chetvergvecher (chetvergvecher) wrote,

Василий Ленивкин

Ramzi Taskiran



Robert Peake the Elder "Princess Elizabeth (1596-1662), later Queen of Bohemia"

Andrzej Piecha



Chong Wong


Elizabeth stares at Darcy’s portrait. Illustration by Anna and Elena Balbusso. Folio Society Editon: Pride and Prejudice by Jane Austen. As Elizabeth stares, Austen tells us, “there was certainly … in [her] mind, a more gentle sensation towards the original, than she had ever felt in the height of their acquaintance.” Further, “[A]s she stood before the canvas, on which he was represented, and fixed his eyes upon herself, she thought of his regard with a deeper sentiment of gratitude than it had ever raised before”

Allegory of Geometry (1649). Laurent de La Hyre (French, 1606-1656). Oil on canvas. Legion of Honor, San Francisco. Geometry is personified as a young woman holding a compass and right angle in one hand and a sheet inscribed with Euclidean mathematical proofs in the other. Surrounding her are examples of the practical applications of the science, including a perspectival landscape painting on an easel, a globe that refers to mapmaking, and an ancient Egyptian pyramid

Elspeth (1941). Robert Sivell (Scottish, 1888 -1958). Oil on canvas. Aberdeen Art Gallery & Museums. This is a portrait of the artist’s daughter Elspeth, who has looked up from the book which she had been reading. Both Elspeth and Isobel, Sivell’s wife, frequently were models for Sivell

Spot Red (1896). James Jebusa Shannon (American, 1862-1923). Oil on canvas. The sitter is said to be Liz Cartwright. Spot Red, with its lack of overt narrative, monochromatic arrangement of warm greys and whites, compositional asymmetry, and a title referencing the one bright note of color, clearly indicates that Shannon took inspiration from Whistler. Yet, Shannon portrays a woman of flesh and blood whose seductive power is communicated by her pose and direct facial expression

Francesca da Rimini (1837). William Dyce (Scottish, 1806-1864). Oil on canvas. National Galleries of Scotland. Subject was inspired by the ill-fated lovers described by Dante in his epic poem ‘The Inferno’. Francesca, married to an elderly and deformed husband Gianciotto, read to his younger brother Paolo and they fell in love. Gianciotto surprised the lovers and murdered them

The Love Letter. Hans Zatzka (Austrian, 1859-1945). Oil on canvas. The charming fantasy subject matter of the young girl and cupid expressed in this painting are typical of Zatzka. Here, the girl hides the love letter behind her back while wagging her finger at the cupid, suggesting that she will read the letter without his further assistance

Bagpipe Player (1624). Hendrick ter Brugghen (Dutch, 1588-1629). Oil on canvas. National Gallery of Art. The interlocking rhythms of this ensemble—the broad, round shapes of the musician’s shoulder, beret, and brown bagpipe bag; the flowing patterns of folds in his creamy shirt and taupe robe; the pronounced diagonals of the drones and pipe; and the verticality of the chanter—parallel those of a musical score. The work should be seen as part of a broad cultural interest in depictions of the idyllic pleasures of country existence, particularly as experienced through music

Marjorie and Margaret. Illustration by Arthur Rackham. Arthur Rackham’s Book of Pictures. Intro by Arthur Quiller-Couch. London: William Heinemann (1913). Rackham was fortunate in obtaining Sir Arthur Quiller-Couch. ‘Q’ not only admired Rackham’s work; he also thoroughly understood a child’s instinctive longing for the imaginative and fanciful. ‘To this instant, constant, intellectual need of childhood no one in our day,’ he wrote, ‘has ministered so bountifully or so whole-heartedly as Mr. Rackham’

Philibert Orry de Vignory (c.1737). Maurice Quentin de la Tour (French, 1704-1788). Pastel on blue paper. Musée du Louvre, Paris. Orry de Vignory (1689-1747) was appointed by Louis XV in 1736 to the prestigious post of Directeur Général des Bâtiments, Arts et Manufactures, a title that put him in charge of all the artistic activity in France

Madame Barbier-Walbonne (1808-10). Aleksander Kucharski (Polish, 1741-1819). Pastel on blue paper. Musée du Louvre, Paris. Kucharski generally painted half-lengths in oval frames; his compositions were simple: figures set against neutral backgrounds, straightforward in gesture and pose, strongly characterized and yet decorative. The sitter of this portrait is the wife of the painter Jacques-Luc Barbier-Walbonne (1769-1860), a pupil of Jacques-Louis David

Young Woman with Mandolin (1901). Harrington Mann (Scottish, 1864-1937). Oil on canvas. In 1900, Mann moved south to London, also opening a studio in New York, where his paintings became popular. In London, he found success in society portraits, especially of children and including members of the British royal family. Mann’s use of colour was influenced by James McNeill Whistler. His bold brushwork shows the influence of John Singer Sargent

Portrait of Queen Mariana de Austria as a Widow (1669). Juan Carreño de Miranda (Spanish, 1614-1685). Oil on canvas. Museo del Prado. In this portrait Carreño follows the tradition of Velázquez. However, the Mariana of this canvas does not resemble the brightly adorned queen painted by Velázquez in 1652. Instead, in this somber portrait, she is cloaked with a dark head covering or tocas, imitating convent attire

Caspar David Friedrich in his Studio (1812). Georg Friedrich Kersting (German, 1785-1847). Oil on canvas. Nationalgalerie, Berlin. Friedrich was known for his visionary imagination, which Kersting emphasized by depicting him at work in a studio cut off from the external world. In this bare room the painter has his back to the window, its shutters open to admit only enough light for him to work. More striking still is Friedrich’s isolation

The Cumaean Sibyl (1616-17). Domenichino (Italian, 1581-1641). Oil on canvas. Galleria Borghese, Rome. Chromatic modulations characterize the Sibyl by Domenichino, who was also an expert in music. The figure is depicted with a viola da gamba and a music book, because traditionally in antiquity sibyls sang their prophecies to the accompaniment of musical instruments

Boy conjuring up the elves with his flute. Illustration by Gustaf Adolf Tenggren (1896-1970). From the Grimm tale “The Gnome.” Published in Udvalgte Eventyr af Brødrene Grimm [Selected Tales from the Brothers Grimm] (Copenhagen: E. Jespersens Forlag, [1900]), p 78

Behind the Scenes (c.1880). Jean-Louis Forain (French, 1852-1931). Oil on canvas. National Gallery of Art A follower and protégé of Degas, Forain. influenced by Impressionist theories on light and color, preferred to depict scenes of everyday life: his watercolors, pastels, and paintings focused on Parisian popular entertainments and themes of modernity—the racetrack, the ballet, the comic opera, and bustling cafés

Family reading and relaxing. Cover illustration for After Dinner at the Farm. The Saturday Evening Post, March 7, 1948. John Falter (American, 1910-1982). Issue contains I was an American Spy by Col. Sydney Mashbir and The Message of Gandhi by Edgar Snow. Short stories include A Beautiful Fraud by Norbert Davis with illustrations by Coby Whitmore

A Daydream (1884). Walter Langley (British, 1852-1922). Watercolor. Penlee House. Langley is generally dubbed the “pioneer of the Newlyn School,” as he was the first of the group to settle in the village. Whereas most of his fellow Newlyners concentrated on painting in oils, Langley excelled at watercolour, producing narrative works imbued with almost overwhelming pathos

La Parnasse (1497). Andrea Mantegna (Italian, 1431-1506). Tempera and gold on canvas. Louvre Museum, Paris. The traditional interpretation of the work is based on a late 15th century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella d’Este as Venus and Francesco II Gonzaga as Mars. In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony

Faust on Easter Morning (1856). Johann Peter Krafft (Austrian, 1780-1856). Oil on canvas. Akademie der bildenden Künste, Vienna. This picture, one of the last paintings by the artist, illustrates a scene from Goethe’s Faust. It depicts the moment when Faust was preparing to empty the bowl of poison, but was prevented by the peal of the Easter bells

The Sleeping Beauty (1903). Joseph Edward Southall (British, 1861-1944). Tempera on millboard. Birmingham Museums and Art Gallery. Maud Leather, the foremost figure, was one of the three professional artists models who regularly worked for Southall. Miss Davidson, the central figure, is known to have sat for Southall between 1928-34. Mrs Lemon, on the left, was another model who sat for Southall around the same time

Music (1783?). Marie-Victoire Lemoine (French, 1754-1820). Oil on canvas. Music (La Musique) was a pair with Poetry (La Poésie, 1781). These allegories are visions of beautiful and innocent woman. Lemoine seems inspired by Vigee-Lebrun who used to ask her models to look lost, which is opposed to looking at the painter

Madonna with the Book (Connestabile Madonna) [1504]. Raffaello [Raphael] Sanzio (Italian, c.1483-1520). Tempera on canvas transferred from wood. The Hermitage. The Conestabile Madonna is a small (and probably unfinished) painting that portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book

The Violinist Leila Kalman (1924). George Wesley Bellows (American, 1882-1925). Oil on canvas. Bellows became associated with Henri’s “The Eight” and the Ashcan School. However, by 1916 many of Bellows’ portraits focused on women, with his wife Emma & their two daughters being frequent subjects. In these paintings, he displayed an increasingly theoretical approach to color & design, a marked departure from the fluid muscularity of his early work

Young Painter (1765-1768). Ivan Ivanovich Firsov (Russian, 1733-1785). Oil on canvas. The State Tretyakov Gallery. Firsov depicts the interior of an art studio in which the young painter has placed his ‘model’ – a young girl in a pink dress. They are surrounded by objects required by an artist in his daily work: a plaster bust, a leather mannequin, an easel and a box of paints. Under the loving brush strokes of Firsov these everyday items take on a particular charm

A Literary Reading (1866). Vladimir Makovsky (Russian, 1846-1920). Oil on canvas. The State Tretyakov Gallery. Makovsky studied at the Moscow School of Painting, Sculpture, and Architecture. During that time, he won a medal for A Literary Reading. He finished his studies in 1869 and the following year became one of the founding members of the Association of Travelling Art Exhibitions, where his many years of prolific work brought him to a leading position

The Sorrows of Aminta (c.1625). Bartolomeo Cavarozzi (Italian, 1587-1625). Oil on canvas. Musée du Louvre. “O Grief, who tortures me so, why have you not yet killed me?” These words are written on the open musical score, a madrigal based on Torquato Tasso’s Aminta. In this popular dramatic poem, the shepherd Aminta mourns the death of his love, the nymph Silvia. Here the painter shows Aminta playing the recorder as his companion Thyrsis—or perhaps his friend the nymph Daphne—finds solace in the music

Classical Dance. Georgy Kurasov (Russian, born 1958). Kurasov married Zinaida (Zina), a Russian ice ballerina, who became the model for many of his works. In 1982, he graduated with a Master of Fine Arts degree in Sculpture and Painting and was invited to join the exclusive Russian Union of Artists


Giovanni Battista Zelotti, Poseidon, from Villa Emo, c. 1565

Johann Heinrich Wilhelm Tischbein, Pair of Lions Fighting a Giant Serpent, or the Animal Laocoon, 1789

Jean-Baptiste Chometon, Portrait of the Painter Fleury Francois Richard, 1812

Tags: картинки11, музей11

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    Pierre Bonnard (1867-1947) La maison aux environs du Grand-Lemps (1886)

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    Контрольный утренний замер на самоизоляции: С. 156 см, 49 кг. А. 117 см, 21.5 кг. Ну и могучие супергерои на рисунке А.: Халк встречается с…

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    Artwork Market Along the Canal, Venice by Jane Peterson

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