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illustratus

Hellelil and Hildebrand, the Meeting on the Turret Stairs by Frederic William Burton

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By stub_bornity

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Untitled [John Cage, Black Mountain], 1952, Robert Rauschenberg

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Karl Hofer (German, 1878–1955) "Three Bathing Youths (Drei badende Jünglinge)", c. 1907. Kunstmuseum Winterthur, Switzerland. oil on canvas

homostalgia

Port of London, April 1953, photographer unknown

pookiestheoneliveson

Károly Ferenczy (1862–1917)

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Emil Olsson (1890-1964), Hector by the Sea

Oil on panel 37 x 26 cm

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Life Class (oil on canvas) by Thomas J. Gillot, 1912 — a studio moment where the model’s music and the painter’s focus shape a shared atmosphere of intent.

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Margaret Oliver Brown (British, 1912-1990), Male Portrait. Oil on board, 45.4 x 35.4 cm. Glasgow School of Art, Glasgow.

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Kōno Michisei - Self-Portrait (1917)

Kohno Michisei, seen here at twenty-two, presents himself in a pose modeled on Western Renaissance master Albrecht Durer's (1471-1528) self-portrait produced in 1500. Between 1914 and 1924 a remarkable quantity of high-quality portraiture was produced by Japanese artists who blended Western and East Asian painting traditions. While some of these painters had first-hand knowledge of Western painting, most, like Michisei, culled their images from books and magazines. The young artist was raised in an environment filled with powerful iconic images. His father was a portrait photographer, an artist in both Japanese and Western modes, and an active member of the Russian Orthodox Church. These influences are readily apparent in this self-portrait. Michisei's perceptive understanding of classic Western images was based on constant perusal of his father's extensive library; a portrait's potential for psychological and spiritual impact was impressed on him through exposure to religious icons used in the Orthodox liturgy. (source)