reblog if youre still not over the library of alexandria

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koredzas:Jacopo di Cione - Polyptych San Pier Maggiore. Detail....

koredzas:

Jacopo di Cione - Polyptych San Pier Maggiore. Detail. 1370 - 1371

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lyghtmylife: DOU, Gerrit [Dutch Baroque Era Painter,...

lyghtmylife:

DOU, Gerrit

[Dutch Baroque Era Painter, 1613-1675]

Sleeping Dog, 1650

oil on panel

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necspenecmetu:Michele Desubleo, David with the Head of Goliath,...

necspenecmetu:

Michele Desubleo, David with the Head of Goliath, c. 1635-50

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saturnsdaughter:Hendrik ter Brugghen, Melancholia or Mary...

saturnsdaughter:

Hendrik ter Brugghen, Melancholia or Mary Magdalen, 1627-28

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uno-sole-minor:Charles Le BrunPortrait Head of King Louis XIV,...

uno-sole-minor:

Charles Le Brun
Portrait Head of King Louis XIV, c.1663

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shephaestion: detail from Bartolomeo Manfredi's Cupid Chastised,...

shephaestion:

detail from Bartolomeo Manfredi's Cupid Chastised, 1613

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koredzas: Unknown Artist - Saint John the Baptist. 1600

koredzas:

Unknown Artist - Saint John the Baptist. 1600

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thisblueboy:Giovanni Battista Caracciolo, Battistello (Italian,...

thisblueboy:

Giovanni Battista Caracciolo, Battistello (Italian, 1578-1635), The Saints Cosma and Damiano, 1620-25, Oil on canvas, Staatlische Museen, Berlin

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templeofapelles: Francisco Zurbarán The Martyrdom of Saint...

templeofapelles:

Francisco Zurbarán
The Martyrdom of Saint Serapion, 1628

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jaded-mandarin: Jan Brueghel The Younger. Detail from Allegory...

jaded-mandarin:

Jan Brueghel The Younger. Detail from Allegory of Air and Fire, 17th Century.

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drencrome: someoneanyoneyou: Jan Van Bonedale, Croniques de...

drencrome:

someoneanyoneyou:

Jan Van Bonedale, Croniques de Brabant, ca. 1351

.

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The Shield of Achilles

artmagnifique: HILDEGARD OF BINGEN. The True Trinity in True...

artmagnifique:

HILDEGARD OF BINGEN. The True Trinity in True Unity, 1165. 

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Facco was a Venetian composer who worked for the Spanish court...

Facco was a Venetian composer who worked for the Spanish court in the first few decades of the 18th century. While overshadowed by his famed counterpart, Vivaldi, the dynamism and harmonic invention found in his is not to be snubbed. By far this is one of the most interesting interpretations I’ve found of his work- no wonder the Spaniards had the easiest time bringing its complexity to life…

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centuriespast: Temptation of Adam and Eve Flemishlate 17th...

centuriespast:

Temptation of Adam and Eve

Flemish
late 17th century

Object Place: Low Countries

MFA Boston

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"I slept that night not as one succumbing to the fate of heady connoisseurs, bathed in the numbing..."

“I slept that night not as one succumbing to the fate of heady connoisseurs, bathed in the numbing balm of delusion. No, I was a strategist- driven to fantastic delirium, knocked back in my seat by the fury of discovery and the scatterings of victory falling into neatly into place. I had found my Muse, my master, my slave, guiding rough-hewn passion and ambition to its consummation. The baton pacing unending creation made figures in my dreams that night and ever after, my life’s labors gasping the dust in its wake.”

- Ludwig van Beethoven, Romantic Vignettes: The Vienna Years
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The Conservatoire de Paris is incomparable. I presume these are...

The Conservatoire de Paris is incomparable. I presume these are undergraduate students, and yet they perform on a level close to Christie’s group. Baroque music is in no future danger with such talent.

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This a great and hilarious traditional staging of a Scarlatti...

This a great and hilarious traditional staging of a Scarlatti mini-opera (he composed those???) If only other, major early music revival groups took a few notes on the Czech’s success here. 

For example, using curtains and tapestries to give the illusion of space worked well for the 18th century - why replace it with regietheater? I think traditional techniques can be used in addition to a modern, or “more relatable” setting, so why not find a balance between both?

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While there have been many, many interpretations of Lully’s Le...

While there have been many, many interpretations of Lully’s Le bourgeois gentilhomme over the years, and this being only the ballet suite of it, I am nevertheless impressed by the creative ornamentation and experimentation of Roth’s group. The Turkish march is especially surprising and worth a listen.

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