Mahabadboy🔵🎩🍖🐹🎭

@mahabadboy

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The Arnolfini Portrait his iconic portrait shows a domestic scene of Giovanni di Nicolao and his wife in what is presumably their home. The man holds the woman's hand with his left hand and raises his right as if in a gesture of blessing as he faces the viewer. The woman gazes downward while her left hand bunches up the green fabric of her dress at her waist in a way that was in contemporary fashion of the time. A little Brussels griffon dog stands in the foreground between the couple, the texture of his bushy coat delineated in the hairs that are up around his alert expression. On the back wall, also visible between them, a convex mirror with arms depicting miniaturized and realistic scenes of Christ's passion reveals two people reflected in its depths.

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Ghent Altarpiece Artist: Jan van Eyck This renowned polyptych, painted on both sides, creates a naturalistic divine world illustrating an epic swath of biblical narratives. The work's symbolic iconography is complex and mysterious. For instance, it is questioned whether the central figure in the upper panel who is raising two fingers in blessing is Christ as Divine King or God the Father, for Christ has already been alluded to as the lamb in the lower central panel, referencing the Adoration of the Mystic Lamb, with a dove, representing the Holy Spirit, visible above him.

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Art by Artemisia Gentileschi 1638-39 Self-Portrait as the Allegory of Painting In this confident later work, Artemisia Gentileschi presents an allegory of painting using her own self-portrait as the subject. Painting was traditionally presented as a woman in allegorical scenes, giving Gentileschi a unique opportunity as a professional woman artist to present herself in the role. In doing so, she creates a realistic portrait of a painter at work, carefully rendering the tools of her trade such as the palette and brushes with quick and fluid brushstrokes. The brown background is often interpreted as the blank canvas onto which she is painting, demonstrating her ongoing and unfinished work as an artist.

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Art by Leonardo da Vinci c. 1503 Mona Lisa The Mona Lisa, also known as La Gioconda, is said to be a portrait of Lisa Gherardini, the wife of a Florentine merchant named Francesco del Gioconda. The half-length portrayal shows the sitter, seated on a chair with one arm resting on the chair and one hand resting on her arm. The use of sfumato creates a sense of soft calmness, which emanates from her being, and infuses the background. There has been much speculation as to its origin of location, yet it is more widely construed that it is imaginary, a composition born in Leonardo's mind (that could also allude to our admittance into Mona Lisa's dreamlike interior world). But it is of course Mona Lisa's enigmatic expression that transfixes the viewer and the eternal mystery of what's lying behind that iconic smile.

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I just joined this waitlist: Ping Tester Application

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Art by Leonardo da Vinci c. 1500 Salvatore Mundi King Louis XVII of France is said to have commissioned Salvator Mundi after his conquest of Milan in 1499. The painting is a portrait of Jesus in the role of savior of the world and master of the cosmos. His right hand is raised with two fingers extended as he gives divine benediction. His left hand holds a crystalline sphere, representing the heavens. This is an unusual portrait in that it shows Christ, in very humanist fashion, as a man in contemporary Renaissance dress, gazing directly out at the viewer. It is also a half-length portrait, which was a radical departure from full-length portraits of the time. Jesus's "closeness" to us lends the visage an intense intimacy. The painting is representative of the mastery of Leonardo's signature techniques.

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woooow my farscore 0.01 (16911)

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Art by Leonardo da Vinci c. 1499-1500 The Virgin and Child with St. Anne and St. John the Baptist This preliminary drawing shows the Virgin seated next to her mother, St. Anne, while holding the baby Jesus, and with the baby St. John the Baptist looking on. Mary's eyes peer down at her child who points to the heavens as he delivers a benediction. The piece is very large in size, consisting of eight papers glued together. Also known as the Burlington House Cartoon, it is presumed to be a sketch in planning for a painting, although the painting either no longer exists, or was never created. Leonardo often used a "cartoon" such as this as a stencil which he placed on the intended painting surface. Once fixed in place, a pin would be used to create an outline that would then guide the artist's brush. Because this piece is impeccably preserved, it is assumed that it was never put to use for this purpose.

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I just won 20 $DEGEN in Gate of Degen! @degengate

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Join todays $DEGEN DROP #18🎩 by @nickystixx.eth and @schmidtiest.eth for a chance at 1000 $DEGEN & 2,000,000 $nanagains Use the frame below 👇 to join for FREE & make sure to turn on 🔔NOTIFICATIONS🔔 so you don't miss a single DROP

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Thank you for spreading $DEGEN awareness 🙏! Your support means more than just promoting a token; it’s about building a movement. Share if 🎩THE HAT STAYS ON🎩 by @nickystixx.eth

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Art by Leonardo da Vinci 1498 The Last Supper The Duke of Milan, Ludovico Sforza, commissioned The Last Supper for the dining hall of the Convent of Santa Maria della Grazie. It tells the famous biblical story of the last meal Jesus shared with his disciples before his crucifixion, and specifically, the moment after he has told them that one of their own would betray him. Each of the apostles is individually rendered with different expressions of consternation and disbelief as Judas stands in the shadows clutching the purse containing silver he received for his betrayal (Leonardo was given permission to bring a criminal to his studio from prison to model as Judas). Jesus occupies the center frame, reaching for bread and a glass of wine referring to the Eucharist. Behind him, seen through the windows, lays an idealized landscape, perhaps alluding to heavenly paradise, and the three windows possibly denote the holy trinity.

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Art by Leonardo da Vinci c. 1485 The Vitruvian Man In the accompanying text to the drawing, Leonardo describes his intention to study the proportions of man as described by the first-century BC Roman architect Vitruvius (after whom the drawing was named) in his treatise De Architectura (On Architecture, published as Ten Books on Architecture). Vitruvius used his own studies of well-proportioned man to influence his design of temples, believing that symmetry was crucial to classical architecture. Leonardo used Vitruvius as a starting point for inspiration in his own anatomical studies and further perfected his measurements, correcting over half of Vitruvius's original calculations. The idea of relative proportion has influenced Renaissance architecture (and beyond) as a concept for creating harmony between the earthly and divine in churches, as well as the temporal in palaces and palatial residences.

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Art by Jean-Michel Basquiat 1982 Untitled (Black Skull) Like a page pulled cleanly from a daily artist's journal, this untitled canvas features an array of Basquiat's personal iconography and recurring symbols set against a black background and smeared patches of bright paint. A white skull juts from the center of the ebony composition, vividly recalling the revered painter's tradition of the memento mori - a reminder of the ephemeral nature of all life and the body's eventual, merciless degeneration. The bone to the right of the canvas could also be read as a phallus, suggesting the representation of Black male sexuality as threatening or primitive (particularly when positioned next to the arrow in the painting). Scales appear directly below the skull, perhaps representing the scales of justice and therefore implying the inequality in treatment of Black men by the police and justice system that is perpetuated to this day.

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Art by Jeff Koons 2004-14 Hulk (Organ) Hulk (Organ) is one of a number of similar works from the Hulk Elvis series in which Koons pairs sculptures of the cartoon character, The Incredible Hulk with incongruous props such as children's toys, a replica of the Liberty Bell and a wheelbarrow filled with live flowers. As such, the pieces play with concepts of gender, combining the testosterone-fueled Hulk with more conventionally feminine symbols. In doing so, Koons attempts to balance the traditional masculinity of the Hulk with a more neutral depiction of gender.

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Art by Leonardo da Vinci 1489-90 Lady with an Ermine The Duke of Milan, Ludovico Sforza, commissioned this portrait. In it, Leonardo depicts Sforza's sixteen-year-old mistress Cecilia Gallerani (Sforza being in his late thirties). She peers to the right, as if her attention has been caught by something just outside the picture frame. She bears a look of poise and knowing that is exceptional for a young lady of such tender years. The slightly coy smile seems to suggest her confidence in her position at the Court, and the knowledge of the power of her innate beauty. She holds an ermine, bearer of the fur that was used in Sforza's coat of arms. The ermine was a symbol of purity, and its inclusion was likely representative of Cecilia's fidelity to the Duke.

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Art by Leonardo da Vinci 1483-86 Virgin of the Rocks This painting presents the Madonna, with infant versions of Christ and John the Baptist, and the archangel Gabriel. Like other Renaissance artists, Leonardo was interested in presenting proverbial religious narratives in a more naturalistic way. Here Leonardo's animate quartet sits amidst a mystical landscape that demonstrates his mathematical approach to picture perspective. Complementing the intimate group in the foreground, the scenery of desolate rocks and still water lends the narrative a dreamlike quality, infusing the scene at once with a sense of the heavenly and the human (a blurring, in other words, of the spiritual with the material).

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