01 painting, The amorous game, Italian School, early 18th Century's Anthony and Cleopatra , with Footnotes #106

Italian School, early 18th Century

Anthony and Cleopatra

Oil on canvas, an oval made into a rectangle

122,5 x 103,5 cm ; 48¼ by 40¾ in.

Private collection

Sold for 18,900 EUR in June 2021

Anthony and Cleopatra are arguably the most famous lovers in history. Marcus Antonius of Rome stood at the pinnacle of power, fighting to be the most powerful man in the known world; and Cleopatra VII Philopator was the queen of one ancient civilization, Egypt, and heir to the unmatched cultural achievements of another, Greece.

Their love affair, their war together, their defeat and, finally, their suicides have been told and retold for centuries. More on Anthony and Cleopatra

Italy was the main centre of artistic developments throughout the Renaissance (1300-1600), beginning with the Proto-Renaissance of Giotto and reaching a particular peak in the High Renaissance of Leonardo da Vinci, Michelangelo and Raphael, whose works inspired the later phase of the Renaissance, known as Mannerism. Italy retained its artistic dominance into the 17th century with the Baroque (1600-1750), and into the 18th century with Neoclassicism (1750-1850). In this period, cultural tourism became a major prop to Italian economy. Both Baroque and Neoclassicism originated in Rome and spread to all Western art. Italy maintained a presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera, and Transavantgarde.

Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters, architects and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the country include Rome, Florence, Venice, Milan, Turin, Genoa, Naples, Palermo, Lecce and other cities. Italy is home to 58 World Heritage Sites, the largest number of any country in the world. More on Italian art

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 my art stores at  deviantart and Aaroko

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02 Works, The Art of War, Moretto da Brescia's Entombment with footnotes

After Moretto da Brescia

A Proper Burial

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The Greeks believed that it was incredibly important that the dead were treated with respect and that everyone, no matter their social status or wealth, received a proper burial. Once the person had died, their eyes and mouth were closed. The body would be washed, perfumed and wrapped in a long shroud.

After Moretto da Brescia

A Proper Burial

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Alessandro Bonvicino(c. 1498 – possibly 22 December 1554), more commonly known as Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas.

He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family. More on Moretto da Brescia

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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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 muffled.

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.

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.

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, 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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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

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.

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.

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

10 Works, The Art of War, Abbott Handerson Thayer's An Angel Flew Over Gaza, with footnotes

After Abbott Handerson Thayer

An Angel Flew Over Gaza 1

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An Angel Flew Over Gaza 2

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The angels came to Gaza in the time of death and devastation! They flew over the city filled with death and destruction. The then came down to help the dead, the wounded, the orphaned and the suffering. The children who lost their families. The mothers who cried for help that wasn’t coming.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 3

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They wrapped their wings around the broken hearts, offering solace and comfort. With gentle whispers, they reassured the frightened souls that they were not alone.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 4

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The angels brought healing to the wounded, mending their broken bodies and easing their pain. They brought love and care to the orphans, becoming their guiding light in the darkness. They listened to the sorrowful cries of the mothers, holding their hands and wiping away their tears.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 5

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After Abbott Handerson Thayer

An Angel Flew Over Gaza 6

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In the midst of despair, the angels brought hope. They reminded the people of Gaza that the world still cared, that there was light beyond the darkness. They stood as beacons of strength, urging the people to endure and to never lose faith.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 7

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With their angelic presence, they inspired unity and resilience in the community. Strangers became neighbors, and neighbors became family. Together, they rebuilt homes and restored hope, their spirits lifted by the angels' unwavering support.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 8

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Though the angels could not change the reality of the devastation, their compassion and empathy brought a sense of peace. They reminded the people that even in the darkest times, there is always a glimmer of light, a ray of hope.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 9

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And so, the angels continued to watch over Gaza, providing comfort to those who needed it most. They became the symbol of humanity's capacity for kindness, reminding us of our obligation to extend a helping hand to one another.

After Abbott Handerson Thayer

An Angel Flew Over Gaza 10

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In times of death and devastation, the angels of Gaza showed us that even amidst turmoil, love and compassion have the power to heal and rebuild.

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

05 Works, The Art of War, Pharaonic reliefs of Alma at the battle of Kadesh, with footnotes

After Pharaonic reliefs

Alma at the battle of Kadesh

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Alma, a skilled and courageous commander, played a vital role in the Egyptian army led by Ramses II during the invasion of Hittite territories in Palestine and the subsequent push into Syria, culminating in the Battle of Kadesh. As she rode atop her loyal and dependable steed, Alma served as an inspiring figure for her soldiers, instilling in them the necessary strength and fortitude to continue the challenging campaign.

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Alma at the battle of Kadesh

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Despite the immense challenges posed by the Hittite army, Alma remained resolute, directing her soldiers with precision and inspiring them to display unwavering courage in the face of adversity. Her unwavering determination and unyielding spirit contributed significantly to the Egyptian army's ability to persevere and ultimately achieve victory.

After Pharaonic reliefs

Alma at the battle of Kadesh

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Alma's unwavering commitment to her soldiers and her expertise in tactical maneuvering made her an indispensable asset to Ramses II's army. Her presence on the battlefield, riding at the head of her soldiers, not only boosted their morale but also served as a symbol of strength and resilience.

After Pharaonic reliefs

Alma at the battle of Kadesh

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Through her leadership and unwavering dedication to her troops, Alma became a legend within the Egyptian army. Her remarkable contributions during the invasion of Hittite territories and the Battle of Kadesh will forever be remembered as a testament to her bravery and the vital role she played in the success of Ramses II's military campaign.

After Pharaonic reliefs

Alma at the battle of Kadesh

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The Battle of Kadesh took place in the 13th century BC between the Egyptian Empire led by pharaoh Ramesses II and the Hittite Empire led by king Muwatalli II. Their armies engaged each other at the Orontes River, just upstream of Lake Homs and near the archaeological site of Kadesh, along what is today the Lebanon–Syria border. More on the Battle of Kadesh

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.

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.

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

01 Work, The Art of War, Henry Zaidan's The horsemen emerged, with footnotes

Henry Zaidan

The Arab horsemen emerged

AI Creation

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The wind whispered through the barren desert, carrying with it a sense of loss and despair. The Arab horsemen, clad in white garments, rode towards the battlefield where the fallen soldiers lay. Each of them bore the weight of sorrow in their eyes, the deep lines etching their faces with grief and weariness.

In perfect unison, the horsemen knelt beside the lifeless bodies, paying their respects to the fallen. Their calloused hands, weathered by battles and hardships, cradled each soldier with utmost care and tenderness. A solemnness hung in the air, a profound sense of reverence emanating from the horsemen's every action.

As the Arab horsemen gently lifted the fallen soldiers onto their horses, their movements seemed to carry not only physical weight but also the weight of collective mourning. The horses stood still, as if understanding the sacredness of the duty they were performing.

With each fallen soldier laid on the back of a horse, the horsemen mounted their steeds once again, their faces heavy with sorrow but filled with an unwavering determination. They formed a solemn procession, slowly riding away from the battlefield, carrying the fallen warriors towards their final resting place.

And so, the Arab horsemen continued their journey, their souls burdened yet resolute. They rode on, the echo of horse hooves fading in the distance, leaving behind a testament to the enduring spirit of honor, even in the face of devastation.

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.

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.

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

14 Works, The Art of War, Franz von Stuck's Night Raid, with footnotes

After Franz von Stuck

Alma rushing to put get to the battle

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The enemy launched a surprise assault in the dead of the night. Alma deftly tightens her grip on her trusty sword, her mind becomes laser-focused. Years of training and countless battles have honed her instincts, making her a force to be reckoned with. She knows that this is not merely a clash of weapons but a test of her mettle, her determination, and her unwavering resolve.

After Franz von Stuck

With Just a Shield and Sword

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As she deftly adjusts her armor, Alma's mind becomes laser-focused. Years of training and countless battles have honed her instincts, making her a force to be reckoned with. She knows that this is not merely a clash of weapons but a test of her mettle, her determination, and her unwavering resolve.

After Franz von Stuck

Alma takes command

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The moonlight illuminates their determined faces as Alma takes command, rallying her comrades to stand strong. Though unarmed with their protective gear, their spirits blaze with unwavering resolve. Alma reminds them of their training, their shared purpose, and the lives they fight to defend. They lock eyes, each warrior knowing that they hold the lives of their comrades in their hands.

After Franz von Stuck

The unprepared fall

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Alma's heart sinks as she recognizes the faces of those who have fallen. Some were once vibrant and full of life, now lying still and cold on the blood-soaked ground. These were warriors who had trained alongside her, shared stories around the campfire, and dreamt of a brighter future. Now, their dreams have been abruptly extinguished.

After Franz von Stuck

They charge towards the enemy

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With a collective breath, they charge towards the enemy, their movements fluid and synchronized. Every step carries the weight of their unbreakable bond, their trust in each other's abilities. Alma leads by example, her sword slashing through the air with calculated precision.

After Franz von Stuck

Taking cover behind their horses

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As Alma and her warriors move forward, their resolve burns brighter than ever. With each battle, their preparedness becomes a shield against the chaos and uncertainty of war. No longer caught off guard, they emerge as a force to be reckoned with, fighting not only for victory but to honor the memory of those who fell due to unpreparedness.

After Franz von Stuck

Taking cover behind any shield

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After Franz von Stuck

Holding the line

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By holding the enemy back, they can maintain control over their crucial areas, limit the enemy's options, and safeguard their own forces, allowing for potential counteroffensives or reinforcements.

After Franz von Stuck

They have stopped the enemy advance

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The enemy advance seems to have been stopped, but Alma's fight is not just against them. It is a fight for understanding and unity. Someday her people and their adversaries can find common ground and live in peace.

After Franz von Stuck

The Survivors

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Grief washes over Alma and her surviving comrades as they mourn the loss of their fallen brothers and sisters. They had fought side by side, relying on each other's strength and unwavering support. Their absence leaves an immeasurable void, a stark reminder of the importance of preparedness in the face of battle.

After Franz von Stuck

Its time to mourn

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Alma gathers her remaining warriors, ensuring that they take a moment to pay tribute to the fallen. She reflects on the harsh reality that their lives were cut short due to a lack of readiness. They were caught off guard, unprepared for the sudden onslaught. Alma vows that their sacrifice will not be in vain.

After Franz von Stuck

Helping the wounded

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Helping the wounded involves a range of activities and services aimed at stabilizing and treating injuries, alleviating pain, preventing further harm, and facilitating recovery. 

After Franz von Stuck

Helping the wounded

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They administer immediate relief, such as stopping bleeding, securing airways, and preventing shock.

With heavy hearts and a renewed sense of purpose, Alma and her surviving comrades bury the fallen. They honor them with a solemn ceremony, vowing to carry their memory and legacy forward.

After Franz von Stuck

Wounded Amazon, c.1904

Oil on canvas

62.8 × 72.7 cm (24.7 × 28.6 in)

Harvard Art Museums

As both a founder of the Munich Secession and an influential teacher at the city’s Royal Academy, Franz von Stuck was a central figure in Munich’s art world at the turn of the twentieth century. His modern interpretation of the antique in works such as this sculpture and painting brought him particular success. Wounded Amazon (2002.96) depicts a battle between Amazons and centaurs; the particular subject is not found in classical mythology but is of the artist’s own invention. Though he was clearly influenced by the antiquities in Munich’s Glyptothek museum, Stuck based the painting on photographic studies of a model posed in his studio. Ever since he had featured the goddess Athena on the poster for the first Munich Secession exhibition in 1893, classical female warriors had appeared in his work as symbols of the new art. There are two other versions of this painting, and the artist eventually produced three life-sized versions of the sculpture (2003.132). One was installed outside Villa Stuck, the home he had designed for himself in Munich. More on this painting

Franz Stuck (February 23, 1863 – August 30, 1928) was a German painter, sculptor, engraver, and architect. Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy.
In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise. In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his most famous work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy.

Having attained much fame by this time, Stuck was ennobled on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. More on Franz von Stuck

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