The Act of History

I like the dreams of the future better than the history of the past.

88 notes


220 years ago today, Robespierre was executed in a coup carefully organized by his extremist colleagues. In the decades since his death, every level of malicious propaganda has been directed against him. He has been wrongly accused of dictatorship, bloodthirstiness, and intense personal repugnance which have all severely tainted his legacy within academia and popular culture. But the true Robespierre was neither tyrannical nor power crazed. He was a man of passion, a man of great personal kindness, and a man who remains my inspiration for so many more reasons than it is possible to list here. So here’s to Robespierre. I hope that my work as a historian (as well as the work of all the other passionate souls on this site!) will one day rid you of the reputation you’ve never deserved.

220 years ago today, Robespierre was executed in a coup carefully organized by his extremist colleagues. In the decades since his death, every level of malicious propaganda has been directed against him. He has been wrongly accused of dictatorship, bloodthirstiness, and intense personal repugnance which have all severely tainted his legacy within academia and popular culture. But the true Robespierre was neither tyrannical nor power crazed. He was a man of passion, a man of great personal kindness, and a man who remains my inspiration for so many more reasons than it is possible to list here. So here’s to Robespierre. I hope that my work as a historian (as well as the work of all the other passionate souls on this site!) will one day rid you of the reputation you’ve never deserved.

(Source: crookedsin)

38 notes

arstekne:

The fall of the rebel angels is the greatest single theme of the Counter-Reformation. It is a theme that allowed a church in conflict to present its propaganda in the form of its struggle against all forms of heresy. At the same time, the theme of the struggling angel also symbolized the triumph of light over the rebellion of the powers of darkness - giving the painter an opportunity to create a chiaroscuro charged with meaning, in which heaven and hell, the incense of the blessed and the brimstone of the damned are contrasted in an extremely confined space, creating an arc of tension within which the knight-like angel spreads his broad wings and wields his sword in a sweeping gesture of victory.
Giordano sets the scene with relatively few figures compared to, say, Rubens’ Great Last Jjudgment. Against a background of deep golden light, the archangel balances with an almost balletic movement on the heavy breast of Lucifer, entangled amidst a group of his servants, his angular and batlike wings cutting through the hazy sfumato of the hellfire. What appears at first glance to be so dramatic is not in fact the depiction of a struggle as such. Michael is not attacking the figures from hell with his sword, but is holding it aloft like a sign, as though his mere appearance were enough to cast Satan and his followers into eternal damnation. Source

The Fall of the Rebel Angels, Luca Giordano, c.1666

arstekne:

The fall of the rebel angels is the greatest single theme of the Counter-Reformation. It is a theme that allowed a church in conflict to present its propaganda in the form of its struggle against all forms of heresy. At the same time, the theme of the struggling angel also symbolized the triumph of light over the rebellion of the powers of darkness - giving the painter an opportunity to create a chiaroscuro charged with meaning, in which heaven and hell, the incense of the blessed and the brimstone of the damned are contrasted in an extremely confined space, creating an arc of tension within which the knight-like angel spreads his broad wings and wields his sword in a sweeping gesture of victory.

Giordano sets the scene with relatively few figures compared to, say, Rubens’ Great Last Jjudgment. Against a background of deep golden light, the archangel balances with an almost balletic movement on the heavy breast of Lucifer, entangled amidst a group of his servants, his angular and batlike wings cutting through the hazy sfumato of the hellfire. What appears at first glance to be so dramatic is not in fact the depiction of a struggle as such. Michael is not attacking the figures from hell with his sword, but is holding it aloft like a sign, as though his mere appearance were enough to cast Satan and his followers into eternal damnation. Source

The Fall of the Rebel Angels, Luca Giordano, c.1666

(via gildedhistory)

8 notes

un-monde-de-papier:

Une fenêtre de la galerie du château de Chenonceau (Indre-et-Loire).
Photo: cc https://www.flickr.com/photos/ancorena/ http://creativecommons.org/licenses/by-nc/2.0/deed.en

un-monde-de-papier:

Une fenêtre de la galerie du château de Chenonceau (Indre-et-Loire).

Photo: cc https://www.flickr.com/photos/ancorena/ http://creativecommons.org/licenses/by-nc/2.0/deed.en