L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i

Sunday, February 28, 2021

Randomly XX

Portrait of a Young Girl, by Jean-Baptiste-Camille Corot, 1859.
Horse by the shore, summer night, by Nils Edvard Kreuger, 1902.
Portrait of Félix Jasinsky, by Félix Vallotton, 1887.
Woman with Glasses, by Yōshū Chikanobu 楊洲周延, 1897.
Portrait of Mercedes Mendeville, condesa de San Félix, by Joaquín Bástida y Sorolla, 1906.
An Australian, by Hilda Rix Nicholas, 1926.
A standing male nude, pulling a rope, circle of Théodore Géricault, circa 1810-13.
Courtesy Stephen Rutledge.
Bullfinches, by Bruno Liljefors, 1885.
Eighteenth century Katabira (summer kimono) with patterns of dry hedges, carnations, and swallows.
Jeune femme aux fleurs, by Jean-Gabriel Domergue, 1928.
Valkyrie, by Heinrich Bürck, 1881.
When Poverty Comes in at the Door, Love Flies out at the Window, by George Frederic Watts, 1892.
 Portrait of a Gentleman with a Sword, by Amico Friulano del Dosso, circa 1515-20.
Man in Landsknecht reenactment costume, 2017.
Easter Sunday, Harlem, by Arthur Fellig (Weegee), circa 1940.
Circa 1870s.
Angus Og - God of Love and Courtesy Putting a Spell of Summer Calm on the Sea, John Duncan, 1908.
 Les Peupliers, by Henri-Jean Guillaume Martin, circa 1937.
Polychrome glazed terracotta medallion bust of a laureate, by Andrea Della Robbia, circa 1492. (Two images.)
 Equipage de faucons laniers et de faucons pèlerins, by Carstian Luyckx, circa 1650-60s.
Portrait of Thomas Orde, later Orde-Powlett and 1st Baron Bolton, by Pompeo Batoni, 1773.
 Corinth, 1898.
Adam and Eve, by Harald Slott-Møller, 1890-91.
Courtesy Stephen Rutledge.
(This appears to be how you "unfriend" someone from a tintype.)
"La Belle Rose", a Madame Meeley of Philadelphia design created for sisters Ann and Elizabeth Stetson for their social debuts, 1927.
Portrait of a Lady, by Benedetto Ghirlandaio, circa last quarter of the fifteenth century.
French School, eighteenth century.
The Hall of Antiquities at Charlottenborg Palace, Copenhagen, by Adam August Müller, 1830.
Photograph by Josep Masana, 1930.
Conrad Veidt costumed for "Lucrezia Borgia", 1922.
Falcon, by Edwin Landseer, 1837.
Reverie, by Edgard Maxence, circa 1914-17.
Portrait of the dancer Nikolai Stepanovich Poznyakov, by Konstantin Somov, 1910.
Portrait of a member of the Dashwood family, by George Romney, 1787.
Portrait of María Luisa Maldonado, marquesa de Torneros, by Joaquín Bástida y Sorolla, 1907.
 Une soirée au carnaval, by Henri-Julien-Félix Rousseau, 1886.
The Owens-Thomas house, Savannah, Georgia, designed by the English architect William Jay, completed in 1819. (Photograph courtesy Andrew Hopkins, 2020.)
Courtesy Stephen Rutledge.
 Winter, by Vojtěch Hynais, 1901.
 Allegory of Autumn, attributed to Giovanni Maria delle Piane, called Mulinaretto, circa 1690-1740
Day dress, 1869.
Portrait of Clarita Seminario, by Raimundo de Madrazo y Garreta, 1911.
Ballerina Tamara Toumanova photographed by Luis Lemus for Vogue, 1948.
Portrait of an Austrian officer, Lombard School, circa mid-nineteenth century.
 Jeune berger assis, by Hippolyte Flandrin, circa 1834-35.
 Intérieur d'atelier, by Louis Gustave Cambier, 1891.
Flowers, by Raoul Hynckes, 1941.
Courtesy Ralf De Jonge.
Femme de Bolbec, hand-colored lithograph after Eugène Devéria, circa 1825-45.
Autumn Beeches, by John Fabian Carlson, 1908-15.
Rest, by Gerardo Sacristán Torralba, 1929.
Mexican agricultural laborers who have come to help harvest beets, eating their lunch, Stockton, California, photograph by Marjory Collins, May 1943.
Autumn Sonata, Klemens Brosch, 1920.
Pond Song, by Victor Coleman Anderson, circa 1910-30.
Park von Versailles, by Hermann Göhler, circa first half of the twentieth century. (The figures are dressed in the style of the end of the 1860s.)
 In Paradise, by Max Švabinsky, 1918.
Commode by Charles Cressent, circa 1730.
Study of a Black Model, by Max Pietschmann, 1885.
 Mary, Queen of Scots Bedroom, Holyroodhouse, by Alexander Fraser, circa 1884.
Portrait of a lady, by Charles Joseph Watelet, 1925.
Siegfried, by Thomas Theodor Heine, 1921.


  1. SIEGFRIED! You saved the best for last :)

    Your Randomlys are my favorite - I can't imagine how long they take to compile. Thank you!

    1. So glad you enjoy them, Sasha. And, yes, Siegfried! The compiling doesn't take long, actually, as I'm constantly - tossing - images into a hu-u-uge file on my laptop, any odd or beautiful or funny thing that I find as I'm going along. Things that don't feel sufficient for a full, stand-alone blog post. Then, when I want to put together a "randomly" post, I dive into the file and - randomly - pick things out. It's THEN that it gets time consuming, because it's all about the - transitions - for me, how one image leads into the next, how they might "speak" to each other. Color or detail or gesture. Or funny contrasts. Since they - are - chosen randomly, it's a fun game of finding those connections. Quite a puzzle. But I love it. And what's also fun for me is that, after I've posted the things, I frequently find connections I hadn't even planned; my silly little brain working overtime and I unaware!

      Thanks again for the comment. : )

  2. I add my heartfelt and admiring thanks! This is wonderful!

  3. Darling Stephen,

    Such a dazzling cornucopia of delights you present us with here. So many variations in colour, composition and detail and, yet, they seem to be connected in some way, perhaps through the eye of the artist. You clearly have an eclectic view of beauty and what fun it is to share in these collected images.

    Our favourite is the Corot....a traditional choice but, yet, that image speaks volumes.

    1. Bonjour, J-and-L! Yes, I expect these "randomly" posts come as close as anything to seeing through my eyes. They're always a big mass of things that I find captivating in one way or another. But then, as I described in a comment above, the challenge is to make all the disparate elements FLOW, how to make them into something like a cohesive group, how to make them "speak" to one other.

      Glad you enjoy the Corot. Lovely thing; I didn't remember ever having seen it. I always take special care with how the "parade" begins and how it ends. Have to draw the audience in and have to leave them on a high note. It's all theatre, isn't it?! ; )