![]() ![]() Absinth in art: Henri Privat-Livemont, Absinthe Robette, 1896, Bibliothéque National de France, Pairs, France. It’s a sharp contrast from the mood of Manet’s lonely alcoholic. Absinth in art: Leonetto Cappiello, Absinthe Ducros fils, 1901, Bibliothéque National de France, Pairs, France.Ĭappiello’s advertisement for Absinthe Ducros fils features a flame-haired young woman in carefree abandon, holding aloft a large bottle of absinthe. In keeping with the times, they used classic elements of Art Nouveau style – flowing organic forms, areas of plain color and elegant typography – to create striking and effective advertisements. Poster artists like Henri Privat-Livemont and Leonetto Cappiello promoted a joyous and sociable vision of absinthe consumption. Unsurprisingly, advertisements for absinthe presented a rather different image. Manet’s picture has a brutal frankness and an air of solitary desperation. Manet based the portrait on an alcoholic vagrant he knew called Collardet, who hung around the Louvre area of Paris. ![]() Édouard Manet’s The Absinthe Drinker is a moody evocation of urban low-life. See some of the art made under the influence or inspired by absinth! Absinth in art: Édouard Manet, The Absinthe Drinker, 1867-1868, Statens Museum for Kunst, Copenhagen, Denmark. From the outset, the fiery spirit divided opinion: it was loved by bohemians like Baudelaire, Picasso and Joyce, but loathed by temperance campaigners who feared its corrupting influence and wanted to ban it from public sale. ![]() Derived mostly from the leaves of Artemisia absinthium (wormwood), absinthe became known as la fée verte (“the green fairy”), due to its frequent green coloration. I'll agree with you here that Razor's an amazing piece of engineering, but again, I don't really understand what you're getting at here-Razor and Absynth are vastly different instruments which, apart from having about as much overlap as any arbitrary pair of synthesizers, have very different strengths and design principles.Since becoming popular in late 19th century France, in the era of Art Nouveau, absinthe has always had a certain mystique. I submit that Absynth bears zero resemblance to either of those things. That's not to say it does everything-that's difficult to achieve without it turning into a bloated, unnavigable mess-but it does its own thing(s) really, really well. ![]() To be clear, I have always found the interface very offputting and I would love to see that significantly overhauled, but where the sound is concerned-the thing that counts-I think of it as a reliable, mature piece of software that sounds excellent and readily goes places most other synthesizers struggle to. (Frankly, I appreciate that there are synthesizers other than Serum and Absynth's oscillators can do plenty that Serum's can't, and vice versa.) Anyway, these are instruments-why the need to compare them? I mean, no one compares pianos and harpsichords, or violas and trumpets-they're different instruments, and one isn't inferior for having a different set of strengths to another.ĭo you really think Absynth isn't "innovative"? I think it's one of the strangest, most interesting synthesizers out there. Why on earth would someone do that? Nobody actually makes music that way-a synthesizer is a gestalt of its parts, so shooting out individual, isolated components without any sort of musical context is an academic exercise at best. ![]()
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