The only serious rival to the “glorious Greek” was the “noble savage,” preferably North American. And the genius of that Prince of Arrivistes, Benjamin West, was able to combine the two. When in 1760 he was shown the Apollo Belvedere he started back and exclaimed, “My God, how like it is to a young Mohawk warrior!” - Winckelmann and the Second Renascence, 1755-1955, by Gilbert Bagnani American Journal of Archaeology, 1955(115) Darcy G. Grigsby’s Nudity a la grecque in 1799 focuses on David’s rehabilitation in that year (in a new society in which revolutionary associations in one’s past were considered damning) that took the form of his exhibition of his Sabines paintings. David wrote a brochure to hand out to visitors (of which there were perhaps fifty thousand in all) in defense of his work, and in particular in defense of the male nude. It was also a defense of the artist as entrepreneur: “Isn’t it an idea that is as fair as it is wise that those who procure for the arts the means of
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