This is the second half of mirror-art from the Black Panther – I promised that I would tell about the remakes of Bosch. As in the first case, of the revisited Leniniana, I will present here only the remakes with some ‘mirrors’ (or at least mirror-like objects); you can see more works by Jacques Brissot from this exhibition here.
As a rule, I am usually interested in all sort of art remakes and re-appropriations – despite the major part of them (if not lion, but surely panther one) is a crap; never mind.
I have already shown quite a few series of remakes – of Las Meninas by Velazquez, Gabriel and her White-Breasted Sister, Terribly Beautiful Narcissus by Caravaggio (I even made a made a movie of them, though the background song is in Russian, and Englishs-speaking viewers/listeners wouldn’t get all the fun); the most recently compilation was about the so-called Arnolfini Mirror.
I’ve been planning to make similar compilation of the Bosch’s remakes, but didn’t manage to build my story about them yet (I usually try to find such hidden story, otherwise it’s simply a pile of pictures). But I do keep gathering interesting examples, and the artworks by Jacques Brissot are definitely a good addition to the collection. Production of such remakes – not only of Bosch, but of many other Old Masters too – is is his speciality, and over the years he developed a particular, recognizable style.
Speaking about the Mirrors of Bosch, I can not claim that I wrote everything about them already, but at least I made an attempt to count them – the results is three (all in one work), or four, to to count the Green Mirror Monster, or five if you accept my hypothesis that this is the mirror, not a shield.
Therefore,when seeing the remakes of Bosch I had a certain focus, and could directly look at the ‘mirror locations’, asking one and the same question:
And what did he do with that mirror?
Both of the ‘mirror work’ by Bosch had been there, The Seven Sins and Garden of Delights (I am also linking all the images below with the large files, so you can see the details, if interested):
The Mirror of Superbia has transformed into – surprise, surprise !- a TV set!
I wrote already, few times, in fact, that modern displays are our new mirrors (I even wrote recently, even if half-jokingly, that old masters understood the intricate connections of mirror and displays already long ago.)
The situation is even more complicated because the Lady Superbia herself has been turned into some kind of cyborg with a display-head (in full compliance with the Actor-Network-Theory). One can say that the second mirror has been lost – or that it became the TV camera.
The mirror on the Lust panel is indeed lost – or maybe I just do not quite understand exactly what this little devil devil holds in his hands; perhaps it’s also a reincarnation of the mirror of some sort.
I can’t say that I systematically checked all other spots on these paintings – similar to the Bosch ones, the are quite large and equally densely populated; but I did search the signs of other (new) mirrors. In this particular work the nearest thing I could find was the reflectors of an operating lamp of a surgery theater (a stretch, yes, I know):
I feel that Brissot’s Garden of Delights would benefit from a closer examination, too…
..but let me present at least what I found.
Interestingly, but the Green Mirror Monster has became a TV set, too! Everything follows McLuhan’s logic, of converting cold media into hot ones:
Moreover, my supposed Fifth Bosch Mirror has also became TV (or at least I am inclined to believe this, and consider this ‘red box’ a TV set). Following a somewhat twisted logic, it is because I see the TV set in the remake, I now tend to believe more that it was the mirror there in the first place.
The proverbial Fountain, and coupled with a tap, could produce a mirror, but it didn’t, a pity:
Another similar ‘lost mirror’ can be (not) seen in another work, a remake of the Stone of Wisdom:
If we count all motorcycles, mopeds, scooters, and other vehicles here, then we must get plenty of mirrors, even if only in potency. The fact that our artist is not particularly trying to depict them, leaving them implicit, is quite remarkable: indeed, mirrors now are omnipresent, but completely inconspicuous; unremarkable.
This and the previous posting are the examples of “true blogging” – don’t think too much and just write about the facts that caught your attention today. Usually my opuses are very heavy (thus, rare), so from time to time I would like to dilute them with such unpretentious observations, What You See is What You Blog kind of postings.