Atenas - Grécia
Cartaz - Poster
domingo, 1 de abril de 2018
Jogos Olímpicos de Atenas, 2004, Grécia
Atenas - Grécia
Cartaz - Poster
Jogos Olímpicos de Atlanta, 1996
Atlanta - Estados Unidos
Cartaz - Poster
The Nanny 1993-1999 - The Nanny
Série de TV - 22 minutos
Estados Unidos
Poster da série
O Mecanismo 2018 - O Mecanismo
Série de TV - 40 minutos
Brasil
Poster da série
Jogos Olímpicos de Helsinque, 1952
Helsinque - Finlândia
Cartaz - Poster
Jogos Olímpicos de Estocolmo, 1956
Estocolmo - Suécia
Os Jogos Olímpicos de 1956 foram realizados em Melbourne, Austrália. Ocorre que, por questões de natureza da legislação sanitária local, cavalos estrangeiros não puderam entrar no país. Assim, as provas de Hipismo foram realizadas em Estocolmo, Suécia.
Cartaz - Poster
Jogos Olímpicos de Melbourne, 1956
Melbourne - Austrália
Cartaz - Poster
A Morte de Sócrates, Atenas, Grécia (The Death of Socrates / La Mort de Socrate) - Jacques-Louis David
Atenas - Grécia
Metropolitan Museum of Arts Nova York Estados Unidos
OST - 129x196 - 1787
The Death of
Socrates (French: La Mort de
Socrate) is an oil on canvas painted by French painter Jacques-Louis David in
1787. The painting focuses on a classical subject like many of his works from
that decade, in this case the story of the execution of Socrates as told by Plato in
his Phaedo. In this story, Socrates has been convicted of
corrupting the youth of Athens and introducing strange gods, and has been
sentenced to die by drinking poison hemlock. Socrates uses his death as a final lesson for
his pupils rather than fleeing when the opportunity arises, and faces it
calmly. The Phaedo depicts the death of Socrates and is also Plato's fourth and last dialogue to detail the philosopher's final days, which is
also detailed in Euthyphro, Apology, and Crito.
In the
painting, an old man in a white robe sits upright on a bed, one hand extended
over a cup, the other gesturing in the air. He is surrounded by other men of
varying ages, most showing emotional distress, unlike the stoic old man. The
young man handing him the cup looks the other way, with his face in his free
hand. Another young man clutches the thigh of the old man. An elderly man sits
at the end of the bed, slumped over and looking in his lap. To the left, other
men are seen through an arch set in the background wall.
Although he
consulted Father Adry, a scholar on the subject, David's depiction of Socrates
death contains many historical inaccuracies. For simplicity, he removed many
characters originally described in the dialogues of Plato. However, he
included Apollodorus, the man
leaning against the wall just within the arch, even though he is said to have
been sent away by Socrates for displaying too much grief. David also
misrepresented the ages of many of the pupils of Socrates, including Plato.
Plato would have been a young man at the time of Socrates's death, but in this
painting he is the old man sitting at the foot of the bed. Even the face of
Socrates is much more idealized than the classical bust that is typically used
as a reference portrait of Socrates.
David uses
color to highlight the emotion in this painting. The shades of red are more
muted on the edges of the painting and become more vibrant in the center,
culminating in the dark red robe of the man holding the cup of poison,
generally taken as offering the cup to Socrates rather than receiving it after
Socrates had consumed its contents. The only two serene men, Socrates and Plato,
are garbed in a contrasting bluish-white. The more muted color scheme of this
painting may be a response to critics of David's Oath of the Horatii, who
called his colors "garish".
David signed
this painting in two places; he put his full signature under Crito,
the young man clutching Socrates's thigh, and his initials under Plato. David's
signature placement often had symbolic meaning – for example, in his painting
of Stanisław Kostka Potocki,
David signed in the collar of the dog that is barking at the sitter. In Death
of Socrates, his signatures also have meaning. His initials under Plato are a
reference to the fact that the story comes from Plato, a thanks for the
inspiration. His fuller signature under Crito means that this is the character
whom the artist identifies most with. This may be a reference for Crito's
position in the composition – clutching Socrates's thigh. In this way, David
would be seen as a man who likewise clutches at the morals and values that
Socrates represents.
There is some
controversy as to the origins of the painting. Vidal states that "the
younger of Trudaine de
Montigny's two
sons commissioned David's Death of Socrates in 1786", but
Bordes says that "the drawing for Socrates…bears the unexpected date of
1782." However, it is possible that the commission in 1786 was for a
painting that David had already conceived as early as 1782, and Bordes does
acknowledge that the date is an addition to the drawing. Regardless of when it
was originally conceived, the painting was completed in 1787, in Paris.
It was during David's first trip to Rome that he began to study the depiction of funerary scenes and to draw many examples. Many of David's major works stem from these funerary drawings. In this painting, David examines a philosopher's approach to death. Socrates is stoic and calm because he sees death as a separate, actual realm, a different state of being from life but not an end to being. In fact, in Phaedo, Socrates seems more concerned with how Crito will handle his death than with his own well-being. In the painting, Socrates's gesture shows us that he is still teaching, even in the moment before his death. It is said that this gesture was inspired by the poet André Chénier.
It was during David's first trip to Rome that he began to study the depiction of funerary scenes and to draw many examples. Many of David's major works stem from these funerary drawings. In this painting, David examines a philosopher's approach to death. Socrates is stoic and calm because he sees death as a separate, actual realm, a different state of being from life but not an end to being. In fact, in Phaedo, Socrates seems more concerned with how Crito will handle his death than with his own well-being. In the painting, Socrates's gesture shows us that he is still teaching, even in the moment before his death. It is said that this gesture was inspired by the poet André Chénier.
Galileu Diante do Santo Ofício (Galileo Before the Holy Office) - Joseph Nicolas Robert-Fleury
Roma - Itália
Museu do Louvre Paris
OST - 196x308 - 1847
Assinar:
Postagens (Atom)