they paint the world full of shadows

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Pascal Dagnan-Bouveret - Portrait of Gustave Courtois (1883)

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Stellan Mörner (Swedish, 1896-1979) - The Sisters

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Cindy Rizza (American, b. 1984)

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Émile Friant - Man and His Cat near the Stove (1889)

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Robert Borlase Smart - Moonlight on the Grand Canal, Venice (ca. 1924)

In April 1924, Smart and his wife accompanied George and Minnie Turland Goosey on a visit to Venice. Minnie recorded, “We arrived in Venice at midnight with a full moon turning the place into an artist’s dream of heaven. It was as if it had all been rehearsed and timed perfectly. Around each turn in the smaller canals, we passed other gondolas whose occupants were singing softly, some to the accompaniment of mandolins, and there were those who were silent like ourselves just drinking in the beauty of it all. Moonlight in Venice is wonderful. George told me afterwards B.S., our Artist friend, unconsciously held his hand in a firm grip murmuring, ‘I can’t believe its true, it must be a dream’. This painting, which was hung at the Paris Salon in 1927, aims to capture that moment and is a very daring composition. (source)

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Walter MacEwen - The Scribe's Office (1891)

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Antoni Fabrés - Un filósofo (ca. 1901)

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Akseli Gallen-Kallela - Mary Gallén (1912)

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Christian Griepenkerl - The Farewell (1897)

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Henri Fantin-Latour - Immortalité (ca. 1889)

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Ture Ander - A Värmland Landscape (1941)

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William John Leech - The Cigarette (ca. 1915)

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Louise Catherine Breslau - L'étude de la géographie (1900)

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Ettore Cercone - A Floral Greeting (1889)

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Jacob Löfgren - Storm over Sandhamn (1943)

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Cecil Ffrench Salkeld (Irish, 1904-1969) - That Little Tent of Blue

The title of this work, That Little Tent of Blue is based on Oscar Wilde's poem The Ballad of Reading Gaol: "Upon that little tent of blue/which prisoners call the sky" Salkeld is perhaps poking fun at some friends, who appear to be heading home after a night's drinking. Seen through a window, the two men are walking, or staggering, along a pavement, illuminated by a shaft of light. There is a deliberate sense of enigma in the scene, which contrasts the domestic calm of the interior, with a book and flower on the windowsill, with the inebriated antics of the pair outside. The setting is not specified, but is intended to evoke the atmosphere of a prison or institution, the two men being surrounded by tall buildings and darkened windows. (source)

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Otto Wyler - Heuet vor Gislifluh (1917)