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Anonymous - Angel Scourging a Harpy, circa 1890

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temporary job by Minnie Bruce Pratt

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Etchings of tigers by Herbert Thomas Dicksee (1862-1942)

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꩜ Modernist Mastpiece: ‘Untitled’ by Jun'ichiro Sekino, a pioneering Japanese artist known for his striking woodblock prints. ➤

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Nasreddine Dinet - Satan's messenger

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A North African Courtyard by Frederick Arthur Bridgman, 1879

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Carl Moll - A street in Ragusa (1887)

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LUDWIG DEUTSCH - THE PALACE GUARD, 1892

The painting depicts a palace guard standing in an ornate, richly decorated setting typical of Middle Eastern or North African architecture. He is dressed in traditional attire that includes a yellow cloak draped over his shoulder, a chainmail shirt, and a blue skirt-like garment. The guard holds a long spear with a decorative top, which leans against the wall beside him.The background features detailed tile work with geometric patterns and an archway, indicative of Islamic architectural influence. At the guard's feet, there are a pair of red shoes, which might indicate that he has removed them out of respect for the sacred space he's guarding.

Deutsch's multiple trips to Egypt provided him with firsthand exposure to the culture, architecture, and daily life of the region. His visits allowed him to gather authentic visual references, which were crucial for the detailed and accurate depiction of this masterpiece. The guard's attire, the architectural setting, and cultural nuances like the removal of shoes are direct results of his observations during these travels.

By 1893, Deutsch was at the height of his career. His works were being regularly exhibited in prestigious salons in Paris, where he had moved in 1870. This period was one of recognition and success, with his detailed and exotic depictions gaining popularity among collectors and the public. Critics appreciated the meticulous depiction of textures, fabrics, and architectural elements, which showcased his mastery of the medium. His ability to capture the essence of the exotic and romanticized East was also praised.

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Jakub Schikaneder (Czech, 1855-1924)

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Arnold Böcklin - The Plague, 1898

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In the Forest by Hugo Le Bas (1871, oil on canvas)

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Skin soft like petals * If men wanted to embody arousal to define their power over the world, they could have chosen the soft, colourful symbol of the flower. Small yet bewitching, pure organs of reproduction, attracting the whole natural world, stealing all the lights and colours, painted everywhere, carved, mathematically calculated; yet, they chose the wolf, alpha, beta, zeta, baba, domesticated into dogs, stinky, that no woman would wear in her hair. They could have chosen purely attractive, emergent, magnetic symbols — but took the forceful, submissive, fear-based ones.

Painters: Mia Tarney, Jacques Réatu, unknown, Alessandro Turchi.

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Ivan Rabuzin (Croatian, 1921-2008), Paesaggio sotto la neve [Landscape under Snow], 1972. Oil on canvas, 61 x 81 cm.

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The deep sea is a haunted house: a place in which things that ought not to exist move about in the darkness.

Julia Armfield, from 'Our Wives Under the Sea'

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Théodore Chassériau - La comtesse de La Tour-Maubourg (detail) 1840

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At Low Tide ~ 1913 ~ Sir Edward John Poynter (English artist, 1836-1919)

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Gathering Flowers in a French Garden (1888) by Childe Hassam