Oh Hello.

[niramish]

Lady in a Sari - Jamini Roy - 1950-60 - Lahiri Collection

[liquidlightandrunningtrees]

“She looked like, if you bit her, milk and honey would flow from her.”

— Franz Kline

[scandinaviancollectors]

FRANZ KLINE, Light Mechanic, USA, 1960. Oil on canvas. / Bloomberg

[abstrakshun]

Emily Kame Kngwarreye (Australian, 1910 - 1996)

Awelye  -  1994

more on abstrakshun

[thunderstruck9]

Hans Heysen (Australian, born Germany, 1877-1968), The White Gum, Far North, 1933. Watercolour over pencil on paper, 37.8 x 51 cm.

[artist-gris]

Portrait of Madame Josette Gris, 1916, Juan Gris

Medium: oil,canvas

https://www.wikiart.org/en/juan-gris/portrait-of-madame-josette-gris-1916

[cyberwave]

The Phenomenon of Ecstasy by Salvidor Dalí

[coriesu]

St. Augustine and St. Monica Ary Scheffer –1855

[tiredarthistoria-deactivated202]

Thomas Couture

Romans of the Decadence (1846; oil on canvas)

"Just as sexually demanding women destroyed the might of Rome -so the modern argument went- the courtesan threatens the nobility and honor of France." (P.258)

Honestly my textbook Nineteenth Century Art: a Critical History by Eisenman (Et al), kills me.

Go to the Google Arts and Culture so you can look closer at this painting!

[artmysteries]

Carriages and Promenaders on the Avenue des Champs-Élysées, Constantin Guy,

[classical-beauty-of-the-past]

Sala dei Giganti (1534), Palazzo del Tè, Mantua

by Giulio Romano (1499 –1546)

[asynopsis-blog]

Piero Della Francesca, The Flagellation of Christ. [Galleria Nazionale delle Marche, Urbino]

[shihlun]

J. M. W. Turner

- The Slave Ship (Slavers Throwing overboard the Dead and Dying—Typhoon coming on)

1840

Turner’s extraordinary painting of the slave ship remains a useful image not only for its self-conscious moral power and the striking way that it aims directly for the sublime in its invocation of racial terror, commerce, and England’s ethico-political degeneration. It should be emphasised that ships were the living means by which the points within that Atlantic world were joined. They were mobile elements that stood for the shifting spaces in between the fixed places that they connected. Accordingly they need to be thought of as cultural and political units rather than abstract embodiments of the triangular trade. They were something more – a means to conduct political dissent and possibly a distinct mode of cultural production.

The ship provides a chance to explore the articulations between the discontinuous histories of England’s ports, its interfaces with the wider world. Ships also refer us back to the middle passage, to the half remembered micro-politics of the slave trade and its relationship to both industrialisation and modernisation. As it were, getting on board promises a means to reconceptualise the orthodox relationship between modernity and what passes for its prehistory. It provides a different sense of where modernity might itself be thought to begin in the constitutive relationships with outsiders that both found and temper a self-conscious sense of western civilisation.

- Paul Gilroy, The Black Atlantic (1993)

[artmysteries]

The scene in [The Slave Ship (1840), by J. M. W. Turner] represents a real incident: when the captain of a slave ship discovered that his insurance only covered slaves lost at sea, and not those dying or ill on board, he ordered all dying and sick slaves to be thrown overboard. Turner’s painting captures the moment where the slaves are beginning to go under. In this painting, the horizon line, if distinguishable at all, is tilted, curved, and troubled. The observer has lost his stable position. There are no parallels that could converge at a single vanishing point. The sun, which is at the center of the composition, is multiplied in reflections. The observer is upset, displaced, beside himself at the sight of the slaves, who are not only sinking but have also had their bodies reduced to fragments—their limbs devoured by sharks, mere shapes below the water’s surface. At the sight of the effects of colonialism and slavery, linear perspective—the central viewpoint, the position of mastery, control, and subjecthood—is abandoned and starts tumbling and tilting, taking with it the idea of space and time as systematic constructions. The idea of a calculable and predictable future shows a murderous side through an insurance that prevents economic loss by inspiring cold-blooded murder. Space dissolves into mayhem on the unstable and treacherous surface of an unpredictable sea.

Hito Steyerl, “In Free Fall: A Thought Experiment on Vertical Perspective”

[artist-mantegna]

Virgin and Child, 1470, Andrea Mantegna

https://www.wikiart.org/en/andrea-mantegna/virgin-and-child-1470

[ojodeltiempo]

DOMENICO GHIRLANDAIO

RETRATO DE GIOVANNA TORNABUONI

1488 – Témpera en papel (77 x 49)

[domenico-ghirlandaio]

Last Supper, 1480, Domenico Ghirlandaio

Medium: fresco

https://www.wikiart.org/en/domenico-ghirlandaio/last-supper-1

[nomoreuniverse]

Yue Minjun