Satan in Art and Images

Illustration of Lucifer from Paradise Lost by Gustave Dore {1885}

Satan in Art and Images

The first Madam Satan was a woman named Tyra, who was engaged to a man whose parents did not approve of the impending marriage. When she found out about their disapproval she murdered them. However, as they were dying they were able to tell their son that his fiancee was the murderer.
The son executed his revenge killing Tyra who ended up in hell working under Satan. Her job was to seduce men into giving their souls to Satan. This worked pretty well since her powers included hypnotic control over all men as well as the ability to kill men with a single kiss. (Wikipedia)

Satan in Art and Images

Satan in Art and Images

Ray Slattery must rank as one of the most prolific of the in-house hacks employed by Australian pulp publisher Horwitz Publications in the sixties and early seventies.
He is also one about which the least is known. Despite his incredible output, very little information is available about him. Austlit credits him with 118 titles, including our featured book today, The Tip, published in 1965, but has no further biographic information about him.
His books cover all of Horwitz’s staple obsessions, including bikers, bondage, sleaze and sex books, war stories, surgeons and what I have seen referred to as “Nazi romance novels”, books with titles such as Camp of Terror (1963) and Women of Warsaw (1964), Buchenwald Hell (1967), Prisoner of Dachau (1967), Valley of Slaves (1967), to name but a few.
In addition to writing under his own name, he worked under at least six pseudonyms, including Roger Hunt, Frank O’Hara, Terry West, James Bent, Frank F Gunn and John Slater (the name he used for most of his sleaze and Nazi-themed pulp, of which he wrote 84). (Pulp Curry)

Satan in Art and Images

Knight, Death and the Devil (German: Ritter, Tod und Teufel, originally Rider, German: Reuter ) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche (master prints)^[1] completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries.
An armoured knight, accompanied by a faithful and loyal dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass to remind the knight of the shortness of life. The rider moves through the scene ignoring or looking away from the creatures lurking around him. He appears to be almost contemptuous of the threats, and is often seen to be a symbol of courage;^[2] the knight’s armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven.^[3]
The work was mentioned by Vasari as one of "several sheets of such excellence that nothing finer can be achieved".^[4] It was widely copied and had a large influence on later German writers. Nietzsche referenced the work in his The Birth of Tragedy (1872) to exemplify pessimism, while it was idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. (Wikipedia)

Satan in Art and Images

"If Daft Punk were commissioned to score a cyberpunk horror film of the likes of Hardware, the resulting work may sound something like what Paris musician James “Perturbator” Kent has come up with on 2014’s Dangerous Days, the latest of his four albums. Utilizing vintage synthesizer sound straight out of the Miami Vice era, Perturbator lets loose with aggressive arpeggios and wispy melodies, creating music that, similar to a group like Zombi, seems to have been influenced by the vintage soundtrack work by the likes of John Carpenter and Goblin. Though the melodies and individual tones heard here are straight out of the 1980s however, Perturbator’s music is clearly made within the framework of obstreperous modern electro, with crushing beats propelling Dangerous Days through dark and ominous soundscapes that harken back to the menacing futuristic atmosphere of Blade Runner.

Dangerous Days plays out as a concept album set in the “urban nightmare” of 2088 and detailing (mostly through instrumental music) a war in which computers and robots attempt to wipe out all traces of humanity" (Scene Point Blank)

New Stuff: The Louvin Brothers

Satan in Art and Images

Satan, Sin and Death (c. 1792, Etching) - James Barry

Barry made this drawing between 1792 and 1795 as he planned a series of large etchings inspired by Milton’s "Paradise Lost." Although the ambitious scheme was never fully realized, this composition was published as an etching, and demonstrates Barry's deep engagement with the sublime. The subject comes from Book II, 630-814 of the poem, lines that describe Satan’s arrival at the Gates of Hell, after being cast from Heaven. Finding the entrance guarded by Death, he aims his spear at the skeletal figure, as the kneeling, bare-breasted figure of Sin attempts to intercede--Satan does not yet recognize his ghastly opponent to be his son, conceived in an incestuous liason with his daughter Sin. Barry’s obsession with the the sublime had been encouraged by Edmund Burke, an early mentor whose 1757 treatise on the subject states that: “terror…in all cases [is]…the ruling principle of the sublime." Milton's triad of fallen heroic male, monstrous female and skeletal wraith offered the artist s a heady combination of horrific drama and symbolic meaning.

Satan in Art and Images

Art: Pietro Piatra

Satan in Art and Images

Wilhelm Schulz: Der Teufel und sein Lehrbuch, 1944 (The Devil and his textbook)

Caricaturist and painter Wilhelm Schulz was part of the Berliner Secession art movement (Lithographische Anstalt Berlin). He was born in Luneburg and educated in Berlin, Hamburg, Karlsruhe and Munich. He was a contributor to magazines like Jugend (since 1897) and Simplicissimus, for which he made among others political caricatures. He died in Munich in 1952

Satan in Art and Images

‘Lucifer’ (Morningstar) …Paul Fryer, 2008

"The Holy Trinity Church in Marylebone, Westminster, built specifically to celebrate the defeat of Napoleon, hasn't been used as a place of worship since the 30's, but that didn't stop artist Paul Fryer from making a religious statement by hanging this terrifying statue of Satan inside.
The piece, titled "Lucifer (Morningstar)" is a wax sculpture depicting the devil snared in a set of power lines. The statue is equal parts grotesque and beautiful, showing Lucifer as an oily, black creature with immense white wings (created from real feathers). Even creepier in the fact that it's lit via the church's stained glass windows, an ironic juxtaposition that won't be lost on many."
Greg Newkirk  at Roadtrippers

Satan in Art and Images

Satan in Art and Images

Thomas Butts (1757-1845) commissioned the artist William Blake (1757-1845) to produce a series of watercolours. They were to illustrate John Milton’s epic poem ‘Paradise Lost’, which was first published in 1667. Butts, a civil servant, was one of Blake’s most loyal patrons.
Inspired by Milton’s text, Blake represents Satan and his angel accomplices as beautiful in appearance. He based the nude figures on classical sculpture and on drawings and paintings by Michelangelo (1475-1564).

Satan in Art and Images

The clergy feasting in the jaws of a devil
Woodcut attributed to Matthias Gerung. Formerly attributed to Hans Weiditz, Germany, 1520-1560

Satan in Art and Images

Lucifer, 14th century manuscript

Satan in Art and Images

Diablerets, Apéritif sain. One of the best "Diablerets aperitive" posters, not signed but attributed to Frederic Rouge, a Swiss painter, illustrator and poster designer, born in 1867 in "Aigle" died in 1950 in "Ollon". The "Diablerets" is the name of a village and a high mountain in the Swiss Alps, where the herbs of this drink were collected. A large Swiss size poster finely printed in stone-lithography.