Millais muse

🌿Italian PhD student🌿Art History🌿"Beauty is truth, truth beauty"- that is all Ye know on earth, and all ye need to know

[yourarmsmymouth]

Portrait of David Lyon by Thomas Lawrence, 1825ca, Madrid, Thyssen-Bornemisza National Museum.

[yourarmsmymouth]

Lady Hamilton by George Romney

[yourarmsmymouth]

Baroque heaven

[yourarmsmymouth]

Italian Baroque

[papillon-de-mai]

Franz Xaver Winterhalter — Portrait of Empress Elisabeth of Austria. details. 1865

[arthistoryvault]

Domenico Fetti - Sleeping Girl (1620-1622)

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[eaelss]

Fallen Angel - 1847 - Alexandre Cabanel

[yourarmsmymouth]

John Everett Millais, 𝙊𝙥𝙝𝙚𝙡𝙞𝙖 (details), 1851, oil on canvas, Tate Gallery London

There, on the pendent boughs her coronet weeds Clambering to hang, an envious sliver broke; When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And, mermaid-like, awhile they bore her up; Which time she chanted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element; but long it could not be Till that her garments, heavy with their drink, Pull'd the poor wretch from her melodious lay To muddy death.

𝙃𝙖𝙢𝙡𝙚𝙩, 𝘼𝙘𝙩 𝙄𝙑, 𝙎𝙘𝙚𝙣𝙚 𝙑𝙄𝙄

[arcana-imperii]

DETAIL. AN ALLEGORY OF VICTORY — JULES JOSEPH LEFEBVRE

[artfoli]

Portrait of a Lady, 1764, by Lawrence Kilburn

[detailedart]

Purple shades - John William Godward (1861-1922).

[allthingseurope]

Bode Museum, Berlin (by Dani Sorokin)

[overdose-art]

Alphonse Mucha. Iris, Rose, Lily & Carnation (1898)

[midnight-summerx]

‘The Martyr of Solway’ - John Everett Millais

[midnight-summerx]

‘The Poetess Sappho’ - Jacques-David Louis

[artfoli]

Women of Amphissa, 1887, by Lawrence Alma-Tadema (1836-1912).

Here Lawrence Alma-Tadema depicts a scene from a story told by Plutarch. The women sprawled on the ground are followers of Bacchus, the God of wine, and are seen recovering from a dancing ritual from the night before. These women originated from the city of Phocis, and had wandered into the marketplace of Amphissa. These two cities, however, were at war. The group lined at the back, clearly separated from their way of dress and posture, belong to Amphissa. Recognizing the danger the disoriented followers were in, the women of Amphissa form a circle around them, offering their protection and giving them food.

By representing these two very different groups of women, Alma-Tadema touches on the themes of femininity, compassion, and charity.

[aura-eden]

John William Waterhouse, Pandora - 1898