COMPARATIVE STUDYIT’S ALL GREEK TO ME…

BY ADELE BERTSCHY IB2 CANADIAN INTERNATIONAL SCHOOL OF BANGALORE, INDIA

Herbert Draper The Lament of Icarus 1898 Oil paint on canvas Support: 1829 x 1556 mm Frame: 2400 x 2185 x 240 mm

Fig. 2

I selected the three artworks presented on this page because they come from different time periods, political systems and cultural backgrounds. The materials and presentation are varied.

The subject matter is the linking element: Icarus and the Hubris of man, Narcissus and his all consuming ego, Nike and her elusive nature.

I also have a personal connection to two of the pieces. The Winged Victory of Samothrace is at the Louvre and as I lived in Paris, I was able to see it in person. I also visited the Salvador Dali museum in Montmartre.

I welcomed the opportunity to learn why these artists were using Greek Myths and what messages they were trying to communicate.

Unknown The Winged Victory of

Samothrace C. 190 BC

Marble Height: 3.28 m

Salvador Dali The Metamorphosis of

Narcissus 1937

Oil paint on canvas Support: 511 x 781 mm

Frame: 820 x 1092 x 85 mm I have grown up hearing many Greek myths, as my mother used to tell them to us on our walks to school. In these stories I was always struck by the very human quality of the greek Gods and stories. Jealousies, revenge, and ego all presented a very different image of God(s) than the Catholic church I was raised in.

And yet, in a way, these Gods seemed more real. It was easier to relate to them. Perhaps that is why I am still intrigued by the myths. And I am not alone in my interest. Throughout different times and in different cultures people continue to explore Greek Mythology and the messages they convey.

Fig. 2

Fig. 1

Fig. 3

THE LAMENT OF ICARUS Formal Analysis

Three central figures lie on this diagonal, Icarus and two of the nymphs.

Main triangle. The viewpoint is that of a spectator, and we are looking from above, inviting the viewer to feel drawn into the scene.

Realistic proportions and realism of figures.

Contrasting colours of skin tones of the fair nymphs and the sun-kissed Icarus, creating a a silhouetted contrejour. Yet the colours harmonise as they are both warm tones.

Both the body of Icarus and his wings droop, like a dead flower.

The left wing is falling from flight whereas the right wing seems broken. The wings resemble those of a butterfly.

A bright triangle of active colours of light are the background. This links to the fair skin colour of the nymphs. The farthest point in the painting is the brightest whereas the darkness and more passive colours are in the foreground.

The artist uses the setting sun as a source of soft, warm lighting.

Horizon line creating depth of space in the painting.

The rule of thirds is a grid with 2 horizontal and 2 vertical lines each at 1/3 from the edge. A central composition putting the bottom nymph on the intersection of two line of thirds.

The portrait format and dimensions being 1829 x 1556 mm overwhelms your field of vision.

The atmosphere feels calm, cool and dreamlike although there is something disturbing since Icarus is dead.

Size and AtmosphereHigh tonal contrast, with a wide range of mid tones.

The use of oil paint on canvas makes the colour opaque.

Tone and Sfumato

Rule of thirds

Viewpoint

Proportions and tones of figures

Light source

The composition is harmonious, and planned. There is a balance of colour and the shapes are placed in relation to the frame.

Composition

The painter appears to have used a sfumato effect - “fine shading that produces soft, imperceptible transitions between colours and tones.” ("Sfumato | Painting Technique." Encyclopedia Britannica Online)

Warm palette of colours used: shades of yellow and brown.

Shape of wings

Icarus’s right hand is limp, in a position suggesting the dead neck of a bird, which could be considered as a metaphor of his death. The shape of his hand is echoed by this nymph’s hand, creating a dynamic S shape.

Movement

THE LAMENT OF ICARUS Function and Purpose (Interpretation) This is a narrative piece portraying the myth of Icarus. The classic tale of Icarus is as follows: Icarus and his father Daedalus were thrown in a pit. To escape, his father created two sets of wings made from candle wax and from fallen bird feathers. When Icarus was given the wings, Daedalus warned him to stay close and not fly too high, else the sun would melt his wings. At first Icarus listened, but then he got carried away, his wings melted, and he fell to his death.

The moral is a warning against the hubris of man. Hubris: “In literature, a character with this pride ignores warnings and laws and this usually results in their downfall and death.”(“Hubris: Learner's Dictionary”) Icarus had been warned, but was pulled by an urge so strong he couldn’t resist. His need over-rode the advice of his father, and his hubris led to his downfall.

This painting is specifically about the tragedy of Icarus’s death. There are only 4 compositional elements - the dead body of Icarus and the three nymphs surrounding him. This simplicity leads the viewer’s eye towards the central figure; Icarus’ dead body.

In direct contrast to a Greek Myth told in England in the 1800’s, where the story is remote in culture, and time, and of unlikely reality, the bodies here are painted with anatomical precision. Icarus’s wings are shown intact, although he fell to his death because his wax wings had melted. The body of Icarus is also undamaged after falling from a great height. Both appear realistic, yet are inconsistent with the telling of the tale. This is a romanticised vision of the fallen Icarus- portraying the corpse without any of the bodily consequences of plummeting to death. It was painted in 1898, during the Victorian era, and though painted at the end of that era, reflects the early influence of Italian Renaissance on the Royal Academy of Arts where artists strove to “make the subject of their work appear as noble and idealised as possible.” (“Victorian Painting”)

The reason for this depiction of Icarus could be that it is easier to identify with and lament for a perfect youth than shattered remains. The colour palette used is warm and soft, typical of romanticist paintings. The setting sun symbolises the passage of time or fate, and shows that this is the conclusion of the tale. Icarus’ skin looks tanned and sun-kissed, rather than burt. The soft and delicate treatment of the nymphs’ bodies communicate the fragility of their existence. The musical instrument held by one of the nymphs suggest a melody was being played prior Icarus’ arrival. “They flock around him confused and distraught as though they had never been so close to death before; […] The third nymph does not get too close to Icarus; she is curious but mourns from a distance. She is not as overwrought as her friends as she has seen this pity before – a death by ambition by one so young. So instead of fondling his remains, she looks on him solemnly, the knowledge of death being her one regret of eternal life.” (Quade)

THE LAMENT OF ICARUS Herbert Draper, was born in England 1863 (or 64) and died in 1920. ("Herbert Draper, 'The Lament for Icarus’ ") The Lament of Icarus was made during the Victorian era (1837-1901). The reaches of the British Empire were vast. (Evans) During the Victorian Era, people are reputed to have been, for the middle class, “prudish, hypocritical, stuffy, [and] narrow-minded.” ("The Victorian Period")

This can be seen in The Lament of Icarus through its conservative representation of nudity. It is suggested that the nymphs are nude, yet their bodies are only half exposed and breast and genitals are not visible. In the same way, Icarus is covered with rags.

Cultural Evaluation

Draper’s audience were Christians, and their perception of this painting would draw a parallel between Icarus and Christ. The Pieta on the left, by Sir Anthony Van Dyck, was painted around 1629 (“Pieta, C.1629 - Sir Anthony Van Dyck”) and would be a familiar style of image to Draper’s viewers. The painting portrays Jesus after he is taken down from the cross. He is surrounded by Mary, who is behind him looking to the heavens, and Mary-Magdalene who is embracing his hand. There is a strong link visually between the two paintings.

In this context, Icarus symbolises Jesus, and two of the nymphs tending him become Mary and Mary-Magdalene. Perhaps the visual similarity between The Lament of Icarus and Pieta is to highlight the contrast in their tales. Where Jesus dies for the sins of humanity, in order to rise again, Icarus falls due to conceited human ego and will never rise again.

Fig. 4

Winged Victory contains realistic proportions. The curving graceful flow of the lines emphasise the form of her body. The intricate detail of her flowing garment is responding to the wind that would have been cutting over the prow of her ship.

Freestanding sculpture meant to be viewed from all sides. Harmonious proportions. Her head is absent, as well as her arms.

The Winged Victory of Samothrace is an exquisite piece in which the beauty lies in the forward movement of the body and flow of her garments created through the carvings in the marble. The figure slices through space. Her chest is forward and lifted implying immanent movement or a step in progress or perhaps recent landing as her wings are spread. “Her legs, torso, and wings create a series of boldly opposing diagonals that enhances the impression [the statue] gives of being in motion.” (Kinnee)

Monochromatic, as the same marble was used for the whole body of the statue - primrose or yellow ochre earthy colour. The active colour gives it a sense of movement.

She is now exhibited at the Louvre at the top of a staircase. The viewer climbs the steps where she dominates the height. She overwhelms our field of vision standing 3.28m tall. The sculpture is exhibited on a plinth resembling the prow of a ship.

The marble statue creates shading and lighting through its carving. The natural lighting from her outdoor setting would have created extreme shadows and highlights. Lighting would have changed throughout the day as the sun rose and set.

Smooth polished Parian marble the most sought after due to it’s “clearness, limpidness and its ability to capture the light.” ("Marble of Paros Island - Greeka.com”) The Winged Victory is incredibly well preserved as the detail is still extraordinary and she is over 2000 years old.

Proportion

Shape and Form ColourTone - Light source

Medium

Size

Movement

Fig. 5 Fig. 6 Fig. 7 Fig. 8

Formal Analysis THE WINGED VICTORY OF SAMOTHRACE

Function, Purpose and Cultural Evaluation This piece is allegorical; the Winged Victory is used to symbolise a deeper moral or spiritual meaning. The Winged Victory of Samothrace has been created as homage to Nike (the goddess of victory). She was an incarnation of Victory herself as she lands on the prow of an implied ship. One theory is that the sculpture stood in the niche of a hill overlooking a bay. Villagers payed homage to the Nike Goddess which guaranteed protection of the sailors and was said to scare enemies.

Portraying Nike as a human figure was common in Ancient Greece. All of the Greek gods and goddesses were portrayed as human, including human traits, but were humans perfected. The scale of this Nike, and the majesty of her wings convey her power and divinity. In Greek religion it was common to pray to and give thanks to the Gods for success in ventures. And if the homage was not sufficient the Gods were quick to anger and punish.

The quality of the marble, the exquisite nature of the carving, and the scale of the project reveal the wealth and importance of the victory it celebrates- either past or anticipated. These details are lost to history. When she was found in Samothrace, a small island in the Aegean sea, in 1863, nothing else was found with her besides pieces. (Marie-Bénédicte) Her arms and head were already missing, though her posture and recent proposed illustrations indicate that she would have been carved with both.

The left side is more intricate than the right, some theories suggest that this is because “the work was was meant to be viewed from the front left-hand side.” This would depend on the angle of approach of the viewer as they approached the niche she is thought to have occupied. Since this piece was created more than 2000 years ago, all information, including the name of the artist is speculative.

One theory suggests: “The Nike of Samothrace is a Pergamene dedication memorialising the Pergamene-engineered Roman capture in 166 BC of King Perseus, last of the Macedonians, at the island of Samothrace itself. The sculpture therefore belongs to the Attalid tradition of generosity, intellectualism, and claim to the Classical Athenian role as saviour of Greek civilisation.” (Kinnee) As the tentative date of creation is circa 190BC this event would not be possible. Regardless of the actual event, this winged Nike is a formidable homage to success.

THE WINGED VICTORY OF SAMOTHRACE

The Louvre’s placement of the statue at the top of the stairs, means that the viewers come from below, and even when numerous they remain insignificant.

The serene symmetry of this new wing at the Louvre creates a sense of peace and prayer, duplicating the feeling of a procession through a church nave, with the Winged Victory always visible above as is Christ on the Cross.

Is this parallel a coincidence? Or is the Louvre intentionally drawing just such a cultural comparison? And to which aspect of the Winged Victory are they creating homage? Antiquities Gods? Or a great work of Art?

There have been speculations and reconstructions of what the statue once looked like, based on the position of her shoulder and the “right hand found in 1950” (Kinnee). Some suggest she is calling out victory with her hand around her mouth, while other theories suggest she is holding a spear or a trumpet. (Kinnee)

Figure 11 is an illustration of one potential reconstruction. This drawing shows her not holding anything but waving, or issuing a blessing. The winged victory today is exhibited in The Louvre, in Paris, and has been given a whole space of her own. She is recognised today as a masterful work of art, her religious inspiration and homage secondary.

Fig. 10 Fig. 11

Fig. 9

Function, Purpose and Cultural Evaluation THE WINGED VICTORY OF SAMOTHRACE

THE METAMORPHOSIS OF NARCISSUS Formal Analysis

Dimensions of painting follow the rule of thirds. The intersections of the lines do meet at crucial points drawing in the eye to the focal points.

In the double imagery, one sees a colour contrast. Warm colours on the left, symbolising the liveliness of Narcissus vs. cold colours on the right, which commonly represent the colours of the inanimate objects.

Horizon line, passing right through both lines of thirds and right between the head/egg, and finger/ leg.

Through the central axis there’s a symmetric composition.

The vertical centre of the figures both pass through the line of thirds.

Patches of cold colours on the warm side and warm colours on the cold side.

Narcissus is seen in the background being adored by a group of young beautiful women.

Dali juxtaposes multiple elements in this painting, some are more abstract and symbolic, typical of a surrealist painting. For example, the dog eating meat, the cliff merging into the sky, the checkerboard, figure standing atop on a black and red box, and others that are so far in the background that they are hard to identify.

From the edge of the body of water, images are reflected precisely in the still water.

Large figures in the foreground with traditional horizon line and perspective. Small figures and details in the background recount details of the story of Narcissus.All figures are painted in a realistic style.

Salvador Dali uses his personal language and symbols, such as the eggs and ants. ("Surrealism Movement, Artists and Major Works")

Symmetry and Reflection

Rule of thirds

Color

Foreground and Background

Support: 511 x 781 mm Frame: 820 x 1092 x 85 mm

Size, Medium

Juxtaposition and Surrealism

Oil Paint on canvas

Symbols

“Dali’s poem, below, accompanied the painting when it was initially exhibited:

Narcissus,in his immobility,absorbed by his reflection with the digestive slowness of carnivorous plants,becomes invisible.There remains of him only the hallucinatingly white oval of his head,his head again more tender,his head, chrysalis of hidden biological designs,his head held up by the tips of the water's fingers,at the tips of the fingersof the insensate hand,of the terrible hand,of the mortal handof his own reflection.When that head slitswhen that head splitswhen that head bursts,it will be the flower,the new Narcissus,Gala - my Narcissus.”

("Dali, Metamorphosis of Narcissus")

THE METAMORPHOSIS OF NARCISSUS Function and Purpose (Interpret)

Dali wrote a poem that inspired this painting. The painting became a visual accompaniment, the two to be interpreted together. This was an unusual approach, even for Dali.

Dali’s poem explicitly refers to the Greek myth of Narcissus. In the traditional tale, Narcissus is a handsome young man who scorns the love he inspires. Aphrodite curses Narcissus with self-love- he literally becomes enamoured by his own reflection and ignores bodily needs until he dies. The narcissus flower blooms in his place as a memory to him.

Dali deviates from this tale with his focus on the ‘white oval of his head’ that eventually becomes a cracked egg which gives birth to the flower. In Dali’s personal language, the egg symbolises “hope and love” and the ants are symbols of “death and decay.” (“Dalinian Symbols”)

He uses them in his other works as seen in “The Persistence of Memory (1931)” Fig. 12 (“Salvador Dali The Persistence of Memory 1931”) or in “Geopolitics Child Watching the Birth of The New Man (1943)” Fig. 13 (“Geopolitics Child Watching the Birth of the New Man”).

Dali focused on unifying the subconscious mind with the conscious one. “The Paranoid-Critical method is a Surrealist method used to help an artist tap into their subconscious through systematic irrational thought and a self-induced paranoid state.” ("Paranoid Critical Method: Salvador") “Dali believed that when people viewed his work, there was a subjective understanding of his work as the subconscious has a symbolic universal language. Simply viewing his work would evoke the mind of the viewer to experience unconscious acts.” ("Paranoid Critical Method: Salvador” ; “Paintings”)

Dali still believed in the formal painting of these abstract concepts, hence the painting style resembles “hand painted dream photographs.” ("Salvador Dali - The Paranoid Critical Transformation Method") “Dali said: “My whole ambition in the pictorial domain is to materialise the images of my concrete irrationality with the most imperialist fury of precision…” (“Paranoid Critical Method: Salvador”). In other words to paint realistically his own fantasies.

Fig. 12

Fig. 13

THE METAMORPHOSIS OF NARCISSUS Cultural (Evaluation)

Salvador Dali (1904 - 1989)

The Metamorphosis of Narcissus, 1937, is a surrealist work. Dali remained a critical figure in the surrealist movement until about 1942. ("Dali Biography")

The “Manifesto of Surrealism” was published by Andre Breton and in which he states that “surrealism is the a pure state of mind that allows someone to express thoughts freely and without the encumbrance of rational thought and societal rules.” (Linde)

1937 was between the two European World Wars. This was a time where traditional roles and values were questioned. War is a time of chaos, random death and nonsensical violence. Rational explanations can not justify the casualties. Meaning was searched for, not just by artists, but by philosophers and thinkers. A greater common understanding between men was looked for and identified as the ‘subconscious’. “Sigmund Freud emphasised the importance of the unconscious mind, and a primary assumption of Freudian theory is that the unconscious mind governs behaviour to a greater degree than people suspect. Indeed, the goal of psychoanalysis is to make the unconscious conscious.” (McLeod)

When Dali met Sigmund Freud in London in 1938, Dalí took The Metamorphosis of Narcissus with him, as an example of his work. He was excited to share the success of his revolutionary technique, the “Paranoid-Critical” method. Dali also brought along an article he had written on paranoia. (Riggs) “Freud wrote the following day to Stefan Zweig, who had introduced them, that 'it would be very interesting to explore analytically the growth of a picture like this’.” (Riggs)

Dali is using this painting to explore an entirely new concept, that of painting using the subconscious mind, and yet, he is using a Greek Myth to do so. This confirms the universality and continued relevance of these tales.

Sigmund Freud (1856 - 1939)

Fig. 14

Fig. 15

The Lament of Icarus (1) (1) —— > < —— (2) The Winged Victory of Samothrace (2) (2) —— > < —— (3) The Metamorphosis of

Narcissus (3) (3) —— > < —— (1)

Size - 1829 x 1556 mm - midsize Sun as light source Size - 3.28m - biggest Distribution of body weight - resting on one knee

Size - 511 x 781 mm - smallest Oil paint on canvas

Year - 1898 The focal point is in the centre Year - C. 190 B.C. Year - 1937 Horizon Line

Atmosphere - Cool and calm atmosphere Easily read Atmosphere - DominanceColour palette - sculpture and left hand side of Narcissus painting

Atmosphere - Still Tragic mythological heroes

Style - Typical of Victorian Era Realism Style - Classical Greek Style - Surrealist Perspective

Viewpoint - From above Representing a figure who flew Viewpoint - From below No feet, hands or face of the body Viewpoint - Eye level Background and Foreground

Palette - Reduced to shades of the sun Draping - Wings / clothing Palette - Monochromatic Palette - Use of full colour spectrum Complete State

Composition - Central Harmonious and simple compositions Composition - Central around figure Composition - Double Imagery Representation of death

Line - Triangular configuration / Diagonals

Line - Carvings creating movement Line - Central Axis / Symmetry / Reflection

Rule of thirds

Representing - Icarus Representing - Greek Goddess Nike Representing - Narcissus

Metaphor - Limp hand representing death

Paradox of movement and stillness Use of Personal Language

Type - Sfumato Painting Type - Parian Marble Sculpture Type - Painting

State - Incomplete Colour symbolism

Juxtaposition - Difficult to comprehendPhotorealistic illustration of his subconscious

Small scenarios - Hard to read

Comparison (Formal)

Realistic representations of the Human Body but with surrealistic elements (e.g.. human bodies with wings and a head resembling an egg).

Style of Era in which it was created.

Greek Mythology - Heroes or Gods

The subject matter represented is metaphorical

Warm palette

Viewer is a spectator

High tonal contrasts

Similarities Between (1) (2) (3)

Comparison (Functional and Cultural)

The Winged Nike is made in full belief of the Greek religion. The statue is an offering or thanks to the God herself.

Draper is using the story of Icarus as a metaphor for the Hubris of Mankind, most likely in response to a personal or political event.

Dali is using the story of Narcissus to pull images from his subconscious and communicate them to others using universal symbols and signs.

Painting was made to be accompanied by a poem

Dali was part of the surrealist movement.

She is incomplete as her head, hands and feet are missing. Her purpose and reconstructions are mere speculations as she was made too long ago for anyone to know for sure.

Parallel between the piece and a Christian symbolism.

British artist

Painted during Victorian Era

Created in homage to the Greek goddess Nike.

Communicates the tragedy of a Greek mythological character.

Spanish artist

Unknown artist but Greek

The Lament of Icarus

The Metamorphosis of Narcissus

The Winged Victory of Samothrace

Figures represented over body of water.

Make use of Greek mythological figures as metaphor for the message they attempt to convey.

Projects a sense of melancholy.

Absence of certain body parts give them a sense of anonymity which further enhances their metaphorical nature.

My source of inspiration - The Lament of Icarus

The Icarus myth has transcended the ages, as it is in our nature to yearn for what we can’t have. This myth conveys a warning, one man never seems to learn. I discovered many great artists have used Icarus as a source of inspiration, so I looked into various ways I could interpret it.

Fig. 20Fig. 17

Fig. 19

Fig. 16Landscape with the fall of Icarus by Peter Brueghel 1558 Oil on canvas 73.5 x 112 cm

Fig. 18Icarus by Henri Matisse 1947 Pochoir 16 1/2 x 25 3/16 in

Icaros falling by Peter Calaboyias 1940 Steel rods and concrete base

The fall of Icarus by Marc Chagall 1975 Oil on canvas 213 x 198 cm

The Fall of Icarus by Pablo Picasso 1958 Acrylic on wooden panels 910 x 1060 cm

Inspiration and medium

Above are some of my previous works, taped replicas of my body.

I longed to interpret the Icarus myth my own way. As an adolescent on the brink of ‘leaving the nest’, I am in a very similar position to Icarus when Daedalus gave him the wings… how could I show this parallel? And what will I do once I feel the vastness and vertigo of the world?

As I am not naturally gifted in painting or drawing, I decided to look into more contemporary art forms. I chose to create an installation piece. Draper’s meaning behind the piece was a warning against the hubris of man. I believe I am the Icarus of my own story. How will my tale end?

The next question I came across was how to represent my own Icarus. Should I be me, a human body, or something more universal? After making several taped bodies, I finally settled on representing Icarus in the form of a hollow, tape chair. A chair is an object that transcends cultures and times and that every human can relate to. A chair’s purpose is clear and straightforward, it adds stability when you sit on the ground. A chair was never meant to fly and we can not imagine it flying. We often forget that humans don’t really fly with books, movies, dreams, and airplanes. But a chair is clearly meant to stay on earth, and so we are surprised to see it defy gravity.

I found that one can more easily relate to an object that people use on a daily basis, such as a chair, than to a copy of myself.

So I layered chairs in consecutive coatings of tape in order that the skeletons would be stable, and strong enough to stand on their own. The tape stuck to itself, and I slit the sides open to remove the chair from inside the cocoon.

In parallel, I started working with a wax medium as it was the max melting that generated Icarus’ downfall. At first I experimented with melting wax and poured it onto some of my spare tape body parts to see how it would react with the tape. The tape didn’t melt, so I proceeded to pour the wax onto the chairs.

I sketched out various ways to link the myth, the chairs and the wax (see below).

Sketching and Planning

While planning my Icarus piece I came across the artist Dania Al-Hadid. It is intriguing to see the struggle with which she tries to defy gravity. Her projects are all very eye- catching as movement is captured through frozen ‘waterfalls’.

Gradiva’s forth wall, a piece created in 2011, (Fig. 21) was particularly original and interesting to me. Movement is created from the static flows of the ‘waterfalls’. How could an object so still contain so much mobility? Could I use this effect somehow to arrest the fall of Icarus? In the myth, his end is inevitable. But what if I could create a sense of falling but without the impact?

Diana al-Hadid’s says that she wants the viewer to ‘pay attention about weight, volume, space, interiors, and exteriors’. I feel the weight of the body on top of the emptiness. The body being incomplete allows it’s volume to be better understood. Absence is creating presence. Her viewers are left with the room to interpret them. This is how I wished my Icarus to be; not me, personally, anymore. But a concept that each could apply to their own situation.

Fig. 22Antonym 2012 Steel, polymer gypsum, fibreglass, wood, foam, paint 68x63x54 inches

Fig. 21Gradiva’s forth wall 2011 Polymer gypsum, fibreglass, wood, steel, pigment 183.5x190.75x132 inches

Artist Inspiration

This is my final piece. Three plastic tape chairs hang in pyramid formation from the ceiling, with the bottom chair attached to a flat raised surface. Their transparency and hollowness give them the lightness of bird bones. The chairs increase in size as they descend, enhancing the perception of height and distance. Each chair is a representation of Icarus throughout his fall. The first has wings, represented by the generic feathered wings readily available to the youth of today. I wanted it to be modern. They are coated in the wax that proved so treacherous to Icarus’s dreams. I have chosen red to emphasise the link with his life blood. Indeed, the second chair has drips of red- foreshadowing imminent doom. The last chair has begun its moment of impact and collapse.

My Icarus piece explores the critical moment of realisation: this is the point where Icarus can no longer undo his folly. The catastrophic consequence of his action is unfolding.

Yet, in my piece, it has not fully happened. His imminent demise is shown through the ‘blood’ and collapsing chair, but like Al Hadid’s sculptures, the moment is frozen. The full destruction is suspended. Icarus is caught in an infinite and continuing Hell of realisation. This is where the true horror of this myth lies.

My Icarus

Fig 1: Herbert, Draper. The Lament of Icarus. 1898. Tate Britain, London. Tate. n.d. Web. 19 September 2015. http://www.tate.org.uk/art/artworks/draper-the-lament-for-icarus-n01679

Fig. 2: Salvador, Dali. The Metamorphosis of Narcissus. 1937. Tate Modern, London. Tate. n.d. Web. 19 September 2015. http://www.tate.org.uk/art/artworks/dali-metamorphosis-of-narcissus-t02343

Fig. 3: Unknown. The Winged Victory of Samothrace. C. 190 BC. Musee du Louvre, Paris. Musee.louvre.fr. n.d. Web. 19 September 2015. http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html

Fig. 4: "Pieta, C.1629 (detail of 179424) - Sir Anthony Van Dyck." Pieta, C.1629 (detail of 179424). Myartprints.co.uk. n.d. Web. 21 Sept. 2015. <http://www.myartprints.co.uk/a/dyck/

pietac1629detailof179424.html&search_width=0&search_height=0&search=>.

Fig. 5: "Winged Victory of Samothrace." Wikipedia. Wikimedia Foundation. n.d. Web. 21 Sept. 2015. <https://en.wikipedia.org/wiki/Winged_Victory_of_Samothrace#cite_ref-4>.

Fig. 6: Wikimedia Foundation. n.d. Web. 21 Sept. 2015. <https://upload.wikimedia.org/wikipedia/commons/e/ee/Nike_of_Samothrake_Louvre_Ma2369_n2.jpg>.

Fig. 7: Neoprisme.com. n.d. Web. 21 Sept. 2015. <http://neoprisme.com/wp-content/uploads/2015/05/la-victoire-de-samothrace.jpg>.

Fig. 8: "La Victoire De Samothrace." Musee.louvre.fr. n.d. Web. 21 Sept. 2015. <http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_fr_FR.html>.

Fig. 9: Foret, Valérie. "Winged Victory of Samothrace." A Closer Look at the Victory of Samothrace. Museelouvre.fr. n.d. Web. 21 Sept. 2015. <http://musee.louvre.fr/oal/victoiredesamothrace/

victoiredesamothrace_acc_en.html>.

Fig. 10: WordPress.com. n.d. Web. 21 Sept. 2015. <https://samo00.files.wordpress.com/2012/06/daru_staircase_louvre_2007_05_13.jpg>.

Fig 11: Moretti, Sara. "Altars and Chapels of Ferdinand Church of Saint Marina, Cordoba (Spain)." Saint Marina Church, Córdoba: Altars and Chapels. Artencordoba.com. n.d. Web. 24 Oct. 2015. <http://

www.artencordoba.com/English/FERNANDINAS-CHURCHES/Fernandinas-Churches-Cordoba-Santa-Marina-altars-chapels.html>

Fig 12: "Salvador Dali The Persistence of Memory 1931." MoMA. 2015. Web. 24 Oct. 2015.<http://www.moma.org/collection/works/79018>

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2015..<http://thedali.org/exhibit/geopoliticus-child-watching-birth-new-man/>

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Fig. 16: "Landscape with the Fall of Icarus." Wikipedia. Wikimedia Foundation. n.d. Web. 8 Nov. 2015. <https://en.wikipedia.org/wiki/Landscape_with_the_Fall_of_Icarus>

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Fig. 19: "PICASSO, Pablo (1881-1973) :THE FALL OF ICARUS, 1958 :THE UNESCO WORKS OF ART COLLECTION.” Unesco.org. n.d. Web. 8 Nov. 2015. <http://www.unesco.org/artcollection/NavigationAction.do?

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Fig. 21: Al-Hadid, Diana. "Gradiva's Fourth Wall." Diana Al-Hadid. 2006. Web. 8 Nov. 2015. <http://www.dianaalhadid.com/work/gradivas-fourth-wall/slideshow?view=slider#2>

Fig. 22: "DIANA AL-HADID - Artists - Marianne Boesky.” Marianneboeskygallery.com. n.d. Web. 8 Nov. 2015. <http://www.marianneboeskygallery.com/artists/diana-al-hadid/works/7>

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