#agudo

[leregirenga]

Un adiós y lágrimas de amor, un final y un dolor agudo en el alma, un jamás y un corazón roto...

No quería alejarme, pero tampoco me detuviste. No deseaba marcharme, pero ya no hubo palabras de regreso.

Y no, ya no hubo retorno. Me aleje sabiendo que te amaba demasiado, me dejaste ir según para que yo estuviera mejor. Y me preguntó: ¿De verdad se está mejor sin el ser que más amo en este mundo?

No lo sé... El tiempo me dará las respuestas a todas mis preguntas.

Leregi Renga

[nursicareplus]

Necrosis tubular aguda

[europahoynews]

La ONU y sus socios informan de un aumento agudo de la desnutrición en zonas de Yemen controladas por el gobierno

El fuerte aumento está siendo impulsado por enfermedades, como el cólera y la malaria, la alta inseguridad alimentaria y el acceso limitado al agua potable y otros servicios esenciales, según el análisis del Grupo de Trabajo Técnico de Clasificación Integrada de la Seguridad Alimentaria en Fases (IPC). Yemen ha estado sumido en un conflicto y un colapso económico durante casi una década. Mientras…

[vyorei]

UN OFFICIALLY SOUNDS ALARM OVER CRIMES AGAINST HUMANITY IN GAZA, DECLARES RISK OF GENOCIDE

[dance-world]

David Oscar and Daniel Agudo Gallardo - Opera Wrocławska - photo by Rafa Darder

[fortheloveofsweat-take2]

[artthatgivesmefeelings]

José de Madrazo y Agudo (Spanish, 1781-1859) Allegory of Dusk, 1819 Museo Nacional del Prado

[royalty-nobility]

Ferdinand VII on Horseback

Artist: José de Madrazo y Agudo (Spanish, 1781-1859)

Date: 1821

Medium: Oil on Canvas

Collection: Museo del Prado, Madrid, Spain

Ferdinand VII of Spain

Ferdinand VII (Spanish: Fernando VII; 14 October 1784 – 29 September 1833) was King of Spain during the early 19th century. He reigned briefly in 1808 and then again from 1813 to his death in 1833. Before 1813 he was known as el Deseado (the Desired), and after, as el Rey Felón (the Criminal King).

[artandthebible]

Jesus in the House of Annas

Artist: José de Madrazo y Agudo (Spanish, 1781-1859)

Date: 1803

Medium: Oil on Canvas

Collection: Museo del Prado, Madrid, Spain

Jesus Is Taken to Annas, the High Priest

After Jesus was arrested, He was taken first to Annas for a preliminary investigation, proving that Annas’s high priestly status stretched beyond the official position: “Then the detachment of soldiers with its commander and the Jewish officials arrested Jesus. They bound him and brought him first to Annas, who was the father-in-law of Caiaphas, the high priest that year” (John 18:13). When Annas had finished questioning Jesus about “his disciples and his teaching,” he sent Him to Caiaphas (John 18:19–24).

[art-allegory]

Allegory of Winter

Artist: José Madrazo y Agudo (Spanish, 1781–1859)

Date: 1819

Medium: Oil on Canvas

Collection: Museo del Prado, Madrid, Spain

Description

Together with the collection on The Hours of the Day (Las Horas del Día) for the decoration of the Real Casino (also known as Casino de la Reina), the allegories of the different seasons of the year form one of the most interesting collections of this genre in Spanish neoclassical painting. Its most immediate predecessor in Spain is to be found in the canvases painted by Mengs for the Queen's Dressing Room in Palacio Real de Madrid, although their composition and iconography are quite different. The canvases painted by Madrazo and Ribera for the Casino are a reflection of the fashion for this type of allegory of temporal cycles, emanating from France around the time of the Revolution, where artists were reviving models of decorative figures in flight from classical Roman painting and sculpture, especially the reliefs of the Basilica of Porta Maggiore in Rome. Their models would flood Europe with a taste for the Empire style in paintings and prints of the most diverse nature, but almost always repeating very similar compositional schemes, to which Flaxman's models are no strangers.

[galleryofart]

Divine and Profane Love

Artist: José de Madrazo y Agudo (Spanish, 1781–1859

Date: 1813

Medium: Oil on Canvas

Collection: Museo del Prado, Madrid, Spain

Description

A young male spirit symbolizing Virtue sits at the foot of an oak tree wearing a laurel crown. He looks to the heavens offering the crown he obtained after his victory over Earthly Love. Conquered and stripped of their weapons - they lie on the ground - the latter is tied to a tree. Madrazo made this work during his stay in Rome , influenced by a subject with clear antecedents in Renaissance painting and in seventeenth-century Bolognese classicism. In that same aesthetic line, the pictorial treatment is related to the neoclassical language of Mengs , a return to the manner of his first training as a youth. This manner is characterized by rigorous modeling and light sfumato treatment of the shapes. The meticulous and descriptive technique with which he renders the elements depicted therein also offers an idea of ​​the painterly qualities attained by Madrazo when he made this work. By 1828, it was already in the inventory of Fernando VII's paintings that was the basis for the incipient Prado Museum .

[las-microfisuras]

“A” de estructura, “i” de orgullo, “e” de inicio, la célebre “u” de las madres extenuadas y una “o” que no alcanza a despedirse. Por eso en todo lo que rechazo palpita mi postura; y entre lo que fui y no fui, mis frustraciones; y entre lo que soy y seré, una bandada de verbos. Deletreo a fin de recomenzarme: eme, a, erre, te, a; y todo sigue igual: obediente, naufragando…

- Marta Agudo Ramírez, de 28010, Calambur, 2011.

(Madrid, 1971-Madrid, 13 de abril de 2023)

[idon-twannabeperceived]

Mi parte favorita de la facultad es q i get to agarrarme a una rubia cheta insoportable q me rompe los huevos de punto para quejarme de todo lo q dice en clase como x 3hs cuando vuelvo a casa.

Mi parte menos favorita es q i actually have to cursar con la pelotuda constantemente hablando atrás mío 🙄

It's ALWAYS la rubia con voz chillona y acento de Palermo

[mercuriicultores]

1807, José de Madrazo y Agudo, La muerte de Viriato, jefe de los lusitanos