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Erin Wasson reading in “Les Lignes de Nazca” for Vogue Paris, April 2013. Photograph by Mario Testino.“Body en maille de soie bicolore, et jupe en satin, PRADA. Foulard en soie, EPICE. Chaussettes en coton chiné, MP. Sandales en cuir, BIRKENSTOCK. Panier en paille tressée, ISABEL MARANT. Lunettes de Maria Reich.”

Erin Wasson reading in “Les Lignes de Nazca” for Vogue Paris, April 2013. Photograph by Mario Testino.“Body en maille de soie bicolore, et jupe en satin, PRADA. Foulard en soie, EPICE. Chaussettes en coton chiné, MP. Sandales en cuir, BIRKENSTOCK. Panier en paille tressée, ISABEL MARANT. Lunettes de Maria Reich.”

Au Louvre (1899). Louis Béroud (French, 1852-1930). Oil on canvas. The picture on the top left is The Rape of Deianira by Guido Reni; the painting below is Venus, Cupid and a Satyr by Correggio. Béroud was very familiar with the Louvre and it and the people who frequented its galleries were the subjects of a number of his works.

Au Louvre (1899). Louis Béroud (French, 1852-1930). Oil on canvas. The picture on the top left is The Rape of Deianira by Guido Reni; the painting below is Venus, Cupid and a Satyr by Correggio. Béroud was very familiar with the Louvre and it and the people who frequented its galleries were the subjects of a number of his works.

Portrait of the artist’s wife, Marie Fargues, in Turkish dress (1756-1758). Jean-Étienne Liotard (Swiss-French, 1702-1789). Pastel on parchment. Rijksmuseum, Amsterdam. Fargues is shown full length, sitting on a couch. Her head is resting on her right hand. On the divan is a book with its place marked as if Fargues had been reading as well as a basket with a mirror, comb and hat. On the floor are an Oriental rug and a vase of carnations.

Portrait of the artist’s wife, Marie Fargues, in Turkish dress (1756-1758). Jean-Étienne Liotard (Swiss-French, 1702-1789). Pastel on parchment. Rijksmuseum, Amsterdam. Fargues is shown full length, sitting on a couch. Her head is resting on her right hand. On the divan is a book with its place marked as if Fargues had been reading as well as a basket with a mirror, comb and hat. On the floor are an Oriental rug and a vase of carnations.

Newspaper reading (1890-1893). Ludwig von Hofmann (German, 1861-1945). Oil on cardboard. Von Hofmann studied in Dresden, Karlsruhe and Paris, and belonged to the Group of XI, later the Berlin Secession. Artistically he could not be classified easily as he painted in different styles. Some of his works were considered “degenerate” by the Nazis, while others were acceptable to the Reich.

Newspaper reading (1890-1893). Ludwig von Hofmann (German, 1861-1945). Oil on cardboard. Von Hofmann studied in Dresden, Karlsruhe and Paris, and belonged to the Group of XI, later the Berlin Secession. Artistically he could not be classified easily as he painted in different styles. Some of his works were considered “degenerate” by the Nazis, while others were acceptable to the Reich.

Le Frou Frou, Journal Humoristique, 20 centimes (1899). Advertising poster. Leonetto Cappiello. Library of Congress. Shows a can-can dancer holding a copy of Le Frou-Frou while she dances. Le Frou-Frou reflected the slightly risqué, Moulin Rouge atmosphere of 1890’s Paris and advertised itself through colourful posters of alluring can-can dancers. Its pages are filled with cartoons and humorist anecdotes on Parisian life or theatre.

Le Frou Frou, Journal Humoristique, 20 centimes (1899). Advertising poster. Leonetto Cappiello. Library of Congress. Shows a can-can dancer holding a copy of Le Frou-Frou while she dances. Le Frou-Frou reflected the slightly risqué, Moulin Rouge atmosphere of 1890’s Paris and advertised itself through colourful posters of alluring can-can dancers. Its pages are filled with cartoons and humorist anecdotes on Parisian life or theatre.

A Copyist at Work in the Galeries du Luxembourg, Paris (1882). Pieter Oyens (Dutch, 1842-94). Artists David and Pieter Oyens were twin brothers. Their work was also very similar, not only in style and technique but also in choice of subjects (generally studio and cafe scenes). As a result, it is often very difficult to ascribe works simply signed ‘Oyens’ to the right twin.

A Copyist at Work in the Galeries du Luxembourg, Paris (1882). Pieter Oyens (Dutch, 1842-94). Artists David and Pieter Oyens were twin brothers. Their work was also very similar, not only in style and technique but also in choice of subjects (generally studio and cafe scenes). As a result, it is often very difficult to ascribe works simply signed ‘Oyens’ to the right twin.

Interior with Harp. Henri Lebasque (French, 1865-1937). Oil on canvas. The harp sits ready to play but the girls are more interested in their reading. The multi-coloured pillows of various sizes on the pink divan and the group of small paintings lining the wall give the scene intimacy and comfort. The girls read in peace, not constrained in any way.

Interior with Harp. Henri Lebasque (French, 1865-1937). Oil on canvas. The harp sits ready to play but the girls are more interested in their reading. The multi-coloured pillows of various sizes on the pink divan and the group of small paintings lining the wall give the scene intimacy and comfort. The girls read in peace, not constrained in any way.

fleur de lis crown ~ one of a kind ~ by ParrishRelics

Fleur de lis crown - one of a kind - full medieval crown