Jesse Locker

An artist its at a table in a gesture of melancholy surrounded by tools of art, an allegory of poverty, and hungry children and animals. To the left, a child peers into a bare cupboard

Adam Elsheimer, The Artist in Despair, c. 1599, pen and brown ink, 71/8 x 75/8 in. (182 x 195 mm), Munich, Staatliche Graphische Sammlung

Seriously

What Those Jeffrey Epstein Emails About Leonardo's 'Salvator Mundi' Really Mean | Artnet News Emails reveal that Epstein was speculating about the $450-million sale of Salvator Mundi—and whether it was connected to Trump.

Honestly a little excited for the Leonardo-Epstein-Illuminati conspiracy theory convergence

An artist its at a table in a gesture of melancholy surrounded by tools of art, an allegory of poverty, and hungry children and animals. To the left, a child peers into a bare cupboard

Adam Elsheimer, The Artist in Despair, c. 1599, pen and brown ink, 71/8 x 75/8 in. (182 x 195 mm), Munich, Staatliche Graphische Sammlung

So lovely

Disappointing

Or for a terrible sitcom

Hand-drawn sign reading "Did you lose your beret? Someone found it! Come to the art office"

Art school problems

"Amsterdam’s cultural elite met up in this book and print shop. Warnars, the owner, was a bookdealer, publisher and printer. These activities are reflected in the full bookcases, the hanging banner, new reams of paper and the printing press on the floor. The painter of this scene, Johannes Jelgerhuis, was also a noted actor. The pronounced perspective of the shop interior makes it look like a stage set with a city view as a backdrop." https://www.rijksmuseum.nl/en/collection/object/The-Shop-of-the-Bookdealer-Pieter-Meijer-Warnars-on-the-Vijgendam-in-Amsterdam--f1db15873a09965c63b77155a777d2ff

Johannes Jelgerhuis, Pieter Meijer Warnars' bookstore on the Vijgendam in Amsterdam, 1820 (Rijksmuseum, Amsterdam)

Hey authors! Check to see if Anthropic stole your book to train their slop generator on. You’re entitled to $1500 per stolen Work.

Look up your work, and if you’re in the database, file a claim
secure.anthropiccopyrightsettlement.com/lookup/

Fortunately no

Key Chain Wautier - The Triumph of Bacchus : KHM Shop The Roman god of wine as a keyring, inspired by the painting 'The Triumph of Bacchus' (1655–1659) by Michaelina Wautier (c. 1614/18–1689). A clearly tipsy Bacchus, is being wheeled through the landscape in a wheelbarrow as part of a boisterous, wine-soaked procession. Unlike traditional depictions, Bacchus is not riding in a leopard-drawn chariot—but at least he has loosely draped a leopard skin around his hips.

A Bacchus keychain?

Socks Wautier - Flower Garland with a Dragonfly : KHM Shop Add a touch of Flemish art into your wardrobe with these vibrant socks featuring a detail from Michaelina Wautier’s (c. 1614/18–1689) unique painting 'Flower Garland with a Dragonfly' (1652).

Looking for (extremely subtle) Michaelina Wautier socks?

Nice one! Reminds me of bsky.app/profile/dbel...

El Museo del Prado logra la cesión temporal por diez años de un Murillo robado de sus salas en 1897    El Museo del Prado ha anunciado este miércoles que expondrá próximamente un boceto de mano...

Oil sketch by Bartolomé Esteban Murillo stolen from the Prado in 1897 discovered in France. ¡Enhorabuena, @benitonavarrete.bsky.social!

Well I hope Messi spends his retirement writing treatises on art

Rear view of an impossibly large statue of of the Farnese Hercules with two men looking on

Detail of Hercules' but showing burin lines

A+ butt engraving

[Hendrick Goltzius, The Farnese Hercules, 1591, 16 9/16 x 11 15/16 in. (42.1 x 30.4 cm), Metropolitan Museum of Art]

We need to have a complete shutdown of metaphors until we can figure out what's going

"This depiction of the Virgin and Child was made in the Innsbruck Court Glasshouse or Innsbrucker Hofglashütte of Archduke Ferdinand II of Austria by Venetian glass artisans. The composition is likely based on the statue of Our Lady of Loreto from the cathedral in Loreto, Italy of a Black Madonna and Child. Our Lady of Loreto refers to the Holy House (or Santa Casa) where the Virgin Mary was born. According to tradition, the house was transported by angels from Nazareth to Loreto. When locals went inside the house they found a beautiful dark wooden statue of the Virgin and Child. They thought the dark or black skin of the mother and son signified the carving was old and made by St. Luke, one of the authors of the gospels about the life of Jesus." https://www.gardnermuseum.org/experience/collection/12086

Black Glass Madonna, by unknown artisans of the Innsbruck Court Glassworks, 1570-1591, Lampworked and pressed glass on wood mount, 52.5 x 28.8 cm (20 11/16 x 11 5/16 in.), Isabella Stewart Gardner Museum

Fathers and Daughters – Part 3 | Nicholas Hall How Orazio Gentileschi prepared his daughter Artemisia for success, as seen through the eyes of the art historian Elizabeth Cropper.

Elizabeth Cropper on Orazio and Artemisia Gentileschi

Can confirm

No idea! They must have something to do a whole exhibition

Pope Leo absolutely cooking

Perfect for the ethical vampire

"Catharina van Hemessen is the earliest Flemish woman artist for whom verifiable work survives. She signed this portrait in Latin in the top right corner. We do not know who the sitter was, but she was evidently wealthy. Her fine shirt, visible at her neck and wrists, is ornated with delicate black embroidery and only loosely tied across the neck; the bodice of her dress is dark grey corded and watered silk; and her sleeves are of red velvet. Her gloves are decorated with black and golden embroidery. Her belt is made of gold and black beads and cylinders, held in place with gold settings. It may likely carry a pomander (a round vessel, usually a fine piece of gilded metalwork, containing perfume) at its end. A small dog with what seem to be bells on its collar is tucked under her arm. Portraits of women with pet animals, often lapdogs, were quite common in the sixteenth century." https://www.nationalgallery.org.uk/paintings/catharina-van-hemessen-portrait-of-a-woman

First exhibition ever dedicated to 16th-century Flemish painter Catharina van Hemessen to premier at the National Gallery, London, in 2027 www.nationalgallery.org.uk/about-us/pre...

Paper idea: “Gustav Klimt: World’s Worst Botanist?”

Lovely

He refers to some of the paintings as birch and some and some as beech, but I don't know enough about trees to tell if he knows what he's talking about

“Gustav Klimt, whose paintings of women are exemplary of the Secessionist Vienna of the turn of the 19th to the 20th century, came to landscape painting late in life. During his summer stays in Seewalchen am Attersee from 1898 onwards, he also painted, according to his own account, a “small beech forest (in sunshine) with a few conifers mixed in.” The artist constructed a viewfinder with a square cutout out of cardboard and held it in front of his eye so that the sky and horizon were almost completely excluded. The viewer's gaze finds no vanishing point in the balanced composition of “Beech Forest I.” A precisely captured stand of young trees—probably birches and aspens—stretches from the high horizon toward the viewer. Light falls on the foliage, which is rendered in the brushstrokes and dabs typical of the Impressionists. The paint is applied thinly, the tones are harmonized, and chiaroscuro contrasts are avoided. This gives the entire picture a delicate appearance. The mineral-like shimmering leaf litter, the mottled tree bark, and the playful sunspots become a comprehensive ornament. With his fir forest paintings from 1901, which already featured the parallel rhythm of the tree trunks as their theme, Klimt continued to create symbol-laden atmospheric landscapes typical of the turn of the century. In “Beech Forest I,” he is now so close to nature that the desire to stylize and experiment is subordinated to the magic of what he sees. (Author: Birgit Dalbajewa, 2018)” https://skd-online-collection.skd.museum/Details/Index/246365

Gustav Klimt, Beech Grove I, 1902, Oil on Canvas, 100 x 100 cm (Galerie Neue Meister, Staatliche Kunstsammlungen Dresden)

"This popular scene, traditionally interpreted as being set in an Andalusian context, could also be set in Madrid. Drawn with just the tip of the brush, it stands out for the light wash used to depict the majo in the background. The young woman shown in profile, dancing with her arms at her waist, seems to be slightly moving her feet to the sound of music. Nevertheless, her serious gesture and her distant gaze introduce an element of restlessness in contrast to the guitarist´s smile." https://www.museodelprado.es/en/the-collection/art-work/girl-dancing-to-a-guitar/6f78681e-07ea-4f7f-8d65-adf80988fb88

Francisco Goya, Girl Dancing to a Guitar, 1796-97, Indian ink wash, 170 x 99 mm (Museo del Prado, Madrid)