Eleonora, Italy. Currently studying art history in Florence.


My life is like a teen movie, but a crappy one.

Things I love: Art, zombies, fat cats, Morrissey, dapper chaps, high heels, weird objects, retro style, Grand Guignol, Belle Epoque, pink hair.



"That picture! That picture!" cried Myshkin, struck by a sudden idea. "Why, a man’s faith might be ruined by looking at that picture!"



"It seems to me that painters are usually in the habit of portraying Christ, both on the cross and taken down from the cross, as still having a shade of extraordinary beauty in his face; they seek to preserve this beauty for him even in his most horrible suffering. But in Rogozhin’s picture there is not a word about beauty; this is in the fullest sense the corpse of a man who had endured infinite suffering before the cross, wounds, torture, beating by the guards, beating by the people as he carried the cross and fell down under it, and had finally suffered on the cross for six hours (at least according to my calculation). True, it is the face of a man who has only just been taken down from the cross, that is, retaining in itself a great deal of life, of warmth; nothing has had time to become rigid yet, so that the dead man’s face even shows suffering as if he were feeling it now (the artist has caught that very well); but the face has not been spared in the least; it is nature alone, and truly as the dead body of any man must be after such torments… . In the picture this face is horribly hurt by blows, swollen, with horrible, swollen, and bloody bruises, the eyelids are open, the eyes crossed; the large, open whites have a sort of deathly, glassy shine." 

Passages about Holbein the Younger’s Christ in the Tomb in The idiot, F. Dostoevsky.

"That picture! That picture!" cried Myshkin, struck by a sudden idea. "Why, a man’s faith might be ruined by looking at that picture!"

"It seems to me that painters are usually in the habit of portraying Christ, both on the cross and taken down from the cross, as still having a shade of extraordinary beauty in his face; they seek to preserve this beauty for him even in his most horrible suffering. But in Rogozhin’s picture there is not a word about beauty; this is in the fullest sense the corpse of a man who had endured infinite suffering before the cross, wounds, torture, beating by the guards, beating by the people as he carried the cross and fell down under it, and had finally suffered on the cross for six hours (at least according to my calculation). True, it is the face of a man who has only just been taken down from the cross, that is, retaining in itself a great deal of life, of warmth; nothing has had time to become rigid yet, so that the dead man’s face even shows suffering as if he were feeling it now (the artist has caught that very well); but the face has not been spared in the least; it is nature alone, and truly as the dead body of any man must be after such torments… . In the picture this face is horribly hurt by blows, swollen, with horrible, swollen, and bloody bruises, the eyelids are open, the eyes crossed; the large, open whites have a sort of deathly, glassy shine." 

Passages about Holbein the Younger’s Christ in the Tomb in The idiot, F. Dostoevsky.

1 year ago | This post has 92 notes


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