to painting works that were essentially landscapes, such as the decorative panel Virgil Seeking Inspiration in the Woods (1888) for the Sorbonne and a pair of allegorical figures, Botany and Physics (1892), for the Hôtel de Ville in Paris. He also devoted time to applied art, producing a variety of textile designs. His work was praised for its adept use of color and for bringing what were seen as modern techniques to traditional subjects.
Honeymoon (1873; 850x489pix, 139kb)
— The Rebuff (750x894pix, 491kb)
— An Elegant Lady On The Beach (1885, 40x31cm)
— Looking Out to Sea (1873, 125x61cm)
— Au Bord de la Plage sur un Rocher (50x72cm)
— Femme et Enfants sur la Plage (39x57cm; 689x1000pix, 126kb)
— La Splendeur (1874; 700x299pix, 107kb) _ a lady holding a small dog. Ce tableau est la répétition d'une oeuvre qui fit, avec son pendant La Misčre, sensation au Salon de 1874.
on 08 March 1495: Giovanni Battista di
Fiorentino, in Florence, Italian painter
and decorator who died on 14 November 1540 in Paris.
Rosso Fiorentino's real name was Giovanni Battista di Jacopo di Guasparre. His early works helped define the first phase of Mannerism. A more developed Mannerist style is exhibited in his Descent from the Cross (1521); its idiosyncratic modeling and perspective, violent colors, and harsh lighting produce the disturbing effect characteristic of much 16th-century Italian art. After about 1524, however, Rosso's figures became more solid and sculptural, as in the Dead Christ with Angels (1526). From 1530 to his death Rosso worked on the decoration of the Chateau de Fontainebleau in France, where, with the Bolognese painter Francesco Primaticcio, he introduced a more subdued Mannerist style in keeping with courtly French taste.
— Rosso Fiorentino was an exponent of the expressive style that is often called early or Florentine Mannerism, and one of the founders of the Fontainebleau school.
Rosso received his early training in the studio of Andrea del Sarto, alongside his contemporary, Pontormo. The earliest works of these two young painters combined influences from Michelangelo and from northern Gothic engravings in a novel style, which departed from the tenets of High Renaissance art and was characterized by its highly charged emotionalism. Rosso's most remarkable paintings from this period are the Assumption (1517 fresco), the Deposition (1521), and Moses Defending the Daughters of Jethro (1523).
At the end of 1523 Rosso moved to Rome, where his exposure to Michelangelo's Sistine ceiling, the late art of Raphael, and the work of Parmigianino resulted in a radical realignment of his style. His Dead Christ with Angels (1526) exemplifies this new style with its feeling for rarefied beauty and subdued emotion. Fleeing from the sack of the city in 1527, he worked briefly in several central Italian towns. In 1530, on the invitation of François I, he went to France (by way of Venice) and remained in the royal service there until his death.
Rosso's principal surviving work is the decoration of the Galerie François I at the palace of Fontainebleau (1534–1537), where, in collaboration with Francesco Primaticcio [30 Apr 1504 – 1570], he developed an ornamental style whose influence was felt throughout northern Europe. His numerous designs for engravings also exercised a wide influence on the decorative arts both in Italy and in northern Europe.
Assumption of the Virgin (1517, 385x395cm) _ Given the notoriety of the works of Michelangelo and Raphael recently completed in Rome, it is Rosso Fiorentino's credit that he was an artist of extreme individuality and independence. The works of these artists, along with those of Leonardo, must have appeared so perfect on their own terms that it was imperative to either break with them or totally succumb to them. In this early painting, which has suffered from weathering, Rosso already expresses his own unconventional interpretations.
Madonna and Child with Putti (1517, 111x75cm) _ This painting is an example of the early Florentine Mannerism. Due to a change in the color of the varnish, the colors of the painting changed significantly.
Madonna Enthroned with Four Saints (1518, 172x141cm) _ A neurotic, even deformed stylization that at times verges on the grotesque is the most immediate characteristic of Rosso Fiorentino's paintings, and can be glimpsed in this painting (the Ognissanti Altarpiece), executed for the Hospital of S. Maria Nuova in Florence. Most notably, the restlessness of the whole work contradicts a High Renaissance ideal: that of serene majesty. This accentuates the expressive dynamism of his compositions, whose colors and tones seem burnt or lividly overstated. The almost infernal aspect of some of his characters has given rise to a number of sometimes wild hypotheses about the painter's far-from-happy psychology. (He committed suicide.) The altarpiece portrays the Virgin and Child between Saint John the Baptist, Saint Anthony Abbot, Saint Stephen and Saint Jerome. The faces of saints, darkened by heavy shading, are utterly devoid of that serenity which characterizes the figures in traditional altarpieces. In the figure of Saint Jerome, the sunken abdomen, the prominent sternum, ribs and collarbone of the chest area, and the skeletal thinness of the neck, arms and fingers, reveal unquestionable links with the studies of decomposing or flayed bodies that began to interest a great number of Tuscan artists from the 15th century.
Madonna Enthroned between Two Saints (1521, 169x133cm) _ The painting was executed for the parish church of Villamagna near Volterra. Compared to the complexity of the contemporary Deposition the compositional solution of this painting, signed and dated in the lower left corner, at the foot of Saint John the Baptist, is regulated by a simpler scheme and a greater symmetry, an evident recall to classical tradition. Andrea del Sarto's Madonna of the Harpies is one of the most probable iconographical references for Rosso's painting as far as the general structure is concerned, and in the pose of the Virgin, who, firmly anchored to a supporting base, extends her knee forward and places her right arm around the Child clutching at her side. The figure of Saint Bartholomew with the book, who in Rosso's altarpiece looks towards the observer, recalls the Saint John the Baptist portrayed by Andrea del Sarto to the left of the Virgin and Child.
Madonna Enthroned and Ten Saints (1522, 350x259cm) _ On the commission of Ranieri, the son of Carlo Dei, the artist executed this painting for the church of Santo Spirito in Florence. Later it was transferred to Palazzo Pitti. Following the restlessness of his youthful period, this painting represents a moment of moderation, in which the references to the examples of Fra Bartolommeo and Andrea del Sarto appear more evident. The painting was much admired by Vasari, especially for the "vividness of the colors", which, with the greater regularity of the composition and the poses of the single figures, reveal a more original quality and come closer to the eccentric use of color in the previous works, especially in the Saint Catherine kneeling in the foreground.
Marriage of the Virgin (1523, 325x250cm) _ This painting was executed on the commission of Carlo Ginori for the chapel dedicated to Mary and Joseph in the church of San Lorenzo in Florence. The name of the artist, "Rubeus Florentino", is included among the letters of the first line of the second paragraph of the text which the saint marks with her finger, and also clearly written, together with the date of execution, on the step beneath the figure of the priest. Like the Dei ALtarpiece, this painting is another example of moderation compared to the formal boldness of the works belonging to the earlt Florentine period and the sojourn in Volterra. The composition takes up some figurative ideas from the frescoes of Pontormo and Franciabigio in the Chiostrino dei Voti in Santissima Annunziata. _ detail 1 This detail shows the kneeling figure on the left side of the painting. _ Detail 2 This detail shows the kneeling figure of Saint Apollonia on the right side of the painting. As far as traditional representations of this theme are concerned, quite unusual is the presence among the onlookers in the foreground of Saint Apollonia who certainly could not have witnessed the event.
Musician Angel (1520, 47x39cm) _ This little painting belonging to the period of maturity of the artist, who was a student of Andrea del Sarto, together with Pontormo. In 1605 the picture was collocated in the Tribune beside the more precious masterworks Medici family had collected. Recent studies revealed the panel to be a fragment of a larger painting including - such as other altarpieces by Rosso - the angel in the lower part of the scene. A sense of vitality and tenderness emanates from this little cherub playing a lute, probably dating to the beginning of the third decade of 16th century.
from the Cross (1521, 375x196cm; _ ZOOM
to 2748x1576pix, 320kb) _ detail 1
(591x449pix, 42kb _ ZOOM
to 2751x2024pix, 343kb) _ detail 2
(599x442pix, 44kb _ ZOOM
to 2745x2024pix, 380kb)_ In this work the main character is the color, and
the color is devoted to one end: a violent and emotional expressiveness
which overrides everything else, and seeks only to provoke in the spectator
a thrill of horror and grief comparable with that which shattered the men
and women who helped to lift Christ from the Cross and bury Him. The drawing
is not conceived as a means of describing forms, but as a means of stating
ideas. The light is not a normal illumination nor even a poetic evocation:
the scene is lit as if by lightning, and in the blinding flash the figures
are frozen in their attitudes and even in their thoughts, while the great
limp body of the dead Christ, livid green with reddish hair and beard, dangles
perilously as his dead weight almost slips from the grasp of the men straining
on the ladders. This painting shows, as the Pontormo Deposition does, some
influence of Michelangelo's Roman Pietŕ, but the Christ of
the Deposition is far more closely connected with a drawing for a Pietŕ
which Michelangelo made in 1520, and which haunted Rosso to the end of his
life. _ Detail 1
_ detail 2
Validating the theory that Rosso spent some time in Rome, presumably between
1518 and 1521, are clear references to the frescoes of the Sistine ceiling.
One of the references is the use of the gesture of Eve expelled from the
Paradise for the posture of the figure of Saint John. This red-haired young
man, who buries his hands in an expression of intense anguish, has been
interpreted as a "self-portrait denied" of Rosso, who by including this
figure in the painting is thus personally involved in the event represented.
Examples of this exist in more or less contemporary northern figurative
art, in Dürer particularly, who has been identified as one of the most probable
sources of inspiration for the painting and to whom some facial characterizations
are referable. _ Detail 3
In addition to his pictorial originality, Rosso also had considerable technical
skill as is demonstrated in this detail. By this time the Florentines were
using oil paint effectively, but their approach depended upon a thinner,
highly fluid application of the paint rather than the thick impastos used
by their Venetian contemporaries.
Deposition from the Cross (1528, 270x201cm) _ This painting was commissioned in 1527 by the Confraternity of Santa Croce, and was probably finished before 01 July 1528. Compared with the preceding Deposition in Volterra, to which the painting refers in the figure of the deposer on the left descending one of the three ladders resting against the cross, and in the curly-haired young Saint John, portrayed in the background burying his face in his hands, as in the Volterra altarpiece, the Deposition of San Sepolcro places a greater emphasis on the figure of Christ, who has been taken down from the cross and is now lying in the Virgin's lap in the foreground. A reference to the molded characterization of Michelangelo's anatomies is visible in the bodies of Rosso's painting; observe, for example, the youth standing to the right of the Virgin bending slightly forward in the act of holding up Christ's back. The light which covers the foreground of the composition and contrasts with the dark background is brightest in the clothing of this figure, highlighting its refined golden-yellow floral motif, and produces the extraordinary changing color effects of the dress of the bystander seated in the foreground to the left of Mary Magdalene. More than for the reelaboration of elements associated with the art of Dürer and the great masters of classicism, the San Sepolcro Deposition is distinguished by a number of iconographical peculiarities. The most striking is the complete nudity of the body of Jesus, a clear break with tradition, emphasis being given to the ample volume of its swollen ribcage. Transferring to the Virgin, the iconography which from the 14th century in Italy was traditionally used to represent Mary Magdalene, Ross portrays the mother of Christ with her arms splayed and held up, as if she herself was reliving the moment of crucifixion; the expression of the crucified Jesus seems in fact to be impressed upon the face of Mary, who is now prostrate with grief. Behind her, the horrible animal-like figure directing his squint-eyed gaze away from the scene probably takes up the theme of the bodyguard, the symbol of the treachery and wickedness that determined the killing of Christ, and also present in the Volterra Deposition. Detail Transferring to the Virgin, the iconography which from the 14th century in Italy was traditionally used to represent Mary Magdalene, Ross portrays the mother of Christ with her arms splayed and held up, as if she herself was reliving the moment of crucifixion; the expression of the crucified Jesus seems in fact to be impressed upon the face of Mary, who is now prostrate with grief. Behind her, the horrible animal-like figure directing his squint-eyed gaze away from the scene probably takes up the theme of the bodyguard, the symbol of the treachery and wickedness that determined the killing of Christ.
Pietŕ (1540, 125x159cm) _ Rosso addressed the theme of the dead Christ again towards the end of his artistic career when, after completing the decoration of the Gallery at Fontainebleau for François I, painted the Pietŕ. The painting once hung above the door of the chapel of the High Constable Anne de Montmorency in the castle of Ecouen. The painting, of all the works executed by Rosso during his stay in France (1530-1540), is the only surviving example that is certainly original. The painting is a "close-up" of the body of Christ, which extends across the whole width of the composition, literally filling the pictorial space. Christ's body, having taken down from the cross, of which there is no trace in the composition, and from the maternal lap, is elegantly placed on a cushion lying on the ground. Behind the body of Jesus the Virgin opens her arms and collapses into the arms of one of the pious women. Light shines in the foreground of the composition, highlighting, compared with the dark background, the various shades of red in the clothing, which contrast with the white of the scarf surrounding the upper part of Mary's dress, and the delicate lace of Mary Magdalene's dress, in which the golden yellow of the sleeve stands out.
Dead Christ with Angels (1526, 133x104cm; 1080x847pix, 119kb _ ZOOM to 1619x1263pix, 261kb) _ Rosso made this remarkable painting for Bishop Leonardo Tornabuoni, a Florentine by birth. One of the striking formal characteristics of this painting is the highly refined modeling of the bodies, which become extraordinarily soft under the effect of a warm, intense light. The artist had clearly abandoned his taste for the sharp-cornered angularities that characterize the linear structure of his Florentine and Volterran works, which are, on the other hand, recalled in the varied range of complementary colors, with their delicate changing color effects. Christ's naked body has undeniable similarities with works by Michelangelo: the Vatican Pietŕ and the Risen Christ from the church of Santa Maria sopra Minerva. What interested Rosso in this case, however, over and beyond the literal translation of Michelangelo's figurative ideas, was to exalt the beauty of the human body, which, following the example of the illustrious model, is accurately portrayed down to the very last detail. The total nakedness of Christ's body, not entirely free of a note of sexuality, forms part of this same tendency. The handsome young body, languidly and sensually slumped in a serene repose, and literally dominating the pictorial composition, retains little of the traditional iconography of the dead Christ, being closer to the pagan representation of the figure of Adonis. Indeed, the signs of Christ's martyrdom, which dramatically concluded the earthly existence of God's son, are barely hinted at in the painting: the small wound in his side touched by the hand of an angel, the thin crown of thorns surrounding the head of the Redeemer, and the rod with the sponge soaked in vinegar and the nails, depicted along the lower edge of the painting.
Risen Christ (1530, 348x258cm) _ This painting for the Cathedral of the provincial Umbrian town of Cittŕ di Castello depicts the risen Christ with saints below. Rosso has moved toward a more mechanistic composition on a monumental scale. Created in an irregular octagonal format, the picture retains a strong vertical emphasis. Separate figures and incidents, along with the idiosyncratic treatment of the parts, overwhelm the impact of the composition as a whole.
Moses Defending the Daughters of Jethro (1524, 160x117cm; _ ZOOM to 2167x1576pix, 375kb) _ Among Rosso's paintings concerned with the representation of themes belonging to the religious iconographical tradition, this painting is a very special case, not least due to the rarity of the subject. The title of the painting refers to an episode of Moses's youth narrated in the book of Exodus (II, 16-22). The seven daughters of Jethro, priest of the land of Midian, while drawing water from a well and filling troughs to water their father's flock, are troubled by a group of Midianite shepherds who take advantage of the labors of the young women to water their own herds. Moses, sitting near the well, witnesses the scene; driving the Midianites away with threats he intervenes physically in defense of Jethro's daughters who thanks to his help can finally water their flocks. In recognition of the meritorious action performed by the young Moses, Jethro gives him the hand of one of his daughters, Zipporah. There are unequivocal references in the painting to the two cartoons made by Michelangelo and Leonardo for the decoration of the Great Council Hall in Palazzo della Signoria. Rosso's canvas reproposes the extremely articulated compositional structure of Michelangelo's Battle of Cascina, displaying a broad range of nude figure poses which reflect the artist's predilection for counterpoise. The emphasizing of gestures and clothing, and the impassioned savagery of the actions and expressions, on the other hand, are associated with Leonardo's Battle of Anghiari. _ Detail The detail shows Zipporah, one of the daughters of Jethro. This painting is one of the principal works of the maturity of the painter. The obvious inspiration from Michelangelo is surpassed by the intense compression of the various plastic planes which become shining planes of color In their brilliant chromatic polish and in the tangle of the masses in violent "contrapposto" there is an unreal smoothness which tends towards a visionary effect.
— Allegory of Salvation with the Virgin and Christ Child, St. Elizabeth?, the Young Saint John the Baptist and Two Angels (1521; 640x468pix, 102kb _ ZOOM to 2758x2024pix, 389kb) The title seems conjectural. The supposed “John the Baptist” seems either fast asleep, fainted, or, more likely, dead. Considering the horrified or fearful expressions on the faces and body language (including that of one of the “angels”, winged children) could it be something like “Mary is told about the Massacre of the Innocents”?
— Ignorance Banished (341x517pix for the painting, and with the surrounding sculptures and wall decorations 600x1206pix, 463kb _ ZOOM to 795x1207pix painting in a 1400x2813pix image, 1712kb, not worth the wait)
Born on 08 March 1945:
Anselm Kiefer, German painter, born in Donaueschingen, Baden-Württemburg,
just months before the final European battle of World War II.
— Kiefer grew up in towns in the Black Forest region near the east bank of the Rhine. That period saw the results of modern warfare and the division of his homeland. He also experienced the rebuilding of a fragmented nation and its struggle for renewal. After studying law and French at the university in Freiburg (1965), he pursued art at Karlsruhe Art Academy under Horst Antes. In the early 1970s he studied informally with Joseph Beuys on occasional visits to Düsseldorf. From 1971 to 1992 Kiefer lived in Hornbach in the Oden Forest in the Rhineland-Palatinate; since 1992 he has resided in southern France. He has traveled throughout Europe, the Middle East, the United States, Asia, and Central America.
Kiefer devoted himself to investigating the interwoven patterns of German mythology and history and the way they contributed to the rise of Fascism. He confronted these issues by violating aesthetic taboos and resurrecting sublimated icons. For example, in his 1969 Occupations series, Kiefer photographed himself striking the “Sieg Heil” pose. Subsequent paintings, immense landscapes and architectural interiors often encrusted with sand and straw, invoke Germany’s literary and political heritage. References abound to the Nibelungen and Wagner, Albert Speer’s architecture, and Adolf Hitler.
In 1966 he left law studies at University of Freiburg to study at art academies in Freiburg, Karlsruhe, Dusseldorf; made huge paintings using symbolic photographic images to deal ironically with 20th-century German history; developed array of visual symbols commenting on tragic aspects of German history and culture, particularly Nazi period; in 1970s painted series of landscapes that capture rutted, somber German countryside; paintings of 1980s acquired physical presence through use of perspective devices and unusual textures; broadened themes to include references to ancient Hebrew and Egyptian history.
— He studied law in 1965–1966 at the Albert-Ludwigs-Universität in Freiburg, before starting to study art there in 1966 as a pupil of the painter Peter Dreher (b 1932). In 1969 he studied under Horst Antes at the Staatliche Akademie der Bildenden Künste in Karlsruhe, and in 1970 he moved to the Staatliche Kunstakademie in Düsseldorf, where he met Joseph Beuys. From this time onwards history and myth were the central themes in his work: he was not concerned with reviving the history painting; rather, he attempted by means of drawing and symbols to expose the many-layered quality of historical processes, in order ‘to approach in an unscientific way the centre from which events are controlled’ (Kiefer, Art, 1990). On a journey through Switzerland, Italy and France in 1969 Kiefer produced the photographic series Occupations (see 1991 exh. cat., pp. 93–4), in which he photographed himself saluting in a pose that imitated Hitler. In this and in later books he presented his personal way of coming to terms with German history, literature and art history. His central concern was to experience history as a prerequisite for understanding it.
— Seraphim (1984, oil, straw, emulsion, and shellac on canvas, 321x331cm; 573x551pix, 160kb) _ Seraphim is part of Kiefer’s Angel series, which treats the theme of spiritual salvation by fire, an ancient belief perverted by the Nazis in their quest for an exclusively Aryan nation. In this painting, a ladder connects a landscape to the sky. At its base, a serpent, symbolizing a fallen angel, refers to the prevalence of evil on earth. According to the Doctrine of Celestial Hierarchy, a 5th-century text, the seraphim “purify through fire and burnt offering.” Kiefer used fire to create the surface of Seraphim, and it is evident from this and many other works that he associates fire with the redemptive powers of art. This equivalence was suggested in the 1974 canvas Painting = Burning, in which the outline of a painter’s palette is superimposed on a view of the war-torn earth. The actual burning of materials used in Seraphim suggests a more specific reading: the Greek word for a sacrificial offering “wholly burnt” is “holocauston”, from which the Late Latin “holocaustum” then the French “holocauste” whence it passed to English.
— Les Reines de France (1995, emulsion, acrylic, sunflower seeds, photographs, woodcut, gold leaf, and cardboard on canvas, three panels, 560x738 overall; 428x573pix, 142kb) _ .In 1991, the year of Germany’s reunification, Kiefer left his homeland to travel the world; he eventually settled in the South of France. This change had a marked effect on the artist’s style and themes, which ranged from the sunflowers of Arles to the queens of France. In a series of works devoted to French female royalty, Kiefer paid homage to the likes of Catherine de’ Medici, Marie-Antoinette, and Anne d’Autriche. In Les Reines de France, the women are rendered like Byzantine icons against a background of distressed gold-leaf mosaic. This new iconography, while still engaged with the weight of history, indicates that Kiefer now approached his subject matter with admiration, even joy, but with a complete lack of artistic talent.
— Lasst Tausend Blumen Blühen (2000, 380x280cm; 512x382pix, 35kb) _ Kiefer travelled in China in 1993, and recently made a series of paintings based on photographs taken there. The title refers to a 1957 speech in which Mao pretended to encourage greater freedom of expression, declaring “Let a hundred flowers bloom and a hundred schools of thought contend”. This freedom was the bait in a trap, as the intellectuals who criticized Mao were swiftly arrested. Kiefer portrays a statue of Mao partially obscured by dried roses and tangled brambles symbolizing the profusion and withering of revolutionary dreams.
Nobody could look more imposing than the figure in Anselm Kiefer 's enormous painting, Let a Thousand Flowers Bloom. It demands at first to be appraised from a distance, just as the statue it depicts was originally a monument that dwarfed onlookers. During Mao Tse Tung's rule, such concrete effigies of the dictator were installed throughout China. They summed up the dominance of a man who became an international Communist icon, and held an immense nation enslaved.
Mao's mendacions slogan was widely applauded by the gullible who believed Mao would relax his tyrannical policies, and on one level Kiefer's painting appears to reflect this credulity.
The statues present a benign image of Mao, nurturing a population liberated from the constraints of the past. He shapes his ample hand into a wave, projecting himself as a kindly, wise, and avuncular figurehead who would lead his nation towards fulfilment. Kiefer pitches him against an expanse of empty sky, as if to make his power seem at once heroic and limitless. Taking his cue from Mao's poetic reference, Kiefer peppers the painting with real roses. Kiefer's mention of a thousand blooms, rather than a hundred, implies that he sees them proliferating even further than Mao promised.
— Resurrexit (1973, 290x180cm; 1120x760pix)
— March Heath (1974, 118x254cm)
— Nero Paints (1974; 788x1081pix)
— Wege: markischer Sand (1980; 602x944pix)
— Margarete (1981; 777x1088pix)
— Your Golden Hair, Margarete (1981; 796x1052pix) _ Kiefer quotes Romanian Jewish poet Paul Celan's poem “Death Fugue”, which is set in a concentration camp. Kiefer has sometimes depicted the German heroine's locks as straw adhered to the canvas; in this work, they appear in watercolor as sheaves of wheat in a field.
— Die Meistersinger (1982; 780x1090pix)
— Nuremberg (1982; 780x1076pix)
— To the Unknown Painter (1983; 955x925pix)
— Nigredo (1984; 701x1191pix)
— The Red Sea (1985; 732x1133pix)
— Jerusalem (1986; 757x1125pix)
— Cherubim~Seraphim (1983; 600x743pix) _ primitive rock painting of two wild boars, made to ensure a successful hunt?
— Untitled (1983; 600x436pix, 174kb) _ interior of a deserted cathedral?
— Behemoth (1989; 600x1023pix, 416kb) almost monochrome. _ Abandoned library in an abandoned subway? _ The pseudonymous Keith Enselle took this very dull picture as a challenge to transform it into something frankly abstract, but colorful and intricate, and he succeeded twice: with Boo Hoo Moth aka Moth Tom (2006; screen filling, 351kb _ ZOOM to 1400x1980pix, 1822kb) and with Be He Moth, Be He Mosquito, Swat Him ! aka Tone Not (2006; screen filling, 381kb _ ZOOM to 1400x1980pix, 1610kb)
— 19 images at Ciudad de la Pintura