#dycks

[kingsloth9999]

The McMurrays & The Dycks #thelifestyle #letterkenny #mcmurrays #dycks (at The Rave Cave) https://www.instagram.com/p/CkCcMBdus3Mzf3jv7e9TD1ElNcQJHMMhTajU6Y0/?igshid=NGJjMDIxMWI=

[random-brushstrokes]

Hermann Dyck - Dilapidated chapel (1854)

[diioonysus]

art aesthetics: dark acadmia

[lionofchaeronea]

Golgotha, Anthony van Dyck, 1630

[cuubism]

"A van Dyck," Dream drawled, dragging a light finger along the gilt frame of the painting propped on the top of one of Hob's shelves. Hob really should do something more formal with that. "Interesting thing to have in your living room, Hob."

"I tell people it's a print," Hob said, coming to stand beside him and handing him his tea.

"Oh, but it is not." There was a smirk dancing on Dream's lips, Hob knew without even looking at him directly.

"Makes sense that you'd be able to tell," he sighed.

"Of course. Just how did you come across such a thing?"

"Well, I was still mingling with the aristocracy in the early 17th century. Met some interesting people." He shrugged. "Really should have sold it when I was, well, destitute, but couldn't bear to. Managed to stash it away. One of the few things I have of that time, actually."

"I can only imagine you had more than one valuable thing in your possession over the centuries," Dream mused, sipping his tea. "Why this one?"

Oh, God. He knew, didn't he?

Hob rubbed at the back of his neck. "Reminded me of you."

Hob had never known much about art, particularly back then. He hardly would consider himself a collector and certainly not a connoisseur. But that particular portrait had caught his attention immediately for its similarity to Dream.

The likeness was, indeed, striking. His hair was longer than it had been when they'd met in 1589, sweeping over his shoulders, and his features were half-draped in shadow, but his eyes. Hob would know that haughty, intense gaze anywhere.

He'd never quite discounted the idea that it was a portrait of his stranger, except that he couldn't imagine him having the patience or cause to sit for it, or the desire to be immortalized in that way.

"It is me," said Dream.

"What? Seriously?" Hob turned to stare at him and found Dream already looking back, ethereal and lovely. There was only one lamp on in the living room, night falling around them, and it cast his face in a similar light to the portrait, soft gleaming skin and plunging darkness as backdrop, limitless shadow in his eyes. "You, allowing a portrait? You're not having me on?"

"I do not joke." Dream took a step closer to him, setting his tea aside on a table. "I suppose I must have been in good humor that day."

Hob raised both eyebrows. "Oh, uh-huh, you in good humor?"

Dream's lips ticked up in a half-smile. "It happens occasionally."

Hob leaned against the shelf, careful not to jostle the painting. "For someone who so disdains the waking world, you sure are very aware of the art scene."

Dream leaned beside him, tilting his head. "You might consider me a patron of the arts."

Hob chuckled. "A patron? Or an inspiration?" He reached out and dragged his thumb along Dream's lower lip. "Dream?"

"A lover of artists, perhaps."

"I'm sure." Hob swept a hand along his cheek, breaking up the light like he was dragging a wet brush through paint. "You look like you could have stepped right out of that painting right now. You could have stepped out of any painting."

Dream looked at him from under his lashes. "Are you calling me a work of art, Hob Gadling?"

"Always."

Then Hob kissed him, hands framing his beautiful face. Dream was like an artwork, constant in essence but changing interpretation in every new light. Hob could imagine how many people over the centuries had had a fleeting encounter with him and come away changed, just as he had.

Dream hovered near him when they parted. Hob looked over to the painting again. No mere depiction could capture Dream in all of his colors, but it really was a rather good try. Van Dyck had gotten the depth of his eyes just right.

"The Baroque period suits you," Hob told him.

"Now who knows something about art?"

"I've picked up a few things over the years. I'm in love with the world's greatest artist, after all."

Dream moved in as if to kiss him, but paused to speak against Hob's mouth. "There are other works of me out in the world, if you care to seek them out."

"Don't open that challenge because I will do it," Hob informed him, quite seriously.

"I hope so." There was a sharp gleam in Dream's eyes. Hob could only imagine what kinds of paintings might inspire that look. "I look forward to seeing what you find."

[history-of-fashion]

ab. 1630 Anthony van Dyck - Filips Godines and Sebilla vanden Berghe

(Alte Pinakothek)

[7pleiades7]

Cupid and Psyche (1639-1640) by Sir Anthony van Dyck (1599–1641), oil on canvas, 200.2 × 192.6 cm, The Royal Collection, (Privy Chamber), Kensington Palace, London

[papillon-de-mai]

Anthony van Dyck — Lady Elizabeth Thimbelby and her Sister. circa 1637. detail

[notalicent]

HOUSE OF THE DRAGON + art (11/∞)

Emperor Rudolf II in Armour | Martino Rota De Koning van Thule | Pierre Jean van der Ouderaa Portrait of a Man in Armour with Red Scarf | Anthony van Dyck

[baroque-art-history]

Saint John the Baptist in the Wilderness painted by Anthony van Dyck (1599 - 1641)

[the-regal-sim]

My “Old Century Manor Painting Set for TS4″ has been released, Download @ Regal Sims

[from-a-spiders-web]

Lord John Stuart and his Brother, Lord Bernard Stuart, 1638 Anthony van Dyck

[granstromjulius]

Anthony van Dyck

[eirene]

Portrait Of A Noblewoman With A Parrot

Anthony van Dyck

[ourstaturestouchtheskies]

Historical Portraits of Children // The Truth is a Cave – The Oh Hellos

Four Children Making Music – attributed to the master of the Countess of Warwick, 1565 // Three Children with a Dog or Two Sisters and a Brother of the Artist – Sofonisba Anguissola, 1570-1590 // The Children of Philip III of Spain (Ferdinand, Alfonso, and Margarita) – Bartolomé González y Serrano, 1612 // Three Children with a Goat-Cart – Frans Hals, 1620 // The Balbi Children – Anthony van Dyck, 1625-1627 // The Three Eldest Children of Charles I – Anthony van Dyck, 1635-1636 // Five Eldest Children of Charles I – Anthony van Dyck, 1637 // Portrait of the Children of Habert de Montmor – Philippe de Champaigne, 1649 // Group Portrait of Charlotte Eleonora zu Dohna, Amalia Louisa zu Dohna, and Friedrich Christoph zu Dohna-Carwinden – Pieter Nason, 1667 // The Graham Children – William Hogarth, 1742 // Portrait of Sir Edward Walpole’s Children – Stephen Slaughter, 1747 // The Bateson Children – Strickland Lowry, 1762 // The Gower Family: The Five Youngest Children of the 2nd Earl Gower – George Romney, 1776-1777 // Marie-Antoinette de Lorraine-Habsbourg, Queen of France, and Her Children – Élisabeth Louise Vigée Le Brun, 1787 // The Marsham Children – Thomas Gainsborough, 1787 // The Oddie Children – William Beechey, 1789 // Three Siblings – Johann Nepomuk Mayer, 1846 // Happy Children – Paul Barthel, 1898 // My Children – Joaquín Sorolla, 1904 // The Truth is a Cave – The Oh Hellos

[oncanvas]

Genoese Noblewoman, Anthony van Dyck, circa 1625-27

Oil on canvas 90 ⅞ x 61 ⅝ in. (230.8 x 156.5 cm) The Frick Collection, New York City, NY, USA