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Hi everyone! Kindly forgive me for the terrible paucity of posts during the last week. I am back home, visiting my family in the rural fastnesses of old Appalachia/the post-industrial hinterlands of the Ohio Valley. It is so beautiful out here in August, when great cumulus clouds blow up over the soybean fields and oakwoods. Anyway, expect some pictures and posts about country living when I get back to my workstation in Brooklyn. In the meantime here is a drawing from my little moleskine sketchbook to tide you over.

Naumachia (Wayne Ferrebee, 2021) watercolor and ink on paper

This is my vision of the fearsome naumachia, the naval gladiatorial combat of the ancient Greco-Roman world. In order to sate the Roman audience’s lust for novelty (and, um, blood, of course), the masters of the ancient games would sometimes flood the amphitheaters and host miniature ship battles on these tiny lakes. In my version there are some sea monsters thrown into the mix (and a saucy sea goddess sitting on the proscenium arch with a eurypterid in one arm and a merbabe in the other). In the upper left a port city carries on the commerce of the time, while the ruins of the even more ancient world can be seen in the upper right. In the lower right corner of the painting, citizens stumble around a peculiar lichyard with a tall mausoleum. Prdictably the pleasure garden in the lower left corner is quite empty. Perhaps it is for exclusive use of the nobles (or maybe I forgot to draw anyone in there). Why didn’t I at least include a peacock or some other ornamental garden beast? Last of all, a group of celebrity heralds, ringmasters, and spokespeople direct the attention of the audience from center stage. They could almost be mistaken for the game masters…and yet there is something curiously pupeetlike about them too, isn’t there? Who is really directing this theater of maritime carnage and for what purpose?

Fortunately this is a fantasy of the ancient world and the maritime devastation, pointless posturing, and savage competition have nothing to do with the way we live now…or DO they? [sinister chord]

On an unrelated note, I will be on vacation a bit longer. I truly apologize for how few blog posts I have posted lately and I solemnly vow to do better when I return from the countryside rested and refreshed. For now, check out my Instagram page, and I will see if I can find a fresh act to throw into the amphitheater for your delectation while I am gone. Perhaps the great science-fiction author, Dan Claymore, can once again tear his vision away from the dark world of the near future and take the helm. Or maybe I can find a skipper…er… author with entirely fresh perspectives (and a different moral compass) to sail Ferrebeekeeper to uncharted realms. So prepare yourself for anything…or for nothing at all.

The Olympics games continue in Tokyo and I wanted to put up a brief post to honor the festival (before going off to watch some more of the drama on television). This year’s Olympic controversies have featured plenty of questions about appropriate costumes, which strikes me as funny, since the original ancient Greek games were a largely nude affair. However, even in the ancient games there were exceptions. This 5th century Attic vase shows one of the most grueling non-nude events–the hoplitodromos–the race in armor.

A red-figure vase depicting an athlete running the hoplitodromos by “the Berlin Painter”, ca. 480 BC (collection of the Louvre)

Participants wore a heavy bronze helmet, metal greaves, and carried a heavy wooden shield (which was issued by the game organizers so as to prevent cheating). The hoplitodromos was thought to be so fundamentally different from fully nude footracing that no athlete could win at both, however, the greatest Olympic champion of classical antiquity, Leonidas of Rhodes, proved such opinions wrong by winning the premier short races and the hoplitodromos for 4 Olympics in a row.

The point of today’s post is not really to rhapsodize about Leonidas of Rhodes (whose glory remains undiminished after 2200 or so years), and to enjoy this exquisite red-figure vase by “The Berlin painter” an unknown master artist whose work still remains, even if his name has not survived. Of course, the Berlin painter was not really from Berlin (although his work wound up there), but was an Athenian of the golden era. Whatever his story was, he certainly knew how to portray the fatigue and the emotional pressure faced by ancient athletes competing in the armor race (we know that the figure on the vase is an athlete because he has neither sword nor cuirass…nor even a loincloth).

Jupiter and Ganymede (Roman, late 3rd century) mosaic

Yesterday’s post about the solar system’s largest moon, Ganymede, begs for a follow-up post about the myth of Ganymede. Ganymede was an adolescent Trojan prince known for his supreme comeliness. For some reason, the young prince was out slumming as a shepherd (which is a thing princes do in myths but not in real life) and this twinkish coquetry drove all-seeing Zeus into a lather. Overcome by lust, the king of the gods assumed the form of a giant eagle and grabbed the pretty prince up in his talons and carried him off to Olympus (leaving Ganymede’s distraught hound dog baying at the clouds). At Olympus, in the halls of the gods, Ganymede became the cupbearer (and favorite male concubine) of Zeus/Jupiter and was thus granted immortality and a sort of second-rate godhood. The whole tale is a sort of a gigolo apotheosis (although classical artists did not always portray Ganymede as a willing captive).

For various reasons, all sorts of artists have been attracted to the tale over the years. The magnificent sky-god eagle and the beautiful nude prince do indeed make for a really dramatic tableau. Yet my favorite visual representations of the story are Roman, like this gorgeous relief.

Abduction of Ganymede (unknown Greco-Roman sculptor, AD 140-150), marble relief

As slave-owning masters of the world, the Romans knew the ambiguous joys of love-by-command and somehow there is always a wistful hint of coercion and mortal sadness in Roman versions of the tale (perhaps the Greek sculptors forced to carve these pieces had some commentary of their own to add). For example, in the matchless piece above, the beautiful Ganymede wears a Phrygian cap (which was a cap from Phrygia, a conquered Roman province in Greece…but also the universally understood symbol of a manumitted slave). Now, that I come to think of it, Jove’s eagle was the symbol of the Roman Empire.

Ganymede feeding the Eagle (Roman, late first century), Marble

Of course, there is more than a hint of mortal sadness in the tale anyway. We mortals have a name for when the gods snatch away our favorite people and carry them off up to dwell in cloudtop palaces forever. Maybe this is why the Ganymede theme appears again and again in Roman sarcophagi and funerary art.

Here is an example which was carried off by the English at the height of their Empire and placed in the British Museum!
Flemish Flatfish (Wayne Ferrebee, 2016) ink and watercolor on paper

Happy Solstice! I wanted to finish off the ocean theme and celebrate the longest day of the year by coloring one of my large flounder drawings (which I originally designed to be in a huge strange flatfish coloring book). Unfortunately, coloring the image took sooo long that the longest day of the year is now over! (and I am still not happy with the coloring–which turns out to be just as hard as I recall from childhood)

Anyway, here is a sky flounder with a Dutch still life on his/her body swimming over the flat sea by the low countries. Little Flemish details dot the composition (like the clay pipe at the bottom, the bagpiper by the beach, and Audrey Hepburn in a 17th century dress) however the endearing minutiae can not forever distract the viewer from larger themes of sacrifice and the ineluctable passage of time (both of which are fine ideas to contemplate on this druidic holiday).

As always, we will return to these ideas, but for now, happy summer!

The last few blossoms are dropping from the cherry tree and now even the late tulips are blooming. Spring has sprung and we are moving past cherry blossom season towards summer. Yet even though summer is my favorite season, I feel a melancholy pang every year when the blossoms flutter down. Time moves by so fast and nothing can arrest its inexorable passing…nothing except for the magic of art, that is! Therefore, here is my yearly blossom painting. I made this one with watercolor and ink and I was hoping to capture the transitory moment when the sun dips from the sky and the lanterns come on and yet the sky remains heavenly blue (it is an ephemeral moment of the day which mirrors the equinox moments of the year.

Kwanzan Cherry Tree in Brooklyn (Wayne Ferrebee, 2021) ink and watercolor on paper

Although the real subject of my picture is the blossoming cherry tree (the full beauty of which has, yet again, eluded me), I tried to capture some other garden delights–the crabapple tree blossoms (at far right), the dogwood blossoms (at top left), the riot of tulips, and the ornamental winter cabbage which somehow survived living under two feet of snow in January and February in order to bloom in May. One of my roommates is back there in her golden ochre coat looking at bingo on her phone and the faces of the garden statues can be glimpsed in the tulip beds. At the center of the picture is another wistful figure tinged with melancholia. My best friend is a tiny black cat with a dab of white who sneaked into the basement when she was a kitten. After the death of Sepia Cat back in March, Sumi Cat is now my only pet. She is as loving and domesticated as any cat I have met and sleeps in my arms at night (indeed she is cavorting on the keyboard this very moment, trying to type over what I am writing and command my attention). But Sumi has relatives on the outside. On the other side of the sliding door she has siblings and nieces and nephews who are not domesticated but live the short yet intense lives of feral cats. I think that is her sister’s daughter there in the garden (she looks identical to Sumi, except Sumi has a white fingerprint on her heart where Kwan Yin touched her), and I am always sad that I didn’t trap her and her brother (and their little siblings who vanished forever when they were the size of teacups) and drag them to the “Cats of Flatbush” cat rescue organization. Sigh. What are we going to do about the way of the world?

ghghghghghghghghghghghghghghghghghghnhyhyhyhyuuuu (Sumi added that post script so I am putting in a little author picture below)

Sumi doesn’t really look like this at all..but black cats are impossible to photograph…
Flounder with Kitchen Scissors [Wayne Ferrebee, 2021] Ink and watercolor on paper

It is Vincent Van Gogh’s birthday today (he was born on March 30, 1853). To mark the occasion, it occurred to me that I have an appropriate humorous cartoon in the small moleskine sketchbook which I carry around everywhere.

Van Gogh is pictured in the upper left corner wearing his trademark green coat and ear bandage. Presumably he is exhorting the artists of today to work hard at their precious craft. At the center of the composition is a flounder, a ridiculous-looking fish which everyone agrees is ideal for the table. Probably that is why a hand is reaching down from the heavens with scissors to prepare the silly fish as a delicious banquet. Speaking of hands, a white marble statuary hand is pushing up through the floor of the cinereous wasteland where this tableau takes place. Sadly the hand seems to be a bit broken. A crown-of-thorns starfish restlessly roves the dust and stumps.

I wanted to practice lettering with my steel nib, however I did not want to actually write anything, so I just jotted down some nonsense words in moon language. Sorry for the gibberish! But who cares about language anyway? Some people have suggested that artists are wholly unreliable when it comes to writing about their own work, and you should concentrate on the images themselves.

I guess we have been in society-wide quarantine lockdown for an entire year (at least here in New York City). The grim anniversary at least provides the opportunity to show you the artwork which I made during the spring of 2020 as nature burst into glorious life while humankind cowered at home in the shadow of the crowned plague.

I like to draw in little 3.5 inch by 5.5 inch moleskine sketchbooks (which i fill up pretty regularly). Last spring, due to an ordering error, I purchased a Japanese album (which folds out into one long accordion strip of paper) instead of my usual folio book. Since the pandemic left me stuck in my little Brooklyn garden, I began drawing a Coronavirus journey along a continuous garden path running from my backyard, through the stricken city, to the cemetery and then out to the sea. As spring turned into summer I rode my bike over to Greenwood to work on it. Usually works of this sort are destroyed by giant ink blots, spills, or catastrophic drawing failures (since I drew this freehand with a Hiro Leonardt 41 steel nib), and although there are lots of flaws (sigh), none of them destroyed the drawing outright.

Pandemic Album (Wayne Ferrebee, 2020) pen and ink on paper

as you can see, the one factor which made the isolation and anxiety of the coronavirus pandemic bearable to me was the one thing which makes existence bearable–the unlimited power of imagination to go anywhere and make anything happen! Thus we see a Byzantine/Gothic Brooklyn as suited to the plague of Justinian as to Covid 19.

I effectively finished the drawing in June, but I kept frittering at the edges. Plus there was an empty space in the path beneath the fountain (just before the musical garden filled with lyrebirds, siamangs, singing sphinxes, and aulos players). That space stayed blank until November, when I realized that the blank spot in the middle was where the vaccine belonged (you can see it there now just below the fountain).

Unfortunately, I am a better draftsman than a photographer, and it is hard to make out the small details of the little garden plants and bugs which were my original inspiration. Anyway, hopefully you can click on the panels and look at the musicians (C-minor), the plague doctor, the manticore, and the covid party filled with Bushwick Bohemians and sinners! If not, let me know and we will see if I can repost the drawing somehow. Maybe I will post some of the details later on anyway, since the virus pathway is filled with serpents, bats, dark gods, pigeons, bees, trees, and flounder (and other ferrebeekeeper subjects which are always close to my heart).

Speaking of things close to my heart, thanks again for reading this and for being here with me (at least in my writings and thoughts if not in the real world). Dear Reader, you are the absolute best. If the Fates are willing, we are nearing the end of this horrid covid chapter (just as the dark path from the drawing ultimately runs out into the great ocean and vanishes in the waves). I am sorry it took so long to post this little book, but it seems appropriate somehow. As always, let me know what you think, and for my part I will think about what delights to put in the spring album for 2021!

Health and peace to you and your loved ones! We are nearly through this!

It is Mardi Gras today: tonight the season of carnival excess and frivolity comes to a crashing end at midnight as Lent begins. Well…actually I am from Appalachia, a land of hypocritical puritans and runaway indentured Protestants and I don’t really remember any of this Carnival business from when I was growing up…but I do know about it…from Venetian art! That is why today we are traveling back to the decadent Venice of the 18th century–hundreds of years after Venice’s reign as the dominant military and cultural power of the Mediterranean was over—but in an era when the City of Masks was still the preferred playground for cosmopolitan European aristocrats. Venetian art of the great era was ruled by titans like Titian, Tintoretto, and Veronese…but even centuries later during the 1700s it could still produce masters like Canaletto (who painted those vast watery Grand Canal pictures which you undoubtedly know) and my personal favorite 18th century painter, Pietro Longhi.

Longhi paints in the literary/social critique style of Hogarth, but, unlike Hogarth. his pictures are rarely straightforward morality tales. Usually his small intimate canvases superficially present people dancing, drinking coffee, playing cards, or meeting friends in a sitting room. Closer examination discloses all manner of duplicity hidden in these small scenes which turn out to be filled with mountebanks, debauchees, flimflam men, cardsharps, pickpockets, gigolos, and procuresses (and other categories of extinct grifters that modern critics can’t even understand).

Masked Party in a Courtyard (Pietro Longhi, 1755) oil on canvas

For example, in this small painting (now in the Saint Louis Museum of Art) two different groups of revelers take refreshments in a small courtyard during the carnival season. A conventional description of the painting would probably be something like ” a debutante and her chaperone enjoy hot chocolate from an important admirer while their friends chat in the background.” But what is actually going on here? Who are all of these enigmatic revelers wearing hall-masks and veils? What is actually in that beverage which the porcelain faced beauty is carefully holding but not drinking? What is the wire implement held by the figure in the upper right or the ancient sumptuous platform which intrudes a single voluptuary angle into the painting? Why is the figure looming above the young woman so menacing? At the composition’s dead center is a glowing pink flower, visible beneath the young lady’s veil just above her heart. What’s up with that?

I can’t definitively answer any of these questions! However my proposed explanation of this painting would be as follows:

A wealthy but older nobleman presses his amorous suit on a teenage beauty by offering her a cup of chocolate (an expensive new world luxury reputed to be an aphrodisiac). The nobleman’s manservant pushes the spoon at her like a contract as the debutante’s chaperone (or Madame?) enjoys her own chocolate while carefully eying her headstrong young charge (who wears the corsage of her actual love interest between her breasts). In the background another couple arrange an assignation while at back a roue shows off some sort of cheating implement to a masked & veiled person who is mostly hidden behind a column. Roman columns and a piece of an ancient marble (a font? a catafalque? a sarcophagus?) remind us of greater eras in the past, and the inexorable death of empires.

Is this interpretation right? Who can say. The pictorial puzzle has no clear answer that I am aware of, but the puzzle of it invites us to turn it over and over in our heads. Probably the Longhi expert at the Saint Louis Museum would say “oh that wire device is actually a clotheshanger and the model’s white slipper and gown indicate that she is figure beyond reproach.” Yet once we start asking questions, the painting feels anything but innocent, even if we can never know the specifics. The sense of exciting secrets just beyond our apprehension is Longhi’s greatest gift. It has endowed this perfectly chaste picture of a girl drinking cocoa with all sorts of shadowy insinuations. Longhi’s brush did not just tickle a subdued (yet strangely sensual) palette of pinks, browns, and grays, it also tickles our imagination…and that turns out to be naughtier than any actual Carnival naughtiness.

To take our minds off of the cabin fever of being stuck at home (in a pandemic…in the snow), today’s post features one of the world’s most extravagant and beautiful buildings. This complex is Wat Rong Khun, the white temple of Chiang Rai in Northern Thailand. Sources inform me that it actually totally exists, right here in the real world (although I find it somewhat difficult to believe such a thing, because, well, just look at it!).

Wat Ron Khun was an extant Buddhist temple (one of thousands throughout Southeast Asia) which, by the end of the twentieth century, had fallen into disrepair. In 1997, Thai visionary artist Chalermchai Kositpipat restored/rebuilt the temple into the fantastical form which you see in these photos. Interestingly Wikipedia now balks at calling Wat Rong Khun a temple and instead describes the complex as “a privately owned art installation” where people can meditate and learn about Buddhist teachings (and which is intended to ingratiate Kositpipat into Buddha’s good graces and ensure immortal life for the artist). Hmm… How is that different from just saying “temple”?

Anyway, the bridges, gates, and buildings of Wat Rong Khun are all white or reflective with one big exception. The building which houses the compound bathrooms are gold. The white/mirror colors reflect the mind and the intellect–colorless, pure, and abstract. The bathroom compound however is gold to contextualize worldly and physical concerns (such as material wealth).

Still, it’s a pretty nice bathroom

Gardens aside, the other non-monochrome portion of the compound is found in the main ubosot, where mind-bendingly strange murals illustrate the human condition. These murals are not as, uh…restrained (?) as the rest of the wat, and I will write about them later when I feel stronger. Suffice it to say that if anything belonged inside this squirming albescent nirvana-cake, it is the paintings which are indeed in there.

Although I suppose I should be comparing Wat Rong Khun with Wat Pa Maha Chedio Kaew (the “temple of a thousand bottles”) what it truly reminds me of is Orvieto Cathedral, another installation/temple which is completely bedazzled with mind-altering religious ornamentation (and which features insane hell frescoes inside). Let’s all get vaccinated so we can go to some of these places in the real world (assuming they can indeed actually be found there).

This may be the world’s oldest known representational artwork– a red ochre painting of a warty pig recently discovered in the Leang Tedongnge cave of Sulawesi, Indonesia. The full work is actually three pigs–two pigs fighting (?) while one pig watches from a distance, but the fighting pigs have been effaced by scores of millennia, whereas the bystander pig has somehow avoided the elements as well as the fray.

Archaeologists believe the painting is 45,000 years old, an extraordinary age in dealing with human artifacts. They arrived at that number by means of measuring the decay of infinitesimal amounts of uranium in mineral deposits formed on top of the image (this methodology is not without drawbacks and controversies, but remains the go-to mechanism of dating for 45,000 year old non-carboniferous artworks). Sulawesi is the world’s eleventh largest island. Because it is located at the nexus of three small and two giant tectonic plates it resembles a squashed asterisk. Homo Erectus found a home in Indonesia as early as 2 million years ago, but Homo Sapiens reached the island, around the time this painting was made, 45,000 years ago. Modern Austronesian people (who make up the majority of Indonesia’s living population) only arrived 2000 years ago.

The pig portrayed here is interesting as well! It is a Celebes Warty pig (Sus celebensis), a medium sized pig which was originally native solely to Sulawesi. The warty pig is the only pig species to be domesticated other than Sus scrofa, the Eurasian wild pig, which probably makes up 99 percent (or more) or the world pig population. Clearly such pigs were of enormous importance to the first homo sapiens of Indonesia–a nearby cave painting from 43.900 years ago (previously the world’s oldest known representative artwork) shows spear-wielding humans approaching pigs and small buffalo. Yet, as with all art, the full reasons behind the creation of the work remain elusive. What is certain is that it is rather good! In addition to an expressive sense of lively movement, the pig has true character and personality. Just look at its hungry face!

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