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#endlessartlover photos & videos

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Saint Basil's Cathedral, 1561, orthodox church, 47.5 m, Red Square, Moscow, Russia.

The Cathedral of Vasily the Blessed,  commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia and is one of the most recognizable symbols of the country. IT was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan.

Saint Basil's Cathedral, 1561, orthodox church, 47.5 m, Red Square, Moscow, Russia.

The Cathedral of Vasily the Blessed, commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia and is one of the most recognizable symbols of the country. IT was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan.

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Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, 1647–1652, marble, Santa Maria della Vittoria, Rome.

It is a central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque and depicts Teresa of Ávila.

Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, 1647–1652, marble, Santa Maria della Vittoria, Rome.

It is a central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque and depicts Teresa of Ávila.

Jacques-Louis David, Oath of the Horatii, 1784, Oil on canvas, 329.8 cm × 424.8 cm, Louvre, Paris.

It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.

Jacques-Louis David, Oath of the Horatii, 1784, Oil on canvas, 329.8 cm × 424.8 cm, Louvre, Paris.

It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.

Perëndim në Taj Mahal 😊
📸 @lucyinthesskyy 
Trivia , kënaqësia e udhëtimit tuaj!
Cel : +355694003011 (WhatsApp/Viber)
E-mail : info@trivia.al
Adresa : Rruga "Muhamet Gjollesha" , përballë ATP , kati 2.

#tajmahal #tajmahalpalace #tajmahalindia #tajmahalgallery #tajmahalhotel #tajmahalquartzite #tajmahaltower #mausoleum #mausoleums #wonder #7wonder #7wonders #india #agra #agraindia #uttarpradesh #architecture #architecturephotography #architectures #mughal #picoftheday #picofday #endlessartlover #culturalexperience

Perëndim në Taj Mahal 😊
📸 @lucyinthesskyy
Trivia , kënaqësia e udhëtimit tuaj!
Cel : +355694003011 (WhatsApp/Viber)
E-mail : info@trivia.al
Adresa : Rruga "Muhamet Gjollesha" , përballë ATP , kati 2.

#tajmahal #tajmahalpalace #tajmahalindia #tajmahalgallery #tajmahalhotel #tajmahalquartzite #tajmahaltower #mausoleum #mausoleums #wonder #7wonder #7wonders #india #agra #agraindia #uttarpradesh #architecture #architecturephotography #architectures #mughal #picoftheday #picofday #endlessartlover #culturalexperience

Tamara de Lempicka, Girl in Green with Gloves, 1931, Oil on plywood, 45.5 x 61.5, art deco, Musee national d'art moderne, Paris, France.

It displays a beautiful young woman wearing a flimsy green dress, white gloves, and a large, white hat. The sharp-edged form combined with the bold use of color render the whole strongly dimensional and modern. It appears that the sleek feminine figure with curvaceous lines is holding on to her hat in order to avoid losing it in the breeze, De Lempicka undoubtedly masters the effect of a wind blowing through the painting. A slight sense of eroticism is established by having the dress cling to her body, revealing her breasts and navel through the fabric.

Tamara de Lempicka, Girl in Green with Gloves, 1931, Oil on plywood, 45.5 x 61.5, art deco, Musee national d'art moderne, Paris, France.

It displays a beautiful young woman wearing a flimsy green dress, white gloves, and a large, white hat. The sharp-edged form combined with the bold use of color render the whole strongly dimensional and modern. It appears that the sleek feminine figure with curvaceous lines is holding on to her hat in order to avoid losing it in the breeze, De Lempicka undoubtedly masters the effect of a wind blowing through the painting. A slight sense of eroticism is established by having the dress cling to her body, revealing her breasts and navel through the fabric.

Ustad Ahmad Lahauri, Taj Mahal, 1632–53, ivory-white marble, 73 m, Agra, Uttar Pradesh, India.

It is a mausoleum commissioned in 1632 by the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb of his favourite wife, Mumtaz Mahal. It also houses the tomb of Shah Jahan, the builder. The tomb is the centerpiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Ustad Ahmad Lahauri, Taj Mahal, 1632–53, ivory-white marble, 73 m, Agra, Uttar Pradesh, India.

It is a mausoleum commissioned in 1632 by the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb of his favourite wife, Mumtaz Mahal. It also houses the tomb of Shah Jahan, the builder. The tomb is the centerpiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Michelangelo, Kneeling Angel, 1494-1495, marble, 51,5 cm, Basilique of San Domenico, Bologna.

The kneeling angel is one of the earliest works of Michelangelo, and it was created as a decorative scheme for Arca di San Domenico.

Michelangelo, Kneeling Angel, 1494-1495, marble, 51,5 cm, Basilique of San Domenico, Bologna.

The kneeling angel is one of the earliest works of Michelangelo, and it was created as a decorative scheme for Arca di San Domenico.

Moje niezmienne zachwyty nad detalami w obrazach. W tej akurat dziedzinie romantyczność jest chyba najtrudniejsza do oddania! O ironio, ten portret został namalowany przez malarza, który w swoich czasach nie był wcale uznawany za wybitnego artystę 😉⁣⠀
Malarz: John Astley⠀⠀⁣⠀
Tytuł: Sarah Harding⠀⁣⠀
Data powstania: 1730/1787⁣⠀
.⠀⁣⠀
.⠀⁣⠀
.⠀⁣⠀
#art #gallery #masterpiece #creative #photooftheday #artoftheday #beautiful #painter #dresshistory #costumehistory #fashionhistory #historicalfashion #historicalcostume #instaart #artbody #details #amazing #artblog #artblogger #accessories #historyofbeauty #artdailydose #romanticismo #historyofart #endlessartlover #paintingsdaily #oilpaints #portraitstudy #art_spotlight #oilart

Moje niezmienne zachwyty nad detalami w obrazach. W tej akurat dziedzinie romantyczność jest chyba najtrudniejsza do oddania! O ironio, ten portret został namalowany przez malarza, który w swoich czasach nie był wcale uznawany za wybitnego artystę 😉⁣⠀
Malarz: John Astley⠀⠀⁣⠀
Tytuł: Sarah Harding⠀⁣⠀
Data powstania: 1730/1787⁣⠀
.⠀⁣⠀
.⠀⁣⠀
.⠀⁣⠀
#art #gallery #masterpiece #creative #photooftheday #artoftheday #beautiful #painter #dresshistory #costumehistory #fashionhistory #historicalfashion #historicalcostume #instaart #artbody #details #amazing #artblog #artblogger #accessories #historyofbeauty #artdailydose #romanticismo #historyofart #endlessartlover #paintingsdaily #oilpaints #portraitstudy #art_spotlight #oilart

Giorgio de Chirico, Italy’s square, 1913, oil on canvas, 35,2 x 25 cm, Art Gallery of Ontario, Toronto, Canada.

De Chirico’s painting “is born from the memory of classical and 19th-century Italian architecture in an atmosphere of lucid and static nonsense. Solitude, silence, vanishing points, spatial illusions, clear-cut shadows printed on smooth, paved streets, shaded porches, ancient skies, sharp volumes, solitary statues” (Mario de Micheli)

Giorgio de Chirico, Italy’s square, 1913, oil on canvas, 35,2 x 25 cm, Art Gallery of Ontario, Toronto, Canada.

De Chirico’s painting “is born from the memory of classical and 19th-century Italian architecture in an atmosphere of lucid and static nonsense. Solitude, silence, vanishing points, spatial illusions, clear-cut shadows printed on smooth, paved streets, shaded porches, ancient skies, sharp volumes, solitary statues” (Mario de Micheli)

Giuseppe Arcimboldo , Vetumnus, 1590, oil on panel, 70 x 58 cm, Skokloster Slott, Habo.

The painting is Arcimboldo's most famous work and is a portrait of the Holy Roman Emperor Rudolf II re-imagined as Vertumnus, the Roman god of metamorphoses in nature and life. The fruits and vegetables symbolize the abundance of the Golden Age that has returned under the Emperor's rule.

Giuseppe Arcimboldo , Vetumnus, 1590, oil on panel, 70 x 58 cm, Skokloster Slott, Habo.

The painting is Arcimboldo's most famous work and is a portrait of the Holy Roman Emperor Rudolf II re-imagined as Vertumnus, the Roman god of metamorphoses in nature and life. The fruits and vegetables symbolize the abundance of the Golden Age that has returned under the Emperor's rule.

Augustine Pugin, Elizabeth Tower, 1859, brickwork with limestone cladding, 96 m, Westminster, London, England.

The tower is a British cultural icon recognised all over the world. It is one of the most prominent symbols of the United Kingdom and parliamentary democracy, and it is often used in the establishing shot of films set in London. The clock tower has been part of a Grade I listed building since 1970 and a UNESCO World Heritage Site since 1987.

Augustine Pugin, Elizabeth Tower, 1859, brickwork with limestone cladding, 96 m, Westminster, London, England.

The tower is a British cultural icon recognised all over the world. It is one of the most prominent symbols of the United Kingdom and parliamentary democracy, and it is often used in the establishing shot of films set in London. The clock tower has been part of a Grade I listed building since 1970 and a UNESCO World Heritage Site since 1987.

Robert Indiana, Love, 1970, Cor-ten steel, 3,66 m x 3,66 m x 1,83 m, pop art, New York.

Love is a pop art image by American artist Robert Indiana. It consists of the letters L and O over the letters V and E in bold Didone type; the O is slanted sideways so that its oblong negative space creates a line leading to the V.
Love's original rendering in sculpture was made in 1970 and has been reproduced in a variety of formats for rendering in displays around the world.

Robert Indiana, Love, 1970, Cor-ten steel, 3,66 m x 3,66 m x 1,83 m, pop art, New York.

Love is a pop art image by American artist Robert Indiana. It consists of the letters L and O over the letters V and E in bold Didone type; the O is slanted sideways so that its oblong negative space creates a line leading to the V.
Love's original rendering in sculpture was made in 1970 and has been reproduced in a variety of formats for rendering in displays around the world.

Paul Gauguin, Arearea, also called Jokes, 1892, Oil on canvas, 75cm x 94cm, Musée d'Orsay, Paris.

In April 1891, Gauguin set off for his first visit to Tahiti, in search of traces of a primitive way of life. He took his inspiration for imaginary scenes in his paintings from what he saw around him, as well as from local stories and ancient religious traditions. Arearea is representative of these works where dream and reality coexist. All the elements on the painting create an enchanted world, full of both harmony and melancholy, where man lives under the protection of the gods, in a luxuriant natural environment, in an archaic, idealised Polynesia.

Paul Gauguin, Arearea, also called Jokes, 1892, Oil on canvas, 75cm x 94cm, Musée d'Orsay, Paris.

In April 1891, Gauguin set off for his first visit to Tahiti, in search of traces of a primitive way of life. He took his inspiration for imaginary scenes in his paintings from what he saw around him, as well as from local stories and ancient religious traditions. Arearea is representative of these works where dream and reality coexist. All the elements on the painting create an enchanted world, full of both harmony and melancholy, where man lives under the protection of the gods, in a luxuriant natural environment, in an archaic, idealised Polynesia.

Théodore Géricault, The Raft of the Medusa, 1818–19, Oil on canvas, 491 cm × 716 cm (16 ft 1 in × 23 ft 6 in), Louvre, Paris.

Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm, it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816.

Théodore Géricault, The Raft of the Medusa, 1818–19, Oil on canvas, 491 cm × 716 cm (16 ft 1 in × 23 ft 6 in), Louvre, Paris.

Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm, it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816.

Stonehenge, Bronze Age, sarsen, bluestone, 4.1m heigh, Wiltshire, England.

Stonehenge is a prehistoric monument in Wiltshire, England, two miles (3 km) west of Amesbury. It consists of a ring of standing stones, with each standing stone around 13 feet (4.0 m) high, seven feet (2.1 m) wide and weighing around 25 tons. The stones are set within earthworks in the middle of the most dense complex of Neolithic and Bronze Age monuments in England, including several hundred burial mounds.

Stonehenge, Bronze Age, sarsen, bluestone, 4.1m heigh, Wiltshire, England.

Stonehenge is a prehistoric monument in Wiltshire, England, two miles (3 km) west of Amesbury. It consists of a ring of standing stones, with each standing stone around 13 feet (4.0 m) high, seven feet (2.1 m) wide and weighing around 25 tons. The stones are set within earthworks in the middle of the most dense complex of Neolithic and Bronze Age monuments in England, including several hundred burial mounds.

Thutmose, Bust of Nefertiti, 1345 BC, limestone and stucco, 48 cm, (discovered in 1912 at Amarna, Egypt), Neues Museum, Berlin, Germany.

Not much is known about Nefertiti, whose name means “the beautiful one has come forth”. One hypothesis is that she was a Syrian princess. She is part of the 18th Dynasty of Ancient Egypt. Her husband, Pharaoh Akhenaton was infamous for overhauling Egyptian religion – transforming it from polytheistic to monotheistic with the focus on the sun god, Aten.

Thutmose, Bust of Nefertiti, 1345 BC, limestone and stucco, 48 cm, (discovered in 1912 at Amarna, Egypt), Neues Museum, Berlin, Germany.

Not much is known about Nefertiti, whose name means “the beautiful one has come forth”. One hypothesis is that she was a Syrian princess. She is part of the 18th Dynasty of Ancient Egypt. Her husband, Pharaoh Akhenaton was infamous for overhauling Egyptian religion – transforming it from polytheistic to monotheistic with the focus on the sun god, Aten.

Katsushika Hokusai, The Great Wave off Kanagawa, c. 1829–33, color woodblock, 25.7 cm × 37.8 cm (10.1 in × 14.9 in), various location.

The image depicts an enormous wave threatening three boats off the coast of the town of Kanagawa (the present-day city of Yokohama, Kanagawa Prefecture) while Mount Fuji rises in the background. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background.

Katsushika Hokusai, The Great Wave off Kanagawa, c. 1829–33, color woodblock, 25.7 cm × 37.8 cm (10.1 in × 14.9 in), various location.

The image depicts an enormous wave threatening three boats off the coast of the town of Kanagawa (the present-day city of Yokohama, Kanagawa Prefecture) while Mount Fuji rises in the background. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background.

Banksy, Girl with Balloon, 2004, stencil mural, Waterloo Bridge, South Bank.

It is a 2002-started London series of stencil murals by the graffiti artist Banksy, depicting a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.

Banksy, Girl with Balloon, 2004, stencil mural, Waterloo Bridge, South Bank.

It is a 2002-started London series of stencil murals by the graffiti artist Banksy, depicting a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.

Vespasian & Titus, Colosseum, 70–80 AD, Amphitheatre, Rome, Italy.

The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, having an average audience of some 65,000. It was used for gladiatorial contests and public spectacles such as mock sea battles (for only a short time as the hypogeum was soon filled in with mechanisms to support the other activities), animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology.

Vespasian & Titus, Colosseum, 70–80 AD, Amphitheatre, Rome, Italy.

The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, having an average audience of some 65,000. It was used for gladiatorial contests and public spectacles such as mock sea battles (for only a short time as the hypogeum was soon filled in with mechanisms to support the other activities), animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology.

Venus of Willendorf, Oolitic limestone, c. 28,000 BCE - 25,000 BCE, August 7, discovered 1908 near Willendorf, by Josef Szombathy, Naturhistorisches Museum, Vienna, Austria.

The Venus is not a realistic portrait but rather an idealization of the female figure. Her vulva, breasts, and swollen belly are very pronounced. This suggests a strong connection to fertility. Her tiny arms are folded over her breasts, and she has no visible face. Her head is covered with what might be coils of braids, eyes, or a kind of headdress. The lack of a face has prompted some archaeologists and philosophers to view the Venus as a "universal mother."

Venus of Willendorf, Oolitic limestone, c. 28,000 BCE - 25,000 BCE, August 7, discovered 1908 near Willendorf, by Josef Szombathy, Naturhistorisches Museum, Vienna, Austria.

The Venus is not a realistic portrait but rather an idealization of the female figure. Her vulva, breasts, and swollen belly are very pronounced. This suggests a strong connection to fertility. Her tiny arms are folded over her breasts, and she has no visible face. Her head is covered with what might be coils of braids, eyes, or a kind of headdress. The lack of a face has prompted some archaeologists and philosophers to view the Venus as a "universal mother."

Pierre-Auguste Renoir, Bal du moulin de la Galette, 1876, Oil on canvas, 131 cm × 175 cm (52 in × 69 in), Musée d'Orsay, Paris.

Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.

Pierre-Auguste Renoir, Bal du moulin de la Galette, 1876, Oil on canvas, 131 cm × 175 cm (52 in × 69 in), Musée d'Orsay, Paris.

Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.

Salvador Dalí, Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening, 1944, Oil on wood, 51 cm × 40.5 cm (20 in × 15.9 in), Thyssen-Bornemisza Museum, Madrid.

There is a seascape of distant horizons and calm waters, perhaps Port Lligat, amidst which Gala is the subject of the scene. Next to the naked body of the sleeping woman, which levitates above a flat rock that floats above the sea, Dalí depicts two suspended droplets of water and a pomegranate, a Christian symbol of fertility and resurrection.

Salvador Dalí, Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening, 1944, Oil on wood, 51 cm × 40.5 cm (20 in × 15.9 in), Thyssen-Bornemisza Museum, Madrid.

There is a seascape of distant horizons and calm waters, perhaps Port Lligat, amidst which Gala is the subject of the scene. Next to the naked body of the sleeping woman, which levitates above a flat rock that floats above the sea, Dalí depicts two suspended droplets of water and a pomegranate, a Christian symbol of fertility and resurrection.

Gustave Eiffel, Tour Eiffel, Observation and Broadcasting tower, 1889, iron, 300m, Paris.

It is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

Gustave Eiffel, Tour Eiffel, Observation and Broadcasting tower, 1889, iron, 300m, Paris.

It is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

Georges-Pierre Seurat, A ‪Sunday Afternoon‬ on the Island of La Grande Jatte, 1884–1886, Oil on canvas, 207.6 cm × 308 cm (81.7 in × 121.25 in), Art Institute of Chicago.

It is a leading example of pointillist technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine.

Georges-Pierre Seurat, A ‪Sunday Afternoon‬ on the Island of La Grande Jatte, 1884–1886, Oil on canvas, 207.6 cm × 308 cm (81.7 in × 121.25 in), Art Institute of Chicago.

It is a leading example of pointillist technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine.

Antonio Canova, Daedalus and Icarus, 1777-79, Marble, 200 x 95 x 97 cm, Museo Correr, Venice.

The group shows two characters who, while relating to each other, form a stark contrast. On the one side is the almost childish carefree Icarus, full of anticipation of the forthcoming adventure, and the other the canny, shrewd father, an inventor and the mythological ancestor of all artists. In the thoroughly naturalistic representation of him and unflinching depiction of his aging physique, there is a strong element of portraiture. It has been convincingly suggested that Daedalus constitutes a portrait of Canova's grandfather.

Antonio Canova, Daedalus and Icarus, 1777-79, Marble, 200 x 95 x 97 cm, Museo Correr, Venice.

The group shows two characters who, while relating to each other, form a stark contrast. On the one side is the almost childish carefree Icarus, full of anticipation of the forthcoming adventure, and the other the canny, shrewd father, an inventor and the mythological ancestor of all artists. In the thoroughly naturalistic representation of him and unflinching depiction of his aging physique, there is a strong element of portraiture. It has been convincingly suggested that Daedalus constitutes a portrait of Canova's grandfather.

Sandro Botticelli, Portrait of Simonetta Vespucci, 1476, oil on canvas, Staatliche Museum, Berlin.

If you would like to spot one woman in Renaissance that could be called a Top Model – it would be Simonetta. Nicknamed La Bella, Simonetta was an Italian noblewoman from Genoa, the wife of Marco Vespucci of Florence and the cousin-in-law of Amerigo Vespucci (the one who came with an idea that what Columbus found is not Asia – but America). She was very beautiful. And famous Renaissance artists painted her a lot.

Sandro Botticelli, Portrait of Simonetta Vespucci, 1476, oil on canvas, Staatliche Museum, Berlin.

If you would like to spot one woman in Renaissance that could be called a Top Model – it would be Simonetta. Nicknamed La Bella, Simonetta was an Italian noblewoman from Genoa, the wife of Marco Vespucci of Florence and the cousin-in-law of Amerigo Vespucci (the one who came with an idea that what Columbus found is not Asia – but America). She was very beautiful. And famous Renaissance artists painted her a lot.

Phidia et al., Parthenon, 432 BC, marble, 13.72m, Athens, Greece.

It is the most important surviving building of Classical Greece, generally considered the zenith of the Doric order. To the Athenians who built it, the Parthenon and other Periclean monuments of the Acropolis were seen fundamentally as a celebration of Hellenic victory over the Persian invaders and as a thanksgiving to the gods for that victory.

Phidia et al., Parthenon, 432 BC, marble, 13.72m, Athens, Greece.

It is the most important surviving building of Classical Greece, generally considered the zenith of the Doric order. To the Athenians who built it, the Parthenon and other Periclean monuments of the Acropolis were seen fundamentally as a celebration of Hellenic victory over the Persian invaders and as a thanksgiving to the gods for that victory.

‪Leonardo da Vinci, Benoit Madonna, 1478, Oil on canvas, 49.5 cm × 33 cm (19.5 in × 13 in), Hermitage Museum, Saint Petersburg.‬
.
The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap.‬

‪Leonardo da Vinci, Benoit Madonna, 1478, Oil on canvas, 49.5 cm × 33 cm (19.5 in × 13 in), Hermitage Museum, Saint Petersburg.‬
.
The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap.‬

Riace bronzes, 460-450 BC, Bronze Sculptures, Museo Nazionale della Magna Grecia, Reggio Calabria, Italy

They are two of the few surviving full-size ancient Greek bronzes (which were usually melted down in later times), and as such demonstrate the superb technical craftsmanship and exquisite artistic features that were achieved at this time.

Riace bronzes, 460-450 BC, Bronze Sculptures, Museo Nazionale della Magna Grecia, Reggio Calabria, Italy

They are two of the few surviving full-size ancient Greek bronzes (which were usually melted down in later times), and as such demonstrate the superb technical craftsmanship and exquisite artistic features that were achieved at this time.

Which do you prefer?

Francisco Goya, La maja desnuda, c. 1797–1800, oil on canvas, 97cm × 190cm, Museo del Prado, Madrid.
VS
Francisco Goya, La maja vestida, c. 1800–1805, oil on canvas, 97cm × 190cm, Museo del Prado, Madrid.

La maja desnuda portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja); also in the Prado, it is usually hung next to La maja desnuda. The subject is identified as a maja based on her costume in La maja vestida.

Which do you prefer?

Francisco Goya, La maja desnuda, c. 1797–1800, oil on canvas, 97cm × 190cm, Museo del Prado, Madrid.
VS
Francisco Goya, La maja vestida, c. 1800–1805, oil on canvas, 97cm × 190cm, Museo del Prado, Madrid.

La maja desnuda portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja); also in the Prado, it is usually hung next to La maja desnuda. The subject is identified as a maja based on her costume in La maja vestida.

Vincent van Gogh, Sunflowers, Oil on canvas, 92.1 × 73 cm, National Gallery, London, England.

The painting shows a bouquet of sunflowers in a vase.

Vincent van Gogh, Sunflowers, Oil on canvas, 92.1 × 73 cm, National Gallery, London, England.

The painting shows a bouquet of sunflowers in a vase.

Caspar David Friedrich, Wanderer above the Sea of Fog, 1818, oil on canvas, 94.8 × 74.8 cm, Kunsthalle Hamburg, Germany.
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This well-known and especially Romantic masterpiece was described by the historian John Lewis Gaddis as leaving a contradictory impression, "suggesting at once mastery over a landscape and the insignificance of the individual within it. We see no face, so it's impossible to know whether the prospect facing the young man is exhilarating, or terrifying, or both."

Caspar David Friedrich, Wanderer above the Sea of Fog, 1818, oil on canvas, 94.8 × 74.8 cm, Kunsthalle Hamburg, Germany.
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This well-known and especially Romantic masterpiece was described by the historian John Lewis Gaddis as leaving a contradictory impression, "suggesting at once mastery over a landscape and the insignificance of the individual within it. We see no face, so it's impossible to know whether the prospect facing the young man is exhilarating, or terrifying, or both."

Hungarian Parliament Building, 1896, Neo-Gothic, Renaissance and Baroque, 96m, Budapest, Hungary.

In the 1880's an open tender was held for the design of the Parliament building. Construction based on the winning plan began in 1885 and the building was inaugurated on the 1000th anniversary of Hungary in 1896, and fully completed in 1902. Both runner-up designs were also built facing the Parliament building. One is the Museum of Ethnography and the other is the Ministry of Agriculture. The Budapest Parliament building is the third largest Parliament building in the world. It has 691 rooms, 20 kilometers (12,5 miles) of stairs and at 96 meters (315 feet) it is the same height as the St. Stephen's Basilica.

Hungarian Parliament Building, 1896, Neo-Gothic, Renaissance and Baroque, 96m, Budapest, Hungary.

In the 1880's an open tender was held for the design of the Parliament building. Construction based on the winning plan began in 1885 and the building was inaugurated on the 1000th anniversary of Hungary in 1896, and fully completed in 1902. Both runner-up designs were also built facing the Parliament building. One is the Museum of Ethnography and the other is the Ministry of Agriculture. The Budapest Parliament building is the third largest Parliament building in the world. It has 691 rooms, 20 kilometers (12,5 miles) of stairs and at 96 meters (315 feet) it is the same height as the St. Stephen's Basilica.

Myron, The Discobolus, 460–450 BC, marble, British Museum, London.

The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, and smaller scaled versions in bronze.

Myron, The Discobolus, 460–450 BC, marble, British Museum, London.

The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, and smaller scaled versions in bronze.

Salvador Dalí, Soft Construction with Boiled Beans, 1936, Oil on canvas, 100 cm × 99 cm ( 39 5⁄16 in ×  39 3⁄8 in), Philadelphia Museum of Art, Philadelphia.

This painting expresses the destruction during the Spanish Civil War. The monstrous creature in this painting is self-destructive just as a Civil War is.

Salvador Dalí, Soft Construction with Boiled Beans, 1936, Oil on canvas, 100 cm × 99 cm ( 39 5⁄16 in ×  39 3⁄8 in), Philadelphia Museum of Art, Philadelphia.

This painting expresses the destruction during the Spanish Civil War. The monstrous creature in this painting is self-destructive just as a Civil War is.

Paolo Veronese, The Wedding Feast at Cana, 1563, Oil on canvas, 6.77 m × 9.94 m (267 in × 391 in), Louvre Museum, Paris.

The painting depicts the biblical story of the Marriage at Cana, at which Jesus converts water to wine (John 2:1–11). Executed in the Mannerist style of the late Renaissance, the large-format painting comprehends the stylistic ideal of compositional harmony, proportions, balanced composition, and beauty.

Paolo Veronese, The Wedding Feast at Cana, 1563, Oil on canvas, 6.77 m × 9.94 m (267 in × 391 in), Louvre Museum, Paris.

The painting depicts the biblical story of the Marriage at Cana, at which Jesus converts water to wine (John 2:1–11). Executed in the Mannerist style of the late Renaissance, the large-format painting comprehends the stylistic ideal of compositional harmony, proportions, balanced composition, and beauty.

Frédéric Auguste Bartholdi, Statue of Liberty, 1886, Height of copper statue (to torch): 151 feet 1 inch (46 meters), From ground level to torch: 305 feet 1 inch (93 meters), Liberty Island, Manhattan, New York City.

The Statue of Liberty is a figure of Libertas, a robed Roman liberty goddess. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed in Roman numerals with "JULY IV MDCCLXXVI" (July 4, 1776), the date of the U.S. Declaration of Independence.

Frédéric Auguste Bartholdi, Statue of Liberty, 1886, Height of copper statue (to torch): 151 feet 1 inch (46 meters), From ground level to torch: 305 feet 1 inch (93 meters), Liberty Island, Manhattan, New York City.

The Statue of Liberty is a figure of Libertas, a robed Roman liberty goddess. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed in Roman numerals with "JULY IV MDCCLXXVI" (July 4, 1776), the date of the U.S. Declaration of Independence.

Eugène Delacroix, Liberty Leading the People, 1830, Oil on canvas, 260 cm × 325 cm (102.4 in × 128.0 in), Louvre, Paris.

The painting commemorates the July Revolution of 1830, which toppled King Charles X of France. A woman of the people with a phrygian cap personifying the concept of Liberty leads the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne.

Eugène Delacroix, Liberty Leading the People, 1830, Oil on canvas, 260 cm × 325 cm (102.4 in × 128.0 in), Louvre, Paris.

The painting commemorates the July Revolution of 1830, which toppled King Charles X of France. A woman of the people with a phrygian cap personifying the concept of Liberty leads the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne.

Giuseppe Sammartino, Veiled Christ, 1753, Marble, 50 cm × 80 cm × 180 cm (20 in × 31 in × 71 in), Cappella Sansevero, Naples.

Sanmartino produced a work with the dead Christ laid on a couch, covered by a veil which adheres perfectly to his form. The mastery of the Neapolitan sculptor lies in his successful depiction, looking through the veil, of the suffering that Christ had undergone during the crucifixion. Signs of Jesus's pain can be seen on his face and body.

Giuseppe Sammartino, Veiled Christ, 1753, Marble, 50 cm × 80 cm × 180 cm (20 in × 31 in × 71 in), Cappella Sansevero, Naples.

Sanmartino produced a work with the dead Christ laid on a couch, covered by a veil which adheres perfectly to his form. The mastery of the Neapolitan sculptor lies in his successful depiction, looking through the veil, of the suffering that Christ had undergone during the crucifixion. Signs of Jesus's pain can be seen on his face and body.

Claude Monet, Water Lilies, 1916, National Museum of Western Art, Tokyo, Japan.

Water Lilies (or Nymphéas, French) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926). The paintings depict his flower garden at his home in Giverny, and were the main focus of his artistic production during the last thirty years of his life. Many of the works were painted while Monet suffered from cataracts.

Claude Monet, Water Lilies, 1916, National Museum of Western Art, Tokyo, Japan.

Water Lilies (or Nymphéas, French) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926). The paintings depict his flower garden at his home in Giverny, and were the main focus of his artistic production during the last thirty years of his life. Many of the works were painted while Monet suffered from cataracts.

Vincent van Gogh, Wheatfield with Crows, 1890, Oil on canvas, 50.2 cm × 103 cm (19.9 in × 40.6 in). Van Gogh Museum, Amsterdam.

It depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. It is commonly stated that this was van Gogh's final painting.

Vincent van Gogh, Wheatfield with Crows, 1890, Oil on canvas, 50.2 cm × 103 cm (19.9 in × 40.6 in). Van Gogh Museum, Amsterdam.

It depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. It is commonly stated that this was van Gogh's final painting.

Spring Temple Buddha, 2008, Bronze, 128 m (420 ft), including base: 208 m (682 ft), 2008, Fodushan Scenic Area, Lushan County, Henan, China.

is a statue depicting Vairocana Buddha located in the Zhaocun township of Lushan County, Henan, China, built from 1997 to 2008. It is located within the Fodushan Scenic Area, close to National Freeway no. 311.

Spring Temple Buddha, 2008, Bronze, 128 m (420 ft), including base: 208 m (682 ft), 2008, Fodushan Scenic Area, Lushan County, Henan, China.

is a statue depicting Vairocana Buddha located in the Zhaocun township of Lushan County, Henan, China, built from 1997 to 2008. It is located within the Fodushan Scenic Area, close to National Freeway no. 311.

Edvard Munch, The Scream, 1893, Oil, tempera, pastel and crayon on cardboard, 91 cm × 73.5 cm (36 in × 28.9 in), National Gallery and Munch Museum, Oslo, Norway.

The agonised face in the painting has become one of the most iconic images of art, seen as symbolising the anxiety of modern man. Munch recalled that he had been out for a walk at sunset when suddenly the setting sunlight turned the clouds "a blood red". He sensed an ‘infinite scream passing through nature'.

Edvard Munch, The Scream, 1893, Oil, tempera, pastel and crayon on cardboard, 91 cm × 73.5 cm (36 in × 28.9 in), National Gallery and Munch Museum, Oslo, Norway.

The agonised face in the painting has become one of the most iconic images of art, seen as symbolising the anxiety of modern man. Munch recalled that he had been out for a walk at sunset when suddenly the setting sunlight turned the clouds "a blood red". He sensed an ‘infinite scream passing through nature'.

Caravaggio, Young Sick Bacchus, c. 1593, oil on canvas, 67 cm × 53 cm (26 in × 21 in), Borghese Gallery, Rome.

It is an early self-portrait by the Baroque artist Michelangelo Merisi da Caravaggio. The painting indicates that Caravaggio's physical ailment likely involved malaria, as the jaundiced appearance of the skin and the icterus in the eyes are indications of some active hepatic disease causing high levels of bilirubin. The artist fell extremely ill in mid 1592 and spent six months in the hospital of Santa Maria della Consolazione (Rome).

Caravaggio, Young Sick Bacchus, c. 1593, oil on canvas, 67 cm × 53 cm (26 in × 21 in), Borghese Gallery, Rome.

It is an early self-portrait by the Baroque artist Michelangelo Merisi da Caravaggio. The painting indicates that Caravaggio's physical ailment likely involved malaria, as the jaundiced appearance of the skin and the icterus in the eyes are indications of some active hepatic disease causing high levels of bilirubin. The artist fell extremely ill in mid 1592 and spent six months in the hospital of Santa Maria della Consolazione (Rome).

Antonio Canova, The Three Graces, 1817, marble, 182cm, Hermitage Museum, St. Petersburg.

The sculpture represents the three charites, daughters of Zeus – identified on some engravings of the statue as, from left to right, Euphrosyne, Aglaea and Thalia – who were said to represent youth/beauty (Thalia), mirth (Euphrosyne), and elegance (Aglaea). The Graces presided over banquets and gatherings, to delight the guests of the gods.

Antonio Canova, The Three Graces, 1817, marble, 182cm, Hermitage Museum, St. Petersburg.

The sculpture represents the three charites, daughters of Zeus – identified on some engravings of the statue as, from left to right, Euphrosyne, Aglaea and Thalia – who were said to represent youth/beauty (Thalia), mirth (Euphrosyne), and elegance (Aglaea). The Graces presided over banquets and gatherings, to delight the guests of the gods.

Francesco Hayez, The Kiss, 1859, oil on canvas, 110 cm × 88 cm (43 in × 35 in), Pinacoteca di Brera, Milan.

The painting represents a couple from the Middle Ages, embracing while they kiss each other. It has been regarded as a symbol of Italian Romanticism, of which it encompasses many features, and has come to represent the spirit of the Risorgimento.

Francesco Hayez, The Kiss, 1859, oil on canvas, 110 cm × 88 cm (43 in × 35 in), Pinacoteca di Brera, Milan.

The painting represents a couple from the Middle Ages, embracing while they kiss each other. It has been regarded as a symbol of Italian Romanticism, of which it encompasses many features, and has come to represent the spirit of the Risorgimento.

Max Ernst, The Elephant Celebes, 1921, Oil on canvas, 125.4 cm × 107.9 cm (49.4 in × 42.5 in), Tate Modern, London.

The central focus of the painting is a giant mechanical elephant. It is round and has a trunk-like hose protruding from it. It is among the most famous of Ernst's early surrealist works and "undoubtedly the first masterpiece of Surrealist painting in the de Chirico tradition.

Max Ernst, The Elephant Celebes, 1921, Oil on canvas, 125.4 cm × 107.9 cm (49.4 in × 42.5 in), Tate Modern, London.

The central focus of the painting is a giant mechanical elephant. It is round and has a trunk-like hose protruding from it. It is among the most famous of Ernst's early surrealist works and "undoubtedly the first masterpiece of Surrealist painting in the de Chirico tradition.

Jerome Duquesnoy, Manneken Pis, 1619, Bronze, 61 cm (24 in), City of Brussels, Brussels-Capital Region, Belgium.
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The statue most probably started out as a public fountain, with the peeing boy as a homage to the tanners, as medieval tanners let children and street urchins pee on leather to make it more supple.
Time passed and people forgot how the statue got there in the first place, so incredible legends started to explain its origins. The most popular story states how the little peeing boy saved the capital. In this tale, Brussels was surrounded by enemies. One day they seemingly retreated, but had really put tons of gunpowder under the city. A little boy saw the burning fuse and quickly peed on it.

Jerome Duquesnoy, Manneken Pis, 1619, Bronze, 61 cm (24 in), City of Brussels, Brussels-Capital Region, Belgium.
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The statue most probably started out as a public fountain, with the peeing boy as a homage to the tanners, as medieval tanners let children and street urchins pee on leather to make it more supple.
Time passed and people forgot how the statue got there in the first place, so incredible legends started to explain its origins. The most popular story states how the little peeing boy saved the capital. In this tale, Brussels was surrounded by enemies. One day they seemingly retreated, but had really put tons of gunpowder under the city. A little boy saw the burning fuse and quickly peed on it.

‪Leonardo da Vinci, Madonna of the Carnation, 1478–1480, Oil on panel, 62 cm × 47.5 cm (24 in × 18.7 in), Alte Pinakothek, Munich.‬
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‪The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in precious clothes and jewellery, with her left hand Mary holds a carnation (interpreted as a healing symbol). The faces are put into light while all other objects are darker, e.g. the carnation is covered by a shadow. The child is looking up, the mother is looking down — there is no eye contact. The setting of the portrait is a room with two windows on each side of the figures.‬

‪Leonardo da Vinci, Madonna of the Carnation, 1478–1480, Oil on panel, 62 cm × 47.5 cm (24 in × 18.7 in), Alte Pinakothek, Munich.‬
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‪The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in precious clothes and jewellery, with her left hand Mary holds a carnation (interpreted as a healing symbol). The faces are put into light while all other objects are darker, e.g. the carnation is covered by a shadow. The child is looking up, the mother is looking down — there is no eye contact. The setting of the portrait is a room with two windows on each side of the figures.‬

Pablo Picasso, The Young Ladies of Avignon, 1907, Oil on canvas, 243.9 cm × 233.7 cm (96 in × 92 in), Museum of Modern Art, New York City.

The work portrays five nude female prostitutes in a brothel on Carrer d'Avinyó (Avignon Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none is conventionally feminine.

Pablo Picasso, The Young Ladies of Avignon, 1907, Oil on canvas, 243.9 cm × 233.7 cm (96 in × 92 in), Museum of Modern Art, New York City.

The work portrays five nude female prostitutes in a brothel on Carrer d'Avinyó (Avignon Street) in Barcelona. Each figure is depicted in a disconcerting confrontational manner and none is conventionally feminine.

Edvard Eriksen, The Little Mermaid, 1913, bronze, 1.25 metres (4.1 ft) tall and weighs 175 kilograms (385 lb), Copenhagen, Denmark.

Based on the fairy tale of the same name by Danish author Hans Christian Andersen, the small and unimposing statue is a Copenhagen icon and has been a major tourist attraction since its unveiling in 1913.

Edvard Eriksen, The Little Mermaid, 1913, bronze, 1.25 metres (4.1 ft) tall and weighs 175 kilograms (385 lb), Copenhagen, Denmark.

Based on the fairy tale of the same name by Danish author Hans Christian Andersen, the small and unimposing statue is a Copenhagen icon and has been a major tourist attraction since its unveiling in 1913.

Johannes Vermeer, The Milkmaid, c. ‪1657–1658‬, Oil on canvas, H 45.5 cm × W 41 cm ( 17 7⁄8 in ×  16 1⁄8 in), Rijksmuseum, Amsterdam, the Netherlands.

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table.

Johannes Vermeer, The Milkmaid, c. ‪1657–1658‬, Oil on canvas, H 45.5 cm × W 41 cm ( 17 7⁄8 in ×  16 1⁄8 in), Rijksmuseum, Amsterdam, the Netherlands.

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table.

Claude Monet, Impression, soleil levant, 1872, Oil on canvas, 48 cm × 63 cm (18.9 in × 24.8 in), Musée Marmottan Monet, Paris.

Impression, Sunrise depicts the port of Le Havre, Monet's hometown. The painting is credited with inspiring the name of the Impressionist movement.

Claude Monet, Impression, soleil levant, 1872, Oil on canvas, 48 cm × 63 cm (18.9 in × 24.8 in), Musée Marmottan Monet, Paris.

Impression, Sunrise depicts the port of Le Havre, Monet's hometown. The painting is credited with inspiring the name of the Impressionist movement.

Paul Landowski, Christ the Redeemer, 1931, Soapstone, 30 metres (98 ft) and 38 metres (125 ft) tall with its pedestal Corcovado mountain, Rio de Janeiro, Brazil.

It is an Art Deco statue of Jesus Christ in Rio de Janeiro, Brazil, created by French sculptor Paul Landowski and built by Brazilian engineer Heitor da Silva Costa, in collaboration with French engineer Albert Caquot. Romanian sculptor Gheorghe Leonida fashioned the face.

Paul Landowski, Christ the Redeemer, 1931, Soapstone, 30 metres (98 ft) and 38 metres (125 ft) tall with its pedestal Corcovado mountain, Rio de Janeiro, Brazil.

It is an Art Deco statue of Jesus Christ in Rio de Janeiro, Brazil, created by French sculptor Paul Landowski and built by Brazilian engineer Heitor da Silva Costa, in collaboration with French engineer Albert Caquot. Romanian sculptor Gheorghe Leonida fashioned the face.

Relativity, M. C. Escher, 1953, lithograph, 27.7 cm × 29.2 cm (10.9 in × 11.5 in), MoMA, New York.

It depicts a world in which the normal laws of gravity do not apply. The architectural structure seems to be the centre of an idyllic community, with most of its inhabitants casually going about their ordinary business, such as dining. There are windows and doorways leading to park-like outdoor settings. All of the figures are dressed in identical attire and have featureless bulb-shaped heads.

Relativity, M. C. Escher, 1953, lithograph, 27.7 cm × 29.2 cm (10.9 in × 11.5 in), MoMA, New York.

It depicts a world in which the normal laws of gravity do not apply. The architectural structure seems to be the centre of an idyllic community, with most of its inhabitants casually going about their ordinary business, such as dining. There are windows and doorways leading to park-like outdoor settings. All of the figures are dressed in identical attire and have featureless bulb-shaped heads.

‪Leonardo da Vinci, The last Supper, 1490s (Julian), Tempera, Gesso, 460 cm (180 in) × 880 cm (350 in), Convent of Santa Maria delle Grazie, Milan.‬
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The painting represents the scene of the Last Supper of Jesus with his apostles, as it is told in the Gospel of John. Leonardo has depicted the consternation that occurred among the Twelve Apostles when Jesus announced that one of them would betray him.‬

‪Leonardo da Vinci, The last Supper, 1490s (Julian), Tempera, Gesso, 460 cm (180 in) × 880 cm (350 in), Convent of Santa Maria delle Grazie, Milan.‬
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The painting represents the scene of the Last Supper of Jesus with his apostles, as it is told in the Gospel of John. Leonardo has depicted the consternation that occurred among the Twelve Apostles when Jesus announced that one of them would betray him.‬

Andrea del Verrocchio, David, 1473–1475, Bronze, 125 cm (49 in), Museo Nazionale del Bargello, Florence.

The statue represents the youthful David, future king of the Israelites, triumphantly posed over the head of the slain Goliath.

Andrea del Verrocchio, David, 1473–1475, Bronze, 125 cm (49 in), Museo Nazionale del Bargello, Florence.

The statue represents the youthful David, future king of the Israelites, triumphantly posed over the head of the slain Goliath.

Vincent van Gogh, Self-Portrait with Grey Felt Hat, Winter 1887/88, Oil on canvas, 44 × 37.5 cm, Van Gogh Museum, Amsterdam.

Van Gogh's dozens of self-portraits were an important part of his oeuvre as a painter. Most probably, van Gogh's self-portraits are depicting the face as it appeared in the mirror he used to reproduce his face, i.e. his right side in the image is in reality the ‪left side‬ of his face.

Vincent van Gogh, Self-Portrait with Grey Felt Hat, Winter 1887/88, Oil on canvas, 44 × 37.5 cm, Van Gogh Museum, Amsterdam.

Van Gogh's dozens of self-portraits were an important part of his oeuvre as a painter. Most probably, van Gogh's self-portraits are depicting the face as it appeared in the mirror he used to reproduce his face, i.e. his right side in the image is in reality the ‪left side‬ of his face.

Michelangelo, Sistine Chapel ceiling, 1508-1512, Fresco, 4093×1341 cm, Sistine Chapel, Vatican Museums, Vatican City.

Central to the ceiling decoration are nine scenes from the Book of Genesis including several sets of individual figures, both clothed and nude, which allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure and which have provided an enormously influential pattern book of models for other artists ever since.

Michelangelo, Sistine Chapel ceiling, 1508-1512, Fresco, 4093×1341 cm, Sistine Chapel, Vatican Museums, Vatican City.

Central to the ceiling decoration are nine scenes from the Book of Genesis including several sets of individual figures, both clothed and nude, which allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure and which have provided an enormously influential pattern book of models for other artists ever since.

Salvador Dalí, The Temptation of St. Anthony, 1946, oil on canvas, 89.7 x 119.5 cm, Royal Museums of Fine Arts of Belgium, Brussels, Belgium.

It depicts a desert-like landscape: a low horizon line with high clouds and dark, warm tones in an azure sky. The figure of St. Anthony kneels in the bottom left corner. He holds up a cross in his right hand and with his left hand supports himself on an ambiguous form. A human skull lies by his right foot. A parade of elephants led by a horse approach St. Anthony. The elephants carry symbolic objects representing temptation: a statue of a nude woman holding her breasts, an obelisk, a building complex confining a nude, disembodied female torso, and a vertical tower.

Salvador Dalí, The Temptation of St. Anthony, 1946, oil on canvas, 89.7 x 119.5 cm, Royal Museums of Fine Arts of Belgium, Brussels, Belgium.

It depicts a desert-like landscape: a low horizon line with high clouds and dark, warm tones in an azure sky. The figure of St. Anthony kneels in the bottom left corner. He holds up a cross in his right hand and with his left hand supports himself on an ambiguous form. A human skull lies by his right foot. A parade of elephants led by a horse approach St. Anthony. The elephants carry symbolic objects representing temptation: a statue of a nude woman holding her breasts, an obelisk, a building complex confining a nude, disembodied female torso, and a vertical tower.

Mattia Preti, volta della Stanza dell'Aria, 1661, affresco, piano nobile, Palazzo Doria Pamphilj (Valmontone, RM)
• part. carro dell'Aurora
• part. Endimione e la Fama 
#palazzodoriapamphilj #quattroelementi #quattrocontinenti #prolocovalmontone #beniculturali30 #finestresullarte #piuartesuisocial #travelling_arte #cultural_heritage #heritage_italy #discoveritaly #artstagram #exploreartyourway #agfollowerlike #bconline #endlessartlover

Mattia Preti, volta della Stanza dell'Aria, 1661, affresco, piano nobile, Palazzo Doria Pamphilj (Valmontone, RM)
• part. carro dell'Aurora
• part. Endimione e la Fama
#palazzodoriapamphilj #quattroelementi #quattrocontinenti #prolocovalmontone #beniculturali30 #finestresullarte #piuartesuisocial #travelling_arte #cultural_heritage #heritage_italy #discoveritaly #artstagram #exploreartyourway #agfollowerlike #bconline #endlessartlover

Pitocritus, Nike of Samothrace, c. 200–190 BC, Parian marble, 244 cm (96 in), Louvre, Paris.

It was created not only to honor the goddess, Nike, but also to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery, as though the goddess were descending to alight upon the prow of a ship.

Pitocritus, Nike of Samothrace, c. 200–190 BC, Parian marble, 244 cm (96 in), Louvre, Paris.

It was created not only to honor the goddess, Nike, but also to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery, as though the goddess were descending to alight upon the prow of a ship.

‪Leonardo da Vinci, Ginevra de Benci, c. 1474–8, Oil on panel, 38.1 cm × 37 cm (15.0 in × 15 in, National Gallery of Art, Washington, D.C.‬
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Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter, made by Leonardo to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16.‬

‪Leonardo da Vinci, Ginevra de Benci, c. 1474–8, Oil on panel, 38.1 cm × 37 cm (15.0 in × 15 in, National Gallery of Art, Washington, D.C.‬
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Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter, made by Leonardo to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16.‬

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Saint Basil's Cathedral, 1561, orthodox church, 47.5 m, Red Square, Moscow, Russia.

The Cathedral of Vasily the Blessed,  commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia and is one of the most recognizable symbols of the country. IT was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan.

Saint Basil's Cathedral, 1561, orthodox church, 47.5 m, Red Square, Moscow, Russia.

The Cathedral of Vasily the Blessed, commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia and is one of the most recognizable symbols of the country. IT was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan.

Vincent van Gogh, The Starry Night, 1889, Oil on canvas, 73.7 cm × 92.1 cm (29 in × 36 1⁄4 in), Museum of Modern Art, New York City.

It depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village.

Vincent van Gogh, The Starry Night, 1889, Oil on canvas, 73.7 cm × 92.1 cm (29 in × 36 1⁄4 in), Museum of Modern Art, New York City.

It depicts the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village.

Jacques-Louis David, Oath of the Horatii, 1784, Oil on canvas, 329.8 cm × 424.8 cm, Louvre, Paris.

It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.

Jacques-Louis David, Oath of the Horatii, 1784, Oil on canvas, 329.8 cm × 424.8 cm, Louvre, Paris.

It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.

Gustav Klimt, The Kiss (Lovers), 1907–1908, oil and gold leaf on canvas, 180 cm × 180 cm, Österreichische Galerie Belvedere, Wien.

The painting depicts a couple embracing one another, their bodies entwined in elaborate beautiful robes decorated in a style influenced by the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts movement.

Gustav Klimt, The Kiss (Lovers), 1907–1908, oil and gold leaf on canvas, 180 cm × 180 cm, Österreichische Galerie Belvedere, Wien.

The painting depicts a couple embracing one another, their bodies entwined in elaborate beautiful robes decorated in a style influenced by the contemporary Art Nouveau style and the organic forms of the earlier Arts and Crafts movement.

Eugène Delacroix, Liberty Leading the People, 1830, Oil on canvas, 260 cm × 325 cm (102.4 in × 128.0 in), Louvre, Paris.

The painting commemorates the July Revolution of 1830, which toppled King Charles X of France. A woman of the people with a phrygian cap personifying the concept of Liberty leads the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne.

Eugène Delacroix, Liberty Leading the People, 1830, Oil on canvas, 260 cm × 325 cm (102.4 in × 128.0 in), Louvre, Paris.

The painting commemorates the July Revolution of 1830, which toppled King Charles X of France. A woman of the people with a phrygian cap personifying the concept of Liberty leads the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne.

Ustad Ahmad Lahauri, Taj Mahal, 1632–53, ivory-white marble, 73 m, Agra, Uttar Pradesh, India.

It is a mausoleum commissioned in 1632 by the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb of his favourite wife, Mumtaz Mahal. It also houses the tomb of Shah Jahan, the builder. The tomb is the centerpiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Ustad Ahmad Lahauri, Taj Mahal, 1632–53, ivory-white marble, 73 m, Agra, Uttar Pradesh, India.

It is a mausoleum commissioned in 1632 by the Mughal emperor, Shah Jahan (reigned from 1628 to 1658), to house the tomb of his favourite wife, Mumtaz Mahal. It also houses the tomb of Shah Jahan, the builder. The tomb is the centerpiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.

Banksy, Girl with Balloon, 2004, stencil mural, Waterloo Bridge, South Bank.

It is a 2002-started London series of stencil murals by the graffiti artist Banksy, depicting a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.

Banksy, Girl with Balloon, 2004, stencil mural, Waterloo Bridge, South Bank.

It is a 2002-started London series of stencil murals by the graffiti artist Banksy, depicting a young girl with her hand extended toward a red heart-shaped balloon carried away by the wind. Banksy has several times used variants of this design to support social campaigns: in 2005 about the West Bank barrier, in 2014 about the Syrian refugee crisis, and also about the 2017 UK election. A 2017 Samsung poll ranked Girl with Balloon as the United Kingdom's number one favourite artwork.

Jerome Duquesnoy, Manneken Pis, 1619, Bronze, 61 cm (24 in), City of Brussels, Brussels-Capital Region, Belgium.
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The statue most probably started out as a public fountain, with the peeing boy as a homage to the tanners, as medieval tanners let children and street urchins pee on leather to make it more supple.
Time passed and people forgot how the statue got there in the first place, so incredible legends started to explain its origins. The most popular story states how the little peeing boy saved the capital. In this tale, Brussels was surrounded by enemies. One day they seemingly retreated, but had really put tons of gunpowder under the city. A little boy saw the burning fuse and quickly peed on it.

Jerome Duquesnoy, Manneken Pis, 1619, Bronze, 61 cm (24 in), City of Brussels, Brussels-Capital Region, Belgium.
.
The statue most probably started out as a public fountain, with the peeing boy as a homage to the tanners, as medieval tanners let children and street urchins pee on leather to make it more supple.
Time passed and people forgot how the statue got there in the first place, so incredible legends started to explain its origins. The most popular story states how the little peeing boy saved the capital. In this tale, Brussels was surrounded by enemies. One day they seemingly retreated, but had really put tons of gunpowder under the city. A little boy saw the burning fuse and quickly peed on it.