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The Christ And The Buddha: How Can You Explain the Uncanny Similarities? - Vimarsana News

The Christ And The Buddha: How Can You Explain the Uncanny Similarities?

Buddhism and Christianity arose independently of each other, separated as they were by almost 3,000 miles and at least 500 years. In terms of religious belief systems they are even farther apart.

Before Romeo and Juliet, Paolo and Francesca Were Literature's Star-Crossed Lovers | Arts & Culture - Vimarsana News

Before Romeo and Juliet, Paolo and Francesca Were Literature's Star-Crossed Lovers | Arts & Culture

Centuries after Italian poet Dante published "The Divine Comedy," Romantic artists and writers reimagined the tragedy as a tale of female agency

Frederic-Auguste Bartholdi | Biography, Art, & Facts - Vimarsana News

Frederic-Auguste Bartholdi | Biography, Art, & Facts

Frederic-Auguste Bartholdi, French sculptor known for his colossal sculptures, notably the Statue of Liberty in New York Harbor. Dedicated in 1886, the statue was titled, in full, Liberty Enlightening the World and was given to the United States by France.

ZeitZeichen - 18. Juli 1821: Opernsängerin Pauline Viardot-García wird geboren - Vimarsana News

ZeitZeichen - 18. Juli 1821: Opernsängerin Pauline Viardot-García wird geboren

Pauline Viardot-Garcia um 1840, Gemälde von Ary Scheffer Gerade elf geworden verliert Pauline den Vater; vier Jahre später stirbt Maria mit nur 28 Jahren nach einem Sturz vom Pferd. Nun muss sie die Familie ernähren und die Mutter bestimmt: Schließ dein Klavier, ab morgen bist du Sängerin! " Das gibt Pauline García selbst so wieder", weiß ihre Biografin Beatrix Borchard, " und das war für sie sicher ein sehr bitterer Wendepunkt." Heirat mit Louis Viardot Als Desdemona in Rossinis "Otello" gibt die Fünfzehnjährige 1837 ihr Debüt. Kurz darauf wird die Sängerin mit der exotischen Ers...

Source: wdr.de
John Constable and Paul Huet: Marsh and Flood – Tate Papers - Vimarsana News

John Constable and Paul Huet: Marsh and Flood – Tate Papers

National Gallery, London Much has been written about John Constable’s success at the Paris Salon of 1824, but his participation in the next Salon of 1827–8 has received far less attention. This relative neglect is perhaps not so surprising, given that the single painting he exhibited, The Cornfield 1826 (fig.1), did not repeat his earlier triumph. The same Salon at which Constable met with a critical setback, however, also marked the debut of Paul Huet, the artist usually regarded as his closest French follower. But if critics and artists seem out of step in their attitudes to the Englis...