the 9th day

@the9thday.bsky.social

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Photography, street art, politics, movies, books, art history, music, graphic design, fun facts, Kate Bush, mood swings, and some more…

A young woman in flowing robes, with her head resting on her arm. Her expression is serene but heavy with sadness and deep thought, creating a sense of solemnness.
A woman lies head down in despair over a table.
The grief-stricken Russian tsar Ivan the Terrible cradling his dying son shortly after Ivan the Terrible had dealt a fatal blow to his son's head in a fit of anger. The two characters are crisscrossed with each other in the centre of the painting. They are depicted in a twilight and stand out from both the foreground of the canvas and the darker background.
Stanzcyk, the court jester, is sitting in a dark room, slumped in a chair with his head bowed, appearing sad and deep in thought. The bright, red jester outfit draws an interesting contrast to the dark and gloomy atmosphere. On the table next to him there’s a letter. In the background rulers are partying.
The quiet aftermath of death—an armored medieval knight lies motionless on a bier, draped in an opulent blue cloth richly embroidered with golden flowers and red accents. A laurel wreath rests gently on his chest, a symbol of honor, victory, and now eternal repose. The knight’s face, barely visible beneath his helmet and chainmail, is at peace, his service to the world completed. At the foot of the bed a faithful bloodhound sits vigil beside his master. The dog’s expression is one of profound sorrow and unwavering devotion, his eyes gazing upwards toward the lifeless face of the knight. The dog’s posture—ears drooped, body tense yet submissive—conveys a silent plea, as if awaiting one last command or moment of acknowledgment that will never come.
A skyscraper covered with grass amidst other high buildings in a sunny Manhattan.
It depicts two women in a bed, gazing at each other. The white sheets of the bed contrast with a red bedspread and with the headboard and wall behind. The disembodied heads of the women face each other, their bodies concealed beneath mountains of bedclothes. The painting is suffused by a warm glow, perhaps the rosy morning light, or a gas lamp. The painting is often interpreted as depicting a lesbian liaison.
Two Viennese ladies wearing elegant winter suits. The faces of the depicted, rendered from the front and in profile, as well as their dark garments merge in the upper part of the canvas. This fusion is interrupted only by a vertical, white broach on the dress of the left lady turned towards the beholder, and by a colorful ornamental decor on the right edge of the depiction.
The port of Le Havre at sunrise, the two small rowboats in the foreground and the red Sun being the focal elements. In the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that "are not trees but smokestacks of pack boats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky. In order to show these features of industry, Monet eliminated existing houses on the left side of the jetty, leaving the background unobscured.
A painting of a large tree with a thick trunk and many branches. The tree is full of green leaves and yellow fruit.