#Renaissance artist

[pmamtraveller]

KNIGHT, DEATH AND THE DEVIL | 1513 | by ALBRECHT DÜRER

The central figure in the engraving is a knight on horseback, wearing a suit of armor and carrying a lance and a sword. He is accompanied by a dog, which is often seen as a symbol of loyalty and faithfulness. The knight's determined expression and strong posture suggest a sense of courage and moral fortitude.

The knight is riding through a rocky landscape, with the horse's hooves creating a sense of movement and energy. The landscape is filled with symbolic elements, such as the serpentine road that winds through the rocky terrain, which has been interpreted as a symbol of the difficult path of life. In the distance, a city can be seen, perhaps representing the ultimate goal of the knight's journey.

The figure of DEATH appears on the left side of the engraving, riding a horse and holding an hourglass. This depiction of DEATH as a skeleton was a common motif in Renaissance art and was often used as a reminder of the inevitability of death. The fact that the knight is not looking at DEATH, but rather straight ahead, suggests his bravery and determination in the face of mortality.

On the right side of the engraving, a figure of a DEVIL can be seen, carrying a bagpipe. This figure is often interpreted as representing temptation and the distractions of the earthly world. The knight's steadfast focus on his journey, despite the presence of DEATH and the DEVIL, reinforces the theme of moral fortitude and courage.

The engraving is rich in symbolism and has been subject to many interpretations. Some see it as a representation of the Christian virtue of fortitude, with the knight representing the CHRISTIAN soul on a journey through life, facing the temptations and trials of the world. Others see it as a commentary on the political and religious turmoil of the time, with the knight representing the virtuous individual navigating through a corrupt and dangerous society.

[hyperallergic]

Many an artist dreams of leaving a legacy that cements their place in history, but some of them miss perhaps the simplest step in that process: signing one’s work. 

That’s the case with a group of paintings being presented for an exhibition at Compton Verney in England, Tudor Mystery: A Master Painter Revealed, which seeks to put a name to a Tudor-era painter whose identity has been obscured by time, though his subjects were extremely venerable.

[windwenn]

Been re-watching gravity falls for the summer

[maybeits-nana]

miku renaissance 🪩

[prinnay]

Stroll in the Rain

[bebs-art-gallery]

Cats Stealing Food in Paintings

Still Life with Cat (1705) by Desportes, It's no use crying over spilt milk (1880) by Frank Paton, Still Life of the Remnants of a Meal with a Lunging Cat (18th Century) by Alexandre-François Desportes, Fish Still Life with Two Cats (1781) by Martin Ferdinand Quadal, Still Life with a Cat and a Mackerel on a Table Top (18th Century) by Giovanni Rivalta, The Collared Thief (1860) by William James Webbe, Cat Stealing a String of Sausages (17th Century) by Abraham van Beyeren, Still Life with a Cat (1760) by Sebastiano Lazzari, Kitchen Still Life with Fish and Cat (ca. 1650) by Sebastian Stoskopff, An Oyster Supper (1882) by Horatio Henry Couldery, Still Life with an Ebony Chest (17th Century) by Frans Snyders, Still Life with a Cat (1724) by Alexandre-Francois Desportes, A Cat Attacking Dead Game (18th Century) by Alexandre-François Desportes, Still Life of Fresh-Water Fish with a Cat (1656) by Pieter Claesz, Still Life with Fruits and Ham with a Cat and a Parrot (18th Century) by Alexandre-Francois Desportes, A Cat Holding a Fish in Its Mouth (18th Century) by Sebastiano Lazzari, Still Life with a Cat and a Hare (18th Century) by Desportes, Still Life with Cat and Rayfish (1728) by Jean-Siméon Chardin, A Cat with Dead Game (1711) by Alexandre-Francois Desportes, Still Life with Cat and Fish (1728) by Jean Baptiste Siméon Chardin

Via James Lucas on X/Twitter

[antoniettabrandeisova]

Saint Catherine (detail), After Bernardino Luini, 1510 .

[fyblackwomenart]

"Girl in Pink Dress" by Laura Wheeler Waring 1927

[ameriel]

anyone know if we have catgirl tomorrow

[natalia-karna]

𝑅𝑒𝑑 𝑤𝑖𝑛𝑔𝑠

Instagram

[flowersandfashion]

hot twink is tied up and penetrated

A Collection of Homoerotic Paintings of Saint Sebastian

Carlo Saraceni, c. 1610 /// Nicolas Régnier, c. 1620 /// Guido Reni, c. 1625 /// Nicolas Régnier, c. 1625 /// Louis Finson, c. 1613 /// François-Guillaume Ménageot, c. 1760 /// Guido Reni, c. 1615 /// Nicolas Régnier, c. 1620

[pmamtraveller]

SAINT JEROME IN HIS STUDY | c.1474 | by ANTONELLO DA MESSINA

This is a masterpiece that portrays SAINT JEROME, a scholar and monk known for translating a large part of the Bible into LATIN. The painting, showcases SAINT JEROME in his study, surrounded by symbolic elements like books, animals, and pottery, all meticulously detailed.

The scene is set in a room without walls or a ceiling, possibly within a Gothic monastery, with light rays emphasizing the saint's torso and hands. The painting's architectural qualities and intricate details reflect ANTONELLO'S skill and creativity, influenced by fifteenth-century FLEMISH ART.

ANTONELLO'S unique portrayal of SAINT JEROME stands out due to the masterful composition and use of perspective, with the saint placed at the center of the painting, drawing the viewer's focus. The painting's setting, resembling a church interior with vaults and windows, highlights the saint's dedication to prayer through reason, aligning with the humanist era's virtues.

Symbolism plays a significant role in the painting, with elements like the peacock symbolizing CHRIST'S virtues of immortality and eternal glory. Additionally, the partridge in the painting connects to SAINT JEROME'S writings, serving as an allegory for those who accumulate riches unjustly. ANTONELLO'S deep connection to his hometown, MESSINA, is subtly depicted in the painting, showcasing a panorama of MONTE SANTO DI CAMARO and MESSINA'S landscape through the windows.

[hyperallergic]

San Francisco’s Legion of Honor is set to showcase the first major exhibition dedicated to Sandro Botticelli’s drawings this fall. 

Known for masterpieces such as “Primavera” and “The Birth of Venus,” the exhibition will feature five newly attributed drawings as well as a variety of rarely seen preparatory sketches that unpack the design process for several of Botticelli’s iconic paintings. 

[geistful]

is this guy bothering you queen?

[waambles]

No more trans doom scrolling! Today we are embracing trans hedonism!

T4t love, polyamory, queer platonic relationships, and friendships are so beautiful! Embrace pleasure, embrace rest, embrace yourself and all those you love! Eat that cake, kiss that person, take that nap, enjoy your life! Today I call for an era of radical trans joy!

[bebs-art-gallery]

Embroidery by Kathrin Marchenko