![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Бефстроганов
Nov. 16th, 2025 09:49 pm
В воскресенье, 9 ноября 2025-го, в Париже умер один из важнейших советских и российских художников, основатель соц-арта Эрик Булатов. Ему было 92 года.Вот, что он вспоминал в одном из последних своих интервью перед смертью:
"Это было, когда открылся канал Москва-Волга. И сельскохозяйственная выставка. Отец повел меня туда на праздник, потом в ресторан. Ресторан был плавучий, как речной кораблик, который стоял у берега. Я помню, это был солнечный день, так красиво все было! По потолку бежали солнечные отсветы от окон, от блестящей воды, от волн. Отец взял бефстроганов, а я чего-то стал капризничать. Не знаю, что я стал капризничать, но что-то капризничал. И не хотел есть бефстроганов. Отец очень расстроился. Я понял, что он расстроился, и мне это совсем не было приятно. Тем не менее, я как-то испортил этот день.
Очень скоро после этого началась война. Отец сразу ушел добровольцем и не вернулся. Вот этот несъеденный мною бефстроганов я все время вспоминал. Он какой-то болью застрял во мне. Мне казалось, что все эти несчастья, весь ужас, который потом начался, и голод — все это из-за того, что я не съел тогда этот бефстроганов.
Таким было мое самобичевание. За ту мою капризность надо было заплатить."
It is understandably difficult to identify the model behind Gustave Courbet’s most famous female nude, L’Origine du monde (The Origin of the World, 1866), since the painting only depicts the cropped torso of a woman, focussed on her genitals. However, recent research by the French literary scholar Claude Schopp, detailed in a book was released by the Paris-based publisher Phébus on 4 October 2018, has named the model with near-certainty as the Opéra ballet dancer Constance Quéniaux, who would have been 34 years old and retired at the time the work was painted.The painting’s model was previously thought to be Courbet’s lover, Joanna Hiffernan—which seemed strange, as Hiffernan was a redhead, and the pubic hair in the picture is dark. Quéniaux, meanwhile, was noted in contemporary texts as having “beautiful black eyebrows”. She was also the lover of the Ottoman diplomat Halil Şerif Pasha (Khalil Bey), who commissioned the painting.
Schopp was going through a letter from Alexandre Dumas, fils to George Sand dated June 1871 at the Bibliothèque nationale de France (BNF, National Library of France), which included a line that had been previously transcribed in English as: “One does not paint the most delicate and the most sonorous interview of Miss Queniault (sic) of the Opera.” But after examining the handwriting in the original letter, Schopp realised the word “interview” was in fact “interior”.
Another convincing fact is that Quéniaux’s will included a painting by Courbet of camellia flowers that had an open red blossom at its centre, which Aubenas believes may have been a gift from Halil Şerif Pasha. In later life, Quéniaux became a respected philanthropist, which is why Aubenas believes her association with the painting was lost over time.
Короткий Рассказ
Jan. 21st, 2024 08:31 am
«Продаются детские ботиночки. Неношеные»Эрнст Хемингуэй
«Мечтала о нем. Получила его. Дерьмо».
Маргарет Этвуд
«Легко. Просто поднесите спичку».
Урсула Ле Гуин
«Лучшая месть — прекрасная жизнь без тебя»ю
Джойс Кэрол Оутс
«Лжецы. Удаление матки не улучшает секс».
Джоан Риверс
«Не лучшее время для открытых браков».
«Прочел все имеющиеся в доме книги».
«Установил социальную дистанцию между собой и холодильником».
«Мир никогда не казался таким маленьким».
Мемуары о пандемии коронавируса
«Пришельцы, замаскированные под пишущие машинки? Никогда не слыхал…».
«Последний человек на Земле сидел в комнате. Раздался стук в дверь».
Колин Гринлэнд
«Незнакомец взбирался по темной лестнице: тик-так, тик-так, тик-так».
Хорхе Луис Борхес
Прогулка
Взрыв гнева у дороги, отказ разговаривать на тропе, молчание в сосновом бору, молчание на старом железнодорожном мосту, попытка быть милой по колено в воде, отказ прекратить спор на плоских камнях, яростный вопль на скользком от грязи берегу, рыдания в густом кустарнике.
Лидия Дэвис
Маленькая басня
— Ах, — сказала мышь, — мир становится все теснее и теснее с каждым днем. Сначала он был таким широким, что мне делалось страшно, я бежала дальше и была счастлива, что наконец видела вдали справа и слева стены, но эти длинные стены с такой быстротой надвигаются друг на друга, что вот я уже добежала до последней комнаты, а там в углу стоит мышеловка, в которую я могу заскочить.
— Тебе надо только изменить направление бега, — сказала кошка и сожрала мышь.
Франц Кафка
“The Sin” – a captivating and controversial painting created by Heinrich Lossow in 1880. This intriguing artwork alludes to the notorious Banquet of Chestnut, an event that still stirs debate and speculation today. Although some dismiss it as mere rumor, the banquet’s story – filled with shocking details and licentious behavior – has captured the imagination of many over the centuries.On October 30th, 1501, former Cardinal Cesare Borgia, son of Pope Alexander VI, supposedly hosted a decadent dinner party. The evening’s entertainment, as chronicled by Johann Burchard, featured naked courtesans crawling around amid candelabras, collecting chestnuts using only their mouths. As if that weren’t scandalous enough, prizes were given to those guests who engaged in intimate acts with the courtesans most frequently. Talk about pushing the boundaries!
Interestingly, Lossow’s painting focuses on the sexual aspect of the banquet rather than the chestnut-gathering courtesans. The exact reason for this artistic choice remains a mystery. It’s important to note that the Banquet of Chestnut’s existence is primarily supported by Burchard’s Latin diary, Liber Notarum, and its validity has been a subject of much debate.
According to Burchard, the banquet was held at Cesare’s apartments in the Palazzo Apostolico, with fifty courtesans present to entertain the guests. In his diary, he vividly describes the scene, providing the only known written account of this infamous event: “On the evening of the last day of October 1501, Cesare Borgia arranged a feast at his chambers in the Vatican with ‘fifty honest prostitutes,’ called courtesans, who danced in the afternoon with servants and other people present, first in their clothes and then naked. After dinner, candelabra with burning candles were removed from the tables and laid on the floor, and around were scattered chestnuts, which the courtesans picked up, while Papa, Cesare, and his sister Lucretia watched. Giving prizes to those who could perform the act often with courtesans. The winners were awarded with tunics of silk, shoes, and other things.”
Despite Burchard’s detailed account, modern scholars have cast doubt on the story of the Chestnut Banquet, questioning its plausibility and pointing out that it appears only in his memoirs.
Lossow’s painting, depicting this salacious tale, caused quite the uproar when it was unveiled. The artist faced harsh criticism from both art critics and the general public, and even the Church condemned him for his brazen portrayal of such sinful activities.
In the end, the truth about the Banquet of Chestnut may never be fully revealed. But one thing is certain: Lossow’s “The Sin” continues to captivate and intrigue us, inviting us to ponder the scandalous events it so vividly portrays.
Despite the heated controversy surrounding “The Sin,” Lossow’s painting has left an indelible mark on the art world and popular culture. Its bold depiction of the alleged Banquet of Chestnut has inspired countless discussions and analyses, making it a fascinating subject for art enthusiasts, historians, and curious minds alike.
The painting has also served as a reminder of the complex and contradictory nature of the Borgia family, whose influence and power during the Italian Renaissance are well-documented. As members of the clergy, the Borgias were expected to uphold high moral standards, but tales of their excesses and debauchery have continued to fuel interest and speculation about their lives.
While “The Sin” might have been criticized for its brazen portrayal of the Chestnut Banquet, it’s important to remember that art has the power to provoke conversation and challenge prevailing attitudes. In this sense, Lossow’s work can be seen as a daring exploration of human nature, desire, and the fine line between fact and fiction.
Over time, the painting has acquired a certain mystique, drawing attention not only for its subject matter but also for the artistic skill and talent of Heinrich Lossow. The detailed brushstrokes, the captivating use of color and light, and the intricate composition of the scene all contribute to the painting’s enduring appeal.
As we continue to marvel at “The Sin,” we are reminded of the power of art to transport us to different times and places, to shed light on the complexities of human behavior, and to ignite our imaginations. Whether the Banquet of Chestnut is a historical fact or an exaggerated tale, Lossow’s painting has undoubtedly secured its place in the annals of art history.
So, the next time you encounter “The Sin” or any other artwork that evokes strong emotions, take a moment to appreciate the artist’s ability to tell a story, spark conversation, and, in some cases, even challenge societal norms. And remember, a painting like “The Sin” is not just a snapshot of a particular event; it’s also a window into the complexities of human nature and the never-ending quest for truth.
As for the current whereabouts of “The Sin,” it’s a bit of a mystery! The painting has had a rather elusive history, and its exact location today isn’t publicly known or widely documented. It’s possible that the artwork is part of a private collection, safely tucked away from the public eye. Occasionally, art pieces like this resurface at auctions, exhibitions, or in the collections of museums, so there’s always a chance that “The Sin” might make a grand reappearance someday.
In the meantime, you can find images and reproductions of the painting online, allowing you to study and appreciate Lossow’s captivating work from the comfort of your home. And who knows? Perhaps one day, the enigmatic “The Sin” will once again be displayed for all to see, sparking fresh conversations and debates around the notorious Banquet of Chestnut and the extraordinary artistry of Heinrich Lossow.
Here are a few interesting tidbits about “The Sin” by Heinrich Lossow:
1. Connection to the Borgias
The painting alludes to the scandalous Banquet of Chestnut, an event allegedly hosted by former Cardinal Cesare Borgia, son of Pope Alexander VI. The Borgia family played a prominent role in the politics and religion of the Italian Renaissance, making them a fascinating subject for artists and historians alike.
2. Single source of inspiration
The primary source of information about the Banquet of Chestnut is the diary of Johann Burchard, a protonotary apostolic and master of ceremonies at the Vatican. Burchard’s account is the only known written evidence of the event, which has led to much debate over the banquet’s historical accuracy.
3. Scandal and outrage
When “The Sin” was unveiled, it caused quite a stir among art critics, the public, and the Church. The painting’s explicit content and depiction of immoral acts, particularly in connection with the clergy, led to widespread condemnation of Lossow and his work.
4. Artistic focus
Lossow chose to depict the sexual aspect of the banquet rather than the chestnut-gathering courtesans. The reasons for this decision remain a mystery, but it has undoubtedly contributed to the painting’s notoriety and allure.
5. Elusive location
The current location of “The Sin” is unknown. It’s possible that the painting is part of a private collection, hidden from public view. Its secretive nature only adds to the painting’s mystique and intrigue.
