Irrelevant Protest

Talk about misplaced priorities outside Rome’s Colosseum:

Alexis Mucci, who has 7.5million followers on Instagram, donned nothing but satin robes and black lingerie sets with fitness model Issa Vegas. In the clip, which has gained more than 134,000 likes, the pair untied the belts on their robes to reveal their skimpy outfits.

Dark-haired beauty Alexis was seen in a strappy bra that barely covered her cleavage with a lacy thong and pair of patterned fishnet stockings. Meanwhile, Issa wore a black lace bra with a matching thong and similar stockings.

So far, so good.

However, some Instagram viewers took to the comments begging the OnlyFans model and her fitness star pal to “cover up.”

One user said: “Cover yourself it’s cold.” Another added: “Move I can’t see the colosseum.” A third commented: “What a shame they have to sell themselves like this.”

It’s the last comment which got me shaking my head.

Anyone who’s ever been to the Colosseum knows that it’s a hive of hucksterism:  people offering tourists “private tours” of the place, and gawd knows how many assholes dressed up as Roman legionaries offering to pose with said tourists in front of the ruins, all for a (horrifying) price, of course.

So in fact the Colosseum is the perfect place for two houris  to sell themselves.

Feel free to scrutinize them via the link, but be warned that they’re nastier than cheap Italian red wine.


Whenever one is confronted with the random squiggles and daubs that are a feature of “modern” art, there is an irresistible impulse to say dismissively “Looks like something my kid could do”.

Because it’s true.

I defy anyone to argue otherwise when seeing this travesty in what is quite possibly the world’s most cultured city.  (via Insty, thankee Sarah… I think)

Fucking hell.

Silken Drapes

I have always been fascinated, not to say turned on, by the appearance of the female form when loosely covered with soft, diaphanous materials such as silk, satin or linen.  Here’s an example of what I mean, that of a statue of Callipygian Venus, in the Louvre:

The nineteenth-century American sculptor William Wetmore Story specialized in the form, seen here with his Cleopatra Reclining:

…and Semiaramis:

That last pic I took myself when the statue was on display at the Dallas Museum of Art, and I stared at it for ages.

Story, by the way, had this to say about sculpture in general:

Quite so.

Nowadays, of course, such wondrous sights are few and far between, and pretty much confined to photography.  Although there is this lovely picture of Mr. and Mrs. David Bowie:

…wherein even the bony Angela looks quite appealing, most such pictures seem to need backlighting:

…while most (shall we say) are more prurient:

Honestly?  I prefer Story’s sculptures to all of them.

Permanence And Instability

Over at Intellectual Takeout, Walker Larson has some sobering thoughts about the difference between civilization and barbarism:

A true civilization produces architecture, art, artifacts, customs, heritage, and traditions that are meant to last. A barbaric culture may invent some crude forms of these things, but their purpose, and the mindset that generates them, remains fundamentally different, and thus the results are different, too. While civilization engenders a consistent set of customs—a coherent and unifying way of looking at the world rooted in time and tradition—the barbarian is unmoored from any such stable pillars.

His argument is peculiarly appropriate for the times we find ourselves in, and I urge you to read the whole article.

Hidden Depths

I have to admit that while I can appreciate Renaissance art — paintings, I mean, not the sculptures, which I love — I’ve always found the old guys to be a little too much on the Christian thing.  I mean, how many Madonna w/Baby Jesus renderings are there?

Take Agostino Carracci, for example.  Here’s his “Judith As Woman” work, which should make her the idol of ultra-feminists everywhere:

Then there’s the “Last Communion of St. Jerome”, which may have been big news back in the day, but which is not that relevant in today’s world.

Happily, Carracci (Agostino, not his several brothers, sons and cousins — all artists themselves) didn’t just confine himself to religious themes.  Here’s his “Landscape with Bathers”:

…wait, what’s that detail over on the right?

Nekkid bodies?  With no carefully-draped linen (see Jerome, above) to disguise their nekkidness?

Well;  it turns out that ol’ Aggie had a whole ‘nother body of work in the I Modi school, which probably gave people fits. I’m not quite sure how many of the examples below are his — the style varies, and some were printed from his woodcuts — but here are a few:

Read more

RFI: Artist

I need some help, and I have no idea where to start.  Observe this oil painting:

All I know about it is mostly supposition:

  • the unknown artist is supposedly Iranian (or perhaps Persian, back when it was painted)
  • he was supposedly a court painter for the Shah of Iran/Persia
  • the painting is one of a small series — this one is called, I think, “Green”, and others are likewise entitled “Blue”, “Red”, etc.
  • it’s quite large:  60″x48″
  • it was purchased sometime during the 1980s, from a gallery in Los Angeles.

That’s all I know.  I’ve looked and looked all over Teh Intarwebz, but nada.

If anyone can shed light on the piece, or tell me where I can look further, I’d be eternally grateful.