[49258] in linux-announce channel archive
One sip. One story. One legacy.
daemon@ATHENA.MIT.EDU (Bulletproof Glass)
Tue Jul 8 15:54:56 2025
Date: Tue, 8 Jul 2025 14:54:37 -0500
From: "Bulletproof Glass" <BulletproofGlass@checkclick.ru.com>
Reply-To: "Bulletproof Glass" <BulletproofGlass@checkclick.ru.com>
To: <linuxch-announce.discuss@charon.mit.edu>
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One sip. One story. One legacy.
http://checkclick.ru.com/uoBK4z59i0mf9R1DzYbDRtQH7qA5GfsNRstJxWp6k9bL9XbH2g
http://checkclick.ru.com/UvX54kow6d0jfyOdVnFspNkqXYgE-MQEtha2k-JQh65n5p4x3A
ntion is at once and so entirely directed on that reeking hand as to convey the impression that such concentration was the sole purpose of the painting. In similar paintings by Ribera, Regnault, and other artists of the horrible, as vivid a result is obtained without sacrificing the light and color in the other parts of the picture; and the effect, while no less intense, is, therefore, less startling and loud.
These assessments were not universal. The critic for Philadelphia's The Evening Telegraph, who may have been aware of the personal politics involved in the advisory group of artists who rejected it, wrote:
There is nothing so fine in the American section of the Art Department of the Exhibition, and it is a great pity that the squeamishness of the Selecting Committee compelled the artist to find a place for it in the United States Hospital building. It is rumored that the blood on Dr. Gross' fingers made some of the members of the committee sick, but, judging from the quality of the work exhibited by them we fear that it was not the blood alone that made them sick. Artists have before now been known to sicken at the sight of pictures by younger men which they in their souls were compelled to acknowledge were beyond their emulation.
Controversy about the painting has centered on its violence, and on the melodramatic presence of the woman. Modern scholars have suggested that the painting may be read in terms of castration anxiety and fantasies of mastery over the body (e.g. Michael Fried), and that it documents Eakins's ambivalence about representing sex difference (e.g. Jennifer Doyle). The painting has also been under
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<div style="color:#FFFFFF;font-size:8px;">ntion is at once and so entirely directed on that reeking hand as to convey the impression that such concentration was the sole purpose of the painting. In similar paintings by Ribera, Regnault, and other artists of the horrible, as vivid a result is obtained without sacrificing the light and color in the other parts of the picture; and the effect, while no less intense, is, therefore, less startling and loud. These assessments were not universal. The critic for Philadelphia's The Evening Telegraph, who may have been aware of the personal politics involved in the advisory group of artists who rejected it, wrote: There is nothing so fine in the American section of the Art Department of the Exhibition, and it is a great pity that the squeamishness of the Selecting Committee compelled the artist to find a place for it in the United States Hospital building. It is rumored that the blood on Dr. Gross' fingers made some of the members of the committee sick, but, judging from the quality of the work exhibited by them we fear that it was not the blood alone that made them sick. Artists have before now been known to sicken at the sight of pictures by younger men which they in their souls were compelled to acknowledge were beyond their emulation. Controversy about the painting has centered on its violence, and on the melodramatic presence of the woman. Modern scholars have suggested that the painting may be read in terms of castration anxiety and fantasies of mastery over the body (e.g. Michael Fried), and that it documents Eakins's ambivalence about representing sex difference (e.g. Jennifer Doyle). The painting has also been under</div>
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