Yves Saint Laurent A/W 1998 Kate Moss | © Mario Sorrenti
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@theartisttype
Yves Saint Laurent A/W 1998 Kate Moss | © Mario Sorrenti

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Simon K. | © Rankin
A walk in the woods, she said..
Welcome to my world xo A
Chloé A/W 1998 | © Tom Munro

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Young woman reading in greenhouse Axel Helsted (1847-1907)
Madonna eating pizza in a New York deli, February 1992 - photographed by Steven Meisel.
Jean Auguste Dominique Ingres (French, 1780-1867) Jupiter and Thétis, 1811 Rmn-Grand Palais, Paris The episode is taken from Homer's Iliad: the nymph Thetis, mother of Achilles, is imploring Jupiter to resolve the conflict between her son and Agamemnon, the leader of the Greek expedition to Troy – Jupiter's wife, Juno, looks on from afar.
stairs in paris, eugéne atget c. 1890s-1900s.
Gustave Courbet: The Origin of the World, 1866

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Flora (detail, 1559) Jan Massys
Peonies
Berthe Morisot
oil on canvas, c. 1869
National Gallery of Art
The Pazyryk Carpet, the oldest known surviving carpet in the world, 5th century BC. Scythian [3300x3500]
LEOPOLD SCHMUTZLER - SALOMÉ'S DANCE, 1905
The painting depicts the biblical character Salomé in a dramatic and expressive dance pose, known historically as the "Dance of the Seven Veils."Salomé is associated with the biblical story where she dances before King Herod, leading to her infamous request for the head of John the Baptist. Schmutzler captures her in a moment of this dance, showcasing her in exotic attire and with a dynamic body language.
Salomé is adorned in opulent clothing, including jewelry and peacock feathers. In some cultural contexts, the peacock symbolizes immortality and pride due to the belief that its flesh does not decay and its feathers are renewed annually. This could parallel Salomé's dance, which leads to a beheading but also ensures her story's immortality.
Schmutzler's work here reflects his style, which often included semi-erotic female figures and elements of the Rococo genre. The painting uses a dark, rich background to contrast with Salomé, focusing attention on her figure. The brushwork transitions from loose in the background to more detailed around Salomé, emphasizing Schmutzler skills.
Schmutzler's association with the Nazi regime virtually destroyed his reputation outside of Germany after World War II. His early works, which are generally appreciated for their artistic merit, are often overshadowed by this later political alignment. There's a significant contrast in how his work is perceived; his pre-Nazi art is often discussed in terms of artistic style and influence, while his later works are critiqued for their political implications.
Artemisia Gentileschi

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Kate #2, Leonard Freed, 2002