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PostPosted: Fri March 8th, 2013, 12:17 GMT 

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Mutabor wrote:
The difficulty is how to get a life of its own into a flat picture.
Mutabor wrote:
Some of his pictures walk while with others you find yourself standing there asking: "why do these ladies look so... wooden? stony? unfleshy?" I am sure he is aware of that too, one cannot paint so long and so much and look at other peoples paintings without getting a certain eye for these things.
i am thinking that he made the decision to make them wooden and stony on purpose because that's the feeling he was expressing, just like the magazine revisions- the way they are painted is a decision, not because he is a student


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PostPosted: Fri March 8th, 2013, 14:02 GMT 

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ifitwastruetennessee wrote:
Mutabor wrote:
The difficulty is how to get a life of its own into a flat picture.
Mutabor wrote:
Some of his pictures walk while with others you find yourself standing there asking: "why do these ladies look so... wooden? stony? unfleshy?" I am sure he is aware of that too, one cannot paint so long and so much and look at other peoples paintings without getting a certain eye for these things.
i am thinking that he made the decision to make them wooden and stony on purpose because that's the feeling he was expressing, just like the magazine revisions- the way they are painted is a decision, not because he is a student


I doubt it. Had he done that, one would see it and be amazed. The point is, these pictures do mostly NOT express any feelings. They don't have to, mind you. But some of them do also not inspire feelings other than "amazing! It's Bob Dylan who held the brush!". While some, as I said can walk by themselves and one forgets about that Dylan thing.
It might be hard to accept, but he is an artistic man yet not a genius in everything his hand touches.

The ladies I mentioned refer to one of the first pictures of the exhibition, two nude woman from the rear, which I was looking forward to because they look quite nice in the fotos I've seen. I felt simply dissapointed by the reality of the picture.


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PostPosted: Fri March 8th, 2013, 23:08 GMT 

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when i look at the paintings they seem kinda haunted... maybe that's not the right word. the paintings are hard to see on the computer and my eyes can play tricks on me sometimes. maybe he will show these other places some day-i would like to see them


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PostPosted: Sat March 9th, 2013, 09:56 GMT 
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I would like if there was a catalogue, not sure why they don't have one this time....


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PostPosted: Sat March 9th, 2013, 10:20 GMT 
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["mutabor"=quote]
I doubt it. Had he done that, one would see it and be amazed. The point is, these pictures do mostly NOT express any feelings. They don't have to, mind you. But some of them do also not inspire feelings other than "amazing! It's Bob Dylan who held the brush!". While some, as I said can walk by themselves and one forgets about that Dylan thing.
It might be hard to accept, but he is an artistic man yet not a genius in everything his hand touches.

The ladies I mentioned refer to one of the first pictures of the exhibition, two nude woman from the rear, which I was looking forward to because they look quite nice in the fotos I've seen. I felt simply dissapointed by the reality of the picture.[/quote]


The lifeless, unemotional quality is one of the most disturbing things about them - and not in a good way. Not every portrait or still life has to be celebratory - but what is present in these dark, muddy, wooden paintings when celebration or even a sense of living are absent?


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PostPosted: Sat March 9th, 2013, 17:38 GMT 

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the_revelator wrote:

The lifeless, unemotional quality is one of the most disturbing things about them - and not in a good way. Not every portrait or still life has to be celebratory - but what is present in these dark, muddy, wooden paintings when celebration or even a sense of living are absent?


The depressed and/or alienated state of the artist? Funny that the one I found the best of them all shows a man alone, facing the public while couples disappear behind him two by two into a lighter room...


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PostPosted: Sat March 9th, 2013, 20:17 GMT 

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there is a tenseness and perilousness in them- a sort of dreamlike quality and energy about them


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PostPosted: Mon March 11th, 2013, 00:21 GMT 
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ifitwastruetennessee wrote:
there is a tenseness and perilousness in them- a sort of dreamlike quality and energy about them


well-said tennessee


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PostPosted: Tue March 12th, 2013, 02:05 GMT 

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thanks bobschool- i realize i know little to nothing and i was thinking about these paintings, so yesterday i read a little about oil painting- underpainting and overpainting, stuff like that- pretty interesting


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PostPosted: Sun March 17th, 2013, 16:47 GMT 

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I now think that these paintings where like "Tempest" (the song) on canvas. It would maybe have been a better idea to show them in a big bar, Dylan music playing softly in the background, where people could have sat and just been with them, sitting, talking, in a more relaxed atmosphere.


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PostPosted: Sun March 17th, 2013, 17:33 GMT 
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Mutabor wrote:
I now think that these paintings where like "Tempest" (the song) on canvas.


I thought about that, too, but as the overall album. As with Tempest, it seems he didn't pursue the original idea all through the project. Many of the images have no direct obvious connection to New Orleans, and we know that some of the photos behind them were taken elsewhere.


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PostPosted: Sun March 17th, 2013, 17:46 GMT 
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Johanna Parker wrote:
Mutabor wrote:
I now think that these paintings where like "Tempest" (the song) on canvas.


I thought about that, too, but as the overall album. As with Tempest, it seems he didn't pursue the original idea all through the project. Many of the images have no direct obvious connection to New Orleans, and we know that some of the photos behind them were taken elsewhere.

Maybe the term New Orleans isn't meant so literally, so black and white.
There may be some free flowing, undisciplined, flexibility allowed.


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PostPosted: Sun March 17th, 2013, 22:03 GMT 

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The paintings are clearly not a documentary of New Orleans, they provide an atmosphere that could have be in New Orleans (I've never been there). They deal with the human condition, like Tempest, the song. Or so many, if not all of his songs, of course.


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PostPosted: Mon March 18th, 2013, 02:59 GMT 

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he places the viewer very close to many of the paintings …they seemed flat at first, but i see much more in them now. i find these paintings amazing… even though i am bothered by some of the imagery


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PostPosted: Mon March 18th, 2013, 07:46 GMT 
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Mutabor wrote:
I now think that these paintings where like "Tempest" (the song) on canvas. It would maybe have been a better idea to show them in a big bar, Dylan music playing softly in the background, where people could have sat and just been with them, sitting, talking, in a more relaxed atmosphere.




Interesting idea. Do you want to elaborate on how you view the paintings as resembling the song?


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PostPosted: Mon March 18th, 2013, 11:48 GMT 

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maybe like the prospero speech in the tempest-
We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.

remember dylan's remark about these paintings- what you see depends on your perspective, kind of like his songs:
I paint for people almost like a tailor makes a suit for someone.


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PostPosted: Mon March 18th, 2013, 15:54 GMT 

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I wished I would like these paintings but I don't.

The hand and arm of the lady in one picture and the leg of the girl in the other picture are really grotesque. Those are not technical flaws, they are symptoms of amateuristic, meagre skills.


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PostPosted: Tue March 19th, 2013, 08:34 GMT 
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Mutabor wrote:
The paintings are clearly not a documentary of New Orleans, they provide an atmosphere that could have be in New Orleans (I've never been there). They deal with the human condition, like Tempest, the song. Or so many, if not all of his songs, of course.



They may not refer to the place New Orleans in a literal way. They may refer to an idea he has about New Orleans or a private memory he has of something that occurred there. I often think he isn't being literal about anything.


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PostPosted: Tue March 19th, 2013, 10:36 GMT 
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the_revelator wrote:
Mutabor wrote:
The paintings are clearly not a documentary of New Orleans, they provide an atmosphere that could have be in New Orleans (I've never been there). They deal with the human condition, like Tempest, the song. Or so many, if not all of his songs, of course.



They may not refer to the place New Orleans in a literal way. They may refer to an idea he has about New Orleans or a private memory he has of something that occurred there. I often think he isn't being literal about anything.

Exactly...


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PostPosted: Tue March 19th, 2013, 18:34 GMT 

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the_revelator wrote:
Mutabor wrote:
I now think that these paintings where like "Tempest" (the song) on canvas. It would maybe have been a better idea to show them in a big bar, Dylan music playing softly in the background, where people could have sat and just been with them, sitting, talking, in a more relaxed atmosphere.




Interesting idea. Do you want to elaborate on how you view the paintings as resembling the song?


Well, the song as well as the exhibition put a flashlight on certain scenes with people on a certain place, in a certain time. The singer is a somewhat distant onlooker, that comments what is happening. Distant I mean in terms of place, not emotion. It is an evening in New Orleans. Somebody lights a cigarette in a workshop. Some people are making a film. Somebody has sex, somebody else too, some people sing in a church, the minister stands behind a child, a man leads a blind man down the road etc.etc. The problem is that in a song all those different scenes come together through rhyme and rythm, whereas pictures normally form stand-alone works of art. It is also not a movie, but I feel that he is trying to get action into the pictures, and a sense of different things happening at the same time, like facets.
I could immagine that he goes :evil: :roll: :evil: about people seeing amateurishly painted legs, penises and arms, whereas perfect painting of human limbs is not at all what he is trying to achieve. To me, only a few pictures could be hanged on their own and make a good impression (Dance hall! It is really good!) but all or several of them together in a bar, a club - and Dylan music playing in the background would be great. He does insist that people do not love him, they love his songs as I read somewhere. He is mistaken. The perspective he has on the world shapes all his output and cannot really be separated from him.


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PostPosted: Tue March 19th, 2013, 23:27 GMT 

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there are some things about these paintings i have been debating about mentioning for awhile… does anyone else see a woman’s(?) face in the background of the painting of the two women - located slightly above the grey haired woman’s hand, (on the right) or i am imagining things :shock: :oops:

http://www.repubblica.it/images/2013/02 ... 1387cb.jpg

http://www.repubblica.it/images/2013/02 ... b1819a.jpg

http://www.repubblica.it/images/2013/02 ... ab0684.jpg


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PostPosted: Tue March 19th, 2013, 23:46 GMT 
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ifitwastruetennessee wrote:
there are some things about these paintings i have been debating about mentioning for awhile… does anyone else see a woman’s(?) face in the background of the painting of the two women - located slightly above the grey haired woman’s hand, (on the right) or i am imagining things :shock: :oops:

http://www.repubblica.it/images/2013/02 ... 1387cb.jpg

http://www.repubblica.it/images/2013/02 ... b1819a.jpg

http://www.repubblica.it/images/2013/02 ... ab0684.jpg



I see exactly the same...
:roll: :shock:


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PostPosted: Wed March 20th, 2013, 00:05 GMT 
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I see a dog and another person on the other side of her! :shock:


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PostPosted: Wed March 20th, 2013, 00:08 GMT 
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That makes me wonder a couple of things....if the original image has the women standing in a window, or are they in front of a mirror. It also could be that a new painting was painted over an old one or went a different direction than the original idea.


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PostPosted: Wed March 20th, 2013, 00:22 GMT 

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everyone might have a different take on it... kind of like looking at clouds, or the songs. i haven't seen the paintings in person, but there are things i've noticed in some of the other paintings too ... so hard to know what is what on the computer.


Last edited by ifitwastruetennessee on Wed March 20th, 2013, 00:27 GMT, edited 1 time in total.

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