[homoapostasy]

to be denoted as strange invites spectacle;

[homoapostasy]

[j-thealchemist-deactivated20240]

God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?

- Friedrich Nietzsche, The Gay Science (1882)

Crucifixion of Jesus - Gustave Doré (1866)

[klassizismus]

Allegorical Figure of Faith, Paolo Veronese (16th Century)

[homoapostasy]

i don't have an issue with women writing gay men, but we are not props to be voyeured or to imprint romantic yearnings upon. these characterisations being taken as accurate explorations of what it is to be a gay man are oft idealised and alienating to those who need it most.

[lionofchaeronea]

Dante and Beatrice, Salvatore Postiglione (1861-1906)

[psikonauti]

Samuel Palmer (British,1805-1881)

A Cornfield by Moonlight with the Evening Star, c. 1830

Oil on canvas

[the-evil-clergyman]

Circe Invidiosa by John William Waterhouse (1892)

[homoapostasy]

love between two men is transcendent, our detractors and imitators show time and again their failure to grasp it.

[random-brushstrokes]

Caravaggio - David with the Head of Goliath (1609-10)

Before his untimely death at age 38, Caravaggio painted himself in many guises, most frequently as the Greek god of wine, Bacchus. In the last year of his life, he decided to include a self-portrait in a depiction of the victorious David proffering Goliath’s severed head – one of several versions Caravaggio made of the biblical story. This iteration offers an unexpected level of emotional nuance to a usually gory, black-and-white tale of “might vs. right.” Here, Caravaggio is not the youthful, good-looking David, but the defeated Goliath, his slack-jaw mouth confirming his slaughter. Instead of a look of satisfied victory on his face, David appears pensive and a bit mournful, perhaps even regretful, as he gazes at his prize. Scholars have surmised that the model for the young hero was Cecco, Caravaggio’s studio assistant and purported lover. The painting, then, has an unexpected psychosexual intimacy to it, one that is reiterated by David’s sword, standing suggestively erect between his legs. (source)

[jamesusilljournal]

The Evening Angel, Alexandre Cabanel, 1848

[starweaverblog]

By Roberto Ferri (2023)

[gyossefka]

Roberto Ferri

[satanasaeternus]

Foreboding - Mieczystaw Jakimowicz (1907)

[thethreedeadkings]

[Achille by Roberto Ferri]

[srednod]

Yannis Tsarouchis, Sailor reading, 1981.

[allurlsaregone-blog]

“In Thomas Eakins’ ‘Salutat’ (1898) every muscle of the main subject’s body is lovingly rendered, yet there is a reluctance among major institutions that collect Eakins to recognize the implications of that gaze.”

Cynthia Close, “Queer Art Takes Center Stage in ‘The First Homosexuals’” in MUSEUM March 28, 2023 Posted in Art & Object April 14,2023