Apr 7, 2023
Untitled, Freud's Desk and Chair, Study Room, (1938), Photo by Roberto Longo, 2000
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Untitled, Freud's Desk and Chair, Study Room, (1938), Photo by Roberto Longo, 2000
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These images of menace retain a uniquely human empathy. Goya’s Spaniards huddle under blankets on a tree branch, likely representing the artist’s fear of King Ferdinand VII’s renewed conservatism, having abolished Spain’s first liberal Constitution in 1814. Similarly teetering between hope and despair, the iconic still from Eisenstein’s Battleship Potemkin shows a mother clutching her son, defiant against the Cossack officers and their civilian massacre. Longo’s destroyed Assyrian sculpture refers to an attack of cultural vandalism, but nonetheless offers a poignant personal detail in the top left—a figure in their house slippers.
Posted by Sara Softness Francisco de Goya (Spanish, 1746—1828). Disparate ridicolo (Ridiculous folly), plate 3 from the series Los Disparates (The Follies) ca. 1819-1824; printed 1875. Etching, aquatint, and drypoint. Princeton University Art Museum | Sergei Eisenstein (Russian, 1898—1948). Still from Battleship Potemkin, 1925. 35mm film, black and white, 72 min. Gosfilmofond (National Film Foundation of Russian Federation) | Robert Longo (American, born 1953). Untitled (Destroyed Head of Lamassu, Nineveh), 2017. Charcoal on mounted paper. © Robert Longo, Courtesy of the artist and Metro Pictures, New York
Untitled, Jackson's Nebula, Photo by Roberto Longo, 2006
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L’Uomo Vogue April 1980 photos Manfredi Bellati