#gesso

[occultclassicalart]

BW Edit after Japanese artist of the 18th/19th century (Helmet Crest (Maidate)) (Metropolitan Museum of Art, Acc. 36.25.253)

[minimavisibilia]

Augusta Lardy Micheli Observez les lys 2024 Ink, gesso and oil on linen 200 × 157 cm

[soli-terri]

Three Swallows over Horse Hill

By James Lynch

Traditional art, egg tempera on gesso panel, 20"x20

[miamaimania]

"In Amidst II" ❋ Kirsty O'Leary Leeson ◆ Gesso and pencil on wood ∣ 50.5 × 60.5 cm

[abstracteddistractions]

Yong Sin, Grid Study No. 1811 (I Swear I Used a Ruler No. 18), 2019,

Ink & gesso on paper,

30.5 x 22 inches.

[thatshowthingstarted]

Stela of the Lady of the House, Tabiemmut,

Kushite Period–Saite Period, (Dynasty 25–26), ca. 750–525 B.C.

Wood, paint, gesso,

H: 43 cm ; W: 29 cm

As part of the burial equipment, funerary stela made a prayer for offerings for the maintenance of the deceased. In addition to forms of Osiris, Re-Harakhty and Atum—as the rising and setting sun and thus connected with continued life—are particularly favored focal gods. In contrast to stela of the Third Intermediate Period, subdued coloring and a more standardized style are adopted in this period.

Here the lady of the house Tabimut, daughter of the doorkeeper of the house of Amun and the lady of the house Harhabhes, adores Re-Harakhty followed by Isis and the Four Sons of Horus. The text mentions Re-Harakhty and Atum.

[blondebrainpowered]

Queen of Hearts, Spades, Clubs, Diamonds (for Hous'hill, Catherine Cranston's Residence, Glasgow, Scotland); 1909; Wood, Paint, Gesso

Artist: Margaret Macdonald Mackintosh

[vintage-treasures]

Sgra-Snyan. Carved wood, skin, gesso, and gilding (Tibet, 14th–16th century) Along the ancient Silk Road, Central Asian trade hubs fused diverse cultural and musical practices together. This traditional lute, an example of East-West musical exchange, echoes the design of instruments played by angels in seventh-century Buddhist cave murals.

Its body features a rare double-skinned chamber design that marks an archaic transitional style connecting the Afghan robab to various Himalayan lutes. The surface shows classic Tibetan craftsmanship through its green-colored animal skins and painted ivory portraits of Buddha, enhanced with delicate gold leaf. Intricate Persian-style cartouches and palmettes decorate the back, fingerboard, and pegbox. Loc. The Metropolitan Museum of Art, New York. Dim. 109 cm H (42.94 in.)