Rafal Olbinski, 1943 | Surrealist painter

Rafał Olbiński is a Polish-born illustrator, painter and educator, living in the United States.

Olbiński graduated from the architecture program of the Warsaw University of Technology in 1969.

Olbiński immigrated to the United States in 1981, where he soon established himself as a prominent painter, illustrator and designer.

Laurits Andersen Ring | Style and motifs

Danish artist Laurits Andersen Ring (1854-1933) was one of the finest Danish painters of his generation, a golden generation that established Danish painting in the eyes of the world, numbering amongst his contemporaries his friend Harmmershoi (1864-1916), Holsoe (1863-1935), Ilsted (1861-1933) and Monsted (1859-1941).

A feature often seen in Ring's art is to place one or more objects at the edge of picture, which can be seen in e.g. Runesten ved Roskilde Landevej, Når taget ventes. Jernbaneoverkørsel ved Roskilde Landevej, Summerday by Roskilde Fjord and Lundbyes bænk ved Arresø.

Jacobello Alberegno (Venice, c.1367-1397)

Jacobello Alberegno | Polyptych of the Apocalypse | Whore of Babylon | Accademia Venice

Jacobello Alberegno also Jacobello Albaragno or Jacopo Alberegno (born before 1367; died before July 14, 1397 in Venice) was an Venetian painter active in the second half of the fourteenth century.

Jacobello Alberegno was fixed in the tradition of early Venetian painting masterpieces.

Gustave Caillebotte | A Balcony in Paris

Those boulevards, don’t forget, were still pretty new in 1877.

In the mid-19th Century, Napoléon III had ordered a massive redevelopment of the unruly French capital - led by Georges-Eugène Haussmann, the prefect of the Seine, who boldly (you might say pitilessly) cleared out Paris’s dense, politically restless faubourgs.

In their place arose standardised blocks of housing, fronting new extended axes that showcased landmarks like so many imperial baubles.

Lorenzo Bartolini | Faith in God / Fiducia in Dio, 1835

Lorenzo Bartolini🎨's "Fiducia in Dio" is the artist's best-known work and, more generally, is emblematic of Italian sculpture🎨 in the generation after Canova🎨. The model recalls Canova🎨's Mary Magdalen, but the work is more indebted to the observation of nature than the influence of the antique. It typifies the move towards a softer Neo-classicism which made way for Romanticism in Italian sculpture🎨.