dieu-etmondroit:

Édouard Cibot, Anne Boleyn in The Tower.

May 2nd 1536: Anne Boleyn, Queen of England, is arrested and imprisoned on charges of adultery, incest, treason and witchcraft.

(via cavetocanvas)

poboh:

Girl in profile with a black mantilla, Friedrich von Amerling. Austrian Academic Painter (1803 - 1887)

(via cavetocanvas)

mesbeauxarts:

John Singer Sargent. The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant. 1899.

Oil on canvas.

Metropolitan Museum of Art. New York, NY. USA.

mesbeauxarts:

John Singer Sargent. Madame X (Madame Pierre Gautreau). 1883-1884.

Oil on canvas.

Metropolitan Museum of Art. New York, NY. USA.

artgalleryofontario:

Fishing Boats at Sea, 1897
Hendrik Willem Mesdag (Dutch, 1831 - 1915)
Painting, oil on canvas, 76.2 x 45.7 cm
Gift of Mr. and Mrs. H.C. Cox, 1926

wycherley:

Anthony van Dyck (1599-1641): Lady Anne Carr, Countess of Bedford (detail), c. 1638 [Oil on canvas; 136.2 x 109.9 cm; Petworth House, the Egremont Collection]

(via cavetocanvas)

arthistory-blog:

Young Woman Drawing by Marie-Denise Villers (1774-1821)

mesbeauxarts:

Andreas Möller. Empress Maria Theresa at the age of eleven. ca. 1727.

Oil on canvas.

Kunsthistorisches Museum. Vienna, Austria.

welovepaintings:

Jessie Wilcox Smith

Mother and Child

1908

cavetocanvas:

Edouard Vuillard, Anemones in a Chinese Vase, 1900-01

welovepaintings:

‘Balcony Scene’ by Henry Patrick Raleigh

cavetocanvas:

Rembrandt, Return of the Prodigal Son, 1668-69

This is one of Rembrandt’s last great paintings, and shows what he’s been moving towards his entire career. This picture is about universal forgiveness; the son, shown in striking detail, weary from the world, has returned to his family. The father’s face is compassionate and loving, pulling his son back into the body that helped create him. The father and son are strongly spotlighted, but the brother who has stayed at home is tied in through the use of red that adorns his clothes, as well as that of the father’s robe. Rembrandt is telling the story through the hands of the figures; the father’s hands are open and accepting, while the brother’s hands are closed, signifying his unwillingness to forgive his brother as his father is so capable of doing. This painting is particular poignent when viewed in light of the fact that Rembrandt’s son, Titus, died during Rembrandt’s lifetime.

theniftyfifties:

Blonde in Black Sheath Formal and Red Stole - illustration by Al Buell, 1959.

catonhottinroof:

Antoon van Welie   Anna Pavlova

(via bohemea)