Gold Beach, Oregon feeling Caspar David Friedrich
blondebrainpower
Egyptian glass eye in golden pendant, 1570-1050 BC, from Apollo Galleries.
Hugh C. Knowles :: Poppies (top) | Poppies and figs (bottom), ca. 1910. Autochrome. | src The Royal Photographic Society Collection at the V&A Museum
Source: unregardoblique.com
A Bad Night (Mala noche), Francisco de Goya y Lucientes, 1797-1798, Brooklyn Museum: European Art
Size: Sheet: 11 7/8 x 7 15/16 in. (30.2 x 20.2 cm) Image: 7 ½ x 5 ¼ in. (19.1 x 13.3 cm) Medium: Etching and aquatint on laid paper
#goya #etching
Leendert Blok :: Close up of a red tulip,Tulipa Samoa. Autochrome. Text accompaning picture: Samoa Lil. Flow.Tulip S.A de Graaff en & Konijnenburg. [Nederland, omstreeks 1927]. | src Nationaal Archief ~ Collectie Spaarnestad
Triptych with the Lamentation, Museum of the Netherlands
Drieluik met de bewening. Op het middenpaneel de bewening van Christus in een landschap. Het lichaam van Christus ligt tegen de knie van Maria. Om haar heen de heilige vrouwen, Johannes, Jozef en een monnik. De bewening is een vrije kopie naar het schilderij van Geertgen tot Sint Jans in Wenen. Op de binnenzijde van het linker zijpaneel een knielende stichter met de heilige Petrus. Op de binnenzijde van het rechter zijpaneel de knielende stichteres met de heilige Paulus. Op de buitenzijde van de zijpanelen de wapens van stichter (de familie Speyart van Woerden) en zijn vrouw.
— How long will I live? — ’Till the break of dawn.
The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
This is truly incredible.
Remember Rosetta? That comet-chasing European Space Agency (ESA) probe that deployed (and accidentally bounced) its lander Philae on the surface of Comet 67P? This GIF is made up of images Rosetta beamed back to Earth, which have been freely available online for a while. But it took Twitter user landru79 processing and assembling them into this short, looped clip to reveal the drama they contained.
The Veil of Saint Veronica, Francisco de Zurbaran, Nationalmuseum, SWE
The legendary portrait of Christ counts as an image “not fashioned by human hand”, the miraculous imprint on a piece of cloth created by direct contact with the holy body. Western Christendom identified the “true” portrait as the image of Jesus’ countenance imprinted on a veil that the legendary figure known as Veronica used to wipe sweat and blood from his brow on the way to Golgotha. The supposedly genuine relic (vera icona) was displayed in St Peter’s in Rome, before all trace of it was eventually lost. Zurbarán depicts the dramatically side-lit linen cloth in such a hyper-realistic manner that it invites our tactile response. The painter conveys the impression that he has taken an actual cloth as his model and nailed it to the wall. Instead of simply reproducing the relic, Zurbarán brings all his artistry into play in creating an image of great pathos, a “humanised” portrait of the suffering and patient Christ crowned with thorns. As in the later photographic development process, the portrait comes hazily into focus, as if emerging from the white of the cloth. In a way that mirrors the visionary experience of contemporary religious devotion, the viewer must “complete” the image in his imagination.