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The Allure of Evil in Art

The victim, the witness and the perpetrator

Evil and art have a long history. For almost as long as we have existed, we have externalised the things we fear most. The Ancient Egyptians made reliefs of Apophis, the snake god of chaos and darkness continually trying to consume Ra, the Sun god. The Aztecs evoked the feared Tezcatlipoca, the ‘smoking mirror’ in their art. Christians for millennia have depicted the devil haunting the margins of numerous books and manuscripts.

Over the centuries though, the relationship between art and evil has remained in constant flux. Far from being a simple visceral reminder of our greatest fears, evil in art is often used to say more about the observer than the art itself, as I shall go on to demonstrate. I’ve broken evil down into three categories, which I believe broadly cover evil in art, the role it plays and its relation to the viewer.

We, as observers and consumers of art, are either its victims, witnesses, or perpetrators.

Victim

I’ll start with what I think is the rarest form of evil in art — that which makes the viewer the victim of evil. It takes a special confronting kind of art to achieve this effect. We must not only be addressed by the piece but overcome by it. For me, there is no greater example of this than Peter Paul Rubens ‘Two Satyrs’, 1619.

Peter Paul Rubens ‘Two Satyrs’, 1619

The first thing we are drawn to in the painting is the eyes. The satyr is staring directly at us, cheeks flushed, with a wicked grin. Presumably, he has been drinking like his fellow satyr in the background. Satyrs are half-men, half-beast in Greek and Roman mythology and are the attendants of Bacchus (Dionysus). They are distinct from similar creatures like fauns and centaurs and their primary focus is to entertain Bacchus and drink with their wild, indulgent god. They also have a reputation for debauchery, particularly sexual depravity, and are sometimes represented as being permanently erect. Combined with their wild lust, they make for an uncomfortable figure in mythology.

Rubens achieves something disturbing in this painting. Then as now, the context behind the art is important. Understanding this painting means understanding the nature of satyrs. To have one staring at you, grinning, with lust in his eyes is chilling to the core. We are victimised by the evil at play here, our own vulnerability seemingly reflected at us in the satyr’s ever-widening grin.

Witness

To be a witness to evil is to be a part of it. We are affected by the things we see and moved to action. Artists for millennia have played on our need to act and encouraged us to judge the subjects of their work. It’s no wonder then that being a witness to evil in art is the most common expression of the relationship between evil and art.

A great deal of religious art revolves around this premise. We are encouraged to judge the crucifiers and sympathise with Christ. It is a simple and sometimes passive relationship, meant to inspire contemplation of the suffering. But a huge amount of art play with us as witnesses on a different level.

A masterful example of this is William Bouguereau’s, ‘Dante and Virgil’, 1850. Deep in the bowels of Inferno, in a region known as the Malebolge (Rottenpockets), Dante, Virgil and a demon witness two men fighting with one another. Capocchio, a heretic, is bitten by the fraudster Gianni Schicchi. The violence here is visceral and shocking. To the bottom right a man lays crippled in pain and emerging from a glowing pit behind him are several other groups battling one another. Dante and Virgil are clearly sickened by what they see, but the demon revels in it. He is a creature of evil that delights in evil.

William-Adolphe Bouguereau, Dante and Virgil, 1850

Bouguereau has given us an interesting dynamic here, offering us two different choices. We know that these two men have been condemned to Hell for their crimes. We are not asked to judge whether they are guilty because we already know they are. What Bouguereau is subtly implying here has more to do with us as viewers of the art than the figures in it.

Put simply, he asks whether you are horrified by the animal barbarity of the men’s fate, or revel in it as the demon does. Bouguereau seems to suggest that you’re doing the latter. Of all the characters in the painting, the demon is the only one really looking out at you. His smile is almost conspiratorial, and his horrific features invite us to contemplate our own inner thoughts on how punishment and retribution must be exacted.

Caravaggio, Judith Beheading Holofernes, circa 1599

This kind of intimate relationship between subject and witness is different from what we find in many other paintings where we witness evil acts. For example, Caravaggio’s, ‘Judith Beheading Holofernes’, 1558–1602, is powerful and shocking, but the focus is mostly on Judith. The brilliant light, her determined face and firm grip of the blade all seem to me to suggest a commitment and reassure the viewer that although this is a horrific, ‘evil’ act, it is right.

Picasso’s, ‘Guernica’, 1937, offers a different relationship too. We see the trauma of Nazi and Fascist Italy’s bombing campaign on the town of Guernica at the request of the Spanish nationalists. Surrealism here offers us nothing less than a world falling apart. Buildings burn, swords are broken, and men and animals lie in pieces. This is a painting of war on an industrial scale and Picasso overwhelms us with it. We are still witnesses here, but Picasso suggests that our judgement is meaningless. Our voices are drowned out by the falling of Fascist bombs, the lick of flames and the screams of the dying.

Perpetrator

Finally, and perhaps most uniquely, we can be perpetrators of evil in art. This is where the true ‘allure of evil’ comes in. While Bouguereau’s demon asks us to think about ourselves, art where we take part in the evil, however subtly, asks no such thing of us.

In Europe, this type of art most commonly depicts Satan. The change from monstrous abomination to the complicated anti-hero Satan has become today is mostly the result of John Milton’s Paradise Lost. Milton depicts a rebellious bad boy fighting against the establishment. His Satan is a far cry from the epitome of evil in we find in Christianity. Artists are quickly drawn to the idea. In fact, I would go so far as to say that our understanding of the devil/Satan/Lucifer should be considered in pre and post-Milton terms, especially where art is concerned.

William Blake, Satan Arousing the Rebel Angels, 1808

William Blake’s, ‘Satan Arousing the Rebel Angels’, 1808 is a testament to this. Here Satan is powerful and beautiful, a moving figure giving a rousing speech. We are encouraged to sympathise with him. Likewise, Thomas Stothard’s, ‘Satan Summoning His Legions,’ (c. 1790), presents us with a gilled figure, summoning an army. He appears almost imperial, a worthy challenger to the Almighty. We know that the figure in these paintings is meant to be emblematic of evil, and yet he is seductive and alluring. He seems passionate, a revolutionary and rebel, someone we could follow. The artists’ triumph here is to make us forget that evil is evil and draw us closer to darkness than we would ever have dared go ourselves.

These are the first steps toward where we are today with TV shows like Lucifer and Supernatural, where the devil is charming, and his diabolical nature extends no further than his wicked grinEvil is no longer evil. It is sexy, passionate and inviting. Our crime is being tempted by it. We are co-conspirators and would-be rebels. Our inner minds betray us as we feel the pull to figures like Satan.

Conclusion

As art continues to evolve so will our relationship with evil. New mediums, materials and artists will revolutionise the field, but their goals will remain the same. To bring forth the things that torment our nightmares and to reflect back at us those parts of ourselves we would rather remain hidden.

11 Things Highly Creative People Sacrifice For Their Art

To be a creative can often feel like a choice that is both insane and thrilling in equal measure. There are thousands of jobs that are far more certain and stable than an artist’s work, yet true creatives know that there really is not a choice to be made. The artist must art. Therefore, the artist must find a way to live in the uncertain, wild space between what success looks like to others and what success feels like to themselves. Choosing a creative career is not something for the weak-willed, the comfort-chasers, the ones who need to know how their life will splay out ahead of them for years and years to come. Those are noble endeavors — to value comfort and security — but a creative sacrifices almost all convention in the name of art.

I doubt any of us regret it. We know that life is impermanent and we never know when our last day will be. We’d rather create the work that inspires us most and let it kill us.

1. Highly creative people sacrifice a comfortable life for a big, messy, weird, interesting life

Most creatives learn quickly that comfort and inspiration do not live harmoniously. You can have one, but not the other. Inspiration comes from action, from experimentation, from the chaos, the fire, the big wins and the big fails. In order to art and art well, you must live and live well. And, to live well is to constantly be pushing yourself out of what’s comfortable and into what’s unknown. This is the source of inspiration: whatever lay on the outer edges of comfort.

2. They sacrifice certainty for a big question mark about the future

Creatives have mastered the art of the unknown. Most of them wear this as a badge of honor, because they have learned the hard way that the best laid plans are the easiest sources of disappointment. Nothing about a creative life exists on a straight line. It’s like a squiggly line that often goes backward and then propels forward then stays in one place for an unnervingly long amount of time. There is no plan. The future is a shrug of the shoulders. The words “I don’t know” are the artist’s anthem. To not know is to be open to knowing, to be led, and the creative thrives there.

3. They sacrifice a stable life for the freedom to say yes at any moment

While creatives might have a yearning to build a life and put down roots, they know that there’s always a chance that their lives could be uprooted at any moment. Because an artist does not follow a set path, they have to be consistently open to saying YES quickly and without reservation. They have to be willing to uproot their lives in order to follow the inspiration or the opportunity whenever it comes up. Freedom is the artist’s currency.

4. They sacrifice approval from others for approval of themselves

Most art is created alone in a dark room. It’s thankless work. It’s like doing spec work constantly with the hope that, one day, it will pay off. If creatives needed approval from others to begin, they would never start (and some brilliant creatives never do start, sadly). Instead, artists know that it’s a necessity to approve of themselves, to believe in their work and, as equally important, to believe in the process. Creatives know that chasing approval will always prolong the work from ever leaving their minds, so they simply learn to give themselves the permission they may desire from others.

5. They sacrifice being accepted and understood by the world for being a visionary who may or may not be ever understood

Creatives know that any visionary work will not always be immediately understood or accepted. They accept that they may not ever be accepted or understood — yet make their art any way. They don’t look outside of themselves for the answers, for permission. They simply create whether anyone appreciates it or not.

6. They sacrifice all the “shoulds” for what their heart leads them to create

Creatives know that they can easily “should” their way into a miserable, uninspired life. They know that the world is built on “shoulds” — what this person should or shouldn’t do, how others should or shouldn’t live. Artists know that conventions and traditions hardly inspire creative work, that the only way to listen to what their heart yearns to make is to shut out the “shoulds” of the world and find their own way. This is an arduous process, to empty out themselves from all the beliefs of who they should be and, instead, to allow themselves to simply be who they are now and create what they need to create now.

7. They sacrifice constant happiness for the emotional spectrum of self-growth

Artists know that pursuing self-growth means letting go of the desire to be in a constant state of happiness. To grow is to shed old versions of self, which is to also say to grow is to be able to create new versions of art. The only way the art grows and evolves is when the artist grows and evolves. Every creative soon realizes that self-growth is a state of being and that means to be in almost constant flux. The process of evolvement has no room for holding tight to only one emotion — say, happiness — and needs to endure the entire spectrum of emotions to truly evolve. To face who they are as angry, sad, grief-stricken, resentful, bored is to allow themselves to evolve.

8. They sacrifice superficial relationships and work for vulnerable relationships and work

While creating uninspired art is something all creatives have likely had to do in their past — bills are hard — highly creative people feel even more strongly about making art from a vulnerable, real place. They know that at the heart of artistic genius is vulnerability, a brave person who is willing to be rejected, who is willing to share their soul with a world who may not be very kind to it. While creatives know that superficial work and relationships are oftentimes easier to maintain — and success is often easier to come by for the superficial — they know that art is a choice and a privilege and they always want to create from the deepest parts of themselves.

9. They sacrifice their pride for empathy and compassion

The best kind of art comes from a place of empathy and compassion, from an inherent curiosity around the human experience. Highly creative people understand that their curiosity around humanity is what brings them to the page, the instrument, the canvas, the laptop, the camera, the drawing board. Empathy does not exist with pride. It takes a certain degree of humility to have an empathic view of the world and artists understand that at the core of their work is a desire to move people with their art. This means they have a high level of respect for whoever will come into contact with their work. Creatives know that their tender heart, their empathy, their compassion is at the heart of their brilliance and they will eschew pride and arrogance in order to step deeper into that brilliance.

10. They sacrifice the perception of success for their own definition of success

From the outside, a creative’s life may not look very successful if success is defined by cultural expectations. An artist learns quickly that they must define success for themselves otherwise they will drown underneath other people’s expectations. In their conviction of self, they are free to create and build their life however they desire. Not having to “measure up” or prove anything to others is one of the most important things a creative must learn for themselves — because they could spend their entire artistic life trying to prove themselves and always come up short.

11. They sacrifice the life people told them they should have for a life they love, a life that is inspiring and fucking thrilling

Because that’s the whole point. To create is a privilege, one that artists know not to take for granted. To deny a conventional life is a risk, but not as great a risk as to deny their heart.

What is Renaissance Architecture Symmetric Style?

It had an emphasis on symmetry.

Chateau de Chambord (1519-1547)

Symmetry is economy.
Symmetry is simplicity.

“The architecture of our brains was born from the same trial and error, the same energy principles, the same pure mathematics that happen in flowers and jellyfish and Higgs particles.” — Alan Lightman.

The Piazza del Campidoglio.

This style has an emphasis on symmetry, proportion, geometry, and the regularity of parts, as demonstrated in the architecture of classical antiquity.

Renaissance architecture is the European architecture of the period between the early 14th and early 16th centuries in different regions.

Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture.

Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities.

Filippo Brunelleschi.

Italian, also known as Pippo 1377–15 April 1446 is considered to be the founding of Renaissance architecture.

He was an Italian architect, designer, and sculptor, and is the first modern engineer, planner, and sole construction supervisor.

The style was used in Spain, France, Germany, England, Russia, and other parts of Europe at different dates and with varying degrees of impact.

Renaissance style places emphasis on symmetry…

It was demonstrated in the architecture of classical antiquity and in particular ancient Roman architecture.

Systematic display of columns, pilasters, and lintels, as well as the use of semicircular arches, hemispherical domes…

Plan of Bramante’s Tempietto in Montorio.

Plan of Bramante’s Tempietto in Montorio.

Raphael’s unused plan for St. Peter’s Basilica.

Raphael’s unused plan for St. Peter’s Basilica.

Brunelleschi’s plan of Santo Spirito.

Brunelleschi’s plan of Santo Spirito.

Michelangelo’s plan for Saint Peter’s Basilica, Rome (1546), superimposed on the earlier plan by Bramante.

Michelangelo’s plan for Saint Peter’s Basilica, Rome (1546), superimposed on the earlier plan by Bramante.

“But why are we attracted to symmetry?

Why do we human beings delight in seeing perfectly round planets through the lens of a telescope and six-sided snowflakes on a cold winter day?

The answer must be partly psychological.

I would claim that symmetry represents order, and we crave order in this strange universe we find ourselves in.

The search for symmetry, and the emotional pleasure we derive when we find it, must help us make sense of the seasons and the reliability of friendships.

Symmetry is also economy.
Symmetry is simplicity.”
― Alan Lightman

The emphasis on symmetry is very much noted on all construction from that time.

Palazzo Medici Riccardi by Michelozzo. Florence, 1444.

Palazzo Medici Riccardi by Michelozzo. Florence, 1444.

Symmetry is also economy.

Symmetry is simplicity.

Symmetry is repetition.