Was Cave Art Actually a Form of Cinema? How Prehistoric Lamps Suggest a Surprising New Way of Looking at Ancient Paintings

Replicating ancient light sources can help archeologists determine ho how prehistoric artists and artists would have seen ancient cave paintings. Photo by the Before Art Project, courtesy Iñaki Intxaurbe.

Cave art researchers have a tantalizing new theory to explain prehistoric paintings: that the images came to life in the flickering flames of candlelight as an early form of cinema.

“The flickering light, the dancing shadows, the warm glow from the fire, many people have argued that this creates a sense of theater, that you’re looking at an ancient version of cinema,” University of Victoria archaeologist April Nowell told Atlas Obscura.

To see ancient artworks the way they would have appeared to their pre-historic creators, Nowell and her colleagues designed flickering electric lamps that matched the color and intensity of their prehistoric predecessors.

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How to make the most of loneliness

The work of painter Edward Hopper is explored in Olivia Laing’s book The Lonely City (Credit: Alamy)

From Wordsworth wandering lonely as a cloud to a thousand pop songs about love-lost angst, culture is steeped in references to loneliness. Some authors have sung its praises – Virginia Woolf said loneliness allowed her to feel “the singing of the real world”. Emily Brontë’s novel, Wuthering Heights, pulsates with agonizing loneliness, from its windswept Yorkshire Moors setting to its moody, solitary antihero Heathcliff. The writer is said to have avoided human society, and rarely left Haworth. While comedian Lily Tomlin once quipped: “Just remember. We’re all in this alone”.

Artists have traditionally spent time apart from others, all the better to connect with their muse. Shakespeare wrote one of his masterpieces, King Lear, in quarantine in the early 1600s, as the Black Plague ravaged London. Frida Kahlo said she painted self-portraits, for which she is most noted because she was “so often alone”. Van Gogh left Paris in the hope that the quieter ambiance of Arles in the south of France would give him mental clarity. The lonely, tortured artist archetype can be traced back to Renaissance architect and artist Giorgio Vasari; his influential book of 1550, The Lives of the Artists, depicts the artist as someone who lives on the periphery of society, literally and metaphorically. 

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Industrial Materials and Rugged Topographies Converge in Jacqueline Surdell’s Knotted Tapestries

“We Will Win: Our Banner in the Sky (after Frederic Edwin Church)” (2020), cotton cord, nylon, paracord, fabric, and ribbons, 84 x 108 x 12 inches, 120-inch bar. Photo by Ian Vecchiotti. Images courtesy of Jacqueline Surdell and Patricia Sweetow Gallery, shared with permission

Chicago-based artist Jacqueline Surdell sutures lengths of rope, fabric, and silky ribbons into sprawling abstract tapestries that hang from walls and standalone armatures in textured, colorful masses. Swelling clusters of knots and ties, loose weaves, braided tunnels, and dangling strands compose her three-dimensional compositions that are disrupted by sporadically used items like steel chains, volleyballs, and polyester shower curtains. Because of the scale of the pieces and the hefty materials, the artist often uses her body as a shuttle to weave the brightly colored fibers together on massive hand-built looms.

Surdell embeds parts of her Chicago upbringing in her wall sculptures, especially childhood memories of her grandmother’s landscape paintings and her grandfather’s job in South Side steel mills. These two experiences converge in her textured works by evoking vast terrains and the city’s industrial history through her use of commercial materials.

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In Pictures: See Inside the Italian Futurist Painter Giacomo Balla’s Apartment, and Works From His Long-Awaited Retrospective in Rome

Detail of Balla’s apartment at Fondazione MAXXI. Photo: ©Musacchio, Ianniello & Pasqualini.

Born in Turin in 1871, artist Giacomo Balla went on to become one of the world’s best-known Modernist artists. Associated with the Italian Futurists, he left an indelible mark on the history of painting, uniting elements of fantasy with close studies of light, space, and movement.

Inspired by Eadweard Muybridge’s dynamic photographs, and along with peers Umberto Boccioni, Gino Severini, and Mario Sironi, Balla infused his works with the Futurist ethos that pervaded Italy in his day. It was not without controversy: members of the movement, including the poet Filippo Tommaso Marinetti, who wrote the Futurist Manifesto, were closely aligned with Italian Fascism. Those ties are what led Balla to break with the group.

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