From our stacks: Illustration from The Language and Poetry of Flowers. By H. G. Adams. Philadelphia: Henry F. Anners, 1854.
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At the Ball.
Watercolor and ink on board.
Probable interior illustration.
Franklin Booth.(1874-1948).
This is for the person who constantly report my illustrations (3 in less than 24 hours). If you don’t like my art, just unfollow me. Other people here enjoy what I'am doing, so don’t bother them with your frustrations.
I don’t do porn. I do erotic illustrations. I can’t believe it shocks people in 2016.
I’m pissed off !
#regardscoupables #illustration #art #tattooflash #flashtattoo #flashworkers #black #blackwork #blackworkers #bold #tattoo #blacktattoos #blackboldsociety #blacktattooart #darkartists (à Paris, France)
Cesare Maccari was born on 9 April 1840 in Siena, where he attended the local Institute of Fine Arts. Initially devoting himself to sculpture, Maccari later turned towards painting, under the guidance of the Purist painter Luigi Mussini. His influence led Maccari to develop an interest for late medieval and early Renaissance art, to the point that in the decoration of the Pieri-Nerli Chapel in Quinciano (Siena) he applied the recipes described by Cennino Cennini in his Libro dell’arte, republished in 1859.
Thanks to the work The Last moments of Lorenzo il Magnifico, in 1866 Maccari won a scholarship to study in Rome, where he was active for most of his career. He produced a large number of historical paintings, referring to the past of recently unified Italy. Between 1881 and 1888 Maccari decorated a hall of Palazzo Madama with a series of frescoes depicting famous events in the history of the Senate of Ancient Rome, including the famous Cicero Denounces Catiline.
Maccari also worked outside Rome, in his native Siena (where he painted the Sala del Risorgimento in the Palazzo Pubblico) and in Loreto (where he replaced the deteriorated frescoes of Il Pomarancio in the cupola of the Basilica of Santa Casa). Maccari died in Rome in 1919. He had quit painting about ten years earlier, due to an accident that paralyzed him.
Reference: T. Sacchi Lodispoto, MACCARI, Cesare, in Dizionario biografico degli italiani, vol. 66 (2006).
Leonardo painting the Mona Lisa, 1863, Soprintendenza per i Beni Storico e Artistici, Siena.
Episode in the life of Fabiola, 1870.
Cicero Denounces Catiline, 1881-1888, Palazzo Madama, Rome.
Appius Claudius led into the Senate, 1881-1888, Palazzo Madama, Rome.
Frescoes of Dome, 1895-1907, Basilica of Santa Casa (Holy House), Loreto, Ancona.
Albert Cuyp, Sijctghen Duck, 1647-50, oil on wood, on loan from a private collection, National Gallery
This is Sijctghen. But let’s just call her Sij - because her lovely Dutch name is a bit too complex for us non-Dutch speakers. Anyway… Back to Sij. In the corner of the painting, the artist wrote her life story as if told in her own words. For all we know, Sij might actually have taken the brush up to write it herself. She was really a special duck, after all. Read her story HERE.
Salomé, 1909, by Paul Antoine de la Boulaye (1849-1926)
Many may not be familiar with the story of Salomé, and those that do not are probably quite unaware with exactly what they are looking at when staring right at this painting. First of all, artist Paul Antoine de la Boulaye truly had exquisite talent at giving his female subjects a subtle yet readable expression. Here we see, what you’d assume - and partly correct - a young, light-hearted dancing girl. A girl seemingly more childish than sultry. This, however, strongly contrasts with the story of the infamous Salomé. A young girl whose beautiful erotic dancing pleased her king so greatly, he granted her wish to have John the Baptist’s head on a platter. When paired with the description “an icon of dangerous female seductiveness,” this painting does not exactly hold it up. This painting is a perfect example of how knowing the story behind a work of art can be the key to “reading between the lines” of paintings.
Requested by @taymitsu.





