[lovemanythings]

self-portrait with portrait of émile bernard (les misérables) 1888

by paul gauguin

oil on canvas

[lovemanythings]

capri girl on rooftop 1878

by john singer sargent

oil on canvas

[fordarkmornings]

Francesco Hayez (Italian, 1791-1882)

Vengeance is Sworn, 1851

[catonhottinroof-deactivated2023]

Wilhelm List (1864 – 1918) 

Umarmung, um 1905

[fordarkmornings]

Jacqueline Marval (French, 1866-1932)

Les Bavardes, 1916

[lovemanythings]

bain á la grenouillére by claude monet

1869; oil on canvas

[lovemanythings]

la grenouillére by pierre-auguste renoir

1869; oil on canvas

[lovemanythings]

the burial of atala by reverend ebenezer cobham brewer

1892; lexicography

[enchantedbook]

Art by August Hoffmann Von Vestenhof - Jugend, May, 1897

[lovemanythings]

albaydé by alexandre cabanel

1848; oil on canvas

[enchantedbook]

Τhe Poet’s Dream by Robert Walter Weir, 1830

[lovemanythings]

the abduction of psyche by william-adolphe bouguereau

1895; oil on canvas

[lovemanythings]

the moorish chief by eduard charlemont

1878; oil on panel

[lovemanythings]

four seasons in one head by giuseppe arcimboldo

1590; oil on canvas

[lovemanythings]

interior of the pantheon, rome by giovanni paulo panini

c. 1734; oil on canvas

[lovemanythings]

the vision to the youth bartholomew by mikhail nesterov

1889-90; oil on canvas

[lovemanythings]

ivan the terrible and his son ivan on 16 november 1581 by ilya repin

c. 1883-1885; oil on canvas

this work has been called one of russia’s most famous and controversial paintings; it has been vandalized twice. the prince hit his son with his staff, which resulted in a very serious head wound. having injured his son, the father immediately indulged in deep grief. on the fifth day, his son died.

the work does not represent violence but its resolution. ivan the terrible holds his son as his eyes bulge with horror, despair, and madness while making the futile attempt to cover his son’s wound that he inflicted.

1883; oil sketch

1882; pencil sketch

in the earlier sketches, ivan the terrible still clings to his sceptre with more visual bloodstains. the moment in the final painting represents remorse, forgiveness, and love.