Paintings | Michael Allen Lowe

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MICHAEL ALLEN LOWE

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Europa, by Michael Allen Lowe. François Boucher’s 'The Rape of Europa' (c.1733-34). Further inspiration was Uccello's 'A Mounted Knight with a Lance,' thought to be St George; Gustav Klimt. Greek mythological identities.

Les Animateurs, by Michael Allen Lowe. Henry Fuseli’s ‘Symplegma,’ or, ‘An Erotic Drawing with a Man and Three Women’ (c.1809-10). The sitar-playing musician from Watteau’s ‘The Music Lesson' (c.1718-19). ‘Comedians Italiens’ (Italian Players) from Watteau (c.1717). Lowe's erotic boudoir scene. Fête Galante.

Ancient Night, by Michael Allen Lowe. Henry Fuseli’s ‘The Great Father and Ancient Night’ (c.1810). John Armstrong’s epic poem The Art of Preserving Heath. Giambattista Tiepolo’s ‘The Virgin and Child with Simon Stock’ (c.1749) personifies the emergence of new worlds. Figures representing ‘new creation and abhorr’d decay’ are inspired by Pontormo’s ‘Glorification of Christ and the Creation of Eve’ (c.1550).

Icarus and the Bathers, by Michael Allen Lowe. ‘The Fall of Icarus and Bathing Women’ (c.1795). Icarus etching by Hendrik Goltzius, (c.1588). Anthony Van Dyck’s ‘William Feilding 1st Earl of Denbigh’ (c.1633-34).

Monument du Costume, by Michael Allen Lowe. Jean Michel Moreau drawing, ‘La Declaration de la Grossesse’ or, The Disclosure of Pregnancy (c.1775). An illustration for the “Suites D'estampes Pour Servir a L'histoire Des Modes et Du Costume Des Francois Dans le XVIIIe Siecle” or, The Monument du Costume, published in 1775. The style of John Singer Sargent, resembles a costume of the artist’s ‘Portrait of Carolus-Duran’ (c.1879 ‘Adam and Eve’ by Henry Fuseli (c.1799). ‘The Temptation of St Anthony’ by Jacques Callot (c.1617).

Lazaria, by Michael Allen Lowe.
Henry Fuseli’s ‘Vision of the Lazar House’ (c.1794), a scene illustrating Milton’s Paradise Lost in which the Archangel Michael reveals to Adam the horrid future of humanity.
Ingres’ ‘Roger Freeing Angelica’ (c. 1859).

Milk Maids, by Michael Allen Lowe. Erotic lithograph by Achille Deveria, from a private edition of Don Juan in the mid-19th century. The erotic novel Gamiani, or, Two Nights of Excess, was written by Alfred de Musset (c.1833). Maidservants, milkmaids, and wet nurses appeared at the legendary parties de lait/cream held by Marie Antoinette for which one of her breasts was allegedly cast to form a drinking vessel, and featured her courtiers dressed in the latter costumes.

Dido in Cyprus, by Michael Allen Lowe. Inspired by Hans von Marees's ‘Ancient Chariot with a Pair of Horses and Several Female Figures,’ (mid-19th century) A nymph from Boucher’s ‘Mercury Confiding Bacchus to the Nymphs’ (c.1733). Klimt portraiture. The Queen and founder of Carthage upon her arrival in Cyprus, witnesses her soldiers being propositioned on the shore by native women.

Le Trou Perdu, by Michael Allen Lowe. Le Trou Perdu painting [The Lost Hole], shit-hole, a dirty and unpleasant place. Fuseli’s drawing, The Death of Eriphyle (c.1810), Greek mythological Furies in pursuit of Eriphyle’s murderous son. William Bouguereau’s angelic ‘Study of the Head of a Young Woman.’

Feeding of the Phrygians, by Michael Allen Lowe. Pierre-Paul Prud’hon’s ‘L’Abundance’ (c.1812-20). Breastfeeding Phrygians, referenced from Van Dyck's “Drunken Silenus” (c.1620), and well as the Flesh-eating Horses of Diomedes, originally from Fuseli's illustration of the same name (c.1800-05). Ravenous hoard.

Bower of Bliss, by Michael Allen Lowe. Henry Fuseli illustration ‘Amavia finds her Knight, Sir Mordant, bewitched in Acrasia's Bower of Bliss’ (c.1810), —an erotic boudoir scene illustrating Spenser’s Faerie Queen (II.xii.78).Lowe’s Acrasia was inspired by Rubens’ ‘Roman Charity, or, Cimon and Pero’ (c.1613).

Collapse of Adonis, by Michael Allen Lowe. The myth of ‘Venus and Adonis’ from Ovid’s Metamorphoses. Rubens’ depiction of Venus from his ‘Council of the Gods’(c.1602). Venus’ lamentation for her lover Adonis having been fatally gored by a wild boar.

Night Owls, by Michael Allen Lowe. night-owl. A boudoir scene from Jean-Honore Fragonard’s drawing ‘Les Jets d’eau,’ (c.1765-70), wherein nozzles are depicted having emerged from the floor spraying water and awaking sleeping nude female figures. Antoine Watteau’s painting ‘Country Amusements’ (c.1720). Lowe’s imagined ghostly apparitions, or owl-bottomed ladies, amusingly illustrate the common period colloquial term ‘Night-Owls,’ or night sparrows, as slang for prostitutes. The Odyssey of Homer (Book V. p.110), Translated by Henry Fuseli].

Company of Thieves, by Michael Allen Lowe. Henry Fuseli’s ‘The Thieves Punishment’ (c.1772), and William Blake’s ‘The Punishment of the Thieves’ (c.1824-27) which illustrate a scene from Dante’s Inferno where thieves are eternally consumed and transformed by serpents. A portion of white sophisticated attire from George Romney’s ‘A Boy, Called William Pitt’ (c.1778).

Social Graces, by Michael Allen Lowe. Ingres drawing ‘Embracing Couple’ (c.1719). Antoine Watteau’s ‘Gathering near a Fountain’ (c.1720).

Hylas in the Depths, by Michael Allen Lowe. The Greek myth of Hylas and water nymphs. Goya’s ink drawing ‘Gathering of Witches’ (c.1799). Francesco Furini's ‘Hylas and the Nymphs’(c.1632).

Social Attire, by Michael Allen Lowe. Henry Fuseli’s pen and ink drawing ‘The Debutante’ (c.1807). Velazquez's portrait of ‘Mars,’ the Roman god of war. These accouterments help to transform the fallacy of a ‘debutant pet’ into a social warrior of the wealthy elite Victorian, or even contemporaneous, upper-class.

Lion in the Lazaretto, by Michael Allen Lowe. Niccolo dell’ Abate drawing, “The Calumny of Apelles” (c.1512). ‘woman with a stiletto’ after a Henry Fuseli drawing of the same name (c.1817). Leonardo da Vinci’s ‘St Jerome’ (c.1482). Giambattista Tiepolo's work ‘The Suicide of Ajax’(c.1722), which illustrates a scene from Ovid’s Metamorphoses.

Titania's Dream, by Michael Allen Lowe. Henry Fuseli, (c.1822). William Shakespeare’s A Midsummer Night’s Dream and depicts several consecutive scenes from the play, from Titania’s waking to Bottom conversing with Cobweb while Puck and Oberon look on.

Such Costuming, by Michael Allen Lowe. Henry Fuseli’s drawing ‘Siegfried and Kiemhild’ (c.1798) Lowe transforms these characters into symbols of masculine and feminine identity. Anthony van Dyck’s portrait ‘Lady Anne Carr, Countess of Bedford’ (c.1638), was also copied by JMW Turner in 1830, what came to be known as ‘A Lady in a Van Dyck Costume.’

A Visitation, by Michael Allen Lowe. ‘Melathe and Neptune in the form of a Dolphin’ was illustrated in the nineteenth century by Jean Auguste Dominique Ingres, after a Giulio Bonasone engraving of the same name (c.1568). Rubens’ ‘Massacre of the Innocents’ (c.1612).

Her Attendants, by Michael Allen Lowe. Henry Fuseli’s ‘Woman at a dressing table’ (c.1815). Van Dyck’s ‘Martyrdom of St Sebastian,’ (c.1620). Peter Paul Rubens, (c.1608). Fuseli’s ‘naked ithyphallic ghost’ (c.1814).

Courtesan, by Michael Allen Lowe.

Carried Off, by Michael Allen Lowe. Goya’s Capricio etching ‘They Carried Her Off’ (c.1797). Henry Fuseli’s ‘Dighton and Forrest, the Murderers of the Princes,’ (c.1782), from Shakespeare’s Richard III. The personification of Sin as an androgynous apparition.

© 2023 by Michael Allen Lowe. All Rights Reserved.

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