human
Naval Battle at Salamis caused a special stir through its sinking harem. In his
gpt
Nero he contrasted the orgies of the Romans of the decadence with the enthusiasm for death of the early Christians. Again, in his great cartoon in charcoal of
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Peter Arbue,
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Reynard the Fox he adapted, for the benefit of the German public, Grandville's _Scènes de la Vie privée et publique des Animaux_, published in 1842. His illustrations for _éditions de luxe_ (
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The Women of Goethe, etc.) marked the first steps of the road which ended in Thuman. And Thuman stands higher than Kaulbach. The faint, unaccented drawing, the oval
gpt
of heads, declamatory and expressionless, the academic touch are common to both of them. But only with Kaulbach do we find the penetrating perfume of the demi-monde, the voluptuous, satirical laughter which is not even stilled before Goethe, the pandering sensuality which cannot touch the purest and tenderest figures in German poetry without using them as a pretext to fling nudities to the public like bones to a dog. In his
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Dance of Death suite, Kaulbach turned into frivolity what Rethel had before expressed solemnly and earnestly. Like the two augurs, who could not meet without laughing, so at last the satirical designer began to laugh at his own monumental pictures. After completing in his series of mural paintings at the Berlin Museum his
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Apotheosis of the Evolution of Human Culture,