Paul Rieth, 1871-1925
Adam and Eve, also called The Lost paradise, n/d, oil on canvas, 162.4x168 cm
Private Collection

Origami Around
Show & Tell
he wasn't even looking at me and he found me
i don't do bad sauce passes
Monterey Bay Aquarium

ellievsbear
we're not kids anymore.
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Mike Driver
hello vonnie
AnasAbdin
Xuebing Du

Kaledo Art
Lint Roller? I Barely Know Her
occasionally subtle
Claire Keane

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RMH
Sade Olutola

pixel skylines

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@hemialgia
Paul Rieth, 1871-1925
Adam and Eve, also called The Lost paradise, n/d, oil on canvas, 162.4x168 cm
Private Collection
Sibylle of Saxe-Lauenburg (1675-1733), Margravine of Baden-Baden, in fancy dress costume as a magician, 1705
Johann Valentin Sonnenschein - Resurrection of Maria Magdalena Langhans with Her Child, c. 1780
P.I. Telegram / P.I. Facebook
Samurai War Fan. Late 18th to early 19th century, Japan
Ceremony of the Cult of Isis, from Pompeii (fresco), Roman, Museo Archeologico Nazionale, Naples, Italy
Pompeii
Watercolors by Hansen, Josef Theodor (1848-1912)
House of Marcus Lucretius Fronto, Pompeii (1905)
Tepidarium at the Forum baths in Pompeii (1884)
House of Sallustius, Pompeii (1886)
Colourful paint pigments preserved in their original pots.
Antiquarium of Pompeii
Behind the Ashes. Pompeii
Photos by Silvia Vacca / silvia_vacca_ (IG)
Statuette of nude flying Eros
by Koloman Moser
Nadar, Paris Catacombs, 1861
Maiko (apprentice geisha) Momifuku with Osafune hairstyle. Japan. Photography by John Paul Foster
Robert Budzinski (German, 1874-1955, b. Klein Schlafken, Prussia, Germany (now Sławka Mała, Poland), d. Marburg, Hesse, Germany) - Exlibris for Elfriede Grimith, 1916, Etching
Elenore Abbott (1875-1935), 'Endymion and the Nereids', ''The International Studio'', Vol. 67, #266, March 1919
Patrick von Kalckreuth - "The North Sea" (1955)
Diana and Actaeon by Camille Corot, 1836
Caroline D'Arcy, 4th Marchioness of Lothian (died 1778)
Artist: Unknown
Date: c. 1750
Medium: Oil on canvas
Collection: National Galleries of Scotland, Edinburgh, Scotland
Description
This portrait of Caroline D'Arcy was previously attributed to Allan Ramsay. They are now believed to have been painted by Adolph around 1750 when they were living at Blickling, Norfolk. Adolph had settled in Norfolk around this time. This life-size portrait shows Caroline in an elaborate red satin dress, standing against an autumnal landscape with the sun setting behind distant hills. The flat foreground acts like a stage on which she is presented as ‘performer’, delicately playing her guitar and demonstrating her musical accomplishment. Her alliance with music and harmony was perhaps intended to balance the military associations of their family, a consequence of her husband’s distinguished Army career.