"Salammbô with the sacred python." Illustration by Suzanne-Raphaële Lagneau (1928), for 'Salammbô' by Gustave Flaubert.
Claire Keane
Jules of Nature
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occasionally subtle

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roma★
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i don't do bad sauce passes
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"Salammbô with the sacred python." Illustration by Suzanne-Raphaële Lagneau (1928), for 'Salammbô' by Gustave Flaubert.

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(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)
[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.
Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.
From Getty Center article

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Marjane Satrapi, Persepolis
Dean Martin, June 7, 1917 – December 25, 1995.
With Shirley MacLaine during the making of Vincente Minnelli’s Some Came Running (1958).
A woman's right to shoes.
kylie minogue, 1990

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Postmodern horror, Covent Garden. London, September 2015.
Dries Van Noten - Fall 2000 RTW
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Beirut , primary school in a Palestinian camp, 1977