xxx/ellauri116.html on line 278: Chapters 2, 5, 7, 9, 12, and 14 contain a color print of a famous painting accompanied by a narration, each from a separate voice. Vizi takuulla mä kynäilin jotain sarkastista tostakin. Rigoberto, Lucrecia, Alfonso, and perhaps even Justiniana, all become the protagonist/narrator of one of the paintings by Jordaenes, Boucher, Titian, Francis Bacon, Fernando de Szyszlo, and Fra Angelico. This rather heterogenous collection of prints share the fact that they could be viewed as depicting various aspects of sensuality, from the voyeuristic to the immaculate.
xxx/ellauri154.html on line 214: The theme of Salome is one that Moreau returned to time and again. The artist explored the subject in more than one hundred sketches and drawings as well as in numerous paintings—ranging from highly elaborate to sketchily rendered—and even in sculpture (both Salome and The Apparition figured in Moreau’s waxworks). Moreau was not alone in his passion for the theme of Salome, as other famous artists — Lucas Cranach, Caravaggio, Titian, Guido Reni, Artemisia Gentileschi, Aubrey Beardsley, and Nabil Kanso, to name just a few — shared this interest. Selkeästi perverssiä jengiä.
xxx/ellauri157.html on line 109: Vähän siedettävämpi perätarjonta on tämä William Ettyn yritys samasta aiheesta. William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 he finally achieved recognition when the Royal Academy accepted and exhibited one of his works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, beating John Constable to the position. Jordaens and Etty both contrasted Nyssia's pale flesh against dark red drapery and showed her in a similar pose. Jordaens's painting has hung in Sweden since the 17th century, and it is unlikely Etty was aware of it. Se tuskin löytyi googlaamalla.
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xxx/ellauri354.html on line 263: Frederic Henry and Catherine Barkley show familiarity with well-known painters (Mantegna, Rubens, Titian) and with canonic authors (Shakespeare, Marvell), but their current reading is sparse, practical, and not literary: Catherine reads the Almanac and Frederic reads magazines and newspapers (mostly out of date).
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