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Repin began working on the painting in Moscow. [1] A first overall sketch, with the character of the Tsar turned to his right, dates from 1882. The idea of the painting, according to Repin, is linked to his confrontation with the themes of violence, revenge and blood during the political events of 1881; additional sources of inspiration were the music of Nikolai Rimsky-Korsakov and the ...
The Anguished Man. The Anguished Man is a painting created by an unknown artist. [1] [2] Owner Sean Robinson, from Cumbria, England, claims to have inherited the painting from his grandmother, who told him that the artist who created the painting had mixed his own blood into the paint and died by suicide soon after finishing the work.
Beside him facing each other are the contending free soil and pro-slavery forces. At their feet, two figures symbolic of the million and a half dead of the North and South. In this group is expressed the fratricidal fury that first flamed on the plains of Kansas, the Tragic Prelude to the last bloody feud of the English-speaking people.
The visceral depiction of Christ's bleeding wounds shows a hand and foot in the left and right lights, with heart to centre. These are set against green, plant-like forms in the shape of a cross on a dark blue background. [30] Located above the altar in the Holy Cross Chapel at the east end of the south aisle. [30] 1966
The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte. It is perhaps his best-known artwork. [1] Magritte painted it as a self-portrait. [2] The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man ...
Painting of Salome with the head of John the Baptist at her feet. Donated to Smithsonian by Jesse Tanner (Henry O. Tanner's son). [180] Painted on the opposite side of the canvas as Moses and the Burning Bush (abandoned). [181] Salome [180] Smithsonian American Art Museum, 1893.95.207A. Oil on canvas, 45 7/8 x 35 1/4 in. [180] c. 1900
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In 1961 a visitor attacked the painting with a stone and tore the canvas with his hands. [8] It was restored over several months by conservators at Kelvingrove and returned to public display. [9] In 1993, the painting was moved to the city's St Mungo Museum of Religious Life and Art, returning to Kelvingrove for the latter's reopening in July 2006.