HORROR AND GORE

HORROR AND GORE

HORROR

GORE

noun

1 An intense feeling of fear, shock, or disgust: children screamed in horror

1.1A thing causing a feeling of horror: photographs showed the horror of the tragedy : the horrors of civil war

1.2A literary or film genre concerned with arousing feelings of horror: a horror film

1.3Intense dismay: to her horror she found that a thief had stolen the machine

noun

Blood that has been shed, especially as a result of violence: the film omitted the blood and gore in order to avoid controversy

Origin

Old English gor 'dung, dirt', of Germanic origin; related to Dutch goor, Swedish gorr 'muck, filth'. The current sense dates from the mid 16th century.

1600's

Caravaggio

The deutero-canonical Book of Judith tells how Judith saved her people by seducing and killing Holofernes, the Assyrian general. Judith gets Holofernes drunk, then seizes his sword and decapitates him: "Approaching to his bed, she took hold of the hair of his head, and said, Strengthen me, O Lord God of Israel, this day! And she smote twice upon his neck with all her might, and she took away his head from him." (Judith, 13:7-8).

Judith & Holofernes

1598-99

Gordon Bennet

1700's

Outsider is a painting dated from 1988 by post-modern indigenous Australian artist Gordon Bennett. The painting focuses on issues of the increasing isolation Indigenous Australians feel in their own country, with the date the painting was painted in (1988) being the bicentennial anniversary of white settlement in Australia. The painting is 290 × 180 cm, and was painted on canvas using oil and acrylic.

"Outsider" was painted while Bennett was in art school. Bennett appropriates famous works Van Gogh, including "Vincent's Bedroom in Arles" and "Starry Starry Night", and uses the paintings to represent his own life. Bennett identifies with Van Gogh’s metaphysical quest for meaning and identity, in such a way that the decapitated figure could be interpreted to be either Bennett or Van Gogh.[1]

"Outsider" is a painting charged with feelings of the frustration and confusion of the Aboriginal peoples. He got his inspiration from the tragic things that happen between Indigenous Aboriginal people from Australia and the white settler.

Goya

1900's

Outsider

A Thousand Years

1988

by Damien Hirst b.1965

A Thousand Years, one of Hirst's most provocative and engaging works, contains an actual life cycle. Maggots hatch inside a white minimal box, turn into flies, then feed on a bloody, severed cow's head on the floor of a claustrophobic glass vitrine. Above, hatched flies buzz around in the closed space. Many meet a violent end in an insect-o-cutor; others survive to continue the cycle. A Thousand Years was admired by Bacon, who in a letter to a friend a month before he died, wrote about the experience of seeing the work at the Saatchi Gallery in London. Margarita Coppack notes that "It is as if Bacon, a painter with no direct heir in that medium, was handing the baton on to a new generation." Hirst has openly acknowledged his debt to Bacon, absorbing the painter's visceral images and obsessions early on and giving them concrete existence in sculptural form with works like A Thousand Years.

The Disasters of War (Spanish: Los Desastres de la Guerra) are a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.[4] In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set.

A Thousand Years

1990

James Gleeson

The Siamese Moon

1952

The Disasters of War

1812-15

Painted in the final year of the Second World War, The citadel expresses James Gleeson’s revulsion at the inhumanity and horror of war. Gleeson merges the human body with landscape in a nightmarish vision of writhing entrails and orifices rising like a cliff against a high horizon. In this painting the citadel has become a devouring monster from which there is no escape: the symbol of a world in chaos.

The Citadel

1945

Sterlarc

Goya

Sitting/Swaying for Rock Suspension

WATCHING a man being painfully impaled by 16 shark hooks and winched into the air to float above a gigantic sculpture of his own left arm complete with an extra ear is, perhaps, not an everyday event. 2012

1990

The Third of May 1808 (also known as El tres de mayo de 1808 en Madrid, or Los fusilamientos del tres de mayo[1]) is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of 1808 in the Peninsular War. Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya's suggestion.

3rd May 1808

1814-1815