Joan Mitchell, Clearing, (oil on canvas), 1973 [Joan Mitchell Foundation, New York, NY.
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@grotto-esque
Joan Mitchell, Clearing, (oil on canvas), 1973 [Joan Mitchell Foundation, New York, NY.

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A classical dictionary of Greek and Roman biography, 1894
Kenne Gregoire (Dutch, 1951) - Still Life with Flowers (2002)
Street Scene, 1990s (detail)
Color Photograph by Ejlat Feuer
Scanned from brochure taken from El Museo del Barrio, NY.

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Richard Müller (1874-1954), ‘Was ist Ruhm, was sind Namen?’ (What is fame, what are names?), “Grosse Berliner Kunstausstellung”, 1914 Source
Photographer: Michael Leonard
Reclining on a Sofa, c.1970
$2,955,000/4 br/2.5 ba
Rhinebeck, NY
Built in 1870

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Roller Printed Day Dress
c. 1815
Augusta Auctions
Ghost - Fall 1999 RTW
Sony Building in Ginza, Tokyo, 2009.
"Three Foxes" by Ludwig Hohlwein, Jugend Magazine, 1900

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(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)
[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.
Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.
From Getty Center article
Edvard Munch (Norwegian, 1863 - 1944) Landscape, Kragerø (1912)