#almost half of it is the 1975 the head and the heart and the lumineers so lol... cancel meeeeee

[stuhde]

sunday: i meant to post this playlist weeks ago, so you could all have some soft indie study tunes to listen to while you’re studying for exams/midterms. as much as i love instrumental study music, sometimes you just want lyrics to listen to while studying. here’s a playlist to guide you through your work day before the next week begins 💫

(listen here)

patience - the lumineers // obvious bicycle - vampire weekend // all i want - kodaline // somebody else - the 1975 // meet me in the hallway - harry styles // from eden - hozier // angela - the lumineers // is there somebody who can watch you - the 1975 // all we ever knew - the head and the heart // featherstone - the paper kites // dirty paws - of monsters and men // like real people do - hozier  // miracle aligners - the shadow puppets // hannah hunt - vampire weekend // hey k - passion pit // the cave - mumford and sons // suck it and see - arctic monkeys // reign down - bombay bicycle club // rivers and road - the head and the heart // ophelia - the lumineers // cherry wine (live) - hozier // from the dining table - harry styles

cleopatra - the lumineers // medicine - the 1975 // i think ur a contra - vampire weekend // monsoon - hippo campus // devil like me - rainbow kitten surprise // another story - the head and the heart // paint - the paper kits // sleep on the floor - the lumineers // please be naked - the 1975 // bloom (bonus track) - the paper kites // no guarantees (stinson beach ed.) - the head and the heart // goodnight chicago - rainbow kitten surpise  // someone new - hozier // down in the valley - the head and the heart // to build a home - the cinematic orchestra // down in the valley - the head and the heart // polite company - rainbow kitten surprise // rhythm and blues - the head and the heart // stuck on puzzle - alex turner // work song - hozier // fallingforyou - the 1975 // this must be the place (naïve melody) - the lumineers // winter song - the head and the heart // woodland - the paper kites // baby i’m yours - arctic monrkeys // chateau - angus & julia stone // sedona - houndmouth // fire and fear - the head and the heart // tell me how - paramore // for sondra (it means the world to me) - passion pit // sincerity is scary - the 1975 // days on a wire - case // signs of light - the head and the heart // inside your mind - they 1975  // cowards - raleigh ritchie // wake me - bleachers // run - hozier // all well that ends well - rainbow kitten surprise // mine - the 1975 // on the way home - the paper kites // the ultracheese - arctic monkeys // mountain sound - of monsters and men // surrounded by heads and bodies - the 1975 // don’t forget me - the head and the heart // hey, ma - bon iver // arms - the paper kites // two weeks - grizzly bear // the only thing - sufjfan stevens // south - hippo campus // amsterdam - gregory alan isakov // backstroke - dizzy // loving is easy - rex orange county // rainbow - kacey musgraves // jesus christ 2005 god bless america  - the 1975 // i <3 u - boy pablo // frail state of mind - they 1975  // RABi - bon iver // disappear - beabadoobee // say my name (spotify cover) - hozier // cig - baby fuzZ // be my mistake - the 1975 // crush - day wave // fine line - harry styles // i couldn’t be more in love - the 1975 // corduroy dreams - rex orange county // naeem - bon iver // don’t worry - the 1975 // nowadays - boy pablo // bloodlines - cape francis // halloween - pheobe bridgers // eugene - arlo parks // over the moon - the marías

[caveartfair]

Salvador Dalí’s Side Project Illustrating Books—Including the Bible

Maria conferens in corde suo - From "Biblia Sacra", 1964. Salvador Dalí Wallector

Gloria Vultus Moysi - From "Biblia Sacra", 1964-1965. Salvador Dalí Wallector

Salvador Dalí was a bona fide global brand before the term became ubiquitous. From the end of World War II until his death in 1989, he was a fixture of the worlds of fashion, art, TV, film, and advertising—the loopy, household-name Surrealist who went to jail for his artworks as a young man, but lived long enough to lend his legendary panache to Hollywood movies and Alka-Seltzer commercials.

Throughout the second half of his life, Dalí had a curious side-project, one that has attracted remarkably little attention from art historians. When he wasn’t designing movie sets or appearing on The Dick Cavett Show, he was illustrating the Western canon: Don Quixote and Macbeth in 1946; The Divine Comedy between 1951 and 1964; the Bible between 1963 and 1964; Alice in Wonderland in 1969; Henry V and Henry VI in 1970; The Life of Gargantua and Pantagruel in 1973; and Paradise Lost in 1974. Browsing a shelf of the West’s most renowned titles, it’s surprisingly hard to find one for which he didn’t do the pictures.

Jonah and the Whale, 1975. Salvador Dalí RoGallery

If the notion of Dalí illustrating the Great Books doesn’t sound strange to you, consider that this was the same artist who spent 35 days in jail for “anarchist tendencies” and took dead aim at the Catholic Church in L’Age d’Or (1930), the cinema milestone he co-wrote with Luis Buñuel. The naughty provocateur who thumbed his nose at tradition ended up using his gifts to celebrate and preserve Western literary tradition.

To be clear, Dalí’s illustrations aren’t some kind of subversive prank on their stodgy subjects. The luminous watercolors he produced for the Bible are, in the main, earnest renderings of their sacred subjects—a “complete passage through the Christian history of salvation” that shows “something of the spiritual side of Dalí,” according to Holger Kempkens, the director of the Diözesanmuseum Bamberg in Germany, which organized a recent exhibition of all 105 of Dalí’s Bible illustrations. While Dalí did bring his trademark flamboyance to his illustration projects (for Don Quixote, he smeared snails in ink and then let them crawl over his paper), overall, he illustrated too many classics, too well, and for too many years to dismiss his work as a big, ironic joke.

Alice in Wonderland (M. & L. 321-333; F. 69-5 A-M), 1969. Salvador Dalí Sotheby's

Purgatory Canto 18 (The Divine Comedy), . Salvador Dalí Martin Lawrence Galleries

Art history is full of enfants terribles who grow into elder statesmen. And yet Dalí’s career pivot seems especially stark, not only because of his association with Surrealism, but because it occurred during a period when he was rich and famous, and presumably could have undertaken whatever projects he wanted. Few counterculture artists have embraced the canon quite so eagerly.For Dalí’s detractors, there’s a very simple explanation for all this: He was never countercultural to begin with. A typical Dalí hit-job portrays the artist as a hired gun, pledging his services to whichever faction made him the most attractive offer: the anarchists, the Communists, the Surrealists, and, finally, his doting multimillionaire patrons, A. Reynolds and Eleanor Morse. He pretended to be political when it suited him, the story goes, but at heart, he was interested in defending the ideology of Dalí-ism, and the more money he could make while doing so, the better. The most famous version of this criticism is also the most concise: In 1939, André Breton, the father of Surrealism, cursed his rival with the anagrammatic nickname “Avida Dollars,” which sounded like the French avide à dollars, or “eager for dollars.”

Biblia Sacra: Nabuchodonosor Rex Babulonis (Nebuchadnezzar King of Babylon) 2-11, 1964. Salvador Dalí Baterbys Art Gallery

Le Paradis Perdu (Paradise Lost), 1973. Salvador Dalí Joseph Grossman Fine Art Gallery

Dalí’s defenders don’t deny that he was ideologically inconsistent. But who, they ask, expects total consistency from a great artist? More to the point, who actually wants it? As the critic Roberta Smith has pointed out, Dalí’s work continues to dazzle in part because it doesn’t fit into the facile categories of “liberal” or “conservative”—the radical content of his paintings (burning giraffes et al.) is counterbalanced, if not outweighed, by his fidelity to classical perspective and his indifference, at least in the long term, to politics. When Dalí’s Surrealist friends accused him of being soft on Fascism, he declared himself an “anarcho-monarchist.” The further his career advanced, the more appropriate this oxymoron came to seem.

Where other artists settle into dogmatic styles and beliefs as they enter middle age, Dalí can be said to have settled into his contradictions, becoming, as curator Ben Hickey has pointed out, “interested in spirituality and Christianity and mysticism.” He continued to explore shocking, destabilizing themes—forbidden sexuality, witchcraft, the end of the world—but he did so in between the pages of Shakespeare, Dante, and the Bible. His illustrations glorify the Western canon, but also emphasize its eeriness and otherworldliness—after all, what could be more surreal than Alice’s mad tea party or the witches from Macbeth?

OFF TO BATTLE, 1981. Salvador Dalí Gallery Art

Had Dalí’s images for Macbeth been his sole artistic output, he’d still be remembered as a master draftsman. To bring Act II, Scene II to life, he drew Lady Macbeth in profile and her husband head-on, two halves of one gruesome face. His illustrations for Don Quixote are rougher and less illusionistic—studying them, you’re always conscious of their being works on paper, perfect for a novel about a man driven bonkers by his own library. His take on Alice in Wonderland, completed at the height of the counterculture movement, may be his most beloved contribution to the art of illustration; for Lewis Carroll, Dalí eschewed the crispness and lucidity of his earlier work in favor of a dreamier watercolor aesthetic.

He’d return to this aesthetic when it came time to illustrate the Bible, and the results vary between reverential and brilliantly cheeky. His interpretation of the fall of man—one of the quintessential subjects of Western art—features a bland, black-and-white Adam and Eve; the serpent, by contrast, is a clever little imp smuggling color into a dull, faithful world. It’s tempting to see all of Dalí’s Biblical illustrations as an exercise in biting the hand that feeds; most of the time, however, Dalí executes something more challenging. He stays true to the Bible’s moral perspective while defamiliarizing his subjects: As Kempkens observes, some of the images seem almost confrontational in their newness, giving viewers the sense that they’re learning about the Creation or the Annunciation or the birth of Christ for the first time. The same could be said of Dalí’s terrifying, hollow-eyed Nebuchadnezzar; his sublimely understated Jonah; or his Virgin Mary, blue robes glowing with divine warmth.

Much Ado About Shakespeare : Macbeth, 1968. Salvador Dalí Artfever

Troilus and Cressida from Shakespeare II, . Salvador Dalí Leslie Hindman Auctioneers

Nevertheless, what goes for Adam and Eve goes for Dalí, too: He traded the dogmatic purity of his youth for the worldly comforts of power, property, and eros. And worldly comforts, as the serpent would say, aren’t all bad—in Dalí’s case, they motivated him to keep producing images that are ideologically muddled, but which, as artworks, are undeniably virtuosic. Somewhere in the clouds, Breton is still moaning about Dalí the sellout, Dalí the betrayer of revolutionary values—then again, what fool would expect consistency from a Surrealist? Thanks to Dalí and—at least in part—his brilliant, challenging illustrations, the movement’s legacy today is staunchly anarcho-monarchist.

from Artsy News