Art

Not half as great as I am but OK.

I wanna hear what story everyone sees here.

1880. Yes there's a story to it.

The eyes. My god those eyes.

Ive posted some modernist stuff today.

OK I just posted this from my gallery. There are many reproductions of this and I believe a larger version. Internet issues rn, will check tomorrow.

This flirtatious duo in classicizing dress, painted with notable technical finesse, reflects Cot’s allegiance to the academic style of his teachers, including Bouguereau and Cabanel. Exhibited at the Salon of 1873, the picture was Cot’s greatest success, widely admired and copied in engravings, fans, porcelains, and tapestries. Its first owner, hardware tycoon John Wolfe, awarded the work a prime spot in his Manhattan mansion, where visitors delighted in "this reveling pair of children, drunken with first love ... this Arcadian idyll, peppered with French spice."

The met

In the late 1950s Arbus created a little-known body of work in and around the movie houses of Times Square. Around this time, she also photographed such amusement parks as Coney Island and Disneyland, temples of illusion that offered a kind of ready-made American mythology. In these mass entertainments, Arbus first discerned elements of the fantastic and grotesque that she would later unearth throughout American society in her celebrated portraits of sideshow performers, nudists, and transvestites. This darkly funny picture also prefigures the work of artists of the 1980s who examined the strategies and effects of media imagery. Screaming woman with blood on her hands, Diane Arbus (American, New York 1923–1971 New York), Gelatin silver print This image cannot be enlarged, viewed at full screen, or downloaded.

The Met.

Flayed alive after losing a musical contest to the god Apollo, the satyr Marsyas screams in the midst of his torture. Every aspect of the figure, from squinting eyes to torn tongue and flamelike hair, contributes to this image of torment. Early in his career, the sculptor Permoser worked in Florence, where this bust likely was carved. It is his personal response to Gianlorenzo Bernini's dramatic style, especially the Damned Soul of about 1619 (Palazzo di Spagna, Rome). While important sculptures by Pietro and Gianlorenzo Bernini are represented in the Museum's collection, Marsyas is our first work by Permoser, who helped to transmit the Italian Baroque style to Germany when he returned to his native Dresden.

The met.

In this landmark of neoclassical painting from just before the French Revolution, David took up a classical story of resisting unjust authority in a sparse, friezelike composition. The Greek philosopher Socrates (469–399 BCE) was convicted of impiety by the Athenian courts; rather than renounce his beliefs, he died willingly, expounding on the immortality of the soul before drinking poisonous hemlock. Through a network of gestures and expressions, David’s figures act out the last moments of Socrates’s life. He is about to grasp the cup of hemlock, offered by a disciple who cannot bear to witness the event. David consulted antiquarian scholars to create an archeologically exacting image, including details of furniture and clothing. His inclusion of Plato at the foot of the bed, however, deliberately references not someone present at Socrates’s death but rather the author whose text, Phaedo, preserved this ancient story.

The met.