Digest

This episode of Lore delves into the eerie world of haunted art, starting with the tragic tale of Luis Jimenez, a sculptor who died while working on a giant blue Mustang statue for the Denver International Airport. The sculpture, nicknamed "Blucifer," is said to be cursed due to the artist's death and its demonic red eyes. The episode then explores the phenomenon of haunted paintings, focusing on the uncanny valley effect and the unsettling nature of portraits. One example is the painting of Spanish general Bernardo de Galvez in the Hotel Galvez in Galveston, Texas, whose eyes are said to follow visitors and whose presence is associated with chills and blurry photographs. Another is "Man Proposes God Disposes," a painting by Edwin Lancier depicting a polar bear massacre, which is said to have caused headaches, nightmares, and even a student's self-inflicted death. The episode also examines the haunting story behind Edvard Munch's "Deadmother" paintings, which depict a dead or dying woman and a child staring at the viewer, and are said to be haunted by the artist's own memories of loss and suffering. Finally, the episode explores the legend of the "Crime Boy" prints, mass-produced images of weeping children that were popular in England during the 1950s, 60s, and 70s. These prints are said to be cursed, causing house fires and even surviving the flames themselves. While the legend was likely fueled by tabloid sensationalism, the episode reveals that the prints were actually coated with a fireproof lacquer, making them difficult to burn. The episode concludes by suggesting that the fires may have been caused by poor safety standards in working-class homes, highlighting the real-world dangers that can be overlooked in the pursuit of a good story.

Outlines

00:00:00

The Cursed Blue Mustang

This Chapter explores the story of Luis Jimenez, a sculptor who died while working on a giant blue Mustang statue for the Denver International Airport. The sculpture, nicknamed "Blucifer," is said to be cursed due to the artist's death and its demonic red eyes.

00:02:36

Haunted Paintings

This Chapter delves into the phenomenon of haunted paintings, focusing on the uncanny valley effect and the unsettling nature of portraits. The episode discusses the painting of Spanish general Bernardo de Galvez in the Hotel Galvez in Galveston, Texas, whose eyes are said to follow visitors and whose presence is associated with chills and blurry photographs. It also explores the story behind "Man Proposes God Disposes," a painting by Edwin Lancier depicting a polar bear massacre, which is said to have caused headaches, nightmares, and even a student's self-inflicted death.

00:08:34

The Haunting of Edvard Munch

This Chapter examines the haunting story behind Edvard Munch's "Deadmother" paintings, which depict a dead or dying woman and a child staring at the viewer, and are said to be haunted by the artist's own memories of loss and suffering. The episode explores Munch's personal history of tragedy and his artistic response to it, highlighting the connection between his art and his experiences.

00:13:25

The Crime Boy Curse

This Chapter explores the legend of the "Crime Boy" prints, mass-produced images of weeping children that were popular in England during the 1950s, 60s, and 70s. These prints are said to be cursed, causing house fires and even surviving the flames themselves. While the legend was likely fueled by tabloid sensationalism, the episode reveals that the prints were actually coated with a fireproof lacquer, making them difficult to burn. The episode concludes by suggesting that the fires may have been caused by poor safety standards in working-class homes, highlighting the real-world dangers that can be overlooked in the pursuit of a good story.

00:26:17

The Bone Church

This Chapter explores the Bone Church in the Czech Republic, a chapel decorated with thousands of human skeletons. The episode tells the story of how the church's cemetery became overcrowded, leading to the exhumation and arrangement of the bones by a woodcarver named Frantishik Rint. The chapter highlights the macabre beauty of the church and the artist's intention to create a space where all people, regardless of their differences in life, are equal in death.

Keywords

Q&A

• What is the story behind the "Blucifer" sculpture at the Denver International Airport?

  The sculpture, a giant blue Mustang, was created by Luis Jimenez, who died in a tragic accident while working on it. The sculpture is often associated with a curse due to the artist's death and its demonic red eyes.

• What is the uncanny valley effect, and how does it relate to haunted paintings?

  The uncanny valley effect describes the unease humans feel when confronted with things that look almost human but aren't quite, like robots or dolls. This effect can also apply to portraits, which can be unsettling due to their static and immortal nature.

• What is the legend behind the "Crime Boy" prints, and what is the truth behind it?

  The legend claims that these prints of weeping children are cursed, causing house fires. While the legend was likely fueled by tabloid sensationalism, the prints were actually coated with a fireproof lacquer, making them difficult to burn. The episode suggests that the fires may have been caused by poor safety standards in working-class homes.

• What is the story behind the Bone Church in the Czech Republic?

  The church's cemetery became overcrowded, leading to the exhumation and arrangement of the bones by a woodcarver named Frantishik Rint. The church is a macabre and fascinating example of how human remains can be used to create art and reflect on the nature of mortality.

• How does the episode explore the connection between art and personal experiences?

  The episode highlights how artists often pour their personal experiences and emotions into their work. This is evident in the stories of Luis Jimenez, Edvard Munch, and the anonymous artist who created the "Crime Boy" prints. Their art reflects their struggles, losses, and fears, creating a powerful connection between the viewer and the artist's inner world.

Show Notes