By the Russian illustrator/painter named Ivan Bilibin, 1902
Illustration from the Russian folk tale of Vasilisa the Beautiful and Baba Yaga. This is the red rider symbolising the sun but would also make a pretty awesome Thoros of Myr from The Game of Thrones.
(via mercurialblonde)
Aleksander Lindeberg is a Finnish painter and illustrator. His mother was russian and his father was suomenruotsalainen. His path began in Russia and then to Finland, Vyborg first, then to Helsinki. Lindeberg is best known for his book illustrations, but in addition he has a long career as a portraitist, cartoonist, commercial artist and journal illustrator. He received the Rudolf Koivu prize twice.
” Gorgon III ” (2011) by João Ruas
Watercolor & Acrylic on Fabriano - 35 x 43 cm
(via mercurialblonde)
A sculpture of an Egyptian sphinx, half man, half animal, crouches in the Metropolitan Museum of Art, New York.
Source: Time & Life Pictures.
(via goddess-of-smut)
Perseus risks his life for the head of Medusa.
ANTIQUE: Brian Churilla
“Antique, or rather, a mythological creature from antiquity, the Minotaur.” -BCFollow Brian on Twitter: @BrianChurilla
(Source: brandnewnostalgia)
Anzac celebrates the battlefield as a realm entirely removed from political life. The Great War spurred an unprecedented degree of social polarisation in Australia, and yet the obsessive retelling of the Gallipoli landing never corresponds to any equivalent interest in, say, the populace’s remarkable rejection of conscription in two ballots in 1916 and 1917. The Bush/Blair/Howard War on Terror rendered that period more relevant than ever, since obvious parallels can be drawn between the hysterical patriotism of the ‘Freedom Fries’ days and the jingoism during which most Australian cities renamed their streets (if you live in Victoria Street, there’s a pretty good chance it was once called Wilhelm Road), while the state-sanctioned suspicion of Arabs and Muslims after 9/11 corresponds to the widespread persecution of Irish and Catholics in the wake of the Easter Uprising, and the unparalleled freedom granted to security agencies echoes Billy Hughes’ promulgation of the open-ended War Precautions Act.
Yet Anzac Day functions not to celebrate but to prevent that kind of history. It lauds bravery yet allows no room for what Bismarck called ‘civil courage’, a trait that many non-combatants showed in abundance when, against all the newspapers, politicians and mainstream political parties, they opposed the slaughter in Europe.
Again, in these endless discussions about the young men of that time, how often does anyone point out that Australians saw one of the very first anti-war protests anywhere in the world, when the Industrial Workers of the World called a rally on the Domain the weekend the conflict broke out? Everything that the IWW predicted about the war came to pass, just as everything that the official jingoes said proved entirely wrong. But amidst all the Anzac headshaking about the horrors of Gallipoli, there’s no room to mention those who tried to stop the killing taking place.
-fuck yeah jeff sparrow.
