Storms Near Sante Fe, New Mexico, 1965. Liliane De Cock. Gelatin silver

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Storms Near Sante Fe, New Mexico, 1965. Liliane De Cock. Gelatin silver

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That is Gian Lorenzo Bernini’s masterpiece, The Rape of Proserpina (aka The Abduction of Proserpina), created between 1621 and 1622 when Bernini was only 23 years old. It’s in the Galleria Borghese in Rome.
Art historians call it Baroque drama, the mythological scene where Pluto (Hades), the god of the Underworld, abducts Proserpina (Persephone) to the realm of the dead, while Cerberus—the three-headed hound—barks at their feet.
In ancient myths, rape is meant to mean “to seize," "to snatch," or "to carry away by force."
Winnowing Grain, Taos, New Mexico, 1942. Ansel Adams. Gelatin silver.
Lise Sewing, 1866. Pierre-Auguste Renoir. Oil on canvas
Paul Newman, 1967. Lawrence Schiller. Silver gelatin.

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Big Rock, Kentucky, July 1964. William Gedney. Gelatin silver.
Water Lily, 1880. Martin Johnson Heade. Oil on canvas.
Entrance to the Village of Osny, 1882-83. Paul Gauguin. Oil on canvas.
Mississippi Highway patrolmen arresting Anthony Quin, 5, son of Mrs. Aylene Quin, during a voting rights protest in Jackson, Miss.; when Quinn refused to give up his small American flag, patrolman went berserk and wrenched it out of his hands, June 17, 1965, Jackson, Miss., Photo by Matt Herron, 1965
A photographer capturing a striking close-up portrait of a Dalmatian pelican (Pelecanus crispus). The largest of the pelican species. The video cuts from the photographer's perspective to the final high-resolution shot—a stunning, highly detailed macro portrait of the pelican's face.

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San Francisco, 1966. William Gedney. Gelatin silver print.
Winter Dory, King's Beach, Swampscott, Massachusetts, 1880. Charles Edwin Lewis Green. Oil on canvas.
A man painting Notre-Dame Cathedral in July 1945 from the banks of the Seine River, 1945. AFP. Silver print on baryta paper
The Pastrycook, 1928. August Sander. Gelatin silver
A Rose, 1907. Thomas P. Anshutz. Oil on canvas.

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“Kafka's burrow is terrible in two ways. The first is that we can never hope to win a war against an imagined enemy. We cannot hold what we do not know, and we cannot overcome that which exists only in a nightmare. And the second, as the Stoic Seneca put it, we often suffer more in the imagination than in reality.
We catastrophise and we exaggerate. Our nightmares take on an entire weight of their own.”
Blind Children, 1930. August Sander. Gelatin silver print.
Sander captured this photograph in 1930, during the twilight of the Weimar Republic. Just three years later, the Nazi regime came to power, completely upending the framework of institutional care.