Mendacia Ridicula (and summer news)

When I created my etching based on Goltzius’ Phaethon in 2011, little did I realize that I would continue this theme over the years and appropriate, one by one, and for my own nefarious purposes, each of his four engravings from the series known as The Four Disgracers. In keeping with Goltzius, who used fallen figures from classical Greek myths to disparage the arrogance of Phillip II of Spain, who was trying to subjugate the Netherlands at the time, I have utilized his images (which were actually based on the original paintings of another artist, but certainly stand on their own merits) to reflect on some of our current curses of humanity.

The Four Disgracers
Hendrick Goltzius

So, the fourth work from Goltzius’ series representing the fall of Ixion has been completed. It is titled MENDACIA RIDICULA (the Wheel of Ixion), and is based on the most complex and detailed of his four engravings. The impetus for creating this final work really came from my discovery of the translation into English of the Latin text encircling the original image. Aside from tweaking the rather clumsy translation and adding one detail at the end, my text pretty much follows the original, word for word. Lamentably, the muse Clio has the unfortunate habit of repeating herself, but her ashcan is ready and waiting. And as regard to the demand for civility in public discourse by the current dominant political organization enabling insanity, I can only reply; “Mendacia Ridicula”.

MENDACIA RIDICULA (the Wheel of Ixion)

As we all know, Ixion was redeemed and invited up to Olympus by Zeus after committing some rather unsavory crimes against his mortal brethren. In keeping with his character, once among the gods, he lusted after Zeus’s wife, Hera, and when Zeus realized this, he created a “dark (Stormy?) cloud” in the likeness of Hera, with whom Ixion proceeded to have intercourse. Needless to say, when he subsequently boasted about his supposed conquest, he was punished (tied to the spinning wheel of Ixion for eternity). However, the sexual encounter was unprotected, and depending on your preference of myth, the dark cloud (Nephele) either gave birth to the race of Centaurs, or to a deplorable individual who was responsible for fathering them. (I’ll leave it to your imagination as to how that was accomplished). In spite of Uncle Walt’s bucolic version, it’s doubtful that the ancient Greeks took this as a good thing.

MENDACIA RIDICULA (the Wheel of Ixion) is an etching, 6” x 6”, printed on Van Gelder Simili Japon paper in an edition of 30. In addition to offering it for purchase at the price of $400.00, I am making the set of four (The Four Destructors; The Four Deplorables?—we’ll see) available for $1350.00, which is a discount of $230.00 from the full price of $1580.00.

The other etchings in this set are:

Safe, Clean, Cheap–Phaethon in the 21st Century 

Too Close to the Sun

Running on Empty

Summer News:

This year I have received my second purchase award from the 31st McNeese Works on Paper Exhibition, the third Place Award from the Texas National 2018 Competition (1000 entries!), and my work “A Ticket to Ride…” was acquired by the Nelson-Atkins Museum of Art. In August I will be showing work in “Stand Out Prints” at the Highpoint Center for Printmaking (900 entries!) and “Pressing Matters” at the San Luis Obispo Museum of Art. Stay tuned for info about Fall Open Studios and the Art for Aids Auction (Das Narrenschiff).

Running on Empty

As promised, a new etching based on the engraving Tantalus from the 16th century by Hendrick Goltzius has been completed this summer, and is titled Running on Empty. This is the third in a series of four, and who knows when the fourth will be done, as I adamantly refuse to entertain the possibility of ever doing another one of these again each time a new one is completed.

As you will remember (!), Tantalus, a mortal fathered by Zeus, had, among his other indiscretions towards the gods, decided to kill, dismember, and boil is son Pelops, and serve him at a banquet for the inhabitants of Mt. Olympus, to test whether they were actually omniscient. It was a mistake. They were.

His punishment was to be made to stand in a pool of water that receded every time he tried to satisfy his thirst, and to stand under a tree that pulled away its branches whenever he tried to pluck any fruit. (In ancient Greece, cannibalism and the killing of kin were considered to be among the worst atrocities one could commit). Of course, I have replaced the fruit tree with a gas pump nozzle (see lower right). Does the denial of science in the name of commerce render the balance of nature oblivious to the cannibalization of our children’s future?

See image and info on my website: http://www.davidavery.net/prints/empty.html

This spring I had a very successful exhibition at the Sarratt Gallery at Vanderbilt University in Nashville, and will once again be participating in San Francisco Open Studios at John Gruenwald Press, which will take place on the second weekend, October 22nd and 23rd. Stay tuned for more information.

Sarratt Gallery
Running on Empty

Too Close to the Sun

Too Close to the Sun, my most recent etching, is now available and has been selected from over 3000 prints to be shown along with work from 28 other artists at the IPCNY’s New Prints 2014/Winter exhibition from January 22nd to March 12th, 2014. It was also accepted into the 2014 Delta National Small Prints Exhibition from January 30th to February 28th, 2014.

Too Close to the Sun is based on the 16th century engraving of the fall of Icarus by Hendrick Goltzius from his series, The Four Disgracers that depicted the results of blind arrogance and ignorance in the face of the inexorable forces of the gods and nature. Safe, Clean, Cheap—Phaethon in the 21st Century, which can be seen on my website, was my previous attempt in this vein. I have adapted the work of Goltzius, which was created at the time to comment on the excesses of Phillip II in oppressing the Netherlands, to reflect on current curses of humanity that have been created for our own good by people who know what’s best.

A final note—due to the all-encompassing forces of supply and demand as exemplified by the Invisible Hand of the Marketplace, as of the end of January the price for the etching (not the book) Obeliscolychny will be $1000.00.

 

Too close to the Sun