Grove of the Queer Bacchante

Massive supercell in North West, Iowa - Author: Winter-Design1215

"The Stag and the Vine" by Percy James Billinghurst, 1900

In Greek mythology, the Sacrifice of Iphigenia is a tragic story where King Agamemnon is commanded to sacrifice his eldest daughter to appease the goddess Artemis. This supernatural demand was required to release favorable winds so the massive Greek fleet could sail for Troy.

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The six-part Mor cycle, exhibited in 1901 at the Wiener Secession exhibition, represents the culminating work of Felix Jenewein (1857-1905), who is considered one of the most typical representatives of Czech neo-romanticism, symbolism and Art Nouveau. Already in his earlier works with religious themes, the artist introduced a subjectivizing concept into their appearance, which was opposed by the religious circles of the time, but at the same time welcomed by the authors of the so-called Catholic Modernism, centered around the magazine Nový život. Alongside Otokar Březina, Julius Zeyer or František Bílek, they soon included Jenewein among the authors expressing the ideas of the movement. Jenewein's great rediscovery came with an exhibition in 1927, for which Jakub Deml wrote his monograph and a great poetic confession. Both the apocalyptic theme and the expressive conception of The Plague turn away from more traditional religious painting towards a more general symbolic parable of the destruction of the human race. It follows the artistic form of death dances, which showed the fragility of human life and the universality of death in the form of a reanimated skeleton dancing with still-living representatives of various strata of society, from late medieval to Baroque painting; in the mid-19th century, the artistic theme returned with the spread of the cholera epidemic. It is in The Debauchery that ecstatic dance represents a way to banish the fear of death, at least for a while. But Jenewein replaced the skeletons, which were part of the tradition of the genre, with very physical figures. The space of the scenes in the Mor cycle is not very deep and is fully dominated by the monumentally conceived bodily shapes - accentuated by the line drawing, which underlines the Art Nouveau expression. The beauty of these human bodies thus stands in the face of decay, decay and death. (source)

Wheel Of Fortune. Boèce, De Consolatione Philosophiae, 1400-1500, BnF MS Néerlandais 1, f.58v

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The mile-long rainbow flag being carried down First Avenue in New York City in 1994 🌈