251. 研究建筑造型,研究圣母圣徒跪下的孩子,以及两个天使支撑的框架` Studies of Architectural Moldings, of the Virgin and Child with a Kneeling Saint, and of Two Angels Supporting Frames (1611–89) by Baldassarre Franceschini 高清作品[30%]

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Studies of Architectural Moldings, of the Virgin and Child with a Kneeling Saint, and of Two Angels Supporting Frames (1611–89) -

图片文件尺寸: 2621 x 3655px

研究建筑造型,研究圣母圣徒跪下的孩子,以及两个天使支撑的框架-巴尔达萨雷·弗朗切斯基尼

` Studies of Architectural Moldings, of the Virgin and Child with a Kneeling Saint, and of Two Angels Supporting Frames (1611–89) --Baldassarre Franceschini (Italian, 1611-1689)

252. 麦当娜孩子与婴儿圣约翰浸礼会,在建筑废墟中,远处的风景` MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST, AMONG ARCHITECTURAL RUINS, A LANDSCAPE BEYOND (circa 1600) by North Italian School 高清作品[30%]

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MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST, AMONG ARCHITECTURAL RUINS, A LANDSCAPE BEYOND (circa 1600) -

图片文件尺寸: 4090 x 5200px

麦当娜孩子与婴儿圣约翰浸礼会,在建筑废墟中,远处的风景-北意大利学校

~ MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST, AMONG ARCHITECTURAL RUINS, A LANDSCAPE BEYOND (circa 1600) --North Italian School

253. 当我还是个孩子的时候,我爱我的动物同伴,渴望看到、触摸闻到每一个的动物,即使是在马戏团,我知道那是一个悲伤的地方。当我骑着大象去那里时,我哭了,同时也为我感到的兴奋而感到内疚(2021年) by Andrea Joyce Heimer 高清作品[30%]

I Loved My Animal Companions As A Child And Was Eager To See, Touch, And Smell Each New One, Even At The Circus, Which I Knew Was A Sad Place, And I Cried When I Rode The Elephant There, All The While Feeling Guilty For The Exhilaration I Felt Too (2021)

材质 :Acrylic and oil stick on panel 尺寸 :101.6 × 152.4 cm Painting

当我还是个孩子的时候,我爱我的动物同伴,渴望看到、触摸闻到每一个的动物,即使是在马戏团,我知道那是一个悲伤的地方。当我骑着大象去那里时,我哭了,同时也为我感到的兴奋而感到内疚(2021年)-安德里亚·乔伊斯·海默(American, b. 1981)

英文名称:I Loved My Animal Companions As A Child And Was Eager To See, Touch, And Smell Each New One, Even At The Circus, Which I Knew Was A Sad Place, And I Cried When I Rode The Elephant There, All The While Feeling Guilty For The Exhilaration I Felt Too (2021)-Andrea Joyce Heimer

255. 草药节的衣服(Wakana no hatsuisho)Kadotamaya的Tamagiku与侍从KikunoKikuji` New Clothes for the Festival of New Herbs (Wakana no hatsuisho); Tamagiku of the Kadotamaya with Attendants Kikuno and Kikuji by Chōbunsai Eishi 高清作品[29%]

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New Clothes for the Festival of New Herbs (Wakana no hatsuisho); Tamagiku of the Kadotamaya with Attendants Kikuno and Kikuji-

图片文件尺寸: 2062 x 3000px

草药节的衣服(Wakana no hatsuisho)Kadotamaya的Tamagiku与侍从KikunoKikuji-ōbunsai Eishi

~ New Clothes for the Festival of New Herbs (Wakana no hatsuisho); Tamagiku of the Kadotamaya with Attendants Kikuno and Kikuji--Chōbunsai Eishi (Japanese, 1756-1829)

257. 表演参与者的肖像,准备感受一条L.B.项链,苏西·戈梅兹在其中提议试验一条项链,这是路易丝·布尔乔亚的作品,具有明确的女权主义内涵,创作时是对女性状态、女性的社会、政治法律限制的指控。(2019-2020) by Susy Gómez 高清作品[29%]

Portraits of participants in the performance Ready to feel a L.B. necklace in which Susy Gómez proposes to experiment with a necklace, the work of Louise Bourgeois, with clear  feminist connotations, created as an allegation about the state of the feminine, the social, political and legal limitations of women. (2019-2020)

材质 :Photography 96 x 11 each 尺寸 :96 × 111 cm Photography

表演参与者的肖像,准备感受一条L.B.项链,苏西·戈梅兹在其中提议试验一条项链,这是路易丝·布尔乔亚的作品,具有明确的女权主义内涵,创作时是对女性状态、女性的社会、政治法律限制的指控。(2019-2020)-苏西·戈梅兹(Spanish, b. 1964)

英文名称:Portraits of participants in the performance Ready to feel a L.B. necklace in which Susy Gómez proposes to experiment with a necklace, the work of Louise Bourgeois, with clear feminist connotations, created as an allegation about the state of the feminine, the social, political and legal limitations of women. (2019-2020)-Susy Gómez

258. 奥地利主义雕刻吉尔特伍德扶手椅,维也纳,18世纪晚期 - 安-奥地利-主义-雕刻-吉尔特伍德-扶手椅-维也纳-18世纪末 高清作品[29%]

AN AUSTRIAN NEOCLASSICAL CARVED GILTWOOD ARMCHAIR, VIENNA, LATE 18TH CENTURY-AN-AUSTRIAN-NEOCLASSICAL-CARVED-GILTWOOD-ARMCHAIR-VIENNA-LATE-18TH-CENTURY

AN AUSTRIAN NEOCLASSICAL CARVED GILTWOOD ARMCHAIR, VIENNA, LATE 18TH CENTURY-AN-AUSTRIAN-NEOCLASSICAL-CARVED-GILTWOOD-ARMCHAIR-VIENNA-LATE-18TH-CENTURY
(奥地利主义雕刻吉尔特伍德扶手椅,维也纳,18世纪晚期-安-奥地利-主义-雕刻-吉尔特伍德-扶手椅-维也纳-18世纪末)