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Causa. I join these words for four people, Some others may overhear them, world, I am sorry for you, You do not know these four people. Ezra Pound / "My day passes between logic, whistling, going for walks, and being depressed." Ludwig Wittgenstein / "On a deux vies, et la deuxième commence quand on se rend compte qu’on n’en a qu’une" Confucius / "My works were designed to amuse, annoy, bewilder, mystify and inspire reflection." Man Ray / «Todas las teorías del dadaísmo y del surrealismo son monótonamente repetidas. El “ready-made” inunda el globo. Cuando todo sea “ready-made” no habrá que tocar nada» Salvador Dalí, 1932 / "existir apenas levemente / como el sol de tarde que dibuja / sombras de las hojas de los plátanos / en la pared que da al oeste." Beatriz Vignoli / "Anything can happen. Especially nothing." Michel Houellebecq
PARANOID Elizabeth I, The Rainbow Portrait The Rainbow Portrait, c. 1600–02, attrib. Isaac Oliver Attributed to Isaac Oliver, perhaps the most heavily symbolic portrait of the queen is the Rainbow Portrait. It was painted around 1600–1602, when the queen was in her sixties. In this painting an ageless Elizabeth appears dressed as if for a masque, in a linen bodice embroidered with spring flowers and a mantle draped over one shoulder, her hair loose beneath a fantastical headdress. She wears symbols out of the popular emblem books: the cloak with eyes and ears, the serpent of wisdom, the celestial armillary sphere, and carries a rainbow with the motto non sine sol iris (“no rainbow without the sun”). Strong suggests that the complex “programme” for this image may be the work of the poet John Davies, whose Hymns to Astraea honouring the queen use much of the same imagery, and suggests it was commissioned by Robert Cecil as part of the decor for Elizabeth’s visit in 1602, when a “shrine to Astraea” featured in the entertainments of what would prove to be the “last great festival of the reign”.

PARANOID

Elizabeth I, The Rainbow Portrait


The Rainbow Portrait, c. 1600–02, attrib. Isaac Oliver

Attributed to Isaac Oliver, perhaps the most heavily symbolic portrait of the queen is the Rainbow Portrait. It was painted around 1600–1602, when the queen was in her sixties. In this painting an ageless Elizabeth appears dressed as if for a masque, in a linen bodice embroidered with spring flowers and a mantle draped over one shoulder, her hair loose beneath a fantastical headdress. She wears symbols out of the popular emblem books: the cloak with eyes and ears, the serpent of wisdom, the celestial armillary sphere, and carries a rainbow with the motto non sine sol iris (“no rainbow without the sun”). Strong suggests that the complex “programme” for this image may be the work of the poet John Davies, whose Hymns to Astraea honouring the queen use much of the same imagery, and suggests it was commissioned by Robert Cecil as part of the decor for Elizabeth’s visit in 1602, when a “shrine to Astraea” featured in the entertainments of what would prove to be the “last great festival of the reign”.

Source: stojadinovic
4 months ago 1,133 notes

1,133 notes

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    Isaac Oliver, Elizabeth I (detail)
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    Elizabeth I (detail) by Isaac Oliver
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