42. 女人来说,剩下什么?。。。(对于一个女人来说,还有什么?…)1967年 by Marc Chagall 高清作品[25%]

A LA FEMME, QU’EST-IL RESTÉ? . . . (For a Woman What Remains? . . .), 1967

材质 :Original lithograph printed in colors on wove paper bearing the Arches script watermark. 尺寸 :64.8 × 49.8 cm Print

图片文件尺寸 : 5630 x 4332px

女人来说,剩下什么?。。。(对于一个女人来说,还有什么?…)1967年-马克·夏加尔(Russian-French, 1887–1985)

英文名称:A LA FEMME, QU’EST-IL RESTÉ? . . . (For a Woman What Remains? . . .), 1967-Marc Chagall

46. 自画像,一个着红色头巾男人画像`Self Portrait, Portrait of a Man in a Red Turban by Jan van Eyck 高清作品[25%]

AF-Self Portrait, Portrait of a Man in a Red Turban

图片文件尺寸: 6187×9100 px

自画像,一个着红色头巾男人画像-简·范艾克先生

-Jan van Eyck (1390-1441) was a painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art.
This impassive face is almost certainly that of Jan van Eyck himself, and the painting a powerful statement of his artistic skill. His motto, Als Ich Can, is painted in Greek letters on the upper frame; the words are an abbreviation of a Flemish saying and a pun on Jan’s name: ‘as I[ich/Eyk] can [but not as I would]’. The bottom inscription is in abbreviated Latin and says, ‘Jan van Eyck made me on 21 October 1433’.
The sitter’s clothing is that of a prosperous individual. Most striking is his flamboyant red hat – a chaperon, a headdress for men fashionable in the fifteenth century. The hood, which usually hung down over the wearer’s neck and shoulders, has been piled up on top of the sitter’s head, the long tail wound around it. The strong contrast between the dark shadows in the creases and the bright highlights where the folded fabric catches the light is typical of van Eyck.