The Window Washers (1975) by John Koch
(For Madame Scherzo)
Looks like a defenestration waiting to happen.
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my-ear-trumpet: veareflejos: onwardthroughtheramparts: The...
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Sebastião Salgado
Sebastião Salgado
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I gather this is from a 1970 movie: Zatoichi Meets Yojimbo
I gather this is from a 1970 movie:
Zatoichi Meets Yojimbo
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wine-loving-vagabond: inritus: Funeral in Palermo, Sicily...
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Picture - ‘St Anthony tormented by devils, c1475-c1500...
Picture - ‘St Anthony tormented by devils, c1475-c1500 Artist: Unknown’
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Montserrat Benedictine Monastery in Bavaria Our Lady of...
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?
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necspenecmetu: Alexandre-Denis-Abel de Pujol, Ixion Enchained...
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Cork vy cordbush from flickr
Cork vy cordbush from flickr
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my-ear-trumpet: Wow! Talk about overkill! The four mythic...
The four mythic national beasts of China, Russia, Great Britain and the USA pull the chariot of the Goddess of Freedom—all to sell socks!
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dirtyscarab: Chill’n at the snake dojo Kano Kazunobu
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yolk-of-the-sun: Roberto Ferri - “L’attesa o l’angelo della...
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poisonwasthecure: Study of Hands Albrecht Dürer 1506
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cavetocanvas: Pillar and Moon - Paul Nash, 1932-42 From the...
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’.
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Gierymski, Aleksander (1850-1901) - 1899 Interior of Saint...
Gierymski, Aleksander (1850-1901) - 1899 Interior of Saint Mark’s Basilica in Venice (National Museum, Warsaw, Poland)
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missfolly: Farmhouse in Provence, 1888, by Vincent van Gogh
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oldbookillustrations: Luna Elihu Vedder, from Doubt and other...
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
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worldpaintings: Vincent Van Gogh Belvedere Overlooking...
Vincent Van Gogh
Belvedere Overlooking Montmartre, 1886, oil on wood, 44 x 33.5 cm, The Art Institute of Chicago, USA.
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aweekofkindness: Arnold Böcklin - The Silence of the Forest...
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birikforever: Giuseppe Amisani - Cleopatra lussuriosa
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No eighteenth-century writer was depicted more often than...
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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