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The Tortoise Trainer by Osman Hamdi Bey, 1906

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Anna Bilińska-Bohdanowicz (Polish, 1854–1893) • Self-Portrait with Apron and Brushes • 1887

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Moebius

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Moebius

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Oil painting by Hieronymus Bosch: The Adoration of the Magi (detail of King Balthazar from the central panel of the triptych), 1510

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Edmund Charles Tarbell

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Edward Hopper, Manhattan Bridge Loop, 1928. Oil on canvas.

Describing his aims in Manhattan Bridge Loop, Hopper explained that the painting’s horizontal composition was an attempt to give “a sensation of great lateral extent” and bring attention to the cityscape beyond the frame; “I just never cared for the vertical,” he later quipped. His depictions of the wide spans of the city’s bridges, its industrial landscapes, and its low-slung buildings elevate the quotidian and prosaic over the iconic, offering a powerful counterpoint to the awe-inspiring views of the New York skyline celebrated in the news and in works by many of his contemporaries. Alfred H. Barr observed of Hopper’s work in 1933: “His indifference to skyscrapers is remarkable in a painter of New York architecture.”

Photo & text: Whitney Museum of American Art

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Regatta of Auckland, New Zealand

British vintage postcard

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Colosseum a different perspective, JB Colter, Pastels, 2020

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Billy Renkl

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📜Paris Cafe By Night 🕰️1936 🖌️Konstantin Korovin

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‘Bates Hat Shop, Jermyn Street, London’ by Julian Barrow (1939-2013)

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Esteve Fort, 1983

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Roy Lichtenstein

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Bárbara Rey, La Llamaban La Madrina, Mariano Ozores, 1973