1819 Michel Martin Drolling - Portrait of an Artist
(Chimei Museum)
Image from ‘The Works of G. J. Whyte-Melville. Edited by Sir H. Maxwell. [With illustrations by J. B. Partridge, Hugh Thomson, and others.]’, 002454853
- Author: MELVILLE, George John Whyte.
- Volume: 24
- Page: 363
- Year: 1898
- Place: London
- Publisher: W. Thacker & Co.
Following the link above will take you to the British Library’s integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer’. Click on the 'related items’ to search for the electronic version of this work.
1608 Marcus Gheeraerts the Younger - Portrait of Ludovic Stuart, Duke of Richmond and Lennox
(Private сollection)
Gertrude Käsebier (American, 1852–1934), Woman Knitting Sock Outdoors.
This is the proper way to pluralize the ampersand. From Shakespeare: A Revelation: A Novel by Henry Lumley, 1899.
To achieve one must act. To not act is to achieve nothing. This is true in all things. The inability to achieve is the result of one's inaction
~~Yozan Uesugi quoted in the notes to Assassination Classroom.
At the French Windows. The Artist’s Wife by Laurits Andersen Ring 1897.
Source: commons.wikimedia.org
Billie Burke, Mrs. Ziegfeld
The date due slip from "Animal forms; a text-book of zoology" by Jordan, David Starr, 1851-1931; Heath, Harold, b. 1868 Publication date 1907, c1902
Teatro Greco di Siracusa, Ifigenia in Aulide di Euripide, Agamennone di Eschilo (1918). Duilio Cambellotti. Colour lithograph print on paper poster.
The Greek fleet is about to sail from the port of Aulis, under the command of Agamemnon, to avenge the affront of Paris, the kidnapper of the beautiful Helen, wife of Menelaus. At the beginning of the tragedy the king tells an old servant that the goddess Artemis, angry with the Greeks, blocks the fleet with a calm and that the soothsayer Calcante has announced that to placate the wrath of the goddess it is necessary to sacrifice Iphigenia, daughter of Agamemnon.
Twilight, 1871, John Atkinson Grimshaw
Contrary to popular expectations, this is what happens in a real disaster. Civilization holds. People move in groups whenever they can. They are usually far more polite than they are normally. They look out for one another, and they maintain hierarchies. ‘People die the same way they live,’ notes disaster sociologist Lee Clarke, 'with friends, loved ones, and colleagues, in communities.’
Amanda Ripley, The Unthinkable: Who Survives When Disaster Strikes - and Why (via zerogate)
April 21st 1746 saw Glasgow host formal celebrations to mark the defeat of the Jacobites at the Battle of Culloden, and award the Duke of Cumberland the freedom of the city.
Cumberland was also given the Freedom of Edinburgh, as well as Chancellor of both Aberdeen and St Andrews Universities.
This shows the complicated situation in Scotland, and that Culloden, and the Jacobite moment in itself was not just a Scotland v England affair.
Of Glasgow, Lord George Murray, Dòmhnall Cameron of Lochiel and Sìm Fraser, apparent of Lovat, all featured prominently on the Jacobite side. Keppoch, indeed, was killed at the Battle of Culloden were all educated at The University, it was also the institution of choice for much of Clan Campbell who were staunch supporters of the Hanoverian establishment as well as several other prominent Whig clans.
Many non-Gaelic speaking Lowlanders, of course, supported the Jacobites while many Gaelic speakers supported the Hanoverian (the ‘Whig’ or King George’s) position.
The victorious Duke of Cumberland gave permission that the regimental colours of the Macdonalds of Keppoch be sent to Glasgow. Keppoch’s colours were treated in the following manner by the authorities in Glasgow, 25th June 1746:
“they this day, being the principal weekly market, between the hours of twelve and one at noon, caused burn them publickly at the cross, by the hand of the common hangman, amidst the huzzaes and acclamations of many thousands of spectators and to the infinite joy of the whole inhabitants of this city.”
Alasdair Macdonald of Keppoch was among the fallen at Culloden and was another Jacobite educated at Glasgow.
Lastly the University’s Principal of the time, Mr Niall Campbell, was himself a Gael from Glen Aray but a strong supporter of the Hanoverian regime. A letter (see pic) in his own hand, thanking the government for his appointment at Glasgow, highlights this, when he stated, 1727, that he a was “full of affection to His Ma[jes]ties Royal Person.
Miss Mary Tunaley (1790-1793). Joseph Wright of Derby (English, 1734-1797). Oil on canvas. MFA, Boston.
According to family tradition, the sitter, Mary Tunaley, was a particular favorite of Joseph Wright, who in the early 1790s lived near the Tunaley family in Derby, England. She eventually came to Boston with her husband, Francis Boott, a partner in the trading firm Boott & Farrow.
Image from ‘Jack Junk; or, the Tar for all weathers: a romance of the sea. By the author of Richard Parker, etc. [i.e. T. Prest.]’, 001913755
- Author: JUNK, Jack.
- Page: 169
- Year: 1851
- Place: London
- Publisher:
Following the link above will take you to the British Library’s integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer’. Click on the 'related items’ to search for the electronic version of this work.
La Señora Doña Teresa de Ugarte y Penarrieta, Condesa de Peñaflorida. Claudio Coello, late 17th century
The Mirror by Vasily Kandinsky, 1907, Guggenheim Museum
Size: 32.1x15.8 cm Medium: Linoleum cut
Solomon R. Guggenheim Museum, New York © 2016 Artists Rights Society (ARS), New York/ADAGP, Paris
Mircea Eliade -- Ordeal by Labyrinth : Conversations with Claude-Henri Rocquet
Claude-Henri Rocquet: You were talking just now about the importance of storytelling, and in your Journal you are extremely critical of some modern literature and art. You assign philosophical nihilism, political and moral anarchism, and meaningless art to one and the same category.
Mircea Eliade: Meaninglessness seems to me the most antihuman thing there is. To be human is to seek for meaning, for value — to invent it, project it, reinvent it. So the triumph of the meaningless, in certain areas of modern art, seems to me a revolt against humanity. It it a desiccation, a sterilization — and a great bore! I accept sterility, boredom, monotony, but only as a spiritual exercise; the preparation for mystic contemplation. In that case, there is a meaning there. But to offer the meaningless as an object for “contemplation” and aesthetic delight, that I don’t accept, I rebel against it utterly. Naturally I see that it is sometimes a cry of distress uttered by certain artists in protest against the meaninglessness of modern existence. But repeating the message ad infinitum and thereby merely compounding the meaninglessness — that I don’t see the point of.
Claude-Henri Rocquet: You likewise reject ugliness in art. I am thinking of what you have to say about Francis Bacon, for example.
Mircea Eliade: I understand perfectly his reason for searching out ugliness as the object of his plastic creation. But at the same time I have resistance to that ugliness, because we can already see it everywhere around us — today more than ever before. Why add more ugliness to the universal ugliness into which we are being plunged deeper and deeper every day?
Be a boxer, not a gladiator, in the way you act on your principles. The gladiator takes up his sword only to put it down again, but the boxer is never without his fist and only has to clench it.
Marcus Aurelius, The Emperor’s Handbook: A New Translation of the Meditations (Book 12:9)
A Worried Look
Ito Shinsui
From Kodan Magazine (Dec 1920) See http://www.ohmigallery.com/DB/ItemDetail.asp?item=11292