For a very short time, I had a thing going for the number ten thousand and song lyrics in my titles. I’m glad that didn’t stick, but I think it’s what pushed me to choose “Tenthousandunicons” as a name for myself.
This was another assignment from Al’s Life Drawing class, which I apparently misinterpreted. We were to create a series of bodies morphing into something (remember, if you can those Animorphs book covers). I think my original idea was a werewolf or something, but something about this painting by Titian made me wanna smush those bodies together. Apparently that’s not what he wanted, but this happened anyway. The fun part about re-doing renaissance paintings, is that you’re sourcing work that sourced classical Greek art and literature. So you end up with this long twisted thread that goes back thousands of years. That is the essence of Meta-Renaissance.
This being a “life drawing” class, I stripped the figures of their clothes (even stripping the Laocoon of his serpents), except for Ariadne’s sash, which adds a nice touch of “modesty” while framing her body, marking her as important. smushing Bacchus and Ariadne together has interesting effects: she now reaches to embrace him, they stare deeply into each other’s eyes, and he seems to point somewhere off in the distance. The lovers are burdened by to tag-along partiers who just won’t give them any privacy.
I really like Titian. That’s what I tell boys when I’m too shy to say the other “L word”. Titian’s really great, for his color. I actually got to see Titian’s “Venus of Urbino” (among others) when I was in Florence. I stared at the brushwork on the embroidered cushions for far too long. In my Art History class I learned his “true” Italian name, Tiziano. Tiziano’s my boy.
I think the grouping has momentum. It’s like the instant the crash happens, just before the debris starts flying. Or maybe they’ll continue merging until they’re one solid mass. Hopefully the couples will pair off for some privacy. Though it could be fun if they shared.