The Fantastic Strange

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Another Gothic writer who does not follow this Enlightenment trajectory is the Anglo-Irish Sheridan Le Fanu. His ‘natural’ world is haunted by a supernatural realm which is rather more vivid and substantial. Hitherto, the shadowiness of his settings has been given an historicist interpretation as indicative of the loss of political influence and identity of the Protestant Ascendancy class, but it has deeper metaphysical roots. Le Fanu has recourse to the metaphysics of Emmanuel Swedenborg’s Heaven and Hell (1758), in which this world is a shadow of the parallel heavenly Jerusalem. This enables him to present phantasmagorical hauntings such as the demonic monkey in the omnibus in Green Tea (1872) or the supernatural parrot in A Haunted Baronet (1871). His tour de force Gothic horror story, Uncle Silas (1864) unveils apocalyptically a universe wholly caused by the transcendent: ‘this world is a parable—a habitation of symbols—the phantoms of spiritual things shown in material shape’. 9 Jean Fouquet, The Melun Diptych, 1452, Gemäldegalerie, Berlin, Germany. Photo by Sailko via Wikimedia Commons (CC-BY-SA 3.0). A selection of works by Fuseli’s contemporaries and followers, dealing with themes of fantasy, horror and perverse sexuality, complement his work. This includes over twenty-five exceptional watercolours and paintings by the visionary artist William Blake, among which will be The Night of Enitharmon’s Joy, The House of Death c.1795; his vampire-like Ghost of a Flea, The Whirlwind: Ezekial’s Vision c.1803–5; The Witch of Endor Raising the Spirit of Samuel 1783 and Death on a Pale Horse c.1800. The best Fantastic Four origin theory for the Marvel Cinematic Universe has been confirmed thanks to Doctor Strange in the Multiverse of Madness. Mixed in with the magical duel between Doctor Strange and Scarlet Witch, the highly anticipated Phase 4 sequel dove deep into the multiverse. In doing so, the first connections to the Fantastic Four in the MCU were made. John Krasinski's Mister Fantastic appeared as part of Doctor Strange 2's Illuminati team, which raised plenty of questions about what insights could be gleaned about how Marvel's First Family will be brought to life in the shared universe.

These tales remind us of something that our mixture of guilt and pride causes us to forget: we are not aliens to this world. Our brains, and therefore our imaginations, are part of nature. Comparing Newt to Doctor Strange is an instructive exercise; for all that the latter may appear to be an aspirational figure, he remains a distant one. The same is true of almost all of Marvel’s heroes, who are exceptional even before they become superhuman: Tony Stark is a billionaire genius, Bruce Banner a groundbreaking scientist, Stephen Strange one of the world’s leading surgeons, and so on. (There are exceptions to this norm, kind of: Ant-Man is just a regular Joe, while Star-Lord is just a regular Joe… in space. Notably, both of these characters are also the Marvel heroes most likely to be treated as the butt of a joke.)The central exhibit is Henry Fuseli’s famous The Nightmare 1781. Ever since it was first exhibited to the public in 1782, this picture has been an icon of horror. Showing a woman supine in her boudoir, oppressed by a foul imp while a ferocious-looking horse glares on, the painting draws on folklore and popular culture, medicine, concepts of imagination, and classical art to create a new kind of highly charged horror image. This is the most extensive display of Fuseli’s art seen in Britain since 1975 and includes around sixty of his most important canvases and drawings including Titania and Bottom c1790, The Three Witches 1783 and The Shepherd’s Dream. Yes, to me. Why not? Don't stir all the warmth out of your coffee; drink it. Though the letter might as well have been sent to you; it was nothing but Mrs. Pontellier from beginning to end." Gothic Nightmares explores the work of Henry Fuseli (1741–1825) and William Blake (1757–1827) in the context of the Gothic – the taste for fantastic and supernatural themes which dominated British culture from around 1770 to 1830. Featuring over 120 works by these artists and their contemporaries, the exhibition creates a vivid image of a period of cultural turmoil and daring artistic invention. For all our consciousness, adaptability, versatility and achievements we are no less a part of nature than a beetle, a bat or a bear. The more we understand that, the greater our chance of respecting nature and living with it, rather than booting it out of our lives.'

One is beautiful, serene, powerful, mysterious,' says Stephen. 'The other a plain straight forward growling, slobbering, slavering beast like a horribly mutated hybrid of pit bull, bulldog and Rottweiler perhaps. Yet somehow one feels rather sorry for him.' AO2: In one of my first experiments, we done them in the dark room, we got two different negatives and placed one on top of the other, i liked the way they turn't out but i wanted them to stand out more so i decided to take the photographs for my first experiment on an iPod whilst using a double exposure app called blender, i found this better than using the dark room because the app allowed me to decide which of the images i would like to stand out more and which one i would like to be noticed less and also it let me put an effect on them so they all turned out different types of colours. For my second, third and fourth experiments, i used several photos from my phone and photographs i took around the school, to develop in photoshop, before this project i never usually worked with photoshop and i didn't know what did what on it. But when i done these experiments i just played around with each picture and if i liked what i had done to them i would have kept them, in my opinion i think this was the best way to develop my images because all of my photographs came out really impressive after i used photoshop, this is why my final evaluation was done with photoshop. In my last experiment i didn't use any techniques and processes, i just took the photos with a digital camera, but i did use materials such as string to wrap around their faces. The strange and the fantastic are terms that share a privileged place in the art world and its criticism. The effect and value of these paintings are not due to pastel shades or the attractive, canonically beautiful figures. These pieces portray highly symbolic and disturbing scenes painted by their creators in a way that surpasses our imagination or experience. The stories of mythology, of the hubris of gods and the struggles of mortals, also remind us of the wider issues that are affecting our planet today.This range of countervailing emotions are ones that mythology, story-telling, fairy-tales and more have always comforted and alarmed us with. We have sat in the caves, and now around our books and screens, glad to be safe, but needing to know about the dangers and the wonders out there in the wider world.' Why do we create fantastic beasts? The letter was right there at hand in the drawer of the little table upon which Edna had just placed her coffee cup. Mademoiselle opened the drawer and drew forth the letter, the topmost one. She placed it in Edna's hands, and without further comment arose and went to the piano. Belonging to a style that the artist himself called Baroque or Gothic (but has been categorized by critics as “fantastic realism”), Beksínski never titled any of his paintings and is the only Polish artist with exhibitions at the Osaka Museum of Art, in Japan. Here, the artist depicted the moment when two bodies embrace tightly, until they gradually become two intertwined skeletons. When Robert Rauschenberg found a stuffed goat while trawling New York dumps and antique shops, he could hardly ignore the sexual charge of its phallic horns and mythological associations: In ancient Greece goat-legged satyrs chased nymphs across the hillsides; in Christian art the devil himself is goatish. Rausenberg completed this work by thrusting the goat through a tyre, as in some cosmic sex act. The result is one of the strangest and most memorable of all readymades. Méret Oppenheim, My Nurse (1936)

Giuseppe Arcimboldo isn’t a name most are familiar with. Yet, for a painter working during the Renaissance, his paintings are quite bizarre. Despite his unusual style, Arcimboldo’s work became synonymous with Mannerism and the Renaissance obsession with riddles, puzzles, and the strange and bizarre. Maybe that’s why Emperors Maximilian II and Rudolf II added quite a few of his strange paintings to the Kunstkammer (cabinet of curiosities). Storytelling may also have been one way that our ancestors tried to understand and explain the world around them, with fantastic beasts as just some of the results. What do fantastic beasts offer us?I do not know you well enough to say. I do not know your talent or your temperament. To be an artist includes much; one must possess many gifts—absolute gifts—which have not been acquired by one's own effort. And, moreover, to succeed, the artist must possess the courageous soul."

Feel free to join us and you are always welcome to share your thoughts that our readers may find helpful. In the late 20th century many new concept was included in the compass of both structure and function. Now days, before performing any action we keeping future in our visions. same applies in Architecture also. In the selection below, we present over 80 Strange & Fantastic Buildings Architecture of modern world. All photographs are linked and lead to the source – the respective photographers. Usually, gods and goddesses are the epitome of beauty and are portrayed as such, even in their most unflattering moments. Enter Francisco Goya! He broke from tradition with this rendition of Saturn. Before we dive into that, let’s take a look at the story behind this strange painting. According to the myth, the titan, Saturn, had been told via prophecy that one of his sons would usurp him and take his power, Naturally, Saturn wasn’t fond of that idea. He liked his power and wanted to keep it. So, Saturn ate one of his sons. Good parenting move, right? What Saturn didn’t know is that his wife, Rei, had hidden her youngest son, Zeus. In the end, Zeus ended up conquering the titans. TThe Tower was built between 1968 and 1972 and was ready just in time for 1972 Summer Olympics. The building stands 101 m (roughly 331 feet) tall and is often mentioned as one of the most notable examples of architecture in Munich. The large cathedral exterior is supposed to mimic the shape of a tire in a race car, with the garage representing the cylinder head. Both buildings were designed by the Austrian architect Karl Schwanzer [1]. It was written about you, not to you. 'Have you seen Mrs. Pontellier? How is she looking?' he asks. 'As Mrs. Pontellier says,' or 'as Mrs. Pontellier once said.''If Mrs. Pontellier should call upon you, play for her that Impromptu of Chopin's, my favorite. I heard it here a day or two ago, but not as you play it. I should like to know how it affects her,' and so on, as if he supposed we were constantly in each other's society."

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Considered by critics as a piece made by the painter after his trip to Italy, between the years 1600 and 1608, Rubens painted three versions of this painting. The first, it is estimated, was made in 1611 and portrays the biblical passage recounted in the New Testament in the Gospel of Matthew, consisting of the command given by King Herod I to execute all children under the age of two. Edna was sobbing, just as she had wept one midnight at Grand Isle when strange, new voices awoke in her. She arose in some agitation to take her departure. "May I come again, Mademoiselle?" she asked at the threshold. I think an animal which is close to mythical is the Steller's Sea Eagle,' he says. 'While filming this documentary I met one for the first time and had it on my arm. On display at the Orsay Museum in Paris, the painting alludes to a passage from Dante’s Divine Comedy. It depicts the entrance of the poet Virgil and Dante himself in the eighth circle of hell, where they encounter counterfeiters. The condemned alchemist Capocchio is bitten by Gianni Schicchi, a real person who lived in Florence in the thirteenth century, and who was condemned to the inferno for impersonating other indentities. Of course, they are built to tear flesh. Their beauty is all about strength, speed and killing. Ted Hughes described the eagle as a "huddle-shawled, lightning-faced warrior" who "stamps his shaggy-trousered dance on an altar of blood."