Mark Krzepis

Odysseus and the Sirens Historically the sirens are representations of temptation; they lure starved and weary travelers like Odysseus with their songs. Neoclassical interpretations of this story do not differ from the Pulp trope of the ‘femme fatale.’ The scene portrays the Greeks as sailors and the Sirens dressed almost as lounge singers outside of a cabaret. The irony of the situation is apparent to the viewer but not the subjects in the background — a compositional storytelling element utilized by the academic painters and lowly magazine illustrators of the mid-century

Achilles Defeats Hector Greek myth has been the subject matter of choice for many Neoclassical artists. In this violent episode of the Iliad, Achilles prepares to execute Hector while the latter begs for his life. In this pulp interpretation, I’ve adapted elements of each character’s persona in their outfits and demeanour. Onlookers witness the spectacle from their fire-escapes — echoing the Gods and royalty of Troy spectating from above the wall. Whether the tale of a hardboiled crime magazine or an episode of Greek myth, this fascination of violence transcends notions of high or low — at the end of the day we are all spectators.

Satyr and Nymphs While being a staple in Neoclassical art, the notion of satyr and nymph have been heavily bastardized from its ancient Greek origins. Neoclassical artists often depict the nymphs as the seducers and the satyrs as the seduced. These academic painters romanticized these figures to the point of failing to address the bestial and animalistic characteristics of the satyr and its representation of the horrors of indulgence.

Bonaparte’s Filter Cigarettes By merging Jacque Louis David’s painting of Napoleon crossing the Alps with the Marlboro man, this painting calls into question ideas of “coolness” and masculinity. The bravado found in David’s painting is carried on in many cowboy related ephemera: harmful ideas packaged into epic imagery. The motif of a man on a horse is hyperbolic enough to make you serve your emperor or serve big tobacco — I think Ken said it best in the Barbie movie.

Dante and Virgil in Hell Bouguereau and other Neoclassical painters play on fear with their hellish depictions of demons and beasts within their darker paintings. This does not differ from the horror art of comics with magazines like Creepy or Eerie. Both low and high artists utilize fear and the grotesque as a way to intice and shock audiences — it always works.

Joan of Mars Where Neoclassical motifs of nationalism meet the nationalism expressed in Space-Race era sci-fi art. A satire of the hero narrative and space colonization.

Venus A deconstruction of traditional notions of beauty. Venus has been a trope used by male Neoclassical painters to hijack the feminine form. Through the lens of an abstract style sci-fi book cover, I have replaced what would have been a nude behind the red curtain with an amalgam of defensive objects and weird things — aren’t we all just an amalgam of weird things?

Hamlet Poster Shakespeare’s ‘Hamlet’ has potential to be a 1970s revenge exploitation film. Shakespeare’s work established narratives that have transcended genres. Themes of power, revenge, violence, and mortality are things that entertain all viewers.

Portrait of a Neoclassical Man Neoclassical portraiture exaggerated their sitters to epic proportions, as if they were heroes of Greek myth. This painting exaggerates in the opposite direction, making fun of the sitter.

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