B111 - Quand une balinaise embarque avec l'oiseau sacré BENU (2009) Painting by Philhelm

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This artwork appears in 1 collections
  • Original Artwork Painting, Oil
  • Dimensions Height 50in, Width 33.5in
  • Categories Paintings under $20,000
Acrylique sur toile 127 x 85 cm - Châssis cintré / BABYLONIEN / Scène phénicienne « égyptisante » avec une variation singulière : Au lieu d’une égyptienne, c’est une marionnette balinaise qui est face à BENU l’oiseau sacré, l’incarnation de Râ, le dieu soleil. BENU a besoin de se nourrir pour se régénérer en lui car il est le phallus solaire copulant[...]
Acrylique sur toile 127 x 85 cm - Châssis cintré / BABYLONIEN / Scène phénicienne « égyptisante » avec une variation singulière : Au lieu d’une égyptienne, c’est une marionnette balinaise qui est face à BENU l’oiseau sacré, l’incarnation de Râ, le dieu soleil. BENU a besoin de se nourrir pour se régénérer en lui car il est le phallus solaire copulant avec lui-même ! Il est le gardien du Livre des êtres et de l’être. Autrement dit l’Eternité ou l’éclat du jour et la perdurée de la Nuit!

Related themes

Une Balinaise Avec Benu Dans Une Barque EgyptienneOccupation Phénicienne

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In truth, I am writing this to you without lying, the whole story of Philhelm begins in Alsace at the castle of Lichtenberg, on April 23, 1616, when Balthasar Helmlinger, aged 7, lost the Monogram of his eponymous[...]

In truth, I am writing this to you without lying, the whole story of Philhelm begins in Alsace at the castle of Lichtenberg, on April 23, 1616, when Balthasar Helmlinger, aged 7, lost the Monogram of his eponymous descendant. This banal and nevertheless extremely serious incident in the distant past, will trigger the artistic vocation of one of his descendants, 10 generations later!

This painter of today, born in Strasbourg in 1943, has seen his work exhibited and awarded twice in his life (1999 and 2001), and this, only at the “International Biennale of Contemporary Art of Florence” which gave him awarded the City of Florence Prize in 1999.

So that the vulgum pecus is totally disoriented from its experience, that it lets history enter into it without haste, enriched every day by our common ancestral past: whether it is Etruscan, Minoan or Babylonian, otherwise it will never penetrate into inside the paintings, to try to discover the secret causes of things.

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