#specterlike

[thatdeadaquarius]

SAGAU / Isekai Genshin:

You can still use your characters! ... as in possessing them 👻

(all art by me down below, hope its decent lol - did it for u guys and myself i mean what )

Edit 9/7/23: 1,500+ NOTES??? BRO WHAT!! THABK YOU <3

Edit 12/24/23 + 4/5/24:

☆

My dumbass forgot to put this here .-.

Anywya this is a full length fanfic now ;)

PART 1 (you're here!) / Part 2

So.

You got sucked into a video game. 

Crazy, but it happens ¯\_ (ツ)_/¯

yknow how it issss

...you very quickly discover that unfortunately video game rules still apply...

which wouldn't normally be an issue! like, needing to use the bathroom in the middle of a fight? Nope! minor cuts and bruises like papercuts, only actual enemies or fall damage counting? hell yeah that'd be great (theoretically no chronic pains if you got that?? hmmmm unsure)

see the issue comes when you realize, you as a player, don't have a "character" that's all your own

there's aether/lumine yeah.. but bc the game's real now, they're their own people, and you didn't wake up to find yourself as a blonde twin...

the closest you can describe your form as is .. like a seelie?

or like the way ghosts look in game?

but a lot more "starry"

like your specterlike, but you look like you got filled up with stars and the milky way, maybe a reference of you being from another universe/world? (aether/lumine/dainsleif/khaenriah star symbol reference secret thEORY-)

but yah.

you also got just, white eyes.

like, not iris, not pupil. like your pupil and iris got erased

you gotta admit, at least you look really aesthetic now.

(u also got a little cape and hood on at all times, and you cant take it off to see your starrified hair >:/ ,very Blue Diamond-esque, look up Steven Universe, Blue Diamond if you dont know who im talking about)

so needless to say, as soon as you sort of glitched your way into existence you were HYPE

i mean ur ACTUALLY IN TEYVAT WITH THE BOYSSSS

...then you realize your a spooky-no-character-to-pilot-around-thus-no-character-model-body-for-you thingy

and that you cant touch stuff!! >:(

like wth!!!

thats just downright unfair.

so, you figure if you got no body to be.... you gotta find a new "character" to pilot >:)

...

I choose you, yellow fungi!

...

....

you're in the fucking woods (Sumeru somewhere obv, u knew that the moment you opened ur eyes),

what'd you expect?? an archon??

..wait a minute. can you possess an archon-

these kinda thoughts plague your first few days of irl genshin impact playing

a rishabold tiger? yep.

a sumpter beast? kinda slow and heavy feeling but yeah.

...you also try a ruin machine LOL

by far, the fungi and ruin machines are the best to possess, mostly because you can remain upright with those

(tho u did find some type of flying monkey that wasnt in game, but its like,, a real world and jungle now so that makes sense there'd be more complexity + stuff)

you do eventually think you should try and possess a person at this point... but ur kinda nervous 👉👈

its ur first time doin this okay nobody explained the basics to you youve been winging for a week now!

will your mind be replaced with theirs? it hasn't been so far with the creatures/bots

and as far as you can tell, they kinda just-

forget what happened or "wake up" after you possess them

(the tiger you were for a day looked confused as hell when it realized that there was a new pile of fruit next to it when it "woke up", it was your way of saying thank you to the animals of the jungle, u left them little piles of food you collected running around as them)

so THEORHETICALLY-

you should be good to go and possess a random poor eremite

... you figure you want to possess something human-like eventually even if you get a puppet body like wanderer/raiden so...

here goes nothing...

♤

so it's been 2 weeks since you've been forcefully yanked into teyvat, and by the second week, you were trying to possess eremites

which! worked out!

mostly..!

you kinda convinced the entirety of two eremite camps that a certain part one of sumeru's forests is hella haunted bc ppl keep "blacking out" and doing things they don't remember doing, yknow... like possesssion LMAO

they kinda ran off to escape you but, hey!

experiment #2: people possession, success!!

now you were kinda convinced of this when you realized no matter the angle the animals and machines of sumeru didnt react to you getting super close to them (you dont have to touch something to posses it, just look at it really, but you wanted to test limits, so you walked up to sumpter beasts and fungi and ruin machines)

but no one can see you.

you don't have a "character" most of the time, you can float and glide around the ground like scaramouche lol

you cant touch stuff bc of this, you cant smell stuff (u saw the eremites campfires & couldnt smell the smoke until you were them)

you cant eat stuff w/o a body, so.. it makes sense that the eremites and passing merchants, cant see you when you float around, trying to reorient yourself after 2 weeks of experimenting

:( ur only a lil sad about it... but mostly not bc lol u got possession powers so trade off u guess

the first time you see a vision-bearer you literally scream

LMAO

ur so lucky u cant be seen or heard

bc Collei would have def screamed back lol

needless to say u stalk the forest ranger- ALL DAY.

Collei goes on patrol around the woods? you go on a patrol.

collei goes to visit other forest rangers? you "visit" other forest rangers at base (lol u def possess a guy who was asleep on a bench nearby & wake up to go talk to Collei "in-person", poor guy was so worried he sleep walked/talked so hard he went to see Tighnari an hour later lmao)

welp, you decide this is your life now, follow Collei everywhere, talk one-sided to Collei until you can possess a forest ranger w/o it being suspicious (dont wanna turn the poor rangers into the terrified eremites from a week or two ago...)

then, after you get the courage and erase the paranoia that tighnari can just... somehow hear your ghostly bullshit-

u do the same to Tighnari (then Cyno when he visits! no u didnt squeal, so what, nobody can hear you- )

♧

Tighnari begins to get suspicious about 3 weeks into this routine.

he's been starting to collect and start a file on all the rangers or nearby villagers that've started randomly "blacking out/sleep walking" in the evenings usually

(u possess as close to nighttime as u can so it seems like sleepwalking)

So when Cyno comes back from a mission gone wrong,

having nearly been decapitated by a rogue flying ruin machine, only to black out and come to standing calmly 10 feet further than he remembered being 1 minute ago...

Tighnari's suspicions are confirmed, and he launches into researching this phenomenon.

his first thought is something like the aranara, but that doesn't account for the effect this thing is having on people

after all, what little forest spirit is strong enough to-

-control humans??

Tighnari begins to get the sense he's in over his head after he finds himself pushed into going into Sumeru City in order to collect more library books or ask around if the blackouts have spread to the city people

he answer is negative, on both accounts.

and he spends about one half of the day walking around, and the other reading up all he can on mythical creatures or ailments

Tighnari gives up for the day, and as he makes his way back to Ghandarvaville, he almost gets ambushed by some particularly nasty muggers

...and then he wakes up 20 feet away, his denro vision thrumming with power, full of worry and fondness for himself??, (just like Cyno said he felt happen to him..)

...Tighnari decides he needs reinforcements.

YOU GUYS-

UR LOCAL ZODIAC SIGN OBSESSED W/GENSHIN HIT A CHARACTER LIMIT ON A POST FINALLY. 😦

??? THIS WOULDVE BEEN LONGER BUT I BARELY GOT SPACE FOR THIS- I- EVEN THE QIQI POST DIDNT HIT LIMIT-

uh cya ig!!

Safe travels lmao,

💀♒️

♡the beloveds♡

@karmawonders / @0rah-s / @randomnatics / @glxssynarvi / @nexylaza / @genshin-impacts-me / @wholesomey-artist @revonie / @hat-on-a-cat / @takottai / @sickly-falling (?) / @iruiji

(Sorry about the late tag! I forgot to update my taglist before i posted this 💀 my bad guys)

Also if the people who got put there who i couldnt find a blog for see this, idk what went wrong ¯\_(ツ)_/¯ - maybe check and see if ur setting for "being able to be searched/looked up" is turned on?? Idk man

[monterplant]

101 Must-See Cosmic Objects: M78

101 Must-See Cosmic Objects: M78

Wonderfully mysterious, M78 is the brightest swath of nebulosity in a group of specterlike glows some 2½° northeast of Alnitak (Zeta [ζ] Orionis), the eastern star in Orion’s Belt. Pierre Méchain discovered M78 in early 1780 and wrote to Charles Messier that the nebula surrounded two “fairly bright nuclei.” These nuclei are two 10th-magnitude stars (HD 38563A and HD 38563B), and the chief…

[july-19th-club]

the butting-in thing though is specifically because. a) if people are talking and you’re not in on it they could be talking about you and you wouldn’t know it and b) if people are talking and you’re not in on it it could be interesting or important and you wouldn’t know it . and because i had an entire childhood full of trying to insert myself into situations and interact because i’m...not extroverted exactly but very inclusion-focused for an introvert and then being told ‘oh never mind it’s not important’ which of course, the instant someone says that, you know it is, they just don’t want you around

anyway i am over halfway through my twenties and have not broken myself of this habit even though i know it makes me come across as annoyingly interruptive and insecure but such is life

[artist-orozco]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[aic-american]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[pwlanier]

Zapata

1930

Artist:

José Clemente Orozco

Mexican, 1883–1949

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict.

AIC

[tabithapalino-blog]

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[studelstine]

I sat on the haunches of misspent youth

Cigarette wafting effervescent silver

Specterlike dancing across

The blood red tiles of the Mesa

As the sun became swallowed

As dreams bled away

As coyotes began to howl

For their luminescent mistress

As she rose from her slumber

A tumbleweed toiled across

A rattle serpentine echoed through the night

As one more day passed

I watched the future born

As night replaced day

And death drew nearer

[lesbianminerva]

Hi grace it's Not Fae I would like to hear about your monster stern if you have a moment

hello not fae, lemme illustrate a Lot because man I think about this a looot

inspired by multiple cryptids but not a definite cryptid? also concepts, kinda like the uhh that one monster dad I forgot the name of from billy and mandy? but the cryptids I got the most insp from is probably like fresno nightcrawler MIB and uhh black eyed children? and big nod to oz from monster prom

Very Tall. not very bulky compared to other sylvan?? but he makes up in it in height.

he’s technically kinda specterlike, but he can choose whether to be phantasmal or corporeal.

his form flickers when he’s agitated/emotional

can kinda shift around his form? this takes a lot of energy though. he can grow extra limbs occasionally!!

he has one set of eyes but occasionally he’ll just?? Spawn another eye? usually it’s inconspicuous places like along his neck or his hands but sometimes it’s like,,, on his forehead. it functions like a normal eye.

sharp teeth! multiple rows baby!!

… don’t tell the children but he has a forked long tongue… fans self

uhh doesn’t do well in super hot conditions, under super bright lights, or in really strong sunlight for a while

tail!!!! forked!!!

[bakurapika]

a lorna fic that is only slightly canon divergent

“Come out before it is too late!” commanded the voice behind Wirt and Greg, thickly muffled by the wooden door. “Unlock this door! She will devour you!”

“What is she talking about…?” Wirt said to himself, holding up his candle to better see his surroundings. There Lorna’s face was, shadows dancing across it eerily, but no other danger to be found.

Lorna breathed heavily and leaned in, closer to the two of them. “More bones to sort,” she said in an rasping, otherwordly voice.

Wirt grabbed Greg protectively but paused when Lorna gave him a wink and mimed silence. “Huh?” he whispered.

Auntie Whispers kept speaking to them through the door, mournfully now. “I told you boys to stay away from her, but now you’ve gone and made her wicked again!”

“Follow me, my turtles,” Lorna said almost inaudibly, turning to the darkness behind them. Wirt looked to Greg for instruction; Greg shrugged, so they obediently followed Lorna’s pale specterlike form into the darkness, even as they carefully descended stone steps into a winding tunnel.

Finally, Lorna stopped, turning to the boys. “She should not be able to hear us now, I would wager. Thank you for going along with it, Wirt!”

“Going along with what?” Wirt exclaimed now that he had permission to speak. He swung the candle to and fro to catch a glimpse of what surrounded them.

Catacombs. Tombs.

“We’re in an ossuary?!” he shrieked.

Lorna made soothing motions with her arms. “Calm yourself! I shall explain. Though, first, I must ask a question of you,” she said hesitantly.

“Um, go ahead, shoot?” Wirt said nervously, eyeing the skulls.

“Are you a narc?”

Wirt was caught off guard by the word he didn’t expect to ever come out of Lorna’s mouth. “I--w--n--no!”

“Haha, hoo boy, good to hear,” a stranger’s voice said from behind Wirt. Wirt spun around to face… a full-length skeleton, popping a skull onto its vertebra like it was trying on a hat. “Thought we’d have to stay like that all morning. C’mon guys, it’s time! Let’s get this party started!”

Uncountable skeletons rose around Wirt and Greg, crowding them in.

“Wha, what the heck is going on here?” Wirt said loudly, not sure if he was asking the skeleton or Lorna.

Lorna smiled at him. “Have you ever taken a trip to Pottsfield?”

“I’ve been there, yeah. These guys are working with that one pumpkin, whatsisface, Enoch?!”

“Heeeeeell no!” said a skeleton behind him. “Have you seen the shitty parties that guy throws? Can’t even spring for a keg! Being dead doesn’t mean we gotta be boring all the time!”

“Auntie Whispers’s cellar is connected to a large underground storage structure,” Lorna explained with a smile. “It extends so far from her cottage that she cannot hear us like this. And of course in the mornings, no one is willing to awaken early, if you take my meaning. I can do what I like with the bones if I am forced to sort them. But once Auntie Whispers is asleep...”

“So, wait,” Wirt said. “She thinks you eat people and keep their bones or something, but you’re actually just throwing a--”

He was cut off when a skeleton lifted him up, dragging him upside-down and face-first to a spout that began pouring in his mouth. “SKELETON RAVE!” the skeleton bellowed to cheers as a bitter drink started pouring in Wirt’s mouth. He sputtered, half-sure he was going to drown then and there before he shrieked “LET ME DOWN” and found himself on the floor to raucous applause.

“Fifteen seconds!” someone proudly told him.

“Uhh, Lorna,” he said once he got his breath back. “I’m not really a party person. I need to get out of here.”

Lorna giggled. “You may have to leave your brother with us, then.”

Wirt whipped his head around to find Greg in the dim candlelight. He wasn’t drinking, thank god. One of the skeletons was teaching him how to beatbox (no small feat without lips) as a small group of the skeletons revealed hidden instruments and began to play a primitive form of dance music.

Wirt tried to make his way over to Greg amidst the shoulder-to-shoulder skeletons gyrating in the cramped catacombs. “Greg! Let’s go!”

But Greg had begun swaying and shaking his frog. The ringing alone was well accepted by the band members, but the ethereal light of the frog’s stomach turned into a sensation among the partygoers. Wirt grabbed for Lorna, who was smushed in the middle of the party and clearly enjoying herself.

“Lorna!” he said desperately, his head whirling and his stomach sloshing. “He’s got your bell!”

“Oh, Wirt. You are so kind to worry.” She squeezed his wrist. “The bell is of no import. Auntie Whispers is old and unable to work much for herself. She refused help from others before I set up this ruse, saying that I needed to work constantly or else turn into a horrible ghoul. We can replace it with another bell soon.”

The night after that got kind of blurry, though Wirt did have vivid memories of getting yelled at for puking into a skeleton’s rib cage on accident. The next morning found him and Greg outside the cottage. The morning light stabbed Wirt’s eyes and he dragged his cap over his face.

“Lorna,” Auntie Whispers said from a distance. “You must be more discreet with your victims’ items. From here they look like they are yet alive. Clean them immediately. The ringing of the--ah, wait, I think I left it inside….” Her voice trailed off.

Time to get out.

Wirt heaved Greg up and off the two went, deeper and deeper into the darkness of the woods, sickly and tired and hung over on top of it all.

Wirt wished he could say that was the worst party he’d ever attended.

[artist-orozco]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[aic-american]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[cruelonlytobekindarchived]

specterlike So your baby brother becomes a parent (a single one, no less, and you're so proud of him and his unconditional love, his responsibility) and you go shopping for things you generally buy baby children. This all works out until you wind up in a section of the store the PA doesn't reach and, well, long story short, now you're locked in a generic infancy retail store with a cart full of indecisive baby clothes and your hands full of feeling like you're an asshole. How do you get out of this one...?

[artist-orozco]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[artist-orozco]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/

[artist-orozco]

Zapata, José Clemente Orozco, 1930, Art Institute of Chicago: American Art

This dramatic canvas was painted during José Clemente Orozco’s self-imposed exile in the United States, where he took up residence in 1927. He moved in part to escape political unrest but also because he felt that it was increasingly difficult to get commissions in his native land. A leader of the Mexican mural movement of the 1920s and 1930s, Orozco claimed to have painted Zapata to finance his trip back to New York after completing a mural commission in California. For liberal Mexicans, Emiliano Zapata became a symbol of the Mexican Revolution (1910–20) after his assassination in 1919. The charismatic Zapata crusaded to return the enormous holdings of wealthy landowners to Mexico’s peasant population. Here his specterlike figure appears in the open door of a peasant hut. Despite the drama before him, the revolutionary hero seems solemn and unmoved. The painting is filled with menacing details—the bullets, the dagger, and especially the sword aimed at Zapata’s eye—and the somber palette of dark reds, browns, and blacks further underscores the danger of the revolutionary conflict. Gift of Joseph Winterbotham Collection Size: 198.8 × 122.6 cm (78 1/4 × 48 1/4 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/40619/