Storm (1925). By Zdzisław Jasiński (Polish;1863-1932). Oil on canvas. 📍National Museum, Warsaw.

 Storm (1925). By Zdzisław Jasiński (Polish;1863-1932). Oil

Mariana, (1851). By John Everett Millais (1829-1896).

_art oil on wood, 49.5 x 59.7 cm. 📍Tate Britain

 Mariana, (1851). By John Everett Millais (1829-1896)

Ophelia. By Friedrich Wilhelm Theodor Heyser (1857-1921), oil on canvas, 90.5 x 181.5 cm. 📍private collection.

 Ophelia. By Friedrich Wilhelm Theodor Heyser (1857-1921)

Scene with Bacchantes, (1653). By Jacob van Loo, (1614 - 1670). Oil on canvas, 63 x 55 cm.

 Scene with Bacchantes, (1653). By Jacob van Loo, (1614 -

Hylas and the Nymphs, (detail) (1896) . By John William Waterhouse (1849 - 1917). Oil on canvas, 132.1 cm x 197.5 cm.

 Hylas and the Nymphs, (detail) (1896) . By John William

Evening Street, (1906). By Jakub Schikaneder (1855 - 1924).

_art . oil on canvas, 📍National Gallery in Prague

 Evening Street, (1906). By Jakub Schikaneder (1855 - 1924)

The Fortune Teller, (1906). By  Deutsch, Ludwig (1855 - 1935). Oil on panel,  80.6 x 64.1 cm.

 The Fortune Teller, (1906). By  Deutsch, Ludwig (1855 -

The hospital room during the visit of the chief physician, (1889). By Luis Jiménez Aranda (1845-1928), oil on canvas, 290 x 445 cm, 📍Museo de Bellas Artes de Sevilla

 The hospital room during the visit of the chief physician

One of Bastien-Lepage's finest works, particularly popular among Russian artists of the late nineteenth and early twentieth century. ‘The Village Lovers’ was much admired by Valentin Serov, Mikhail Nesterov and Lev Tolstoy. The ability to combine a realistic subject with a lyrical landscape, to record moments of harmony between man and nature with such remarkable precision, brought Bastien-Lepage widespread fame as a 'poetic realist'.

One early reading, by Mette, the wife of Paul Gauguin, held that the girl was under age, and the relationship accordingly beyond the pale. The girl not only faces away from the viewer, but her whole body is turned away, leaving that issue unresolved and unresolvable.

The Village Lovers, 1882 by Jules Bastien-Lepage.

 One of Bastien-Lepage's finest works, particularly popular

Emma Hart, Lady Hamilton as Circe ,(Details) (1782), By George Romney (1734–1802). Oil on canvas, 240 x 142 cm.

 Emma Hart, Lady Hamilton as Circe ,(Details) (1782), By

Italian Peasant Kneeling with Child. By William-Adolphe Bouguereau (French, 1825 - 1905). watercolor and graphite underdrawing, 19 cm x 27.1 cm.

 Italian Peasant Kneeling with Child. By William-Adolphe

Aman-Jean (Portrait of Edmond François Aman-Jean) (1882– 83). By Georges Seurat (1859 - 1891). Conté crayon on Michallet paper, 62.2 × 47.5 cm.

 Aman-Jean (Portrait of Edmond François Aman-Jean) (1882–

"La ninfa Egeria dictando a Numa Pompilio las leyes de Roma"  The Nymph Egeria Dictating to Numa Pompilius the Laws of Rome, (1886). By  Ulpiano Checa, (1860 - 1916). Oil on canvas, 300 x 200 cm.

_art 📍Museo Nacional del Prado, Madrid, Spain

 "La ninfa Egeria dictando a Numa Pompilio las leyes de

Witches going to their Sabbath, (1878). By Luis Ricardo Falero, (1851 - 1896).

As Christianity began to take hold of Europe in the late medieval era, wild stories of witches and their Sabbath rituals became popular. Often these stories implicated and scapegoated women who were easy targets, especially older women who were beyond child-bearing years and healers. At times a single spectral huntsman would be involved too. They would travel to their secret place in the woods and hold their coven, eat babies and fetuses, and copulate with the devil. They would ride a flying goat, the goat being an incarnation of the devil himself.

Falero gives us all the familiar symbols in this fantastical vision meant to titillate. The witches swirl and writhe in the stormy convoy, implying sexual frenzy. The witch at center stares at us and draws us into the scene, with both evil and lust in her eyes

 Witches going to their Sabbath, (1878). By Luis Ricardo

Nature Unveiling Herself Before Science, (1899). By Louis-Ernest Barrias, (1841 - 1905). 📍Musée d'Orsay

The sculpture depicts a woman personifying Nature removing a veil to reveal her face and bare breasts. The sculpture, which is in the Musée d'Orsay, was commissioned for the Conservatoire National des Arts et Métiers. Underneath the veil, Nature wears a gown held up by a scarab. The figure is made of marble, with the gown made of Algerian onyx, and the scarab of malachite. The sculpture has also been reproduced in other media.1905

 Nature Unveiling Herself Before Science, (1899). By

The Survivor, (1884). By Ivan Aivazovsky, (Russian, 1817–1900).

 The Survivor, (1884). By Ivan Aivazovsky, (Russian

Played ! (1885). By John Lavery (1856 - 1941). Oil on panel, 35.5 x 30 cm.

 Played ! (1885). By John Lavery (1856 - 1941). Oil on

The Magdalen Reading, (1438). By Rogier van der Weyden  (1399/1400 - 1464). Oil on mahogany, 62.2 cm × 54.4 cm.

A young lady in an extravagant green dress sits on the floor, reading. Although she wears fifteenth-century clothing and is in a medieval room, she is a biblical figure: Saint Mary Magdalene. The pot of oil with which she anointed Christ’s feet  the object traditionally associated with her  stands on the floor beside her casting a strong shadow. Her figure forms a semi-circle, with her head and legs curving around her bent knees, emphasising her absorption in her book.

This painting was originally the lower right corner of what must have been a large altarpiece of the Virgin and Child with saints, painted for a church in Brussels. You can see part of a man behind Mary while another kneels to the left; his toes poke out from under his voluminous red robe.

 The Magdalen Reading, (1438). By Rogier van der

Falling star, (1884). By Witold Pruszkowski (1846-1896),

_art Oil on canvas, 168 x 132 cm. 📍National Museum in Warsaw

 Falling star, (1884). By Witold Pruszkowski (1846-1896)

Le bal masqué. By Albert Lynch, (Peruvian, 1851 - 1912). Oil on panel, 104.5 x 69 cm.

 Le bal masqué. By Albert Lynch, (Peruvian, 1851 - 1912)

The Cemetery, (1825). By Caspar David Friedrich (1774 - 1840). Oil on canvas, 143 cm x 110 cm. 📍Galerie Neue Meister

 The Cemetery, (1825). By Caspar David Friedrich (1774 -

The End of the Quest" (1921). By Frank Dicksee (1853–1928).

_art  Oil on canvas, 144.7 x 106.7 cm. 📍Leighton House Museum .

The man holds the woman on her both hands and seems to be saying something emotional. What is not clear is whether the man is returning from foreign war all state assignment that may have kept them apart for long or he is an ex-heart-breaker who has returned after realising the value of the woman he left behind. The facial expression of the two shows a connection between them, but the despair and suffering on the young man's face show that they must have separated for a while. The woman doesn't look directly to the man's eye suggests that she may have lost hope for reunion, but her calmness shows a willingness to accept the young man's proposal.

The style used in the painting is romanticism. Romanticism as a form of art started in Europe in the eighteenth and nineteenth century as a revolt against Neoclassicism. The movement was purely a rejection of the precepts of rationality, idealisation of at the time through the disregard of the formal rules and traditional procedures in art. Romanticism gave artists the freedom of imagination and emotion in their work. Most of the romantic paintings were about nature and humans as part of nature.

 The End of the Quest" (1921). By Frank Dicksee (1853–1928)

The Visitor, By Frédéric Soulacroix, (1858 - 1933). Oil on canvas.

This officer, apparently, is not the first time visiting the lady. Maybe it's his letter in her hand. He came for an answer, he asks something, asks something. Will he get what he wants? It may well be that the expression on her face is not cruel, but rather friendly.

 The Visitor, By Frédéric Soulacroix, (1858 - 1933). Oil on

Christ in the House of His Parents, (1849-1850), By John Everett Millais, (1829 - 1896). Oil on canvas, 139.7 cm x 86.4 cm.

The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid upon his carpentry work-table. Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus' crucifixion. Some of the blood has fallen onto his foot. As Jesus' grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a kiss. Joseph examines Jesus' wounded hand. A young boy, who would later be known as John the Baptist, brings in water to wash the wound, prefiguring his later baptism of Christ. An assistant of Joseph, who represents Jesus' future Apostles, observes these events.

In the background of the painting various objects are used to further symbolize the theological significance of the subject. A ladder, referring to Jacob's Ladder, leans against the back wall, and a dove which represents the Holy Spirit rests on it. Other carpentry implements refer to the Holy Trinity. Millais likely used Albrecht Dürer's print Melancholia I as a source for this imagery, along with quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock

 Christ in the House of His Parents, (1849-1850), By John

Girl with a flute, (1630). By Jan van Bijlert, (1597/1598 - 1671). Oil on canvas, 108x85.8 cm.

Radical and daring innovation in the work of Caravaggio had a huge impact on the development of European art,including the masters of the Dutch school, to which Jan van Beilert belongs. The artist follows the Italian discoverer both in plot and stylistic terms. Following the early works of Caravaggio, the picturesque world of Europe was filled with numerous images embodying the joy of life of young men and women playing music, whose images, as in this case, are often not devoid of some frivolity in interpretation.

Stylistically, Van Beilert's Girl with a Flute is closer rather to the mature stage of Caravaggio's work, when, along with the plastic solution of figures, the problem of light acquired special significance for him, and sharp oppositions of light and dark areas appeared in the paintings.

 Girl with a flute, (1630). By Jan van Bijlert, (1597/1598 -

Romantic encounter, (1864). By Mihály von Zichy, (Hungarian, 1827–1906). Pencil, brush and ink, htnd w/ white on paper, 55.5 x 42.5 cm.

 Romantic encounter, (1864). By Mihály von Zichy

The Little Beauty . By Agathe Röstel (1866 - 1926) . Oil on canvas, 118.5 x 79.4cm.

 The Little Beauty . By Agathe Röstel (1866 - 1926) . Oil on

L'été : la moisson dans la campagne romaine, (1807). By Hubert Robert, (French, 1733–1808). Oil on canvas, 77 x 161 cm.

 L'été : la moisson dans la campagne romaine, (1807). By

Battle of the Centaurs and the Lapiths, (1852) . By William-Adolphe Bouguereau, (1825 - 1905). Oil on canvas, 124.46 × 174.31 cm.

The painting depicts a highly dramatic moment taken from Greek mythology, the Battle of the Lapiths and the Centaurs. The two groups had been long-standing enemies, but the Lapiths attempt to reconcile with the Centaurs and invite them to a wedding banquet and celebration. The Centaurs, mythological creatures who were half-man and half-horse, got drunk and caused mayhem when they tried to abduct the bride. In Bouguereau’s image, the viewer sees the most violent chapter of the story. This is a clash of civilizations, and the dead and wounded from both sides litter the ground. As the two central male figures fight over the woman, their bodies create a dramatic pyramid-shaped composition, which allows the eye to be drawn toward the terrified bride, partially draped in a violently red cloak. Bouguereau relied on poses derived from ancient sculpture throughout the work.

 Battle of the Centaurs and the Lapiths, (1852) . By

Zwei Junge Frauen im Rosengarten. By Albert Lynch, (Peruvian, 1851–1912).

 Zwei Junge Frauen im Rosengarten. By Albert Lynch

Cupid and Psyche . By Jean François de Troy  (1679–1752).

 Cupid and Psyche . By Jean François de Troy  (1679–1752)

“Embrace”. By Peter Wever (German, 1950– ).

Storm (1925). By Zdzisław Jasiński (Polish;1863-1932). Oil