Raymond Douillet Ilia Repin (Russian, 1844–1930). Portrait of…: chetvergvecher

Raymond Douillet

Ilia Repin (Russian, 1844–1930). Portrait of Vsevolod Mikhailovich Garshin (1855–1888), 1884. The Metropolitan Museum of Art, New York

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The Bookman: A Literary Journal — April. Color lithograph (1896). James Montgomery Flagg (American, 1877-1960). Prints & Photographs Division. Library of Congress. Here Flagg created a cover for The Bookman, an illustrated literary journal dedicated to reviewing contemporary American literature through its four decades of publication. The Bookman was the first American publication to promote best-sellers by listing titles “in order of demand”

Portrait of a Young Woman (c.1490). Domenico Ghirlandaio (Italian, 1449–1494). Tempera on wood. Museu Calouste Gulbenkian. The model depicted in this panel recalls the members of the Sassetti family that the artist painted in fresco. She is dressed in the Florentine fashion of the era, with layers of close-fitting clothing and a neckline adorned by a coral necklace. A beautiful example of the portraits of the Quattrocento, the figure is shown in three-quarter profile against a neutral background

Johannes van Musschenbroek and His Wife (1685-88). Pieter Cornelisz van Slingeland (Dutch, 1640-1691). Oil on panel. Museum of Fine Arts, Boston.
Johannes van Musschenbroek (1660-1707) was an instrument maker. He married in Rotterdam in 1685 to Margaretha van Straaten

Napoleon and Josephine. Harold H. Piffard (British, active 1895-1899). Oil on canvas. "What is extraordinary is that in this passion we have Napoleon’s letters to Josephine that she kept, but we don’t have her letters to Napoleon. So either he didn’t keep them and that would make his passion a little more lukewarm in a way or maybe Josephine didn’t write to him or would write just very neutral letters. The latter version is the one I would adopt." — Tulard

Reading Vogue in pearls. Georges Lepape (French, 1887-1971). Published September 15, 1926 The Subscriber. Close-up of a woman face, blond hair, blue eyes and red lipstick. Wearing a pearl choker and pendants, reading a pink Vogue magazine. Vogue spelled in pearls across top. Black background

Girl Reading a Letter by Candlelight, With a Young Man Peering over Her Shoulder (c.1761). Joseph Wright of Derby (English, 1734–1797) Oil on canvas. This work is a fine example of Wright’s fascination with the effects of light. His meticulously painted figure pairs or groups in dark interiors illuminated by candles or lamps carried his reputation to London. His dramatic contrasts of light and shade showed the influence of artists like Gerrit van Honthorst and Rembrandt van Rijn

Lyric Opera original poster (1968). Romain de Tirtoff (French, 1892-1990), known by the pseudonym Erté. Erté began his career doing stage designs in Paris in the 1930s. By 1968, when this poster was done, he was a living icon of the deco era. In this poster he returns to his roots in theatre. Using his signature art deco style, Erté bridges the tradition of a great deco poster design while at the same time making it very contemporary with the almost-psychedelic colors of the 1960s

Portrait of A. G. and A. A. Lobanov-Rostovsky (1814). Vladimir Borovikovsky (Russian, 1757-1825). Oil on canvas. Russian Museum, St. Petersburg. In 1795 Borovikovsky became a member of the St Petersburg Academy of Arts; he was also closely connected with many of the chief exponents of Russian culture in the city. His sitters included members of the imperial family, courtiers, generals, many aristocrats and figures from the Russian artistic and literary worlds. Most of his portraits are intimate in style