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Dante and Virgil

Dante_et_Virgile-William_Bouguereau-IMG_8283Name: Dante and Virgil

Artist: William-Adolphe Bouguereau

Year: 1850

Type: Oil on canvas

Dimensions: 281 cm x 225 cm

Location: Musée d’Orsay, Paris

Style: Neoclassicism

Subject: The Divine Comedy

Dante and Virgil is a 1850 oil on canvas painting by William-Adolphe Bouguereau. It is presently on display at the Musée d’Orsay in Paris.

The painting depicts Dante and Virgil looking on as two damned souls are entwined in combat. One of the souls is an alchemist and heretic named Capocchio. In this depiction Capocchio is being bitten on the neck by Gianni Schicchi who had used fraud to claim another man’s inheritance. – Source

Inspiration:

This painting was inspired by a short scene from the Inferno, set in the eighth circle of Hell (the circle for falsifiers and counterfeiters), where Dante, accompanied by Virgil, watches a fight between two damned souls: Capocchio, a heretic and alchemist is attacked and bitten on the neck by Gianni Schicchi who had usurped the identity of a dead man in order to fraudulently claim his inheritance. – Source

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Skull of Skeleton with Burning Cigarette

Vincent_van_Gogh_-_Head_of_a_skeleton_with_a_burning_cigarette_-_Google_Art_Project

Name: Skull of a Skeleton with Burning Cigarette

Artist: Vincent Van Gogh

Year: 1885-86

Type: Oil on canvas

Dimensions: 32 cm x 24.5 cm

Location: Van Gogh Museu, Amsterdam 

One of the rarely mentioned horror artworks of Van Gogh’s oeuvre is his painting Skull of a Skeleton with Burning Cigarette, part of the studies of skeletons from his Antwerp period. In the tradition of everyday allegoric paintings of Renaissance, it carries a message of Memento Mori within the post-impressionism, and it is considered as a personal reminder on the harmful effects of smoking for the artist himself, as he was a keen smoker and frail at the same time. The ambivalence of the death and death causing human practices is the most terrifying aspect of this even humorous painting. – Source

Dante and Virgil

Dante_et_Virgile-William_Bouguereau-IMG_8283Name: Dante and Virgil

Artist: William-Adolphe Bouguereau

Year: 1850

Type: Oil on canvas

Dimensions: 281 cm x 225 cm

Location: Musée d’Orsay, Paris

Style: Neoclassicism

Subject: The Divine Comedy

Dante and Virgil is a 1850 oil on canvas painting by William-Adolphe Bouguereau. It is presently on display at the Musée d’Orsay in Paris.

The painting depicts Dante and Virgil looking on as two damned souls are entwined in combat. One of the souls is an alchemist and heretic named Capocchio. In this depiction Capocchio is being bitten on the neck by Gianni Schicchi who had used fraud to claim another man’s inheritance. – Source

Inspiration:

This painting was inspired by a short scene from the Inferno, set in the eighth circle of Hell (the circle for falsifiers and counterfeiters), where Dante, accompanied by Virgil, watches a fight between two damned souls: Capocchio, a heretic and alchemist is attacked and bitten on the neck by Gianni Schicchi who had usurped the identity of a dead man in order to fraudulently claim his inheritance. – Source

 

We Wear the Mask

By: Paul Laurence Dunbar

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
       We wear the mask.
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
       We wear the mask!

Time Travel Paradox x2

TimeTravelProject #1: Photoshop – for Intro To Multimedia Class.

Made with photoshop.

Percy Bysshe Shelly

Joseph_Severn_-_Posthumous_Portrait_of_Shelley_Writing_Prometheus_Unbound_1845.jpgName: Percy Bysshe Shelley

Born: August 4, 1792 – Field Place, Horsham, Sussex, England

Died: July 8, 1822 (age 29) – Gulf of La Spezia, Kingdom of Sardinia (now Italy)

Occupation: Poet, dramatist, essayist, and novelist

Spouse: Harriet Westbrook – (married from 1811 till her death in 1816)

                Mary Shelley – (married from 1816 till his death in 1822)

About:        

Percy Bysshe Shelley (4 August 1792 – 8 July 1822) was one of the major English Romantic poets and is regarded by some as among the finest lyric, as well as most influential, poets in the English language. A radical in his poetry as well as in his political and social views, Shelley did not see fame during his lifetime, but recognition for his poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron, Leigh Hunt, Thomas Love Peacock and his own second wife, Mary Shelley, the author of Frankenstien.

Shelley’s close circle of friends included some of the most important progressive thinkers of the day, including his father-in-law, the philosopher William Godwin, and Leigh Hunt. Though Shelley’s poetry and prose output remained steady throughout his life, most publishers and journals declined to publish his work for fear of being arrested for either blasphemy or sedition. Shelley’s poetry sometimes had only an underground readership during his day, but his poetic achievements are widely recognized today, and his advanced political and social thought impacted the Chartist and other movements in England, and reach down to the present day. Shelley’s theories of economics and morality, for example, had a profound influence on Karl Marx; his early—perhaps first—writings on nonviolent resistance influenced both Leo Tolstoy and Mahatma Gandi.

Shelley became a lodestone to the subsequent three or four generations of poets, including important Victorian and Pre-Raphaelite poets such as Robert Browning and Dante Gabriel Rossetti. He was admired by Oscar Wilde, Thomas Hardy, George Bernard Shaw, Bertrand Russell, W.B. Yeats, Upton Sinclair and Isadora Duncan. Henry David Thoreau’s civil disobedience was apparently influenced by Shelley’s nonviolence in protest and political action. Shelley’s popularity and influence have continued to grow in contemporary poetry circles.

Wikipedia

Interesting Information:

Shelley’s Heart

Shelley’s widow Mary bought a cliff-top home at Boscombe, Bournemouth in 1851. She intended to live there with her son, Percy, and his wife Jane and had the remains of her own parents moved from their London burial place at St Pancras Old Church to an underground mausoleum in the town. The property is now known as Shelley Manor. When Lady Jane Shelley was to be buried in the family vault, it was discovered that in her copy of Adonais was an envelope containing ashes, which she had identified as belonging to her father-in-law. The family had preserved the story that when Shelley’s body had been burned, his friend Edward Trelawny had snatched the whole heart from the pyre. These same accounts claim that the heart had been buried with Shelley’s son, Percy. All accounts agree, however, that the remains now lie in the vault in the churchyard of St Peter’s Church, Bournemouth.

For several years in the 20th century some of Trelawny’s collection of Shelley ephemera, including a painting of Shelley as a child, a jacket, and a lock of his hair, were on display in “The Shelley Rooms”, a small museum at Shelley Manor. When the museum finally closed in 2001, these items were returned to Lord Abinger, who descends from a niece of Lady Jane Shelley.

Wikipedia

Works Best Know For:

Poems

Ozymandias

Ode to the West Wind

To a Skylark, Music

When Soft Voices Die

The Cloud

The Masque of Anarchy

The Triumph of Life – (his final and unfinished work)

Drama

The Cenci – (Verse Drama)

Hellas: A Lyrical Drama – (widely considered to be his masterpiece)

Long Visionary Poems

Queen Mab – (later reworked as The Daemon of the World)

Alastor

The Revolt of Islam

Adonais

Prometheus Unbound

Shakespearean Insults: The Classy to Insult Someone

here-are-some-shakespearean-insults-for-your-next-argument-photos-7.jpg

Shakespearean Insults from Your Favorite Shakespeare Plays

“A most notable coward, an infinite and endless liar, an hourly promise breaker, the owner of no one good quality.” – All’s Well That Ends Well (Act 3, Scene 6)

“Away, you starvelling, you elf-skin, you dried neat’s-tongue, bull’s-pizzle, you stock-fish!” – Henry IV (Act 2, Scene 4)

“I must tell you friendly in your ear, sell when you can, you are not for all markets.” – As You Like It (Act 3, Scene 5)

“If thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them.” – Hamlet (Act 3, Scene 3)

“I’ll beat thee, but I would infect my hands.” – Timon of Athens (Act 4, Scene 3)

“I scorn you, scurvy companion.” – Henry IV Part II (Act 2, Scene 4)

“Methink’st thou art a general offence and every man should beat thee.” – All’s Well That Ends Well (Act 2, Scene 3)

“More of your conversation would infect my brain.” (Act 2, Scene 1)

“My wife’s a hobby horse!” – The Winter’s Tale (Act 2, Scene 1)

“Peace, ye fat guts!” – Henry IV Part 1 )Act 2, Scene 2)

“Poisonous bunch-backed toad!” – Richard III (Act 1, Scene 3)

You can find more Shakespearean insults here

10 Short Stories to Read During Your Down Time

Here are the PDF versions:

1. “Young Goodman Brown” by Nathaniel Hawthorne

2. “The Metamorphosis” by Franz Kafka

3. ““The Masque of the Red Death”” by Edgar Allan Poe

4. ““The Black Cat”” by Edgar Allan Poe

5. ““A Rose for Emily”” by William Faulkner

6. ““Where Are You Going, Where Have You Been?”” by Joyce Carol Oates

7. ““The Legend of Sleepy Hollow”” by Washington Irving

8. ““Rip Van Winkle”” by Washington Irving

9. ““The Canterville Ghost”” by Oscar Wilde

10. ““An Occurrence at Owl Creek Bridge”” by Ambrose Bierce

 

 

 

The Nightmare

John_Henry_Fuseli_-_The_Nightmare.jpgName: The Nightmare

Artist: Henry Fuseli

Year: 1781

Type: Oil on canvas

Dimensions: 101.6 x 127 mm

Location: Detroit Institute of Arts

 

The Nightmare is a 1781 oil painting by Anglo-Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, in a room filled with white light, and with a demonic and apelike incubus crouched on her chest.

 

Interpretation

Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse’s head refer to contemporary belief and folklore about nightmares, but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.

Description

The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless, and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable, and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes. – Wikipedia

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