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05 Works, The Art of War, Marilyn Monroe Goes to Gaza, with footnotes

Unknown artist

Marilyn Monroe Goes to Gaza 1

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While it’s an interesting premise to imagine a figure like Marilyn Monroe stepping into a contemporary political crisis, it’s essential to acknowledge the complexities of such situations. Monroe, known for her glamorous Hollywood persona, could be portrayed as a symbol of compassion and advocacy for peace.

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Marilyn Monroe Goes to Gaza 2

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nightcafe

In this scenario, she might use her fame to raise awareness, organize humanitarian efforts, or provide support for those in need. With her charisma and influence, Monroe could draw attention to the struggles faced by people in Gaza, emphasizing the importance of empathy, dialogue, and peaceful resolutions.

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Marilyn Monroe Goes to Gaza 3

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nightcafe

As if stepping onto the stage of a modern tragedy, she would encounter the harsh realities of conflict, but also the resilience of the human spirit. Her efforts could involve collaborating with local organizations, engaging in cultural exchanges, and promoting messages of hope and solidarity.

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Marilyn Monroe Goes to Gaza 4

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nightcafe

Ultimately, Monroe's journey would highlight the power of compassion in the face of adversity, advocating for a world where voices are heard, and humanity prevails over discord.

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Marilyn Monroe Goes to Gaza 5

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Marilyn Monroe (June 1, 1926 – August 4, 1962) was an American actress and model. Known for playing "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2023) by the time of her death in 1962. More on Marilyn Monroe

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01 Painting, Arno Rink's Men II, with footnotes

Ákos Birkás

Men II., c. 2006

Oil on canvas

100 x 210 cm

Ludwig Museum Museum of Contemporary Art

Ákos Birkás is known for his Heads series, his abstract ovals painted as a programme from the mid-eighties up till the late nineties, comprising nearly two hundred pieces in all. 

Ákos Birkás was born in Budapest in 1941. Between 1959 and 1964, he studied painting at the Hungarian College of Fine Arts, and after obtaining his diploma, he was a teacher at the Vocational College of Fine and Applied Arts in Budapest until 1984. In 1989, he received the Herder Prize. In the early 1990s, he taught at the Summer Academy in Salzburg and at the State College of Fine Arts in Dijon (École Nationale des Beaux-Arts). He created as a scholarship holder in Dijon, Berlin, Bamberg, among others. In 1993, he received the Munkácsy Award, and in 1998, he was recognized as an Outstanding Artist. Between 2003 and 2005, he was a lecturer at the Hungarian Academy of Fine Arts. In 1986, he participated in the XLII. at the Venice Biennale. In 2006, the Ludwig Museum in Budapest organized an exhibition of his 30 years of work. More on Ákos Birkás

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

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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