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The Magdalen in a Landscape (perhaps about 1510-25). Adriaen Ysenbrandt (Belgian, 1480-1551). Oil on oak. National Gallery, London. Mary Magdalene is at prayer before a book and a crucifix which is held by an angel; the jar containing the ointment with which she anointed Christ is in the foreground. She appears again in the right background reading in a cave. This is said to be an early work, possibly of about 1510-25.

The Magdalen in a Landscape (perhaps about 1510-25). Adriaen Ysenbrandt (Belgian, 1480-1551). Oil on oak. National Gallery, London. Mary Magdalene is at prayer before a book and a crucifix which is held by an angel; the jar containing the ointment with which she anointed Christ is in the foreground. She appears again in the right background reading in a cave. This is said to be an early work, possibly of about 1510-25.

Portrait of a Lady Portrait of a Lady Italian, Venetian about 1515-20. National Gallery, London by renzodionigi, via Flickr

Portrait of a Lady Portrait of a Lady Italian, Venetian about 1515-20. National Gallery, London by renzodionigi, via Flickr

Portrait from Menuhin Sale by Sotheby's, London, 2004. Claude Marie Dubufe (French, 1790-1864). Oil on canvas. The male sitter is most likely to be Lady Menuhin's paternal grandfather, Gérard Gould, and his mother. By the early 1800s the Gould family had settled in Paris, where Dubufe was known to have a studio.

Portrait from Menuhin Sale by Sotheby's, London, 2004. Claude Marie Dubufe (French, 1790-1864). Oil on canvas. The male sitter is most likely to be Lady Menuhin's paternal grandfather, Gérard Gould, and his mother. By the early 1800s the Gould family had settled in Paris, where Dubufe was known to have a studio.

Self Portrait (1899). Hillary Coddington Lewis (British, 1871–1936). Oil on canvas. Blackburn Museum and Art Gallery. "Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself." --  Samuel Butler

Self Portrait (1899). Hillary Coddington Lewis (British, 1871–1936). Oil on canvas. Blackburn Museum and Art Gallery. "Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself." -- Samuel Butler

Girl Reading in a Salon (1876). Giovanni Boldini (Italian, Impressionism, 1842-1931). Oil on canvas.  In October 1871, Boldini began his Parisian career. Over the next twenty years Boldini explored many different subjects: small genre scenes, such as Girl Reading, as well as city views, suburban landscapes, and informal depictions of musicians, performers, and café-goers. Many of these same subjects appeared in the works of a group of avant-garde Impressionists active at the same time.

Girl Reading in a Salon (1876). Giovanni Boldini (Italian, Impressionism, 1842-1931). Oil on canvas. In October 1871, Boldini began his Parisian career. Over the next twenty years Boldini explored many different subjects: small genre scenes, such as Girl Reading, as well as city views, suburban landscapes, and informal depictions of musicians, performers, and café-goers. Many of these same subjects appeared in the works of a group of avant-garde Impressionists active at the same time.

Young Woman Reading (Ines). 1909-1910. Umberto Boccioni (Italian, 1882–1916). Charcoal, watercolor, and wax crayon on paper. The Metropolitan Museum of Art, NYC.

Young Woman Reading (Ines). 1909-1910. Umberto Boccioni (Italian, 1882–1916). Charcoal, watercolor, and wax crayon on paper. The Metropolitan Museum of Art, NYC.

Lesendes Mädchen (Reading Girl), 1850. Franz Eybl (1806-1880). Oil on canvas. Österreichische Galerie, Vienna.

Lesendes Mädchen (Reading Girl), 1850. Franz Eybl (1806-1880). Oil on canvas. Österreichische Galerie, Vienna.

Danseuse en pied vue de dos (1890). Henri de Toulouse-Lautrec (French, 1864-1901). Oil on board. Like many of Lautrec’s most accomplished works from this period, the present painting was rendered with diluted oil paint, known as peinture à l’essence, to create the feathery appearance of  pastel. Lautrec’s technique here was distinctly his own.

Danseuse en pied vue de dos (1890). Henri de Toulouse-Lautrec (French, 1864-1901). Oil on board. Like many of Lautrec’s most accomplished works from this period, the present painting was rendered with diluted oil paint, known as peinture à l’essence, to create the feathery appearance of pastel. Lautrec’s technique here was distinctly his own.

Serena Reading (c.1780-1785). George Romney (English, 1734-1802). Oil on canvas. Harris Museum & Art Gallery. Serena Reading shows the heroine from a poem called ‘Triumphs of Temper’ by William Hayley, a close friend of Romney. The poem tells how Serena became so engrossed in a book that she read all through the night. Daylight is breaking and her candle has burnt down.

Serena Reading (c.1780-1785). George Romney (English, 1734-1802). Oil on canvas. Harris Museum & Art Gallery. Serena Reading shows the heroine from a poem called ‘Triumphs of Temper’ by William Hayley, a close friend of Romney. The poem tells how Serena became so engrossed in a book that she read all through the night. Daylight is breaking and her candle has burnt down.

Serafina, Torquay, (1952). Peter Samuelson (1912-1996). Oil on board.

Serafina, Torquay, (1952). Peter Samuelson (1912-1996). Oil on board.

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