1title: P S Krøyer 1899 Sommeraften ved Skagens strand. Kunstneren og hans hustru
artist: Peder Severin Krøyer
date: 1899
medium: oil on canvas
dimensions: Size cm 135.0 187.0
current location: Institution:Den Hirschsprungske Samling
source: [link Den Hirschsprungske Samling]
credit: Den Hirschsprungske Samling
license:Public domain
2title: Leighton God Speed!
artist: Edmund Leighton
date: 1900
medium: Technique oil canvas
dimensions: size cm 160 116
current location: Private collection
source: [link Sotheby's] [link Sale catalogue]
credit: Sotheby's Sale catalogue
license:Public domain
3title: Thomas Rowlandson Vaux-Hall - Dr. Johnson, Oliver Goldsmith, Mary Robinson, et al
artist: Thomas Rowlandson
date: 28 June 1785
source: LOC|ppmsca.05671 Published by J.R. Smith, No. 83 Oxford Street, London
credit: This image is available from the United States Library of Congress's Prints and Photographs division
under the digital ID ppmsca.05671.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.description: In the supper-box on the left we see, reading left to right, James Boswell, Mrs Thrale (who appears twice), Dr. Johnson, and Oliver Goldsmith.
The ‘macaroni’ Captain Edward Topham (scandalmonger to The World) is quizzing Georgiana, Duchess of Devonshire and her sister Lady Duncannon (Sheridan’s Lady Bessborough), watched by a naval figure with an eye patch and a wooden leg (not included in the Mellon version), always called Admiral Paisley, but Paisley did not lose his leg and eye until 1st June 1794, so it cannot be him. To the left of him, a young girl (a young boy in the Mellon version) holding the hand of a man who could be the comic actor, William Parsons, or Rowlandson’s friend Jack Bannister.
Peering at the two ladies from behind a tree is a figure traditionally, though improbably, identified as Sir Henry Bate-Dudley, the ‘Fighting Parson’, editor of the Morning Herald; he is more likely to be Thomas Tyers (son of Jonathan Tyers the great entrepreneur and proprietor of Vauxhall Gardens from 1729 until 1767) who stands next to the Scotsman James Perry, editor of the London Gazette. The couple on their right could well be the artist himself and his current girlfriend. and to the right of them stands the actress Mary ‘Perdita’ Robinson, with her husband on her right and the Prince of Wales (later George IV) on her left.
Looking up at the singer, the couple on the extreme left, have been identified as the actress Miss Hartley, in company with one of her many admirers, possibly Mr. Colman, but, suggested by their position apart from the crowd, they could also be members of the Tyers family (most likely Jonathan jr. and his wife Margaret, or their son-in-law Bryant Barrett and his wife Elizabeth. The large lady seated at the table on the right is Mrs Barry, the old Madam of Sutton Street, Soho, with two of her customers and one of her girls.
In the orchestra, we can see Jacob Nelson, the tympanist, who had played at Vauxhall since 1735, and died there after fifty years' performing, Mr Fisher on oboe, probably Hezekiah Cantelo and Mr. Sargent on trumpet, and Barthélemon, the leader, who retired in 1783. James Hook, the composer, organist, musical director and prolific song-writer, may be seen between Barthelemon and the singer, the 38-year-old Frederika Weichsell, who was Rowlandson’s next-door neighbour in Church Street, and the mother of Mrs. Elizabeth Billington. Elizabeth had just (aged 18) married James Billington, a double-bass player, in 1783, much against her parents’ wishes.
A number of those present in this scene had already died by the time Rowlandson produced the painting, and the affaire between the Prince and Perdita Robinson was already over.
Although there is no direct evidence for this, it seems likely, because of the dating, and because of the central position of the singer, that the painting was created by Rowlandson as a retirement gift for Frederika Weichsel, whether from him personally, or specially commissioned by the proprietors of the gardens.license:Public domain
4title: Chimú Erotic Couple - Walters 20091314 - Three Quarter
artist:
Anonymous (Chimú)date: between 1100 and 1550 (Late Intermediate-Late Horizon)
medium: wood and textile
dimensions: size cm height=34 width=55.9 depth=31.4
current location: Anonymous gift, 2009
credit: Walters Art Museum:
Home page 
Info about artworklicense:Public domain
5title: Samuel D. Ehrhart An International High Noon Divorce (1906)
artist: Samuel D. Ehrhart
date: Published: N.Y. : J. Ottmann Lith. Co., Puck Bldg., 1906 February 28.
medium: 1 photomechanical print : offset, color.
current location: Institution:LOC
source: LOC-image|id=ppmsca.26038
credit: This image is available from the United States Library of Congress's Prints and Photographs division
under the digital ID ppmsca.26038.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.license:Public domain
6title: A Brazilian family in Rio de Janeiro by Jean Baptiste Debret 1839
artist: Jean-Baptiste Debret
date: before 1830
medium: [[:en:Watercolor painting Watercolor painting]], Classicism
dimensions: 16 x 13 cm (6,2 x 5,0 inches)
current location: Institution:Itaú Cultural private collection , Itaú Cultural
source: Photo by [[User:Wilfredor|Wilfredor]] of a painting under Public Domain from 'Voyage Pittoresque et Hist (1829)
credit: Photo by Wilfredor of a painting under Public Domain from 'Voyage Pittoresque et Hist (1829)
license:Public domain
7title: A couple and their child
artist: unknown
date: Reign of Thutmose IV
medium: mld en=Limestone carved and painted fr=Calcaire sculpté et peint it=Calcare scolpito e dipinto
dimensions: Size unit=cm width=80 height=60 depth= diameter=
current location: Institution:Musée Georges Labit
source: own
license:Public domain
8title: Bemberg Fondation Toulouse Couple jouant de la musique - Pieter de Hooch Inv. 1026
artist: Pieter de Hooch
date: between 1673 and 1675
medium: oil on canvas
dimensions: size unit=cm height=57 width=65.5
current location: Institution:Fondation Bemberg Salle 5
source: own
license:Public domain
9title: Bemberg Fondation Toulouse Le couple ou La Remontrance Edouard Vuillard Inv.2102
artist: Édouard Vuillard
date: circa 1890
medium: technique oil Canvas
dimensions: size unit=cm height=29 width=46
current location: Institution:Fondation Bemberg Salle 8
source: own
license:Public domain
title: Centaur mosaic Google Art Project retouched.
artist:
date: (120 - 130)
dimensions: w915 x h585 cm
current location: Altes Museum, Staatliche Museen zu Berlin
credit:
SwHAQhNGz6l7_Q at Google Cultural Institute zoom level scaled
down from maximum resolutiondescription: The centaur mosaic was found in the 18th century on the site of the sprawling, luxurious villa complex near Tivoli that once belonged to the Roman emperor Hadrian. The mosaic was found in situ along with other smaller ones that bore depictions of landscapes, animals and masks. The relatively small central panel (emblema) formed part of the floor decoration for the dining room (triclinium) in the main palace. The various individual scenes of these mosaic pictures bear depictions of wild, inhospitable landscapes that deliberately contrast with idyllic ones featuring animals living in harmony with each other. The dangers of the wild are portrayed in this mosaic in the dramatic struggle between great cats and a pair of centaurs, mythological creatures with the head, arms, and torso of a man and the body and legs of a horse. On a rocky outcrop that hangs over a terrific chasm that runs parallel to the bottom of the picture, a pair of centaurs have been pounced on by great cats. While the male centaur has been able to defend itself successfully from the lion, the tiger has managed to bring the female centaur to the ground and is clawing her side. The male centaur rushes to his companion’s side, rearing his legs in the air while holding a rock aloft above his head. Undaunted, the tiger seems intent on not surrendering its prey. Even though one lion already lies fatally wounded, bleeding and with its claws retracted, the outcome of the struggle is anything but clear because in the background (whose spatial depth is achieved through the staggered arrangement of rock forms and impressive gradations of colour) we see yet another foe for the centaur: a leopard ready to pounce. While depictions in older Greek art tended to emphasise the bestial side of centaurs, later depictions increasingly focussed on their human qualities. Lucian, a writer from the 2nd century, records that the Greek painter Zeuxis (active around 400 BCE) became famous for his painting of a family of centaurs, including the young, set in a rural idyll. Similarly, Ovid, who lived around the turn of the millennium, wrote in moving verse of the death of a centaur couple. The extensive restoration work that was undertaken in the 18th and 19th century makes it difficult to date the mosaic with certainty. As a result, its dating ranges from Hellenistic to Hadrianic. There is broad agreement among scholars that the mosaic amounts to one of most virtuoso works of Roman mosaic art, which was inspired by a Greek work of art (either a panel painting or mosaic) from the Hellenistic period.
license:Public domain
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