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paint_tells_time
Instagram Profile
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painttellstime’s Instagram is projected to grow by - / day
Projection based on recent performance trends.
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painttellstime — Instagram Follower Projections
Projected growth from past data. Actuals may vary with trends or algorithm shifts.
2K Followers
35 Posts
- Followers / Day
- Posts / Day
| Time Until | Date | Followers | Posts | Growth |
|---|---|---|---|---|
| Live | 2,209 | 35 | — | |
| Not enough data. | ||||
painttellstime has an Instagram engagement rate of 11.40%
painttellstime Historical Stats
Latest 15 entries. Daily follower gains and drops.
Painttellstime can charge up to $9 USD per Instagram post.
Typical range: $4 – $9 USDpainttellstime’s Influence Rate
Export CSVpainttellstime shows an influence rate of 11.40%, suggesting a reach of ~247 per post.
Followers
2K
Posts
35
Engagement
11.40%
Avg. Likes
247
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Painttellstime (@paint_tells_time) — 2K FollowersEngagement: 11.40% · Avg. Likes: 247 · Avg. Comments: 5
%s’s Influence Rate
FAQ – painttellstime Instagram Stats
Common questions about painttellstime’s Instagram analytics.
Answer: 🔍 Fine arts, dark arts, art history
Answer: painttellstime has 2,209 followers on Instagram.
Answer: Engagement rate of painttellstime's Instagram Account is 11.40%.
Answer: Average likes are about 247 per Instagram post.
Answer: Average comments are about 5 per post.
Answer: Instagram Id of painttellstime is @paint_tells_time.
Answer: Worth of an Instagram post on painttellstime’s profile is $2 USD - $9 USD.
Answer: painttellstime discusses Art on their Instagram.Top captions from recent popular posts:
- Lady with an Ermine Leonardo da Vinci circa. 1489 The painting was purchased ca. 1800 in Italy, by Adam Jerzy, the son of Princess Izabela Czartoryska, and donated to the Museum in Puławy where it was exhibited in the ‘Gothic House’ from 1809–1830. In Puławy, it was erroneously considered to be a portrait alluding to the beloved mistress of King Francis I of France, referred to as the ‘Belle Ferronière’. We now know that the subject of the portrait is Cecilia Gallerani (ca. 1473-1536), a reputed mistress of Lodovico Sforza, Duke of Milan, also known as ‘il Moro’ (the Moor). The ermine in the portrait commissioned by him is an allusion to Duke Sforza himself, who was also referred to as the White Ermine (Ermellino Bianco). The portrait embodies the Renaissance idea of an image as an illusion of natural vitality. The artist managed to achieve this thanks to his knowledge of anatomy and his lighting skills, which enabled him to create a three-dimensional human figure on the image plane. The original background, which was overpainted with black in the 19th century, was also modelled with light just like the figure, which must have given the impression of the model emerging from the shadows. The portrait became the property of the Republic of Poland in 2016. Text sourced from The National Museum in Krakow
- Constantinople, the Top-Kahné Mosque, 1884 Ivan Aivazovsky - From the beginning, Ivan Aivazovski (1817-1900), a Russian painter of Armenian origin, specialised in marine painting. He quickly became successful, allowing him to accompany the Empire's fleet for its official journeys. Aivazovski painted this work in his studio, using memories of his trips to Istanbul. There, he created close ties with many Sultans. The eye lingers on the boat in the foreground before being drawn in by the Nusretiye (Top-Kahné) mosque, emerging from the pink mist, illuminated by a golden light. Its two, large minarets appear to guide boats to the port. Aïvazovski represented nature faithfully, particularly variations of light and water reflections, while giving these marine views a theatrical feel. Romanticism and realism intertwine in his work. Source: GrandPalaisRmn.
- Christ before the High Priest Gerard van Honthorst • about 1617 Christ was brought before the High Priest by Roman soldiers. He was questioned about his teachings and false testimony was called against him. New Testament (all gospels, e.g. Matthew 26: 57-66). This is one of the most famous paintings made by Honthorst in Rome, and shows the powerful influence of Caravaggio. The scene is focused on the burning candle in the centre of the composition, and beside it the arm and raised finger of the High Priest. Under Jewish law his claim to be the Messiah was punishable by death, and the book on the table in front of the High Priest contains the proscriptions of the Mosaic Law. The painting is concentrated in theme, lacking the anecdotal character that affected the work of the majority of Caravaggio’s followers. In this respect, it approaches the directness of Caravaggio’s own later work, such as ‘Salome receives the Head of Saint John’, also in the National Gallery’s Collection. According to van Honthorst’s biographer, Joachim von Sandrart, the patron was the Marchese Vincenzo Giustiniani, in whose palace the artist stayed during his years in Rome. Honthorst, a native of the Dutch town of Utrecht, may have moved to Rome perhaps as early as 1610 and returned in about 1620. Title: Christ before the High Priest Creator: Gerrit van Honthorst Date Created: about 1617 Physical Dimensions: 272 x 183 cm Type: Painting Medium: Oil on canvas School: Dutch Source: The National Gallery, London
