This post is part of the Our World Tuesday meme,
and also part of the Ruby Tuesday meme,
and also part of the Travel Tuesday meme,
and also part of the Wordless Wednesday meme.
|"In the Caucasus Mountains" - Nikolay Aleksandrovich Yaroshenko|
|"Portrait of actress Pelagia Antipovna Strepetova" (Detail) - Nikolay Aleksandrovich Yaroshenko|
|Rosie Eisor: Xerox Portrait 1|
|Left: Lesley Schiff – Flower in Hand, 1981, from the portfolio Seasons. Photocopy, 10 1/2 × 8 1/2 in. (26.7 × 21.6 cm) / Right: Lesley Schiff – Leopards, 1981, from the portfolio Seasons. Photocopy, 10 1/2 × 8 1/2 in. (26.7 × 21.6 cm). Whitney Museum of American Art, New York; gifts of Judith Goldman|
|The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894 and is usually on display in Tate Britain, London, in room 1840.|
|This dramatic painting illustrates an episode from the journeys of the Greek hero Odysseus (in Latin, Ulysses) told in the poet Homer’s Odyssey in which the infamous Sirens lured unwary sailors towards perilous rocks and their doom by singing in the most enchanting manner. Odysseus wished to hear the Siren’s song and ordered his crew to lash him to a mast and block their ears in order to ensure their safe passage.|
Waterhouse has depicted each Siren with the body of a bird and the head of a beautiful woman, which came as a surprise to Victorian audiences, who were more used to seeing these mythic creatures portrayed as comely mermaid-like nymphs. He borrowed the motif from an ancient Greek vase that he studied in the British Museum.
When Ulysses and the Sirens was first exhibited, at London’s Royal Academy in 1891, the painting was praised by most art critics of the day. MH Spielmann, writing for the Magazine of Art, declared it: ‘a very startling triumph … a very carnival of colour, mosaicked and balanced with a skill more consummate than even the talented artist was credited with … The quality of the painting is … a considerable advance upon all his antecedent work’. At the time of Sir Hubert von Herkomer’s purchase of this picture for the National Gallery of Victoria, in June 1891, the Ulysses was only the second work by John William Waterhouse to be acquired for a public gallery.
|In 2005, the National Gallery of Victoria in Melbourne hosted the most comprehensive display of 17th century Dutch masterpieces has come to Melbourne for the second exhibition in the Melbourne Winter Masterpieces series. On the left is a detail of the painting "The Procuress" (c. 1656), the man depicted believed to be a self portrait by Vermeer.|
On the right is "The Love Letter" (Dutch: De liefdesbrief), which is a 17th-century genre painting by Jan Vermeer. The painting shows a servant maid handing a letter to a young woman with a cittern. The painting is in the Rijksmuseum Amsterdam.
|"The Art of Painting", also known as "The Allegory of Painting", or "Painter in his Studio", is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. This illusionistic painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious; Walter Liedtke "as a virtuoso display of the artist's power of invention and execution, staged in an imaginary version of his studio ..." According to Albert Blankert "No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition." Many art historians think that it is an allegory of painting, hence the alternative title of the painting. Its composition and iconography make it the most complex Vermeer work of all. After Vermeer's Christ in the House of Martha and Mary it is his largest work.|