Artist: John Sharman

Year: ca. 1918

Medium: Oil on canvas

This composition is an intricate network of trellis, railing, and awning. Upon this framework Sharman lavished broad strokes of brilliant color, applied with the sensitivity to light and shade that he acquired from the Impressionist practice of painting outdoors. This technique created a portrait of summer sun that casts deep shadows on the porch and transforms vines into a wave of white blossoms. Although not well known today, Sharman received many excellent reviews in his day, especially in his native Boston. A critic for the Boston Transcript described At the End of the Porch as “a beautiful, luminous and joyous picture of a place where one would like to be.”

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Artist: Akseli Gallen-Kallela

Year: 1886

Medium: Oil on canvas

Painted in 1886, View from Eläintarha at Sunset by Akseli Gallen-Kallela captures a quiet landscape at the end of the day. The water mirrors the soft pink and orange hues of the sky, while the surrounding trees and land appear in deeper shades of green and brown. Loose, noticeable brushwork gives the scene a textured surface and adds to its calm, reflective mood. The painting is held by the Ateneum art museum in Helsinki, Finland, and measures 31 cm (12.2 in) by 24.5 cm (9.6 in).

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Artist: Caspar David Friedrich

Year: 1809–10

Medium: Oil on canvas

The Abbey in the Oakwood (German: Abtei im Eichwald) is an oil painting by the German Romantic artist Caspar David Friedrich. It was painted between 1809 and 1810 in Dresden and was first shown together with the painting The Monk by the Sea in the Prussian Academy of Arts exhibition of 1810. On Friedrich's request The Abbey in the Oakwood was hung beneath The Monk by the Sea. This painting is one of over two dozen of Friedrich's works that include cemeteries or graves. After the exhibition both pictures were bought by King Frederick William III for his collection. Today the paintings hang side by side in the Alte Nationalgalerie, Berlin.

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Artist: Gustave Caillebotte

Year: 1875

Medium: Oil on canvas

Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

(...) Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, for the Salon of 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window). The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".

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Artist: Umberto Boccioni

Year: 1902

Medium: Gouache, charcoal, and pastel on paper

Created by Umberto Boccioni in 1902 in Rome, Italy, the artwork titled “Young Man on a Riverbank” is an embodiment of the Impressionism and Realism art movements. As a genre painting, it offers a snapshot of everyday life, capturing a moment that conveys a broader cultural or social understanding.

The artwork presents a contemplative scene featuring a solitary young man standing on a riverbank. He is portrayed in profile, gazing out over the water. His attire, notably a hat and a long coat, harmonizes with the formality of the early 20th century. The background is dominated by a warm, golden palette, suggesting the presence of either a sunrise or sunset sky filled with soft, billowing clouds. Below, the river reflects the luminous sky, with white streaks of light dancing on the water’s surface to create a serene and reflective atmosphere.

The shore on the opposite side of the riverbank is lined with dense foliage, and a pier or dock structure extends into the water, where a small boat is moored. These elements give the scene a sense of place and tranquility, characteristic of the Impressionist movement’s pursuit to capture the fleeting effects of light and the Realist movement’s focus on the authentic depiction of ordinary life. The brushwork appears loose and expressive, contributing to the overall impressionistic quality of the painting. The composition invites the viewer to join the young man in his introspection, offering a moment of calm and reflection.

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Artist: Edward Hopper

Year: 1925

Medium: Oil on canvas

The Bootleggers is a 1925 painting by American realist Edward Hopper. The work generally marks the end of his early period before painting the House by the Railroad that same year, the start of his mature or classic period. The painting depicts a nautical scene in a subdued blue and gray palette, showing three men on board a motorboat staring at the shore where another man, standing besides a large house, stares back at them. It has been described and interpreted as Hopper's most overt, political, and even contrarian work.

Art historians and critics believe that the painting is loosely based on the history of rum-running during Prohibition (1920–1933). The scene is thought to depict the smuggling of alcohol along the coast of Gloucester, Massachusetts, but Hopper's art dealer made it known that the painting was not based on an actual location but on several different scenes blended together. The Bootleggers was first exhibited in November at the Brooklyn Museum, followed by several other showings. Hopper held on to the painting for almost three decades until the Currier Museum of Art acquired it for their collection in 1956.

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Artist: Juan Gris

Year: 1917

Medium: Oil on panel

Like many European artists before them, Cubists often depicted Harlequin, a stock character in the Italian commedia dell’arte, a form of masked theater dating back to the sixteenth century. Easily recognized in his checkered costume, Harlequin is a trickster with a tendency to act on whim and passion. For this reason, several modern artists adopted the character as an alter ego. Gris was particularly fond of the subject; he portrayed Harlequin in approximately forty works made between 1917 and 1925. In this painting, caricature softens the Cubist fracturing of the figure, while bands of light illuminate Harlequin’s costume.

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This explains why this promising technology can’t be put to good use, why there can’t be a compensation model similar to YouTube’s, why it’s called artificial intelligence, and all that.

It’s an ideological issue, and it’s dominated by those who are used to their work being worth an absurd amount of money per hour— it's promoted by the combined power of all those vultures who have never accomplished even the slightest thing in their lives. It’s the wet dream of Wall Street hedge fund managers and CEOs who keep moving on after they’ve ruined yet another company.

That’s why it’s so incredibly fitting that the U.S. regime is betting so heavily on LLMs—they’re the prime example of the very actors preventing humanity from benefiting from this technological achievement. They epitomize what happens when egregious incompetence, criminal energy, and utter unscrupulousness are given opportunities and power that they should never have.