chetvergvecher (chetvergvecher) wrote,

Today’s Classic: Don Quijote de la Mancha 1. By Octavio Ocampo (1989) 2. By Gustave Doré (1860) 3. By Honore Daumier (1870) 4. By Edy Legrand (1950) 5. By Pablo Picasso (1955) with an author correction about the first piece





The Fawn, by Maurice Milliere, for La Vie Parisienne

Czene Béla


The Love Letter (1870). Charles Louis Baugniet (Belgian, 1814-1886). Oil on panel. Baugniet attended the Académie Royale des Beaux-Arts in Brussels during 1827-29, where he studied under Joseph Paelinck and Florent Willems. His first attempts at lithography date from 1827, and his reputation grew steadily with the appearance of his first portraits in the magazine L’Artiste in 1833

Isadora Duncan dancing at the Gaieté-Lyrique theater, Paris 1909. Published in the magazine L’Illustration, Paris, on 22 May 1909. Auguste François-Marie Gorguet (French, 1862-1927). Bibliothèque Des Arts Decoratifs, Paris. It was after one of these shows that Paris Singer, the wealthy heir to the Singer sewing machine empire, appeared at Isadora’s dressing room. With Singer’s marriage on the rocks, they embarked on a passionate affair. In September 1909, while in Venice, she found she was pregnant

Salomé (1870). Henri Regnault (French, 1843–1871). Oil on canvas. Met. Regnault initially represented this Italian model as an African woman, but later transformed it into a representation of the biblical temptress Salomé. Hair ruffled, clothes in disarray, she has just danced for her stepfather Herod, governor of Judea. The platter and knife allude to her reward: the severed head of John the Baptist

Reading the Bible (c.1859). Hugues Merle (French, 1823-1881). Oil on canvas. The Wallace Collection. Perhaps exhibited at the Paris Salon of 1859. The scene appears to be set in an orphanage, the children being orphaned sisters. Religion was the subject of much political controversy in France in the 19th century between the Right, generally supportive of the traditional Catholic faith, and the Left, generally supportive of secular policies. Scenes like this would therefore be regarded by many contemporaries as overt political statements

The Chess Players (1929). Sir John Lavery (Irish, 1856 1941). Oil on canvas. Tate. The picture shows the Hon. Margaret and the Hon. Rosemary Scott-Ellis, daughters of Thomas Scott-Ellis, 8th Baron Howard de Walden. The girls have put aside their books for a game a chess, perhaps at Chirk Castle, Denbighshire, where the Scott-Ellis family lived for years

Portrait of a Young Girl (1853). Ernst Deger (German, 1809-1885). Oil on canvas. Städel Museum. Deger’s style was vigorous, direct, and simple; his handling careful and precise; his drawing and power of characterization masterful; and his colour rich and harmonious

Costume for a Fury in Iphigenia in Tauris. Jean-Baptiste Martin (French, 1659-1735). Oil on canvas. Jean-Baptiste Martin, who was appointed designer for the Paris Opéra in 1748, devised decorative and amusing Rococo variations for the male dancer’s traditional costume. Martin utilized Inca, African, Chinese, and Mexican motifs in his ballets, and under his direction the tonneler took on an elliptical shape

Aimée, a Young Egyptian [also known as Cymbals] (1869). Emile Lecomte-Vernet (French, 1821-1900). Oil on canvas. Lecomte-Vernet studied at the l’Ecole de Beau-Arts under the tutelage of his uncle, Horace Vernet, and Leon Cogniet, who both largely influenced his painting style and technique. From his debut at the Paris Salons in 1846, when he first won the bronze medal at the age of twenty-five, until 1892, Lecomte-Vernet regularly exhibited his artwork at the Paris Salons to critical acclaim

Cover illustration for Rainbow Valley. L. M. Montgomery. Gramercy, 1995. Illustration by Robert E McGinnis (American, born 1926). McGinnis became an apprentice at Walt Disney studios, then studied fine art at Ohio State University. After wartime service in the Merchant Marine he entered advertising and a chance meeting with Mitchell Hooks in 1958 led him to be introduced to Dell Publishing began a career drawing a variety of paperback covers

"Winter Page Turners." The New Yorker, December 20 and 27, 2004. Greg Clarke. Greg’s work has appeared in numerous publications including Rolling Stone, Time Magazine, The Atlantic, Mother Jones, Real Simple, and The New Yorker. Corporate and publishing clients have included Target, Purina, Chase Bank, Simon & Schuster, and Random House

The Boyhood of Alfred the Great (1913). Edmund Blair Leighton (British, 1852-1922). Oil on canvas. Kirklees Museums and Galleries. In the late 1890s Blair Leighton’s work took on a more poetical and even symbolist tinge, a passing phase. Perhaps because symbolism itself was losing its hold on popular imagination, or perhaps because it was not Blair Leighton’s natural territory, he was soon returning to more literal historical themes, this work being a prime example


Bartolomeo Veneto, Portrait of a Young Man, 16th century

Vittore Carpaccio, The Supper at Emmaus, c. 1513

Francesco de’ Rossi (Il Salviati), Madonna and Child, c. 1535-9

Girolamo Romani (Il Romanino), The Last Supper, 1535


Little Tree (Chestnut Tree at Lake Constance), 1912 Egon Schiele

Odilon Redon (1840-1916), Cavalier - 1885

Jacobi de Ancharano (alias de Teramo), Litigatio Christi cum Belial, verdeutscht- BSB Cgm 48 ([S.l.] 1461) You don’t often see demons wearing glasses

Alkonost, Ivan Bilibin; 1905

by Andrew Wyeth

Hans Jacob Hansen (1853-1947) A Moonlit Harbour, watercolour, 76 x 63,5 cm

Sailing boats - Mikalojus Ciurlionis, 1906

Gerard David (1460-1523) Altarpiece of St. Michael, 1510

Vincent Van Gogh Peach Tree in Bloom (in memory of Mauve), 1888

Landscape with Alphonse Daudet’s Windmill, 1888 Vincent van Gogh


Mstislav Dobuzhinsky

Unknown Master The Martyrdom of Saint John the Apostle Part of a Retable, Upper Rhine, ca. 1450

Moonlight - Henri Moret

Salvador Dali ~ “The Stillness of Time”, 1975

Egon Schiele Russian Prisoner of War (Grigori Kladjishuli), 1916

Sandspit, Andrew Wyeth 1953

Portrait of a Young Man, Pavel Tchelitchew. Russian (1898 - 1957)

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