En Lombardie, sept raisons de visiter Crémone, la capitale du violon lefigaro.fr - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from lefigaro.fr Daily Mail and Mail on Sunday newspapers.
Merger of Two Boson Stars Could Explain Existence of Dark Matter
Written by AZoQuantumFeb 25 2021
An international research team has now demonstrated that the heaviest collision of black holes to be ever visualized and created by the gravitational-wave GW190521 could be more mysterious than previously believed that is, the merger of a pair of boson stars.
Illustration of a merger of two boson stars. Image Credit: Nicolás Sanchis-Gual y Rocío García Souto.
The new study would be the first proof of the presence of these theoretical objects that represent one of the key candidates to create dark matter, which constitutes 27% of the Universe.
The Climbers, 1510. Engraving on laid paper. Sheet 284 x 224 mm. Sold for £4,750 on 14 December 2017 at Christie’s in London
Raimondi was also skilled enough to combine different sources in one print, as he did with The Climbers (above): a landscape copied from Lucas van Leyden, in which he set three male nudes lifted from the cartoon for Michelangelo’s never-realised fresco,
The Battle of Cascina.
By around 1510, Raimondi had settled in Rome. It was there that he struck up one of the greatest artistic double-acts of the Renaissance: with Raphael.
Giorgio Vasari thought Raimondi worthy of a whole chapter in his book,
The Lusty Creativity of Cornelis Cornelisz van Haarlem
The Lusty Creativity of Cornelis Cornelisz van Haarlem
A lesser-known Dutch master with a penchant for male backsides created some of the greatest homoerotic paintings of all time.
Cornelis Cornelisz van Haarlem’s “The Massacre of the Innocents” (1590) at the Rijksmuseum in Amsterdam.Credit.Courtesy of the Rijksmuseum
By Arthur Lubow
Jan. 13, 2021
I was walking through the Rijksmuseum in Amsterdam a few years ago when I bumped up against an enormous painting that stopped me in my tracks. Eight feet high and almost twelve feet long, “The Massacre of the Innocents,” a depiction of the slaying of male babies ordered by King Herod in Bethlehem, placed me cheek by jowl with the most provocatively positioned, beefy male posterior I had ever seen in Western art. The naked butt jutted out, forcing the viewer of the painting to gaze up at the massive glutes and thighs, much like the mother of the unfortunate infant under t