Purple Damask.

We are all flesh Berlinde De Bruyckere, 2009-10

Chema Madoz, Horca Perlas, 1997.

donned his robe, and took a sturdy staff, and went toward the door, limping; whilst round their master his servants swiftly moved, fashioned completely of gold in the image of living maidens; in them there is mind, with the faculty of thought; and speech, and strength, and from the gods they have knowledge of crafts. These females bustled round about their master…

Top to bottom: Landing stores at Watson’s Pier, Gallipoli, Turkey (1915) | Four unidentified men using a latrine high above the beach at Anzac Cove (1915) | A trench at Lone Pine after the battle, showing Australian and Turkish dead on the parapet (1915)

hopes dance best on bald men’s hair

All we can understand of other people’s bodies.

Héliogabale, a 1911 silent short by Louis Feuillad.

Victor Hugo's Lace and Ghosts, ca. 1855–56.

Kazuo Shiraga, Pleasure of Wearing, 1971. 

Martial

Mary Magdalen in Ecstasy, Caravaggio, 1606.

All flesh is frayle, and full of ficklenesse, Subject to fortunes chance, still chaunging new; What haps to day to me, to morrow may to you.  [FQ, vi, i, 41] Image: The Wheel of Fortune by Edward Burne-Jones, 1870s.

Maud Allan as Salome in the Vision of Salome, 1900s.

Liebe, Hannah Höch, 1931. Photomontage.

Tragedy, by means of legends and emotions, creates a deception in which the deceiver is more honest than the non-deceiver and the deceived is wiser than the non-deceived.

From Électricité by Man Ray, 1931.  The Met - 2013.1098.13 (1–10).