#joseph desire court

[granstromjulius]

Joseph-Désiré Court

[creativespark]

Joseph-Désiré Court (French, 1797-1865), Death of Hippolytus

[asoftepiloguemylove]

hi! could you do one for a long term dying relationship?

(what we killed was love)

Richard Siken Dirty Valentine / Richard Siken Self-Portrait Against Red Wallpaper / Rainer Maria Rilke (tr. C. F. Maclntyre) The Second Elegy; Dunio Elegies / @/ratsandlilies.art (instagram) / Sylvia Plath Dialogue Between Ghost and Priest / Clarice Lispector The Stream of Life / @inanotherunivrse / Joseph-Désiré Court The Great Flood / Marina Tsvetaeva Poem of the End; The Selected Poems of M. T.

[x-heesy]

Joseph-Desire Court: "Scene of the Great Flood" (1827) 🌊 🇫🇷

Joseph-Désiré Court (14 September 1797, Rouen – 23 January 1865, Paris) was a French painter of historical subjects and portraits.

#classicart #classicalart #classicpainting #classicalpaintings #zeitgenössischekunst #traditionalart

Soundtrack: Maria by Orange Blossom

[aneptune]

Pintura de Joseph Desirée-Court.

O que vemos:

Uma pessoa tentando salvar seu pai, e ignorando completamente sua esposa e filho, que estão mais próximos dele. E o peso mais leve entre eles é que ele o salva.

Representação das personagens:

· A MÃE: representa a VIDA;

· O filho: representa o FUTURO;

· O PAI: representa o PASSADO.

Interpretação da Obra:

O homem se agarrou ao passado e, portanto, perde sua VIDA, e seu FUTURO.

Como "HAVELOCK" disse:

A arte de viver envolve saber quando segurar e quando deixar ir.

[opsena]

Joseph Desiré Court (1797-1865)

Vénitiennes au Bal Masqué, 1837.

[pandaemoniumpancakes]

Joseph-Désiré Court, Nymph and Faun Bathing. 

[grundoonmgnx]

Joseph-Désiré Court (1797 – 1865) La mort d'Hippolyte, 1828 by

[diioonysus]

dresses + art

[twirld]

Joseph-Désiré Court (detail)

[charmingghosts]

Joseph-Desire Court, Half-Length Woman Lying on a Couch (1829)

[ma1dita]

[CHARACTER STUDY: spencer reid]

intellectual prodigy and genius, doctor, supervisory special agent, team member, friend, victim, recovering drug addict, survivor...

[Elektra, Sophocles; @oldgodssuggestion on tumblr; You Shall Know Our Velocity!, Dave Eggers; The Great Flood, Joseph-Desire Court; Grief Lessons: Four Plays by Euripides, Anne Carson; Pie Fight, Adrian Ghenie; October, Louise Gluck; Recollections of My Nonexistence, Rebecca Solnit; Christina’s World, Andrew Wyeth; In The Pines: Poems, Alice Notley; Metamorphosis, Franz Kafka; Paradise Lost, John Milton; Comfort Food, Kate Jacobs]

(simply made because I love s3/4 even if the plotholes of his recovery terribly piss me off! sometimes you have to make it yourself)

[kensukeoffice]

The Death of Hippolytus, 1825, Joseph Desire Court // Nakajima Katsuhiko via BBM

[thegreatzombieartisan]

Sauron and the Softboi Artist-to-Dictator Pipeline

Joseph Stalin, Osama bin Laden, Nero, Mussolini, Fidel Castro, Chairman Mao, Francisco Franco, Saddam Hussein, and Kim Jung-Un — what do they have in common?

Mass murder? Yes, but also writing poetry. Although seemingly counterintuitive, iron fists and sentimentality aren’t mutually exclusive. Rulers and verse have a long history. In fact, artists and revolutionaries share core traits: idealism, sensitivity, and desire to leave an impact on others.

But for totalitarians, ‘creating art’ is another way to exert that sweet, sweet control.

Blacksmith-poet to lieutenant-poet to tyrant-poet

Just Sauron at basecamp jotting down songs of power he could use against the sons of Feanor. Best to be prepared.

Sauron’s strength doesn’t lie in physical combat, but in wielding language to deceive and control others. With cunning words and enchantments of sorcery, he is able to seduce and conquer.

The dark verse inscribed into the one ring, and his battle of song against Finrod, reveals that Sauron had mastery of narrative and lyrical verse, which by arguably includes musical composition. The dark lord is practically a troubadour, presumably minus all the singing about courtly love.

Two interesting tidbits:

In Sindarin, Mairon translates into Maeron. Interestingly, Maeron usually refers to a poet.

Sauron and Apollo, best known as the Greek deity of art, music, and poetry, and whom Sauron shares some striking similarities

But would Sauron compose leisurely poetry for himself?

Sure, why not —although perhaps not in the Third Age. He didn’t cultivate this art as a mere tool for domination. The Valar and Maiar are, in essence, storytellers — they sing, tell tales, recite poems, etc.

Sauron isn’t the typical poet who wakes up and wants to write about the beauty of the world. But if Stalin wrote love poems while starving his own people, I’m open to a Sauron who unwinds by expressing feelings.

Magic power of words

Like most dictators, Sauron would have used verse to further his political agenda. Some of which would double as enchantments. Some merely persuasive by evoking powerful imagery. A list of use:

Charm and entertain the likes of Celebrimbor and crew or Ar-Pharazon’s court.

Propaganda and recruitment. Wandering minstrels would circulate poems and songs extolling his (or Morgoth’s) victories — and promised rewards for allegiance.

Moral corruption such as demonic sermons belted from the pulpit at the Temple of Melkor.

Demoralization of enemies. In ye olde times, it was popular to covertly spread crude songs about enemies so others can taunt them. Imagine the Faithful being taunted in public with rude songs.

[justinspoliticalcorner]

Steven Beschloss at America, America:

On January 6, 2021, 147 members of Congress refused to certify the 2020 election which Joseph R. Biden won. This despite a violent attack on the U.S. Capitol earlier that day. This after two months of constant lying by Trump and his enablers that the election was stolen and he really won. That election denialism didn’t fade, neither has the desire for a coup that would subvert the will of the people and reinstall the 2020 loser in office. Fast forward to May 30, 2024. Twelve ordinary citizens unanimously determined that Donald Trump was guilty of 34 felony charges after five grueling weeks of detailed evidence. This followed dozens of the defendant’s enablers in Congress appearing inside and outside the courthouse to insist that this trial was rigged, nothing more than a political show trial, and that their beloved leader didn’t do anything wrong or illegal. The jury’s verdict of guilt didn’t change their rejection of justice and the legitimacy of the judicial system. In fact, the trial denialism only grew louder, more insistent—and more dangerous.

We should not be surprised. The same people who rejected the factual reality of Trump’s loss in 2020 have only grown more extreme in their need to ignore the truth as their hunger for power by any means has grown stronger. Accepting that the court proceeding was legitimate and the jurors’ conclusion was fair and true would puncture the bubble of lies that have propelled Trump toward the 2024 nomination for president. If he is guilty now, then maybe it means he really lost then. If they accept that he is genuinely a convicted felon and doesn’t belong anywhere near the White House again, they would have to doubt their decision to stick by him and his lies dating back to the 2020 election and before.

[...]

We can count on the trial deniers to keep digging, led by the convicted felon who had already succeeded in convincing them to embrace election denialism. Their chosen leader will continue to provide them an endless stream of contempt—toward the trial, toward the judge, toward the Manhattan District Attorney, toward the court system, toward the president, toward anyone who sways from their dangerous message.

And if a Republican refuses to go along? Then they devour him. After the verdict, former Maryland Gov. and now Senate candidate Larry Hogan dared to post this rational statement: “Regardless of the result, I urge all Americans to respect the verdict and the legal process. At this dangerously divided moment in our history, all leaders—regardless of party—must not pour fuel on the fire with more toxic partisanship. We must reaffirm what has made this nation great: the rule of law.” In response, election-denying and trial-denying Republican National Committee chair and Trump daughter-in-law Lara Trump went on the attack. She said Hogan “doesn’t deserve the respect of anyone in the Republican Party at this point, and quite frankly anybody in America, if that’s the way you feel.” Chris LaCivita, a Trump campaign advisor, was more direct in defining the consequence of Hogan’s lack of fealty. “You just ended your campaign,” he wrote in response. The insurrection did not end on Jan. 6, 2021. Since then, the rejection of factual reality has only intensified. 

Steven Beschloss’s America, America column on how the anti-reality MAGA Cult's election denial has extended into trial denialism is a must-read.

The MAGA Cult is all about showing fealty to the 34x convicted felon and domestic terrorist cult leader Donald Trump, facts be damned.

[archduchessofnowhere]

Elisabeth's grand mistress of the court [Oberhofmeisterin], Countess Esterházy, with whom she had never felt comfortable, remained in Vienna. Archduchess Sophie had no say in the choice of Elisabeth's travel entourage. She complained to Franz Joseph's brother Karl Ludwig about the lack of trust: the advice she had given Franz Joseph had been nothing more than “fruitless attempts”. Thus Sisi was not accompanied to Madeira by her grand mistress of the court, but by her new deputy, Princess Mathilde Windisch-Grätz. The latter had only been appointed as Elisabeth's lady-in-waiting in 1860 and had endeared herself to her from the very first moment. Mathilde's husband had died in the Italian campaign of 1859; the empress had shown compassion for the grieving young widow, left with a small child, and the two became friends. Mathilde's brother was not surprised that she had agreed to go: “That Mathilde would comply with the Empress' wishes was to be expected, given the personal relationship between the two, but the responsibility for this undertaking, so infinitely serious in every respect, is great”. The appointment of Mathilde as deputy grand mistress of the empress's court aroused some astonishment. Archduchess Therese was furious: “Countess Esterházy is being sidelined in a very strange way. In her place, the young Mathilde Windisch-Grätz goes to Madeira; it is also strange that the latter leaves her small child behind”.

Mathilde was an intelligent and thoughtful woman who did not allow herself to jump to conclusions about people. She tried to look at Elisabeth without prejudice and not let herself be influenced by the opinion of the court society. During her stay in Madeira she kept a diary: reading it would be instructive, as the young deputy to the grand mistress of the court gained a deep insight into the empress's nature. But she was in doubt as to whether she would pass on her private notes on Elisabeth to posterity, who would hardly get a correct idea of her complex personality. That is why she left his brother to decide whether or not the diary should be kept. The comments on her relationship with Elisabeth and her character contained therein are, in their frankness, more interesting than what most contemporary women were able to report. “If you think,” Mathilde wrote to her brother, “that what I have written is detrimental to the existing opinion of her [Elisabeth], see to it that no one else but yourself can read it; and do not judge her too harshly; tell yourself that if, after the undeniably difficult hours she has given me, I still cling to her with such a warm and intimate love, there must be more in this woman's nature than the public can recognise. One has to know her exactly as I do, at least as long as I have lived in close contact with her world, to be able to correctly judge some of her faults, unfortunately, but also the qualities of her character. God bless her, I have few more ardent desires”. Alfred Windisch-Grätz eventually decided to destroy his sister's diary.

Winkelhofer, Martina (2022). Sissi. La vera storia. Il camino della giovane imperatrice (Translation done by DeepL. Please keep in mind that in a machine translation a lot of nuance may/will be lost)

Pictured: Princess Mathilde with her daughter Eleonore, by Ludwig Angerer, circa 1862 (left); Empress Elisabeth, by an unknown photographer, circa 1860 (right). Via the Wien Museum.