wonders of britain

pistyll rhaeadr ▴ llanrhaeadr-ym-mochnant, powys, wales

the waterfall falls 240 ft (73 m) in three stages. it is one of the seven wonders of wales. its name means ‘spring of the waterfall’.

jongup: :-)

me: ❤️💚💙💚💛💚💜💚💗💚💓💚💕💚💖💚♥️💚💝💚💞💚💘💚❤️💚💙💚💛💚💜💚💗💚💓💚💕💚💖💚♥️💚💝💚💞💚💘💚❤️💚💙💚💛💚💜💚💗💚💓💚💕💚💖💚♥️💚💝💚💞💚💘💚❤️💚💙💚💛💚💜💚💗💚💓💚💕💚💖💚♥️💚💝💚💞💚💘💚

3

The fall of the Dire Wraiths. (and the Marvel Superheroes circa 1985 Ditko style!)

ROM Spaceknight #65
April 1985
Steve Ditko, P. Craig Russell,
and Bill Mantlo

Ethnography, the study of sculpture, carving, and other handmade objects once thought of as the work of mere “savages” from ancient Africa, Oceania, and of the Indians of both the Americas, were greatly admired and prized, and several of the surrealists eventually became expert ethnographers from their sheer love of such things. … La Revolution surréaliste, produced on astonishing little money, published a great variety of subject-matter, and all of it—from straight Marxism and political criticism of the way the country was run, to the latest “fortuitous encounter” of all sorts of material objects that had come together “on their own” (by medium of the artists)—was somehow grouped convincingly under the term surrealism. …

In those days, ethnography was for specialists and but few others, although some artists had seen the beauty in the “works of the savages.” It was Matisse who first bought, for almost nothing, a great painted Congo mask from a village cafe on the banks of the Seine—so the story goes—in 1909 or so, and this event has been quoted many a time as the entry of primitive art into the realm of advanced modern painting. Before then, it was usually referred to as “objets des colonies,” or “the stuff the sailors bring back,” or “native curios.” Such carvings and sculptures from Africa, New Guinea, and Oceania, and work by the American Indians … were on sale at the gallery at the same time as the so moderately priced pictures (now worth how many times more than their 1930 prices). … Breton, Aragon, Eluard, and most of the other surrealists had seen the affinity—and how strange it is—between such fetish figures and carvings from Africa and Oceania and avant-garde painting; the wonderful constructions from New Britain and New Ireland in the South Seas looked particularly fine in the gallery. The taste that went into its arrangement was remarkable and the ethnographical knowledge of its animators increased all the time. Much respect is due them for having been the first to create this juxtaposition between abstract painting and the often equally abstract or geometrical designs which sprang from the minds of the pre-Columbian and other tribal artificers.

Many of the surrealists have written on this theme, and it was certainly thanks to them that such a vision—accepted everywhere nowadays where modern art is understood—was first presented to the public.

Behind every white creation there’s an unsung nigga