Her head looks life size or maybe even slightly larger.
Zucker: Yeah, it is, you're right. It's bigger than life, but I guess after looking at the massive Marcus Aurelius crosstalk Dr. Harris: It's a bust. Zucker: But you're right, it's larger than life and it's of Medusa, so this is a Greek myth. She was one of the three Gorgon Sisters, as portrayed by the Greeks as a monster, who had hair - Dr. Harris: Made of snakes. Zucker: Snakes, yeah, and here they're writhing.
Harris: And whose gaze turned men to stone, is that right? Zucker: Yes and in fact, when Perseus beheads her, he uses the reflection in his shield, so that he can attack her without crosstalk Dr. Harris: She even, in the 19th century, comes to represent a femme fatale, dangerous. Zucker: That's right. Harris: Woman. But here she's depicted so sympathetically. Zucker: It may be the only time I've seen her less as a threat and more as almost a kind of victim. Harris: She's so baroque in that she's making this expression that looks very momentary.
We've caught her making this expression on her face and this captured sense of time. Because of the realism of the face and this expression, it makes you I want to make the expression on her face, of opening my mouth and pushing my brows together and up and as soon as I do that, you get this feeling of being very vulnerable and frightened, almost. Zucker: She's terrified of herself here. Harris: Yeah. Zucker: Imagine what it must feel like to have those snakes writhing around your head always.
Harris: And have anyone who looks at you - Dr.
Caravaggio’s Medusa to join exhibit of Utrecht Caravaggisti in Munich
Zucker: Turn to stone. Harris: What a lonely and terrible existence.
These writhing snakes that Bernini has left rather raw, compared with the polish that he's depicted her face with. Zucker: It's true, he's really smoothed the face, so it's got this brilliant sheen on especially those lips, which almost look wet, so this tension between the monster that she is and there's a humanity that suffers from that. Harris: The light and the shadow because of the drilling and the depth of the carving of the snakes around her face. Zucker: That's right, like Michelangelo carving so deeply into the mouth, even.
There's no need to carve that deeply, except to create those shadows and those contrasts, then, between light and dark. Look at the depth of those brows. The exaggeration of the nose and the lips and the chin. Harris: There's an exaggeration in her expression. Medusa Table Lamp by Olaf von Bohr, Table lamp by Gaetano Scolari, Valenti Home Furniture Lighting Table Lamps.
Want more images? About Olaf von Bohr, Austrian designer born in Composed of curved strips of white lacquered aluminium arranged in spiral and a black lacquered circular base. Details Creator.
MEDUSA PLATE #14
Olaf von Bohr Designer. Lacquered Aluminum. Good general condition. Some marks on the steel. Some minor fading of the color. Condition like the pictures. Wear consistent with age and use.
Brussels, BE. Buyer Protection Guaranteed. Our Promise To You: If you're not happy with the way an item arrived, we'll work with you and the seller to reach an optimal resolution. Read more. Rates vary by destination and complexity Request a quote.
Medusa Climbing Fest @ Samugheo | Climbing Sardinia
This item cannot be returned. View details. Generate an invoice that you can customize and print. View Invoice. About the Seller.