30 Dec 2024
A Surprising Revelation of Divinity in Art
There are certain findings that should make all art lovers, including art scholars, think twice about whether we understand art. I have just published an in-depth article on how at least 49 Renaissance artists from all over Europe depicted themsel
07 Nov 2024
Artists paint themselves as God. Why has no-one noticed?
For nearly twenty years EPPH has revealed that major art is categorically different from lesser art. They should not both be called “art”. Major art always looks inwards at the individual artist, an interior vision of their mind which accounts
26 Jun 2024
Names in Anselm Kiefer’s ‘Fall of the Angel’ at Palazzo Strozzi, Florence
Art “is something very difficult. It is difficult to make, and it is sometimes difficult…to understand.” And, Anselm Kiefer added, “it should always include having to scratch your head.”1 You can scratch your’s at his magnificent exhib
11 Jun 2024
Van Gogh’s Crosses on The Road to Tarascon
Vincent van Gogh’s uncle-by-marriage, J. P. Stricker, was an important catalyst in the formation of the painter’s world-view (fig. 1). A theologian and biblical scholar, Stricker did not believe in the literal, historical truth of Jesus’ lif
21 May 2017
Art’s Timelessness
One of the exciting changes that can happen to you with an EPPH perspective is to discover that we all have the ability to see links between very different images. And the ways we do that are so far removed from conventional understanding that the
05 Apr 2016
The Poetry of Turner’s Eyesight
Artisans everywhere rely on the physical processes of sight. In the past that obvious fact was the basis of too much "interpretation". Impressionist paintings were said to have no meaning because they were exact reproductions of what the artists s
07 Mar 2016 | 1 Comments
Try Sleeping on Dürer’s Pillows
Surprise, surprise. In great art you never stop seeing new perceptions in long-familar images because art by its very nature exists on multiple levels. And seeing them without help from others is both edifying and deeply satisfying, certain to b
29 Feb 2016
Re-writing Writers on Art
Years ago I thought that the Renaissance humanists who fought to have painting accepted as a liberal art knew a lot about the subject. It seemed a natural assumption but I was wrong. For us in search of art’s underlying meaning, it’s more im
20 Feb 2016
What are you?
If you follow EPPH and look at art as we do here, what are you? Art lover is too general and largely meaningless. Anyone can love art, even the seeker of a selfie with the Mona Lisa. You are more serious. You cannot be an art historian because w
14 Nov 2015
Balla’s Initial Idea
The house in Rome of Giacomo Balla (1871-1958), an Italian Futurist painter, is a kaleidoscope of color and creativity. I haven’t visited it but came across this photograph online of four of his clothes hangers. A commentator transcribes the h
10 Aug 2015
Eye-Opening: Michelangelo, Goya and Pixar’s Inside Out
Don’t get misled by Pixar's new Inside Out. It's not for children. It’s an animated film so obviously based on the paradigm of Western art that it demonstrates what EPPH has often argued: that ever since the 1940’s many, if not mos
25 Jul 2015
Gauguin’s Nose
This is a little-known self-portrait of Paul Gauguin. The features seem to add up. That lantern jaw, signature moustache and the long, curling hair have been seen before. But, stop! What did he do to his nose? It's classical, Roman and as straight
10 Jul 2015
Hair, Brushes and Art
In pointing out yesterday that George Romney’s The Clavering Children (above) is more about Romney and his art than his young sitters, I left out a few points. Hair and its resonance.
Hair resembles a paintbrush and is brushed and,
04 Jul 2015
Miró‘s Advice for Young Painters
The just-published entry on Joan Miró's Self-portrait (1919) shows what he meant when, in a recording from 1951, he reminds young painters not to copy nature as taught in academies of art.
"He who wants to really achieve somet
18 May 2015
Still-lifes by Peale and Core [from the Archives]
Names are important in art. The American master Charles Willson Peale (1741-1827) had three sons who became painters: Rembrandt, Raphaelle [sic] and Titian. His fourth son was Rubens. Raphaelle is thought to be America’s first still-life painter
03 Apr 2015
Good Goal: Study Design
Once in a while I try to remind myself to study good graphic design because, while illustration is not art, it uses the same techniques more openly. Illustration's purpose is not to hide meaning that most people will misconstrue as in art but
26 Mar 2015
Ssh! The Secret of Picasso’s Ear
Ears make sense as one of the five: touch, taste, sight, sound and smell. But who thinks about Picasso's ears? We mostly remember his eyes: deep, dark and powerful. Yet he himself - as I don't think has been noted before - seems to have been very
20 Mar 2015
Whose God is on the dollar bill?
Art is too often seen as a literal representation of the artist's own small, physical world. The idea that it uses metaphoric language to express much larger, eternal truths shared by all mankind is seldom realized. The same happens with the dol
06 Mar 2015
C.S. Lewis on a Poetic Method
The late Sidney Geist, a sculptor and controversial interpreter of Cézanne's art, invited me about 12 years ago to come and see him at his studio in Manhattan. I had spent the past year studying everything about Edouard Manet and was excited to
05 Mar 2015
Picasso runs his fingers through her hair
No doubt in life Picasso did run his fingers through his girlfriend's hair. In the drawing (left) from 1906 he did so too, turning an image of Fernande into a representation of himself. He might have learnt the method from any number of artists
26 Feb 2015
Art in Search of Self-Knowledge
One of the great shibboleths of art history is that High Renaissance masters depicted the exterior world. Few, of course, doubt that landscapes and portraits represent exterior nature. EPPH, on the other hand, argues that all scenes in art are i
05 Feb 2015 | 2 Comments
Do you draw your own features unintentionally?
Readers, especially artists, I could do with some help. Do you reproduce your own features without meaning to? Do you have examples? Many initial viewers, usually those who can draw, ask me whether artists fused faces (see above) intentionally o
16 Jan 2015 | 2 Comments
The Centrality of Tools
Art sometimes seems like a meditation on the brush. Certainly visual metaphors for art's tools abound from, say, Edouard Manet’s early Boy with a Sword (in effect he holds a giant paintbrush, see explanation) to Diego Velazquez’s Portrait
11 Jan 2015
Hans Memling and Cubism
Every time I look at this Portrait of a Man by Hans Memling I feel a little sick. I’m serious. It makes me slightly nauseous. Perhaps Walter Pater, the 19th-century art historian, felt similarly about the Mona Lisa. He described her as a weirdo
29 Dec 2014
For how long have we read the Bible literally?
I learnt an astonishing fact today.1 The habit of reading the Bible as though it is historically true (especially the New Testament) started during the Protestant Reformation which began in 1517 and lasted more than a century. For the first 1,50
10 Dec 2014 | 1 Comments
Van Eyck’s Alpha and Omega
The world seems to work in our favor. Things happen which I used to call coincidence but which, in hindsight, are often far too fortuitous to be chance. Carl Jung described such events, at least the unusually important ones, as sy
03 Dec 2014
Claws, Paws and Prints
Many animals, like cats, dogs or the mythical griffin, have sharp claws. Let loose in a house, some of these charmers will engrave table legs, floor boards or virtually anything wooden. Artists who naturally have acute visual perception often re
02 Dec 2014
How Portraiture Causes Blindness
Specialisation has crippled art history, blinding its practitioners to what is common. For over six years EPPH has been arguing that many portraits by major artists are fusions of the artist's facial features with the sitter's. They were never i
02 Dec 2014 | 11 Comments
Your Go: Explain this picture!
OK, readers, this a chance to practice your own powers of perception and interpretation before I comment:
Explain below what this Crucifixion scene might mean and the oddity of Christ’s loincloth. I am drawing attention to that
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