Studio Ghibli Puts Online 400 Images from Eight Classic Films, and Lets You Download Them for Free

in Animation, Art | September 24th, 2020

Japan’s Studio Ghibli has long been protective of their intellectual property, with Hayao Miyazaki and his team overseeing how their characters are merchandized, as well as carefully making sure foreign distribution of their films stay faithful to the original. (Miyazaki famously–although apocryphally–sent Miramax’s Harvey Weinstein a katana sword along with a note reading “No Cuts,” because the mogul and all-around bad person was notorious for recutting Asian films for western audiences).

It’s not that you can’t get tons of Ghibli merchandise—there’s a Totoro beer if you’re interested—it’s that Studio Ghibli likes control. Which makes this huge hi-res image dump from the studio a surprising gift. Earlier this year they released a series of backgrounds to spice up your Zoom meetings. And now they’ve just released 400 images from eight of their films, with plenty more to come.

You can do what you want with these 1920x1080 jpgs, with one caveat from producer Toshi Suzuki: “Please use them freely within the scope of common sense.”

The studio is not releasing all their classics in one go, however. Among the famous Spirited Away and Ponyo, there’s art from films that barely got screenings in the States: Tales from Earthsea (2006), From Up on Poppy Hill (2011), and When Marnie Was There (2014).

Look, they can’t all be Totoros, and Studio Ghibli has delivered plenty of sweet romantic dramas along with its more fantastic films. If you are curious, Netflix and HBOMax are streaming pretty much the whole catalog.

Which is a surprise, as Miyazaki has long banned Ghibli’s films from streaming. As Suzuki told reporters in a March announcement:

“First of all, Hayao Miyazaki doesn’t know exactly what video streaming services like Netflix are. He doesn’t use personal computers, he doesn’t use smartphones. So when you mention digital distribution to him, he just doesn’t get it.”

He added:

“Hayao Miyazaki is currently making a movie but it’s taking a really long time. When that happens, it’s only natural that it will require a lot of money too. I told him this can cover the production costs for that movie. When I said that, he said “Well, there’s nothing I can do then.”

As long as we enjoy the films “within the scope of common sense,” I hope Miyazaki will have nothing to worry about. Enter the image archive here.

via Nerdist

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Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( None ) |

In a Brilliant Light: Van Gogh in Arles–A Free Documentary

in Art, Film | September 16th, 2020

Courtesy of the Met Museum comes the 1984 documentary, In a Brilliant Light: Van Gogh in Arles, narrated by Edward Herrmann:

Near the end of his life, Vincent van Gogh moved from Paris to the city of Arles in southeastern France, where he experienced the most productive period of his artistic career. During his 444 days there, he completed over two hundred paintings and one hundred drawings inspired by the region’s light, wildlife, and inhabitants. This film presents the stories behind many beloved works alongside beautiful footage of daily life in Provence, as well as glimpses of rarely seen canvases held in private collections.

This film will be added to our list of Free Documentaries, a subset of our meta list: 4,000+ Free Movies Online: Great Classics, Indies, Noir, Westerns, Documentaries & More.

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The Curious Death of Vincent van Gogh

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The Curious Death of Vincent van Gogh

in Art, History | September 15th, 2020

The story of Vincent van Gogh’s suicide, like the removal of his ear, has been integral to his mythos for a long time, immortalized by Kirk Douglas in the final scene of Vincente Minnelli’s film Lust for Life and in the 1934 biographical novel of the same name by Irving Stone. We’ve all accepted this as brute historical fact, but, apparently, “it’s all bunk,” Gregory White Smith and Steven Naifeh wrote in a 2014 Vanity Fair article based on a decade of research for a new biography (Van Gogh: The Life).

“Though eagerly embraced by a public in love with a handful of memorable images and spellbound by the thought of an artist who would cut off his own ear,” the authors argue, “Stone’s suicide yarn was based on bad history, bad psychology, and, as a definitive new expert analysis makes clear, bad forensics.” An expert analysis, you say? Yes. the world’s biggest posthumous art star has become an unsolved mystery, the subject of a Buzzfeed video above, part a series that also includes Edgar Allan Poe, JFK, Jimmy Hoffa, and Natalie Wood.

Van Gogh’s suicide seems accepted as a fact by the Van Gogh Museum, at least according to their website, evidenced by the morbid gloom of his late letters to his brother. But Van Gogh wrote “not a word about his final days,” Smith and Naifeh point out, and he left behind no suicide note, “odd for a man who churned out letters so profligately.” A piece of writing found on him turned out to be an early draft of his last letter to Theo, which was “upbeat—even ebullient—about the future.” He had every reason to be, given the glowing success of his first show. “He had placed a large order for more paints only a few days before a bullet put a hole in his abdomen.”

The story of how the hole got there involves a then-16-year-old Paris pharmacist named René Secrétan, who cruelly bullied Van Gogh during his 1890 summer in Auvers. (He also sat for some paintings and a drawing.) His involvement explains the “studied silence” the community maintained after Van Gogh’s death. No one mentioned suicide, but no one would say much of anything else either. Secrétan became a wealthy banker and lived to see Kirk Douglas portray the eccentric artist he mocked as “Toto.” He later admitted to owning the gun that killed Van Gogh, but denied firing the shot.

The new evidence surrounding Van Gogh’s possible murder has been in the public eye for several years now, but it hasn’t made much of a dent in the Van Gogh suicide legend. Still, we must admit, that story has always made little sense. Even scholars at the Van Gogh museum privately admitted to the artist’s biographers that they had serious doubts about it. These were dismissed, they claimed, as being “too controversial.” Now that Van Gogh has become a YouTube true crime unsolved mystery, there’s no shutting the door on speculation about his untimely and tragic demise.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Monty Python’s Michael Palin Is Also an Art Critic: Watch Him Explore His Favorite Paintings by Andrew Wyeth & Other Artists

in Art, Television | September 14th, 2020

Many a parent who caught their kid watching Monty Python’s Flying Circus in the 1970s felt, as one 70s American dad proclaimed, that “it was the singularly dumbest thing ever broadcast on the tube.” Fans of the show know otherwise. The Pythons created some of sharpest satire of conservative authority figures and middle-class mores. But they did it in the broadly silliest of ways. The troupe, who met at Oxford and Cambridge, where they’d been studying for professional careers, decided they preferred to follow in the footsteps of their heroes on The Goon Show. What must their parents have thought?

But the Pythons made good. They grew up to be avuncular authorities themselves, of the kind they might have skewered in their younger days. After several decades of making highly regarded travel documentaries, Michael Palin became president of the Royal Geographical Society, an office one can imagine him occupying in the short-pants uniform of a Bruce. Instead, photographed in academic casual holding a globe, he was dubbed by The Independent as “a man with the world in his hands.”

Unlike fellow accomplished Python John Cleese, who can never resist getting in a joke, Palin has mostly played the straight man in his TV presenter career. He brings to this role an earnestness that endeared viewers for decades. It’s a quality that shines through in his documentaries on art for BBC Scotland, in which he explores the worlds of his favorite painters without a hint of the pretentiousness we would find in a Python caricature. Just above, Palin travels to Maine to learn about the life of Andrew Wyeth and the setting of his most famous work, Christina’s World.

Palin’s passion for art and for travel are of a piece—driven not by ideas about what art or travel should be, but rather by what they were like for him. Palin brings this personal approach to the conversation above with Caroline Campbell, Head of Curatorial at the British National Gallery. Here, he discusses “ten paintings which I cannot avoid when I’m going in the gallery. They always catch my eye, and each one means something to me.” Artists included in his “rather esoteric” collection include the late-Medieval/early-Renaissance pioneer Duccio, Hans Holbein the Younger, William Hogarth, and Joseph Mallord William Turner.

While these may be familiar names to any art lover, the works Palin chooses from each artist may not be. His thoughtful, perceptive responses to these works are not those of the professional critic or of the professional comedian. They are the responses of a frequent traveler who notices something new on every trip.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

19th-Century Japanese Woodblocks Illustrate the Lives of Western Inventors, Artists, and Scholars (1873)

in Art, History | September 11th, 2020

For more than 200 years between the mid-17th and mid-19th century, Japan closed itself to the outside world. But when it finally opened again, it couldn’t get enough of the outside world. The American Navy commodore Matthew Perry arrived with his formidable “Black Ships” in 1853, demanding that Japan engage in trade. Five years later came the Meiji Restoration, which consolidated Japan’s political system under imperial rule and encouraged both industrialization and Westernization. Or rather, it encouraged the importation of Western technology and ideas for use in Japanese ways, a combination known as wakon-yōsai, meaning “Japanese spirit and Western techniques.”

It is in the mindset of wakon-yōsai, says the Public Domain Review, that we should view these Japanese woodblock prints of Western inventors, scholars, and artists. Most likely dating from 1873 — a heady time for the mixture of Japanese spirit and Western techniques — they depict these figures facing a variety of challenges, some more plausible than others.

“The great naturalist John James Audubon battles with a mischievous rat who has eaten his work; the dog of historian and poet Thomas Carlyle has upset a lamp burning his papers; the wife of Richard Arkwright, inventor of the spinning-frame, smashes his creation; the developer of the Watt steam engine James Watt suffers the wrath of his impatient Aunt; pottery impresario Bernard Palissy has to burn his family’s furniture to keep his kiln’s fire going.”

Commissioned by the Japanese Department of Education, these schoolbook illustrations may bring to mind the 1861 Japanese history of America previously featured on Open Culture, with its tiger-punching George Washington and serpent-slaying John Adams. But the text that accompanies these mightily struggling Western luminaries, translations of which you can find along with the images at the Public Domain Review, “paints a slightly more positive picture, revealing the moral, something akin to ‘If at first you don’t succeed then try again,’ or ‘Perseverance prospers.’ ” In Japan’s case, perseverance would indeed make it one of the most prosperous nations in the world — if only after its defeat in World War II, by some of the very nations whose historical figures it had lionized less than a century before. Find more images at the Public Domain Review and the Library of Congress.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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Leonardo da Vinci’s Elegant Studies of the Human Heart Were 500 Years Ahead of Their Time

in Art, Biology, Health, History | September 11th, 2020

Leonardo da Vinci didn’t really have hobbies; he had passionate, unpaid obsessions that filled whole notebooks with puzzles scientists are still trying to solve. Many of the problems to which he applied himself were those none of his contemporaries understood, because he was the only person to have noticed them at all. The amateur anatomist was the first, for example, “to sketch trabeculae,” notes Medievalists.net, “and their snowflake-like fractal patterns in the 16th century.”

These geometric patterns of muscle fibers on the inner surface of the heart have remained a mystery for over 500 years since Leonardo’s anatomical investigations, carried out first on pig and oxen hearts, then later, in hasty dissections in the winter cold, on human specimens. He speculated they might have warmed the blood, but scientists have recently found they enhance blood flow “just like the dimples on a golf ball reduce air resistance.”

Leonardo may have been wide of the mark in his trabeculae theory, not having access to genetic testing, AI, or MRI. But he was the first to describe coronary artery disease, which would become one of the leading causes of death 500 years later. Many of his medical conclusions have turned out to be startingly correct, in fact. He detailed and elegantly sketched the heart’s anatomy from 1507 until his death in 1519, working out the flow of the blood through the body.

As the Medlife Crisis video above explains, Leonardo’s studies on the heart elegantly brought together his interests in art, anatomy, and engineering. Because of this multi-dimensional approach, he was able to explain a fact about the heart’s operation that even many cardiologists today get wrong, the movement of the aortic valve. In order to visualize the “flow dynamics” of the heart’s machinery, without imaging machinery of his own, he built a glass model, and drew several sketches of what he saw. “Incredibly, it took 450 years to prove him right.”

The mind of this extraordinary figure continues to divulge its secrets, and scholars and doctors across multiple fields continue to engage with his work, in the pages, for example, of the Netherlands Heart Journal. His studies on the heart particularly show how his astonishing breadth of knowledge and skill paradoxically made him such a focused, determined, and creative thinker.

via Medievalists.net

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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William Blake’s Paintings Come to Life in Two Animations

in Animation, Art, Museums, Poetry | September 4th, 2020

The poet and painter William Blake toiled in obscurity, for the most part, and died in poverty.

Twenty some years after his death, his rebellious spirit gained traction with the Pre-Raphaelites.

By the dawning of the Age of Aquarius, Blake was ripe to be venerated as a counter-cultural hero, for having flown in the face of convention, while championing gender and racial equality, nature, and free love.

Reclining half-naked on a “a fabulous couch in Harlem,” poet Allen Ginsburg had a hallucinatory encounter wherein Blake recited to him “in earthen measure.”

Ditto poet Michael McClure, though in his case, Bob Dylan’s “Gates of Eden” served as something of a medium:

I had the idea that I was hallucinating, that it was William Blake’s voice coming out of the walls and I stood up and put my hands on the walls and they were vibrating.

Blake’s work (and world view) continues to exert enormous influence on graphic novelists, theatermakers, and creatives of every stripe.

He’s also a dab hand at animation, collaborating from beyond the grave.

The short above, a commission for a late ‘70s Blake exhibition at The Tate, envisions a roundtrip journey from Heaven to Hell. Animator Sheila Graber parked herself in the Sculpture Hall to create it in public view, pairing Blake’s line “Energy is Eternal delight” with a personal observation:

Whether we use it to create or destroy—it’s the same energy. The practice of art can turn a person from a vandal to a builder!

More recently, the Tate gave director Sam Gainsborough access to super high-res imagery of Blake’s original paintings, in order to create a promo for last year’s blockbuster exhibition.

Gainsborough and animator Renaldho Pelle worked together to bring the chosen works to life, frame by frame, against a series of London buildings and streets that were well known to Blake himself.

The film opens with Blake’s Ghost of a Flea emerging from the walls of Broadwick Street, where its creator was born, then stalking off, bowl in hand, ceding the screen to God, The Ancient of Days, whose reach spreads like ink across the gritty facade of a white brick edifice.

Seymour Milton’s original music and Jasmine Blackborow’s narration of excerpts from Blake’s poem “Auguries of Innocence” seem to anticipate the fraught current moment, as does the entire poem:

Auguries of Innocence

To see a World in a Grain of Sand

And a Heaven in a Wild Flower

Hold Infinity in the palm of your hand

And Eternity in an hour

A Robin Red breast in a Cage

Puts all Heaven in a Rage

A Dove house filld with Doves & Pigeons

Shudders Hell thr’ all its regions

A dog starvd at his Masters Gate

Predicts the ruin of the State

A Horse misusd upon the Road

Calls to Heaven for Human blood

Each outcry of the hunted Hare

A fibre from the Brain does tear

A Skylark wounded in the wing

A Cherubim does cease to sing

The Game Cock clipd & armd for fight

Does the Rising Sun affright

Every Wolfs & Lions howl

Raises from Hell a Human Soul

The wild deer, wandring here & there

Keeps the Human Soul from Care

The Lamb misusd breeds Public Strife

And yet forgives the Butchers knife

The Bat that flits at close of Eve

Has left the Brain that wont Believe

The Owl that calls upon the Night

Speaks the Unbelievers fright

He who shall hurt the little Wren

Shall never be belovd by Men

He who the Ox to wrath has movd

Shall never be by Woman lovd

The wanton Boy that kills the Fly

Shall feel the Spiders enmity

He who torments the Chafers Sprite

Weaves a Bower in endless Night

The Catterpiller on the Leaf

Repeats to thee thy Mothers grief

Kill not the Moth nor Butterfly

For the Last Judgment draweth nigh

He who shall train the Horse to War

Shall never pass the Polar Bar

The Beggars Dog & Widows Cat

Feed them & thou wilt grow fat

The Gnat that sings his Summers Song

Poison gets from Slanders tongue

The poison of the Snake & Newt

Is the sweat of Envys Foot

The poison of the Honey Bee

Is the Artists Jealousy

The Princes Robes & Beggars Rags

Are Toadstools on the Misers Bags

A Truth thats told with bad intent

Beats all the Lies you can invent

It is right it should be so

Man was made for Joy & Woe

And when this we rightly know

Thro the World we safely go

Joy & Woe are woven fine

A Clothing for the soul divine

Under every grief & pine

Runs a joy with silken twine

The Babe is more than swadling Bands

Throughout all these Human Lands

Tools were made & Born were hands

Every Farmer Understands

Every Tear from Every Eye

Becomes a Babe in Eternity

This is caught by Females bright

And returnd to its own delight

The Bleat the Bark Bellow & Roar

Are Waves that Beat on Heavens Shore

The Babe that weeps the Rod beneath

Writes Revenge in realms of Death

The Beggars Rags fluttering in Air

Does to Rags the Heavens tear

The Soldier armd with Sword & Gun

Palsied strikes the Summers Sun

The poor Mans Farthing is worth more

Than all the Gold on Africs Shore

One Mite wrung from the Labrers hands

Shall buy & sell the Misers Lands

Or if protected from on high

Does that whole Nation sell & buy

He who mocks the Infants Faith

Shall be mockd in Age & Death

He who shall teach the Child to Doubt

The rotting Grave shall neer get out

He who respects the Infants faith

Triumphs over Hell & Death

The Childs Toys & the Old Mans Reasons

Are the Fruits of the Two seasons

The Questioner who sits so sly

Shall never know how to Reply

He who replies to words of Doubt

Doth put the Light of Knowledge out

The Strongest Poison ever known

Came from Caesars Laurel Crown

Nought can Deform the Human Race

Like to the Armours iron brace

When Gold & Gems adorn the Plow

To peaceful Arts shall Envy Bow

A Riddle or the Crickets Cry

Is to Doubt a fit Reply

The Emmets Inch & Eagles Mile

Make Lame Philosophy to smile

He who Doubts from what he sees

Will neer Believe do what you Please

If the Sun & Moon should Doubt

Theyd immediately Go out

To be in a Passion you Good may Do

But no Good if a Passion is in you

The Whore & Gambler by the State

Licencd build that Nations Fate

The Harlots cry from Street to Street

Shall weave Old Englands winding Sheet

The Winners Shout the Losers Curse

Dance before dead Englands Hearse

Every Night & every Morn

Some to Misery are Born

Every Morn and every Night

Some are Born to sweet delight

Some are Born to sweet delight

Some are Born to Endless Night

We are led to Believe a Lie

When we see not Thro the Eye

Which was Born in a Night to perish in a Night

When the Soul Slept in Beams of Light

God Appears & God is Light

To those poor Souls who dwell in Night

But does a Human Form Display

To those who Dwell in Realms of day

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William Blake’s Masterpiece Illustrations of the Book of Job (1793–1827)

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

A Short Introduction to Caravaggio, the Master Of Light

in Art | September 3rd, 2020

Like many a great artist, the fortunes of Michelangelo Merisi da Caravaggio rose and fell dramatically. After his death, possibly from syphilis or murder, his influence spread across the continent as followers called Caravaggisti took his extreme use of chiaroscuro abroad. He influenced Rubens, Rembrandt, and Velázquez—indeed, the entire Baroque period in European art history probably would never have happened without him. “With the exception of Michelangelo,” art historian Bernard Berenson wrote, “no other Italian painter exercised so great an influence.”

But later critics savaged his hyper-dramatic, high-contrast realism. His style, called “tenebrism” for its use of deep darkness in paintings like The Calling of St. Matthew, is shocking by comparison with the fanciful Mannerism that came before. In the video above, Evan Puschak, the Nerdwriter, explains what makes Caravaggio’s work so strangely hyperreal. He “preferred to paint his subjects as the eye sees them,” the Caravaggio Foundation writes, “with all their natural flaws and defects instead of as idealized creations…. This shift from standard practice and the classical idealism of Michelangelo was very controversial at the time…. His realism was seen by some as unacceptably vulgar.”

Also controversial was Caravaggio himself. His wild life made an ideal subject for Derek Jarman’s 1986 arthouse biopic starring Tilda Swinton. Famous for brawling, “the transcripts of his police records and trial proceedings fill several pages.” He never married or settled down and the male eroticism in his paintings has led many to suggestions he was gay .(Jarman’s film makes this an explicit part of his biography.) It’s likely, art historians think, that the painter had many tumultuous relationships, sexual and otherwise, with both men and women before his early death at the age of 38.

Despite his profane life, Caravaggio’s paintings evince a “remarkable spirituality” and illustrate, as Puschak notes, exactly the kind of passionate intensity the counter-Reformation Catholic Church wanted to use to stir the faithful. Caravaggio’s popularity meant commissions from wealthy patrons, and for a time, he was the most famous painter in Rome, as well as one of the city’s most infamous characters. Caravaggio painted from life, staging his intricate arrangements with real models who held the poses as he worked.

His figures were ordinary people one might meet on the 17th century streets of the city. And Caravaggio himself, despite his enormous talent, was an ordinary person as well, stereotypes of tragic, tortured geniuses aside. He was deeply flawed, it’s true, yet driven by an incredible longing to become something greater.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Studio Ghibli Puts Online 400 Images from Eight Classic Films, and Lets You Download Them for Free

In a Brilliant Light: Van Gogh in Arles–A Free Documentary

The Curious Death of Vincent van Gogh

Monty Python’s Michael Palin Is Also an Art Critic: Watch Him Explore His Favorite Paintings by Andrew Wyeth & Other Artists

19th-Century Japanese Woodblocks Illustrate the Lives of Western Inventors, Artists, and Scholars (1873)

Leonardo da Vinci’s Elegant Studies of the Human Heart Were 500 Years Ahead of Their Time

William Blake’s Paintings Come to Life in Two Animations

A Short Introduction to Caravaggio, the Master Of Light

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