Charles Angrand | Neo-Impressionist painter

Charles Angrand (1854-1926) was a visible presence in the Parisian avant-garde in the late 1880s and early 1890s. Associated with a circle of artists known as the Neo-Impressionists, Angrand emulated the shadowy crayon drawings of Georges Seurat, Neo-Impressionism's standard-bearer.

Here Angrand presents himself, not at all as an artist, but as a bourgeois dandy, impeccably dressed and smoking a small cigar.

Rainer Maria Rilke | La sera / The evening

Johan August Malmström (1829-1901) Dancing Fairies, 1866

Come una indefinibile fata d'ombre...

Vien da lungi la Sera, camminando

per l'abetaia tacita e nevosa.

Mother Teresa /Jeanie Tomanek ~ Love life /Ama la vita

Jeanie Tomanek, 1949 ~ Allegorical/Narrative painter

Love life as it is
Love her fully, unpretentious.
Love her when they love you or hate you when.
Love her when no one understands you,
or when you include everyone.
Love her when all forsake you,
or when you exalt like a king.
Love her when they steal everything,
or when you give it.
Love her when it makes sense
or when it seems not to have even a little‘.
Love her in complete happiness,
or in absolute solitude.

Sir George Clausen RA | Realist painter

Sir George Clausen RA (18 April 1852 - 22 November 1944), was an British artist working in oil and watercolour, etching, mezzotint, dry point and occasionally lithographs. He was knighted in 1927.

George Clausen was born in London on 18 April 1852, the son of a decorative artist. From 1867-1873, he attended the design classes at the South Kensington Schools in London with great success.

He then worked in the studio of Edwin Long RA, and subsequently in Paris under Bouguereau and Robert-Fleury. He was an admirer of the naturalism of the painter Jules Bastien-Lepage; about whom he wrote in 1888 and 1892.

Leonardo da Vinci | Il pittore dà i gradi delle cose opposte all'occhio..

Trattato della Pittura

Parte prima | Capitolo 27

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Benché le cose opposte all'occhio si tocchino l'un l'altra di mano in mano, nondimeno farò la mia regola di venti in venti braccia, come ha fatto il musico infra le voci, che benché la sia unita ed appiccata insieme, nondimeno ha pochi gradi di voce in voce, domandando quella prima, seconda, terza, quarta e quinta, e cosí di grado in grado ha posto nomi alla varietà di alzare e abbassare la voce.

Leonardo Da Vinci - Musical Rebus

Leonardo da Vinci | Come la Musica si dee chiamare sorella e minore della Pittura

Trattato della Pittura

Parte prima | Capitolo 25

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Viola Organista c. 1493-95

La musica non è da essere chiamata altro che sorella della pittura, conciossiaché essa è subietto dell'udito, secondo senso all'occhio, e compone armonia con la congiunzione delle sue parti proporzionali operate nel medesimo tempo, costrette a nascere e morire in uno o piú tempi armonici, i quali tempi circondano la proporzionalità de' membri di che tale armonia si compone, non altrimenti che faccia la linea circonferenziale per le membra di che si genera la bellezza umana.

Marie Laurencin | Cubist painter

Marie Laurencin (1885-1956) French painter, designer, illustrator, etcher and lithographer.

Born in Paris.

Studied at the Académie Humbert, where Braque was a fellow pupil. Met Picasso, André Salmon and Apollinaire; influenced by Picasso and Matisse, and began to paint pictures mainly of sloe-eyed girls in a decorative, arabesque-like style. Painted 'Apollinaire, Picasso and their Friends' 1909.

Lorado Taft ~ The Solitude of the Soul /La solitudine dell'anima, 1914

In stone, four life-sized figures, two male and two female, posed around and halfway emerging from, or captured by, an indistinct central volume.

By the American sculptor Lorado Taft, 1860-1936. In the collection of the Art Institute of Chicago.

The Neoclassicism of the sculptors Harriet Hosmer and Randolph Rogers was replaced in the second half of the 19th century by the more realistic naturalism of French-trained sculptors such as American sculptor Lorado Zadoc Taf (1860-1936). An instructor in modeling at the School of the Art Institute for 20 years, Taft created public monuments for Chicago that made the city a center for sculpture. The figures in this work are only partly freed from the marble, a technique that emphasizes the mass and outline of the stone.
Explaining The Solitude of the Soul, Taft wrote, “The thought is the eternally present fact that however closely we may be thrown together by circumstances . . . we are unknown to each other”.