The subject of this painting comes from "Sigismonda and Guiscardo". In this tale Tancred, King of Salerno, kills his daughter's lover and sends her his heart in a golden goblet. She kisses the heart, fills the cup with poison, drinks, and dies. Accession Number: 1948 P49

Originele en unieke pentekening op A4 formaat, 250grs papier, met ecoline en inkt

In order to keep my creative tank chugging along I like to fill it with all sorts of visual fuel. This "Tuesday's Artist" thing is my way of sharing some of the artists that inspire and delight me. I asked them to do a little finish-this-sentence sort of mini-interview so we might get to know them a little better. This week's spotlight is shining on Yellena James. You may have noticed that Yellena and I share a last name. Coincidence? Nope, she's my sister-in-law. I'm very lucky to have her and my brother so close by (they live in Portland), as both of them are constant sources of inspiration. Yellena and I were even art majors together 10 years ago. Naturally, I have several of her pieces hanging in my home. I love how they're both familiar and foreign. Glimpses of infinite fantastical distant nebula, but also peeks into tiny unseen microscopic worlds. Both organic and cosmic. Plus, they're just really pretty! Season She says: If I wasn't an artist maybe I'd be a piano player. Today, I'm listening to Balkan Express by Gramatik. Biome I'm really good at drawing. I'd like to be better at being more organized. Silk When I was a kid I wore giant yellow glasses. I hate it when I spend too much time without making new work. Bluster My workspace is a beautifully renovated studio that my husband just finished for me a month ago. It's my favorite place to be. Right now, I'm really into jewelry made out of porcelain. Allusion You can see more of Yellena on her website and in her shop. Also, she has a show next month at Gallery Hijinks in San Francisco.

Design for woven silk from the 'Leman Album', pencil, pen and ink, watercolour and bodycolour on laid paper, by James Leman, Spitalfields, 1707

Gabriel Moreno es un ilustrador, grabador y pintor español con una técnica impresionante. En el 2007 fue nombrado por la revista londinense Computers Arts como uno de os 20 nuevos talentos de la il…

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Explore Jennifer Kraska's 895 photos on Flickr!

Beautiful 'It's Alright' Poster Print by PedroTapa ✓ Printed on Metal ✓ Easy Magnet Mounting ✓ Worldwide Shipping. Buy online at DISPLATE.

C7 is the moniker of Hiroko Shiina, a Japanese artist who creates surreal and bleak illustrations with multiple tools. She’s used acrylics, ink, colored pencil, and even coffee to craft her moody works. Her works appears to be informed by dreams, the natural world, and isolated emotions.

William Blake(1757-1827), Job Rebuked by His Friends, No. 10 in the set of 21 illustrations, 2001.72

“I trace the origins of these luminescent forms back to the depths from which they emerge and bring them vividly to life.”

1484 Self-Portrait at the age of 13 silverpoint on paper 27.5 x 19.6 cm Albertina, Vienna Albrecht Dürer (1471-1528) was a German painter, engraver, printmaker, mathematician and theorist. Born in Nuremberg in 1471, Duurer was apprenticed to his father, a goldsmith, and to Michael Wolgemut, whose workshop produced woodcut illustrations for publications. Dürer revolutionised printmaking, elevating it to an independent art form. His high quality woodcuts established his reputation and influence across Europe when he was still in his twenties, and he is regarded as the greatest artist of the Northern Renaissance. His vast body of works include altarpieces and other religious works, numerous portraits and self-portraits, and copper engravings. By the age of thirty Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Large Passion cycle (c1497-1500), The Apocalypse (1497-98), The Life of the Virgin (1500-11). Dürer visited Italy twice - from 1494 to 1495, and again from 1505 to 1507, seeing first-hand some of the great works of the Italian Renaissance, as well as the classical heritage and theoretical writings of the region. The influence of Venetian colour and design can be seen in the 1506 altarpiece Feast of Rose Garlands, commissioned from Dürer by a German colony of merchants living in Venice. 1506 Feast of the Rose Garlands oil on polar panel 162 x 194.5 cm Národní Galerie, Prague Dürer developed an interest in the human form, demonstrated by his antique and nude studies. He wrote Four Books of Human Proportion, only the first of which was published in his lifetime. His talent, ambition and wide-ranging intellect earned him the attention and friendship of some of the most prominent figures in German society. He became official court artist to Holy Roman Emperors Maximilian I and his successor Charles V, for whom he designed and helped execute a range of artistic projects. 1519 Emperor Maximilian I tempera on canvas 83 x 65 cm Kunsthistorisches Museum, Vienna, Austria 1521 Medal of Charles V designed by Albrecht Dürer, silver Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominately held in private collections. His success in spreading his reputation across Europe through his prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers to promote and distribute their work. Dürer died in 1528. This is part 1 of a 9-part post on the works of Albrecht Dürer: 1485-1528 Knight on Horseback and Landsknecht pen and brown ink, touches of brush and brown wash 30 x 28 cm The Metropolitan Museum of Art, New York 1486c Albrech Dürer the Elder silverpoint 28 x 21 cm Albertina, Vienna, Austria 1489-90 Alpine Road watercolour and gouache on parchment Albertina, Vienna, Austria 1489c St John's Church watercolour and gouache on paper 29 x 42 cm The Hermitage, St. Petersburg, Russia 1489c The Wire-drawing Mill watercolour and gouache on paper 28.6 x 42.6 cm Staatliche Museen, Berlin, Germany 1490 Alliance Coat of Arms of the Dürer and Holper Families oil on panel 47 x 39 cm Galleria degli Uffizi, Florence, Italy 1490 Portrait of Barbara Dürer oil on pine panel 47 x 38 cm Germanisches Nationalmuseum, Nuremberg, Germany 1490 Portrait of Dürer's Father oil on panel 48 x 40 cm Galleria degli Uffizi, Florence, Italy 1490 St. Ambrose woodcut 18.4 x 13.8 cm The Metropolitan Museum of Art, New York 1490-1528 St. Catherine of Alexandria pen and brown ink 16.5 x 7.5 cm The Metropolitan Museum of Art, New York 1493 Female Nude pen and ink on paper 27.2 x 14.7 cm Musée Bonnat, Bayonne, France 1493 Illustration from the Ritter von Turn woodcut The Metropolitan Museum of Art, New York 1493 Illustration from the Ritter von Turn woodcut The Metropolitan Museum of Art, New York 1493c Christ as the Man of Sorrows oil on panel 23 x 17 cm Staatliche Kunsthalle, Karlsruhe, Germany 1494 Bacchanal with Silenus ( after Mantegna *see below ) pen and brown ink 29.8 x 43.3 cm Albertina, Vienna, Austria before 1481 Bacchanal with Silenus by Andrea Mantegna burin and drypoint 27.9 x 41.7 cm 1494 Battle of the Sea-Gods ( after Mantegna *see below ) pen and ink 28.9 x 38.1 cm Graphische Sammlung Albertina, Vienna, Austria 1493c Andrea Mantegna "Battle of the Sea-Gods" engraving 29.4 x 39.1 cm The Metropolitan Museum of Art, New York 1494 Courtyard of the Former Castle in Innsbruck without Clouds watercolour on paper 33.5 x 26.7 cm Graphische Sammlung Albertina, Vienna, Austria 1494 Death of Orpheus pen 28.p x 22.5 cm Kunsthalle, Hamburg, Germany 1494 Lion Kunsthalle, Hamburg, Germany 1494 Mein Agnes ( Durer's wife Agnes Frey ) pen in bistre on paper 15.6 x 9.8 cm Graphische Sammlung Albertina, Vienna, Austria 1494 View of Trento watercolour and gouache on paper 23.8 x 35.6 cm Kunsthalle, Bremen, Germany 1494-94 Studies of Dürer's Left Hand pen and ink 27 x 18 cm Albertina, Vienna, Austria 1494-95 Recumbent Lion brush and brown ink over feint black chalk with touches of pink watercolour and blue blck pigment on laid paper 12.5 x 17.7 cm Detroit Institute of Arts, Michigan 1494-98 The Penance of St. John Chrysostom engraving The Metropolitan Museum of Art, New York 1494-98c The Monstrous Pig of Landser engraving The Metropolitan Museum of Art, New York 1494c Innsbruck seen fron the North watercolour on paper 13 x 19 cm Graphische Sammlung Albertina, Vienna, Austria 1494c The Ravisher engraving 11.4 x 10.1 cm ( sheet ) The Metropolitan Museum of Art, New York 1495 Abduction of a Woman pen and ink 28.3 x 42.3 cm Musée Bonnat, Bayonne, France 1495 Crab watercolour and gouache 26.3 x 31.2 cm Museum Boijmans Van Beuningen, Rotterdam, Netherlands 1495 Female Nude from Behind brush on paper 32 x 21 cm Musée du Louvre, Paris 1495 Landscape near Segonzano in the Cembra Valley watercolour 21 x 31.2 cm Ashmolean Museum, Oxford, UK 1495 Lobster pen on paper 24.6 x 42.8 cm Staatliche Museen, Berlin, Germany 1495 St Jerome in the Wilderness oil on panel 23 x 17 cm National Gallery, London 1495 Study of the Christ Child pen and black ink, heightened with white pen 17.2 x 21.5 cm Musée du Louvre, Paris 1495 The Castle at Trento watercolour on paper 19.8 x 25.7 cm British Museum, London 1495 The Holy Family with a Dragonfly engraving The Metropolitan Museum of Art, New York 1495 The Ill-Assorted Couple engraving 14.9 x 13.8 cm The Metropolitan Museum of Art, New York 1495 View of Arco watercolour and gouache on paper 22.1 x 22.1 cm Musée du Louvre, Paris 1495 View of Innsbruck watercolour on paper 12.7 x 18.7 cm Graphische Sammlung Albertina, Vienna, Austria 1495-46 The Small Fortune engraving 12 x 6.6 cm British Musem, London 1495-47 Pine watercolour and gouache on paper 29.5 x 19.6 cm British Museum, London 1495c Five Lansquenets and an Oriental on Horseback engraving on white laid paper 13.2 x 14.5 cm Art Institute of Chicago, IL 1495c Iris watercolour and body colour on paper 77 x 31 cm Kunsthalle, Bremen, Germany 1495c The Great Courier engraving 10 x 11.3 cm Kupferstichkabinett, Dresden, Germany 1495c Virgin and Child before an Archway oil on panel 48 x 36 cm Fondazione Magnani Rocca, Mamiano di Traversetolo, Italy 1496 Hercules and Cacus woodcut 39.2 x 28.3 cm The Metropolitan Museum of Art, New York 1496 Martyrdom of the Ten Thousand woodcut 39.1 x 28.4 cm ( image ) The Metropolitan Museum of Art, New York 1496 Portrait of Elector Frederick the Wise of Saxony tempera on canvas 76 x 57 cm Staatliche Museen, Berlin, Germany 1496 The Cook and His Wife engraving The Metropolitan Museum of Art, New York 1496 The Dresden Altarpiece oil on canvas 114 x 45 cm ( outer panels ) 117 x 96.5 cm ( centre panel ) Gemäldegalerie, Dresden, Germany 1496 The Dresden Altarpiece centre panel oil on canvas 117 x 96.5 cm 1496 The Dresden Altarpiece outer panel oil on canvas 114 x 45 cm 1496 The Dresden Altarpiece outer panel oil on canvas 114 x 45 cm 1496 The Little Courier engraving The Metropolitan Museum of Art, New York 1496 The Women's Bath pen and ink 23.1 x 22.6 cm Kunsthalle, Bremen, Germany 1496-97 Nuremberg and Venetian Women pen and ink on paper 24.1 x 16 cm Städelsches Kunstinstitut, Frankfurt, Germany 1496-97 View of Nuremberg watercolour and gouache 16.3 x 34.4 cm Kunsthalle, Bremen, Germany

The task of Japanese artist Ikeda Manabu is seemingly impossible: a blank paper canvas larger than a person spread before him, a small acrylic pen in his hand, and hundreds of days to fill with faintly imperceptible progress from a mind brimming with explosive creativity. Manabu works in areas measuring roughly 4″ square, spending eight hours a day, often for years, on a single drawing that can eventually dominate an entire wall. Traditional Japanese architecture clashes with giant mangled tree roots, while swarms of birds and fish dart through the water or atmosphere in a complete visual cacophony that somehow results in a single cohesive image. More

Australian artist Lucy Hardie’s pen and ink creations are crafted with a fine stippling technique, resulting in enchanting and surreal scenes. Mostly self-taught, the Melbourne-based artist cites H.J. Ford, Matthias Grunewald, Ivan Bilibin, and the Old Masters as influences. Hardie was last mentioned on HiFructose.com here.

Leave the kids at home.

Self-Portrait pencil on paper 20.3 x 12.7 cm ( sheet ) Museum of Fine Arts, Houston, Texas Frederic Sackrider Remington (1861 – 1909) was an American painter, illustrator, sculptor, and writer who specialised in depictions of the Old American West featuring depictions of Cowboys, American Indians and the U.S. Cavalry. Remington was born in Canton, New York in 1861. Remington’s father, Seth Pierre Remington, was a colonel during the Civil War. Colonel Remington was away at war during most of the first four years of his son’s life. After the war he moved his family to Bloomington, Indiana, but the family returned to Canton in 1867. The family moved to Ogdensburg, New York when Frederic was eleven, where he attended Vermont Episcopal Institute, a church-run military school, before transferring to another military school. Remington went on to the art school at Yale University, studying under John Henry Niemeyer. After the death of Remington’s father, his uncle secured a clerical job for his nephew in Albany, New York, and later became a reporter for his uncle’s newspaper, followed by a series of short-lived jobs. An inheritance from his father enabled Remington to travel frequently to the West, and he quickly developed a love of the fast disappearing world of Cowboys and Indians. He eventually purchased a sheep ranch near Kansas, endlessly making sketches. In 1884 he sold his first sketches based on his western travels, and within two years his first fully credited illustration appeared on the cover of Harper’s Weekly. His popularity as an illustrator continued to grow and he returned to New York to satisfy the largely eastern market for his work. An 1885 Harper's Weekly cover "Ejecting an Oklahoma Boomer" Remington’s output was enormous, creating more than 2,700 sketches, paintings, and published illustrations. He died in 1909 from acute appendicitis, leaving a body of work loved by the public but largely ignored by museums and collectors. However, his reputation continued to grow and his work became sought after. Prominent museums like the Buffalo Bill Historical Centre in Cody, Wyoming, and the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma have created large permanent exhibitions of his work. This is part 1 of a 7-part post on the works of Frederic Remington: 1880s A Fight in the Street wood engraving 9.5 x 12.5 cm 1882 Cowboys of Arizona - Roused by a Scout Yale University, New Haven, Connecticut 1883 My Ranch watercolour on paper 22.9 x 29.2 cm Frederic Remington Art Museum, Ogdensburg, New York 1885 Arresting the Deserter watercolour on paper 45.09 x 59.7 cm Private Collection 1885 Attack on the Supply Train watercolour and gouache on paper 35.6 x 71.3 cm Private Collection 1885 Battle of Beecher's Island watercolour on paper 53.3 x 30.5 cm Museum of Fine Arts, Houston, Texas 1885 Illustration for the Harper's Weekly "The Apaches Are Coming" pen and ink wash and gouache on paper ( en grisaille ) Frederic Remington Art Museum, Ogdensburg, New York 1885 Signalling the Main Command watercolour on paper 67.9 x 93.7 cm Private Collection 1885 The Couriers watercolour on paper 27.9 x 38.1 cm Private Collection 1885c Prairie Fire oil on artist board 68.1 x 55.9 cm Nelson-Atkins Museum of Art, Kansas City, MO 1886 Soldiering in the Southwest - The Rescue of Corporal Scott illustration for Harper's Weekly 1886 "Abandoned" wood engraving illustration for Harper's Weekly 1886 In from the Night Herd illustration for cover of Harper's Weekly 1886 Saddle Up 1886 The Apache War - Indian Scouts on Geronimo's Trail illustration for Harper's Weekly gouache on academy board ( en grisaille ) Private Collection 1886 The Empty Saddle watercolour on paper 40 x 47 cm Private Collection 1886 The Flag of Truce in the Indian War gouache on paper 40.6 x 30.5 cm Private Collection 1887 A Dispute over a Brand 1887 A Quarrel over Cards - A sketch from a New Mexican Ranch 1887 An Episode in the Opening up of a Cattle Country woodcut illustration after an oil on panel ( en grisaille ) Autry National Centre, Los Angeles, CA 1887 Arrest of a Blackfeet Murderer woodcut after a watercolour on paper 1887 Burning the Range woodcut illustration after and oil on board ( en grisaille ) Private Collection 1887 Crow Indians Firing into the Agency oil on paper mounted on board ( en grisaille ) Amon Carter Museum of American Art, Fort Worth, Texas 1887 Pima Indians Convoying a Silver Train in Mexico gouache on paper ( en grisaille ) Private Collection 1887 Return of a Blackfoot War Party oil on canvas 28.5 x 50 cm American Museum of Western Art, Denver, CO 1887 Small Oaks oil on canvas Frederic Remington Art Museum, Ogdensburg, New York 1887 The Lookout oil on canvas 55.7 x 65.9 cm Museum of Fine Arts, Houston, Texas 1887-91 Pueblo Indian Village oil on canvas ( en grisaille ) 68.6 x 43.2 cm Museum of Fine Arts, Houston, Texas 1888 A Blackfoot Chief oil on canvas 55.9 x 40.6 cm Private Collection 1888 An Old-Time Mountain Man with His Ponies pen and ink on paper Private Collection 1888 Comanche Brave, Fort Reno, Indian Territory oil on canvas 61 x 50.8 cm Private Collection 1888 Lieutenant James M. Watson, Tenth Cavalry ink wash on paper ( en Grisaille ) Private Collection 1888 Looking Through the Telescope oil on board en grisaille 26.7 x 34 cm Museum of Fine Arts, Houston, Texas 1888 Mandan Initiation Ceremony ( the Sundance ) oil on panel en grisaille 1888 Mexican Soldier oil on canvas 43.2 x 35.6 cm Milwaukee Art Museum, Wisconsin 1888 The Cow Pony oil on canvas 50.8 x 61 cm Private Collection 1888-89 A Texas Pony oil on composition board ( en grisaille ) 50.8 x 47 cm Yale University Art Gallery, New Haven, CT 1888c Broncos and Timber Wolves oil on wood panel ( en grisaille ) William S. Hart Ranch and Museum, Newhall, CA 1888c A Fur Train from the Far North wood engraving 1888c An Ox Train in the Mountains wood engraving from an oil on canvas ( en grisaille ) "21" Club, New York City 1888c Cutting out a Steer illustration from an oil on academy board ( en grisaille ) Rockwell Museum of Western Art, Corning, New York 1888c Dragging a Bull's Hide over a Prairie Fire in Northern Texas 1888c Geronimo and His Band Returning from a Raid into Mexico oil on canvas ( en grisaille ) Private Collection 1888c In a Stampede 1888c In the Desert pen, ink wash and gouache on paper 25.4 x 35.6 cm Private Collection 1888c Indian Scout at Fort Reno drawing and gouache on paper 38.1 x 36.8 cm Private Collection 1888c Saddling Fresh Horses pen and ink on paper Private Collection 1888c Stalking Goats illustration from an oil on academy board Private Collection 1888c The Advance Guard watercolour 58.1 x 53 cm Smithsonian American Art Museum, Washington, DC 1888c The Indians We Met 1888c Tom Kicked Away the Stirrups and Grasped the Low Branch of a Live Oak Tree gouache on illustration board Private Collection 1889 "We Packed Our Mules in the Corral of the Hotel" gouache on buff paper ( en grisaille ) Private Collection 1889 A Dash for the Timber oil on canvas 122.6 x 213.7 cm Amon Carter Museum of American Art, Fort Worth, Texas 1889 A Regimental Scout oil on board 71.1 x 45.7 cm Private Collection 1889 An Equine Freight Car / A Point of View pen and ink on paper 27.9 x 35.6 cm Private Collection 1889 An Indian Trapper oil on canvas 124.5 x 86.7 cm Amon Carter Museum of American Art, Fort Worth, Texas 1889 Bugler of Cavalry oil on canvas laid on panel 71.1 x 45.7 cm James A. Michener Art Museum, Doylestown, PA 1889 Bull Fight in Mexico oil on canvas 61 x 81.3 cm Santa Barbara Museum of Art, CA 1889 Call the Doctor oil on canvas 61 x 86.4 cm 1889 Cavalry in an Arizona Sandstorm oil on canvas ( en grisaille ) 1889 Cavalryman of the Line, Mexico oil on canvas 61.3 x 50.8 cm Amon Carter Museum of American Art, Fort Worth, Texas

It took more than three years to complete, but just last month, artist Manabu Ikeda unveiled the 13 x 10 foot "Rebirth" at Chazen Museum of Art in Madison, Wis. Inspiration for the piece came from the effects of the Tōhoku earthquake and tsunami in Japan. The event, known as the Great East Japan Earthquake, was responsible for nearly 16,000 deaths, more than 6,000 injured and thousands missing. Hundreds of thousands were also displaced from their homes.

Le streghe nelle storia dell'arte. Una mostra in Scozia ne racconta il fascino senza tempo (FOTO)