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Name   : PHILHELM Philhelm
Location: STRASBOURG  
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B106 - WHEN A NAKED QUEEN SEEKS THE INTERCESSION OF A LESSER GOD WITH HIS MAJOR GOD - 2009. / Painting Acrylic / 125 x 150 cm - 49,2 x 59 inches / 12.102 USD

Description: BABYLONIAN / Acrylic on canvas 125 x 150 cm - 49,2 x 59 inches / According to the design of a stamp of glyptics transition origins to the Syro-Cappadocian Hittites in the second period: XI-XVI centuries BC. Part of the collection of the Guimet Museum pl.VI: 93. A subject quite common in the Mesopotamian glyptics even archaic, as was the custom with origins appear naked before her to serve on the recount and express complete submission to the divine. It was almost always a priest king. On the original it was one more person who stands behind the seated god (bearer of a star) and is the alter ego of one who is at the extreme left, I sacrificed to give more simplicity of the scene (this character is often a lesser god therefore standing). Moreover, the character waiting in the paddock was unisex, I decided it would be a woman. When the tool used by lapicide, it is clear that this is a snap, a tool commonly used in time, knowing the minutiae of running on rocks not exceeding a few millimeters. But it is mostly the original treaty, which I think is quite extraordinary, even though it was part of the pro-dynastic period where older worshipers are stylized to the extreme so that their body is made so abstract and geometric. This dry simpler than the human form suggests the fragility of the human to the divine concern. The image, not actual representation of reality becomes a way of thinking about the unreality of reality, in a sort of Plato's cave, which we threw in our faces. Returning to the subject of the painting, running late third millennium, where the devotion of the Mesopotamian king expressed by the "prayer of the king is represented in a pen waiting to be introduced by a lesser god before his major god, either the back of his intercessor who gives him the hand or arm. Over the millennia, the fear of God will turn into glare then peacefully. Gradually change the behavior devout kings and some will not be afraid to meet without an intermediary (seated and covered with precious clothing and jewelry) on major god who might even be standing before the same king who has added the name of a his god, considering himself as half-divine and reigning absolutely. Soon dignitaries, priests and scribes to imitate their turn these scenes of devotion and turn them away for their personal account! They also change its name in the deifying and will also create their own personal god. It is not uncommon for him to do several times, gradually as they rise in the hierarchy. In conclusion, considering the period of transition that is engraved gems, our intercessor bearer of a present, may be either a high priest, a lesser god, perhaps the personal god of the Queen? The length of the scene, also requires us to take it all in the conditional! Plato's Cave: Spectators at the cave, cut off, watch the real world think when they see only images in the case of moving shadows and distorted: The man tries to understand the world as he perceived not as it really is, there is the fate of ordinary humanity. Personal God: In the early days, when the gods inspired, if not terror, at least the fear, it was more practical to approach closer to the gods, and further simplifications, some did not hesitate to create a personal God, much more manageable!

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In actual fact, I want to tell you without misrepresentation, the whole story of Philhelm, which begins in Alsace (It was still a Germanic country and will become French only in 1678!) in the castle of Lichtenberg, on April 23rd 1616, when the seven-year-old Balthasar Helmlinger, loses the Monogram of his eponymy descendant. This ordinary but nevertheless very serious incident in the distant past will set in motion the artistic calling of one of his descendants, ten generations later! This contemporary painter, born in Strasbourg in 1943, has only exhibited his work twice in his life (1999 and 2001) and only at the "International Biennial Event of Contemporary Art of Florence" which awarded him in 1999 the Prize of the City of Florence. So that the ordinary people be completely disorientated, so that it will let the story of the past enter him torpidly, by going back the furthermost possible or else it will never pierce the heart of his paintings, to seek there the secret causes of things.
Philhelm declines the colors in a correspondence with the images and original writings to a small history of the past, in wich his monogram was always present as an archetype. This revival for a few years, he has tried to reveal it because the Gods came one day to its meeting ! They deigned to present him their messengers like a hero accompanied with their sphinges : Let them forgive him, if he dares to quote them in the enjoyement of his heart, even if he put no bad shame to ask them for grace. If he tries to make reappear by its legends, some bits of a lost knowledge, and really immortal and sacred, he owes it only with work of fort many archaeologists and historians. He makes no vanity of his work. If he had his whole life, believe not produce anything good and beautiful, he feels no less real joy and deep taste that he recognizes and admires beautiful and great at others, had they been Etruscan, Cretan, Assyrian or Sumerian ?

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