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Βυζάντιον


Francisco. 23. Chile // Ѻ̡̫͕͎͈̻̗́ͣ͌̋ɐ͙̻͎̠̠̟̊̍͝ͅ // ✞
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You’d certainly be forgiven in assuming that Hugh Ramsay’s glowingly cream 1904 painting The Sisters is a portrait of two women.
"Two" is easy: that’s just a matter of counting. (In fact, even counting is probably unnecessary to recognize that.)
As for classifying The Sisters as portraiture: well, not only does Ramsay draw from a portrait tradition in his style, but the two women have a clear individuality to their features.
And actually, you’d be right in thinking it’s a portrait.
Of three women.
As the Art Gallery of New South Wales writes, The Sisters is “a composite portrait of [Ramsay’s] three sisters, Madge, Nell and Jessie.”
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Bonhams does a beautiful job of summarizing what makes Carl Holsøe’s Mother and Child in a Dining Room Interior both so effective and so typical of Holsøe: “The exquisite detail brought into the composition of this scene draws together two aspects of Holsøe’s artistic pursuits: the pictorial representation of space on the one hand, and that of maternal devotion on the other.”
Though Holsøe shares Vilhelm Hammershøi’s proclivity for quiet, clean, Vermeer-evoking interiors with stunning attention to light—from the soft shadows on the wall to the highlights on the glazed prints on the wall, Holsøe achieves a photograph-like precision—Holsøe has none of Hammershøi’s alienating impersonality.
Far from it, as Bonhams highlights: Hosøe’s Mother and Child positively oozes maternal warmth and domestic comfort.
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James Campbell painted News from My Lad in 1859.
As National Museums Liverpool write, “[i]n this picture Campbell capitalised on public interest in the fate of troops engaged in putting down the Indian Mutiny. It shows an old locksmith who has just received a letter from his soldier son.”
The close-in, centralized composition and unified shades of brown lend this painting a memory-like quality. Perhaps, in fact, this is the scene the locksmith’s son imagined when he wrote the letter—the just-legible words begin by supposing that this shop is where the locksmith will read the letter.
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While it may look like a relatively cheerful painting—I mean, there are bubbles, after all—Thomas Couture’s circa 1859 Soap Bubbles takes a fairly pessimistic view of life.
The Metropolitan Museum points out that soap bubbles are themselves “traditional symbols of the transience of life,” and—though the subject might hope, through his studies (gleaned from the books beside him), to achieve something substantial—”[a] wilting laurel wreath on the wall behind him suggests the fleeting nature of praise and honors.”
Don’t lose hope, though: Couture painted a slightly more hopeful—if less beautiful—version the same year. In it, as the Walters Art Museum writes, the “laurel wreath symbolizes glory ignored,” and the soap bubbles? Merely vanity. So even his jury is out on the longevity of scholarship.
(Incidentally, dear reader, I got my GRE scores back today.)
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sakrogoat:

Anthony Denis
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metalfuckingheads:

"The devils have turned into serpents as a punishment."  - Gustave Doré
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lucifelle:

Jean Delville
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listdertoten:

Petrus Christus. The Last Judgment. 1452. detail of lower half
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laclefdescoeurs:

Under the moonbeams, Knostrop Hall, John Atkinson Grimshaw
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uromancy:

Alfred Kubin. Gewitter
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lilacsinthedooryard:

Ferdinand du Puigaudeau (French, 1864 - 1930), The Bourg de Batz Church under the Moon
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hadrian6:

From the Art Academy’s Plaster Cast Collection. 1843. Johan Julius Exner. Danish 1825-1910. oil/canvas.
http://hadrian6.tumblr.com
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funeral-wreaths:

Julia Margaret Cameron, Zoë, Maid of Athens, 1866. Source.
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zdzislawbeksinski-art:

Untitled
Zdzislaw Beksinski
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