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Music (c.1895). Thomas Wilmer Dewing (American, 1851-1938). Oil on canvas. Smithsonian American Art Museum. This work is an example of Dewing’s tonalist paintings, a genre of American art that was rooted in English Aestheticism. Dewing’s preferred vehicle of artistic expression is the refined, aristocratic female figure situated in a moody and dreamlike surrounding. Playing the lute and singing, these sensitively portrayed figures have a detachment from the viewer
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La Carmencita (1890). John Singer Sargent (American, 1856-1925). Oil on canvas. The Spanish dancer known as La Carmencita first came to fame at the Exposition Universelle in Paris in 1889, where Sargent probably saw her performing in a tent. By February 1890 she was dancing in a music hall in New York City, when Sargent encountered her at a private performance at a friend’s party and asked her to pose for him
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Dreams, E dolce dormire (exh.1908). Samuel Melton Fisher (British, 1859-1939). Oil on canvas. Gallery Oldham. The mother has dropped her reading material, which perhaps are letters and a musical score, and is in a sweet sleep. No doubt her daughter is skilled at playing the harp as her music has contributed to her mother’s peacefulness
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Portrait of a Boy Reading (1913). Edmund Charles Tarbell (American, 1862-1938). Oil on canvas. The loose, energetic brushwork in the boy’s suit and hair display the spontaneity that Tarbell brought to his Impressionist paintings. Artists of the Boston School explored aspects of texture, which can be seen in the handling of the creases in the boy’s suit and green drape. Tarbell’s expert drawing technique is evident in the rendering of the boy’s hand and book and his facial features
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Reading woman in a summer landscape (1896). Eivind Nielsen (Norwegian, 1864-1939). Oil on canvas. Nielsen’s artistic approach was rooted in the naturalistic and figurative image, and he was an avowed opponent of impressionism. Nielsen painted everyday subjects, interiors, portraits and landscapes. Here, a young woman is in a field of flowers reading a letter. She stands with her back facing the viewer, immersed in reading
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Without a Dowry (also known as Sunday in the Luxembourg Gardens), between 1883 and 1885. James Tissot (French, 1836–1902). Oil on canvas. The Jardin de Luxembourg was a popular recreational area where one could rent a chair to enjoy fresh air in comfort. The chair rental is probably the only Sunday pleasure the two women can afford. Both the mother and the daughter are in mourning – one can guess that the father, probably a poorly-paid government clerk, is gone and they are living on a small pension. Without a sufficient dowry, the young woman has no hope for a happy future
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Young Girl with Guitar (1923). Henri Lebasque (French, 1865-1937). Oil on canvas. In 1912, the Salon exhibited works by a group of artists, which, because of its distinct style, became popular as Les Fauves. Lebasque also changed his style in the same vein as Les Fauves, taking on a similar flatness of form and color, which was much subtler in Lebasque’s works
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Virgin and Child (c.1525). Joos van Cleve (Netherlandish, c.1485-1540/41) and a collaborator. Oil on wood. Met. Two iconographic themes are combined: the joys of motherhood and the sorrowful premonition of Christ’s death. The sleeping infant is traditionally understood as a prefiguration of the dead Christ. Two pages are legible in the prayer book. Taken from the Magnificat (Luke 1:54–55), celebrating the Annunciation, and the De Profundis (Psalm 130:1–2), used in the Mass for the dead, the verses foreshadow the Virgin’s rejoicing in the fulfillment of Christ’s destiny and her suffering at her son’s death
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Mrs Charles Hughes (1901). William Orpen (Irish, 1878-1931). Oil on canvas. Kirklees Museums and Galleries. This young lady is in a conventional pose, sitting with her book on her lap, her place marked, as she looks to the right, as if being interrupted. The light source is coming from that direction, which highlights half of her face, her arm, her hands, and the book
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Portrait of Virginia Shaw (1930). Bernard Boutet de Monvel (French, 1881-1949). Oil on canvas. Although he is perhaps best known as a portrait painter and a painter of urban views, Boutet de Monvel also produced book illustrations, particularly for children’s books, as well as fashion illustrations. He provided illustrations for Harper’s Bazaar in the 1920’s and 1930’s, and contributed illustrations to the first French edition of Vogue, published in June 1920, for which he continued to illustrate the latest fashions
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Mrs. Schermerhorn (1941). Victor Karl Hammer (American, 1882-1967). Tempera on panel. The Wolfsonian–Florida International University. Mrs. Elizabeth Ker Schermerhorn (American, 1908-1960) is seated; in her hands she is holding a prism and stalks of wheat; bust of a female head at left. Schermerhorn was a woman of privilege who became interested in psychology and studied with Carl Jung. She had her own theories about treating mental illness, and in 1942 she took a job at Rockland State Hospital as a Psychiatric Aide. She held a strong belief that there could be an integration of people with mental illness with people in so-called “normal society”
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Delhaize Fréres & Cie. Au Bon Marché. Enseigne Le Lion. Denrées coloniales, vins & spirit. Des presses J.L. Goffart, lithographe, Bruxelles (1896). Herman Richir (Belgian, 1866–1942) (Hamner). Chromolithographie. Richer produced posters under the pseudonym Hamner (an anagram of his name), including two chromolithographies advertising for Delhaize in the Art Nouveau style
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Reading Woman Seen in Profile (1914). Edgar Maxence (French, 1871-1954). Charcoal, watercolor and gouache on paper. Maxence exhibited in the Salon des Artistes Français from 1894 until 1939, and was active on the salon’s committees and juries. He combined highly trained technique with a taste for medieval and mythical subjects, and hermetic imagery, and he exhibited at the Salon de la Rose+Croix from 1895 to 1897
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Portrait of a Young Woman Playing the Harp (early 19th century). Robert Home (British, 1752-1834. Oil on canvas. Home traveled to the Indian subcontinent in 1791. The sitter, not identified, was likely the wife or more likely the daughter of a wealthy merchant or colonial administrator
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The Master and Margarita. Mikhael Bulgakov. Translated from the Russian by Michael Glenny. London, Collins and Harvill Press, (1967). Fiirst edition. Original dust jacket. Devastating satire of Soviet life was written during the darkest period of Stalin’s regime. Combining two distinct yet interwoven parts—one set in ancient Jerusalem, one in contemporary Moscow—the novel veers from moods of wild theatricality to somber scenes
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The Musical Interlude (c.1885). François Brunery (Italian, 1849-1906). Oil on canvas. A leader in his field, Brunery depicted members of the clergy – lavishly dressed and in opulent settings – engaging in a variety of Cardinal Sins: sloth, greed, pride, gluttony. The Musical Interlude is a fine example. The Cardinal appears ready to take his turn dancing
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Jacinta (1925). Louis Ginnett (British, 1875-1946). Oil on canvas. The Mercer Art Gallery, Harrogate. The image Ginnett painted of Jacinta has a sense of simultaneous intimacy and distance. It is a carefully composed and structured, highly finished piece that concentrates on depicting character in an interior setting
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Double Take. Norman Rockwell (American, 1894-1978). The Saturday Evening Post, May 10, 1941. Rockwell has the viewer seeing a glamorous, mature woman superimposed onto the body of a young co-ed who is reading, naturally, The Saturday Evening Post while her school books are stacked on her lap. It works well as Rockwell has handled it in such an off-hand manner, so that the viewer is deceived by the casualness of the composition and caught off guard
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Jeanne Cartier (c.1916-17). F. Luis Mora (American, 1874-1940). Oil on canvas. Yale University Art Gallery. Yale’s curators note that their Cartier shows the influence of Diego Velázquez, with its “vigorous rendering of her flattened figure,” and three-dimensionality piqued only by her pointed toe. Clad in purple stockings and an iridescent orange dress, Cartier represents the new modern woman in the style that dancers such as Irene Castle and she had made fashionable: slim-figured, uncorseted, and vivacious
Mora1

A Midsummer Night Dream, Act II, Scene II (1908). Arthur Rackham (English, 1867-1939). TITANIA, the Fairy Queen, enters with her following of FAIRIES. Come now, a roundel and a fairy song. Then for the third part of a minute, hence — Some to kill cankers in the musk-rose buds, Some war with reremice for their leathern wings To make my small elves coats, and some keep back The clamorous owl that nightly hoots and wonders At our quaint spirits. Sing me now asleep. Then to your offices and let me rest
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Queen Victoria (1844). Robert Thorburn (Scottish, 1818-1885). Watercolour on ivory. Royal Collection. Thorburn’s miniature portrays the contrast between the Queen’s professional and personal life: wearing the ribbon and star of the Garter whilst reading a letter simply attired in black wearing a miniature bracelet on her wrist and the treasured crystal locket that had been an engagement present from Queen Louise of the Belgians
Thorburn1

От http://books0977.tumblr.com/

Carlo Crivelli, Saint Francis Collecting the Blood of Christ, c. 1490-1500
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Lorenzo di Credi, Madonna and Child, 16th century
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Circle of Bartolomeo Manfredi, A Concert, 17th century
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От http://necspenecmetu.tumblr.com/

The Little Mermaid by Galya Zinko
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От http://cizgilimasallar.blogspot.ru/

Superman 400 Portfolio ~ 1984
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От http://thegoldenagesite.blogspot.ru/
Tags: картинки10, музей10
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