Cuno Amiet (Swiss, 1868-1961), Sonnenflecken, 1904. Oil on asbestos fibreboard, 200 × 120 cm
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@velvetandbooks
Cuno Amiet (Swiss, 1868-1961), Sonnenflecken, 1904. Oil on asbestos fibreboard, 200 × 120 cm
Afternoon (1982) by Alekos Fassianos (1935-January 16,2022)
Alekos Fassianos (Greek, 1935-2022)
Untitled, two nudes with a mirror
Lithograph in colours on wove
"Plans of piers." The stones of Venice. 1911.
Internet Archive
Inchiostri Bo
Katsushika Hokusai, Lovers under a Mosquito Net (detail), 1815—1823
Jan Augustin van der Goes / spider / 1690
(via Margaux’s Friday Pictures – Jan Augustin van der Goes, Ben Nicholson, Jay White & Margareta de Heer | Back to the World)
The four Cardinal Virtues
Ballet comique de la reine (1582)
Saint George and the Dragon
Bernat Martorell
1434
Chart of the Signs of the Zodiac with Venus, Cupid, and a Bishop Saint by Hans Baldung (called Hans Baldung Grien) (German, c.1484–1545)
Compal (Compte - Palatchi). Untitled, c. 1934.
Andrei Tarkovsky, Polaroids
Church of Cristo de la Luz, Toledo (est. 999). Originally, a mosque.
Hugh B. Cott, ‘Cyclopera sp.’, Adaptive Coloration in Animals, 1940, plate 38.
Pietro Bertelli c. 1591
This illustration of a Venetian Courtesan has a flap on the skirt that can be opened to reveal men’s breeches. Courtesans were known for cross dressing and it became the mark of a prostitute to don men’s clothing. The platform shoes, known as chopines, were worn to protect a upper class women’s feet and dress from becoming soiled in the street. Courtesans adopted the look to emulate the look of wealthy upper class women, donning the highest platforms in order to be more visible in public. Soon chopines became associated exclusively with Venetian courtesans. Costume books such this one distinguished courtesans from other elite women by these platforms and their dress.
Simone Martini c. 1333
Annunciation (details)