This week, mine’s from ‘Professional Crocodile’ by Giovanna Zoboli and Mariachiara Di Giorgio

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Paul Guillaume fut le premier marchand de Giorgio de et l’un de ses grands collectionneurs.

Le s’intéresse aux années fondatrices de sa production, entre Munich, Turin, Paris (1911-15) et Ferrare, la période métaphysique, dès demain jusqu’au 14 déc.

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Ha i capelli color mogano raccolti in una coda di cavallo
e un viso che spalanca sul mondo due occhi di un azzurro così intenso da fare invidia ai fiordalisi.
(Giorgio Faletti,Appunti di un venditore di donne)
https://t.co/72YX8tFIIp
(Elton John,Blue Eyes)

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And now, something different. Giorgio Liberale (1527-1579) was an Italian artist who had been working for the imperial court in Prague. He designed over 500 small woodcuts for the first Latin edition of classic Dioscurides' Materia medica.

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Acqua di Joe. Giorgio Armani.

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Frank Frazetta’s Death Dealer reinterpreted by Giorgio Comolo.

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I also took the opportunity to examine the different works of Monet on sunrise and sunsets and how he renders each landscape.

-Impression, Soleil Levant (1872)
-Sunrise (Marine)(1873)
-The Cliff, Étretat, Sunset (1883)
-San Giorgio Maggiore at Dusk (1912) https://t.co/KbwpbojBge

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Sacred & Profane Love (c1514) is a beautiful placid work. He had moved on from Giorgione’s influence in painting style but kept his mystery & magic. The Three Ages of Man (c1512) & the ‘Gypsy’ Madonna (c1511) carry the same mood.

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Titian worked with the enigmatic Giorgione in his early years & their works are hard to separate (especially as Titian painted in his master’s style at first). Le Concert Champetre (c1509) may be by both, but Christ & Adulteress (c1509) & Virgin & Child (c1510) are probably his

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Thread: Titian (1488/90-1576) died on this day. He was, together with his master Giorgione, one of the great Italian Renaissance painters. He was famed for his female nudes, his psychologically intense portraits, religious & mythological scenes

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"La confusión del taumaturgo" de Giorgio de Chirico, presenta otra forma de enmascarar al individuo, de difuminar su identidad, en un mundo en que los seres humanos se han transformado o han sido sustituidos por maniquíes, sin rostro, pero expresan intensa emoción

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