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The nude, female body is the single most popular subject in the entire history of art. And with good reason… Kik your pictures: @BareAmerica

Manet loved to paint…but what he loved the most were binge drinking and pussy! #toxicpassions Biutifool Beastard remixes Manet… Biutifool Beastard vs the great masters of history of art: http://www.behance.net/gallery/Biutifool-Beastard/2310

#ff Biutifool Beastard believes that freeing arts from “the all rights reserved” helps the spreading of informations and notions and culture globally and also enriches the collective imaginary expanding its boundaries resulting in a consequent

Jean-Auguste Dominique Ingres was really in love with Barbie but she didn’t totally forget her ex bf, Ken Carson. One day the worst happened. Jean-Auguste Dominique found both of them in his studio. Barbie posing naked for Ken and he was using Ingre

A new hope for a new pope, god saves the king of remix! @Pontifex_it @pontifex ‏@creativecommons @cc_italy #remix #pope #copyleft Biutifool Beastard on Facebook : https://www.facebook.com/BiutifoolBeastard Biutifool Beastard on Behance : http://www.behanc

Double trouble! Biutifool Beastard celebrates the works of Eugéne Delacroix and thos of Théodore Gericault. This time it’s all about evils…kids with nuclear weapons…maniacs with too much power…villains with too much bad luck!

plathian: The Degas Dancers What is so extraordinary about Degas is his ability to deconstruct the beauty of dance to its core. Among his pieces that capture motion and grace, there are those which highlight the inevitable aching that comes along with

Pordenone (Giovanni Antonio de’ Sacchis called il Pordenone; 1484 Pordenone - 1539 Ferrara); Storie della Passione (Stories of the Passion of Christ), 1520-21, fresco; Duomo di Cremona

Alonso Cano (Granada, 1601 - 1667); Christ in the Limbo, c. 1665; oil on canvas, 120 x 167 cm; LACMA (Los Angeles County Museum of Art)

Ambrogio Lorenzetti (Siena, c. 1290 - 1348); Allegories of the Good and Bad Government and their Effects on the City and on the Country (partial view), 1338-39; fresco, 200 cm x 770 cm x 1440 cm; Sala della Pace (also known as Sala dei Nove), Palazzo

Vittore Carpaccio (Venezia, between 1455 and 1465 - Venezia or Capodistria 1525-26); Madonna col bambino benedicente (Madonna with blessing Child); c. 1505-10; tempera on canvas, 68 x 85 cm; Washington National Gallery of Art

Léon Cogniet (Paris, 1794 - 1880); Self Portrait in the artist’s room (Villa Medici, Roma), 1817; oil on canvas, 36 x 43.3 cm; Cleveland Museum of Art

George Cochran Lambdin (Pittsburgh 1830 - Germantown, Philadelphia, 1896); At the front, 1866; oil on canvas, 61 x 43.5 cm; Detroit Institute of Arts

Winslow Homer (Boston 1836 - Prouts Neck, Maine, 1910 ); Searchlight on harbour entrance - Santiago de Cuba, 1901; oil on canvas, 128.3 x 77.5 cm; Metropolitan Museum of Art, New York City

William Glackens (Philadelphia 1870 - Westport 1938); The Artist’s Wife and Son, 1911; oil on canvas, 91.4 x 121.9 cm; Snite Museum of Art, South Bend

Palma Vecchio (Italian: Jacopo Palma il Vecchio, circa 1480-1528), Portrait of a Poet, circa 1516; oil on canvas transferred from wood, 83 x 63 cm; National Gallery, London“The painting has been supposed to represent a poet because the figure holds

Masaccio (1401-1428), Polittico di Pisa (Pisa Altarpiece), 1426. Upper register - Saint Paul of Tarsus, tempera on gold ground and wood panel, 51x30 cm; Museo Nazionale di San Matteo, Pisa

Richard Diebenkorn (American, 1922-1993), Berkeley #57, 1955; oil on canvas, 149 x 149 cm; San Francisco Museum of Modern Art (SFMOMA)

Annibale Carracci (Italian, 1560-1609), Allegory of the Night, ca. 1602-1605; oil on canvas, 128 x 155 cm; Musée Condé, Chantilly

Domenico Ghirlandaio (Italian, 1448-1494), Cenacolo di Ognissanti - Ultima Cena (refectory of the Convent of Ognissanti - Last Supper), 1480; fresco, 400 x 880 cm; Florence

Salomon de Bray (Dutch, 1597-1664), Martyrdom of Saint Lawrence, 1652; oil on canvas, 152 x 124 cm; Los Angeles County Museum of Art

Giovanni Battista Tiepolo (Italian, 1696-1770), Young Lady in a Tricorn Hat, circa 1755/1760; oil on canvas, 62.2 x 49.3 cm. National Gallery of Art, Washington

Pietro Perugino (Italian, 1446/52 - 1523), Portrait of Lorenzo di Credi, 1488; oil on panel transferred on canvas, 44 x 30 cm; National Gallery of Art, Washington

Pontormo (Jacopo Carucci or Carrucci, 1494 - 1557), Alabardiere (Portrait of a Halberdier), 1529/30 or 1537; oil on panel tranferred to canvas, 92 x 72 cm; Getty Museum, Los Angeles

attributed to Marco d’Oggiono (Italian, ca. 1467-1524), Girl with Cherries, ca. 1491-94; oil on panel, 49 x 37.5 cm; Metropolitan Museum of ArtThe attribution of the painting is disputed and has been credited by art critics to at least three milanese

Gabriel von Max (Gabriel Cornelius Ritter von Max, German, 1840-1915), Affen als Kunstrichter (Monkeys as Art Critics), 1889; oil on canvas, 85 x 107 cm; Neue Pinakothek, Munich

Pietro di Galeotto (about 1450 - 1483) Flagellazione di Cristo (Flagellation of Christ), 1480; oil on canvas, 196 x 134 cm; Perugia, Oratorio di San Francesco

Giulio Romano (Italian, 1492 or 1499-1546) or Raffaellino (Raffaello del Colle, ca. 1495-1566); Madonna and Child with Saint John the Baptist, 1522-24; oil on panel, 125 x 85 cm; the Walters Art Museum, Baltimore“The painting, previously attributed

Anthony van Dyck (Flemish, 1599-1641), Portrait of the Marchesa Geronima Spinola, ca. 1624; oil on oak panel, 226 x 151 cm; Gemäldegalerie der Staatlichen Museen, Berlin The name of the great flemish artist has so many spelling variants that we are

Francesco Salviati (Italian, 1510-1565), Storie di Furio Camillo (Stories of Furius Camillus, 1543-45): Camillo sconfigge i Galli nei pressi di Ardea (Camillus defeats the Gauls near the city of Ardea). Fresco, 470 x 255 cm; Sala dell’Udienza of the

Richard Diebenkorn (American, 1922-1993), Untitled (Horse and Rider), 1954. Oil on canvas, 53.3 x 61 cm. © Richard Diebenkorn Foundation

Gustave Courbet (French, 1819-1877), L’Amazone (Woman in a Riding Habit), 1856; oil on canvas, 115 x 89 cm; Metropolitan Museum of Art, New York

Altichiero da Zevio (Italian, about 1330 - ca. 1390), Decapitazione di San Giorgio (The Beheading of Saint George), 1384; fresco, left wall, lower section. Oratorio di San Giorgio, Padua

Dosso Dossi (about 1490-1542), Mythological Scene (Allegory of Pan), about 1524; oil on canvas, 164 x 145 cm; J. Paul Getty Museum, Los AngelesThe questions concerning the meaning of the painting have given rise to many theories among scholars, who tried

attributed to Bernardino Luini (Italian, ca. 1481-1532), previously ascribed to Leonardo da Vinci (1452-1519), Saint Catherine of Alexandria, unknown date; oil on panel, 52 x 44 cm. Statens Museum for Kunst, Copenhagen

Godfrey Kneller (German, later British 1646-1723), Queen Anne, ca. 1690; oil on canvas, 234 x 143 cm; National Portrait Gallery, London

Petrus Christus (Flemish, 1410-1475), Portrait of a Carthusian, 1446; oil on oak panel, 29.2 x 18.7 cm; Metropolitan Museum of Art “Portrait of a Carthusian featured a halo above the monk’s head when it was acquired by the Metropolitan Museum of

Vilhelm Hammershøi (Danish, 1864-1916), Portrait of a young woman (the artist’s sister Anna Hammershøi), 1885; oil on canvas, 112 x 91.5 cm; The Hirschsprung Collection

Paul Gauguin (1848-1903), Porteuses de fruits à l'anse Turin, 1887; oil on canvas, 46 x 61 cm; private collection“Gauguin’s Martinique paintings were a precursor to his later Tahiti works, presenting something of an idealized vision of a colorful,

Andrea del Sarto (1486-1530), Madonna della scala (Madonna of the Stairway), ca.1522-23; oil on board, 177 x 135 cm; Museo del Prado, Madrid

Pieter de Hooch (Dutch, 1629- 1684), Card Players in a sunlit Room, 1658; oil on canvas, 77.3 x 67.3 cm; Royal Collection, Buckingham Palace “In the right-hand corner of a room with a wooden ceiling and a tiled floor a young lady and a gentleman are

Barthel (also Bartholomäus) Bruyn the Elder (German, 1493-1555), Portrait of Elisabeth Bellinghausen, 1538-39; oil on panel, 34.5 x 24 cm. Mauritshuis, The Hague

Max Ernst (German, 1891-1976), The Weatherman (1950), oil on canvas. Ca’ Pesaro, Galleria internazionale d’arte moderna, Venice

Dirck Jacobsz (Dutch, 1497-1567), Portrait of a Woman, around 1530; oil on panel, 43 x 33 cm; Musée de Beaux-Arts et d’Archéologie de Besançon

Andrea del Sarto (1486-1530), Giuseppe interpreta i sogni del Faraone (Joseph interprets the Dream of Pharaoh), ca. 1515-16; oil on board, 98 x 135 cm; Galleria Palatina, Florence

Claudio Coello (Spanish, 1642-1693), The Triumph of Saint Augustine, 1664; oil on canvas, 271 x 203 cm; Museo del Prado, Madrid

Edgar Degas (French, 1834-1917), The Millinery Shop, about 1879-1886; oil on canvas, 100 x 110.7 cm; Art Institute of Chicago “ […] In an early version of the composition, the woman is clearly intended to be a customer; she wears a fashionable

Renato Guttuso (Italian, 1911-1987), La Battaglia di Ponte dell'Ammiraglio (The Battle of Ponte dell’Ammiraglio), 1951/52; oil on canvas, 321 x 521 cm; Galleria degli Uffizi, Florence

Vittore Carpaccio (Italian, ca. 1465-1525 / 26), Natività della Vergine (Nativity of the Virgin), ca. 1502-1504; oil on canvas, 127 x 129 cm; Accademia Carrara, Bergamo “Whilst working in Venice on paintings for the Scuola degli Schiavoni, Carpaccio

Correggio (Antonio Allegri da Correggio, 1489-1534); Assumption of the Virgin, completed between 1524-1530; fresco, 1195 x 1093 cm; Dome of the Cathedral of Parma, Italy

Auguste Renoir (French, 1841-1919), Diana, 1867; oil on canvas, 200 x 130 cm; National Gallery of Art, Washington DC

Vittore Carpaccio (Italian, 1465-1526), Crocifissione dei Diecimila Martiri sul monte Ararat (Crucifixion of 10,000 Martyrs at Mount Ararat), 1515; oil on canvas, 307 x 205 cm; Gallerie dell’Accademia, Venice

Piero di Cosimo (Italian, 1462-1522), The young Saint John the Baptist, 1480-82; tempera and oil on wood panel, 29.2 x 23.5 cm; Metropolitan Museum of Art, New York

Bronzino (Italian, 1503 - 1572), Portrait of a Man holding a Statuette, between c. 1545 - 1555. Oil on panel transferred on canvas, 99 x 79 cm; Louvre Museum, Paris

Eva Hesse (German-born American, 1936-1970), Ringaround Arosie, 1965. Pencil, acetone, varnish, enamel paint, ink, and cloth covered electrical wire on papier-mâché and masonite; 67 x 42 x 11.5 cm. MoMA, © 2019 Estate of Eva Hesse

Carlo Dolci (Italian, 1616-1686), Portrait of Stefano Della Bella, 1631. Oil on panel, 59 x 48 cm. Galleria Palatina, Palazzo Pitti, Florence

Candido Portinari (Brazilian, 1903-1962), Saint Francis, 1941. Oil on canvas, 73.3 x 62 cm. MASP, Museu de Arte de São Paulo

Gerard David (Netherlandish, c. 1460-1523), The Annunciation, 1506. Oil on oak panels, both circa 79 x 64 cm; Metropolitan Museum of Art, New York

Guido Reni (Italian, 1575-1642), Allegoria della fortuna con una corona in mano [Allegory of Fortune, holding a crown], ca 1637-1642. Oil on canvas, 164 x 132 cm

likeafieldmouse: Idris Khan “Drawing his inspiration from the history of art and music as well as key philosophical and theological texts, Idris Khan investigates memory, creativity and the layering of experience. Khan’s works rely on a continuous

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