worldclassmuseum:

Chiesa del Santissimo Nome di Gesù all’Argentina, Rome, Italy

Ceiling: Giovanni Battista Gaulli (1672-1679)

Plan: Giacomo Vignola (1568)

victoriousvocabulary:

COMATOSE

[adjective]

1. affected with or characterised by coma; a state of prolonged unconsciousness, including a lack of response to stimuli, from which it is impossible to rouse a person.

2. lacking alertness or energy; torpid; lethargic.

Etymology: Greek komat- (stem of kôma coma) - deep sleep.

[Brad Kunkle]

marthajefferson:

Julianne Moore as “Famous Works of Art” by Peter Linderbergh - for Harper’s Bazaar

Seated Woman With Bent Knee by Egon Schiele, La Grande Odalisque by Ingres, Saint Praxidis by Vermeer, The Cripple by John Currin, Les danseuses by Edgar Degas, Madame X by John Singer, Girl with a Pearl Earring by Vermeer, Woman With a Fan by Modigliani, Man Crazy Nurse #3 by Richard Prince, Adele Bloch Bauer I by Gustav Klimt.

daisy-dicks:

eastcoastalvibes:

amazing texture

Must’ve taken foreeeever to dry…

artforadults:

David Palumbo

theartofanimation:

Daniel Grzeszkiewicz

arthistorygallery:

Francisco Goya, The Family of Charles IV, 1800, oil on canvas.

So Goya’s “day job”—his bread and butter—was making official portraits of the King and Queen of Spain. This is one of my favorite of Goya’s court paintings because it can be pretty easily construed as him looking at the royal family and saying “screw all y’all.”

For one, Francisco de Paula, the little boy in red, wasn’t actually the son of the king. He was the son of another man in the painting, Don Luis de Parma. Goya has painted both of these figures in red with white and blue sashes as though trying to expose the family.

In addition, the faces are all vacant, and very non-idealized, perhaps to highlight the corruption of the court. It has also been suggested that one of the paintings in the background is of Lot and his daughters—citizens of Sodom with heavy implications of incest in the Biblical telling—to suggest the immorality of the court generally and this family specifically. 

drawpaintprint:

Jean Louis Theodore Gericault: Le Radeau de la Méduse (1819)

Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (193.3 in × 282.3 in),it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today’s Mauritania on July 5, 1816. At least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation, dehydration, cannibalism and madness. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain perceived to be acting under the authority of the recently restored French monarchy. In reality, King Louis XVIII had no say in the captain’s appointment, since, then as now, monarchs were not directly involved in appointments made to vessels like a naval frigate. The vicomte de Chaumareys’ appointment as captain of the Méduse would have been a routine naval appointment, made within the Ministry of the Navy.

In choosing the tragedy as subject matter for his first major work—an uncommissioned depiction of an event from recent history—Géricault consciously selected a well-known incident that would generate great public interest and help launch his career.The event fascinated the young artist, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors, and constructed a detailed scale model of the raft. His efforts took him to morgues and hospitals where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As the artist had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.

Although The Raft of the Medusa retains elements of the traditions of history painting, in both its choice of subject matter and its dramatic presentation, it represents a break from the calm and order of the then-prevailing Neoclassical school. Géricault’s work attracted wide attention almost immediately from its first showing, and was subsequently exhibited in London. It was acquired by the Louvre soon after the artist’s early death at the age of 32. The painting’s influence can be seen in the works of Eugène Delacroix, J. M. W. Turner, Gustave Courbet and Édouard Manet.

leivos:

by Agoera