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labellefilleart: Mrs. Larz Anderson, Cecilia Beaux
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welovepaintings: Thomas KenningtonGreat Britain 1856-1916Homeless 1890oil on canvas170.0 x 152.0 cm ___ Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life. In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time. CultureVictoria
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a-ttitude: WOW
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toomuchart: Simon-Louis Boquet, Archimède, 1752.
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"He who does not understand your silence will probably not understand your words."


+ Elbert Hubbard (via yrie)

(via theletterwriter)


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enchantedengland: enchantedengland: This is from an arboretum in England; who can guess where it is?
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watchfulangel: I’m so afraid.
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cavetocanvas: Thomas Couture, Reverie, 1840-41 From the Norton Simon Museum: This delicate painting by Thomas Couture is not a portrait but a tête d’expression: a study of the face intended to evoke a particular state of mind. The practice of infusing the depiction of a model’s face with a dreamy or wistful expression often made its way into portrait painting, particularly in portraits of women. In Reverie, exhibited at the Salon of 1841, a young girl peers suggestively out of the corners of her eyes, sizing up the viewer with adolescent curiosity. Her dewy cheeks, bedroom eyes and exposed décolletage put forth an aura of sexual availability that carried into, if subtly, the more traditional portraits of the mid-nineteenth century. Even though the tête d‘expression was a common academic exercise, Couture’s studies in particular had an impact on the artists of his day. For instance, Gustave Courbet’s moody self-portraits from the 1840s possess the same dreamy undertones. Likewise, Couture’s pupils, among them Édouard Manet and Marcellin Desboutin, were influenced by the veiled feminine seduction at work here.
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