He’s produced a few more of these so far, including his Ecstasy of Saint Francis, which zooms in on Caravaggio’s Saint Francis Of Assisi In Ecstasy and illustrates his receiving the stigmata through a kaleidoscopic vision that translates Francis’ vision of Christ into something included in the work itself.

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Two others—Saavedra’s reworking of The Last Day Of Pompeii and The Birth Of Venus—continue in this mold, animating body movements and facial details to add new life to familiar paintings.

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Let Saavedra’s project be a lesson for posterity: If you’re an artist who wants future artists to leave your work alone, future proof it by traveling through time, inventing technologies that won’t exist for centuries after your death, and implement them into your process.

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