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classic-art:

Ulysses and The Sirens
John William Waterhouse, c. 1891

classic-art:

Ulysses and The Sirens

John William Waterhouse, c. 1891

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(Источник: domus-aurea2)

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(Источник: danaustinphotography из блога domus-aurea2)

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(Источник: domus-aurea2)

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(Источник: domus-aurea2)

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marcedith:

…Smoke by Stephen Sheffield …

marcedith:

…Smoke by Stephen Sheffield …

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russian-style:

The Saviour (“Image of Edessa”), Novgorodian icon - 1100th
Novgorodian school of icon-painting was very specific (we posted some examples before). Because, yes, medieval Russia was not a united country.  There were a number of extremely independent lands, named princedoms (“knyajestvo" in Russian). Some of them had traditionally strong government. Some of them, like Novgorod, were republics.
For me, Novgorod of that period had much in common with some medieval Italian city-states like Florence. Thus, Novgorod is a very extraordinary story. Democracy, trade, and, of course, wealth - they created truly amazing and unique art. 

russian-style:

The Saviour (“Image of Edessa”), Novgorodian icon - 1100th

Novgorodian school of icon-painting was very specific (we posted some examples before). Because, yes, medieval Russia was not a united country.  There were a number of extremely independent lands, named princedoms (“knyajestvo" in Russian). Some of them had traditionally strong government. Some of them, like Novgorod, were republics.

For me, Novgorod of that period had much in common with some medieval Italian city-states like Florence. Thus, Novgorod is a very extraordinary story. Democracy, trade, and, of course, wealth - they created truly amazing and unique art. 

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(Источник: dailydoseofstuf из блога p-lanet-e-arth)

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marcedith:

 

marcedith:

 

(со страницы hermosanikita)

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langoaurelian:

His Siamese Majesty, King Chulalongkorn, Rama V, 1873

langoaurelian:

His Siamese Majesty, King Chulalongkorn, Rama V, 1873

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nevver:

Monsters of the Deep, The Goblin Shark

nevver:

Monsters of the Deep, The Goblin Shark

(со страницы silvabism)

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ruihenriquesesteves:

Maria Callas rehearses Spontini’s ‘La Vestale’, La Scala, Milan,1954

ruihenriquesesteves:

Maria Callas rehearses Spontini’s ‘La Vestale’, La Scala, Milan,1954

(со страницы wehadfacesthen)

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(Источник: myeroticfrenchtouch из блога p-lanet-e-arth)

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beautifuldavinci:

Alfred Émile Léopold Stevens (11 May 1823 – 24 August 1906) was aBelgian painter
After the death of his father in 1837, Stevens left middle school to begin study at theAcadémie Royale des Beaux-Artsin Brussels, where he knewFrançois Navez, the Neo-Classical painter and former student ofJacques-Louis Davidwho was its director and an old friend of Stevens’s grandfather.
Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models. In 1843, Stevens went toParis, joining his brother Joseph who already was there.
He was admitted to theÉcole des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its directorJean Auguste Dominique Ingres, this is likely not true.
 An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutchgenre painting. Like the Belgian painter and friend with whom he stayed in Paris,Florent Joseph Marie Willems (1823-1905), Stevens carefully studied works by painters such asGerard ter Borch andGabriel Metsu.

beautifuldavinci:

Alfred Émile Léopold Stevens (11 May 1823 – 24 August 1906) was aBelgian painter

After the death of his father in 1837, Stevens left middle school to begin study at theAcadémie Royale des Beaux-Artsin Brussels, where he knewFrançois Navez, the Neo-Classical painter and former student ofJacques-Louis Davidwho was its director and an old friend of Stevens’s grandfather.

Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models. In 1843, Stevens went toParis, joining his brother Joseph who already was there.

He was admitted to theÉcole des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its directorJean Auguste Dominique Ingres, this is likely not true.

 An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutchgenre painting. Like the Belgian painter and friend with whom he stayed in Paris,Florent Joseph Marie Willems (1823-1905), Stevens carefully studied works by painters such asGerard ter Borch andGabriel Metsu.

Photoset

(Источник: metodoludovico из блога beautifuldavinci)