ahalloffaces - Tumblr blog

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Judith Beheading Holofernes by Caravaggio // Judith Slaying Holofernes by Artemisia Gentileschi // Judith Cutting Off the Head of Holofernes by Trophime Bigot // Judith with the Head of Holofernes by Peter Paul Rubens

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Support for Palestine should be unconditional by the way. Stop looking for the ways they're just like you (ex: gay, trans, neurodivergent, etc) and support them for the sole reason that theyre literally facing a genocide right now. This is what solidarity is.

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Victor Gabriel Gilbert (1847-1935, French) ~ Jeune femme lisant, n/d

[Source: Christie’s]

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Guido Reni (Italian, 1575-1642)

Salome with the Head of Saint John the Baptist, ca. 1639

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Two Nymphs.  Louis-Jean-François Lagrenée (French, 1724-1805)

Flow, 1903.  Maxmilián Pirner (Czech, 1853-1924)

A Maid Combing a Woman’s Hair, 1883.  Pierre Puvis de Chavannes (French, 1824-1898)

Fairies by the Brook, 1895.  Maxmilián Pirner (Czech, 1853-1924)

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Karl Gussow - Old Man's Treasure (Das Kätzchen), 1876

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Jean-Paul Vroom - Metamorphoses (1971)

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Charles François Jalabert (French, 1818-1901) Galatée

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Roberto Ferri: “L’amore, La Morte, e Il Sogno (Love, Death, and the Dream)”, Detail. Oil on Canvas, 2017

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James Jebusa Shannon (American, 1862-1923)

Sirens

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Carl Wilhelmson (Swedish, 1866-1928)

Woman Painters, 1902

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Magdalene with a Skull - Mateo Cerezo

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Detail from San Gaspare del Buffalo Intercedes for the souls of purgatory (2016) by Giovanni Gasparro

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Mattia Preti, Saint Veronica with the Veil, 1652-1653 (detail) 🎨

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HISTORY IN COLOR

Ultramarine

RGB: (18, 10, 143)

Closest Pantone match: 2746 C

The name Ultramarine comes from the latin ultramarinus, meaning “beyond the sea”. During the 14th and 15th centuries, Ultramarine arrived in Europe through shipments coming from the mines of what is today Afghanistan. These mines produced the deep blue, semiprecious mineral lapis lazuli which was ground into a powder to make Ultramarine.The process was exhaustive, as it yielded only a small quantity of dye, and all but the finest stones produced a drab, washed-out color.

Due to its rare, precious origin and the costs of its production and shipment, the price of Ultramarine in Europe was exorbitant. During the Middle Ages and the Renaissance it was most often used in Christian art, tinting Mary’s robes the color of purity. As it was distributed through Italy, art using Ultramarine is rarer in the northern parts of Europe.

In 1824, the Societé d'Encouragement pour l'Industrie Nationale in France offered a prize to whomever could replicate the hues of Ultramarine through artificial means. The german chemist Christian Gmelin published his method of doing so in 1826, which led to one of the names for artificial Ultramarine being “Gmelin’s color”.

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Details from Garofalo’s Annunciation (1481)

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Michiel Janszoon van Mierevelt - Portrait of a Lady of the Van Beijeren van Schagen Family [1620]