1- Each player picks a painting, by the painter they chose, for each round, except for the finale, in which they'll pick two.
2- There will be two stages.
3- The first stage will consist of six non-eliminatory rounds, and the votes each painter gets is the number of points they get. At the end of Round 6, the 4 painters with the fewest points will be automatically eliminated. The next two with the fewest points left will go onto a battle poll, with the painting they chose for Round 6, to see which one of the two is the fifth eliminated painter. In the case of a tie in points at the end of Round 6, the tie-breaker will be who has more votes in Round 6. If there's still a tie, the one who had more points in Round 5 will prevail, then round 4, then round 3, etc. In the duel to pass to Stage 2, the tie-breakers will be the same.
4- Stage two: after five painters have been eliminated, stage two will be eliminatory until the finale. Tie-breakers will be: 1- number of votes in the relevant regular round; 2- total number of votes in the regular rounds of the game until then. This will apply to the finale too: if there’s a tie in the finale, the painter with the most total votes in the game wins.
5- In the semifinals, in which only 3 painters are left, there may be no elimination match between the two least voted painters, if the difference in votes between the second and the third is superior to 30% of the votes. Also, if the players agree that there's no duel.
6- In Stage 1, each round will be open for two days, except the elimination matches which will last one day. In Stage 2, both regular rounds and elimination rounds will be open for 24 hours.
7- The order in which the paintings will be showed will be alphabetical, but rotating, meaning it's purely alphabetical in Round 1, but in the subsequent rounds the one that was second in the previous round will be first, the first goes to last place, etc.
Chaste Suzanne
I wanted to use this painting at all costs even though I assume it won’t be very AW-friendly, because it’s the one Vallotton painting my mind kept going back to when I was undecided between 3 or 4 painters to play.
It’s a fascinating take on the Biblical story of “Chaste Suzanne”. It’s a story about a young, very attractive and married woman. Two old men are lecherous about her, and spy on her daily. One day they plan to corner her while she’s taking a bath, and abuse her. When she’s cornered by them, they order her to submit to their desires, but she refuses it and says she prefers to die or whatever it is that they have planned if she doesn’t accept. The men, however, are surprised before they do anything, so they accuse her of trying to seduce them, naked.
Judged, then, by her supposed attempt at adultery, she’s about to be killed, when young prophet Daniel says she cannot be judged without evidence. Then Daniel interrogates the old men, and predictably they contradict themselves, so Suzanne is spared the punishment and, instead, is hailed for her honesty.
Despite the proto-feminist slant of the story, somewhat outrageously, male artists since the Renaissance had used the story to, well, have an excuse to portray female nudity. The subject and focus of the painting usually was poor Suzanne, naked, incredibly sensual. So, those artists put us in the place of the lecherous old men, spying on Suzanne, and invited us to drool like the old men did:
I mean, there are countless…
So, what Vallotton does here is remarkably bold, innovative and feministic: the only nudity here is the bald heads of the ridiculous old men. BUT he still puts us, the audience, in their skin. Like them, we’re just a head looking at Suzanne at the center of the painting, making us identify with the bald, silly old men, and thus question our own attack on Suzanne. Meanwhile, Suzanne, fully clothed, in 20th century gowns (underlining this is a modern, updated take on the classic subject), throws an inquisitive glance at the men: she’s ready to outsmart them.
The color scheme makes this a creepy scene, and the oblique lines underline how Suzanne is being cornered, but Suzanne remains at the center, not only fully clothed, but in red and with a sparkly hat (notice the contrast in the textures, the cold bald heads and the textured, warm hat), holding the men’s glance, returning it in defiance.
Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise. - Wallace Stevens
Water Jets and Fountain in Rome
The Snake Charmer
Behind the Scenes
The Inn at Montigny les Cormilles
At the Grocery Store, When There Is No Fishing
The Last of Old Westminster
Young Mother in the Garden
You need cooling... Baby I'm not fooling...
I'm gonna send ya... Back to schooling...
Feminine shapes define this exquisite painting, cocooning a young mother and child within the curves of a baby carriage, while they are shaded by the complementary curve of a white umbrella. Glowing light dances through the garden, casting leafy patterns across the umbrella and the baby's fringed shawl. I could sit and look at this one forever.
Chaste Suzanne
I wanted to use this painting at all costs even though I assume it won’t be very AW-friendly, because it’s the one Vallotton painting my mind kept going back to when I was undecided between 3 or 4 painters to play.
It’s a fascinating take on the Biblical story of “Chaste Suzanne”. It’s a story about a young, very attractive and married woman. Two old men are lecherous about her, and spy on her daily. One day they plan to corner her while she’s taking a bath, and abuse her. When she’s cornered by them, they order her to submit to their desires, but she refuses it and says she prefers to die or whatever it is that they have planned if she doesn’t accept. The men, however, are surprised before they do anything, so they accuse her of trying to seduce them, naked.
Judged, then, by her supposed attempt at adultery, she’s about to be killed, when young prophet Daniel says she cannot be judged without evidence. Then Daniel interrogates the old men, and predictably they contradict themselves, so Suzanne is spared the punishment and, instead, is hailed for her honesty.
Despite the proto-feminist slant of the story, somewhat outrageously, male artists since the Renaissance had used the story to, well, have an excuse to portray female nudity. The subject and focus of the painting usually was poor Suzanne, naked, incredibly sensual. So, those artists put us in the place of the lecherous old men, spying on Suzanne, and invited us to drool like the old men did:
I mean, there are countless…
So, what Vallotton does here is remarkably bold, innovative and feministic: the only nudity here is the bald heads of the ridiculous old men. BUT he still puts us, the audience, in their skin. Like them, we’re just a head looking at Suzanne at the center of the painting, making us identify with the bald, silly old men, and thus question our own attack on Suzanne. Meanwhile, Suzanne, fully clothed, in 20th century gowns (underlining this is a modern, updated take on the classic subject), throws an inquisitive glance at the men: she’s ready to outsmart them.
The color scheme makes this a creepy scene, and the oblique lines underline how Suzanne is being cornered, but Suzanne remains at the center, not only fully clothed, but in red and with a sparkly hat (notice the contrast in the textures, the cold bald heads and the textured, warm hat), holding the men’s glance, returning it in defiance.
I liked the painting by itself (it's interesting that you find it creepy; I liked it because I found it funny ), but this context adds so much to it.
(and I didn't know who it was that picked Vallotton, but I had a feeling it was you for whatever reason lol. Maybe that one engraving gave it away)
I liked the painting by itself (it's interesting that you find it creepy; I liked it because I found it funny ), but this context adds so much to it.
(and I didn't know who it was that picked Vallotton, but I had a feeling it was you for whatever reason lol. Maybe that one engraving gave it away)
I had missed this! I also find the painting funny, actually. But also creepy or, perhaps more accurately, gloomy, because of the colors and how Suzanne is literally cornered against the seat. It’s a very interesting mixture, really. I wouldn’t say it’s my favorite Vallotton painting, but it always comes to my mind first when I think of him, there’s something fascinating about it and the mixture funny/creepy and the color scheme are probably the reasons.
And I’m kinda flattered that you guessed who was my pick! My taste is personal
Originally Posted by Cooper
So far, every round this season has been stronger than Charles Atlas but this is the first time I wish I could vote for everything.
Same here. I think it’s the roughest round so far and I really want to vote for all of them (well, nearly, there’s one I don’t particularly like, won’t say which one!) It certainly has my favorite paintings so far by 4 or 5 of the painters at play.
Ong im so sorry. I was really busy yesterday. I’ll send one now
Don't worry, I'm still waiting for the other one. Maybe after missing one round @MrFilmkritic doesn't want to keep competing, I don't know. Manifest yourself, buddy! I understand if you're too busy! I'll give some more hours, around 6 hours.
Don't worry, I'm still waiting for the other one. Maybe after missing one round @MrFilmkritic doesn't want to keep competing, I don't know. Manifest yourself, buddy! I understand if you're too busy! I'll give some more hours, around 6 hours.
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Originally Posted by McTeague
), but this context adds so much to it.
![[SIGPIC]](signaturepics/sigpic11468_37.gif)
