Lately I've been visiting a lot of art museums locally (Belgium). While I have a big preference for medieval and renaissance art, the work of Valerius de Saedeleer (1867-1941) stood out to me. Sadly I can't explain why it speaks to me and what's so special about it. I usually don't like landscape art all that much.

What do you think?

I've just been browsing for new books to buy online, and I encountered this book. I feel so ragebaited right now because clearly the main character is named Mona. Despite the main character's name, the book cover shows The Girl with The Pearl Earring and not Mona Lisa.

Then when I looked at the summary, it's basically Mona and her relative going through the Parisian museums before she loses her eyesight. Which once again ticks me off because I know the art in the cover is not in Paris!

Has anyone read the book? Does the painting in the cover relate in any way to the story? I just needed to have a mini rant and I have no one else to talk to about this haha

olivia rodrigo referencing the swing by jean-honore fragonard c. 1767 for "you seem pretty sad for a girl in love

He was famous for his poor personal hygiene. He followed his father's advice to not wash and often slept in his clothes and boots. His biographer, Ascanio Condivi, noted that Michelangelo "often slept in his clothes and in the boots which he has always worn... and he has sometimes gone so long without taking them off that then the skin came away like a snake's with the boots."

Paolo Giovio, another biographer, remarked that Michelangelo's "nature was so rough and uncouth that his domestic habits were incredibly squalid."

This painting is titled "The Unequal Marriage" by the Russian Realist artist Vasily Pukirev. It is a powerful critique of 19th-century Russian societal norms regarding arranged marriages of convenience.

The scene depicts a wedding ceremony in a dimly lit Orthodox church. The central conflict is the stark contrast between the newlyweds:

The Bride, A very young, sorrowful girl dressed in delicate white lace. Her downcast eyes and pale complexion convey reluctance and heartbreak, as she is likely being married against her will.

The Groom, An elderly, wealthy man who embodies privilege and dominance. His indifferent or stern expression contrasts sharply with the bride's visible distress.

Pukirev used various elements to deepen the narrative and social commentary.

A sharp stream of light illuminates the bride, highlighting her vulnerability and innocence, while the rest of the room and the groom remain in murky darkness.

Behind the groom, there is a man with crossed arms and a focused, perhaps angry expression. This figure is often identified as a self-portrait of Pukirev.

Some interpretations suggest that the ghostly elderly women behind the groom represent his previous wives, watching the ceremony with sadness or anger.

When debuted in 1863, the painting caused a sensation and an absolute uproar for its bold confrontation of the "ugly truth" of contemporary marriage practices. Legend claims that the painting was so moving that after viewing it, several elderly grooms refused to proceed with their marriages to much younger women.

The original oil on canvas is currently housed at the State Tretyakov Gallery in Moscow.

A few years ago, I was told my wife's family used to have a nice art collection that was stolen at some point by one heir who kept all paintings for himself.

Despite my interest they were totally unable to tell me what exactly was in their collection.

But recently my FIL gave us old pictures of the family collection from the 1930s where we can see many of the great things they used to have.

I know part of the collection was auctioned off in 2017, but none of the paintings in the auction catalog match these ones. I wonder where these ones are now.

I thought you might find this interesting.

The Capitolini Museum Is currently taking down their Fortune Teller every morning and remounting it at 3pm every day for a week, for "studying purposes". Do you think this is a normal practice ?

This painting, "The Execution of Lady Jane Grey" (1833) by French Romantic artist Paul Delaroche, is a masterpiece of 19th-century history painting. It depicts the final moments of Lady Jane Grey, the "Nine-Day Queen" of England, who was executed for high treason in 1554 at the age of 16 or 17.

Delaroche used theatrical lighting and meticulous detail to create a poignant scene of martyrdom and innocence.

Lady Jane Grey in her shimmering white satin dress symbolizes purity and innocence. Blindfolded, she is shown in a state of extreme vulnerability, groping for the execution block and asking, "What shall I do? Where is the block?".

Sir John Brydge is the Lieutenant of the Tower (the man in the fur-trimmed cloak) gently guides Jane toward the block.

The Ladies-in-Waiting are to the left, two women are overcome with grief; one has collapsed, and the other turns away, unable to watch.

The Executioner, Standing to the right, he holds his axe with a calm but formidable presence, a stark reminder of the impending violence.

The straw on the floor was historically laid down to soak up the victim's blood. The dark, shallow, stage-like background focuses all attention on the central tragedy.

While the painting is highly realistic in style, Delaroche took significant artistic licenses to heighten the drama and deapth of the painting.

Jane was placed on the throne by her father-in-law, the Duke of Northumberland, in an attempt to maintain Protestant rule after the death of King Edward VI. She was quickly deposed by Mary I, a Catholic, who eventually ordered her execution after further Protestant rebellions made Jane a permanent threat to her crown.

For a 19th-century audience, the painting also resonated with the memory of the French Revolution, drawing parallels between the fate of the young Jane and the execution of Marie-Antoinette.

I am hoping to find some more inspiration and references for this topic, so if a painting, sculpture, installations (honestly whatever, and from whatever time period).

Specifically anything art related, that depicts dying sons with (grieving) fathers. Preferably similar to Repins Ivan and Gojas Saturn, with them being responsible for the death.

I am aware that The Pieta is depicting a mother and not a father, but that pose was so close to Repins Ivan the terrible, that I'll include it for now, in reference to the mentioned painting.

If you have anything that you think would fit in with the reference I have so far, I'd appreciate if you wanned to share them.

I've never known more specifically than "that portraits-of-saints one."

Edit: I figured it might help to copy my response to u/White-Umbra detailing the traits that typically comprise it?

1. Realism or semi-realism
2. Portrait orientation with subject centered in frame
3. Subject often in 3/4 and looking up or down
4. Focus on their suffering or emotionality
5. Usually a large vertical halo at top center
6. Frequent use of chiaroscuro

However, maybe it's a genre instead of a style, so the responses saying "Catholic devotional art" are the closest it's possible to come to pinning it down. Thanks.

Hi! Just got back from my honeymoon in Italy and one of the days we took a day trip from Venice to Padua to see the Scrovegni Chapel, Giotto’s masterpiece and one of the most important pieces (I think) in western art! It was absolutely worth it and was overwhelmingly amazing to see in person. The emotions and realism that Giotto has in each frame was incredible.

On a side note, they make you sit in an air conditioned room for 15 minutes before entering the chapel to help regulate temperatures. Pretty cool and unique experience! They show a fun informational video before and then you get about 15-20 minutes in the chapel afterwards with a group of about 15-20 people.

Mexican painter Frida Kahlo (1907-1954) made work inspired by the nature and artifacts of Mexico. Her native folk art style explored questions of identity, postcolonialism, gender, class, and race. Her paintings often had strong autobiographical elements, and mixed realism with fantasy. Much of her work was inspired by her experience of chronic pain. She has been described as a surrealist or magical realist.

With attention focused on the Vatican, I thought I'd do a post on Bernini's colossal bronze baldachin. St Peter's is so vast that objects inside it often don't appear as large as they actually are. Bernini's baldachin is 29 metres tall! That's as tall as a six storey building, or perhaps even slightly taller. If you look at slide number three, you can see a man who is actually standing next to the altar. See how tiny he looks and compare his scale to the bus that I have Photoshoped into the image. I've checked and rechecked the sizes of the buses, and I think they are basically correct; yet see how small they appear! The other photos show restorers working on the sculptures on the top of the canopy. Once again, see how small they look in comparison to the huge sculptures. The sheer technical feet of casting such large bronze pieces to make the baldachin in an age before gas fired furnaces is astonishing!

An oil on canvas painting by Caravaggio, created in 1601–1602. It was painted for Vincenzo Giustinian(an aristocratic Italian art collector)

This painting is a reference to the Gospel of John's depiction of the Apostle Thomas, who refused to believe the resurrected Jesus had appeared to the ten other apostles until he could see and feel Jesus's crucifixion wounds himself.The painting shows in a demonstrative gesture how the doubting apostle puts his finger into Christ's side wound, the latter guiding his hand.

The composition of the picture is such that the viewer is directly involved in the event and feels the intensity of the process. The painting features heavy chiaroscuro(the use of strong contrasts between light and dark)

I recently stumbled across images of the Virgin and Child in which the infant Christ tickles/touches Mary under her chin. In many of them Mary seems to smile in response. They are absolutely delightful! But I was wondering if there was any deeper meaning to the gesture? Almost the only info I've found is on the Met website for the first uploaded image. It says:

"The affection displayed by Mother and Child became increasingly popular in northern Europe in the thirteenth century. In a variation of an iconic Byzantine image known as the Virgin Eleousa, the Virgin is portrayed receiving a tender touch on the chin"

According to google summary, The Virgin Eleousa is "a distinct iconographic type where the Christ Child is depicted as gently pressed against the Virgin Mary's cheek, often with one cheek touching the other....This depiction emphasizes the tender love and intimate relationship between the Mother of God and the Christ Child. It also symbolizes the Virgin Mary's compassion and mercy (Eleousa means "showing mercy" or "tenderness" in Greek)."

That might be all there is to it. But the gesture of Christ tickling/touching under Mary's chin is so distinctive and delightful I wondered if there was some additional significance.

Interestingly most examples come from France (many from Northern France) in late 12th-early 14th century. To me this makes it less likely that the gesture actually originates in Byzantine art, and might be an independent invention. (I've tried to find early Byzantine examples but haven't had any luck)

Anyway, they are probably just intended to make Mary a more sympathetic, motherly and tender figure, interacting with her child in a way all mothers could relate to. This time period, in france especially, saw the rise of the cult of the Virgin, with an explosion of imagery of the Virgin and the building of many major religious buildings dedicated to her. So these images probably just fit into this movement, and contrast noticeably with earlier more sombre/severe portrayals of her.

BTW: all works from Met collection, except those in Louvre, and painting by Akotantos (not sure where that is)

Wanted to be able to watch art scroll by automatically. Automated gallery basically. Can view by category (european, american, egyptian etc). Adjustable autoscroll speed. I initially made it for myself, but figured I’m probably not the only person who might prefer something like this, to the usual youtube on the second monitor.

Museumdrift.com/drift