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my-ear-trumpet: veareflejos: onwardthroughtheramparts: The...


Sebastião Salgado

I gather this is from a 1970 movie:  Zatoichi Meets Yojimbo

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I gather this is from a 1970 movie: 

Zatoichi Meets Yojimbo

wine-loving-vagabond: inritus:  Funeral in Palermo, Sicily...

Picture - ‘St Anthony tormented by devils, c1475-c1500...

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Picture - ‘St Anthony tormented by devils, c1475-c1500 Artist: Unknown’

Montserrat Benedictine Monastery in Bavaria  Our Lady of...

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Montserrat Benedictine Monastery in Bavaria

 Our Lady of Altötting


When I asked (over the Facebook)  why there should a Black Madonna in 18th century Germany, a friend forwarded the following article:

http://www.whitewolfjourneys.com/?p=1071

Would anyone happen to know of something slightly more informative?

necspenecmetu: Alexandre-Denis-Abel de Pujol, Ixion Enchained...

Cork vy cordbush from flickr

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Cork vy cordbush from flickr


my-ear-trumpet: Wow! Talk about overkill! The four mythic...

dirtyscarab: Chill’n at the snake dojo Kano Kazunobu

yolk-of-the-sun: Roberto Ferri - “L’attesa o l’angelo della...

poisonwasthecure: Study of Hands Albrecht Dürer 1506

cavetocanvas: Pillar and Moon - Paul Nash, 1932-42 From the...

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cavetocanvas:

Pillar and Moon - Paul Nash, 1932-42

From the Tate:

Paul Nash was deeply affected by his experiences as a soldier and an artist during the First World War. This picture was based around ‘the mystical association of two objects which inhabit different elements and have no apparent relation in life… The pale stone sphere on top of a ruined pillar faces its counterpart the moon, cold and pale and solid as stone.’Though not explicitly about mourning, the deep, unpopulated space and ghostly lighting gives the scene a melancholy air. Rather than depict a real landscape, Nash said that his intention had been ‘to call up memories and stir emotions in the spectator’.

Gierymski, Aleksander (1850-1901) - 1899 Interior of Saint...

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Gierymski, Aleksander (1850-1901) - 1899 Interior of Saint Mark’s Basilica in Venice (National Museum, Warsaw, Poland)

missfolly: Farmhouse in Provence, 1888, by Vincent van Gogh


oldbookillustrations: Luna Elihu Vedder, from Doubt and other...

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oldbookillustrations:

Luna

Elihu Vedder, from Doubt and other things, Boston, 1922.

(Source: archive.org)

Do check out the book, it is quite a find:

A Gleam, a Ray, a Star, a Tomb

A  Guess, a Faith, a Hope, a Doom

Elihu Vedder                                

worldpaintings: Vincent Van Gogh Belvedere Overlooking...

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worldpaintings:

Vincent Van Gogh

Belvedere Overlooking Montmartre, 1886, oil on wood, 44 x 33.5 cm, The Art Institute of Chicago, USA.

aweekofkindness: Arnold Böcklin - The Silence of the Forest...

birikforever: Giuseppe Amisani - Cleopatra lussuriosa

No eighteenth-century writer was depicted more often than...

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No eighteenth-century writer was depicted more often than Voltaire; and

no image of him has greater iconic status than the bust sculpted by Jean-

Antoine Houdon (fig. 1). In fact, there is not one bust but a whole assortment

of them, in various materials and presentations; the number of surviving

portrait busts makes clear that Voltaire was Houdon’s best-selling subject.2

Mme Denis, Voltaire’s niece and mistress, even commissioned a full-length

version, the large seated statue in marble which now dominates the first-floor

foyer of the Come´die-Franc¸aise. Voltaire’s head, wearing no wig, is turned

to the right, his eyes in a piercing glance, his lips drawn tightly in a smile.

So potent and so omnipresent was this image that writers in the nineteenth

century not only debated Voltaire’s ideas, they argued about his smile. The

Romantic poet Alfred de Musset famously described Voltaire’s ‘hideous

smile’.3 Joseph de Maistre evidently had the phrase in mind when he spoke

of Voltaire’s ‘ghastly grin’ (‘rictus e´pouvantable’), a phrase which Gustave

Flaubert quotes when he mocks the received bourgeois wisdom concerning

the writer whom he admired: ‘Voltaire: Superficial knowledge. Famous for

his ghastly grin’ (‘Science superficielle. Ce´le`bre par son rictus e´pouvantable’).4

Victor Hugo tried to set the record straight: ‘This smile is wisdom. This smile,

I repeat, is Voltaire’ (‘Ce sourire, c’est la sagesse. Ce sourire, je le re´pe`te,

c’est Voltaire’). 

Cambridge Companion to Voltaire. “”Introduction”.

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