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- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/08%3A_Europe_1800_-_1900/8.10%3A_Symbolism___Art_NouveauAs scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and...As scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and Ingres’ Antiochus and Stratonice for the architectural structuring of the painting’s composition; Jacques Louis David’s The Oath of the Horatii for Salome’s uncharacteristically theatrical gesture of her left hand; Giovanni Bellini’s San Zaccaria Altarpiece for the character’s self-absorbed pose; …
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/07%3A_Europe_(1300_-_1800)/7.13%3A_17th_century-_Baroque_(II)Based on a suggestion made by the Dutch art historian Abraham Bredius in the 1930s, Held argued persuasively for the identification of the subject as Aristotle contemplating a bust of the blind ancien...Based on a suggestion made by the Dutch art historian Abraham Bredius in the 1930s, Held argued persuasively for the identification of the subject as Aristotle contemplating a bust of the blind ancient Greek poet Homer (who lived some 400 years prior to Aristotle and who is credited as the author of the of the epic poems the Iliad and the Odyssey).
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/08%3A_Europe_(1800_-_1900)/8.10%3A_Symbolism___Art_NouveauAs scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and...As scholars Peter Cooke and Julius Kaplan pointed out, Moreau had multiple sources from which he could have drawn inspiration, such as Rembrandt’s Christ Driving the Money Changers from the Temple and Ingres’ Antiochus and Stratonice for the architectural structuring of the painting’s composition; Jacques Louis David’s The Oath of the Horatii for Salome’s uncharacteristically theatrical gesture of her left hand; Giovanni Bellini’s San Zaccaria Altarpiece for the character’s self-absorbed pose; …
- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/06%3A_Medieval_Europe__Byzantine/6.05%3A_Early_ChristianOne can imagine that early Christians—who were rallying around the nascent religious authority of the Church against the regular threats of persecution by imperial authority—would find great meaning i...One can imagine that early Christians—who were rallying around the nascent religious authority of the Church against the regular threats of persecution by imperial authority—would find great meaning in the story of Moses of striking the rock to provide water for the Israelites fleeing the authority of the Pharaoh on their exodus to the Promised Land.
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/06%3A_Medieval_Europe_and_Byzantine/6.05%3A_Early_ChristianOne can imagine that early Christians—who were rallying around the nascent religious authority of the Church against the regular threats of persecution by imperial authority—would find great meaning i...One can imagine that early Christians—who were rallying around the nascent religious authority of the Church against the regular threats of persecution by imperial authority—would find great meaning in the story of Moses of striking the rock to provide water for the Israelites fleeing the authority of the Pharaoh on their exodus to the Promised Land.
- https://human.libretexts.org/Courses/Housatonic_Community_College/Art_E103%3A_Art_History_III_(1840Present)/02%3A_Becoming_Modern_(c.1840c.1900)/2.09%3A_Symbolism___Art_NouveauI stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and ...I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast infinite scream [tear] through nature.” The figure on the bridge—who may even be symbolic of Munch himself—feels the cry of nature, a sound that is sensed internally rather than heard with the ears.
- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/07%3A_Europe_1300_-_1800/7.13%3A_17th_century-_Baroque_(II)Based on a suggestion made by the Dutch art historian Abraham Bredius in the 1930s, Held argued persuasively for the identification of the subject as Aristotle contemplating a bust of the blind ancien...Based on a suggestion made by the Dutch art historian Abraham Bredius in the 1930s, Held argued persuasively for the identification of the subject as Aristotle contemplating a bust of the blind ancient Greek poet Homer (who lived some 400 years prior to Aristotle and who is credited as the author of the of the epic poems the Iliad and the Odyssey).
