femme fragile

Gabriel von Max (1840-1915) “The Seeress of Prevorst” (1892) Oil on canvas Located in the National Gallery, Prague, Czech Republic

Henry Ossawa Tanner (1859-1937) “The Resurrection of Lazarus” (1896) Located in the Musée d'Orsay, Paris, France

At the 1897 Paris Salon, Tanner received a third-class medal for his painting, and it was then bought by the French government.

Lawrence Alma-Tadema (1836-1912) “An Eloquent Silence” (1890) Oil on panel Academicism

John Collier (181750s-1934) “Priestess of Delphi” (1891) Oil on canvas Pre-Raphaelite Located in the Art Gallery of South Australia, Adelaide, Australia

Elin Danielson-Gambogi (1861-1919) “After Breakfast” (1890) Oil on canvas Realism Currently in a private collection

Jean-Léon Gérôme (1824-1904) “Pain” (1891) Bronze Academicism

Frederic Leighton (1830-1896) “Spirit of the Summit” (1894) Oil on canvas Academicism

“Spirit of the Summit” has been described as symbolising the purity of the human spirit, refined of everything gross and material, reaching out beyond itself for eternity.

‘The Little Shepherdess’ - Paul Peel

Frederic Leighton (1830-1896) “Spirit of the Summit” (1894) Oil on canvas Academicism

“Spirit of the Summit” has been described as symbolising the purity of the human spirit, refined of everything gross and material, reaching out beyond itself for eternity.

Frederic Leighton (1830-1896) “Music Lesson” (1887) Oil on canvas Academicism Located in the Guildhall Art Gallery, London, England

“Perseus and Andromeda” by Frederic Leighton, 1891

Edmund Leighton (1852-1922) “The End of the Song” (1902) Oil o canvas Currently in a private collection

The painting depicts a scene of the adulterous love between the Cornish knight Tristan and the Irish princess Isolde.

There are many variations of the story, but it has the same general plot. After defeating the Irish knight Morholt, Tristan travels to Ireland to bring back the fair Isolde for his uncle, King Mark of Cornwall, to marry. Along the way, they ingest a love potion which causes the pair to fall madly in love. In the some versions, the potion’s effects last a lifetime, but in other versions the potion’s effects wane after three years. In some versions, they ingest the potion accidentally; in others, the potion’s maker instructs Isolde to share it with Mark, but she deliberately gives it to Tristan instead. Although Isolde marries Mark, she and Tristan are forced by the potion to seek one another, as lovers. While the typical noble character would be shamed by such an act, the love potion that controls them frees Tristan and Isolde from responsibility. The king’s advisors repeatedly endeavour to have the pair tried for adultery, but the couple continually use trickery to preserve their façade of innocence.

Emil Wolff (1802-1879) “Die Nacht” (“The Night”) (1830) Marble

François-Joseph Navez (1787-1869) “Massacre of the Innocents” (1824) Neoclassical

Pekka Halonen (Finnish, 1865-1933) 

Woman in a Boat, 1922

Oil on canvas

via fravery

Richard Riemerschmid (German, 1868-1957)

In the Countryside, 1895

Oil on canvas, 87 x 63 cm

Städtische Galerie im Lenbachhaus und Kunstbau München, Germany

Paul Delaroche, La Jeune Martyre.