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Parterre fleuri

Ferdinand du Puigaudeau (French, 1864–1930)

A burst of flowers spills across the garden, their colors vibrant against the soft earth. The scene hums with quiet energy, as if the petals might tremble in the next breeze. Light lingers between the blooms, inviting you to step closer and lose yourself in their untamed beauty.
Morchella esculenta L. (Pers.) (1915-1945)

Hans Walty (Swiss, 1868-1948)

Delicate folds of the Morchella esculenta rise from the page, their honeycombed caps catching an unseen light. Each hollow and ridge is rendered with such precision you might mistake the paper for damp forest soil. A single spore seems poised to drift from the gnarled stem.
Dans le Brouillard (late 19th-early 20th century)

Henri Martin (French, 1860–1943)

Mist curls through the trees, softening edges into whispers of green and gray. The world dissolves into layers of quiet—a hush where light barely breaks through. No horizon, only the slow fade of branches into fog. France breathes here, unseen but thick in the air.
Plowing in the Ukraine (1892)

Leon Wyczółkowski (Polish, 1852–1936)

A vast field stretches under an open sky, the earth freshly turned by a lone plow. Horses strain against their harnesses, their breath visible in the cool air. The soil’s rich darkness contrasts with the pale horizon, a quiet testament to labor and land.
Large Green Vase with Mixed Flowers (1910 – 1912)

Odilon Redon (French, 1840–1916)

A green vase overflows with blooms—some delicate, others bold—their petals almost trembling against the dark. The flowers seem to whisper secrets, their colors glowing like fragments of a dream.
Fauna japonica Pl.004 (1833-1850)

Philipp Franz Balthasar von Siebold (German, 1796–1866)

Delicate wings unfold against crisp paper—a Japanese beetle preserved in ink. Every vein, each iridescent fleck, rendered with scientific precision yet pulsing with life. The specimen seems to hover between two worlds: pinned yet alive, foreign yet intimately observed. A silent exchange across cultures, captured in chitin and line.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.052 (1718-1719) (1)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. A crimson crab claws at the edge, while a cobalt crayfish curls beside it—each creature more fantastical than the last, as if plucked from a fever dream of the deep.
Muse with a trumpet

Circle of Angelica Kauffmann (Swiss, unknown)

A woman holds a trumpet, her gaze distant yet intent. The golden instrument gleams against soft drapery, poised between sound and silence. Her fingers hover, as if waiting for the right moment to release the music coiled within. The air hums with anticipation.
Victorian Interior I (1945)

Horace Pippin (American, 1888–1946)

A dimly lit Victorian room, heavy with patterned wallpaper and ornate furniture. Shadows pool in the corners, but a single lamp casts a warm glow over a vacant armchair—as if someone just stepped away. The air feels still, thick with the weight of unspoken stories.
Abbildungen zu Oken’s Allgemeiner Naturgeschichte für alle Stände Pl.021 (1841)

Lorenz Oken (German, unknown)

Delicate veins branch across translucent leaves, each line precise as a surgeon’s sketch. Ferns unfurl beside spiked seed pods, their forms balanced between scientific clarity and quiet elegance. The page hums with hidden order—a silent taxonomy of stems and petals laid bare.
Jeune femme assise (circa 1905)

Pierre-Auguste Renoir (French, 1841–1919)

A woman lounges in soft light, her dress pooling around her like melted butter. Brushstrokes blur the line between flesh and fabric—warm, alive, dissolving into the air around her. The chair barely contains her ease; she seems moments away from sighing or stretching.
Thisbe

John William Waterhouse (British, 1849-1917)

A bloodstained veil clings to the mulberry tree—Thisbe’s last trace. The fabric flutters, whispering of love severed by cruel fate. Beneath the branches, shadows deepen, swallowing the promise of two voices that once met in secret. The berries blush dark, forever marked by tragedy.
Lady with an Ermine – Portrait of Cecilia Gallerani (ca.1473–1536) (1490)

Leonardo da Vinci (Italian, 1452-1519)

A young woman cradles a white ermine, its fur glowing against her dark dress. Her gaze drifts sideways, lips hinting at a secret. The animal’s alert posture mirrors her quiet intensity—a silent exchange between creature and keeper, frozen in time.
Gathering Flowers in a Devonshire Garden

John William Waterhouse (British, 1849-1917)

A woman kneels among blossoms, her hands brushing petals as sunlight filters through the leaves. The garden hums with color—pinks, whites, greens—as she gathers flowers into her skirt, lost in the quiet rhythm of picking. The air feels warm, alive with the scent of crushed stems and earth.
Flower of God

Sir Edward Coley Burne-Jones (English, 1833–1898)

An angel kneels in golden light, cradling a luminous blossom. Its petals glow like stained glass, radiating divine warmth. The figure’s wings tremble slightly, as if the flower’s weight transcends mere physical form. Every brushstroke hums with quiet reverence—this isn’t just a flower, but sacred light given shape.