#schenk

[sun-bl3ach3d-fly]

[strahmi]

🐷You and me, okay?🐷

Schenk is a little scrunkly

[museen]

ANGUISH by August Friedrich Albert Schenk

As a young man, the Danish born artist August Friedrich Albrecht Schenck settled in Paris, where he studied at the École des Beaux-Arts. Schenck spent most of his career in France, specializing in painting landscapes and animal subjects. For over thirty years he was a regular contributor to the Paris Salons, where Anguish was exhibited in 1878. In this painting, Schenck has given his distraught ewe an expression suggestive of despair mingled with stoic determination. Recognising these decidedly human responses, the viewer might be expected to identify immediately with the animal’s grim predicament. The ewe’s bravery in the face of the threat posed by the murderous circle of crows is perhaps, however, somewhat overstated in her defiant stance above the bleeding lamb. There is little subtlety evident in this work. Although Anguish has a sentimental quality, Schenck did not intend this to be overt. Indeed, his sincerity in portraying the nobility in animals was not lost on his contemporaries, with a critic for Le Figaro describing the artist in 1878 as ‘One of our finest animal painters. He is one of those originals of the species not yet extinct who prefer dogs to men and find more sweetness in sheep than women’. This is by no means a derogatory statement, but is, rather, a testament to Schenck’s abilities as a painter. Interestingly, if we accept that there is an anthropomorphic quality in Anguish, then the surreal massing of the crows may well be Schenck’s method of alluding to the inhumanity prevalent in society. He may here be examining the broader human condition, in the context of an animal painting. Anguish was one of the earliest acquisitions by the National Gallery of Victoria and the high ideals expressed in the painting were not lost on early visitors to the Gallery. In 1906, this picture was voted among the five most popular in the Melbourne collection and again in 2011, during the National Gallery of Victoria’s 150th Anniversary, Anguish appeared in the public’s top 10 most popular works. Text by Laurie Benson from 19th century painting and sculpture in the international collections of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2003, p. 60. ©

[concreteblocs]

everyday Schenk and Zeke they wear the stupidest fucking glasses ever and think they have immense swag (no play) (absolutely 0 bitches)

[janora00]

Boerne bricht in einen fremden Obduktionskeller ein

Ballauf und Schenk: „Kann man Ihnen weiterhelfen?“

Boerne: „Nein. Ich schau mich hier bloß um.“

Ballauf und Schenk: „Darf man fragen, wer Sie sind?“

Boerne: „Ja.“

Ballauf und Schenk: "..."

Ballauf und Schenk: „Und?“

Boerne: „Professor Boerne.“

[luci-lle-e]

[Socrate’s Poisonning]

"Socrates was not alone in dying from the hemlock cup, which was a regular method of executing those condemned to death by the law in the ancient world. A certain humanity in the use of this method of execution can be seen in the practice of mixing opium with the draught of hemlock to reduce the malefactor's agony. It appears from Plato's description of Socrates's death -- which is as exact as that of a modern physiologist -- that opium had also been added to the philosopher's cup of hemlock, for the symptoms differ slightly from those of pure hemlock poisoning."

[G. Schenk, the Book of Poisons]

[concreteblocs]

(Tw 4 dismemberment/gore)

This bitch put the emo in pridemonth amen

[concreteblocs]

I wanna fold him up like laundry