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Cranach the Elder

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Judith Slaying Holefernes by Artemisia Gentileschi

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Judith Slaying Holefernes by Artemisia Gentileschi

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Tikvah

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Ronni

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Ophelia, the doomed heroine in William Shakespeare's play Hamlet, rests within a luminous space filled with vibrantly-coloured flowers. Unlike her vivid surroundings, her face is drained of colour - we are not sure if she is dead or only sleeping. This association of youthful, but ill-fated, beauty with dreaming, sleep and death was a popular theme in much of the art and literature of the nineteenth century, particularly in its closing decades.

Odilon Redon (1840-1916) creates a deliberately ambiguous and dream-like response to Shakespeare's drama, rather than a literal illustration of it. He makes full use of the rich colours of pastel to create a glowing and almost abstract design that evokes the effect of music.

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Odilon Redon | Ophelia among the Flowers | NG6438 | National Gallery, London

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Ophelia, the doomed heroine in William Shakespeare's play Hamlet, rests within a luminous space filled with vibrantly-coloured flowers. Unlike her vivid surroundings, her face is drained of colour - we are not sure if she is dead or only sleeping.

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Tom

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The Fall of the Rebel Angels - Luca Giordano - Google Arts & Culture

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An unusually large body of work, an apparently easily achieved virtuosity of composition as well as stylistic and technical diversity and improvisation: th...

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Distinguished by its size, technique and clearly visible authorship, this large print cited by Vasari represents a manifest of sorts through which Ugo da Carpi laid claim to the invention of the new xylographic chiaroscuro technique which imitated the effects of drawing. The group of figures draws inspiration from a famous episode featured in the fresco of the "Fire in the Borgo", painted by Raphael and his pupils between 1514 and 1517 in the Vatican Rooms. The large format emphasizes the huge stature of the figures, while the colour of the inks in gradual shades of grey and brown gives them the appearance of statues rather than painted figures. Dating back to 1518, this work was one of the first prints by Ugo da Carpi in Rome and met with immediate success. The engraver known as the 'Maestro B del Dado' also created a specular copy in burin, a clear evidence of the popularity of this subject which later would become highly influential and replicated in various techniques and mediums.

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Aeneas' Flight | Artworks | Uffizi Galleries

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The official website of the Uffizi Galleries. Opening hours, prices, tickets, subscriptions and information for the Uffizi, Pitti Palace (Palatine Gallery, Royal Apartments, Gallery of Modern Art, Treasury of the Grand Dukes, Museum of Costume and Fashion) and Boboli Gardens

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Guercino - The Angel appears to Hagar and Ishmael

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Guercino - The Angel appears to Hagar and Ishmael

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Amit / From The National Gallery, London

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The story of Hagar and Ishmael is told in the Old Testament Book of Genesis. Unable to have a child with his wife, Sara, Abraham has a son called Ishmael by her Egyptian maidservant, Hagar. When the aged Sara miraculously conceives and gives birth to Isaac, she demands that Hagar and Ishmael are banished to the wilderness, where they are left to die.

In this painting, Hagar turns from her son so she does not have to watch him die. As she weeps, an angel appears to her and reveals a water source nearby - visible in the bottom left corner of the painting - saving their lives. Hagar's anguish is the focus of the painting. She is seated in the centre of the composition, poised and dignified, and her gleaming tears convey her intense sorrow.

Probably painted in the second half of 1652, this picture is an example of Guercino's late classicising style, greatly influenced by Guido Reni.

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Guercino | The Angel appears to Hagar and Ishmael | NG6623 | National Gallery, London

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The story of Hagar and Ishmael is told in the Old Testament Book of Genesis. Unable to have a child with his wife, Sara, Abraham has a son called Ishmael by her Egyptian maidservant, Hagar. When the aged Sara miraculously conceives and gives birth to Isaac, she demands that Hagar and Ishmael are banished to the wilderness, where they are left to die.

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This a Renaissance picture by Simone Martini in the Uffizi.
I chose it because of Maria's expression which seems to me to say: Get away from me!" which is an interesting attitude to an angel of god.  And don't you think she would be happy to be the mother of god? the angel's flowing robes signify that he has just landed so maybe she is startled.  But I love the fact that her reaction is so human and not at all divine.

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Rinat/Amsterdam Rijks Museum

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De triomf van Mordechai - Rembrandt Harmensz. van Rijn - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Samson and Delilah          ca. 1528–30                  Lucas Cranach the Elder   

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Samson and Delilah          ca. 1528–30                  Lucas Cranach the Elder   

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Zehavit/ From the MET

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The Resurrection (by an imitator of Mantegna)

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The Resurrection (by an imitator of Mantegna)

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from Ben

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Elianah Yarm

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The Wilton Diptych in the National Gallery, London

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The Wilton Diptych in the National Gallery, London

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https://www.nationalgallery.org.

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https://www.metmuseum.org/

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https://www.uffizi.it/en

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https://www.nationalgallery.org.uk/visiting/virtual-tours/google-virtual-tour

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https://artsandculture.google.com/partner/rijksmuseum

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Abraham and Hagar - Met Museum, NYC