Francesco Squarcione (Italian, 1397-1468), Polittico de Lazara (De Lazara Altarpiece), 1449-52; tempera on panel, 150 x 220 cm; Musei Civici agli Eremitani di Padova (Padua, Italy)

downinyonforest:

Lucian Freud | Buttercups, 1968

lionofchaeronea:

The Scene of Christ in the Temple, Fra Bartolomeo, 1516

amare-habeo:

Pablo Picasso  (1881 – 1973) - Le poète, 1912

Peter Doig (Scottish, 1959), Figures in Red Boat, 2005-2007; oil on canvas, 250 x 200 cm; Fondation Beyeler

Salomon de Bray (Dutch, 1597-1664), Martyrdom of Saint Lawrence, 1652; oil on canvas, 152 x 124 cm; Los Angeles County Museum of Art

kundst:

nobrashfestivity:

william rothstein

William Rothstein (GB 1872-1945)

Interior (Lady with a Hat), 1891

Oil on canvas ca 90 x 57 cm

Museums Sheffield

paulgauguin-art:

Breton Fisherman, 1888

Paul Gauguin 

(via flaws-and-flaws)

thunderstruck9:

Otto Dix (German, 1891-1969), Die Elektrische [The Electric Tram], 1919. Oil and assemblage on panel, 46 x 37 cm.

(via jaw8jaw)

desjolieschoses:

David Wojnarowicz, Untitled (Face in Dirt), 1990. 

jagkanbliintetal:

Lesser Ury (German, 1861-1931), Berlin Street Scene with Horse-Drawn Cabs, c.  1915-20. Oil on canvas, 50.8 x 35.6 cm.

the-trotteur:

Photo by Rui Ding.
Styling by Kingsley Tao.

(Source: the-trotteur, via iamawalkingcontradiction)

amalgammaray:

Pietro Lorenzetti, The Tarlati polyptych, 1320, Arezzo

(Source: polyptych, via amalgammaray)

thunderstruck9:

Max Ernst (German, 1891-1976), Le toréador [Toreador], 1930. Oil on canvas, 81.3 x 60.3 cm.

Pietro Perugino (Italian, between 1445/1452 - 1523), Orazione nell’Orto (Agony in the Garden), between 1483-1495; oil on panel, 166 x 171 cm; Galleria degli Uffizi, Florence

“Le due tavole, adunque, che erano nel sopra detto tramezzo, erano di man di Piero; et in una era un Cristo nell’orto e gl’Apostoli che dormono, ne’ quali mostrò Pietro quanto vaglia il sonno contra gl’affanni e’ dispiaceri, avendogli figurati dormire in attitudini molto agiate. E nell’altra fece una Pietà, cioè Cristo in grembo alla Nostra Donna con quattro figure intorno non men buone che l’altre della maniera sua, e fra l’altre cose fece il detto Cristo morto così intirizzato, come se e’ fusse stato tanto in croce, che lo spazio et il freddo l’avessino ridotto così; onde lo fece reggere a Giovanni et alla Maddalena tutti afflitti e piangenti. “

“Now the two panels on the aforesaid partition-wall were by the hand of Pietro; and in one was Christ in the Garden, with the Apostles sleeping, in whom Pietro showed how well sleep can prevail over pains and discomforts, having represented them asleep in attitudes of perfect ease. In the other he made a Pietà—that is, Christ in the lap of Our Lady—surrounded by four figures no less excellent than any others in his manner; and, to mention only one thing, he made the Dead Christ all stiffened, as if He had been so long on the Cross that the length of time and the cold had reduced Him to this; wherefore he painted Him supported by John and the Magdalene, all sorrowful and weeping.”

Giorgio Vasari, Vite de’ più eccellenti pittori, scultori e architettori (Lives of the Most Eminent Painters Sculptors and Architects, translated by Gaston du C. De Vere)