Frauenfarn

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tri-ciclo:

Sinfonia AzulÓleo s/tela, 1920 António Carneiro

tri-ciclo:


Sinfonia Azul
Óleo s/tela, 1920 
António Carneiro

art-mirrors-art:

Thomas Wilmer Dewing - Lady in White (1910)

art-mirrors-art:

Thomas Wilmer Dewing - Lady in White (1910)

classic-art:

The Sleeping Spinner
Gustave Courbet, 1853

classic-art:

The Sleeping Spinner

Gustave Courbet, 1853

laclefdescoeurs:

View of Mount Athos, Greece, Edward Lear

laclefdescoeurs:

View of Mount Athos, Greece, Edward Lear

iamjapanese:

TEISAI Hokuba(蹄斎北馬 Japanese, 1771-1844)
Sardines メザシと畳鰯 1810-1818
woodblock

iamjapanese:

TEISAI Hokuba(蹄斎北馬 Japanese, 1771-1844)

Sardines メザシと畳鰯 1810-1818

woodblock

catonhottinroof:

Bruno Liljefors
The horned owl deep in the forest

catonhottinroof:

Bruno Liljefors

The horned owl deep in the forest

laclefdescoeurs:

Fontainebleau, Pins et Bouleaux dans les Rochers, 1840-45, Jean-Baptiste-Camille Corot

laclefdescoeurs:

Fontainebleau, Pins et Bouleaux dans les Rochers, 1840-45, Jean-Baptiste-Camille Corot

discoveringdavinci:

Leonardo’s “Flower of Life” – c. 1478-1519. Codex Atlanticus Fol 307v

A “flower of life” is a geometrical figure that is made by creating 7 or more superimposed and evenly-spaced circles. The center of each circle is on the circumference of up to six neighboring circles of the same diameter. It’s thought, by some, to be a representation of the “Tree of life” and a symbol of “sacred geometry” that exemplifies a mathematical link to the divine. 

discoveringdavinci:

Leonardo’s “Flower of Life” – c. 1478-1519. Codex Atlanticus Fol 307v

A “flower of life” is a geometrical figure that is made by creating 7 or more superimposed and evenly-spaced circles. The center of each circle is on the circumference of up to six neighboring circles of the same diameter. It’s thought, by some, to be a representation of the “Tree of life” and a symbol of “sacred geometry” that exemplifies a mathematical link to the divine. 

ancientpeoples:

Emblem mosaic depicting seven philosophers, cd. Academy of Plato 
110-80 BC
Pompeii
The mosaic in the style , framed by a rich garland of leaves, fruits and comic masks, typical of this period, depicting the meeting of a group of seven philosophers. Four are sitting on a seat semi-circular stone lion paws and three are dieting. All wear a cape, as the characteristic of the speakers and the Greek philosophers of the classical age, but one that leads below a chiton . All also have the right arm or the whole upper body discovery, with the exception of the most backward, holding hands and arms hidden by the cloak: it is probably a visitor of the Academy, whose gesture would cover your arms be interpreted as a sign of respect. The third from the left could be Plato : these, represented with a large head and broad forehead, holding a stick in his right hand and traces on the ground a few geometric figure. The other characters are intent to listen, or interact with each other. In the first you might recognize from left Heraclides of Pontus , in the second Lysias , the penultimate on the right Xenocrates , and the last on the right, in the act of taking leave in his left hand a roll that touches with his right hand, it might be Aristotle . In the background, in the view of a temple on a hill it is possible to identify the Acropolis of Athens with the Parthenon. At the bottom is placed a deposit with the celestial sphere, on which is painted a dense grid of meridians and parallels, probably connected with the discussion focused on topics of cosmological type. Around seven figures are represented, from left to right, a portal with two columns and an architrave surmounted by four covered vases (symbols of Arithmetic, Geometry, Astronomy and Music, or the four seasons of the year, or the positions of the Sun ), a tree and a votive column with a sundial, typical of a landscape totally mythological, without any specific geographical reference. It could be a reference to the tomb of Academos, the legendary Attic hero, at whose grave in a wooded location on the outskirts of Athens, was built first a Gymnasium and then, of course, the Academy of Plato. To keep some sort of conference seems to be Heraclides of Pontus , pictured on the far left, while talking, placing his left hand on the shoulder of his neighbor, in the act of raising his right arm as if trying to explain something and looking in the direction of the celestial sphere, while the other figures are concentrated toward him. The theme in mosaic, disassembled at the time of the eruption from its original likely to be sold, clearly alludes to the literary and philosophical interests of the owner of the villa and probably derives from a late Hellenistic model.
(Source: National Archaeological Museum of Naples)

ancientpeoples:

Emblem mosaic depicting seven philosophers, cd. Academy of Plato 

110-80 BC

Pompeii

The mosaic in the style , framed by a rich garland of leaves, fruits and comic masks, typical of this period, depicting the meeting of a group of seven philosophers. Four are sitting on a seat semi-circular stone lion paws and three are dieting. All wear a cape, as the characteristic of the speakers and the Greek philosophers of the classical age, but one that leads below a chiton . All also have the right arm or the whole upper body discovery, with the exception of the most backward, holding hands and arms hidden by the cloak: it is probably a visitor of the Academy, whose gesture would cover your arms be interpreted as a sign of respect. The third from the left could be Plato : these, represented with a large head and broad forehead, holding a stick in his right hand and traces on the ground a few geometric figure. The other characters are intent to listen, or interact with each other. In the first you might recognize from left Heraclides of Pontus , in the second Lysias , the penultimate on the right Xenocrates , and the last on the right, in the act of taking leave in his left hand a roll that touches with his right hand, it might be Aristotle . In the background, in the view of a temple on a hill it is possible to identify the Acropolis of Athens with the Parthenon. At the bottom is placed a deposit with the celestial sphere, on which is painted a dense grid of meridians and parallels, probably connected with the discussion focused on topics of cosmological type. Around seven figures are represented, from left to right, a portal with two columns and an architrave surmounted by four covered vases (symbols of Arithmetic, Geometry, Astronomy and Music, or the four seasons of the year, or the positions of the Sun ), a tree and a votive column with a sundial, typical of a landscape totally mythological, without any specific geographical reference. It could be a reference to the tomb of Academos, the legendary Attic hero, at whose grave in a wooded location on the outskirts of Athens, was built first a Gymnasium and then, of course, the Academy of PlatoTo keep some sort of conference seems to be Heraclides of Pontus , pictured on the far left, while talking, placing his left hand on the shoulder of his neighbor, in the act of raising his right arm as if trying to explain something and looking in the direction of the celestial sphere, while the other figures are concentrated toward him. The theme in mosaic, disassembled at the time of the eruption from its original likely to be sold, clearly alludes to the literary and philosophical interests of the owner of the villa and probably derives from a late Hellenistic model.

(Source: National Archaeological Museum of Naples)

geometrymatters:

"In Medieval universities  students learned the “trivium” of grammar, rhetoric and logic and the “quadrivium” of arithmetic, music, geometry, and astronomy.”