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“Spring” (c.1900)
by Stanisław Pstrokoński (Polish;1871-1954)
oil on canvas
National Museum, Cracow
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Carl Schweninger the Younger (Austrian, 1854-1912) - Two Friends Louis Émile Pinel de Grandchamp (French, 1831-1894) - The Chinese Game, 1882 Berthe Morisot (French, 1841-1895) - Two Girls, ca. 1894 Federico Zandomeneghi (Italian, 1841-1917) - At the Café, 1894 G.F. Clement (Danish, 1867-1933) - Two Girls at Table Rupert Bunny (Australian, 1864-1947) - A Word of Advice, 1908 Thomas Benjamin Kennington (British, 1856-1916) - Polishing the Brass, 1912 Leander Engström (Swedish, 1886-1927) - Nordic Girls, ca. 1915 Grigory Gluckmann (Russian, 1898-1973) - Daydreams Sergey Viktorov (Russian, 1916-1977) - The Letter, 1955
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Conversation in the Jardin du Luxembourg, 1892 by Vittorio Matteo Corcos (Italian, 1859–1933)
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Irving Ramsey Wiles (American, 1861-1948)
Her Leisure Hour, c.1925
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Hans Baluschek (1870-1935)
"City railway station" (1904)
Oil on canvas
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Edward Hopper, Studio di una donna seduta su un ponte a Parigi, c. 1906–1909
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Jozseph Rippl-Rónaï - Slender Woman with Vase, 1894
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Denys Puech, 1854-1942
L'Aurore, 1900, marble, 116x80x59 cm
Musée d'Orsay Inv. ChM 138
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One thing I think I must credit Plato for is the fact that he apparently had no truck with our modern division between "the Apollonian" as rationality and "the Dionysian" as esctasy or mania. He instead associated both Apollo and Dionysus with frenzy or mania. In Plato's Phaedrus, Socrates describes four kinds of divine madness. One of them comes from Apollo, and another comes from Dionysus. Apollo's divine madness was the mania of prophesy, while Dionysus' divine madness was related to religious mysteries, or at least more particularly his own mysteries.
That's one thing that's genuinely admirable, or rather relatable even, about Platonism: in Platonism, the gods are supposed to make you sort of mad, because madness, of a certain sort, means knowledge. Which means that divine inspiration and knowledge are linked with personal disinhibition.
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