Putto best-known are the sculptor Donatello and the painter Raphael. The two relaxed and curious putti who appear at the foot of Raphael's Sistine Madonna are often reproduced. They also experienced a major revival in the 19th century, where they gamboled through paintings by French academic painters, from Gustave Doré’s illustrations for "Orlando Furioso" to advertisements. The iconography of putti is deliberately unfixed, so that it is difficult to tell the difference between putti, cupids, and various forms of angels. They have no unique, immediately identifiable attributes, so that putti may have many meanings and roles in the context of art.
What a Pushkin, what a son of a bitch! What a Pushkin, what a son of a bitch! "What a Pushkin, what a son of a bitch!" (; sometimes separated by exclamation mark instead of comma) is a catchphrase and winged word from Alexander Pushkin's correspondence with one of his friends, poet Pyotr Vyazemsky. The phrase commonly expresses a joy after finishing one's work and appears particularly in several Russian literary works. In a letter dated circa November 7 or beginning of October, 1825 Pushkin, celebrating his finished drama "Boris Godunov" wrote to Vyazemsky: That was preceded by what Pushkin wrote to Vyazemsky on July 13 of the same