Things of beauty I like to see
femme-de-lettres:

Large (Wikimedia)
Any painting that can be earnestly titled Man with Cat is good in my books, dear reader.
Add to that the fact that thisportrait of Henry Sturgis Drinker by that title was painted in 1898 by his sister-in-law Cecilia Beaux—a woman of whom the Smithsonian American Art Museum writes: “Beaux was a fiercely independent woman who lived well, kept handsome lovers, and had a will of iron. At a time when few women could, she carved out a career for herself as a portraitist, and was thought to rival John Singer Sargent”—and I just might have a new favorite painting.

femme-de-lettres:

Large (Wikimedia)

Any painting that can be earnestly titled Man with Cat is good in my books, dear reader.

Add to that the fact that thisportrait of Henry Sturgis Drinker by that title was painted in 1898 by his sister-in-law Cecilia Beaux—a woman of whom the Smithsonian American Art Museum writes: “Beaux was a fiercely independent woman who lived well, kept handsome lovers, and had a will of iron. At a time when few women could, she carved out a career for herself as a portraitist, and was thought to rival John Singer Sargent”—and I just might have a new favorite painting.

quixoticly83:

“Don Quixote and Sancho Panza returning to their Village” (1866) by Sir John Gilbert 

quixoticly83:

Don Quixote and Sancho Panza returning to their Village” (1866) by Sir John Gilbert 

wasbella102:

James Inskipp (1790-1868) - Study of poppies, 1832
23silence:

wasbella102:

James Inskipp (1790-1868) - Study of poppies, 1832

23silence:

Andrew Law (1873-1967) - Chrysanthemums, oil on canvas, 60,1 x 49,8 cm. 1944.

Andrew Law (1873-1967) - Chrysanthemums, oil on canvas, 60,1 x 49,8 cm. 1944.

Carl Jutz (1838-1916) - Ducks in a Pond, oil on panel, 13 x 16 cm.

Carl Jutz (1838-1916) - Ducks in a Pond, oil on panel, 13 x 16 cm.

fleurdulys:

A Merry Moment - Antonina Rzhevskaya
1897

fleurdulys:

A Merry Moment - Antonina Rzhevskaya

1897

Hans Frank (1884-1948) - Blossom and butterflies (Antheraea polyphemus), oil on cardboard, 42 x 34 cm.

Hans Frank (1884-1948) - Blossom and butterflies (Antheraea polyphemus), oil on cardboard, 42 x 34 cm.

A few caterpillars and butterflies in my garden.

Martha Alice Richardson (1860-1935) - Orchids, oil on canvas, 34 x 94 cm.

Martha Alice Richardson (1860-1935) - Orchids, oil on canvas, 34 x 94 cm.

Carl Jutz (1838-1916) - Poultry on a yard, oil on panel, 13,5 x 17 cm. 1899.

Carl Jutz (1838-1916) - Poultry on a yard, oil on panel, 13,5 x 17 cm. 1899.

William Jabez Muckley (1829-1905) - Roses, oil on canvas, 69.1 x 50.8 cm.

William Jabez Muckley (1829-1905) - Roses, oil on canvas, 69.1 x 50.8 cm.

fleurdulys:

Marco on the Queen Breakfast Table - Charles Burton Barber

fleurdulys:

Marco on the Queen Breakfast Table - Charles Burton Barber

medievalpoc:

Artist     Juriaen van Streeck (1632–1687) 
Title       Still-life with peaches and a lemon
Date      Unknown
Medium               oil on canvas
Dimensions        90.5 × 80 cm (35.6 × 31.5 in)

medievalpoc:

Artist     Juriaen van Streeck (1632–1687) 

Title       Still-life with peaches and a lemon

Date      Unknown

Medium               oil on canvas

Dimensions        90.5 × 80 cm (35.6 × 31.5 in)

fleurdulys:

Saint Jerome - Jean-Leon Gerome
1874

fleurdulys:

Saint Jerome - Jean-Leon Gerome

1874

femme-de-lettres:

Large (Wikimedia)
Martinus Rørbye’s View from the Artist’s Window, circa 1825, might initially look like a pretty—but narrativeless—painting of exactly what the title describes.
However, The Statens Museum for Kunst describes a number of the symbolic aspects of View from the Artist’s Window, including this one: “The familiar closeness of the drawing room is contrasted with the sailing ships in the harbour, bound for faraway destinations.” (Rørbye, as the Museum adds, was soon to leave his childhood home.)

femme-de-lettres:

Large (Wikimedia)

Martinus Rørbye’s View from the Artist’s Window, circa 1825, might initially look like a pretty—but narrativeless—painting of exactly what the title describes.

However, The Statens Museum for Kunst describes a number of the symbolic aspects of View from the Artist’s Window, including this one: “The familiar closeness of the drawing room is contrasted with the sailing ships in the harbour, bound for faraway destinations.” (Rørbye, as the Museum adds, was soon to leave his childhood home.)