John Singer Sargent (1856–1925), Gassed, 1919. Oil on canvas, 90 ½ × 240 in. ©Imperial War Museums Horace Pippin (1888–1946). The End of the War: Starting Home (1930–33) aestheticsarmisticeArtClaggett WilsonHorace PippinJohn Singer Sargentpainting
1957. Oil on canvas, 270 x 200 cm. Koninklij Museum voor Schone Kunsten A Dictionary of Modern and Contemporary Art (3 ed.), John Glaves-Smith and Ian Chilvers Here is a late piece by the one and only Bernard Williams from The New York Review of Books. (It’s easy to imagine the crass approach the regressive…
I notice that Marshall’s website has been revamped. Browsing through I rediscovered some paintings I hadn’t given a close enough look in the prior iteration of the website. Merle, Marshall’s sister, very kindly allowed me to use one of his paintings here. My brief thoughts on Marshall from a few years back here. aestheticsArtbulawayoMarshall Baronmusicpainting
Albert Carel Willink ArtCarel Willinkpaintingpompeisurrealism
A favourite From the start, caricaturists also adopted Fuseli’s composition, and political figures from Napoleon Bonaparte to President George W. Bush and German Chancellor Angela Merkel have all been lampooned in satirical versions of Fuseli’s painting. ArtdreamsEdgar Allan PoeHenry FuseliJungmary shellypaintingphilosophical literatureromanticismshakespeareSigmund Freudsubconscious
Karl Bodek and Kurt Conrad Löw, One Spring (1941). (Never again. Who ya gonna call? The groupthink regressives? Nah! They are complicit and culpable). aestheticsArtKarl BodekKurt Conrad Löwregressive left
The painter whom the establishment loves to hate and no doubt so do a whole raft of pearl clutching regressives. aestheticseroticFilm noirJack Vettrianopainting
Rob Gonsalves‘ painting of the various epistemic “clergy” – the title above is my doing – the original title is “Community Portrait”. Rob Gonsalves
Jack Vettriano
manwithoutqualities 