Cornelius McCarthy (1935-2009). British artist. gouache on panel.
wallacepolsom

pixel skylines
Cosmic Funnies

if i look back, i am lost
Game of Thrones Daily
"I'm Dorothy Gale from Kansas"
ojovivo

★
No title available
Fai_Ryy

@theartofmadeline

titsay
macklin celebrini has autism
Monterey Bay Aquarium
YOU ARE THE REASON
will byers stan first human second
No title available
Noah Kahan
The Stonewall Inn
Sweet Seals For You, Always
seen from India
seen from France

seen from United States
seen from Chile
seen from Brazil

seen from Malaysia
seen from United Kingdom

seen from Brazil

seen from United Kingdom

seen from United Kingdom
seen from Canada
seen from Brazil
seen from Brazil

seen from United States
seen from South Africa

seen from Mexico
seen from Italy
seen from United States
seen from United Kingdom

seen from Italy
@reumar
Cornelius McCarthy (1935-2009). British artist. gouache on panel.
Yoshida Chizuko, Japanese printmaker
Untitled, 1955
Yoshida Chizuko, Japanese printmaker
Autumn, 1955
Yoshida Chizuko 吉田千鶴子 (1924 - ).
Yoshida Chizuko, Rain, 1954
Woodblock print (woodcut); ink and color on paper
Mount Holyoke Museum
Yoshida Chizuko
Virgin of the Milk (Virgen de la leche), Circle of Gil de Siloe, c. 1500, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture
seated figure of Mary with long, thick brown hair, wearing rich robes of gold, blue and red, holding nude baby Jesus on her lap, breastfeeding; Jesus’ brown hair is styled in ringlets close to his head This medieval sculpture of the Virgin Mary breastfeeding her son is unexpectedly naturalistic for its time. Milk was considered refined blood from the mother’s womb, and images of the Virgin breastfeeding the Christ child had theological significance. It was thought the Virgin’s milk, like the blood of Jesus on the cross, had redemptive properties. Size: 31 ¼ x 23 x 16 ½ in. (79.38 x 58.42 x 41.91 cm) (approx.) Medium: Polychromed wood
https://collections.artsmia.org/art/113688/
Stained glass window ‘Luffas et Nymphéas’ (1907) by Jacques Grüber.
Musée de l'École de Nancy.
Dguendel. Creative Commons Attribution 3.0 Unported license. Wikimedia.
Damien Hirst (British, 1965), Veil of Mother’s Tenderness, 2017. Oil on canvas, 108 x 72 in.
Follower of the Pieter Bruegel the Elder - The Temptation of Saint Anthony. 1550 - 1570
Cabinet of Curiosities, c.1690 by Andrea Domenico Remps (Italian, 1620–1699)
Pieter van der Willigen - Still Life with skull, book, pipe, caraf, and hour-glass - ca. 1655
Pieter van der Willigen (17 December 1634 – 8 June 1694) was a Flemish Baroque painter.
According to Cornelis de Bie, he was born in Bergen op Zoom and was a good still-life painter. According to the RKD, he became a pupil of Thomas Willeboirts Bosschaert in 1652, was a member of the Guild of St. Luke from 1655 to 1669, and became poorter in Antwerp in 1661. He is known as a still-life painter who influenced David Bailly. In 1662 his brother Jan van der Willigen was his pupil. He died in Antwerp.
Many paintings formerly attributed to him have been re-attributed to Hendrick Andriessen, especially those with a wreath of straw on top of a skull. Today very few works remain that can be attributed to him, though De Bie wrote a page-long poem about his “still” paintings, and Houbraken also included a poem about his still-life paintings from another source.
Lowell Nesbitt (American, 1933-1993), Orange Iris, 1990. Acrylic on canvas, 90 x 68 in.
Model and painter with easel, 1945, Rafael Zabaleta
Medium: oil,canvas
Blue Horse I, 1911, Franz Marc
Medium: oil,canvas
https://www.wikiart.org/en/franz-marc/blue-horse-i-1911
Miroir (Kagami) Bois sculpté, cuivre doré Japan
© RMN-Grand Palais (musée Guimet, Paris) / Thierry OllivierSection Japon du musée Guimet
George Sheridan Knowles, Seeking Sanctuary