Massimo Stanzione, Study of a Boy in Profile, c. 1620

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Massimo Stanzione, Study of a Boy in Profile, c. 1620

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Frederick Hammersley
Cathy Wilkes, Untitled, 2010
Oiil and tempera on canvas
Ying Li, Red Oak, Towards South Wyoming Street, 2009
Oil on canvas, 20 x 16 in

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Lois Dodd, Tree with Three Trunks, 2011
Oil on Masonite, 15.75 x 12 in
Yu Nishimura - Pick Up, 2017, oil on canvas, 182.5 x 109.5 cm
Salad I - Bernadett Tinko , 2025.
Hungarian , b. 1992 -
Oil on board , 25 x 25 cm.
Endre Aalrust (@eaalrust)
Dystopia
Oil on canvas
ph. George Platt Lynes, Pavel Tchelitchew in his studio, c. 1942
Pavel Tchelitchewis putting finishing touches to his surreal portrait of George Platt Lynes, who has also taken this photograph. Platt Lynesβs naked boyfriend Jonathan Tichenor appears to be posing for Tchelitchew, though the painting shows no one but Platt Lynes himself
In Pavel Tchelitchew's signed and dated 1937 and 1942 (lower right), although Jonathan Tichenor is not present, he is nonetheless depicted.
Here, Tchelitchew portrays Platt Lynes from four different angles, emphasizing various aspects of the photographer:
In the foreground, Platt Lynes is shown in a realistic pose, embracing his camera, a reference to his expert compositions.
Platt Lynes's face on the viewing screen, rendered in luminous blues and yellows, alludes to his virtuosity in lighting his scenes.
In the upper right, in front of the lens, Platt Lynes is shown in his signature overalls, holding a negative to the light.
But it is in the fourth image of the photographer, a dark and phantasmagorical silhouette, that we find Jonathan Tichenor.
For Platt Lynes, photography is much more than capturing a scene as it appears before the lens. Through this fourth evocation, Tchelitchew indicates that for Platt Lynes, photography consists of constructing an image through light and composition, revealing more about the subject than reality could.

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The Disappearance of Mary Drake, McCalls magazine story illustration, 1952 Tom Lovell
Breakfast Table - Cansu Rossi
Turkish , b. 1980s
Acrylic on canvas board , 60 x 60 cm. 24 x 24 in.
Whenever I'm feeling down, I think about this scene from 'Serial Mom'.
The reference for this painting is from Sean Cody and not heated rivalry so please stop tagging it with HR nonsense.
Hank Ehrenfried
Howard Hodgkin (British, 1932-2017), Ice, 2008-10. Oil on wood, 57.2 x 68.3 cm. Modern Art Museum of Fort Worth, Fort Work, Texas

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Cathy Wilkes, Untitled, 2011
Oil on canvas, 15 Γ 18 β in
Ying Li, Crying Tree, 2010
Oil on canvas, 12 x 9 in