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Tiresias.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Tiresias lives in the time of Oedipus, he was a augur.
Bk III: 316-338 The judgement of Tiresias
“While these things were brought about on earth because of that fatal oath,
and while twice-born Bacchus´s cradle remained afe, they say that Jupiter,
expansive with wine, set aside his onerous duties, and relaxing, exchanging
pleasantries, with Juno, said ´You gain more than we do from the pleasures of
love.´ She denied it. They agreed to ask learned Tiresias for his opinion. He
had known Venus in both ways.
Once, with a blow of his stick, he had disturbed two large snakes mating in the
green forest, and, marvellous to tell, he was changed from a man to a womanm and
lived as such for seven years. In the eight year he saw the same snakes again
and said ´Since there is such power in plaguing you that it changes the giver
of a blow to the opposite sex, I will strike you again, now.´ He struck the
snakes and regained his former shape, and returned to the sex he was born with.
As the arbiter of the light-hearted dispute, he confimed Jupiter´s words.
Saturnia, it is said, was more deeplu upset than was justified and than the
dispute warranted, and damned the one who had made the judgement to eternal
night. But, since no god has the right to void what another god has done, the
all-powerfull father of the gods gave Tiresias knowledge of the future, in
exchange for his lost sight, and lightenend the punishment with honour.”
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Bacchus.
1975, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Bacchus was the sun of Jupiter. He was the god of wine and mystical extasy and
the god of fertility. He punished his opponents – for example Pentheus was
killed by Bacchantes.
Bk III: 692-733 Pentheus is killed by the Maenads
“... Near the middle of the mountainside, was a clearing surrounded with
remote woods, free of trees, and visible from all sides. Here as he watched the
mysteries, with profane eyes, hes mother was the first to see Pentheus, the
first roused to run at him madly, the first to wound him, hurling her thyrsus.
She shouted ´O you two, sisters, come! That huge boar, who is straying in our
fields, that boar is my sacrifice.´ They all rush on him in one maddened crowd:
they converge together pursuing the frightened man, frightened now, speaking
words free of violence now, cursing himself now, realising his own offence.
Stricken, he still shouts ´Help me, aunt Autonoe! Let Actaeon´s shade move
your spirit!´
She, not remembering Actaeon, tears away the suppliant´s right arm. Ino, in
frenzy, rips off the other. Now, the unhappy man has na limbs to hold out to his
mother, but, showing his wounded trunk shorn of its members he cries ´Mother,
see!´. Agave howls, and twists her neck about, and thrashes her hair in the
air, and tearing off his head, holding it in her bloody hands, shouts ´Behold,
sisters, this act marks our victory!´ ...”
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Medusa.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Medusa was the most horrible from the Gorgons. Only she was mortal. She had
snakes instead of hair, boar´s teeth and bronze hands.
Bk IV: 753-803 Perseus tells the story of Medusa
“... Far from there, by hidden tracks, and through rocks bristling with
shaggy trees, he reached the place where Gorgons lived. In the fields and alongs
the paths, here and there, he saw the shapes of men and animals changed from
their natures to hard stone by Medusa´s gaze. Nevertheless he had himself
looked at the dread form of Medusa reflected in a circular shield of polished
bronze that he carried on his left arm. And while a deep sleep held the snakes
and herselfs, he struck her head from her neck. And the swift winged horse
Pegasus and his brother the warrior Chrysaor, were born from their mother´s
blood. ...”
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Pyramus and Thisbe.
1979, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses. Unpublished.
Pyramos and Thisbe lives in Babylon and their were lovers.
Bk IV: 55-92 Arsippe tells the story of Pyramus and Thisbe
“Pyramus and Thisbe, he the loveliest youth, she the most sought after
girl, the East held, lived in neighbouring houses, in the towering city of
Babylon, that Semiramis is said to have enclosed with walls of brick. Their
nearness and their first childhood steps made them acquainted and in time love
appeard. They would have agreed to swear the marriage oath as well, but their
parents prevented it. They were both on fire, with hearts equally captivated,
something no parent can prevent. They had no one to confide all this to: nods
and signs were their speach, and the more they kept the fire hidden, the more is
burned.
There was a fissure, a thin split, in the shared wall between their houses,
which traced back to when it was built. No one had discovered the flaw in all
those years – but what can love not detect? – You loverssaw it first, and
made it a path for your voices. Your endearments passed that way, in safety, in
the gentlest of murmurs. Often, when they were in place, Thisbe ere, and Pyramus
there, and they had each caught the sound of the other´s breath, they said “Unfriendly
wall, why do you hinder lovers? How hard would it be for you to let our whole
bodies meet, or if that is too much perhaps, to open to the kisses we give each
other? No that we are not grateful. We confess that we owe it to you that words
are allowed to pass to loving ears.” So they talked, hopelessly, sitting
opposite, saying, as night fell, “Farewell”, each touching the wall with
kisses that could not reach the other side. ....”
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Rejuvenating of Aeson.
1975, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Aeson was tha father of Iason, he was the king in Iolok.
Bk VII: 24-293 Medea rejuvenates Aeson
“...With these, and a thousand other nameless things, the barbarian witch
pursued her greater than mortal purpose. She stirred it all with a long-dry
branch of a fruitful olive, mixing the depths with the surface. Look! The
ancient staff turned in the hot cauldron, first grew green again, then in a
short time sprouted leaves, and was, suddenly, heavily loaded with olives. And
whenever the flames caused froth to spatter from the hollow bronze, and warm
drops to fall on the earth, the soil blossomed, and flowers and soft grasses
grew.
As soon as she saw this, Medea unsheated a knife, and cut the old man´s throat,
and leting the old blood out, filed the dry veins with the juice. When Aeson had
absorbrd it, part through his mouth, and part through the wound, the white of
his hair and bread quickly vanished, and a dark colour took its place. At a
stroke his leanness went, and his pallor and dullness of mind. The deep hollows
were filled with rounded flesh, and his limbs expanded. Aeson marvelled,
recalling that this was his self of forty years ago.”
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Próteus.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Próteus was a sea godness and augur. He lives on the island Far, near the mouth
of the river Nilus. He can change his appearance, and in this way he symbolized
the form adaptability of the water.
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King Midas.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
He get the ass´s ears, because he was not agree with the victory of Apollon
beyound Pan in the musical race.
Bk XI: 172-193 Midas and the ass´s ears
“The judgement of the sacred mountain-god satisfied all opinions, and yet
Midas´s voice alone challenged it and called it unjust. The god of Delos did
not allow such undiscriminating ears to keep their human form, but drew them out
and covered them with shaggy grey hair, and made them flexible at the base, and
gave them powers of movement. Though the rest was human, he was punished in that
sole aspect: he wore the ears of a slow-moving ass. ..”
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Battle of Lapiths and Centaures.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Centaures were pictured like the beings half a horse, half a man. They caused a
battle with Lapiths on the wedding of the king of Lapiths.
Bk XII: 210-244 Nestor tells of the battle of Lapiths and Centaures
“Pirithoüs, the daring son of Ixion, married Hippodame, and invited the
cloud-born centaurs to take their place at tables, set in lines, in a
tree-shaded cave. Caeneus, and the other Thessalian princes were there, and I
was there myself. The festive palace echoed with the noisy crowd. See, they were
singing the marriage song, and the great hall smoked with fires, and in came the
virgin surrounded by a throng of young wives and mothers, conspicuous, in her
beauty. We declared Pirithos to be blessed in his bride, which almost betrayed
his good fortune. For your heart was heated by the sight of the girl as much as
by wine. Eurythus, most savage of the savage Centaurs: and drunkenness twinned
with lust ruled it.
A once the tables were overturned and the banquet in turnoil, and the new bride
was grabbed by the hair and dragged off by force. Eurythus seized Hippodame: the
others whoseoever they wished to, or could, and it Looked like the rape of a
city. The palace sounded with women´s cries. ...”
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Ulysses and Polyphemus.
1976, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
Polyphemus was blinded by the Ulysses, king of Itaka.
Bk XIII: 738-788 Acis and Galatea
“... Meanwhile, Telemus the augur, Telemus, the son of Eurymus, whom no
flight of birds could decieve, came to Sicilian Mount Aetna, addressed grim
Polyphemus, and said: “Ulusses will take from you, that single eye in the
middle of your forehead.” He laughed, and answered: “O most foolish of
seers, you are wrong, another, a girl, has already taken it.” So he scorned
the true warning, given in vain, and weighed the coast down, walking with giant
tread, or returned weary to his dark cave. ...”
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Ageing Helen.
1975, coloured litograph, 42x31. Illustration to the: Publius Ovidius
Naso: Metamorphoses
She was the wife of Menelaos. Paris kidnaped her and this was the reason of the
Troy war.
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Diptych E.A.Poe. 1981, coloured litograph, 37x47
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Diptych E.A.Poe. 1981, coloured litograph, 62x47
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Sphinx Likes Blue. 1985, coloured litograph, 55x70
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Graspingness III.1995, coloured litograph, 55x73
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End of Millenium. 1999, coloured litograph, 62x79
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Big Carousal of Life. 1984, coloured litograph, 92x66
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From the Big Table of Nature. 1980, coloured litograph, 96x68
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Eros Horus. 1990, coloured litograph, 96x68
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Attention Civilisation. 1993-1996, coloured litograph, 92x66
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