Liste des hashtags les plus populaires par sujet #BAROQUEART

I’m so excited to share this weeks theme with you all!! I have been working on a super magical batch of art inspired by my own personal journey as a Pisces just got out of Cancer Season and now in Leo Season, channeling my inner steamy watery romantic energies and I cannot wait to share with you the finished products! This beauty came out mystifying BUT you have to see what I’ve done to it after I took this video! If you like golden magical watery themes save up now Fridays gonna be steamy Mold: @biskuitsandgravy #takemetothefountain

Caravaggio (1571 - 1610): The Calling of Saint Matthew, 1599-1600, Oil on canvas, 322 x 340 cm, Contarelli Chapel, Church of San Luigi dei Francesi, Rome . . This painting is the pendant to the 'Martyrdom of St Matthew' and hanging opposite in the Contarelli Chapel of the San Luigi dei Francesi in Rome. Caravaggio represented the event as a nearly silent, dramatic narrative. The sequence of actions before and after this moment can be easily and convincingly re-created. The tax-gatherer Levi (Saint Matthew's name before he became the apostle) was seated at a table with his four assistants, counting the day's proceeds, the group lighted from a source at the upper right of the painting. Christ, His eyes veiled, with His halo the only hint of divinity, enters with Saint Peter. A gesture of his right hand, all the more powerful and compelling because of its languor, summons Levi. Surprised by the intrusion and perhaps dazzled by the sudden light from the just-opened door, Levi draws back and gestures toward himself with his left hand as if to say, "Who, me?", his right hand remaining on the coin he had been counting before Christ's entrance. The two boys in the center do respond, the younger one drawing back against Levi as if seeking his protection, the swaggering older one, who is armed, leaning forward a little menacingly. Saint Peter gestures firmly with his hand to calm his potential resistance. The dramatic point of the picture is that for this moment, no one does anything. Christ's appearance is so unexpected and his gesture so commanding as to suspend action for a shocked instant, before reaction can take place. The light has been carefully manipulated: the visible window covered with oilskin, very likely to provide diffused light in the painter's studio; the upper light, to illuminate Saint Matthew's face and the seated group; and the light behind Christ and Saint Peter, introduced only with them.

Bby boy selfie✨ also proof that my wig isn’t Annie the orphan red in all light (the website called it chocolate brown) I painted 14 karat gold paint in it bc he is fancy as heck; Swipe for a jangle boi✨ . . . #momocon #captiveprince #captiveprincecosplay #nicaise #nicaisecosplay #kinglouisxiv #baroque #baroqueart #frenchbaroque #baroquefashion #occosplay #sakizou #sakizouart #celestial #angelic #angel #prince #royal #costumedesign #cosplay

''Kandırılmışlar arasında kavrayışı sağlam bir adam, saat kulelerinin hepsi yanlış ayarlanmış bir kentte saati doğru işleyen birine benzer. Tek o bilir doğru zamanı. Ama bunun ne yararı dokunur ona? Herkes kentin yanlış saatine uyar, doğru zamanı yalnız onun saatinin gösterdiğini bilenler bile.'' Hiçliğin Mutlu Sessizliği, Arthur Schopenhauer

Caravaggio (1571 - 1610): The Entombment, 1602-03, Oil on canvas, 300 x 203 cm, Pinacoteca, Vatican . . Nothing distinguished Caravaggio's history paintings more strongly from the art of the Renaissance than his refusal to portray the human individual as sublime, beautiful and heroic. His figures are bowed, bent, cowering, reclining or stooped. The self confident and the statuesque have been replaced by humility and subjection. The Entombment, which is probably the most monumental by the artist, is one of the rare Caravaggio that gained a critical acclaim. A strictly symmetrical group is built up from the slab of stone that juts diagonally out of the background. The embalming of the corpse and the entombment are actually secondary to the Mourning of Mary which is the focal point of the lamentation. Two of the grieving little group are gently bearing Christ's body into a cave-tomb barely visible in the obscurity of the left background. Much of the pathos is conveyed by the gestures: Nicodemus almost embracing Christ's legs, St. John touching Christ's wound, the aged Virgin blessing him and extending her arms to embrace the whole group, and most poignant of all, Christ's pendant lifeless right arm and his left hand lying on his abdomen. In its fan-shaped arrangement the group is as compact and as monumental as a piece of sculpture. It is motionless, at the moment when the mourners pause just before carrying the corpse into the burial chamber. The slightly diagonal recession to the left indicates the direction of their movements and prevents the picture from becoming static.

Isn’t she beautiful ✨ Follow @kiyois_kustoms for more ✨

Caravaggio (1571 - 1610): Bacchus, c,1596,Oil on canvas, 95 x 85 cm, Galleria degli Uffizi, Florence . . Caravaggio's 'Bacchus' no longer appears to us like an ancient god, or the Olympian vision of the High Renaissance and Mannerism. Instead, Caravaggio paints a rather vulgar and effeminately preened youth, who turns his plump face towards us and offers us wine from a goblet held by pertly cocked fingers with grimy nails. This is not Bacchus himself, but some perfectly ordinary individual dressed up as Bacchus, who looks at us rather wearily and yet alertly. The boy is dressed not in the flimsy shirt of a contemporary musician but in heavier stuff, reminiscent of the carved drapery in ancient Roman sculpture. His hair, surely a wig, is crowned with a wreath of black and white grapes and their leaves, and he offers the viewer a glass kylix of red wine, the cup of pleasure. Caravaggio's inspiration was one of the many surviving statues of the Emperor Hadrian's beloved, Antinous, who was often represented as Bacchus; perhaps it was the full-length statue of the god that belonged to the Marchese Giustiniani, and was engraved about 1630.

''Hayat böyledir, ancak önündeki modele göre bir insan olursun. Önündeki modeller başka dünyalar kurabilen insanlar olunca, sen de o başka dünyaya adım atabiliyorsun.'' Bir Ömür Nasıl Yaşanır?, @ilberortayli

Another for #womenreading - So she's reading a letter, not a book, but how can I resist sharing one of my favorite paintings by Vermeer? #Detail "Girl Reading a Letter by an Open Window" by Johannes Vermeer, c1659, Gemäldegalerie Alte Meister. #vermeer #johannesvermeer #dutchart #dutchartist #goldenage #baroqueart #openwindow #readingaletter #letters #interior #favoritepaintings #readingwomen #art #arthistory #paintings #historyofart #heartart #artlovers