Dec 10, 2025
The Titan's Goblet
Artist: Thomas Cole (American, 1801-1848)
Date: 1833
Medium: Oil on canvas
Collection: Metropolitan Museum of Art, New York, NY, United States
seen from United States
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seen from Indonesia
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seen from Germany
seen from Thailand
The Titan's Goblet
Artist: Thomas Cole (American, 1801-1848)
Date: 1833
Medium: Oil on canvas
Collection: Metropolitan Museum of Art, New York, NY, United States
The Triumph of Alexander the Great
Artist: Gustave Moreau (French, 1826–1898)
Date: c. 1873-1890
Medium: Oil on canvas
Collection: Musée Gustave Moreau, Paris, France
Description
Alexander is shown dressed in white and sitting high on his throne in the foreground. Around him is an extraordinary imagined landscape with imposing buildings forming a gorge, and a stack of grand buildings, towers, and other monumental structures further back. These are set at the foot of a massive rock pinnacle.
Depicted People:
Alexander the Great
Poros
Bahubali
Clio, Muse of History
Artist: Charles Meynier (French, 1768–1832)
Date: 1800
Medium: Oil on canvas
Location: Castle of Wallenreid, Switzerland
Description
Clio, the Greek muse of history, is the daughter of Zeus and Titaness Mnemosyne, the goddess of memory. Clio is depicted here writing and surrounded by objects associated with preserving the memory of historical figures and events: busts, reliefs, and sculptures. This painting belongs to a cycle of works commissioned by businessman François Boyer-Fonfréde for his home in Toulouse.
Allegory of Navigation with a Cross-Staff
Artist: Paolo Caliari Veronese (Italian, 1528-1588)
Date: 1555-1560
Medium: Oil on canvas
Collection: Los Angeles County Museum of Art, Los Angeles, CA, United States
The Parable of the Mote and the Beam
Artist: Domenico Fetti (Italian, 1591/92–16230
Date: c. 1619
Medium: Oil on wood
Collection: Metropolitan Museum of Art, New York City, NY, United States
Description
The Mote and the Beam is a parable of Jesus given in the Sermon on the Mount in the Gospel of Matthew, chapter 7, verses 1 to 5. The discourse is fairly brief, and begins by warning his followers of the dangers of judging others, stating that they too would be judged by the same standard. The Sermon on the Plain has a similar passage in Luke 6:37–42.
“Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye? (Matthew 7:3)
Jesus is talking about judging others
Specifically when and when not to do it. The important line is “For with the judgment you pronounce you will be judged, and with the measure you use it will be measured to you” Examine your own life before pointing out sins of others. If you condemn others because of their sins when you’re just as guilty it’ll be like tossing pearls at pigs. The pigs see the pearls as worthless rocks and they think you’re attacking them, so they turn and attack you back. This will happen even if your condemnation of their sin is correct.
The mote represents your brothers sins and the beam represents your own, which, when looked at very closely, are just as big or bigger than your brothers. The parable is saying to take care of your own sins and bad habits before trying to address your brother’s.
Lord Byron’s ‘Dream’
Artist: Sir Charles Lock Eastlake (British, 1793–1865)
Date: 1827
Medium: Oil paint on canvas
Collection: Tate Britain, London, United Kingdom
Description
Charles Eastlake was one of Turner's younger friends. Like Turner he was an admirer of Byron's poetry. This picture, exhibited at the Royal Academy in 1829 , illustrates stanzas from Byron's poem The Dream and shows the poet resting on his Eastern travels.
The Dream is a poem written by Lord Byron in 1816. It has been described as expressing "central Romantic beliefs about dreams". It also describes the view from the Misk Hills, close to Byron's ancestral home in Newstead, Nottinghamshire. Mary Chaworth of Annesley Hall, a distant relation for whom Byron had a boyhood passion, is the "Maid" of the poem.
The dream returns and you are there again as if it were not ten years since you died. We walk ahead, your children follow us. A stone shifts in the scree and starts to slide.
It’s you and yet it is not you at all, it’s more like you than some loose composite, but part of you is someone quite unknown, your face distorted by the mountain light.
They seem to like me now that I am dead and have no power to argue with the living. Of course I know I lacked the common touch. I can’t forget, but I’m not unforgiving.
Familiar compound ghost indeed. You laugh. I wrote to change the world and save souls, but finally life forced me to observe it’s more the artist art itself consoles.
Well I am still much subject to the blues, not mad enough for this one’s scope and art. And you replied, It’s quality that counts and vision what you called the depth of heart.
Great pictures can be painted in small rooms? I’m not an angel, never wrote like one. Your work however flawed was yet inspired. At least I never cribbed and skated on!
An undertone of sadness in your voice, you stood there in the light of common day. I can’t recall the witty thing you said about your vanities all washed away.
The Dream by Lord Byron
Interior of a Ruined Church, France
Artist: Evelyn Chapman (Australian, 1888-1961
Date: ca. 1919
Medium: Oil and tempera on grey card on board
Collection: Art Gallery of New South Wales, Sydney, Australia
Description
In early 1919, Chapman accompanied her father, a member of the New Zealand War Graves Commission, to France, visiting the area near Villers-Bretonneux where many Australian and New Zealand soldiers had lost their lives. Struck by the destruction she witnessed in the villages and cities, Chapman set up her easel and began to paint the ruined buildings and landscape, annihilated by years of continued bombardment.
The colonnaded remains of this once majestic church are awash with a warm diffused light. Layers of pale yellow, brilliant white and vivid green are brushed across stoney greys, to striking effect. Despite the desolation of the scene, Chapman's essential optimism is imbued in this luminous work.
Classical Figures Seated by Ruins in an Italianate Landscape Jan Frans van Bloemen, called l'Orizzonte (Flemish; 1662–1749) late 17th–mid 18th century Oil on canvas laid on board Sotheby’s, London