Queen of the Angels, 1900, William-Adolphe Bouguereau
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Queen of the Angels, 1900, William-Adolphe Bouguereau

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Georges de la Tour, Saint Joseph the Carpenter, 1638-1645, Louvre, Paris
Within French Caravaggism, the Lorraine region is embodied by Georges de La Tour, a rather unique figure who developed a highly personal style inspired by the Caravaggesque scheme but with a tendency towards the geometrization of volumes. His early work shows a dual Italian and Dutch influence, then his style evolved towards something more personal during the last decade of his life. From 1639 to 1641, he undertook a trip to Paris that would mark this new artistic period, which he would continue upon his return to Lorraine until his death in 1652. This end of his career is notably characterized by a drastic reduction in his color palette.
This production from the last decades of the artist's life is marked by a search for a silent atmosphere, an intimacy explored through the treatment of light. The infant Jesus here holds a single candle, which gives the scene an almost mystical dimension. The child's hand, pierced by the light, appears almost translucent in an extremely virtuosic technical treatment. What gives the scene its tragic and psychological weight is Joseph's cross-shaped tool, which serves as a prefiguration of the sacrifice of the Passion, and the fact that it is the infant Jesus who illuminates this scene further accentuates its tragic aspect.
Johann Heinrich Füssli, Robin Goodfellow, known as Puck, oil on canvas, 107.5 x 84 cm, 1787–90, Schaffhausen, Museum zu Allerheiligen
It has been said that Fuseli was the "Shakespeare of painting," and it is true that the artist made his painting a theatrical genre. Familiar from a young age with the texts o the English playwright, it was only in London, from 1764 onward, that Fuseli had a concrete experience of the theater. If we disregard the dramatic way in which the artist plays with light or on chiaroscuro contrasts, his paintings do not merely depict theatrical performances; they are in themselves "a stage scene."
While Fuseli borrowed from Garrick and the other actors he saw on stage their way of translating passions into facial expressions and gestures, he also succeeded in giving the protagonists of his paintings an existence of their own. He knows how to express their way of being and acting, always emphasizing the body and gesture, and transcribes their fears, their affliction or their anger.
Among the nine paintings that Füssli painted between 1786 and 1790 for the Shakespeare Gallery, founded in London by John Boydell, were three scenes from A Midsummer Night's Dream. With the character of Puck, Shakespeare revisits one of the most popular fantastic creatures in British mythology.
Originally, Puck had a negative connotation; he was a goblin, but Shakespeare made him a sympathetic figure: the fool of Oberon, the king of the elves, and one of the first protagonists to appear on stage.
Fuseli chose to depict one of the mischiefs traditionally attributed to Puck: at night, he leads drunken travelers astray. Puck appears here as a spirit with two bat wings spread wide. The painter portrays him from a low angle, in a marked foreshortening. Surrounded by a luminous halo, Puck seems to burst forth like lightning, proud of his deed. His trick is complete: a triumphant smile on his lips, he performs his magic trick with his left hand and looks down at a rider caught in the swirling waves, struggling to stay on his terrified mount. A fairy is amused by this misfortune, while a moth, a monk in a brown robe, and a gnome playing his flute watch the scene.
The beaded belt brandished by the imp seems to rise to the stars and touch the crescent moon, for Puck is a being who commands even the light of night. This is the only element in the painting that can be directly linked to A Midsummer Night's Dream. The painter does not refer solely to Shakespeare but also invokes John Milton, his other favorite English writer, who recounts this mischievous trick of Puck's in his Paradise Lost.
David, Belisarius Receiving Alms, oil on canvas, 1781, Lille, Palais des Beaux-Arts
This painting signals the emergence of Jacques-Louis David on the artistic scene. The subject is inspired by the novel of Marmontel, commissioned by the Archbishop of Paris, echoing a closed case, the execution of General Lally Tollendal, who was beheaded as a scapegoat for the defeats of the Septuagint War, and its rehabilitation by Voltaire. This painting is considered the first work of French Neoclassicism, with its cool tones adding to the dramatic nature of the scene.
Panel of star- and cross-shaped luster tiles
Kashan, Iran
13th century, Ilkhanid period (1256-1335)

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Henriëtte Ronner-Knip (Dutch–Belgian, 1821–1909), "Study of Eleven Cats" (details), 1904
Francisco de ZURBARAN, Saint Francis in Ecstasy, 1640, oil on canvas, 152x99cm, National Gallery, London
There is a great simplicity in the composition of this work, with an essentially geometric play of forms. Saint Francis focuses on the idea of death by holding a skull against him. The powerful chiaroscuro of the composition clearly illustrates the influence of Caravaggio on the artist's work and leads to plunging the saint's face into darkness: it is difficult to identify Saint Francis. The composition demonstrate the importance placed on the description of the rough textures of the sackcloth robe, which evokes the austerity of his existence.
In Zurbaran's works, there is a search to represent the contained inner intensity : kneeling on the ground and his face to the sky, with his hands clasped in prayer. We almost feel the contraction of his hands in a form of nervousness. Here, the saint is in the spirit of the Counter-Reformation because he is represented in an attitude recommended by the Jesuits: praying in the dark. The tight framing, the absence of depth and anecdotal details, the uncompromising naturalism are all Caravaggio-esque details that allow us to enter the image to have the solitary experience of devotion, the same as that which Saint Francis presents to us.
Virgin of Joan of Évreux, Reliquary statuette offered in 1339 by the dowager queen to the treasury of Saint-Denis, Louvre, Decorative Arts
Entrance into Paradise of Saint Ignatius of Loyola, Andrea POZZO, vault of the nave of the church of Saint Ignatius of Loyola, 1688-1694, Rome
Artemisia Gentileschi, Judith Beheading Holofernes, 1612-13, oil on canvas, 158x125cm, Naples, Capodimonte
The great particularity of Judith's character lies in the exercise of violence, which is a masculine prerogative. Indeed, Judith does not hesitate to seize Holofernes' scimitar. Her character is therefore pervaded by gender issues that belong to the masculine realm.
Judith first assumes an eminently political symbolism : in Quattrocento Florence, she embodies the struggle of republics against tyranny, the struggle of the weak against the power of the strong. She draws her own strength from her faith and rises up in rebellion while the rest of her people resign themselves.
Gentileschi creates a very dramatic, very famous version of the theme. She seeks to depict a genuine physical struggle between the characters. Indeed, the servant deviates from tradition and does not wait outside the tent, but assists Judith by weighing down Holofernes.
Gentileschi uses herself as a model for the figure of Judith, which allows her to depict women with naturalism. Holofernes is depicted as Agostino Tassi, her rapist in a cathartic expression of Gentileschi's anger
No artist has depicted the scene in such a violent manner, with such active participation from the servant.

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Stone Butch Blues, Leslie Feinberg
Gentile da Fabriano, Adorazione dei Re Magi, episodi dell'infanzia di Cristo, Cristo, profeti, motivo decorativo floreale, polyptych altarpiece, tempera painting and gold and silver background on wood, 1423, Uffizi Museum in Florence
islamic arts are so beautiful, but oh my god how do l dread my final exam
guys it's coming, i'm shaking in my boots
Hilma Af Klint, The Swan No. 1
lesbianism really is a disease because if don't have tickets for chappell roan's concert i might actually die
GUESS FUCKING WHAT GUYS !!!!!!

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Mary Oliver, from "Dogfish" in New and Selected Poems
islamic arts are so beautiful, but oh my god how do l dread my final exam