The Esra Laddered Knit Off The Shoulder Top is cut with an off-the-shoulder neckline and distressed laddered hem. Loose fine knit Long sleeves Cropped fit Off the shoulder neckline Uneven laddered hem & cuff detail Model is 5 ft 10 and wears a size S Style code: JWH2621About the 411 CollectionFeaturing an earthy, tonal colour palette and a range of new and unique textures, our SS23 collection 411 is a fusion of nostalgic early-2000's silhouettes and modern feminine details. 65% Viscose, 35% PolyamideHand wash only This is a delicate knit, do not hang
SPECIFICATIONS: Product Name Solid Color Casual Two Piece Set SPU 413480qmwytz Style Casual Occasion Daily，Vacation Material Polyester
America's toughest babe talks about her beautiful dark twisted journey to the top
Michael James Talbot is a well-known artist and sculptor from London. Inspired by Greco-Roman culture, he creates beautiful sculptures of elongated ...
Frederick Carl Frieseke 1874-1939 | American At the Mirror Signed "F.C. Frieseke" (lower right) Oil on canvas Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in At the Mirror, resulting in a highly successful and balanced composition. Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. At the Mirror exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light. Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. Painted by 1922 Canvas: 32 3/4" high x 32 1/4" wide Frame: 43" high x 42 1/2" wide Provenance: Macbeth Gallery, New York Sotheby's New York, May 25, 1988, Lot 194 Private collection M.S. Rau, New Orleans
Frantisek Kupka. 1871-1967. Paris. Le rouge à lèvres. N°2. The lipstick. # 2. 1908. Strasbourg. Musée d'Art Moderne et Contemporain. UNE PETITE HISTOIRE DE LA PEINTURE EUROPEENNE L'Art de tous les temps et à toutes les époque s'est décidé en haut des hiérarchies sociales et a été le reflet des volontés des élites politiques et idéologiques du temps. 1° La peinture européenne, du 5è siècle au 15è siècle, est totalement inspirée par les thèmes religieux dictés par le catholicisme et l'orthodoxie. Les racines de l'Europe sont donc bien, non pas chrétiennes, mais catholiques et orthodoxes. C'est un fait qui déplait à beaucoup d' Idéologues et de politiques contemporains, surtout en France. Certes ces racines disparaissent, c'est un fait aussi, et les Influents Innommables du mondialisme font tout pour que les peuples européens perdent jusqu'au souvenir de leurs racines. 2° Au 15è siècle en Europe, plus particulièrement en Italie, apparaissent des thèmes nouveaux tirés de l'Antiquité Grecque et Romaine. Autres racines, plus anciennes, en voie de disparition à notre époque. Les Influents mécènes ne sont plus seulement d'Eglise, ils viennent de l'Aristocratie guerrière, foncière et de la ploutocratie marchande. C'est l'Art Humaniste dans lequel la religion, catholique et orthodoxe et l'Antiquité (Mythologie et Histoire) coexistent en bonne intelligence. Le portrait devient un genre en lui même, indépendant. 3°Au 17è siècle dans les Pays Bas du Nord, protestants, s'est produit une petite révolution idéologique, la Réforme, qui modifie du tout au tout, à plus ou moins longue échéance, l'art de la peinture en Europe : Disparition presque totale de l'art religieux, et de l'art inspiré par les valeurs de l'Antiquité greco-romaine, au profit d'un art profane, uniquement occupé par la société du présent. On a parlé d'Art Naturaliste. Epanouissement de la peinture de paysage, qui est traité seul, pour lui même, sans prétexte religieux ou mythologique. Apparition de la peinture de moeurs, descriptive de la société quotidienne. Non seulement dans les milieux aristocratiques, mais aussi dans les milieux bourgeois et paysans. Développement du portrait qui ne concerne plus seulement l'aristocratie, mais aussi les classes moyennes. Apparition de la "Nature morte" en tant que thème totalement indépendant. Peinture des objets, des animaux, des fleurs. Une peinture qui peut prendre un ton moraliste avec les "Vanités". Pendant tout le 17è et encore au 18è cette peinture naturaliste du présent reste principalement limitée aux Pays Bas. Les autres pays d'Europe continuent dans la voie ouverte par l'Art Humaniste et les thèmes principaux de la peinture demeurent la religion et l'Antiquité. Rares sont en France, en Allemagne, en Italie en Espagne, en Grande Bretagne les peintres influents totalement spécialisés dans le paysage ou la peinture de moeurs. Il en existe, mais ils restent une minorité. La peinture de paysage demeure principalement liée aux grands sujet religieux, mythologiques ou historiques. La nature morte est de même bien moins développée qu'aux Pays Bas. Le Portrait reste l'apanage des classes aristocratiques ou des grands bourgeois. 4° La fin du 18è, le 19è et le début du 20è siècle voient la peinture européenne se diversifier de manière presque explosive. C'est une époque extraordinairement plurielle pour l'art européen. Une époque de liberté et de grande diversité idéologique. Non seulement les thèmes les plus divers sont traités partout en Europe, mais les techniques de la peinture se diversifient et se renouvellent. En fin de période apparaît une nouveauté intéressante : l'Art Abstrait. Nous voyons ici avec Millais et Rossetti deux exemples de cette diversité d'inspiration idéologique d'un art européen qui traite encore des thèmes religieux, mais aussi d'autres thèmes, profanes, comme Hamlet, ou la mythologie grecque. Des thèmes et une diversité qui vont totalement disparaître après les années 1950. 5° Vers 1950 s'impose, dans les musées occidentaux, ce que l'on appelle l'Art Contemporain, témoin de la nouvelle idéologie mondialiste de la Table Rase et d'un art sans aucunes racines culturelles. A voir les oeuvres d'art exposées dans les Musées d'Art Contemporain le but des élites mondialistes est très clair : aculturer les hommes, uniformiser les peuples du monde pour mieux les dominer. A LITTLE STORY OF EUROPEAN PAINTING Art of all times and in all ages, has decided at the top of the social hierarchy, and was a reflection of the will of political and ideological elite of the time. 1. The European painting from the 5th century to the 15th century, is totally inspired by religious themes dictated by Catholicism and Orthodoxy. Europe's roots are threrefore welle, not Christian, but Catholics and Orthodox. It is a fact that displeases many Ideologues and political contemporaries, especially in France. Certainly these roots disappear, it is also a fact, and the Influents, Innommables (Unspeakables), of the Globalism do everything to make that the European peoples lose the memory of their roots. 2. In the 15th century in Europe, especially in Italy, appear new themes drawn from Antiquity Greek and Roman. Other roots, most ancient, as endangered in our time. The Influents patrons are not only for the Church, they come from the warrior aristocracy, land tenure, and the Merchant plutocracy. This is the Humanist Art, in which the Catholic and Orthodox religion and Antiquity (Mythology and History) coexist in harmony. The portrait became a genre in itself, independent 3. In the 17th century, in the Netherlands Northern, Protestant, occured a ideological revolution, the Reformation, which amends completely, more or less long term, the art of painting in Europe: Almost total disappearance of religious art, and art inspired by the values of the Greco-Roman Antiquity, in favour of a secular art, only occupied by the society of the present. There was talk of a Naturalist Art Developpement of landscape painting, which is treated alone, for himself, without religious or mythological pretext. Appearance of the painting of manners, descriptive of everyday society. Not only in aristocratic circles, but also in bourgeois and peasants circles. Development of the portrait, which no longer concerns only the aristocracy, but also the middle classes. Appearance of "Still Life", as a completely independent theme. Painting objects, animals, flowers. A painting can take a moralistic tone with "the Vanities." During the 17th and again in the 18th, this naturalistic painting is mainly restricted to the Netherlands. Other European countries continue in the path opened by the Humanist Art and the main themes of the painting remains the religion and antiquity. Few are in France, Germany, Italy, Spain, Great Britain, influential painters totally specialized in landscape or painting of manners. They exist, but they remain a minority. Landscape painting remains primarily linked to the religious, mythological or historical subject. The still life is even less developed than in the Netherlands. The Portrait is the prerogative of the aristocratic classes or the great bourgeoisie. 4. At the end of the 18th century, during the 19th and early 20th century European paintings diversifies, almost explosively. It is an extraordinarily pluralistic era for European art. An era of freedom and great ideological diversity. Not only the most diverse themes are treated everywhere Europe, but the techniques of painting are diversifying and renewing. At the end of period appears an interesting novelty: Abstract Art. We see here, with Millais and Rossetti, two examples of this diversity of ideological inspiration of a European art, who still deals with religious themes, but also other themes, profane, like Hamlet, or Greek mythology. Themes and a diversity that will completely disappear after the 1950s. 5. Around 1950 is needed in the Western museums, the so-called Contemporary Art, witness the new globalist ideology of Table Rase and an art without any cultural roots. To see the works of art exhibited in the Museum of Contemporary Art, the goal of the globalist elite is very clear: eliminate the differences in culture between men, standardizing the peoples of the world, in order to better dominate.
圧巻のクオリティーで魅せる中国コスプレイヤー・夜光さんの厳選写真をお届けします。
Iron Manor is a modern architectural masterpiece that takes inspiration from the iconic superhero film, Iron Man. This luxurious villa is a true embodiment of advanced technology and sophistication, designed to cater to the needs of the most discerning individuals.
Modern furniture often impresses with its unique design, unusual shapes and unexpected features. Even though simplicity is always an element that defines
It’s no secret we’re obsessed with the effortless style and beauty of French women. There is, however, one other important thing for which they seem to possess an innate talent, and that is charming the opposite sex (to such an extent that the book…
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"The danger posed by a marmalade-making, vacuum-wielding housewife apparently can’t be overstated—at least that’s the impression you might get if you were to scan headlines in U.K. media in the past couple of months"... So is she really a threat to modern society?
Bill Henson is one of Australia's foremost contemporary artists. He is well regarded internationally: his work was shown at the 46th Venice Biennale 1995, and has been exhibited in New York, Los Angeles, Salzburg and Paris as well as extensively ...
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