Compositional Similarity of Caillebotte’s “The Floor Scrapers” of 1875 and “The Oarsmen” of 1877

Note the striking similarity: Gustave Caillebotte, The Floor Scrapers, 1875, and Gustave Caillebotte, Oarsmen, 1877. Moreover, in both the same rather unusual viewpoint from above has been chosen. Perhaps this is explained by the fact that Caillebotte was not so good at capturing faces, and so quite naturally sought compositional solutions in which the faces were less visible; hence, incidentally, the view from above

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September digest: archaeological finds, exhibitions, museums, theatre and the Church

In the finale of the Strugatskys' Roadside Picnic, the Golden Ball is told: "Happiness for everybody, free, and let nobody go away unsatisfied!" I do not promise to offend nobody, but the digest really does come free of charge. So, here is the main business of the

Frederic Leighton

Frederic Leighton. “Daedalus and Icarus”, 1869 Daedalus warns his son not to climb too high: the heat of the sun may melt the wax, but Icarus is already gazing into the distance, and the lamentations of a foolish old man interest him not in the least

Compositional Similarity of Caillebotte’s “The Floor Scrapers” of 1875 and “The Oarsmen” of 1877

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September digest: archaeological finds, exhibitions, museums, theatre and the Church

Frederic Leighton

Attempts to resolve the problems of many years of uncontrolled mass migration

Characters from Gogol's "Petersburg Tales" on the pedestal of the monument to Nikolai Gogol on Nikitsky Boulevard, photograph of the 1960s