artgif:

Portrait of a Young Woman, Petrus Christus

artgif:

Portrait of a Young Woman, Petrus Christus

(via art--gallery)

mademoisellelapiquante:

Eugène Devéria | Odalisque | 1841

(via art--gallery)

necspenecmetu:

Ludovico Lana, The Intercession of Saint Geminianus of Modena, 17th century

(via art--gallery)

art-and-fury:

Marsyas - Balthasar Permoser

(via art--gallery)

lonequixote:

La Salute  ~ Paul Signac

(via art--gallery)

The Favorite Lamb (Le Mouton Favori), Details.

by Jean Baptiste Marie Pierre (1714 - 1789)

Dated: about 1758

(via sollertias)

femme-de-lettres:

Large (Wikimedia)

To continue the theme of trompe l’oeil from yesterday, here is a much earlier—and even more convincing—example.

Painted in 1670 by Cornelius Norbertus Gijsbrechts, Trompe L’Oeil: The Reverse of a Framed Painting can pretty much be summarized by its title.

As the Statens Museum for Kunst writes, “[w]hen viewing the picture from afar, we are truly cheated into believing that the artist has left a painting behind on the floor with its reverse facing outwards.”

And it might well have worked even better in situ—it was originally placed in the Royal Danish Cabinet of Curiosities, where one might well expect to find a painting waiting to be revealed.

(via detailsdetales)

asylum-art:

Gothic  Sculptures - The Mondongo Art Group

on Facebook  

The Mondongo art group is composed of three talented artists named Juliana Laffitte, Manuel Mendanha and Agustina Picasso.

This show marks yet another radical excursion into the possibilities of pushing sculpture in new directions. This series of constructed floats or expansive assemblages has a clear relation to a carnivalesque spirit but, at the same time, is also full of their characteristic appropriated imagery and acid social comment.

'Mondongo' has resorted to the fairy story on other occasions as a means of presenting an allegory of Argentinean society, picking up on the moral content of the Victorian children’s story but subverting it through classic postmodern strategies: irony and appropriation. One of their earlier series dealt with an endlessly multiplied Red Riding Hood who wandered the parks and Japanese gardens of the city escaping and perhaps provoking the threats of a lecherous male world. Their work always cuts and comments, parodies and imagines. On this occasion Manuel Mendanha and Juliana Lafitte have turned to a blending of two classic fairy stories: Snow White and Sleeping Beauty. Both figures are emblematic of white purity and innocence and, as such, easy victims of postmodern irony. Juliana herself serves as a model for this figure.

(via schwimmkerze)