Different Stages of Decomposition

http://tmv.proto.jp/#!/cheaplaughs - best view.

poboh:

Spring,  ca 1912,  Franz von Stuck. German Symbolist painter and Sculptor (1863-1928)

poboh:

Spring, ca 1912, Franz von Stuck. German Symbolist painter and Sculptor (1863-1928)



Franz von Stuck, The Murderer

Private collectionDate: 1891Technique: Oil on canvas, 47 x46 cm

Franz von Stuck, The Murderer

Private collection
Date: 1891
Technique: Oil on canvas, 47 x46 cm

(Source: darkclassics.blogspot.com)

notwiselybuttoowell:

artemisdreaming:

Ophelia
Odilon Redon

Redon is one of the most prolific of established professional artists when it comes to Ophelia paintings, which came as something of an unexpected discovery for me.

notwiselybuttoowell:

artemisdreaming:

Ophelia

Odilon Redon

Redon is one of the most prolific of established professional artists when it comes to Ophelia paintings, which came as something of an unexpected discovery for me.

notwiselybuttoowell:

sealmaiden:

Franz Ritter Von Stuck 
Sin 1893
Oil on canvas 
via artunframed

One of two versions of this theme

notwiselybuttoowell:

sealmaiden:

Franz Ritter Von Stuck 

Sin 1893

Oil on canvas 

via artunframed

One of two versions of this theme

notwiselybuttoowell:

sealmaiden:

Ernest Biéler 
 The Harvester of Leaves 1909
Gouache, watercolor and pencil on paper mounted on cardboard 

notwiselybuttoowell:

sealmaiden:

Ernest Biéler 

 The Harvester of Leaves 1909

Gouache, watercolor and pencil on paper mounted on cardboard 

 
"The Songs of the Night" by Alphonse Osbert.
Musée d’Orsay, ParisDate: 1896Technique: Oil on canvas, 77 x 124 cm 
Alphonse Osbert (23 March 1857 - 11 August 1939) was a French Symbolist painter.
Educated at the Ecole des Beaux Arts, his earliest passion was for the great Spanish masters, particularly Jusepe de Ribera. A shift away from his academic style took place in the late 1880s under the influence of several acquaintances associated with Post-Impressionism and Symbolism. Osbert abandoned naturalistic painting in favour of a Pointillist technique like that employed by Seurat and Signac. Also inspired by Pierre Puvis de Chavannesand the Symbolists, he chose to forsake depiction of real-world subject matter, and developed a poetic visual language of his own. His signature style consists of ghostlike Muses in mysterious landscapes bathed in the unearthly light of a sun or moon, rendered with abundant use of the colour blue. In the 1890s he was associated with Joséphin Péladan and his order of Rosicrucianism.
Osbert’s later works include a few commissioned murals, for sites including the Centre Thermal des Dômes in Vichy (1903 and 1904), and the Church Of Saint-Louis in Vichy (1915).

"The Songs of the Night" by Alphonse Osbert.

Musée d’Orsay, Paris

Date: 1896
Technique: Oil on canvas, 77 x 124 cm

Alphonse Osbert (23 March 1857 - 11 August 1939) was a French Symbolist painter.

Educated at the Ecole des Beaux Arts, his earliest passion was for the great Spanish masters, particularly Jusepe de Ribera. A shift away from his academic style took place in the late 1880s under the influence of several acquaintances associated with Post-Impressionism and Symbolism. Osbert abandoned naturalistic painting in favour of a Pointillist technique like that employed by Seurat and Signac. Also inspired by Pierre Puvis de Chavannesand the Symbolists, he chose to forsake depiction of real-world subject matter, and developed a poetic visual language of his own. His signature style consists of ghostlike Muses in mysterious landscapes bathed in the unearthly light of a sun or moon, rendered with abundant use of the colour blue. In the 1890s he was associated with Joséphin Péladan and his order of Rosicrucianism.

Osbert’s later works include a few commissioned murals, for sites including the Centre Thermal des Dômes in Vichy (1903 and 1904), and the Church Of Saint-Louis in Vichy (1915).