Art Blog: August 2024

10 Works, The Art of War, Franz Ritter von Stuck, Eugène Delacroix and Titian's The Abduction of Alma, with footnotes

After Eugène Delacroix

The Abduction of Alma 1

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As Alma walks through the market she senses that she is being followed by group of people. She decides to get away but the faster she moved they faster they came. She finally decides to make a run for it.

Pushing through the crowd and forcing her way through, Alma is in panic. Her heart races as adrenaline surges through her veins. Her mind races, trying to come up with a plan to escape her pursuers. She darts between market stalls, knocking over crates and causing chaos in her wake.

After Eugène Delacroix

The Abduction of Alma 2

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The people in the market look on in confusion, creating a diversion that Alma hopes will hinder her pursuers. She weaves through the crowded streets, desperately searching for a way out. The bustling noise of the market fades to a distant hum as her focus narrows solely on evading her followers.

After Titian

The Abduction of Alma 3

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Sweat drips down her forehead as she turns a corner into a narrow alleyway. She can hear the echoing footsteps growing closer behind her. Fear grips her chest, but she refuses to give in. With every ounce of strength left in her, she propels herself forward, her breath coming in ragged gasps.

Alma's lungs burn as she pushes herself beyond her limits, her muscles protesting with every stride. She doesn't know who these people are or what they want from her, but she knows she can't afford to find out. Her life depends on escaping their clutches.

Tiziano Vecelli or Vecellio (c. 1488/90 – 27 August 1576), known in English as Titian), was an Italian (Venetian) painter of the Renaissance, considered the most important member of the 16th-century Venetian school.

Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, exercised a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western artists.

His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting.

During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. More on Titian

After Eugène Delacroix

The Abduction of Alma 4

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Finally, she spots an alley leading to a maze of narrow streets. Without hesitation, she veers off the main path and dives into the labyrinthine network of alleys. She loses track of time as she desperately tries to throw off her pursuers, taking sharp turns and doubling back whenever possible.

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.
Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." More on Ferdinand Victor Eugène Delacroix

After Franz Ritter von Stuck

The Abduction of Alma 5

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After Franz Ritter von Stuck

The Abduction of Alma 6

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As Alma desperately tries to free herself from their grip, she thrashes and kicks, but it's no use. The group of people overpower her, their grips tight and unyielding. She is dragged away, her screams are muffled.

After Franz Ritter von Stuck

The Abduction of Alma 7

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After Franz Ritter von Stuck

The Abduction of Alma 8

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Alma's mind races, trying to come up with a plan to escape once again. She analyzes her captors, searching for any weaknesses, any opportunity to break free. But they are too strong, too organized, and she is trapped.

After Franz Ritter von Stuck

The Abduction of Alma 9

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Fear courses through her veins as she wonders what fate awaits her. She doesn't know who these people are or why they are after her, but she knows it can't be anything good. Her thoughts dart to her loved ones, wondering if they will ever know what happened to her.

After Franz Ritter von Stuck

The Abduction of Alma 10

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As Alma is pulled deeper into the unknown, her determination to escape burns brighter. She refuses to give up, to let them win. She clings to a sliver of hope, praying for a chance to break free and find her way back to safety.

In the darkness of her captivity, Alma vows to herself that she will continue to fight, to resist until her last breath. She refuses to let fear consume her, instead channeling it into a fierce determination to survive. With each passing second, she strengthens her resolve, ready to face whatever challenges lay ahead.

Franz Ritter von Stuck (February 23, 1863 – August 30, 1928), born Franz Stuck, was a German painter, sculptor, printmaker, and architect. Stuck was best known for his paintings of ancient mythology, receiving substantial critical acclaim with The Sin in 1892. In 1906, Stuck was awarded the Order of Merit of the Bavarian Crown and was henceforth known as Ritter von Stuck. More on Franz Ritter von Stuck

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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07 Works, The Art of War, Abbott Handerson Thayer's The Valkyrie Arrive in Gaza, with footnotes

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 1

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After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 2

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As the Valkyrie descended upon the grief-stricken land, her radiant presence brought a glimmer of hope amidst the despair. With her wings outstretched, she soared above the ruins, her eyes piercing through the smoke and rubble. Every cry for help echoed within her, fueling her determination to bring solace and aid to those in need.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 3

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She approached the fallen warriors, those who fought valiantly until their last breath, their spirits yearning for a place in the halls of Valhalla. With a gentle touch, she lifted their souls, carrying them towards the heavenly realm where eternal glory awaited them. Amidst the chaos, their sacrifices would not be forgotten.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 4

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But the Valkyrie's duty didn't end there. She descended upon the wounded, her healing touch soothing their pain and mending their broken bodies. With her celestial powers, she granted them strength to endure and hope for a better tomorrow.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 5

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Amidst the devastation, the valkyrie's mission extended to the orphaned and the suffering, especially the innocent children who had lost their families. She embraced them in her protective wings, giving them comfort and reassurance that they were not alone. With tender care, she extended her hand towards the mothers who cried out for help, wiping away their tears and offering them strength to persevere.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 6

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After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 7

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Throughout the desolate streets, the valkyrie became a symbol of resilience and compassion. Her presence served as a reminder that even in the darkest moments, there were forces of goodness and light willing to fight against the cruelty of the world. In the face of death and destruction, she became the beacon of hope for an afflicted land.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 7

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And as the valkyrie continued on her righteous path, her mission to aid those in need would never waver. Galvanized by the suffering she witnessed, she vowed to remain a guardian of the oppressed, a protector of the innocent, and a bringer of justice. With every flight over the city, she carried with her the unwavering spirit of compassion, inspiring others to join her in the fight against despair and to rebuild what had been destroyed.

In Norse mythology, a valkyrie is one of a host of female figures who guide souls of the dead to the god Odin's hall Valhalla. There, the deceased warriors become einherjar (fighters]). When the einherjar are not preparing for the cataclysmic events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses. More on the Valkyrie

Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American artist, naturalist, and teacher. As a painter of portraits, figures, animals, and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio. More on Abbott Handerson Thayer

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

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04 Works, The Art of War, Ana Dias's Native American Women Warriors' Headdress, with footnotes

After Ana Dias

Cherokee Ethnic Native Woman Headdress

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The Cherokee, North American Indians of Iroquoian lineage who constituted one of the largest politically integrated tribes at the time of European colonization of the Americas. Their name is derived from a Creek word meaning “people of different speech”; many prefer to be known as Keetoowah or Tsalagi. More on The Cherokee

One of the most recognizable symbols of Native American Indian culture is the traditional Indian headdress, also known as a feathered war bonnet. Although it is easily recognizable, it is important to note that not all Native American tribes created or wore headdresses.

After Ana Dias

Teepee Native Woman Warrior Headdress

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In many tribes, when members wear the headdress it is believed to bring the warrior both wisdom and powers. In some tribes the headdress is also known to be worn by males, which symbolizes a place of great respect within their tribe.

After Ana Dias

Taino Indian Warrior Queen Headdress

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The Taíno were a historic Indigenous peoples of the Caribbean. At the time of European contact in the late 15th century, they were the principal inhabitants of most of what is now Cuba, the Dominican Republic, Jamaica, Haiti, Puerto Rico, the Bahamas, and the northern Lesser Antilles. More on the Tiano

Traditionally, the Indian headdress is composed of a headband made from leather that was draped with tribal specific beading patterns, buffalo fur, and horns. The different design patterns in the headband also distinguish the identity of the tribe from which the individual is associated.

After Ana Dias

Native American Woman Warrior Headdress

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The headdress also consists of long feathers from an eagle and other birds to represent a courageous act displayed by a warrior, in most cases. The National Fish & Wildlife Service authorized use of eagle feathers for their religious use. More on Native American Indian headdress

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

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01 Work, The Art of War, Leonardo da Vinci's Alma's Triumph at The Battle of Anghiari, with footnotes

After Leonardo da Vinci

Alma's Triumph at The Battle of Anghiari

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The Battle of Anghiari was fought on 29 June 1440, between the forces of Milan and the League of some Italian states led by the Republic of Florence in the course of the Wars in Lombardy. The battle was a victory for the Florentines, who secured their domination of central Italy. More on The Battle of Anghiari

"Alma's Triumph at The Battle of Anghiari" is a powerful and captivating depiction inspired by Leonardo da Vinci's famous artwork, "The Battle of Anghiari." This reimagination showcases Alma, a remarkable Bedouin warrior woman, as she fearlessly fights against her attackers on the battlefield.

Clad in Arab armor, Alma stands out amidst the chaos, her appearance marked by the physical toll of the ongoing conflict. Mud and blood cover her legs, arms, and midriff, bearing witness to the arduous nature of the battle she has endured. A veneer of weariness overlays her battle-hardened spirit, a testament to her unyielding determination to protect her people and land.

Mounted atop her majestic Arabian stallion, Alma exudes both grace and strength. Her posture suggests unwavering resolve as she raises her sword, poised to strike at her adversary. The anticipation and focus in her expression reveal her combat prowess and the expertise honed through countless battles.

The scene is painted with intensity and dynamism, capturing the frenzy and violence of war. The disarrayed battlefield, with its chaotic blend of charging horses, flailing weapons, and billowing battlefield dust, adds to the immersive quality of the artwork. Alma's figure stands out amidst the flurry of action.

Through this portrayal, the artist pays tribute to the fierce and valiant nature of Alma, an embodiment of the Bedouin warrior tradition. Alma symbolizes the strength and resilience of the Arab people, willing to fight against all odds.

The painting's color palette reflects the intensity of the battle. Warm tones dominate the scene, representing the fire and passion that drives Alma's unwavering commitment to her cause. The contrast of vibrant reds against desaturated grays and browns heightens the drama and adds depth to the composition.

This artwork, through its depiction of Alma's triumph, becomes a timeless representation of the indomitable spirit and heroism exhibited by women warriors throughout history. It reminds viewers of the significance of honoring those who, against all odds, rise above adversity and fight for what they believe in.

Leonardo da Vinci, (born April 15, 1452, Anchiano, near Vinci, Republic of Florence — died May 2, 1519, Cloux, France), Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. His Last Supper (1495–98) and Mona Lisa (c. 1503–19) are among the most widely popular and influential paintings of the Renaissance. His notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time.

The unique fame that Leonardo enjoyed in his lifetime and that, filtered by historical criticism, has remained undimmed to the present day rests largely on his unlimited desire for knowledge, which guided all his thinking and behaviour. An artist by disposition and endowment, he considered his eyes to be his main avenue to knowledge; to Leonardo, sight was man’s highest sense because it alone conveyed the facts of experience immediately, correctly, and with certainty. Hence, every phenomenon perceived became an object of knowledge, and knowing how to see became the great theme of his studies. He applied his creativity to every realm in which graphic representation is used: he was a painter, sculptor, architect, and engineer. But he went even beyond that. He used his superb intellect, unusual powers of observation, and mastery of the art of drawing to study nature itself, a line of inquiry that allowed his dual pursuits of art and science to flourish. More Leonardo da Vinci

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

07 Works, The Art of War, Leonardo da Vinci's Alma and her Archers Arrive in Gaza, with footnotes

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 1

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The painting captures the essence of strength, grace, and defiance as these fierce Bedouin warrior women fight valiantly for their homeland.

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 2

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The scene is set against a backdrop of a vast desert, its golden sand stretching as far as the eye can see. The atmosphere is charged with tension and anticipation.

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 3

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Each Bedouin warrior woman is depicted with meticulous detail and precision, paying homage to Leonardo da Vinci's technique. Their faces bear a determined expression, their piercing eyes filled with unwavering resolve. Their hair cascades down their backs.

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 4

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Alma and her Archers Arrive in Gaza 5

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In perfect synchronization, the warriors release their arrows simultaneously, displaying their exceptional archery skills. The arrows soar through the air with an almost ethereal grace, leaving a trail of bright streaks behind them. The deadly accuracy of their aim is evident as the projectiles find their targets with precision, striking down the enemy forces.

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 6

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Leonardo da Vinci's influence is evident in the painting's attention to detail, chiaroscuro, and skillful use of light and shadow. The composition captures the dynamic movement and intensity of the battle, drawing the viewer into the heart of the action.

After Leonardo da Vinci

Alma and her Archers Arrive in Gaza 7

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The painting serves not only as a celebration of these courageous and skilled warriors but also as a reminder of the powerful role women have played throughout history. It is a tribute to the strength, resilience, and bravery of the Bedouin warrior women, who fought fiercely to protect their land, culture, and way of life.