a very neon Renaissance
kate, 20, english and out of my comfort zone; music [muse, pink floyd, massive attack, david bowie, everything...], action films with explosions and plot twists. falling in and out of lust every week, camel filters, kurt vonnegut, terry pratchett, neil gaiman, ray bradbury, nail polish, gigs, scarves, red wine, british comedy shows, football, liverpool fc, glitter, perfume, booksbooksbooks, kittens & shoes. i like everything. you know everything? i like it.


welovepaintings:

Joseph Mallord William Turner (1775-1851)
 Death on a Pale Horse (?)  
 1825-30
Oil on canvas
597 x 756 mm
___
Although possibly incomplete, the subject can be identified as Death, the last of the Four Horsemen of the Apocalypse who announce the Day of Judgement (Book of Revelation). The choice may have been in response to the death of Turner’s father in 1829, suggested by the unusual treatment which is both tender and menacing. Death appears, not as a triumphant, upright figure astride his horse, but as a phantom emerging from a turbulent mist: his skeletal form, arms outstretched, and draped submissively over the horse’s pale back. Such disturbing visions were considered to embody the very concept of the Sublime.
Tate.org.uk

welovepaintings:

Joseph Mallord William Turner (1775-1851)

 Death on a Pale Horse (?)  

 1825-30

Oil on canvas

597 x 756 mm

___

Although possibly incomplete, the subject can be identified as Death, the last of the Four Horsemen of the Apocalypse who announce the Day of Judgement (Book of Revelation). The choice may have been in response to the death of Turner’s father in 1829, suggested by the unusual treatment which is both tender and menacing. Death appears, not as a triumphant, upright figure astride his horse, but as a phantom emerging from a turbulent mist: his skeletal form, arms outstretched, and draped submissively over the horse’s pale back. Such disturbing visions were considered to embody the very concept of the Sublime.

Tate.org.uk



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