Stanisław Witkiewicz (Polish, 1851-1925), Wawel, 1889. Gouache and ink on cardboard, 27 x 19.5 cm.
George Dunlop Leslie - “In the Wizard’s Garden”
1904
George Dunlop Leslie
The Afternoon tea
"Unlike Epicureanism, which quickly froze into a fixed dogma, Stoicism developed, and became more complex, comprehensive, and plausible. It forms a system of interconnected doctrines confirming and supporting each other. Plato, Aristotle, and Epicurus never managed as much; and the Stoics’ successors in the history of philosophy have produced nothing more comprehensive and systematic."
— Professor Terence Irwin, Classical Thought (Oxford University Press, 1989), p. 181. (via frugalstoic)
Introduction to Stoicism
Stoic Mindfulness - By continually monitoring their judgements, Stoics are to notice the early-warning signs of upsetting or unhealthy impressions and take a step back from them, withholding their “assent” or agreement, rather than being “carried away” into passion and vice.
Stoic Philanthropy - Extending the same natural affection or care that we are born feeling for our own body and physical wellbeing to include the physical and mental wellbeing of all mankind, through a process known as “appropriation” (oikeiosis) or widening the circle of our natural “self-love” to include all mankind. Described as “Stoic Philanthropy”, or love of mankind.Stoic Acceptance - The discipline of desire, according to this view, is the virtue of living in harmony with the Nature of the universe as a whole. This entails having a “philosophical attitude” toward life and a loving acceptance of our Fate as necessary and inevitable.
Introduction to Stoicism: The Three Disciplines
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Thomas Anshutz - A Rose [1907] on Flickr.One of the most gifted American art teachers, Anshutz links the realism of his mentor Thomas Eakins with that of the Ashcan School, some of whom were his students. Perhaps because Anshutz spent so much time teaching, he painted only about 130 oils. Some of the most impressive belong to a series of images of Rebecca H. Whelen, daughter of a trustee of the Pennsylvania Academy of the Fine Arts, where Anshutz taught. The woman at leisure and the likening of a beautiful woman to a flower are common themes in late-nineteenth-century American painting. They reflect the contemporary definition of a woman’s proper sphere: the realm of leisure, beauty, and the aesthetic, harmonious domestic environment.
A Rose reflects Anshutz’s simultaneous appreciation of Eakins’s academic rigor and psychological probing and John Singer Sargent’s painterly freedom. A Rose also suggests the influence of Diego Velázquez and James McNeill Whistler on late-nineteenth-century painters, including Eakins and Sargent as well as Anshutz. In portraying the young woman as contemplative and yet intellectually and emotionally alert, Anshutz also anticipates the earthier women painted by members of the Ashcan School and other twentieth-century realists.
[Metropolitan Museum of Art, New York - Oil on canvas, 147.3 x 111.4 cm]gandalfsgallery.blogspot.co.uk/2012/11/thomas-anshutz-ros…](http://25.media.tumblr.com/tumblr_mdxp65Bpyp1rf65p5o1_500.jpg)
Thomas Anshutz - A Rose [1907] on Flickr.
One of the most gifted American art teachers, Anshutz links the realism of his mentor Thomas Eakins with that of the Ashcan School, some of whom were his students. Perhaps because Anshutz spent so much time teaching, he painted only about 130 oils. Some of the most impressive belong to a series of images of Rebecca H. Whelen, daughter of a trustee of the Pennsylvania Academy of the Fine Arts, where Anshutz taught. The woman at leisure and the likening of a beautiful woman to a flower are common themes in late-nineteenth-century American painting. They reflect the contemporary definition of a woman’s proper sphere: the realm of leisure, beauty, and the aesthetic, harmonious domestic environment.
A Rose reflects Anshutz’s simultaneous appreciation of Eakins’s academic rigor and psychological probing and John Singer Sargent’s painterly freedom. A Rose also suggests the influence of Diego Velázquez and James McNeill Whistler on late-nineteenth-century painters, including Eakins and Sargent as well as Anshutz. In portraying the young woman as contemplative and yet intellectually and emotionally alert, Anshutz also anticipates the earthier women painted by members of the Ashcan School and other twentieth-century realists.
[Metropolitan Museum of Art, New York - Oil on canvas, 147.3 x 111.4 cm]
gandalfsgallery.blogspot.co.uk/2012/11/thomas-anshutz-ros…
