«Тебе, наверное, интересно, где ты оказался. Я скажу тебе, где. Скорее всего, ты в той комнате, где скоро и умрешь. До сих пор ты оставался в тюрьме, наблюдая, как другие пони проживают свои жизни. По-моему, в тебе намешано столько много качеств: ты злой и в то же время апатичный, хотя по большей части ты просто жалкий. Сегодня ты увидишь свою собственную смерть... если ничего не предпримешь.» ============
Я безумно люблю Пилу и давно задумывалась о фанарте. Но делать очередной из миллиона стадиков того знаменитого фото Крамера, что рисует каждый третий художник-фанат, я не вижу смысла, а мой стиль слишком несерьёзен для такого рода картины. Но я нашла выход.
Ещё год назад я заметила явные сходства между моим Траутом и Крамером и мне стало интересно видеть также и его окружение в ролях некоторых героев Пилы. Идея росла долго, иногда затухала. Но вчера я села своим задом на качели и меня оооооооочень сильно штырнуло вдохновение. Настолько, что я 20 раз переслушала саундрек и побежала домой рисовать. Вот что получилось.
This day in 1840, Samuel Morse received the patent for the Telegraph.
Samuel Morse had established his reputation as a portrait painter in the US. He was in Washington D.C. when he received a letter from his father that his wife was gravely ill. It was delivered by the standard, slow-moving, horse messengers. He immediately left for his Connecticut home. However, his wife was not only dead, she'd been buried, by the time he reached. Morse, devastated that it had taken days for him to receive the initial notification of his wife’s illness, shifted his focus away from his art career to improving long-distance communication.
The Telegraph was developed in the 1830s and 1840s by him and other inventors and revolutionized long-distance communication. It worked by transmitting electrical signals over a wire laid between stations. It laid the groundwork for the communications revolution that led to later inventions such as the Telephone, Fax and the Internet.
Fun fact - SOS, the internationally recognized distress signal, does not stand for any particular words. Instead, the letters were chosen because they are easy to transmit in Morse code: "S" is three dots, and "O" is three dashes.
Saint John Paul II by André Durand. Oil on canvas, 1983.
In Durand’s life size portrait John Paul II sits at an angle and turns his head. He is looking at the spectator
and appears to be about to speak. His left wrist is on the knob of the throne, the hand continuing upwards; the line of the forearm in a gesture between a blessing and an admonition. The noonday light falls directly from overhead. It highlights and shadows starkly the Holy Father’s face and hands, his massive forehead and
furrowed brow – his ferments, with a heightened realism. But in the abstracted background its trajectory is suggested schematically rather than realistically by a
series of triangles of different shades of white. The suggestion of timelessness thus conveyed is emphasised by the lack of any furniture or walls in the setting, and
by the coat of arms suspended heraldically with no visible foundations. This is a Pope of the twentieth century but still the Pope. The fact that there are probably more portraits in existence of previous Popes than of the holders of any other office may be seen as a help to the artist or a deterrent, depending on the way he looks at it. The thought of Raphael, Titian or Velasquez peering over his shoulder might deter any modern portraitist. But if he looks at their portraits for inspiration – without thoughts of emulation – he can still profit by their ideas and solutions as well as from their occasional lapses.