Milan fashion director Davide Bedoni was not seeing many exciting advertisements in his field, so he turned to a new source of inspiration: fine art.
Bedoni started his “SwooshArt” project in January, combining his love of Nike with his love of art from the 19th century. He occasionally works with Renaissance works, as well, making Pop art out of masterpieces by embedding the Nike swoosh into some of history’s most timeless artwork.
He has created over 200 works in the series at this point.
“I’ve never wanted to criticise consumerism,” Bedoni told Business Insider in an email, “for me it’s just something aesthetic.”
“I would like to see things like SwooshArt as real advertising, especially for a fashion brand,” Bedoni said, adding that he’s seen enough of the same models, poses, hairstyles, and makeup.
Bedoni, who is about to begin an architectural photography project, does not consider himself an artist (“because I’m not really sure what it means”), and started the project from a marketing perspective. He also said he will take SwooshArt to the streets soon, but in a “virtual/digital way.”
This ghastly scene from Dante's 'Inferno' makes an inspirational slogan seem sinister when paired with William-Adolphe Bougereau's 'Dante and Virgil in Hell' (1850)
The swoosh breaks the action between Mars and his victim, Cupid, in Bartolomeo Manfredi's 'Cupid Chastised' (1605/1610)
These guys could be selling Nike products instead of hanging out in Hippolyte Flandrin's 1850 work 'Rene-Charles Dassy and His Brother Jean-Baptiste-Claude Amede Dassy.'
The swoosh pulls the viewer through the action in the 'The Flagellation of Our Lord Christ' by William-Adolphe Bouguereau (1880).
The swoosh adds emphasis to the painting's focal point in 'The Ghosts of Paolo and Francesca Appear to Dante and Virgil' by Ary Scheffer (1835)
In many mashups, the logo is integrated as an organic prop, as seen here in William-Adolphe Bouguereau's 'Wet Cupid' (1891)
The logo's positive connotations are a sharp intrusion on the somber scene in 'The Entombment of Atala' by Anne-Louis Girodet (1808).
Bedonis makes the subject of John William Waterhouse's 'The Lady of Shallott' (1888) look like an advertising model.
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