The Warlike Engravings of John Flaxman

 

A selection taken from the Classic work of Iliad engravings made by John Flaxman. Printed in London in 1805.

The description of each piece is the original one.

Minerva Repressing the Fury of Achilles

Hector and Ajax Separated by the Heralds

Juno and Minerva Going to Assist The Greeks

Diomed And Ulysses, Returning With The Spoils of Rhesus

Ajax Defending the Greek Ships from the Trojans

The Fight For the Body Of Patroclus

The Gods Descending to Battle

Achilles Contending With the Rivers

To see John Flaxman's work on its entirety click HERE

SEE ALSO:

Astronomical References in Iliad

Ageless Racial Archetypes and The Divine Intervention in Battle

The Origins of The Leader Principle

The Nemophilist

NEMOPHILIST

One who is fond of forests or forest scenery; a haunter of the woods.

(Source: Webster’s New International Dictionary of the English Language, 1909)

The Pics : Various forest themed works by Gustave Dore

The Last Echoes of Hellenic Romanticism

The Music: MANOLIS KALOMIRIS

The Poem : Oblivion by LORETZOS MAVILIS

Fortunate are the dead who forget

the bitterness of life. When the sun sets

and dusk follows, do not weep for them,

no matter how deep your sorrow may be!

At such an hour the souls are thirsty and go

to οblivion's crystal-cold spring;

but the water will turn muddy,

if a tear is shed for them by the beloved.

And if they drink turbid water, they recall,

passing through fields of asphodels,

past sorrows that sleep within them.

If you cannot but weep, at sunset,

your eyes should lament for the living

who seek to forget, but cannot do so.

More Info on Loretzos Mavilis HERE

More info on Manolis Kalomiris HERE

Heralds of Apocalyptic Warfare

 

LPs available from:

https://black-metal-vendor.com/

Timeless Doctrine

 

"The origin of National Socialist doctrine, not the state but the folk"

Adolf Hitler

Supremacy in Bronze

Napoleon Bonaparte

Jeanne d' Arc

Friedrich Nietzsche

Marcus Aurelius

Fyodor Dostoevsky

These pieces of noble art done by:

https://www.ateliermissor.com/

The Sun as a God

THE SUN (1909)

By 

Edvard Much

 The Sun is perhaps the greatest achievement of modern mural painting. Symmetrically structured, it occupied the enormous front space of Oslo University's assembly hall, dominating through size, unmitigated frontality, and power of imagery.

Munch extended the sun image in this mural from a partial to an embracing role, having first proposed a Nietzschean Mountain of Man that rose toward a sun-covered sky. Upon further reflection, and in compliance with advice from friends, he abandoned the problematical symbol to retain the sun image in pure, intense, and masculine dominance.

The barbs and shafts of light have affinities with German Expressionism of a different kind than Der Brucker; the more abstract and universal language of Wassily Kandinsky in the Munich Der Blaue Reiter. Hodler's Alpine visions are also evoked by the symmetry and centrality. Like Kandinsky, Munch is here both romantic and avant-garde, and the sun, indeed, is God.

Illuminated by the sunrays are the water of the ocean, the bare rocks of a Northern landscape, and a slim strip of verdant green that separated land and sea. A clean, straight horizon line divides the waters from sky. The great sun is all-pervasive, shinning from the heavens upon land and sea, its rays reaching out to all eternity. Inhuman itself, it is the source of all life.

Taken from:

www.edvardmunch.org