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Ornithologia methodice digesta Pl.102 (1767-1776)

Saverio Manetti (Italian, 1723–1784)

A meticulous engraving of a bird mid-motion, feathers rendered with scientific precision. The lines capture every contour, as if the specimen might take flight from the page. A fusion of art and observation, where each stroke serves both beauty and taxonomy.
Le Pont de Moret (1888)

Alfred Sisley (French, 1839–1899)

Sunlight dances on the river’s surface, softening the stone bridge’s arches. Loose brushstrokes blur the line between water and sky, leaving just enough detail to trace the quiet flow beneath. A moment suspended—not quite still, not quite moving—where the air hums with the warmth of a French afternoon.
Der Künstler an der Staffelei

Hermann Kern (Austrian, 1838–1912)

A painter stands before his easel, brush in hand. The canvas remains blank, poised between intention and creation. Shadows cling to the studio walls, silent witnesses to the moment before the first stroke.
Mary with Child

Franz von Defregger (Austrian, 1835–1921)

A young mother cradles her child, their faces softly lit. The folds of her dress drape gently as she holds him close, an intimate moment frozen in quiet devotion. The simplicity of their bond speaks louder than any grand gesture.
A Garden Stroll (1877)

Auguste Toulmouche (French, 1829–1890)

A woman in rustling silk pauses between rose bushes, sunlight dappling her parasol. The garden hums with bees as her gloved fingers brush a blossom—that suspended moment when afternoon lingers before fading into evening.
Portrait of Princess Nina Georgievna (1901-1974) (1915)

Philip Alexius de László (Hungarian, unknown)

Princess Nina Georgievna gazes past the viewer, her pale blue dress and pearl choker contrasting with the warm glow behind her. There’s a quiet tension in her posture—neither stiff nor relaxed, as if caught between royal duty and private thought.
Emilia Floege Playing The Mandolin

Bertha Müller (Austrian, 1848–1937)

Emilia’s fingers dance across the mandolin strings, her gaze distant yet intent. The instrument rests lightly against her dress, its curves echoing her posture. A moment suspended—not quite performance, not quite reverie—where music lingers just beyond hearing.
Self-portrait (1906)

John Singer Sargent (American, 1856-1925)

A man in a dark suit stands against a muted background, his gaze direct and unflinching. The brushwork is loose yet precise, capturing the weight of his presence. Shadows play across his face, hinting at something unspoken beneath the composed exterior. The image lingers—quiet, unresolved.
Abbildungen zu Oken’s Allgemeiner Naturgeschichte für alle Stände Pl.022 (1841)

Lorenz Oken (German, unknown)

Delicate veins branch across translucent leaves, each curve precise as a surgeon’s incision. The engraving’s sharp lines dissect nature, revealing symmetry hidden in petals and stems—a meticulous study of growth patterns frozen in ink.
Carring of the Cross (1565)

Titian (Italian, c. 1488-1576)

A man stumbles under the weight of a wooden cross, shoulders bent, face streaked with dirt and exhaustion. Figures crowd around him—some shove, others weep. The rough grain of the wood presses into his skin. A moment suspended between brutality and surrender.
The Story Book (1877)

William Bouguereau (French, 1825–1905)

A young girl sits absorbed in a book, her bare feet tucked beneath her. Sunlight spills across the pages as she leans forward, lips slightly parted—caught between reading the story and living it. The worn cover hints at countless afternoons spent just like this, lost in words.
Portrait of Kathleen Cowan (1900)

John White Alexander (American, 1856–1915)

A woman gazes past the viewer, her dark dress melting into the shadows. Light catches the curve of her cheek, the hint of a secret playing at her lips. The brushstrokes suggest movement—as if she might turn away at any moment.
A Modern Magdalen (about 1888)

William Merritt Chase (American, 1849–1916)

A woman leans forward, her face half-hidden in shadow. The loose brushstrokes blur her features, but the intensity in her posture lingers—neither penitent nor seductive, just present. The background melts away, leaving only the weight of her stillness.
Playing with butterflies

Alois Hans Schram (Austrian, 1864–1919)

A child reaches toward fluttering wings, fingers brushing delicate color. Laughter hangs in the air as butterflies dance just beyond grasp—a fleeting chase where joy outweighs capture. Sunlight catches on powdered wings and bare feet in the grass.
Lachrymae (1894–95)

Frederic Leighton (English, 1830–1896)

A woman draped in flowing white leans against a marble column, her face hidden. The folds of her gown pool around her like liquid sorrow. She grips a withered wreath—mourning made tangible. The air feels heavy with unspoken grief.