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superman86to99 · 3 months

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Action Comics #700 (June 1994)

"THE BATTLE FALL OF METROPOLIS"! Metropolis falls, quite literally! But, on the bright side, so does Lex Luthor, because Lois Lane finally busts his ass after 700 issues (give or take).

This super-sized anniversary issue starts with Lois recapping all the dirt she's dug up on "Lex Luthor Jr." during the past several months, including the fact that he's actually the original, supposedly dead Lex Luthor in a clone body. Lex tried to have Lois discredited by planting wacky headlines with her byline at the Daily Planet's computers and framing her for financial crimes (on top of blowing up her apartment), but now she finally has hard evidence of his crimes thanks to her informant at LexCorp, only known as "Deep Quote." (Is this the first reference to Linda Lovelace's oeuvre in a Superman story? Comics and/or porno historians, sound off in the comments.)

Despite having been fired from the Planet (see: "wacky headlines" above), Lois manages to present her evidence in front of Commissioner Henderson, Perry White, and Planet owner Franklin Stern... who still thinks this cloning business sounds like "science fiction." That's a weird thing to say when you live in the DC Universe. Hell, there's a whole government agency devoted to cloning just outside Metropolis! Or maybe I should say there was, because, right when Stern is about to apologize to Lois, everyone hears a massive explosion coming from Project Cadmus' direction -- as seen last issue, some of Lex's armored henchmen just dropped a goddamn mountain on Cadmus while fighting Superman and Superboy.

Superboy, who was all laughs last issue but seems to be taking his friends' apparent deaths much harder now, wants to look for survivors, but Superman again tells him there's no point, because "there's no one alive in Cadmus that needs our help anymore." Instead, they go look for the Lex-Men who caused this whole mess so they can bring them to justice. They're soon joined by Supergirl, who takes every opportunity she can get to destroy LexCorp property since breaking up with Lex himself in her recent miniseries (and that was before she found out he's actually a creepy old guy in a young body).

Meanwhile, Lex (whose clone body is rapidly deteriorating) is hiding in his yacht with his most faithful cronies, his scientific aide Dr. Sydney Happersen and his long-time physician Dr. Gretchen Kelley, the same woman who pretended to be his "mother" for the Lex Jr. ruse. Since Lex is gonna be here for a while, Dr. Kelley volunteers to go to the city and pick up some meds for him. Lex thinks that's a great idea... until he sees Kelley on TV, spilling the beans on his whole operation to Lois. That's right, Kelley was "Deep Quote" all along! Which was pretty obvious if you've been paying attention, but then again Lex has a long history of rejecting the obvious.

Kelley also spilled the beans on Lex's location to Superman, who suddenly bursts into the yacht to nab him once and for all. But Lex has an ace that he's been hiding up his sleeve for a long-ass time: a slew of "sonic torpedoes" reverse engineered from tech left behind by the alien invaders from DC's 1988 Invasion! crossover, which he hid somewhere under Metropolis in case he ever felt like pulverizing the city. Lex, who thinks he'll die any moment, seems perfectly willing to take millions with him -- until Superman asks him if he really wants the people of Metropolis, "his" city, to remember him as the guy who blew the whole place up. The "American Hitler," as Superman puts it.

Lex, who got into this whole mess in the first place because he wanted people to love him more than Superman, breaks down and agrees not to launch the torpedoes.

And then, for the first time in his life... Dr. Happersen disobeys Lex Luthor's wishes. Too bad those wishes were "let's not destroy a city."

After years of quietly taking abuse from Lex, Happersen finally snaps and launches those torpedoes. Lex tries to stop him by shooting at him with the death laser in his iron lung (of course Lex Luthor has a death laser in his iron lung), but it's too late. The torpedoes are activated, meaning that the city is as cooked as Happersen himself, who dies in Superman's arms seconds later.

Superman asks Luthor where the torpedoes are buried, but Lex, who looks genuinely distraught, honestly doesn't know. He always let Happersen handle little details like that.

Before Superman can even reach Metropolis, one of the torpedoes has already hit the WGBS building. He gets there right in time to race against the torpedo headed for the Daily Planet... but, as you might have guessed from this issue's cover, the torpedo wins the race.

If the city hadn't been evacuated a few issues ago due to the Underworlders' terrorist attacks, everyone in the Planet's staff would be dead now (thanks, ugly sewer mutant terrorists!). Superman does manage to prevent Lois, Ron Troupe, and, unfortunately, Jimmy Olsen from getting rolled over by the Planet's iconic globe after the building collapses, but only by destroying what's left of it. Perry White is following the action from the Planet's temp offices outside the city, and he looks about as emotionally devastated as he did in the issue when his son died.

Meanwhile, the other underground torpedoes are doing their best to turn Metropolis' skyline into a flat line. The only major building spared is the one belonging to Clark Kent's old employer, Newstime Magazine, but only because its owner happens to be a demonic entity with torpedo-deflecting powers, Lord Satanus. To his credit, Satanus does plant an idea in Superman's mind for how to stop the rest of the torpedoes: digging a big ditch all across Metropolis to intercept them (thanks, demonic entity posing as media magnate!).

As Superman, Superboy, and Supergirl stop most of the torpedoes, Satanus helps them out by redirecting the remaining ones to a more deserving target: LexCorp's giant L-shaped building, which is now shaped like a bunch of rubble.

With the torpedo problem solved, Luthor is finally arrested and exposed to the citizens of Metropolis as a no-goodnik, as Superman begins the long task of rebuilding the city by putting the Daily Planet globe back together. Yes, Metropolis is in pretty bad shape, and even Superman himself seems discouraged for a moment, but as Lois correctly points out: hey, at least it ain't Coast City!

Creator-Watch:

This issue marks the end of Roger Stern's distinguished run as Action Comics writer, which began exactly 100 issues ago... sort of, since he started writing Action when it was a weekly series and Superman only got two pages per issue. When John Byrne suddenly left the Superman books some months after that, in late 1988, Stern was an obvious choice to replace him, given his closeness to Byrne, his ample talents, and, well, the fact that he was already there.

Since then, Stern became one of the main architects of the over-arching storyline that made this era in Superman comics so special. His role as the Super-Squad's resident "continuity cop" enriched these comics tremendously. For instance, according to Dan Jurgens, it was Stern's idea to bring back an obscure character called Hank Henshaw as the Cyborg Superman instead of creating a new baddie for "Reign of the Supermen," which is the sort of thing that makes digging through hundreds of backissues worth it. Stern also wrote the bulk of the years-long Eradicator saga, Supergirl's evolution from lump of goo to proper hero, and, of course, Lex Luthor's long, strange journey leading to this issue (more on that later).

It's hard to imagine our beloved '86-'99 period without Roger Stern. Good thing he'll be back before too long, albeit in a reduced capacity...

Character-Watch:

With this issue, we a bid adieu to doctors Sydney Happersen and Gretchen Kelley, two of the most memorable characters ever to serve as Luthor's lackeys. Both were introduced in Byrne's Superman #2 (1987), and it's interesting that both were instantly portrayed as somewhat sympathetic: Happersen doesn't want to remove the kryptonite from Metallo's chest because he thinks it'd kill him (and looks shocked when Luthor pulls it out anyway), and Kelley is the one that warns Lex about Lana Lang's bizarre allergy to truth serum.

(Probably didn't help that they had a serious mold problem in that room.)

It's also interesting that Kelley was the only lackey on a first-name basis with Lex, hinting at the backstory that was revealed in Action #660: she was a small-town doctor until a young Lex swept her off her feet and turned her into his lover, only to ditch her for someone with larger boobs. Kelley became an alcoholic and ended up in jail, ruining her medical career, until Lex came to "reclaim" her and gave her a permanent job. I'm guessing the "old lovers" bit was added mainly to make the Lex Jr. story seem plausible, but it also helps explain why someone like her would stick with Lex for so long. She was clearly still in love with him, and the Lex Jr. ruse allowed her to imagine an alternate life where they were more than just employer and employee. I always like this bit from Action #676, before readers found out Lex Jr. was Lex Sr.:

In the Lex Jr. storyline, Kelley wasn't just lying to the world; she was lying to herself. Until she just couldn't lie anymore, I guess.

As for Happersen, he never had a backstory, but he didn't really need one. He was the prototypical meek henchman who'd do anything for his boss despite being treated like trash, which is why I found his breakdown at the end both logical and satisfying. Kelley and Happersen will each get a couple of flashback appearances after this issue, but they've been completely ignored by every revamp and reboot since. As much as I like them, I'm completely okay with that because their stories are over, and that's such a rare thing in comics.

Plotline-Watch:

The big subplot in this issue is Lana Lang's wedding to Pete Ross, which she said she wanted to hold "as soon as possible" after encountering Bizarro (and confirming that she's absolutely over Clark) in Action #697. Lois, Clark, and Supergirl are a bit busy to attend, but Ma and Pa Kent are there and even lend Lana their farmhouse for the ceremony. Other than Pa watching the chaos in Metropolis on TV, these scenes are completely disconnected from the rest of the issue, and I suspect they're only here for two reasons: 1) to tease readers with "Someone's getting married!" in the preview blurbs (remember that Lois and Clark had been engaged for a few years by now), and 2) to give Superman legends Curt Swan and Murphy Anderson some work. That last part makes the scenes worth it, in my opinion, especially since we even get a peek at how Swan would draw the Super-Mullet when Lana is thinking back on everything she's gone through with Clark.

The "we've had buildings dropped on us" scene Lana remembers is from Action #644, and the one who dropped the building was actually Supergirl/Matrix when she was suffering from Eradicator-triggered insanity. The "I've been kidnapped" issue, meanwhile, is Byrne's classic Superman #2, which leads us to...

Intentionally or not, there's a good numbers of parallels between this issue and the aforementioned Superman #2: Lana's most tragic moment and Lana's happiest moment; Happersen and Kelley's introduction and their exit; Superman angrily bursting into Lex's office and triumphantly bursting into his yacht; Lex getting away with it and Lex getting arrested. But the most significant connection is the fact that Superman #2 was the first time Lex put on his kryptonite ring, which is what sets off the long chain of events leading to this issue: him getting cancer (Action #600), faking his own death (Action #660), moving his brain to a younger body (revealed in Action #678), being infected with a clone-only disease (circa Man of Steel #31), and ending up as a sick, raving lunatic in an iron lung outfitted with death lasers.

What's definitely intentional, knowing Stern, is the fact that Lex's last stand happens in the Sea Queen, the same luxury yacht where he first met Superman (The Man of Steel #4). Both issues end with Lex getting arrested, but presumably he'll be behind bars for longer than two hours this time -- or maybe not, since the last time we see Luthor, he's thinking that "there are cards I've yet to play!" We'll find out what he means in Action #701.

While Lois is presenting her evidence against Lex, we learn that she first came into contact with Dr. Kelley/"Deep Quote" at the end of the "Bizarro's World" storyline, right after she learned of Lex Jr.'s sickness/shocking baldness (Superman #88). Unsurprisingly, Lex didn't like Lois seeing him like that and ordered Happersen to capture her, but Kelley helped her escape and they hit it off.

When exactly did Kelley decide to turn on Lex? A flashback suggests that it happened during the Supergirl miniseries, where she has an uncharacteristic outburst towards Lex for the way he "uses" Supergirl even though she loves him. We didn't even comment on that scene at the time, but now it seems pretty obvious that, even though Kelley does care for Supergirl, she was actually talking about herself.

Deep cut: at one point, Superman tries to find Lex by taking a Lex-Man's helmet to Professor Hamilton, who says that he recognizes this technology from the armor Lex once trapped poor Jose "Gangbuster" Delgado in, forcing him to act as a remote-controlled bodyguard (Adventures #451). Hamilton's efforts go nowhere, but I appreciate being reminded of Jose's most delightfully bizarre misadventure ever. Miss that dude and his horrible luck.

I also appreciate the shout out to Invasion!, and I wonder if Stern was planning Lex's sonic torpedo gambit from way back in Superman #28, which includes a scene in which Pentagon officials give Lex access to the alien weapons recovered in Australia. I also wonder if Lex thought to himself, "Hmmm, Australia... seems like a nice place to pretend to be from if I ever clone myself a new body."

Something that doesn't pay off is the implication that Colin Thornton/Lord Satanus would become a major villain now that Luthor is (temporarily) out of the picture. He'll pop up here and there, but something tells me that if Stern had stayed on Action, he would have made sure Satanus factored more heavily in big storylines going forward (or even just one big storyline).

Patreon-Watch:

This post ended up being double-sized like the issue itself, so this time we owe double-thanks to our patrons Aaron, Chris “Ace” Hendrix, britneyspearsatemyshorts, Patrick D. Ryall, Bheki Latha, Mark Syp, Ryan Bush, Raphael Fischer, Kit, Sam, Bol, and Gaetano Barreca, for helping us take the time to write it. Double-thanks! Join them at https://www.patreon.com/superman86to99

And believe it or not, we have even more to say about this issue, so don't miss Don Sparrow's section after the jump...

Art-Watch (by @donsparrow):

We begin with the cover, and it’s something of a strange one for such a huge numbered issue. Jackson Guice rightly recognizes that the destruction of the Daily Planet is the most arresting image within the story, so that’s what he highlights, Raiders of the Lost Ark-style, but it’s a bit hard to know what to focus on here. It’s not the best figure drawing of Lois Lane, with her hands in a claw like shape, but she’s still front and centre. The other possible area of focus is on the Daily Planet globe itself, which then boasts an uncomfortably spread-eagle Superman trying to stop its roll. But, I give points to Guice for going with a moment from within the story, and not just a generic “this is an anniversary issue” type cover, like we often see. Plus the cross streets of Jurgens/Grummett/Bog/Kitson on the street sign is a fun find.

Inside, we’re greeted immediately with a full splash of a satisfied Lois. Guice’s Lois has always looked photo-referenced to me, for better or worse. In this case, I think Guice is a little let down by the colourist, who extends the pinkness of Lois’ bottom lip all the way to the corner of her mouth which turns her smile into more of a smirk than I think the inks on their own intend.

On page 6 we get another version of Guice’s rubble pits—not a strength for him as much as someone like Tom Grummett, who was born to draw rubble (And everything else!) as the edges of the pit always look a little sharp to me.

Superboy’s rage at the destruction of Cadmus is well-observed—and Superboy looks very much like the youth he is—he can sometimes be drawn like a small adult, instead of having softer, teenaged features, but Guice does a good job on this page. Supergirl’s coy expression as she lets the libidinous Superboy down gently on page 14 is a funny drawing, and a great character moment in all the action, to boot.

It may just be novelty, or nostalgia, but the quieter moments back in Smallville, as Lana Lang prepares for her wedding ceremony, are my favorite pages. Curt Swan’s gentle, naturalistic lines are a nice counterpoint to the hectic pace of the fall of Metropolis.

The entire page of Lois revealing Lex Junior’s crimes to a live television audience is all well drawn—there’s an urgency in Lois’ posture to the camera that feels very real as you read it. This, followed up shortly by Lex’s horror at Dr. Kelley’s betrayal is another great piece of drawing. Then, on the very next page, Superman Kool-Aid-Man-ing his way through Lex’s hideaway is maybe the best single image of Superman in the book.

There’s a cute tribute to former Super-teamster, Jerry Ordway, as Peggy (who shares her first name with Jerry Ordway’s real life wife) plays De Koven and Scott’s “Oh Promise Me” not on a Steinway piano, as she might have on our Earth, but rather a “Jordway” piano. If the lyrics we see sound familiar, it could be because this same wedding song appeared in numerous film and TV weddings, including All in the Family, Mama’s Family and, for you Canadian readers, the Sullivan-produced Anne of Green Gables: The Sequel, during Diana’s wedding. I do wonder if Revered Brewster was supposed to look like Ordway—his hairstyle is similar, though Brewster is a little heavier set than Ordway.

Back to the “action” of Action #700, pages 33-35 all make great use of a diagonal panel layout, to maximize the space as Superman gives chase to the missiles, which unfortunately find their target, the Daily Planet. Perry White’s shattered expression as he watches the place he loves fall apart is particularly haunting.

The effect of Collin Thornton’s demonic helmet overlaid his human form is a great visual. Lastly, for those of us old enough to remember the attacks of 9-11, there’s an eerie prescience to these images of tangled debris and smoking skylines.

On the whole, the events here—Luthor going full villain, Metropolis being reduced to rubble—seem fitting in scale for a nice big round issue number like 700. But, given how relatively quickly these changes are undone in the issues to come, it also feels symbolic of the post-Death-and-Return era of comics—just trying status-quo changing “events” and trying to recapture the buzz they stumbled into with the death storyline.

SPEEDING BULLETS:

There’s a funny in-joke during Lois’ phone call with Superman, as editor Mike Carlin slips in a warning to Tom Grummett about an issue being late. Though Grummett is not normally known for lateness, at this time he is drawing both Superboy and Robin comics monthly, so he can be forgiven for the odd slip.

Jonathan Kent railing at the television in response to Lex’s seeming impunity feels completely modern to me, reading it in 2024. Honestly, couldn’t you see certain political factions of today defending Lex’s actions, had they been perpetrated by the de facto leader of their party?

How do we feel about Lex not being quite villainous enough to blow up Metropolis? Does it feel like a cop-out, or would it have put Lex into a level of villainy the writers didn’t want to go to? Story-wise, I have to admit, it feels strange that the disasters seen on the cover and throughout bear the fingerprints of Sidney Happersen, and not Lex Luthor, the greatest criminal mind of our age. [Max: I like it! Lex is evil, but he does seem to love Metropolis in his way, and he wouldn't spend so much time on philanthropic ventures if he didn't need people's adoration on some level. I think this is an interesting conundrum Stern put him in, and having Happersen do what Lex couldn't is a clever way to make sure the issue didn't end in a big anti-climax.]

GODWATCH: As with many a Roger Stern script, religious references abound in this issue, particularly during the wedding scenes, where the newlywedded Lana and Pete certainly seem devout. The unabashed love the Kents show for Lana is very moving throughout. [Max: There's also Lex saying "God forgive me" when he admits he doesn't know how to stop the torpedoes, which is a scene that's always stuck with me. THAT'S his real punishment: not jail, but actually experiencing guilt for a moment.]

As this entire issue is a study in contrasts, we jump from a country church wedding to a demonic character named LORD SATANUS giving Superman the firebreak idea that saves the city! There’s something very funny about that.

Does Collin Thornton know that Clark Kent is Superman? It doesn't seem like he does, but with his array of observational powers, you’d think he’d have figured it out. [Max: I'm sure there's something somewhere that contradicts it, but I like the idea of Thornton offering Clark that editor job years ago because he knew his conscience had been compromised by the Eradicator and he wanted a superpowered pawn to use against Blaze.]

Do you agree with Supergirl, that Dr. Kelley is someone to be admired, or given mercy? Sure, she helped bring down Lex in his latest evil, but she went along with so much, for so long, she’s hardly heroic, is she? [Max: I assume that by "I hope the courts are merciful," Supergirl means "I hope they give her prison library access and not the electric chair." I do feel sorry for Kelley, but she definitely deserves to go to jail for a long time for all those other horrible crimes she didn't prevent, starting with Lana's torture.]

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xyztrio721 · 3 months

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The amount of conflicting feelings I have about the Chuggaaconroy situation right now is scaring me.

Should I feel bad for him now that I know he had gone to a mental institution? Should I hate him with every fiber of my being for betraying everyone’s trust and being creepy towards women?

I know what he did was wrong, it 100% was. But… does it make him irredeemable? Based on what Tim’s posted in response to questions on Reddit, it seems like he is genuinely trying to better himself. Should I feel guilty for saying that he should burn away to nothing, or should I still see him as a monster?

I guess what I’m trying to say is… should I have hope for him to get better, or should I just throw that glimmer into a paper shredder?

#chuggaaconroy #I genuinely don’t know how to feel about this situation right now.#I’m seeing conflicting opinions on whether or not Emile can redeem himself.#There’s no denying that he fucked up. He did.#But does it mean he can’t redeem himself?#Should I feel guilty for hoping that he suffers or for hoping that he gets the help he clearly needed for years?#I don’t want to be a piece of shit for either turning my back on someone who’s suffering #Or for supporting someone who may or may not have committed a crime if the Google doc from Werster is telling the truth.

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actualaster · 2 years

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Absolutely favorite character dynamic is "they love each other. This is non-negotiable. Their canon words and actions make it clear they cherish each other so deeply, they love each other so much, you can decide HOW you see this love, but the love exists and cannot be denied"

Like you can see them as best friends, as seeing each other as family, QPP, being romantically in love, anything! All of those are equally valid.

But the love undeniably exists, and to try to deny it is to deny a core aspect of the characters themselves.

It's the thing that brings OTP and BROTP fans together--while the form we see it as may differ, we can both agree the love between the characters exists.

#character dynamics #otp: starry evening #anyway yeah this is my rambly way to say im thinking about Richter and Aster again and it gave me Emotions #actually u know what tossing this here too #otp: you gave me courage #because you can view emil's love for richter as that towards a friend and mentor or as romantic #but you cannot deny he cared so deeply for the man #anyway if u rb feel free to tag YOUR blorbos u feel this way about :3

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daffodi1 · 5 months

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I think one of the reasons the rampant misogyny in the transmasc community makes me so mad is bc like. I was a girl. Yes, I know some people say things like "I was never [x], I was always [y]" and yes, I was always a boy but I was a girl then too. Those things can coexist. I'm just a man now but I can't disown the part of myself that was a girl, that loved being a girl and hate that part of me just for existing and trying to live. The idea that in order to be a man, you must hate and disown womanhood, girlhood, and femininity is genuinely so damaging even if you never identified as any of those things.

#emil chatter #and yeah i used to be guilty of this but i changed and i learned and i stopped denying it #btw i dont identify as nonbinary and i dont consider myself a girl now bc i feel too old to call myself a girl or a boy #im just a man now. albeit a queer one and an effeminate one

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joostjongepier · 8 months

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Wat? Ambroise Vollard (1899) door Paul Cézanne, Hommage to Cézanne (1900) door Maurice Denis, Landscape with Ploughman (1889) door Vincent van Gogh, Vision of the Sermon (Jacob Wrestling with the Angel) (1888) door Paul Gauguin, The Pardon, Breton Women in a Meadow (1888) door Emile Bernard, Gustave Coquiot (19010 door Pablo Picasso, Interior with a Young Gill (Girl Reading) (1905-06) door Henri Matisse en Wilhelm Uhde (1910) door Pablo Picasso

Waar? Tentoonstelling After Impressionism: Inventing Modern Art in National Gallery, Londen

Wanneer? 9 augustus 2023

De tentoonstelling After Impressionism heeft een brede doelstelling. Het wil laten zien hoe, na het impressionisme, kunstenaars braken met alle vaste tradities en de basis legden voor de kunst van de 20e en 21e eeuw. Het toont hoe in verschillende steden (Parijs, Barcelona, Wenen, Berlijn, Brussel) nieuwe wegen werden ingeslagen. En het toont de geboorte van nieuwe bewegingen als fauvisme, kubisme, Nabis, expressionisme en abstractie.

Parijs was bij uitstek de stad waar het gebeurde. Een sleutelspeler in het netwerk van kunstenaars was Abroise Vollard. Deze kunsthandelaar was er voor verantwoordelijk dat het werk van Cézanne, Van Gogh, Gauguin en Picasso onder de aandacht werden gebracht van een internationaal publiek. Paul Cézanne schilderde een portret van deze spin in het culturele web. Zelf had Cézanne ook een belangrijke positie, als beïnvloeder van een nieuwe generatie kunstenaars. Zijn pogingen om een realistische weergave van voorwerpen te geven en tegelijkertijd naturalisme los te laten, had grote invloed op veel schilders na hem. Maurice Denis schilderde een groep kunstenaars, de Nabis (de Profeten), staand om een stilleven van hun inspirator. De bijeenkomst vindt plaats in de Parijse studio van Vollard. Aan de wand hangen schilderijen van Paul Gauguin (die eigenaar was van het stilleven van Cézanne) en van Auguste Renoir. Vollard staat rechts naast het schilderij. Grappig is de kat van Vollard die ons van onder de ezel met een achterdochtige blik aankijkt.

Vincent van Gogh ontwikkelde een heel eigen visuele taal. Hij schilderde Landscape with Ploughman vanuit het raam van de inrichting in St. Rémy. De scène is gebaseerd op directe observatie, maar was tevens geladen met persoonlijke betekenis. Het schilderij heeft een uitdrukkingskracht die onafhankelijk is van de afgebeelde objecten.

Van Paul Gauguin hangt hier een werk dat ik al lang bewonder, maar nog nooit in het echt had gezien: Vision of the Sermon. De achtergrond van het schilderij is effen rood. Een boomstam deelt het werk diagonaal in tweeën. De onderste helft toont een groep Bretonse vrouwen in traditionele kostuums die hun hoofd buigen in gebed. Rechts zien we het hoofd van de priester die zojuist een preek heeft gehouden over Jacob worstelend met de engel. En in het deel rechts boven zien we hoe Jacob in gevecht is met de engel. Het werk is allesbehalve naturalistisch. We zien een visioen, een droom. Gauguin geloofde dat kunstenaars, net als priesters, in staat waren om grote ideeën fysiek vorm te geven.

The Pardon van Emile Bernard toont Bretonse vrouwen die een ‘Pardon’, een soort religieuze bedevaart, bijwonen. De achtergrond van het werk is effen groen. Het werk roept een sterk déjà vú-gevoel op. De overeenkomsten met Gauguins Vision of the Sermon zijn groot. Stijl en idee komen dermate overeen dat het geen toeval kan zijn. Dat is het dan ook niet. Gauguin en Bernard schilderden beide werken tijdens een gezamenlijke trip naar Pont-Aven. Later ruzieden de twee erover wie als eerste deze radicale niet-naturalistische manier van schilderen had bedacht.

Pablo Picasso schilderde schrijver en criticus Gustave Coquiot in avondkleding en met een maskerachtig gezicht voor zijn eerste Parijse tentoonstelling, georganiseerd door Vollard. Coquiot stond als kunstcriticus welwillend tegenover avant-garde-kunstenaars. Hij schreef het voorwoord voor die eerste Parijse expositie van Picasso.

Matisse schilderde zijn dochter Marguerite in een interieur met tal van decoratieve objecten. Het geheel is een en al kleur. Het werk vormt een overgang naar het fauvistische werk waar hij bekend mee zou worden. Kunstdealer, verzamelaar en kunstcriticus Wilhelm Uhde werd door Picasso in kubistische stijl weergegeven. Gezicht en achtergrond worden opgebroken in een grote hoeveelheid monochrome facetten.

Zo staan twee belangrijke kunststromingen die de twintigste-eeuwse kunst zouden gaan bepalen, tegenover elkaar: het fauvisme, waarin kleur centraal staat en het kubisme waarin de lijn de overhand heeft.

#paul cezanne #maurice denis #vincent van gogh #paul gauguin #emile bernard #pablo picasso #henri matisse

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lilidawnonthemoon · 11 months

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#emile octave denis victor guillonnet #art #garden

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biohazard-inevitable · 2 years

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If I had a nickel for every time I fell in love with a character associated with the sin of Greed…

I’d have 3 nickels, which isnt a lot but its weird that it happened thrice

#greed #seven deadly sins greed #greed fmab #seven deadly sins ban #lawless servamp #listen- ban and greed i get #But lawless #good god why did i ever have a crush on this DINGUS of a man #bein 15 was a different beast man #also not really a big fan of the seven deadly sins anime but ban is sexy as fuck i cant deny #dont come here if you want seven deadly sins content its not my thing #BUT BACK TO LAWLESS #good god he is such a menace of a porcupine vampire but also i love him #emile you’d throw a fit over servamp maybe #idk you might know it #its nonsense vampire shenanigans #idk how much of it is accurate #but regardless my favorite was lawless the menace

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daikenkki · 1 year

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#Australian Open #tennis #Leylah Fernandez #Maddison Inglis #Felix Auger-Aliassime #Emil Ruusuvuori #Daniil Medvedev #Denis Shapovalov #Soonwoo Kwon

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jbrasseul · 2 years

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Falaises

Chemin de Bas Fort-Blanc, 1885, Elodie La Villette Toujours au musée de Fécamp, la ville au cœur de la côte d’Albâtre, entre Le Havre et Dieppe, au nord du Pays de Caux, appelée ainsi du fait de ses falaises blanches, quelques tableaux de falaises justement. Une suite à la série sur les peintres et la Normandie. Elodie La Villette représente ici les falaises à Dieppe à marée basse, avec les…

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rosemaze-reveries · 1 month

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During an interview, the manor guests suddenly get a question about you.

this is def an experimental format!! i got this idea while reading the character letters. in the POV of an unknown interviewer (not reader). reader uses they/them.

🔗⚰️📰🔮❤️‍🩹💉🌪️✂️🍀🩰🔫🪡🤹🧲🦋🐍

Q. Could you describe your relationship with (Y/N)?

🔗 Ada - "Yes, that's my lover. I would say our relationship falls within the typical scope of that sort of thing. Of course, I believe we share something special, but everyone does when they're in love, don't they?" She covers all her bases in one decisive breath, leaving little room for me to comment.

⚰️ Aesop sits perfectly upright, fingers threaded at his knees. His eyes drift to the side and he seems to begin speaking mid-thought. "I had... cautioned myself not to upset their perception of me," he explains. "But they pried, and stayed, regardless of what they found... For that, I'm grateful."

📰 Alice has kept a sharp eye on me the entire time, but it's at this question that she drops the formalities. "I wasn't aware you would be prying into my personal affairs. Where did you learn that name?" Her frankness pins me in place. For some reason, I end up apologizing.

🔮 Eli can't help a sheepish smile from blooming across his face. "Well, truthfully... I don't use this term lightly, but they might be the love of my life." He has been consistently grounded with his responses, so I'm surprised to catch him flustered, however subtle it is. Personally, I'm touched.

❤️‍🩹 Emil considers for a moment. He doesn't meet me in the eye, instead pinning his gaze on nowhere in particular. A faint smile ghosts his lips. After a while, he answers, simply, "Safe."

💉 Emily's hands are folded neatly on her lap. At the mention of that name, her shoulders tense, but she otherwise maintains her composure. "Someone I trust." Her answer is vague and cautious, but acceptable. I'll try to uncover a deeper meaning behind that 'trust'.

🌪️ Ithaqua - "Mine." He is curt and to the point. Yours? I echo, hoping he'll elaborate. His head tilts to the side, and while I can't see the face behind his mask, a sense of dread suddenly overcomes me. I decide not to press further.

✂️ Jack stretches out his hand of blades, flexing each finger in front of him. I can't deny the cold sweat that drips down my spine just by being in his presence. "May I respond with a question of my own?" he says to me. "Suppose a butterfly loses its way, and winds up caught in a spider's web. Wouldn't you agree that the more it writhes and struggles, the more exhilarated the spider becomes?" I don't have the courage to hear out the rest of this analogy.

🍀 Lucky - "I've always been known as a pretty lucky guy, but the luckiest day of my life was when I met them! I remember it was the—" He drags me down a long-winded story about their life together. I get the idea. Eventually I'm forced to cut him off.

🩰 Margaretha twirls a curl of hair, a meek blush dusting her cheeks. "Have you ever been in love before? You're never prepared for the magic of it all. I feel a new rush with them everyday. I know, realistically, all good things come to an end, so I tried to remind myself to expect the worst, but they've proven over and over that... I'll never feel safer than in their arms." After rambling for some time, a look of surprise flashes across her face. "I'm sorry, I didn't mean to go off like that. Oh, but I've just never met someone who feels so much like true love before."

🔫 Martha doesn't miss a beat. "Sorry, I don't know anyone by that name." I look down to double-check the name written in her file. Her watchful gaze follows my line of sight. Are you sure? I try. "Must've been some confusion somewhere," she insists. The next day, I realize all my files on her and (Y/N) have gone missing.

🪡 Matthias - "Wh-What?" he starts, but keeps going before I can repeat the question. "Oh, uh, an ally, I guess." Well, I gathered that much. When I press for more details, his head sinks low, fingers grasping at the armrest. "I don't know what they saw in me. Was it out of pity?"

🤹 Mike's eyes light up and he blinds me with a contagious smile. "(Y/N)'s a sneaky one, and I mean it—they've got me under the trickiest spell of all. Guess what happens every time I think about them?" Egged on by his grin, I take the bait. You get lovesick? I guess. Suddenly, he tosses a handful of butterfly glitter in my face. "I get butterflies!" Very funny, I sigh, exasperated with these carnies. Why did he have that on hand in the first place?

🧲 Norton leans back in his chair, scowling. "What's that got to do with anything?" He snaps a couple times in my face, urging me to "stay on topic." It's hard to say if this question struck a nerve, as he's been uncooperative for most of this interview, but my suspicions point me to prod further. After all, it'd have been much easier if he just said he didn't know them.

🦋 Vera's face contorts into a leery, hostile glower. "Why do you ask that?" Before I can say anything to mitigate the rising tension, she catches herself, and her expression softens slightly. "I'm sorry. That's... someone quite dear to me, so your question took me by surprise."

🐍 Yidhra's follower goes pale, clearly unnerved. "She won't answer that," she tells me through shallow breaths. "Th-This isn't my place to say, but I'd advise you not to involve yourself with that person." As if on cue, I get a sensation I can only describe as a hand slowly wrapping around my neck. It disappears when I move to scratch it. Must've been my imagination.

Part 2

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connoisseursdecomfort · 3 months

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The thin line between Waku Waku and danger - what awaits Anya after ch.94?

[Manga spoiler alert]

Anya. The baby of the story. The star of the show. The leader of the Twiyor ship (she even created the slogan "Chichi to haha icha icha".) The telepath. The gremlin. The peanut. The heh.

In SxF, we saw how she forged the Forgers, how she fortified her friendship with Becky and Damian, as well as Emile and Ewen, and how she improved academically. It all started because she found it to be waku waku to have Twilight to be her father.

Same reason for choosing Yor to be her mother:

Of course, I love her for doing that. But there is no denying that she's drawn to danger. She likes it to be exciting. She wants to be the hero. And we all do. We, like Anya, like things to be waku waku.

It is good for the audience. But is it good for Anya?

Not really. Slowly but surely, Endo is revealing to us how it would affect Anya.

She thinks it is waku waku to have a spy and an assassin as parents because she is obsessed with Spy Wars. It is totally understandable for people to be want to imitate the cool characters on TV, and it is mentioned once again in Ch.94.

But it's something more than that. Loid being the top spy and Yor being the top assassin gives us a feeling that no matter what they will save her, and more importantly, they will be able to save her.

In the first chapter, her desire to make the spy work more waku waku has got her into trouble. Twilight rescues her, all ends well. In Chapter 7 she gets into trouble again, and Yor rescues her.

We have a sense of security that the Forger parents will do anything to get their baby back. And while that's VERY true (that's not up for debate - sorry), it also gives Anya the sense of security that she could maybe play with fire a bit more. So in Short Mission 1 we see her deliberately holding onto the bad guy's clothes, trying to get Yor to help. And Yor saves her and kicks the bad guy's ass.

Nonetheless, I should specify that Anya doesn't only want waku waku only for the sake of it although she does gloat over her successes. She understands that she needs to be careful, both in the doggy crisis arc and the cruise arc. But she still runs towards danger because she wants to help.

We already know she would do anything to keep the family together because of her love for her parents and also her abandonment issue especially when it comes to Operation Strix. That includes running towards a building that is going to explode in the doggy crisis arc and heading to the front deck where Yor is fighting with other assassins in the cruise arc. She has a good reason wanting to get involved, and she always succeeds too.

But that isn't all. She actually sees how her parents work towards their goals tirelessly.

That, of course, has something to do with what Endo chooses to focus on when it comes to the jobs of spies and assassins. He doesn't actually focus on the waku waku part that much (which has been one of the most common complaints). Literally in the first chapter, Endo has already shown us what the nature of spy work is - It can be freaking boring.

Same with the assassins' work.

One could even argue that Endo is deconstructing the images of spies and assassins in popular culture. While it is still waku waku for us and for Anya to see them working as spies and assassins, most of the time it is just a job for Loid and Yor. That means we AND Anya also see how tired they are after they've finished their jobs.

But why? If their jobs are ruthless and even thankless, why did they do it? The answers have been given in the cruise arc and ch.62. And for Anya who has been with them for quite some time now, she is inspired by their goals.

Anya wants to do good. Just like her papa and mama. And I think this is probably a good time to revisit the bus arc, particularly this moment:

Other children are thinking how their parents would come and save them. When Anya thinks about her parents, what would she think about?

Is it her parents' goal(s) - to make the world a better place?

Or is it the fact that she has always been the one actively doing something in order to save people, just like how she saves her parents and keeps her family together?

Even in the movie trailer, we see Anya desperately trying to help despite being all tied up.

The bus arc is also when the adults starts to scold her for being reckless.

It is not really the first time they've seen her being reckless. In the doggy crisis arc, Anya is told not to wander off.

Twice.

And even the childcare lady told her the same thing in the cruise arc:

But before it can be brushed off as kids having a tendency to wander off. But it is becoming more and more clear to the Forger parents that it seems to be something even more serious.

Endo is definitely dropping hints here, no?

It reminds me of what Loid told Bond:

This applies to everyone in the Forger family. Yor in the cruise arc. Loid in the mole arc. And Anya in the bus arc.

Anya has learned so many things in the process. Her grades have improved. She has learnt to read the clock. She has to try to write something that is readable so she can eat the gifts from Damian. But it seems she hasn't learned the most important thing yet.

PS Meanwhile, Bond went from not knowing how to play in the dog park

to suggesting an alternative game to Anya in Ch.94

Bond is best boi \o/

#spy x family #sxf #spyxfamily #loid forger #anya forger #yor forger #spy family #agent twilight #spy x family manga #bond forger

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