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Post by StrangeMagic on Nov 28, 2018 5:47:45 GMT
Long before I committed to writing a book about ELO's music, I was studying New Media at Leeds College of Art and Design, where one of my course modules involved creating a presentation on five album covers, including Secret Messages (which I'm sure comes as no surprise to anybody here who knows me). Although I wasn't able to identify all the constituent elements of this piece, instead mentioning that it was simply a collage of works by various classical artists, there is one small piece of trivia that might be of use: the band shot was modified from a picture featured on page 10 of the American official programme for the Time Tour. I'll hopefully be revisiting this subject at much greater length in the near future as I continue work on my ambitious project, so would it be alright if I share the findings that have been made in this thread? Naturally, anyone responsible for helping would receive a full credit and thanks for their efforts... ShardEnder, you can use any of my meager knowledge. Is it acceptable if I contact you backchannel?
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Post by StrangeMagic on Nov 28, 2018 5:52:02 GMT
I thought the woman on the left in the blue dress would be easy to track down but can’t find anything, the guy standing above her looks like someone from Birminghams Industrial Revolution but again can’t track him down. I believe the woman in the blue dress and the nude women above and behind her may all be from the same work, but I'm not certain.
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Post by StrangeMagic on Nov 28, 2018 5:53:53 GMT
I thought the woman on the left in the blue dress would be easy to track down but can’t find anything, the guy standing above her looks like someone from Birminghams Industrial Revolution but again can’t track him down. I believe the man in the brown velvet coat is from the same work as the woman next to him. Her head does appear to be pasted on, doesn't it?
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Post by dankwai on Nov 28, 2018 7:43:49 GMT
Earlier this year I found a web page that listed the paintings used on the cover but sadly cannot find it anymore.
Anyway, the details highlighted in the two posts above are I think from Gainsboroughs 'The Gravenor Family'. The woman in the blue dress is reversed from the original.
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Post by Horacewimp on Nov 28, 2018 8:24:22 GMT
Earlier this year I found a web page that listed the paintings used on the cover but sadly cannot find it anymore. Anyway, the details highlighted in the two posts above are I think from Gainsboroughs 'The Gravenor Family'. The woman in the blue dress is reversed from the original. Spot on dankwai
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Post by BSJ on Nov 28, 2018 16:26:30 GMT
Horacewimp , so that dude isn't a historical bigwig from Birmingham's Industrial Revolution?
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Post by Horacewimp on Nov 28, 2018 17:07:02 GMT
Horacewimp , so that dude isn't a historical bigwig from Birmingham's Industrial Revolution? I think he is but the picture has caught him on a night out in leafy Sutton Park with some young ladies en.m.wikipedia.org/wiki/Sutton_Park
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Post by BSJ on Nov 28, 2018 17:11:42 GMT
...with cattle as their chaperon.
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Post by Horacewimp on Nov 28, 2018 17:13:29 GMT
He was testing out his new invention “ye olde tinder“
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Post by StrangeMagic on Nov 29, 2018 3:22:41 GMT
Earlier this year I found a web page that listed the paintings used on the cover but sadly cannot find it anymore. Anyway, the details highlighted in the two posts above are I think from Gainsboroughs 'The Gravenor Family'. The woman in the blue dress is reversed from the original. Spot on dankwai Brilliant, Dankwai!
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Post by StrangeMagic on Nov 29, 2018 3:48:11 GMT
We are closing in on the pieces of the puzzle. Now all we need are the two nude women on the far left with their backs turned, the soldier, and the putti.
I looked through the complete works of Velazquez, and was not able to find that soldier. The putti (cherub) wasn't immediately evident among the complete works of Raphael or Rubens, and they painted lots of putti.
I suspect the original putti was holding a wreath because they are often depicted as holding wreaths and torches. I don't remember why.
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