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Untitled by Pam Steenwijk, 2019
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Still Life by Edgar Fernhout, 1949
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Synthesis Monolith Console Table No.2 by Hongjie Yang, 2018
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SCD Dining Chairs by Dick Spierenburg for Castelijn, 1978
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Chromatic Ray Commissioned by Dutch Invertuals for Luxaflex® by Mila Chorbadzhieva and Adriaan de Man , 2017
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Chair from Ore Streams by formafantasma, 2017
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The Five Wounds of Christ (reverse of a diptych) by The Master of the Legend of the Magdalen
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mauveflwrs
by Willem de Kooning, 1987
The Last Judgment by Joos van Cleve, ca. 1520–25
Source: metmuseum.org
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Hell by the Limbourg Brothers from the Très Riches Heures du Duc de Berry, 1416
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Untitled (Woman Abstraction) by Willem de Kooning, 1962
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The Pearl Painting by Diana Roig, 2016
Source: saatchiart.com
Collages of found book pages by Louis Reith, 2013
Source: louisreith.com
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Ombré Glass Chair by Germans Ermičs, 2017
Ombré Glass Chair (2017) is a tribute to Shiro Kuramata (1934 – 1991). His iconic Glass Chair (1976) is one of the most influential furniture designs of the 20th century. A breakthrough concept, and one that is profoundly true to its material, Glass Chair set a precedent for the direction of design in glass, in which the simplicity, transparency, and seeming weightlessness of the material are emphasized. Glass Chair exemplifies fascination with immateriality and transparency. Employing the revolutionary, new industrial product Photobond 100, which cleanly bonds glass, Kuramata was able to join six sheets of glass without screws, mounts or reinforcements thus eliminating all traces of structure. Formed solely from planes of clear glass, the chair’s solid state seems to dissolve. Almost invisible, these planes, without tangible support, hang in the air.
Source: just-good-design.com
The Seven Deadly Sins and the Four Last Things by Hieronymus Bosch, ca 1500
Four small circles, detailing the four last things — Death, Judgment, Heaven, and Hell — surround a larger circle in which the seven deadly sins are depicted: wrath at the bottom, then (proceeding clockwise) envy, greed, gluttony, sloth, extravagance (later replaced with lust), and pride, using scenes from life rather than allegorical representations of the sins.
At the centre of the large circle, which is said to represent the eye of God, is a "pupil" in which Christ can be seen emerging from his tomb. Below this image is the Latin inscription Cave cave d[omi]n[u]s videt ("Beware, Beware, The Lord Sees").
Above and below the central image are inscription in Latin of Deuteronomy 32:28–29, containing the lines "For they are a nation void of counsel, neither is there any understanding in them", above, and "O that they were wise, that they understood this, that they would consider their latter end!" below.
Source: Wikipedia
Spirals by M.C. Escher, 1953