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Children’s Games Pieter Bruegel the Elder • 1560 Kunsthistorisches Museum Wien From a bird’s-eye view - the only way Bruegel could legibly fit in the impressive number of figures - the viewer looks down onto a wide square with a transition from an urban to a rural setting at the edges. On the right the view opens on to a long street laid out in central perspective and leading to the city centre, where a church steeple (or town-hall tower) soars into the sky. The battlement-crowned building at the edge of the square towards the city opens into an arcade running parallel to the course of the stream. At the left edge of the painting, an idyllic village appears on the horizon. Children - more than 230 in all - are occupied with 83 different games. The whole city seems to be theirs. Bruegel gives the beholder an encyclopaedic view of the children’s games of his time. The tininess of the figures and scenes forces a viewer seeking to decipher all the games to study the individual parts of the painting slowly and minutely - an entertaining pastime. However, some modern scholars have refused to accept such a humanistic-oriented, “simple” interpretation: the seemingly useless children’s activities have been regarded - probably incorrectly - as a parable forthe senselessness and foolishness of human behaviour. 2025-09-07 19:58:33 Children’s .. 108 -56% 6 +29%
Saint Mary Magdalene Josefa d’Óbidos • c. 1650 A.D. Museu Nacional de Machado de Castro This oil painting on copper, from the Convento do Louriçal, is thought to be one of the works from the youth of Josefa d’Óbidos. This assumption is supported by the inscription on the reverse of the painting identifying her father - Baltazar Gomes Figueira - as the owner of this “copper plate”. The delicate work, rich in colour despite its overall darkness, adopts a pictorial vocabulary, inviting the viewer to repent, the principle path to redemption in the Proto-Baroque period. All the elements in this work contain this catechizing message to manipulate the observer. The story is that of a sinner converted by the doctrine of faith. The light glowing from the crucifix, together with the flame from the candle reveal this by bathing the figure and her expression in light, leaving the secondary elements in darkness. The attributes strengthen that idea: beside the Bible stands a skull, symbolizing meditation on the vanities of life and placed upon it is a “hairshirt” - the Discipline - an article for corporal mortification; both of these symbols of repentance and penitence are means of attaining the Divine Word of the Holy Bible. 2025-09-07 04:27:08 Saint Ma.. 125 -49% 0 -100%
La Femme au perroquet (Woman with a Parrot) by French artist Gustave Courbet. It was the first nude by the artist to be accepted by the Paris Salon in 1866 after a previous entry in 1864 was rejected as indecent. The painting shows a woman reclining on her back, with a pet parrot alighting on an outstretched hand. While painted in a style to gain Academy acceptance in its pose and smooth flesh tones, the model’s discarded clothes and disheveled hair were controversial, although less so than Le Sommeil, painted the same year. Joanna Hiffernan likely posed for both paintings, as she did for others by Courbet. The work is on view in the Metropolitan Museum’s Gallery 811. 2025-09-01 23:39:15 La Femme au perroquet.. 219 -11% 2 -57%
Paul Antoine Louis Bouchard (5 August 1853, Paris – 1937, Paris) was a French painter; best known for his Orientalist scenes. Among Paul Louis Bouchard’s orientalist paintings, the best known and most notable is “Les Almées” or The Egyptian Dancers from 1893 which today can be seen at Musée d’Orsay in Paris. The Egyptian Dancers, painted in oil on canvas, gives us a glimpse at a richly decorated harem-hall, where music, singing and dancing is performed as part of the entertainment scene. 2025-08-01 23:38:59 Paul Antoine .. 201 -19% 3 -35%
Bridal Procession on the Hardangerfjord Hans Gude • 1848 The National Museum of Art, Architecture and Design, Norway “Bridal Procession on the Hardangerfjord” is a famous painting by Hans Gude and Adolph Tidemand, completed in 1848. It depicts a traditional Norwegian wedding procession crossing a fjord in boats. The painting is known for its romanticized depiction of Norwegian nature and folk life, and is considered a key example of romantic nationalism in Norway. The painting is part of the collection of the National Museum of Art, Architecture and Design in Norway.  Key Aspects: * Artists: The painting is a collaboration between Hans Gude (who painted the landscape) and Adolph Tidemand (who painted the figures and boats). * Subject: The scene shows a bridal party traveling in boats after the wedding ceremony. * Style: The painting reflects the romantic nationalism movement, emphasizing Norwegian landscapes and traditions. * Location: It is held in the National Museum in Oslo, Norway. * Dimensions: The painting measures 93 cm × 130 cm (37 in × 51 in). * Significance: It is one of the most well-known Norwegian paintings and a key example of the country’s romantic nationalist artistic movement.  Title: Bridal Procession on the Hardangerfjord Creator: Hans Gude Creator Lifespan: 1825/1903 Creator Nationality: Norwegian Creator Gender: Male Creator Death Place: Berlin (Tyskland) Creator Birth Place: Oslo (fylke), Oslo (Norge) Date Created: 1848 Physical Dimensions: w130 x h93 cm Туре: Paintings Rights: The National Museum of Art, Architecture and Design External Link: Digitalt museum Medium: Lerret and Olje pa lerret Translated Title: Brudeferd i Hardanger Technique: Olje Second Artist Name: Adolph Tidemand 2025-06-29 18:39:56 Bridal Pr.. 206 -17% 6 +29%
Spanish Landscape Emilio Sánchez Perrier • 1881 Reading Public Museum • A friend and colleague of fellow Spaniard Mariano Fortuny, Sánchez-Perrier’s landscapes possess a remarkable, nearly photographic clarity which stems in part from his training under the French academic artist Jean-Léon Gérome. This work, painted near Granada, Spain, is typical of his subjects which draw on the natural and architectural elements of the rustic Spanish countryside. 2025-05-29 23:23:54 Spanish Landsca.. 254 +3% 5 +8%
Frederic Edwin Church May 4, 1826 - Apr 7, 1900 Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church’s paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States. 2025-05-16 20:16:33 Frederic Edwin Church M.. 216 -13% 3 -35%
Princess Tarakanova Flavitsky K.D. • 1863/1864 Even abroad, Flavitsky planned to write a picture about the ill-fated destiny of the famous adventurer impostor, who deliberately took the name of Princess Tarakanova and marked herself on the Russian throne. The picture shows a stone casemate with a large window for the prison. The painting was a huge success both in Petersburg, Moscow, and abroad, including at the world exhibition in Paris. There are two copyrighted copies of this painting, one of which is in the collection of the State Tretyakov Gallery, the second - in the Tashkent State Museum of Art. Arts & Culture Development Foundation under the Cabinet of Ministers of the Republic of Uzbekistan 2025-05-08 08:56:10 Princess Tarakanova Fla.. 248 +0% 6 +29%
Picture Gallery with Views of Modern Rome Giovanni Paolo Panini • 1757 Museum of Fine Arts, Boston MFABoston This extravagant souvenir was one of four similar paintings commissioned by the Duc de Choiseul to commemorate his stay in Rome as the French ambassador to the Vatican. Pannini, who became the most celebrated view painter in Rome, had been trained in a school of stage designers in Bologna. He depicted the duke seated in the center of a fantastic art gallery, surrounded by sculptures by Michelangelo and Bernini. Around him hang Pannini’s meticulously detailed views of Roman buildings, fountains, and monuments of the seventeenth and eighteenth centuries, including Saint Peter’s Square, the Trevi Fountain, and the Spanish Steps. Title: Picture Gallery with Views of Modern Rome Creator Lifespan: 1691 - 1765 Creator Nationality: Italian (Roman) Creator Gender: Male Date Created: 1757 Physical Dimensions: w2445 x h1702 mm Type: Paintings Rights: Charles Potter Kling Fund. Museum of Fine Arts, Boston. All Rights Reserved External Link: http://www.mfa.org/collections/object/picture-gallery-with-views-of-modern-rome-34215 Medium: Oil on canvas Inscription: Lower left, on face of block of stone, I. PAUL PANINI. ROMA E; on edgeof stone: 1757 2025-05-04 18:10:30 Picture Gallery wit.. 252 +2% 7 +51%
Hans Zatzka (8 March 1859 – 17 December 1945 or 1949) was an Austrian Academic and fantasy painter. He has sometimes been known as P. Ronsard, Pierre de Ronsard, or H. Zabateri, and signed many of his works as Joseph Bernard, J. Bernard, or Bernard Zatzka. The purpose of Zatzka’s vast array of pseudonyms was to avoid penalties of breaking contracts which limited the amount of artwork he could sell. This has caused some art databases to conflate Zatzka’s work under the pseudonym Joseph Bernard with the French sculptor with the same name. Hans Zatzka was born on 8 March 1859 in Vienna. His father Bartholomaüs was a construction worker, and his mother was Marie Karpischek Zatzka. Between 1877 and 1882, he studied at the Academie des Beaux-Arts, under Christian Griepenkerl, Carl Wurzinger, and Karl von Blaas. Zatzka was able to earn a living through the production of frescoes for churches and other institutions. Many of Zatzka’s works were religious paintings and altar pieces dedicated to various churches in Austria. However, he is more known for his paintings of women, fairies, and other fantastical scenes. Often, he would draw inspiration from the works of Richard Wagner and the fairy tales of the Brothers Grimm. In the late 19th and early 20th century, several pieces by Zatzka were photographed and made into commercial and collectable postcards. During the 1920s, Zatzka’s style became the decor of choice throughout Europe. In addition, the previous thirty years held a resurgence for Zatzka. Currently, most of Zatzka’s paintings reside in private collections. He lived in his home studio, never took in students or teaching jobs and painted until the 80th year of his life. Hans Zatzka died December 17, 1945. By 1980, demand for Hans Zatzka paintings in the United States enjoyed great popularity and significantly increased the value of his work. Zatka’s work is now sold internationally in galleries and auction houses, fetching large sums of money. 2025-04-26 21:06:25 Hans Zatzk.. 263 +6% 7 +51%
Praying Hands, 1508 Albrecht Dürer • Albertina Museum 2025-04-25 07:03:25 Praying Hands, 1508 Al.. 244 -1% 6 +29%
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 2025-04-24 20:00:06 Christ befo.. 354 +43% 5 +8%
Girl with a Pearl Earring Johannes Vermeer • c. 1665 Girl with a Pearl Earring is Vermeer’s most famous painting. It is not a portrait, but a ‘tronie’ - a painting of an imaginary figure. Tronies depict a certain type or character; in this case a girl in exotic dress, wearing an oriental turban and an improbably large pearl in her ear. Johannes Vermeer was the master of light. This is shown here in the softness of the girl’s face and the glimmers of light on her moist lips. And of course, the shining pearl. Source: Mauritshuis 2025-04-24 06:21:59 Girl with a Pea.. 238 -4% 7 +51%
Elin Danielson was born in the small village of Noormarkku, near the city of Pori in Western Finland. She was the first-born child of Karl Danielson and Rosa Amalia Danielson, who both came from families of officers and officials, a middle-class background. Her early years were spent on a family farm, Ala-Sihtola in Ilmajoki. Because of the Finnish famine of 1866–68, the farm failed and Karl Danielson went bankrupt. After being forced to sell the farm, her father committed suicide. Her mother, Rosa, returned to Noormarkku with her two daughters. Determined to provide a decent education for her daughters, Rosa worked in a variety of jobs. Following the tragedy, and surrounded by the strong female figures of her mother, aunt, and grandmother, Danielson adapted an independent survival strategy. At the age of 15, Danielson moved to Helsinkiand began studying in the Academy of Fine Arts, where her teachers included Carl Eneas Sjöstrand and Hjalmar Munsterhjelm. In 1878, Danielson started courses with Adolf von Becker. Because of her choice of rare subject matters that often even caused some offence, Danielson is now seen as one of the central artists of the Golden Age of Finnish Art. 151 Danielson-Gambogi was included in the 2018 exhibit Women in Paris 1850-1900.141 2025-04-21 23:16:56 Elin Danielson was bor.. 247 -0% 7 +51%
The Tortoise Trainer Osman Hamdi Bey • 1906 Pera Museum As the first and last Orientalist painter of the Ottoman Empire, Osman Hamdi Bey had the unique opportunity to observe the East from within. Rather than depicting the “other” as a number of foreign painters did, he portrayed his own culture and propounded his own cultural perceptions. His works, which often reflect the Ottoman tradition and culture, manifest a meticulous and realistic approach to all the elements featured in a scene, ranging from daily life to architecture and from objects to ornamentation. Osman Hamdi is an artist who not only incorporates the use of figures, but also introduces an intellectual dimension to Turkish painting. The Tortoise Trainer should thus be evaluated in light of this dual aspect. Osman Hamdi, who often used his own photographs as models in his figurative compositions, once again repeats the same technique in this painting and depicts himself in the appearance of a dervish. The architectural décor suggests that the scene takes place in one of the upper-story chambers of Bursa's Yesil Camil (Green Mosque). Dressed as a dervish and slightly bent over, a man is examining in a contemplative fashion, the tortoises roaming on the floor. He sports an araqiyya, a flattish skull cap commonly worn by dervishes, with a destar, or sash wrapped around it. He wears a belted, long red robe the borders of which are embroidered; his feet are clad in gedik, or slippers for indoor wear, made of yellow sahtiyan, Moroccan (goatskin) leather. 2025-04-18 05:13:31 The Tortoise Train.. 230 -7% 3 -35%
This painting, by the British artist John Collier (c. 1850 – 1934), endeavors to bring to life an ancient priestess from the famous temple of Apollo at Delphi. Collier’s clergywoman is not just any priestess—she is a Pythia, a prophetess who, when sitting upon her specially-placed tripod in the temple, would utter cryptic messages that were said to have been mystically divulged to her by the temple’s patron god, Apollo. Prophecies and statements from the Pythia were highly valued in ancient Greece, and it was not uncommon for individuals and communities to seek advice from the Oracle before committing to any great decision or undertaking. Even in ancient times, people in the Greco-Roman world suspected that the famous priestesses at Delphi might have been receiving help literally from the earth in order to enter their prophetic trances. The Roman scholar, Pliny the Elder (c. 23-79), wrote of Delphi in a section of his Natural History that dealt with vents in the earth. He stated, “In other places there are prophetic caves, where those who are intoxicated with the vapour which rises from them predict future events, as at the most noble of all oracles, Delphi. In which cases, what mortal is there who can assign any other cause, than the divine power of nature, which is everywhere diffused, and thus bursts forth in various places?” (Pliny the Elder, Natural History, 2.95). Pliny’s contemporary, the poet Lucan (c. 39-65), also wrote an account of a Pythia of Delphi. In Lucan’s entertaining and fictionalized account, the poet describes the psychedelic escalation and decline of a Pythia, who seems tired and afraid of her hallucinogenic occupation. Lucan wrote: 2025-04-15 21:47:14 This pain.. 332 +34% 5 +8%
In a Roman Osteria Carl Bloch • 1866 As is often the case in Bloch's work, knives and forks are brandished rather freely. Note in particular how the phallic decanter to the left may be close to an inviting mouth with slightly parted lips, but is equally - and unpleasantly - close to a knife and a fork with only two large prongs considerably more pointy than those of the young man's fork. A popular genre picture In a Roman Osteria is an intensified version of a painting by one of Bloch's major predecessors, Wilhelm Marstrand (1810-1873); specifically his charming Italian Osteria Scene from 1848 (Ny Carlsberg Glyptotek). It is one of Bloch's most popular genre pictures and is typical of his seductive ability to depict objects, details, and clothes with striking realism. Commision pictures Within Bloch's body of work, the genre pictures constituted a break from the many commissions from the Danish Establishment. Friars with toothache, monks plucking chickens, coarse fishwives, and children hunting innocent ducks were among his favourite subjects. These pictures were usually very amusing, but also often rather strange and very much open to interpretation. Details Title: In a Roman Osteria Creator: Carl Bloch Creator Lifespan: 1834 Kobenhavn - 1890 Kobenhavn Creator Nationality: Danish Creator Gender: Male Creator Death Place: Kobenhavn Creator Birth Place: Kobenhavn Date Created: 1866 Text sourced from: SMK - Statens Museum for Kunst 2025-04-09 17:44:09 In a Roman Osteria Carl.. 339 +37% 5 +8%
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. 2025-04-05 16:57:08 Constantinople, the To.. 372 +51% 8 +72%
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 2025-04-02 20:30:46 Lady wit.. 387 +57% 5 +8%
The Milkmaid Johannees Vermeer ca. 1660 A maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting – the woman stands like a statue in the brightly lit room. Vermeer also had an eye for how light by means of hundreds of colourful dots plays over the surface of objects. Texts sourced from Rijksmuseum Jan Vermeer; October 1632 - 15 December 1675) was a Dutch painter who specialized in domestic interior scenes of middle-class life. He is considered one of the greatest painters of the Dutch Golden Age. During his lifetime, he was a moderately successful provincial genre painter, recognized in Delft and The Hague. He produced relatively few paintings, primarily earning his living as an art dealer. He was not wealthy; at his death, his wife was left in debt. Text sourced from wiki 2025-04-01 00:47:20 The Milkmaid Johannees .. 352 +42% 6 +29%
Edward Hopper said that “Nighthawks” was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper’s understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in “Nighthawks” “unconsciously, probably, I was painting the loneliness of a large city.” Text sourced from The Art Institute of Chicago 2025-03-31 03:52:13 .. 304 +23% 4 -14%
René Magritte Belgian artist Born: November 21, 1898, Lessines, Belgium Died: August 15, 1967 (age 68 years), Rue des Mimosas, Schaerbeek, Belgium Periods: Surrealism, Modern art, Dada Influenced by: André Breton, Sigmund Freud, Jack Boynton Spouse: Georgette Berger (m. 1922–1967) Nationality: Belgian A Belgian surrealist painter, Rene Magritte’s witty and thought-provoking paintings sought to have viewers question their perceptions of reality, and become hypersensitive to the world around them. Magritte’s mother was a suicidal woman, which led her husband, Magritte’s father, to lock her up in her room. One day, she escaped, and was found down a nearby river dead, having drowned herself. According to legend, 13 year old Magritte was there when they retrieved the body from the river. As she was pulled from the water, her dress covered her face. This later became a theme in many of Magritte’s paintings in the 1920’s, portraying people with cloth covering their faces. He began drawing lessons at age ten, and in 1916, went to study a the Royal Academy of Fine Arts in Brussels, where he found the instruction uninspiring and unsuited to his tastes. He did not begin his actual painting career until after serving in the Belgian infantry for a short time, and working at a wallpaper company as a draftsman and producing advertising posters. He was able to paint full time due to a short-lived contract with Galerie le Centaure, allowing him to present in his first exhibition, which was poorly received. (Continued see links) Sources: https://en.m.wikipedia.org/wiki/René_Magritte And https://www.wikiart.org/en/rene-magritte #art #arthistory #paintings #artist #magritte #renemagritte #artgallery #artcollector #artoftheday #artist #artistsoninstagram #painting #history #modernart #matisse #instagram #lebonheurdevivre #oilpainting #oilpaint #oil #oiloncanvas #artgram #artgallery #artlover #artofinstagram #artwork #modernartist #surrealism 2025-03-23 10:26:43 René Magr.. 153 -38% 1 -78%
The Great Bear (2010) by Russian Painter Rinat Voligamsi (born 1968) Rinat Fazletdinovich Ismagilov (Russian: Ринат Фазлетдинович Исмагилов; born 6 March 1968), better known as Rinat Voligamsi (Russian: Ринат Волигамси), is a Russian surrealist painter. His works largely deal with his childhood in the Soviet Union as well as the situation of modern Russia. He is based in Ufa. Voligamsi is known for a style that crosses between surrealism and photorealism. He bases many of his artworks off old Soviet newspapers and photographs. His process involves finding photographs related to the subject area he wants to depict, studying the pictures, putting them away and painting from memory. Voligamsi describes the USSR he grew up in as a fundamental influence on his work, but he leaves the messages of his work regarding the USSR to the interpretation of his audience. In terms of the mood of his paintings, he cites his influence as British punk, and his military influences stem from his military service. He describes his work as humorous and creating a precarious balance between “rationality and utter insanity”. 2025-03-19 22:24:58 .. 184 -26% 3 -35%
Title: Fausto e Margarida Creator: Pedro Américo Date Created: último quarto do século XIX Physical Dimensions: 34 x 23 cm Type: Oil on canvas glued on wood Rights: Acervo da Pinacoteca do Estado de São Paulo, Brasil. Compra do Governo do Estado de São Paulo, 1950 Year and death place name: 1905 - Florence, Italy Year and birth place name: 1843 - Areias, PB, Brazil The legend of the German Doctor Faust, originally spread through oral tradition, was published for the first time in the form of booklet in 1587. In 1806, one of the most important German writers, Johann Wolfgang von Goethe (1749-1832), published the play Faust, a tragedy, inspired by the 16th century legend.it is nearly certain that Pedro Américo, na erudite, well-read artist, was inspired by Goethe’s narrative. The play was also an important source of inspiration for many other writers, painters and musicians, such as Fernando Pessoa (1888-1935), Eugène Delacroix (1798-1863) and Franz Liszt (1811-1886). In Goethe’s work, Doctor Faust is an old scholar, bored and disappointed with the world, who invokes the devil Mephistopheles in search of magical powers and transcendent knowledge. The devil offers his services to Faust, guaranteeing him youth, as long as the doctor gives him his soul is Exchange, after some years. Faust accepts the proposal, signing the devil’s contract in his own blood. Among many adventures, Faust falls in love with a Young Gretchen, whom he seduces with jewels materialized by the devil. For this depiction of the theme, Americo chooses the moment that Gretchen is seduced by Faust. The figure of Mephistopheles, wearing clothes made of dark damask and somewhat obscured, observes the scene from behind a curtain at the right. Faust is supporting his left hand on the hilt of a sword and preparing to kiss the young woman, already wearing the diabolic jewels. Gretchen holds her hands together in prayer, having dropped two White lilies, classical symbols of the chastity and virtue she is about to lose. Credit: Pinacoteca de São Paulo 2025-01-07 04:05:12 Title: Faus.. 164 -34% 3 -35%
The Morning in a Pine Forest (Russian: Утро в сосновом лесу), formerly The Bear Family in the Forest[a] (Russian: Медвежье семейство в лесу), is a painting by Russian artists Ivan Shishkin and Konstantin Savitsky. The bears were painted by Savitsky,[2] but the art collector Pavel Tretyakov effaced his signature, stating that 2024-12-13 19:34:53 .. 187 -24% 3 -35%

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