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An example of divine retribution is the story found in many cultures about a great flood destroying all of humanity, as described in the Epic of Gilgamesh, the Hindu Vedas, or the Book of Genesis (6:9–8:22), leaving one principal 'chosen' survivor.
Gogol opined that it was a "bright resurrection of painting, which has been for too long in some sort of semi-lethargic state", [4] but was not alone in seeing a parallel between Pompeii and contemporary Saint Petersburg and the painting as a forecast of divine retribution for the modern city's decadent Western ways. [14]
Divine retribution is a major theme in the Greek world view, providing the unifying theme of the tragedies of Sophocles and many other literary works. [8] Hesiod states: "Also deadly Nyx bore Nemesis an affliction to mortals subject to death" (Theogony, 223, though perhaps an interpolated line).
According to one interpretation, the incoming typhoon is a symbol of impeding divine retribution on the slave trade's immorality. This sentiment is supported visually in The Slave Ship by the daunting oncoming typhoon, overshadowing the distant slave ship. This interpretation is supported by the period's abolitionist poetry, which includes ...
Retribution, by Edward Armitage, 1858, Leeds City Art Gallery. In 1848 Armitage exhibited for the first time at the Royal Academy when he showed two paintings, Henry VIII and Catherine Parr, and Trafalgar (also known as The Death of Nelson). He continued to send contributions most years until his death.
The painting consists of five concentric levels and eight triangular segments (spicchi). From top to bottom starting from the central false lantern surrounded by the 24 Elders of the Apocalypse, the painting is organised as follows: [7] The 24 Elders of the Apocalypse. There are three in each segment. Choirs of Angels.
BI's music reporter ranked the 20 best albums of 2024. Beyoncé's country-inspired triumph "Cowboy Carter" took the top spot. Charli XCX, Billie Eilish, The Marías, and Taylor Swift rounded out ...
Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...