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Here is a contemporary sculpture by a modern Chinese artist.  This is Pigeon’s House, by Cui Jie, a Shanghai-born artist who now lives in Beijing.  The work is an ugly amalgam of dull architectural styles: Bauhaus, Russian Futurism (which spawned countless identical state-sponsored heaps), Retro-futurism, and “International.”  It measures 4. 5 meters in height (15 feet) and is manufactured of metal.  Despite the unwholesome mélange of second-tier architectural styles, there is an appealing dynamism to the sculpture: lively metal pigeons metamorphose out of the skyline and take to the sky.

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The most common of styles give birth to the most common of birds, yet somehow there is a suggestion of freedom and dignity to just surviving and enduring in the great supercities which are increasingly the home for humankind.  Like the 21st century art world, these cities may seem to be homogenous, tedious, and so competitive as to prevent any creativity whatsoever.  Yet if one looks more closely one realizes that they are a living habitat…and even a sort of ecosystem…if only for prosaic animals and middling aspirations.  The work’s setting–a verdant field in rural England–further emphasizes the nature of sprawling urban habitats.

Gothic Cathedral in a Medieval City (Pieter Cornelis Dommersen, ca. late 19th century, oil on canvas)

Gothic Cathedral in a Medieval City (Pieter Cornelis Dommersen, ca. late 19th century, oil on canvas)

It has been too long since Ferrebeekeeper featured a Gothic-themed post…and we are still quite a ways from autumn, the spooky season when creepy beautiful imagery seems most appropriate.  To whet you interest for more complicated Gothic posts which are coming up (and to fulfil your need for beautiful art and architecture) here is a very beautiful painting of a cathedral by the brilliant Dutch architectural painter, Pieter Cornelis Dommersen (1833–1918) .  Dommersen’s art has fallen from fashion because of its fussy obsessiveness with detail and his anachronistic historical landscapes (which already seemed old-fashioned when he was painting them more than a century ago), but, to my eye there is a beautiful harmony of color and form in his works which make the little cityscapes come to life with unique power and vividness.  In this work the tiny burghers and worthies beneath the spires and gables of this German-looking medieval town seem to be made of the same cobbles, plaster, and masonry as their town. The entire brown and gray milieu teeters at the edge of being a Thomas Kincaid-type work of kitsch, yet somehow the way the Gothic buildings lean towards each other and beckon the viewer into the oddly familiar alleys transcends the merely picturesque realm of postcard art.  There is a real beauty and meaning in Dommersen’s art, but it is subtle and urbane.

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