Showing posts with label fishing. Show all posts
Showing posts with label fishing. Show all posts

Wednesday, July 15, 2026

Proles

Anonymous French Artist
Men sawing Timber
17th century
drawing
Städel Museum, Frankfurt

Laurits Andersen Ring
Building Watercourse at Søndersø
1885
oil on canvas
Fuglsang Kunstmuseum, Lolland, Denmark

Elias Porcelius
The Carpenter
ca. 1710
woodcut
Museum für Angewandte Kunst, Vienna

Wilhelm Trübner
Young Carpenter planing a Coffin
1870
drawing
Städel Museum, Frankfurt

Anthon van Rappard
Cotton Worker
ca. 1890
oil on canvas
Kröller-Müller Museum, Otterlo

Anonymous German Artist
Lathe Worker
ca. 1518
woodcut
Herzog August Bibliothek, Wulfenbüttel

Stefano della Bella
Studies of Workers
ca. 1640
drawing
Yale University Art Gallery

Joseph Wagner after Jacopo Amigoni
Lamp-Lighter
1739
etching and engraving
Herzog Anton Ulrich Museum, Braunschweig

Albert Renger-Patzsch
Crab Fisherman
1925
gelatin silver print
Von der Heydt Museum, Wuppertal

Fritz Boehle
Group of Fishermen
ca. 1898
drawing
Städel Museum, Frankfurt

Ramiro Arrúe Valle
Basque Fishermen
1930
oil on panel
Musée des Beaux-Arts de Pau

Carl Ludvig Locher
Women gathering Nets on the Beach at Hornbæk
1884
oil on canvas
Kunsten Museum, Aalborg, Denmark

Alexander Archipenko
Gondolier
1914
gouache on paper
Kröller-Müller Museum, Otterlo

Lorenzo Bianchi and Domenico Cuciniello
Maltese Fish-Seller
ca. 1825
lithograph
Graphische Sammlung, ETH Zürich

Jean-Baptiste-Simeon Chardin
Kitchen Maid
ca. 1738
oil on canvas
Alte Pinakothek, Munich

Claude-Joseph Bail
Far Niente
ca. 1890
oil on canvas
Musée des Beaux-Arts de Mulhouse

For the Athenians vexing Peloponnesus, and their particular territory Laconia most of all, they thought the best way to divert them was to send an army to the confederates of the Athenians, so to vex them again.  And the rather because Perdiccas and the Chalcideans were content to maintain the army, having called it thither to help the Chalcideans in their revolt.  And because also they desired a pretence to send away part of their Helotes, for fear they should take the opportunity of the present state of affairs, the enemies lying now in Pylus, to innovate.  For they did also this further, fearing the youth and multitude of their Helotes, for the Lacedaemonians had ever many ordinances concerning how to look to themselves against the Helotes.* They caused proclamation to be made that as many of them as claimed the estimation to have done the Lacedaemonians best service in their wars should be made free; feeling them in this manner and conceiving that, as they should every one out of pride deem himself worthy to be first made free, so they would soonest also rebel against them.  And when they had thus preferred about two thousand, which also with crowns on their heads went in procession about the temples as to receive their liberty, they not long after made them away, and no man knew how they perished. 

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

*Helot is the general name applied to the people who cultivated the ground for the Spartans.  As the latter lived entirely in barracks till the age of thirty and even after that were closely attached to the army, the farming of their estates had to be done by others.  These farm workers were serfs, but not slaves.  They were bound to the land but could not be sold, and they were paid a proportion of produce from the land they worked.  They were of various races, being composed of the people who had owned the land when the Spartans conquered it.

Saturday, April 11, 2026

Vaulted

Hans Thoma
Marine Miracle
1881
oil on canvas
Museum der bildenden Künste, Leipzig


Mauro Antonio Tesi
Sketch of Vaulted Interior
before 1766
drawing
Ashmolean Museum, Oxford

Élisabeth Vigée Le Brun
Portrait of Countess Vassilievna Skavronskaya
1796
oil on canvas
Musée du Louvre

Lambert Doomer
Boppard on the Rhine
1663
drawing
British Museum

Sanzo Wada
South Wind
1907
oil on canvas
National Museum of Modern Art, Tokyo

Mauro Antonio Tesi
Altar Design
before 1766
drawing
Metropolitan Museum of Art, New York

Élisabeth Vigée Le Brun
Portrait of Madame du Barry
1781
oil on panel
Philadelphia Museum of Art

Lambert Doomer
Cleves viewed from the South
1663
drawing
British Museum

Giorgio Vasari
The Miraculous Draught of Fishes
ca. 1551
oil on canvas
(installed in Vasari's family chapel)
Chiesa di Santa Maria delle Grazie, Arezzo

Mauro Antonio Tesi
Design for Sepulchral Monument
before 1766
drawing
Cooper Hewitt, Smithsonian Design Museum

Élisabeth Vigée Le Brun
Portrait of painter Joseph Vernet
1778
oil on canvas
Musée du Louvre

Lambert Doomer
Figures under Trellis
ca. 1663
drawing
British Museum

Joaquín Sorolla y Bastida
Return from Fishing
1904
oil on canvas
Museo Frugone, Genoa

Mauro Antonio Tesi
Design for Sepulchral Monument
before 1766
drawing
Cooper Hewitt, Smithsonian Design Museum

Élisabeth Vigée Le Brun
Portrait of Madame Molé-Reymond
de la Comédie-italienne

1786
oil on canvas
Musée du Louvre

Lambert Doomer
Ferry Boat
ca. 1663
drawing
British Museum

Paul Thek
Untitled (Raft Stars Moon)
ca. 1984
acrylic on canvas
Hirshhorn Museum, Washington DC

from The Rape of the Lock

      Poets themselves must fall, like those they sung;
Deaf the praised ear, and mute the tuneful tongue.
Even he, whose soul now melts in mournful lays,
Shall shortly want the generous tears he pays;
Then from his closing eyes thy form shall part,
And the last pang shall tear thee from his heart;
Life's idle business at one gasp be o'er,
The Muse forgot, and thou beloved no more

– Alexander Pope (1714)