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Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.024 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. A crimson crab claws at a cobalt crayfish, both creatures twisted into fantastical shapes. The sea teems with life—each specimen more bizarre than the last, as if pulled from a fever dream of the deep.
The Angel of the Annunciation (c. 1330)

Simone Martini (Italian, 1284–1344)

Golden wings shimmer as the angel kneels, delivering divine news. Lilies bloom between them, their white petals stark against the gilded background. The Virgin’s blue robe folds in delicate ripples, her hand raised in startled grace. A moment suspended—sacred, silent, charged with unspoken words.
Peace Concluded (1856)

Sir John Everett Millais (English, 1829–1896)

A wounded soldier rests by the fire, his wife reading the newspaper’s headline—”Peace.” Their child plays with toy soldiers, oblivious. The dog sleeps at their feet. War is over, but its shadow lingers in the room, quiet and heavy. Life resumes, though nothing will be quite the same.
Grove of Trees (1888–1890)

Pierre-Auguste Renoir (French, 1841–1919)

Dappled sunlight filters through the leaves, casting shifting patterns across the grove. Loose brushstrokes blur the line between earth and sky, trees swaying in an unseen breeze. The air hums with warmth, alive with the quiet rustle of branches.
The Trio (1898)

Robert Reid (American, 1862–1929)

Three women gather, their faces lit by unseen light. One holds a violin, another leans in as if catching a whispered melody. The third listens, her hands resting lightly on the keys of a piano. The air hums with unplayed music, a shared moment before the first note breaks the silence.
Golden Greeting

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

A golden angel descends, wings outstretched, its luminous presence filling the space. The gilded figure seems to pause mid-motion, offering a silent blessing. Light clings to every fold of its robe, every feather—radiant against the muted tones behind it. A moment both solemn and sublime.
Yes or No_ (1871)

Sir John Everett Millais (English, 1829–1896)

A young woman hesitates, fingers tracing her necklace. Her downcast eyes and parted lips hold the tension of an unspoken answer. The rich fabrics and dim light wrap her in quiet suspense—will she say yes, or no?
Madame Gautreau Drinking a Toast (1882-1883)

John Singer Sargent (American, 1856-1925)

A woman tilts her head slightly, glass raised in a silent toast. Her dark dress contrasts with the warm glow of the wine, capturing an unspoken moment of poise and private contemplation. The light catches the curve of her arm, turning a simple gesture into something quietly arresting.
L’Arc de Triomphe, Place de l’Étoile

Eugène Galien-Laloue (French, 1854–1941)

Paris hums under a winter sky, carriages clattering past the Arc de Triomphe’s grand silhouette. Gas lamps flicker to life, their glow softening the crisp edges of stone. The city’s pulse quickens as dusk settles—a fleeting balance of monument and motion, frozen in brushstrokes.
At Templestowe (1889)

Arthur Streeton (Australian, unknown)

Golden light spills over rolling hills, softening the edges of scattered trees. The land breathes under a wide sky, warm and drowsy. Brushstrokes hum with quiet energy, as if the air itself shimmers. A moment suspended—not grand, but alive. You can almost hear the grass rustle.
Irises in a white flower-vase (1920)

Tadeusz Makowski (Polish, 1882–1932)

Purple irises burst from a white vase, their petals curling like flames. The brushstrokes feel alive—loose yet deliberate. Shadows pool beneath the blooms, grounding their wild energy. It’s not just flowers; it’s a quiet rebellion against stillness.
The Challenge (1917)

Archibald Thorburn (Scottish, 1860–1935)

Two grouse lock eyes, feathers ruffled in the crisp air. One leans forward, wings half-spread—a silent dare. The muted moorland stretches behind them, all heather and shadow. No sound but the wind, yet the tension crackles like dry twigs underfoot.
Malvarrosa

Joaquín Sorolla (Spanish, 1863–1923)

Sunlight dances on wet sand as children splash in the shallows. The Mediterranean breeze carries laughter over turquoise waves, their white foam licking the shore. Striped bathing suits and wide-brimmed hats dot the beach like scattered confetti. Valencia’s coast pulses with life under a blinding noon sky.
The beloved

Wilfrid Gabriel de Glehn (English, 1870–1951)

A woman gazes softly, bathed in warm light. Her expression holds quiet intimacy, as if caught in a private thought. Loose brushstrokes blur the edges, pulling the viewer into her world. The colors hum with life—gold, rose, and cream melting together. There’s tenderness here, just beyond reach.
De uitlandsche kapellen voorkomende in de drie waereld-deelen, Asia, Africa en America pl40 (1779-1782)

Pieter Cramer (Dutch, 1721–1776)

Delicate wings unfurl across the page—vivid patterns from Asia, Africa, and America preserved in precise engravings. Each butterfly and moth seems poised to lift off the paper, a fleeting glimpse of distant continents frozen in ink. The lines blur between science and art, nature captured mid-flight.