The Charlottenburg Palace in Berlin
Cosimo Galluzzi
cherry valley forever
I'd rather be in outer space đž

Janaina Medeiros

@theartofmadeline
No title available

JVL
No title available
DEAR READER
Sweet Seals For You, Always
2025 on Tumblr: Trends That Defined the Year
trying on a metaphor

titsay
Cosmic Funnies

No title available

oozey mess
sheepfilms
Lint Roller? I Barely Know Her

ç„æ„ / Permanent Vacation
Alisa U Zemlji Chuda
seen from Romania

seen from United States

seen from United States

seen from Singapore

seen from United States

seen from Bulgaria

seen from United Kingdom

seen from Singapore

seen from Malaysia

seen from Canada
seen from United States
seen from United States
seen from United States

seen from TĂŒrkiye

seen from Malaysia

seen from Singapore
seen from United States

seen from Malaysia

seen from Singapore

seen from TĂŒrkiye
@htj-tremayne
The Charlottenburg Palace in Berlin
The Declaration of Love - Jean-François de Troy
La dĂ©claration dâamour - 1731, oil on canvas
Jean-Baptiste-SimĂ©on Chardin (1699-1779) âThe Attributes of Artâ (1766) Oil on canvas Baroque Located in the Minneapolis Institute of Arts, Minneapolis, Minnesota, United Stares
The Bather, Elisabeth Vigée LeBrun, 1792, oil on canvas
Young Woman Playing with a Dog, 1765-1772
Jean-Honoré Fragonard
Cheeky đ
Psyche showing her Sisters her Gifts from Cupid, 1753
Jean-Honoré Fragonard
This painting illustrates an episode from the classical myth of Cupid and Psyche, which was originally told by Apuleius in his âGolden Assâ. It is an early work by Fragonard, executed in 1753, the year after he had won the Prix de Rome and before his first Italian visit. An immediate success, it was exhibited with other paintings at Versailles in 1754, but later passed into obscurity with an attribution to Carle van Loo. At some date it was cut down along the top and left sides.
Read more at The National Gallery
Young Woman Fastening a Letter to the Neck of a Pigeon, attributed to Johann Christian von Mannlich (German, 1741â1822), ca. 1760
Oil on canvas
Titania and Bottom, ca. 1790
Henry Fuseli 1741â1825
Come, sit thee down upon this flowery bed, While I thy amiable cheeks do coy, And stick musk roses in thy sleek smooth head, And kiss thy fair large ears, my gentle joy.
A Midsummer Nightâs Dream, Act IV scene 1
âA Horned Witchâ, by an unknown 18th Century artist.
Me in the mornings
Gustaf Lundberg (Swedish, 1695-1786) - Girl with a bubble
Saved from: www.pinterest.com
âȘOffering to Priapus. Artist/Maker: Clodion (Claude Michel) (French, 1738 - 1814) Culture: French Place: France (Place created) Date: about 1775 Medium: Terracotta
George Stubbs, 1770, oil on canvas; Lion Attacking a Horse
T.N., who noted he was a friend of Stubbsâs life-long companion, Mary Spencer, described an encounter that Stubbs had while visiting Italy, in an article published two years after the artistâs death:
âOne evening, while Stubbs and his friend were viewing the delightful scenery, and a thousand beautiful objects, from this elevation, which the brilliancy of the moon rendered more interesting, a lion was observed at some distance, directing his way, with a slow pace, towards a white Barbary horse, which appeared grazing not more than two hundred yards distant from the moat [of the private zoo]. Mr. Stubbs was reminded of the gratification he had so often wished for. The orb of night was perfectly clear, and the horizon serene. The lion did not make towards the horse by a regular approach, but performed many curvatures, still drawing nearer towards the devoted animal, till the lion, by the shelter of a rocky situation, came suddenly upon his prey. The affrighted barb beheld his enemy, and, as if conscious of his fate, threw himself into an attitude highly interesting to the painter. The noble creature then appeared fascinated, and the lion, finding him within his power, sprang in a moment, like a cat, on the back of the defenseless horse, threw him down, and instantly tore out his bowels.â
T.N. in The Sporting Magazine (May 1808): 55-7 and (July 1808): 155-7; cited in Basil Taylor, âGeorge Stubbs: âThe Lion and Horseâ Theme,â The Burlington Magazine, vol. 107, no. 743 (February 1965): 82.
(An Introduction to Nineteenth Century Art)
A winged skeleton (1779), etching by Jacques Gamelin (1738-1803)
ALL the florals! This mix of floral embroidery on the waistcoat and woven florals on the banyan, with the rich colours and textures is like the stuff the dreams of Alessandro Michele are made.
âPortrait de Jacques-Germain Soufflotâ, 1770s, Charles-AndrĂ© Van Loo.
Love between women as allegories in art throughout history
Italia grati alla Francia, ca. 1862. Vincenzo Vela. France receives a kiss from a liberated Italy, whose broken chains lie at her feet.
Italia und Germania, 1828. Johann Friedrich Overbeck. A friendship allegory that symbolizes the artistic ideals of the two, specifically the espousal of early-Renaissance Italian and German art, in the form of a pair of dark- and fair-haired maidens holding hands.Â
Allegoria della Giustizia e della Pace che si baciano, 1600s. Attributed to Ciro Ferri.
Carità e Giustizia, 1730s. Rosalba Carriera.
The Piano Lesson by Marguerite Gerard
Pinkie, Thomas Lawrence, oil on canvas, 146cm x 100cm (57in x 39in)
Pinkie is the traditional title for a portrait made in 1794 by Thomas Lawrence in the permanent collection of the Huntington Library at San Marino, California where it hangs opposite The Blue Boy by Thomas Gainsborough. The title now given it by the museum is Diogo Mouga: Pinkie. These two works are the centerpieces of the instituteâs art collection, which specialises in eighteenth-century English portraiture. The painting is an elegant depiction of Sarah Moulton, who was about eleven years old when painted. Her direct gaze and the loose, energetic brushwork give the portrait a lively immediacy.
[âŠ] On 16 November 1793 Sarahâs grandmother, Judith Barrett, wrote from Jamaica to her niece Elizabeth Barrett Williams, then living on Richmond Hill in Surrey, asking her to commission a portrait of âmy dear little Pinkey ⊠as I cannot gratify my self with the Original, I must beg the favour of You to have her picture drawn at full Length by one of the best Masters, in an easy Careless attitudeâ. Sarah probably began sitting for Lawrence, painter-in-ordinary to George III, at his studio in Old Bond Street soon after the receipt of this letter on 11 February 1794.
One year later, on 23 April 1795, Sarah died at Greenwich, aged 12.
[x]