French or English dress, c. 1760, silk damask with silk supplementary weft. Emma Harter Sweester Fund. 81.290ab, Indianapolis Museum of Art via the Dreamstress
Müze kalitesinde İslami osmanlı aydınlatılmış el yazısı hat paneli, üzerinde Kuran ayetleri yazılı, imzalı ve tarihli
İslami osmanlı aydınlatılmış EL YAZILI İslami hat paneli, kağıt üzerine yazılmış Kuran ayetleri. 1308 Hicri İmza: Ebu Bekir El Kasmi Boyut: 121 cm x 40 cm
لوحة خطية إسلامية عثمانية مضيئة بجودة المتحف مع آيات قرآنية منقوشة وموقعة ومؤرخة
لوحة الخط الإسلامي العثمانية المضيئة المكتوبة بخط اليد، آيات قرآنية مكتوبة على الورق. 1308 هجرية التوقيع: أبو بكر القاسمي الحجم: 121 سم × 40 سم
Museum quality Islamic Ottoman illuminated handwritten calligraphy panel with Quranic verses written on it, signed and dated
Islamic Ottoman illuminated HANDWRITED Islamic calligraphy panel with Quranic verses written on paper. 1308 Hijri Signature: Abu Bakr Al Qasmi Size: 121 cm x 40 cm
View of Toledo (1599-1600)
🎨 El Greco
🏛️ The Metropolitan Museum of Art
📍 New York City, United States
Writing to the sculptor Auguste Rodin after having been astonished by this painting in Paris in 1908, the poet Rainer Maria Rilke described how “splintered light tills the ground, turning it over, tearing into it and bringing up here and there pale green meadows behind the trees standing like insomniacs.” Regarded as El Greco’s greatest landscape, it portrays Toledo, the city where he lived and worked for most of his life. But it is an emotive rather than a documentary vision that not only imaginatively revises the skyline—most notably, the cathedral has been moved—but also distorts architecture and landscape such that they are fully in service of the kind of drama Rilke and other modernists appreciated in his work.