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Uriel
L’Arcangelo occulto, creatura di fiamma splendente
Prologo
Fuoco eccelso sono le parole di Enoch, quando pronuncia il santo volere dell’Altissimo, e il suo calamo imprime arcani segni sull’avorio colore:
"Poi disse l’Altissimo parlò, il Sacro e il Grande e mandò Uriel dal figlio di Lamech, e gli disse: vai da Noè e digli nel mio nome nasconditi e rivelagli che la fine si sta avvicinando, che l’intera terra sarà distrutta, e un diluvio sta per scendere su tutta la terra per distruggere tutto ciò che vi è sopra", Libro delle Osservazioni 10,1.
Egli controllò sulle porte d’Egitto che vi fosse il sangue d’agnello, durante le piaghe, così ancora, è scritto, poiché Uriel l’arcangelo detiene, inoltre, la chiave dell’Inferno durante i tempi – oscuri – della fine. Lo stesso arcangelo che condusse Abramo verso Ovest.
Narra la storia che troppo spesso uomini di valore e pensiero furono accusati ingiustamente, eclissati come esseri indesiderati, ma in egual modo accadde agli esseri di luce, che ci si dimenticasse di loro, della loro bellezza, della loro natura inafferrabile, e che tristemente fossero messi a tacere, seppelliti in un remoto angolo del cosmo dall’insindacabile verdetto di un sol giudice terreno! Se, però, la redenzione divina può toccare mortali creature, ancor di più può sfiorare le ali infinite di un essere di fiamma, Uriel l’arcangelo dimenticato nel tempo e nello spazio storico attende unicamente una sua rinnovata teofania.
Clemente III, 174° pontefice della Chiesa cattolica, eletto nel 1187 lancia un sinistro decreto, in breve tutte le raffigurazioni dell’arcangelo Uriel dovranno essere definitivamente cancellate da ogni chiesa, ogni visibile rappresentazione di quest’angelo dovrà scomparire nel buio. Perché un simile tristo decreto? Tutto ebbe principio quando…

La fine di un nuovo principio
Anno Domini 745, il pontefice Zaccaria indice - con estrema urgenza- un Sinodo diocesano nell’eterna città di Roma. Il problema presenta una scottante natura d’indole morale etica, ecclesiastica, l’arcivescovo Adalberto di Magdeburgo dev’essere condannato e sospeso dal suo cristiano incarico. Il motivo che proietta la mano del vicario di Cristo a firmare il decreto di condanna è serissimo, gravissimo: voci sostengono – fondate o no - che Adalberto s’intrattenga e comandi figure angeliche per il suoi fini di pratiche magiche. E, ancora, che egli abbia formulato una preghiera che concretamente porrebbe al suo comando e servizio, proprio, l’arcangelo Uriel. Lo stesso che nel mosaico tempo guidò le azioni degli Ebrei schiavi in Egitto, esprimendo loro il volere dell’Altissimo. Secondo il Sinodo si condannava quella preghiera di Adalberto che si allontanava dai canoni della Chiesa del tempo, e che nel contenuto esprimeva tangibili invocazioni a nomi di angeli sospetti, Raguel, Tubuel, Sabaoc, Siniel. Lo stesso Uriel finì tra i nomi indesiderati, nella rete di quelle entità private della loro essenza luminosa, anche se inizialmente si presentava una logica diatriba se fosse, o meno realmente un’entità negativa. Il tutto fu sbrigato con una sonora condanna promossa nei confronti dell’arcangelo fiammeggiante Uriel, il quale subì l’esclusione, cadendo definitivamente nell’oblio dell’universale oscurità. Al pari di un astro che rapidamente appare nel cielo notturno, e con ugual fulmineità scompare nel nulla più assoluto e desolante, poiché avvenne che un giorno i molti lo trovassero indesiderabile e poco amabile.
Negli atti del Sinodo, contro il vescovo mago si ribadiva che nelle Sacre Scritture sono resi noti soltanto tre nomi di angeli, Michele, Gabriele, Raffaele; questa sentenza così lapidaria definiva per sempre in ambito di materia di fede e culto, quello che un eone lontanissimo era considerato uno tra i più bei angeli del Signore, come valide fonti sostengono a riprova che tra le molteplici cose esistenti alcune verità possono essere travisate negativamente e tragicamente. E’ pur vero, tuttavia, che spesso il negativo viene riabilitato sulla concezione di nuove ed inaspettate scoperte, e riflessioni che navigano tra la dimensione/linea della filosofia e della teologia, secondo una propensione analitica governata dalla sacra scrittura antica.
Il libro apocrifo di Enoch (XI, 9; XX,2; X 1-2) esprime parole di venerazione per un arcangelo di nome Uriel, indicato come la luce di Dio, la fiamma di Dio. Uriel è, quindi, un arcangelo di fuoco, poiché il suo nome nell’antica lingua egizia suona come U-Ra-el indicante, appunto, non solo una fiamma, una luce, la Luce di Dio, ma lo stesso Sole RA.
L’Antico testamento nel Libro dei Re, fa riferimento a questo angelo, il re Salomone lo stimerebbe come pura presenza dell’Altissimo, di Colui che lo rappresenta sulla terra. Questa è la storiografia di un angelo che tristi motivi portarono al suo inabissarsi. Nell’antica letteratura le citazioni di Uriel non mancano, anche se per alcuni riferimenti si ricorre a testi non canonicamente riconosciuti, come il Libro di Enoch, e nell’antica cultura ebraica non sono scarse le fonti di questo enigmatico Arcangelo.
Ma, chi scrive, tuttavia non desidera ripercorrere i luoghi letterari antichi biblici della cultura ebraica, cristiana e non solo - si potrà sviluppare questo in altra sede - quanto considerare il valore arcano, misterioso, nascosto di un dipinto di un grande maestro del Rinascimento Leonardo da Vinci, e la sua opera “La vergine delle rocce”, un soggetto eseguito in due versioni, forse simultaneamente.
Venerato da Tutte le Chiese che ammettono il culto dei santi
Ricorrenza 29 settembre (Occidentale),
8 novembre (Orientale).
Attributi Ali, Spada fiammeggiante, Fuoco nel palmo della mano, Libro.
Patrono di Sacramento della Cresima, la poesia

samspratt:

Update: added the companion back cover art. See it here with the full track listing
“Logic - Under Pressure” - Album Cover illustration for Def Jam Recordings by Sam Spratt

I usually don’t like to give much context or explainer for anything I’m illustrating, but this is an exception. When Logic reached out to have me paint the cover art for his debut album under Def Jam (this is the first of 2 covers) he started by just telling me his story.

He grew up in poverty in a very broken home filled with violence, abuse, drugs, his brother dealt crack to his own father, mother was stabbed, he was kicked out of school, out of the house, all by age 17, and when these systems failed him, he turned to his friend to stay in his basement — with a couple others close to him, he sat down and started to write — to make music. He showed me a few grainy low-res photos which was all he had from this basement — enough to look at and see how the room was laid out, but little else. There just wasn’t any sort of documentation of that specific moment/feeling he had there — which despite everything that had happened prior, was a positive and warm memory. So he explained to me this quiet scene in the basement of him reading his recently written lyrics off his phone while his two friends sat there, listened, and the sun started to go down and bleed through the window. He described some of the things that filled this basement like an old thrift store painting of a car, an ugly yellow moth-eaten sofa, perpetually twisted-up window blinds, a stolen street sign, the colors, the materials of the desk, stereo, and speakers, down to some of the stickers that were pasted over it. And then he asked me to recreate that.

So this album cover was about a month worth of researching, sketching, and painting but not for a glitzy portrait like I assumed I’d be doing as rap album art — instead it was piecing together the mood, color, feeling, action, and setting of a very vivid, fairly unexceptional, yet important memory that a camera just never captured. I’ll have more to share in the near future as to how this was made in-depth, the back cover, and the other album artwork we worked on together, but I thought I’d share a bit about what went into this one. When you hear the album, it’ll make even more sense as it has this amazing narrative throughout the whole thing that we worked hard together to sync up on the art side. If you’ve never listened to Logic, here’s a small taste of what to expect on a couple awesome tracks: HERE and HERE with Childish Gambino.
samspratt:

Update: added the companion back cover art. See it here with the full track listing
“Logic - Under Pressure” - Album Cover illustration for Def Jam Recordings by Sam Spratt

I usually don’t like to give much context or explainer for anything I’m illustrating, but this is an exception. When Logic reached out to have me paint the cover art for his debut album under Def Jam (this is the first of 2 covers) he started by just telling me his story.

He grew up in poverty in a very broken home filled with violence, abuse, drugs, his brother dealt crack to his own father, mother was stabbed, he was kicked out of school, out of the house, all by age 17, and when these systems failed him, he turned to his friend to stay in his basement — with a couple others close to him, he sat down and started to write — to make music. He showed me a few grainy low-res photos which was all he had from this basement — enough to look at and see how the room was laid out, but little else. There just wasn’t any sort of documentation of that specific moment/feeling he had there — which despite everything that had happened prior, was a positive and warm memory. So he explained to me this quiet scene in the basement of him reading his recently written lyrics off his phone while his two friends sat there, listened, and the sun started to go down and bleed through the window. He described some of the things that filled this basement like an old thrift store painting of a car, an ugly yellow moth-eaten sofa, perpetually twisted-up window blinds, a stolen street sign, the colors, the materials of the desk, stereo, and speakers, down to some of the stickers that were pasted over it. And then he asked me to recreate that.

So this album cover was about a month worth of researching, sketching, and painting but not for a glitzy portrait like I assumed I’d be doing as rap album art — instead it was piecing together the mood, color, feeling, action, and setting of a very vivid, fairly unexceptional, yet important memory that a camera just never captured. I’ll have more to share in the near future as to how this was made in-depth, the back cover, and the other album artwork we worked on together, but I thought I’d share a bit about what went into this one. When you hear the album, it’ll make even more sense as it has this amazing narrative throughout the whole thing that we worked hard together to sync up on the art side. If you’ve never listened to Logic, here’s a small taste of what to expect on a couple awesome tracks: HERE and HERE with Childish Gambino.
samspratt:

Update: added the companion back cover art. See it here with the full track listing
“Logic - Under Pressure” - Album Cover illustration for Def Jam Recordings by Sam Spratt

I usually don’t like to give much context or explainer for anything I’m illustrating, but this is an exception. When Logic reached out to have me paint the cover art for his debut album under Def Jam (this is the first of 2 covers) he started by just telling me his story.

He grew up in poverty in a very broken home filled with violence, abuse, drugs, his brother dealt crack to his own father, mother was stabbed, he was kicked out of school, out of the house, all by age 17, and when these systems failed him, he turned to his friend to stay in his basement — with a couple others close to him, he sat down and started to write — to make music. He showed me a few grainy low-res photos which was all he had from this basement — enough to look at and see how the room was laid out, but little else. There just wasn’t any sort of documentation of that specific moment/feeling he had there — which despite everything that had happened prior, was a positive and warm memory. So he explained to me this quiet scene in the basement of him reading his recently written lyrics off his phone while his two friends sat there, listened, and the sun started to go down and bleed through the window. He described some of the things that filled this basement like an old thrift store painting of a car, an ugly yellow moth-eaten sofa, perpetually twisted-up window blinds, a stolen street sign, the colors, the materials of the desk, stereo, and speakers, down to some of the stickers that were pasted over it. And then he asked me to recreate that.

So this album cover was about a month worth of researching, sketching, and painting but not for a glitzy portrait like I assumed I’d be doing as rap album art — instead it was piecing together the mood, color, feeling, action, and setting of a very vivid, fairly unexceptional, yet important memory that a camera just never captured. I’ll have more to share in the near future as to how this was made in-depth, the back cover, and the other album artwork we worked on together, but I thought I’d share a bit about what went into this one. When you hear the album, it’ll make even more sense as it has this amazing narrative throughout the whole thing that we worked hard together to sync up on the art side. If you’ve never listened to Logic, here’s a small taste of what to expect on a couple awesome tracks: HERE and HERE with Childish Gambino.
samspratt:

Update: added the companion back cover art. See it here with the full track listing
“Logic - Under Pressure” - Album Cover illustration for Def Jam Recordings by Sam Spratt

I usually don’t like to give much context or explainer for anything I’m illustrating, but this is an exception. When Logic reached out to have me paint the cover art for his debut album under Def Jam (this is the first of 2 covers) he started by just telling me his story.

He grew up in poverty in a very broken home filled with violence, abuse, drugs, his brother dealt crack to his own father, mother was stabbed, he was kicked out of school, out of the house, all by age 17, and when these systems failed him, he turned to his friend to stay in his basement — with a couple others close to him, he sat down and started to write — to make music. He showed me a few grainy low-res photos which was all he had from this basement — enough to look at and see how the room was laid out, but little else. There just wasn’t any sort of documentation of that specific moment/feeling he had there — which despite everything that had happened prior, was a positive and warm memory. So he explained to me this quiet scene in the basement of him reading his recently written lyrics off his phone while his two friends sat there, listened, and the sun started to go down and bleed through the window. He described some of the things that filled this basement like an old thrift store painting of a car, an ugly yellow moth-eaten sofa, perpetually twisted-up window blinds, a stolen street sign, the colors, the materials of the desk, stereo, and speakers, down to some of the stickers that were pasted over it. And then he asked me to recreate that.

So this album cover was about a month worth of researching, sketching, and painting but not for a glitzy portrait like I assumed I’d be doing as rap album art — instead it was piecing together the mood, color, feeling, action, and setting of a very vivid, fairly unexceptional, yet important memory that a camera just never captured. I’ll have more to share in the near future as to how this was made in-depth, the back cover, and the other album artwork we worked on together, but I thought I’d share a bit about what went into this one. When you hear the album, it’ll make even more sense as it has this amazing narrative throughout the whole thing that we worked hard together to sync up on the art side. If you’ve never listened to Logic, here’s a small taste of what to expect on a couple awesome tracks: HERE and HERE with Childish Gambino.

samspratt:

Update: added the companion back cover art. See it here with the full track listing

“Logic - Under Pressure” - Album Cover illustration for Def Jam Recordings by Sam Spratt

I usually don’t like to give much context or explainer for anything I’m illustrating, but this is an exception. When Logic reached out to have me paint the cover art for his debut album under Def Jam (this is the first of 2 covers) he started by just telling me his story.
He grew up in poverty in a very broken home filled with violence, abuse, drugs, his brother dealt crack to his own father, mother was stabbed, he was kicked out of school, out of the house, all by age 17, and when these systems failed him, he turned to his friend to stay in his basement — with a couple others close to him, he sat down and started to write — to make music. He showed me a few grainy low-res photos which was all he had from this basement — enough to look at and see how the room was laid out, but little else. There just wasn’t any sort of documentation of that specific moment/feeling he had there — which despite everything that had happened prior, was a positive and warm memory. So he explained to me this quiet scene in the basement of him reading his recently written lyrics off his phone while his two friends sat there, listened, and the sun started to go down and bleed through the window. He described some of the things that filled this basement like an old thrift store painting of a car, an ugly yellow moth-eaten sofa, perpetually twisted-up window blinds, a stolen street sign, the colors, the materials of the desk, stereo, and speakers, down to some of the stickers that were pasted over it. And then he asked me to recreate that.
So this album cover was about a month worth of researching, sketching, and painting but not for a glitzy portrait like I assumed I’d be doing as rap album art — instead it was piecing together the mood, color, feeling, action, and setting of a very vivid, fairly unexceptional, yet important memory that a camera just never captured. I’ll have more to share in the near future as to how this was made in-depth, the back cover, and the other album artwork we worked on together, but I thought I’d share a bit about what went into this one. When you hear the album, it’ll make even more sense as it has this amazing narrative throughout the whole thing that we worked hard together to sync up on the art side. If you’ve never listened to Logic, here’s a small taste of what to expect on a couple awesome tracks: HERE and HERE with Childish Gambino.
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)
huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years
Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.
See the full video for a striking look at the female portrait.
(Souce:  artFido)

huffingtonpost:

This Is How Much The Female Portrait Has Evolved In The Last 500 Years

Art history books have a reputation of showcasing dead, white, European males — DWEM — and the (mostly white) women they handpicked as muses. Portrait after portrait reveals a woman’s face through a man’s gaze, casting a rather unsavory light on the tendency of artists to eroticize, objectify or idolize the female form.

See the full video for a striking look at the female portrait.

(Souce:  artFido)

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