Frau Pertcha

A painting of a woman in a hooded cloak standing in a snowy landscape near a river. She holds an owl on her gloved hand. The background features bare trees and a soft, muted color palette of blues, greens, and whites.

Frau Perchta, also known as Perchta or Berchta, is a figure rooted in the folklore of Germanic and Alpine traditions, particularly in Austria, Bavaria, and parts of Switzerland. She is often associated with the pre-Christian pagan traditions of the region, and her legend has evolved over centuries, blending elements of mythology, religion, and local customs.

Frau Pertcha

Origins and Mythology:

The origins of Frau Perchta are somewhat obscure, but she is generally believed to be a pagan goddess or spirit who presided over winter, particularly the time of the winter solstice. Her name is thought to derive from the Old High German word “bercht,” meaning “bright” or “shining,” which suggests she may have originally been a benevolent figure associated with light and the sun.

Over time, however, her image became more complex, and she took on both benevolent and malevolent aspects, much like other figures in European folklore. In some versions of the legend, she is seen as a protector of women, particularly those who spin and weave, while in others, she is a punisher of the lazy and the wicked.

The Two Faces of Frau Perchta:

Frau Perchta is often depicted with two very distinct aspects. On one hand, she is seen as a beautiful, benevolent woman who rewards the hardworking and virtuous. She might leave small gifts, such as coins, for those who have been good during the year, much like St. Nicholas or Santa Claus.

On the other hand, she is also portrayed as a fearsome, hag-like figure who punishes the lazy, disobedient, or immoral. In some stories, she is said to carry a knife and will slit open the bellies of those who displease her, stuffing their bodies with straw or rocks. This duality reflects her role as both a bringer of light and life, as well as a harbinger of death and darkness.

The Perchten and Their Processions:

Frau Perchta is closely associated with the Perchten, a group of masked figures that represent spirits of winter and nature. These figures are traditionally divided into two groups: the “schönperchten” (beautiful Perchten) and the “schiachperchten” (ugly Perchten). The former are said to bring blessings and good fortune, while the latter bring chaos and mischief.

During the winter months, particularly around Epiphany (January 6), processions known as “Perchtenläufe” are held in many Alpine villages. In these processions, people dress up as the Perchten, wearing elaborate masks and costumes, and parade through the streets, making noise to drive away evil spirits and ensure good luck for the coming year. Frau Perchta herself is sometimes depicted as leading these processions.

Christian Influence and Transformation:

With the spread of Christianity in Europe, many pagan traditions were either suppressed or transformed to fit into Christian beliefs. Frau Perchta’s legend was no exception. In some Christianized versions of the tale, she was depicted as a witch or demonic figure, reinforcing her role as a punisher of the wicked. The Church often portrayed her as a cautionary figure, warning people to behave properly during the Christmas season.

However, despite these efforts, Frau Perchta remained a popular figure in folk traditions, particularly in rural areas, where she continued to be revered and feared as a powerful winter spirit.

Modern Interpretations:

Today, Frau Perchta remains a significant figure in Alpine folklore, and her legend continues to be celebrated in various forms. The Perchten processions, in particular, have experienced a revival in recent years, drawing both locals and tourists to witness the spectacle.

In contemporary culture, Frau Perchta is sometimes compared to other winter figures like Krampus or the Italian Befana, who also embody a mix of benevolence and malevolence. She represents the complex interplay between light and darkness, life and death, that is often found in winter myths and traditions.

While her story has evolved over the centuries, Frau Perchta remains a potent symbol of the winter season’s mysteries and the timeless struggle between good and evil.

Silent Manor

A painting of a spooky, old house in a snowy landscape. The house has a tall, pointed tower and a wrap-around porch. A leafless tree stands to the right, with a human face subtly carved in the trunk. Three birds sit on its branch. A snow-covered path leads to the house.

In this evocative winter scene, a grand, seemingly haunted mansion stands stark against the snowy landscape, its dark silhouette accentuated by the cold, pale light of dusk. The sky, painted in ethereal hues of blue and purple, hints at an impending nightfall, adding a sense of foreboding to the atmosphere. Bare, twisted trees frame the mansion, their skeletal branches reaching out like the hands of specters. In the foreground, a lone snowman stands sentinel, eerily juxtaposed with the ominous gathering of black birds perched on a nearby branch. The intricate play of light and shadow, combined with the rich textures and subtle color shifts, imbues the painting with a sense of mystery and quiet tension, inviting viewers to ponder the stories hidden within this hauntingly beautiful scene.

I’ll Fall

Like July in winter, a muse as perfect as she is a ghost. She’s intimate with flight, because she’s a bird of the sea. She’s perfect for me, but her imperfectness can never be. I’m only with her, in her royal court at Kush, past the weight of the day, in the dreams of the could have been. She flies with her broken wings and catches my fall, but will never know the depth of it all. She’s a mirage in my mind, of qualities transferred by the shores of my dreams. How I’ve fallen.

Winter Odium

Abstract painting featuring a multitude of vibrant colors and splatters, evoking a sense of Winter Odium. Dominant colors include green, yellow, orange, and white against a dark background. The paint appears to be applied in drips and splatters, creating an energetic and dynamic composition.

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Close up of Winter’s Odium, Looking Head-on
I’m being told that, as an artist, I need to explain my work and process more.  This bit of advice comes from a source that I came across when trying to figure out how to break into the big leagues of the art world – besides spending tens of thousands on a BFA/MFA which will get me connections. I’ve never liked networking, which explains job-hunting difficulties in the past. Plus, a degree in the arts isn’t my cup of tea. I’d rather draw exclusively on the creativity inside and discover things on my own – like the measurements involved in the human face, or the structure of leaves.

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Winter’s Odium
But I digress. About my latest work, at first glance, it looks like a kid had a tantrum while holding paint. Yet there is a lot more going on in the work than initially presents itself.

Like an onion, but not an ogre, this painting has layers. The overall theme of the work is the transition from winter to spring.

Initially, the painting was inspired by a cherry tree I saw when coming off the escalator at Federal Center SW, in DC. It was way too early, and the tree’s blossoms were interacting with a nearby streetlight in an awesome way.  Yes, it’s the little things in life.

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Winter’s Odium, Side Angle, Close Up
My idea was to paint the tree / light combo as if I were a passenger in a car speeding by. I’m still going to do another work based on this idea, but for this one, a shiny object was thrown in my way early in the process.

If you know me, I have a morbid side. I’ll wait for the eye rolls and statements of strenuous affirmation to stop…. Okay, I love crime shows (‘Dexter’ anyone?, ‘Forensic Files’?) and horror movies.

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How It Looks on a Wall, Left Angle
So I was watching ‘Midnight Meat Train’, a slasher flick that made its way back onto Netflix after years of being absent.  The movie is about a butcher harvesting humans on late night trains in NYC for a group of primordial monsters.

What does this have to do with the painting? I’m getting there 🙂 There is this part in the movie where this girl is being dragged along the bloody floor of the train. A thought occurred to me, so I paused the movie.  I looked at the scene, and then looked at my painting. I cocked my head sideways, and then rotated the painting 90 degrees. I had it! I would paint the death of winter in the colors of spring.

 

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How It Looks on a Wall, Right Angle
There’s another part of the movie that talks about art, which resonated with me, but I don’t want to stray off topic too much.  So this girl is being dragged along the bloody floor, I thought to myself that it looks like winter being dragged off by spring.  The hands were the trees, while the floor was time.  You can see the result under the layers of color; look for the red and bone colors.

The next day, as my depression was at a momentary winter of its discontent, I thought maybe I should brighten up the scene, turn it to spring – but in an abstract sense.  I broke out the colors, et voila. Greens and pinks symbolize the blooming of spring.

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Head-on Shot with Overhead Light
Over the succeeding days, I added light; which I’m infatuated with.  You can see the sunlight reflected in the yellows and the flashes of white.  The white was inspired by what happens when you’re riding (hopefully not driving) in a car with your eyes closed and the Sun is flashing through the trees.

So that is it in a nutshell.  I really don’t pre-plan my work – beyond thinking about how something should go in my head.  Once the paint starts flying, as in this case literally all over the room (security deposit revoked), I go where my instincts tell me to go.

Winter’s Odium, March 2017, 18″ x 24″. Acrylic on canvas.  The variety of angles shows how it could look on your wall. For Sale, $600 (I need to make up that security deposit).

 

 

January; A Light Study

A painting of a bare tree and a vintage streetlamp against a vivid, swirling sky with shades of red, purple, blue, and black. The tree’s branches are twisted and reach towards the streetlamp, which emits a gentle glow. This evocative scene offers an eerie yet beautiful light study reminiscent of January nights.
Okay, I’m leaving this one like it is and starting another. I like the forlorn nature of the #painting. A cold January evening, as the last rays of the light ephemerally touch the clouds, the tree embraces the cold brilliance of the street lamp in hopes of seeing the Sun again. I was going to #paint leaves reacting with the #light, but that’s for another time. It’s spray-paint and #acrylic on #canvas, 18 x 24 and part of a #series of light studies I’m doing.
Because, #art.DSC_0274