Winslow Homer ~ Girl Picking Apple Blossoms, 1879
[Source: collection.cooperhewitt.org]
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Winslow Homer ~ Girl Picking Apple Blossoms, 1879
[Source: collection.cooperhewitt.org]

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Fra Angelico.
The Mocking of Christ (detail).
1440–1442.
Fresco.
Museum of San Marco, Florence.A detail of the fresco from cell no. 7. The artist uses a unique symbolic language: instead of a crowd of tormentors, Christ is surrounded by disembodied hands striking Him and a severed head of a spitting man. This minimalist imagery served as a focal point for the Dominican monks' private meditation.
Location: National Museum of San Marco, Florence, Italy.
Sleeping Muse
By Misha Frid
El Génesis (hasta Caín y Abel) en el Salterio de Canterbury (hacia 1200).
Biblioteca nacional de Francia
Pluie d'été
Marie Paule DeVille Chabrolle

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Paul Sérusier Harvest Scene, 1890
Tuan Vu (Vietnamese, 1971) - On the Bridge (2024)
Oil and oil sticks on linen, 36 in × 30 in
The Promenade, Woman with a Parasol (1875) by Claude Monet
Oil on canvas
"Psyche Gold Butterfly - Vol. 6", 2015, mineral pigments and gold leaf on paper, by Otake Hiroko (大竹寛子, born 1980), a contemporary Japanese Nihonga painter from Gifu Prefecture (岐阜県).
A graduate of the prestigious Tokyo University of the Arts, she is presently based in Setagaya-ku, Tokyo.
J in 日本
Woman teaching geometry - between 1309 and 1316, British Library
Detail of a scene in the bowl of the letter 'P' with a woman with a set square and dividers; using a compass to measure distances on a diagram. In her left hand she holds a square, an implement for testing or drawing right angles. She is watched by a group of students. In the Middle Ages, it is unusual to see women represented as teachers, in particular when the students appear to be monks. She is most likely the personification of Geometry, based on Martianus Capella De Nuptiis Philologiae et Mercurii, [5th c.] a standard source for allegorical imagery of the seven liberal arts. Illustration at the beginning of Euclid's Elements, in the translation attributed to Adelard of Bath.
Likely represents Sophia/logos (red robe with purple high status) Illumination of P Pythagoria Pi and phi - geometrical shapes set within circle bounded in green representing material world,
BL Burney 275, f. 293 r.

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Abbott Handerson Thayer (1849-1921), Angel of the Dawn - 1919
This is the pure definition of Phi, the Mathematics of Beauty.
Jain 108
Art: Anita Chowdry - pigment on paper, 2005
Apocalipsis flamenco
f. 19r, La Nueva Jerusalén
A San Juan se le muestra la ciudad de Jerusalén. Dios no está entronizado, sino que flota en el cielo azul oscuro lleno de estrellas doradas. Hace un gesto de hablar con la mano derecha y sostiene un orbe dorado en la izquierda. Cuatro ángeles emplumados rodean a Dios. Están pintados en tonos azules y solo son visibles gracias a las cruces doradas sobre sus cabezas. Uno de los siete ángeles que sostienen las siete plagas se dirige a Juan y lo lleva «en espíritu a una gran y alta montaña». Esto se ha representado literalmente: a la izquierda, Juan sube por una empinada montaña; está de espaldas al espectador y mira hacia arriba. El ángel, cubierto de plumas, sostiene una copa en la mano izquierda y, en la derecha, una caña dorada para medir la ciudad. La ciudad es cuadrada con tres puertas en cada lado; doce ángeles se encuentran en las doce puertas (solo once son visibles). Los cimientos de la ciudad y las cuatro torres están adornados con piedras preciosas. El iluminador ha colocado a las cuatro criaturas vivientes sobre las cuatro torres. Sus seis alas se extienden como collares alrededor de sus cuellos y poseen un halo radiante. Ni las torres ni las criaturas vivientes aparecen en el texto del Apocalipsis. El Cordero se alza en medio de la ciudad; en su pata delantera derecha sostiene el bastón de mando habitual. En primer plano, cuatro reyes coronados traen sus ofrendas a la ciudad.
Croce astile opistografa-stauroteca (Cruz procesional de dos caras y relicario) del Maestro di Sant'Alò, un artista anónimo activo en Umbría a finales del siglo XIII y principios del XIV. Se conserva en el Museo Nazionale del Ducato di Spoleto.
Se trata de una cruz "opistógrafa", lo que significa que está pintada por ambas caras. El reverso (verso) presenta la iconografía del Christus patiens (Cristo muerto y sufriente), caracterizado por un cuerpo inanimado y desplomado.
Función como Stauroteca: Además de ser una cruz procesional, funciona como una stauroteca, un receptáculo diseñado para albergar fragmentos de la Vera Cruz de Cristo.
Thierry Lechanteur - "One Day, by the Sea" 2025

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Allegory of Advertising, 1897 by Fernand le Quesne (French, 1856--1918)
Early Winter
Anna Weyant
oil on canvas, 2023
Anna Weyant (Canadian, 1995), Early Winter, 2023. Oil on canvas, 24 x 18 in.