Jay Troyer

Trump should try military strikes on Putin & Xi but that would mean taking on foes who could legitimately fight back. Floppyneck coward.

Yes!

The USA is the most heavily propagandized nation on earth and it’s not even close. Americans really believe Iranians are happy about a school being bombed. They actually think we’re liberating them from Islamic rule. Stick a fork in us, we’re done

Aged only 17-18, Gala and Paul fell in love and 4 years later Gala moved to Paris and they married. In 1921. Eluard was introduced to the paintings of Max Ernst and was struck by them. He set off for Cologne with Gala to meet the artist himself. The 2 men had an immediate rapport, but Gala had her sights set on Ernst. The Eluards visited Ernst again the following year and when they returned to Paris, Max followed them to Paris and the 3 of them moved in together beginning one of Surrealism’s most infamous relationships. Throughout the years that followed, the figure of Gala pervaded Ernst’s work; she appears in the murals at their shared house in Eaubonne as well as drawings and paintings, and she continued to be a presence even as their relationship began to disintegrate. As Robert McNab notes, Ernst ‘remained under Gala’s spell for some time, despite himself, as his portraits of her reveal. The numerous frottages, oil paintings and drawings he made of Gala show him wrestling both with her hold on him and with his frustration with it’. Portrait de Gala, conceived on a large scale, reveals Ernst’s new appreciation of texture – following his pioneering development of frottage in 1925 – with the paint applied and then rubbed or scored through as though in a peak of emotion. The present work remained closely tied to the relationship between Ernst and the Eluards. In 1948 Paul Eluard published Voir, a collection that includes poems dedicated to more than 20 artists, including Salvador Dalí, René Magritte and Joan Miró. The majority of these artists collaborated with Eluard, providing images as illustrations. It is intriguing that of all the available paintings, Ernst chose the present work to accompany 'his' poem; perhaps a testament to the central importance of Gala as an inspirational figure in their lives.

Max Ernst :
Portrait de Gala (Eluard), 1926

oil on canvas
92 x 65 cm | 36-1/4 x 25-5/8 in

The importance of women to the imagery of the Surrealist movement is embodied in the figure of Gala; wife of both Paul Eluard and later Salvador Dalí, and lover of Max Ernst, she was the ultimate muse.
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Henryk Berlewi, Polish (1894-1967), Mechano-Facture, 1924, gouache on paper, 82.9 x 108.9 cm, MoMA, New York City, New York, USA

Jean-Baptiste-Camille Corot, French (1796-1875), Interrupted Reading, c. 1870, oil on canvas, mounted on board, 92.5 x 65.1 cm, Art Institute of Chicago Illinois, USA

Shiro Kasamatsu, Japanese (1898-1991), Pine Trees At Yudanaka Hot Spring, 1950, woodblock print, vertical oban, 38.9 x 26.7 cm, private collection

Max Ernst, German-American-French (1891-1976), La mer et le soleil, 1926, oil and grattage on panel, 22 x 27 cm, private collection

Paul Cezanne, French (1839-1906), Bouquet of Flowers, 1879-80, oil on canvas, 52.7 x 43 cm, private collection

Edith Birkin, Czech (1927-2018), They Took My Child, Lodz Ghetto, 1942, 1994, acrylic on board, 51 x 60.7 cm, Birmingham Museums Trust, Birmingham, England

Jacek Szynkarczuk, Polish (1979- ), Emisariusz, 2020, oil on canvas, 100 x 80 cm

Anders Zorn, Swedish (1860-1920), Lace-making in Venice, 1894, oil on canvas, 92 x 64.5 cm, private collection

Elina Luukanen, Finnish (1941- ) At the Sources II, 2013, etching, 36 x 48 cm

Wolfe Von Lenkiewicz, British (1966- ), Madly Worshipped, 2023, oil on canvas, 185 x 185 cm

Clifford Ross, American (1952- ), Nicolette and the Blackbird VII, 2021, graphite and ink, 116.8 x 86.4 cm, private collection

Jacques Carabain, Dutch-Belgian (1834-1933), A Street Scene, Vernazza, Italy, 1906, oil on canvas, 53.3 x 36.5 cm, private collection

Grant Wood, American (1891-1942), Death on the Ridge Road, 1935, oil on masonite, 81.3 x 99.1 cm, Williams College Museum of Art, Williamstown, Massachusetts, USA

Oluwafemi Akanmu, Nigerian (1994- ), Echoes of Identity - 21st Century, Contemporary, Abstract Figuration, Modern, 2025, acrylic on canvas, 121.9 x 121.9 x 2.5 cm, private collection

It’s important to remember in this time that the theology of the Left Behind series is fiction.

The rapture, unwavering support of modern Israel, war in the Middle East as ushering in the end times. All of it.

And it’s allowed to shape international policy.

semi-abstrakt; Blume im Wasserglas; myart mars

mars

You're welcome, Laura!

Pierre Soulages, French (1919-2022), Lithograph No 33, 1974, lithograph printed in shades of blue on Arches wove paper, 52.3 x 45.8 cm, edition of 95

Arrrgh. I'm on the verge of blaming autocorrect, but I did fail to doublecheck everything on this post, so ~
But thank you!

Of course they bombed a school. They've made it very clear that children are the enemy.

Zdzisław Beksiński, Polish (1929-2005), Untitled, 1982, oil on fiberboard, 73 x 87.4 cm, private collection

Käthe Kollwitz, German (1867-1945), Kindersterben (Children Dying), third plate from the series Proletariat (Working Class), 1925, woodcut, image: 36.9 x 27.9 cm, de Young Legion of Honor, Fine Arts Museums
of San Francisco, California, USA

Katsushika Hokusai, Japanese (1760-1849), The Falls at Aoigaoka in the Eastern Capital, from the series Tour of Waterfalls in Various Provinces, c. 1832, woodblock print, nishiki-e, ink and color on paper, 37.1 x 26 cm, The Met, New York City New York, USA

Ludumo Toto Maqabuka, South African (1982- ), Qhawekazi, 2024, mixed media on canvas, 184 x 145 cm, private collection