Opposite that, we see Pan and Syrinx, an image of two reclining nude figures watching another, smaller figure falling into the arms of a river god. Below that, a painting entitled A Roman Feast, where a nude woman, her face turned away from the viewer, clings to a man who appears to be mid-feast as the title suggests. To her left is a figure cloaked in armor, fighting off a beast that recedes down the bottom of the image, ostensibly rescuing her. On the next page, a painting of a nude woman who is chained to a rock dominates the upper left-hand side of the page. On the opposite page, a painting of two nude figures looking at one another ( Venus and Mars) is situated above a packed scene where a kinglike male figure sits in the center of the image, surrounded by acolytes including a nude woman, looking down at a reclining male figure bound in chains at his feet. There's no caption, but it appears to be from the Renaissance. Next, a painting of two nude figures: a sleeping woman who reclines, and a man, awake and sitting upright, watching her. None of the paintings on this page are captioned or credited. The page on the right offers a couple of more complex scenes: two paintings that depict their subjects-tables replete with food and wine-from further away. The page on the left features a painting of a glass, a bottle of wine, a loaf of bread, and a pen sitting atop a table below that, a painting of several slabs of meat. These images are followed, on the next two pages, by a series of still-life oil paintings. The opposite page focuses on images with fewer figures: a Gericault scene with two distressed-looking heads, a Manet painting depicting a single man lying alone on the ground, and a painting of two women being guided by a sinister-looking male stranger-likely an allegory for death-by Hans Baldung Grein. On the left-hand page, two paintings show communities gathered around dead bodies, with figures scattered throughout the paintings in relative disarray. The next two pages depict scenes of chaos and death. Their surroundings change as the years progress: the settings shift from relatively empty backgrounds early on to more extensive mise-en-scene, shifting to reflect the fashionable painting styles of each era.
In some, Mary and Jesus are surrounded by others, whereas in others, like a painting from 1523 by David, the two are alone. The first two-page spread shows seven representations of Mary with the baby Jesus, spanning the 12th through 17th centuries. Chapter 4 is another series of photos unaccompanied by text.
0 kommentar(er)
