
#extradirty

Kiana Khansmith
macklin celebrini has autism

Love Begins
styofa doing anything

â
noise dept.
Today's Document
Cosimo Galluzzi
trying on a metaphor
he wasn't even looking at me and he found me
Sweet Seals For You, Always
cherry valley forever

No title available
I'd rather be in outer space đž

@theartofmadeline

Kaledo Art

⣠Chile in a Photography âŁ
Three Goblin Art

titsay

seen from Malaysia

seen from Singapore
seen from United States

seen from France
seen from United States
seen from Uzbekistan

seen from Malaysia

seen from United Kingdom
seen from China
seen from United States
seen from United States

seen from United States

seen from United States
seen from Brazil
seen from Brazil
seen from Brazil

seen from Brazil

seen from Colombia
seen from United States

seen from United States
@nerfe500
"The Queen Dowager Juliane Marie" by Vigilius Eriksen, 1776.
Alejandra Pizarnik, Diarios.
IF THE UNIVERSE ASKED ME TO DEFINE BEAUTY - I WOULD SIMPLY SAY, HER.
Madre preciosa
Te debo tanto y tengo tan poco.
Edmund Burke once stated, 'Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible...is a source of the sublime.' I'm not sure it's as black and white as thatâbut when it comes to nature, it just might be.
Théodore Géricault gives us a harrowing depiction of the survivors of a French naval frigate (The Méduse), who were abandoned by high-ranking officers that fled on the few available lifeboats after unqualified leadership led to a shipwreck.
In this painting, we see the grisly conditions they endured for 13 daysâitâs overwhelming. The chaotic pile of bodies stacked on the makeshift raft, the faces of death, desperation, struggle, and the faintest glimmer of hopeâall evoke the kind of vast, powerful emotion that defines the sublime.
Here, the sublime isnât just about beautyâitâs about being confronted with something beyond comprehension: the terrifying power of nature, the raw scale of human suffering, and the moral failure that caused it.
The violent, uncaring sea and sky remind us of our smallness. The emotional pyramid weâre guided throughâfrom death to hopeâand the injustice behind it allâthatâs what makes this painting a true embodiment of the sublime.
Géricault, Théodore. The Raft of the Medusa. 1819. oil on canvas, 491 x 716 cm. Musée du Louvre ⯠Paris, France.
âI think people would be happier if they admitted things more often. In a sense we are all prisoners of some memory, or fear, or disappointmentâwe are all defined by something we canât change.â
â Simon Van Booy
Death and the Maiden
By Elna Borch (1869-1950); featured in the Ny Carlsberg Glyptotek in Copenhagen.
Elna Inger Cathrine Borch (6 December 1869 â 3 October 1950) was a Danish sculptor. Although her known work is considered high quality by art dealers, Borch is today largely forgotten and little known to the general public. Eventually she took interest in symbolism and became one of the few Danish sculptors in this form of expression. In 1905, she made a major breakthrough with Death and the Maiden with clear stylistic references to international symbolism. She was the first female sculptor represented in Ny Carlsberg Glyptotek, where her most famous sculpture Death and the Maiden resides.