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Bloody Saturday, by H. S. Wong. Bloody Saturday (Chinese: 血腥的星期六; pinyin: Xuèxīng de Xīngqíliù) is a black-and-white photograph taken on 28 August 1937, a few minutes after a Japanese air attack struck civilians during the Battle of Shanghai in the Second Sino-Japanese War.
The image typically depicts Wojak wearing a black watch cap and a black hooded sweatshirt, with dark circles under his eyes, while smoking a cigarette. The archetype often embodies nihilism , clinical depression , hopelessness, and despair, with a belief in the incipient end of the world to causes ranging from climate apocalypse , to peak oil ...
The Crying Boy is a mass-produced print of a painting by Italian painter Giovanni Bragolin [1] (1911–1981). This was the pen-name of the painter Bruno Amarillo. It was widely distributed from the 1950s onwards. There are numerous alternative versions, all portraits of tearful young boys or girls. [1]
Cry, the Beloved Country is a social protest against the structures of the society that would later give rise to apartheid. Paton attempts to create an unbiased and objective view of the dichotomies it entails: he depicts whites as affected by "native crime" while blacks suffer from social instability and moral issues due to the breakdown of ...
The black flag has been associated with anarchism since the 1880s, when several anarchist organizations and journals adopted the name Black Flag. [1] The black flag, a traditional anarchist symbol. Howard J. Ehrlich writes in Reinventing Anarchy, Again: The black flag is the negation of all flags. It is a negation of nationhood...
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The lithograph, which shows a crying woman with her hand near her mouth, is on lightweight, off-white wove paper. It measures 16 by 24 inches (40.6 cm × 61.0 cm). [ 7 ] This image was adapted from a comic book panel from the romance comic Secret Hearts #88 (DC Comics, June 1963), [ 8 ] in the story "Escape from Loneliness," penciled by Tony ...
No Woman No Cry at the Google Art Project; No Woman No Cry at the Tate Gallery; Chris Ofili: A journey from elephant art to mother nature's son, Charlotte Higgins, The Guardian, 2 December 1998; Chris Ofili, Dan Glaister, The Guardian, 2 December 1998; Chris Ofili at Tate Britain, Jackie Wullschlager, Financial Times, 29 January 2010