May 21
Gustav Klimt (At 1862-1918)
Reclining nude (ca 1912)
Pencil drawing on paper (37 x 56 cm)
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Gustav Klimt (At 1862-1918)
Reclining nude (ca 1912)
Pencil drawing on paper (37 x 56 cm)
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Superhumanly bodybuilders reclining in the 1980s at the pool.
Thanks to @rowdy317 for the amazing prompt - truly superhumanly relaxing.
Repose
Artist: John White Alexander (American, 1856–1915)
Date: 1895
Medium: Oil on canvas
Collection: Metropolitan Museum of Art, New York City, NY, United States
My Favorite Chairs For March
https://toyastales.blogspot.com/2026/03/my-favorite-chairs-for-march.html
This would make an awesome mermaid pose, don't you think?
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Master Diwuc tired after intense workout💪
Boccaccio Reading the Decameron to Joanna of Naples
Artist: Egide Charles Gustave, Baron Wappers (Belgian, 1803-1874)
Date: 1849
Medium: Oil on canvas
Collection: Private Collection
Description
In this impressive work, de Wappers depicts Boccaccio reading the Decameron to Joanna of Naples. Joanna, Countess of Provence and Queen of Naples (1343-82), was the beautiful and intelligent patron of poets and scholars, who defended the claim of the house of Anjou to the throne of Naples following the death of her grandfather Robert, King of Naples, in 1343. Under King Robert, Naples had enjoyed a period of prosperity and had become a centre for literature and art.
Boccaccio's name and the title of his most famous work, the Decameron, can be see on the pages of parchment in his lap. Completed between 1348 and 1353, the Decameron, had an enormous impact on the history of European literature, serving as the inspiration for the whole genre of the 'novella' and as the model for other framed story collections, such as Chaucer's Canterbury Tales.
Forest Lovers
Artist: John Young Hunter (British, 1874-1955)
Date: 1902
Medium: Oil on canvas
Collection: Private Collection:
Description
Painted in 1902 and exhibited that year at the Royal Academy, Forest Lovers is an enchanting scene representative of the profound influence that the Pre-Raphaelite Brotherhood had upon John Young-Hunter. Indeed, the art critic and painter A.L. Baldry described Young-Hunter and his wife, Mary, as the ‘new Pre-Raphaelites’. This phenomenon of a late flowering of this style, half a century after the Brotherhood was founded, was celebrated in a landmark exhibition staged at the Barbican in 1989, entitled The Last Romantics.
Rendered in exquisite detail, the present scene is rich with the sense of clandestine romance so typical to the work of artists such as Sir Edward Burne-Jones and Sir John Everett Millais. The adoring soldier, his pole and shield discarded nearby, reclines in serenade before his lover who, dressed in a luminous cerulean blue gown, gazes directly at the viewer. The composition is rich with symbolic intimations, from the single magpie perched among the foliage of the abundant orange tree, to the rosary beads clasped in the hands of the female figure.