micronized
发表于 2025-3-27 01:02:54
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记成蚂蚁
发表于 2025-3-27 04:12:37
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间谍活动
发表于 2025-3-27 06:17:54
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ABHOR
发表于 2025-3-27 11:22:11
Deflecting the Fire of Eighteenth-Century French Battle PaintingThe differing fortunes of the battle painter Jacques Gamelin and the history painter Jacques-Louis David at the time of the French Revolution indicate that, when the newly founded French nation first went to war, the depiction of battlefield emotion did not, as yet, incorporate the changed emotional culture of the modern-day battle scene.
富饶
发表于 2025-3-27 14:15:04
Picturing Valenciennes: Philippe-Jacques de Loutherbourg and the Emotional Regulation of British Military art in the 1790s sought to regulate the emotional responses of civilians to visual representations of the Allied war against revolutionary France. The essay includes discussion of large-scale paintings by William Hodges painted in the same period intended to arouse anti-war sentiment.
攀登
发表于 2025-3-27 19:23:55
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变白
发表于 2025-3-27 22:40:56
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gerontocracy
发表于 2025-3-28 06:00:04
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BRINK
发表于 2025-3-28 06:54:05
https://doi.org/10.1007/978-3-322-85719-4ness to a wider range of emotional responses to the battlefield experience than the normative ones defined in propagandistic images. Close attention to the incidental details of contemporary accounts can be most revealing of the full range of battlefield emotions.
OATH
发表于 2025-3-28 12:04:48
Magical Swords and Heavenly Weapons: Battlefield Fear(lessness) in the Seventeenth Centurydierly fear. ‘Battlefield Fear(lessness)’ begins and concludes with an interpretation of the controversy about the magical sword Gustavus Adolphus of Sweden purportedly carried in the Battle of Lützen.