Apollo e le Muse (metà I sec.), dalla Villa dei Triclini - Località Moregine, Parco archeologico di Pompei, Napoli.

@theartofmadeline
Not today Justin

if i look back, i am lost
🩵 avery cochrane 🩵
No title available
wallacepolsom
trying on a metaphor
No title available
Peter Solarz

blake kathryn

Love Begins

tannertan36
Three Goblin Art
let's talk about Bridgerton tea, my ask is open

titsay
Aqua Utopia|海の底で記憶を紡ぐ
we're not kids anymore.

⁂

Discoholic 🪩
Claire Keane

seen from United States

seen from Malaysia
seen from United States
seen from Israel

seen from Australia

seen from United States

seen from Japan

seen from South Korea

seen from Russia

seen from Türkiye

seen from United States

seen from Ireland

seen from Australia

seen from Ukraine
seen from Colombia
seen from United States

seen from Canada
seen from Australia
seen from United States

seen from Australia
@power-jock
Apollo e le Muse (metà I sec.), dalla Villa dei Triclini - Località Moregine, Parco archeologico di Pompei, Napoli.
Portrait of Catherine Coustard, Marquise of Castelnau, Wife of Charles-Léonor Aubry with Her Son Léonor, Nicolas de Largillière, c. 1700, Minneapolis Institute of Art: Paintings
Portrait. Madame Aubry wears an ultramarine blue velvet dress, cloak lined with flowered brocade and a bodice of silver lamé with lace and rose ribbon. Her hand touches a whippet which may have belonged to the artist as it appears in other portraits. Her hair is styled à la Fontanges. She married into a family from Tours and later became the Marquise de Castelnau in the Berry region near Bourges. Catherine Coustard (1673–1728), who came from a family of well-to-do cloth merchants in Paris, married into the Aubry family of wealthy middle-class civil servants and statesmen from Tours. Seated, smiling, with her son leaning across her lap, she’s the picture of contentment. Her fortunes, always good, had just improved at the time this portrait was painted. Her father-in-law, after serving twenty years as secretary to the king, had recently been made a nobleman, a great step upward in family prestige that this picture commemorates. Size: 53 ¼ x 40 ¾ in. (135.26 x 103.51 cm) (sight) 70 ½ x 58 x 5 in. (179.07 x 147.32 x 12.7 cm) (outer frame) Medium: Oil on canvas
https://collections.artsmia.org/art/2487/
Danae, 1612, Artemisia Gentileschi
Medium: oil
Saint Jerome Writing, 1605, Caravaggio
Medium: oil,canvas
https://www.wikiart.org/en/caravaggio/saint-jerome-writing
Untitled (postmortem portrait of infant with flowers), J.H. Whitehurst Galleries, c. 1855, Harvard Art Museums: Photographs
Harvard Art Museums/Fogg Museum, Kate, Maurice R. and Melvin R. Seiden Purchase Fund for Photographs Size: image: 6.3 x 8.4 cm (2 ½ x 3 5/16 in.) plate, sight: 8.3 x 10.7 cm (3 ¼ x 4 3/16 in.) Medium: Hand-colored quarter-plate daguerreotype
https://www.harvardartmuseums.org/collections/object/49758
Martyrdom of St Justina, 1556, Paolo Veronese
Medium: oil,canvas
https://www.wikiart.org/en/paolo-veronese/martyrdom-of-st-justina-1556
The Martyrdom of St Paul, 1556, Tintoretto
Medium: oil,canvas
Philippe Mercier (b.1689 - d.1760), ‘A Girl Holding a Cat’, about 1750, French, oil on canvas, currently in the collection of the National Gallery of Scotland, Edinburgh
Portrait of a Woman, possibly Aeltje Dircksdr. Pater, Frans Hals , 1638, Cleveland Museum of Art: European Painting and Sculpture
Some portraits like that of Tieleman Roosterman (in the middle of this wall) display the bravura strokes we associate with Hals, while this work shows him experimenting with tighter handling. Hals often painted “wet-into-wet,” not allowing the paint to dry before applying additional layers. In the figure’s hairline, blended strokes create convincing strands of hair that seem to issue from her forehead. Hals drags layers of paint around her left eye to create fleshy contours as she raises her brow to catch our attention. That active engagement with the spectator animates the woman, who seems to be caught in a moment rather than posed. Size: Framed: 82 x 67 x 6.5 cm (32 5/16 x 26 3/8 x 2 9/16 in.); Unframed: 66.5 x 52.3 cm (26 3/16 x 20 9/16 in.) Medium: oil on canvas
https://clevelandart.org/art/1948.137
I saw so many white roses today 🤍🌼
From: Maund, B. (Benjamin), 1790-1863. The botanic garden. London : George Bell and Sons, York Street, Covent Garden, 1878
SB407 .M45 1878 vol. 2
A Farewell to Arms, Ernest Hemingway. First U.S. Edition. Grosset and Dunlap, 1929