cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
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cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
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cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
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cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
Zoom Info
cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
Zoom Info
cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
Zoom Info
cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
Zoom Info
cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.        -   Simon Schama’s Power of Art. Bernini
Zoom Info

cressus:

     No one before Bernini had managed to make marble so carnal. In his nimble hands it would flatter and stream, quiver and sweat. His figures weep and shout, their torses twist and run, and arch themselves in spasms of intense sensation. He could, like an alchemist, change one material into another - marble into trees, leaves, hair, and, of course, flesh.  
     -   Simon Schama’s Power of Art. Bernini

unhistorical:

La Belle Dame sans Merci [The Beautiful Lady without Mercy] (1926), Frank Cadogan Cowper

And there she lullèd me asleep,And there I dreamed—Ah! woe betide!—The latest dream I ever dreamtOn the cold hill side.I saw pale kings and princes too,Pale warriors, death-pale were they all;They cried—‘La Belle Dame sans MerciHath thee in thrall!’

John Keats, 1819
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unhistorical:

La Belle Dame sans Merci [The Beautiful Lady without Mercy] (1926), Frank Cadogan Cowper

And there she lullèd me asleep,And there I dreamed—Ah! woe betide!—The latest dream I ever dreamtOn the cold hill side.I saw pale kings and princes too,Pale warriors, death-pale were they all;They cried—‘La Belle Dame sans MerciHath thee in thrall!’

John Keats, 1819
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unhistorical:

La Belle Dame sans Merci [The Beautiful Lady without Mercy] (1926), Frank Cadogan Cowper

And there she lullèd me asleep,
And there I dreamed—Ah! woe betide!—
The latest dream I ever dreamt
On the cold hill side.

I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried—‘La Belle Dame sans Merci
Hath thee in thrall!’

John Keats, 1819

artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
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artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
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artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
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artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
Zoom Info
artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
Zoom Info
artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
Zoom Info
artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
Zoom Info
artofthetitle:

A Fistful of Dollars title sequence by Iginio LardaniLike Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title
Zoom Info

artofthetitle:

A Fistful of Dollars title sequence by Iginio Lardani

Like Bass and Binder, Lardani entered film by designing posters and other print collateral, and also cut countless  trailers and promos throughout his career. Though it’s uncertain if he had already been involved with A Fistful of Dollars in such a capacity, he had no previous titling experience when Leone invited him to create its titles. Since there was no budget set aside, the relationship was mutually beneficial and afforded Lardani full creative control over the end product — a luxury extended to few in his field, particularly freshmen.

A Fistful of Titles: The Westerns of Iginio Lardani on Art of the Title

onlyoldphotography:

Max Dupain: Sunbaker, 1935

Sunbaker was taken while he was on holiday at Culburra, on the New South Wales South Coast, in 1937, a year of popular optimism before the War.
The sunbaker is completely relaxed and at one with the land. He lies with his back exposed to the sun, seawater and sweat sparkling on his skin. Dupain used a low-angle shot, which transforms the simple shapes of the man’s oval head and triangular torso into a mountain-like outcrop set against the horizon.
This image was inspired by the work of European modernist photographers, who were more interested in exploring abstract form than in making descriptive photographs.
Sunbaker has become a national image. The classical simplicity of the figure replaces the cliches of athletic masculine imagery.

onlyoldphotography:

Max Dupain: Sunbaker, 1935

Sunbaker was taken while he was on holiday at Culburra, on the New South Wales South Coast, in 1937, a year of popular optimism before the War.
The sunbaker is completely relaxed and at one with the land. He lies with his back exposed to the sun, seawater and sweat sparkling on his skin. Dupain used a low-angle shot, which transforms the simple shapes of the man’s oval head and triangular torso into a mountain-like outcrop set against the horizon.
This image was inspired by the work of European modernist photographers, who were more interested in exploring abstract form than in making descriptive photographs.
Sunbaker has become a national image. The classical simplicity of the figure replaces the cliches of athletic masculine imagery.