“Nearby…. are monsters personifying Pestilence and Famine, those inseparable partners of War. On the ground, turning her back, lies a woman with a broken lute representing Harmony… [T]here is also a mother with a child in her arms indicating that fecundity, procreation and charity are thwarted by War, which corrupts and destroys everything.”
Rubens is describing his painting 'The Horrors of War' https://upload.wikimedia.org/wikipedia/commons/a/a7/Rubens_-_The_Consequences_of_War.jpg 1637
In a letter to Justus Sustermans, c. 1637 (Rubens' agent at the Medici court in Florence); as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
Simon Schrama describes: The blue skies in the painting are overwhelmed by smoky darkness.. ..despite support from the usual team of putti and her own spectacularly opulent charms, Venus is losing the battle for Mars's attentions to the Fury Alecto
1625 - 1640
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Peter Paul Rubens 13
Flemish painter 1577–1640Related quotes

excerpt of her Journal, Worpswede 1897; as quoted in: Witzling (1991, p. 193) and Delia Gaze (2001) Concise Dictionary of Women Artists, p. 489
1897

Daily Telegram #1019, Thoughts Of Will Rogers On The Late Slumps In Stocks (31 October 1929)
Daily telegrams
Context: Sure must be a great consolation to the poor people who lost their stock in the late crash to know that it has fallen in the hands of Mr. Rockefeller, who will take care of it and see it has a good home and never be allowed to wander around unprotected again. There is one rule that works in every calamity. Be it pestilence, war, or famine, the rich get richer and poor get poorer. The poor even help arrange it.
Life & Times of Michael K (1983)
Context: He closed his eyes and tried to recover in his imagination the mudbrick walls and reed roof of her stories, the garden of prickly pear, the chickens scampering for the feed scattered by the little barefoot girl. And behind that child, in the doorway, her face obscured by shadow, he searched for a second woman, the woman from whom his mother had come into the world. When my mother was dying in the hospital, he thought, when she knew her end was coming, it was not me she looked to but someone who stood behind me: her mother or the ghost of her mother. To me she was a woman but to herself she was still a child calling to her mother to hold her hand and help her. And her own mother, in the secret life we do not see, was a child too. I come from a line of children without end.

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 618.
The Drama of the Gifted Child (Das Drama des begabten Kindes, 1979)