Search results
Results From The WOW.Com Content Network
It has been described by the Warsaw National Museum as one of the most recognizable paintings in its collection, and is a flagship painting for the "Collection of Polish paintings prior to 1914". Its primary component is the contrast between the solemn jester (the titular Stańczyk) and the lively ball going on in the background. The painting ...
In the play, Stańczyk accuses the Journalist, who calls the jester a "great man", of inactivity and passive acceptance of the nation's fate. At the end of their conversation, Stańczyk gives the Journalist his "caduceus" (the jester's marotte) and tells him to "stir the nation" but not to "tarnish the sacred things, for sacred they must remain ...
The painting Stańczyk, which contains a depiction of the sad clown paradox. The sad clown paradox is the contradictory association, in performers, between comedy and mental disorders such as depression and anxiety.
Triboulet was a jester for Louis XII (King of France from 1498 to 1515) who is perhaps most famous for slapping the king on the butt. This act greatly angered the king and he threatened to have ...
Jane was a well-liked jester at the court of Catherine Parr, where she is mentioned by name as "Jane Foole" in 1543. [2] Catherine Parr bought her a red petticoat, gowns, and kirtles. [ 7 ] She may have been depicted in the painting of Henry the Eighth and His Family (1545), in which the man on the far right is identified as her colleague ...
George Condo (born 1957) is an American visual artist who works in painting, drawing, sculpture and printmaking. He lives and works in New York City. Condo's The Cloudmaker (1984) Condo's Black Bulb (1987) Condo's The Cracked Cardinal (2001) Condo's The Clown (2010), Memorial Art Gallery, Rochester, NY
The Lute Player is an oil-on-canvas painting from 1623 or 1624 now in the Louvre by the Haarlem painter Frans Hals, showing a smiling actor wearing a jester's costume and playing a lute. This painting was documented by Wilhelm von Bode in 1883, Ernst Wilhelm Moes in 1909 and Hofstede de Groot in 1910, who wrote: 98. A FOOL WITH A MANDOLINE. B ...
By painting Morra from a straight-on view, Velázquez managed to highlight Morra's obvious resentment of his physical nature and the disability itself. [19] De Morra is placed against a plain dark background with no objects in sight. [3] The structure of the painting was originally oval instead of a square, as evident in markings on the canvas ...