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- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/08%3A_Europe_(1800_-_1900)/8.05%3A_RealismThe iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter...The iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter the dominance of the seated woman to the left.
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/08%3A_Europe_(1800_-_1900)/8.02%3A_RomanticismIn general the idiot’s face is stupid, without meaning; the face of the manic patient is as agitated as his spirit, often distorted and cramped; the moron’s facial characteristics are dejected and wit...In general the idiot’s face is stupid, without meaning; the face of the manic patient is as agitated as his spirit, often distorted and cramped; the moron’s facial characteristics are dejected and without expression; the facial characteristics of the melancholic are pinched, marked by pain or extreme agitation; the monomaniacal king has a proud, inflated expression; the religious fanatic is mild, he exhorts by casting his eyes at the heavens or fixing them on the earth; the anxious patient plea…
- https://human.libretexts.org/Courses/Housatonic_Community_College/Art_E103%3A_Art_History_III_(1840Present)/02%3A_Becoming_Modern_(c.1840c.1900)/2.05%3A_RealismThe iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter...The iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter the dominance of the seated woman to the left.
- 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/Bookshelves/Art/SmartHistory_of_Art/08%3A_Europe_1800_-_1900/8.02%3A_RomanticismIn general the idiot’s face is stupid, without meaning; the face of the manic patient is as agitated as his spirit, often distorted and cramped; the moron’s facial characteristics are dejected and wit...In general the idiot’s face is stupid, without meaning; the face of the manic patient is as agitated as his spirit, often distorted and cramped; the moron’s facial characteristics are dejected and without expression; the facial characteristics of the melancholic are pinched, marked by pain or extreme agitation; the monomaniacal king has a proud, inflated expression; the religious fanatic is mild, he exhorts by casting his eyes at the heavens or fixing them on the earth; the anxious patient plea…
- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/08%3A_Europe_1800_-_1900/8.05%3A_RealismThe iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter...The iron gridwork and large masonry pillars of the bridge to the right belong to the Pont de l’Europe, the orthogonals of which lead the eye into the background creating an area of interest to counter the dominance of the seated woman to the left.
- 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/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.
