Leo Tanguma’s art at Denver Airport are themed on apocalyptic bio-warfare, rival world orders, and exploitation of nature and culture. The Extinction panel was said to picture the 2001 9/11 terror attacks, but was six years earlier. Archetypal features explain the similarity. The archetypal theme here is man as type 2, Builder /Ruiner.
A Rudy Gutierrez painting of a guru and musicians in dynamic, multi-sensory, surreal style, shares features with ayahuasca and peyote art. Structuralist analysis against the universal archetype model, demonstrates a high level of integration between conscious, subconscious and natural or ultimate meanings. The main theme in Musicians is type 10 Teacher, including staffs (flower stalks, guitars), metal (trumpet, guitars), market, disc (halos, spirals), council (collage), ecology (plants), and school (choir ‘buds’).
Artist Lindy Kehoe’s Serendipity Circus artwork integrates an unusually large number of general themes. This post includes some comments on her programme and style by the artist herself, and the archetypal structuralist analysis of one of her works.
Durer’s engraving of Melancholy expresses several general themes, as indicated by extra features of several types, attached to several types. These features also happen to be part of the optional features of several types, and thus archetypally ambiguous.
Some of Nicholas Poussin’s works are part of the Rennes area mysteries. His father was uncle of Baron Arques, and financial advisor to Couiza’s Duke Anne. Poussin painted two scenes of shepherds at a tomb with Virgil’s Roman epitaph, citing the proverbial Greek Arcadia with its annual fires as metaphor for afterlife, ending thus: “I have sung of pastures, country-sides and leaders, also in Arcadia I lived.” The last phrase became a popular epitaph, implying heaven and hell in life, and in afterlife. This post demonstrates archetypes in Poussin’s ‘Et in Arcadia ego’ painting.
The back wall of St Magdalene church in Rennes le Chateau is dominated by a relief group of Christ’s Sermon on the Mount. Abbe Sauniere had contracted artists from Italy to paint commercial casts of statues, dictating some background scenes and revisions, apparently to transpose Biblical episodes into a localised landscape ‘sermon’. Archetypes in the relief group artwork are listed, and compared to three other Sermon artworks (by Gustav Dore, Bloch, and another), in this article from Stoneprint Journal 6.
Four bronze plaques by Cibber, on the four sides Nelson’s Column in Trafalgar Square, London, picture the four main battles of Admiral Horatio Nelson. Each plaque also expresses the standard, universal, subconscious structure of visual art, named mindprint (Furter 2014), as demonstrated below. The structure, unknown to artists and art historians, includes the standard set of twelve to sixteen archetypal features; in the standard peripheral sequence; with their eyes or focal features on an axial grid; and with limb joints or junctures at certain polar points.
Artists are not aware that all artworks in all cultures follow a strict visual ‘grammar’, despite the apparent diversity, and distractions of subject and styling. The core content of art, myth, and ritual, is identical in all cultures.
Lebanese mystic Doctor Dahesh painted some Biblical metaphors of spiritual themes. Naturalistic figurative styling by Arabic-speaking artists is rare after the iconoclast ban imposed by Islam. Structural analysis of the work of this sage, reveals many of the universal, collective subconscious typology of attributes, in the standard sequence, on the standard ocular (eye-to-eye) axial grid, with the standard polar features marked by some limb joints, relative to the cultural Age.