Inspiration - WGA

Random inspiration

This is a random selection from the database to inspire you! If you need new inspiration, just hit refresh!

Study for a Monument to Queen Louise
Study for a Monument to Queen Louise by SCHINKEL, Karl Friedrich

Study for a Monument to Queen Louise

SCHINKEL, Karl Friedrich

The picture shoes a design by the architect Schinkel for a Gothic mausoleum for the Prussian Queen Luise. This warm-hearted patron of the arts was much mourned, and Schinkel chose the Gothic style both as a patriotic expression, and for its echoes of organic natural forms, hinting at nature’s processes of renewal and thus of eternal life. The complex patterns of vaulted arches receding into a light-filled interior evoke the German forests. As things turned out, the grieving king preferred a classical scheme, which still stands in the park at Charlottenburg, and economic conditions after the War of Liberation left Schinkel’s grander vision for a vast Gothic cathedral in Berlin unrealized.

Odysseus Slays the Suitors in His Palace
Odysseus Slays the Suitors in His Palace by CAMBIASO, Luca

Odysseus Slays the Suitors in His Palace

CAMBIASO, Luca

Luca Cambiaso and Giovan Battista Castello (called Il Bergamasco) worked in 1565 and 1566 on the decoration of the Salone in the Palazzo Grimaldi della Meridiana. Castello designed the decorative framework, Cambiaso painted in it scenes taken from the story of Odysseus. The massive main field of the ceiling is devoted to depicting Odysseus’s revenge against the suitors. This scene recalls Castello’s thematically similar fresco in the Villa delle Peschiere, executed five years earlier.

Annunciation and Two Saints (detail)
Annunciation and Two Saints (detail) by SIMONE MARTINI

Annunciation and Two Saints (detail)

SIMONE MARTINI

Medea about to Kill her Children
Medea about to Kill her Children by DELACROIX, Eugène

Medea about to Kill her Children

DELACROIX, Eugène

As to the Medea in this painting, no heroine could better express the destructive power of women, a theme dear to the Romantics as it was to their successors, the Symbolists. Repudiated by Jason, Medea takes her revenge by killing the two children she has born to him; the subject is taken from Euripides’ tragedy, Medea.

This pcture is a reduced version, made in 1862, of Delacroix’s large painting (260 x 165 cm) exhibited at the Salon of 1838, now in the Mus�e du Lille.

The Tax Collectors
The Tax Collectors by REYMERSWAELE, Marinus van

The Tax Collectors

REYMERSWAELE, Marinus van

Marinus van Reymerswaele, a Calvinist from Zeeland, was studying in Antwerp at the time when Quentin Massys was the undisputed leader of the city’s painters. In his Tax Collectors, Van Reymerswaele - realist, mannerist and even expressionist - carried on the tradition of Massys’ genre works in a picturesque, precious and almost caricature fashion.

Arrival of the English Ambassadors (detail)
Arrival of the English Ambassadors (detail) by CARPACCIO, Vittore

Arrival of the English Ambassadors (detail)

CARPACCIO, Vittore

By combining the geometrical rigor of Renaissance perspective with his own supremely imaginative conceptions, Carpaccio has constructed a scene rich in architectural splendours and colours. The English ambassadors are delivering a letter which requests the hand of Princess Ursula in marriage to the crown prince of England. On the right of the painting, Ursula informs her father of her conditions for accepting the marriage. Her old nurse, seated at the foot of the stairs, seems to have a presentiment about Ursula’s impending martyrdom. This painting, too, contains much valuable documentary evidence of the times.

Triumph of Federico da Montefeltro
Triumph of Federico da Montefeltro by PIERO DELLA FRANCESCA

Triumph of Federico da Montefeltro

PIERO DELLA FRANCESCA

Piero’s panels depicting the Duke and Duchess of Urbino are both painted on the reverse in a style that can be regarded as miniature. This picture shows the reverse side of the Portrait of Federico da Montefeltro. It is the image of a triumphal carriage pulled by white horses. The Duke is shown in his role as a professional soldier, baton in hand, and dressed in shining armor. A humanistic Latin inscription praising Federico is shown below.

Venus and Adonis
Venus and Adonis by COUWENBERGH, Christiaen van

Venus and Adonis

COUWENBERGH, Christiaen van

Christian van Couwenbergh was a Delft artist who visited Italy and returned to his native city in 1625 as an uneven Caravaggist. He received commissions from Stadholder Frederik Hendrik, Prince of Orange.

Garland of Flowers
Garland of Flowers by HECKE, Jan van den

Garland of Flowers

HECKE, Jan van den

This painting depicts a flower garland suspended from clutches attached to a stone cartouche.

Presentation of Mary to the Temple
Presentation of Mary to the Temple by RENI, Guido

Presentation of Mary to the Temple

RENI, Guido

In the lunettes of the main room the scenes Presentation of Mary to the Temple (left) and Annunciation to Coaching (right) are depicted. The two paintings were executed by Giovanni Lanfranco and Antonio Carracci, possibly after their own design sketches. Nevertheless, there is no doubt that Reni was responsible for the overall planning of the decoration, and purportedly engaged the other painters only because the pope wished it.

Bordello Scene with Sleeping Couple
Bordello Scene with Sleeping Couple by DUCK, Jacob

Bordello Scene with Sleeping Couple

DUCK, Jacob

In this seemingly classic genre scene there are clear sexual connotations such as the exposed chest of the sleeping woman, and the ambivalent position of the standing woman’s hand.

Stoclet Frieze: Expectation
Stoclet Frieze: Expectation by KLIMT, Gustav

Stoclet Frieze: Expectation

KLIMT, Gustav

Klimt designed a frieze combining mosaic with painted sections for the dining room of the Palais Stoclet in Brussels, which was built between 1905 and 1911 by the Wiener Werkstätte under the direction of Klimt’s friend and fellow Secessionist, the architect Josef Hoffmann. Executed by Leopold Forstner’s Wiener Mosaik-Werkstätte, the frieze consists of 15 marble panels 2 m high, representing an abundantly spreading Tree of Life. In its branches swarm brightly coloured birds and butterflies.

The mosaics adorn the three walls of the dining room. The main panels are referred to as “Expectation”, “The Tree of Life”, and “Fulfillment”. The materials Klimt used in the frieze include ceramic, gilded tiles, pearls, and marble.

In the “Tree of Life” panel, Klimt tackles the age-old symbology of the tree of life, which has been around for thousands of years within theology, philosophy and mythology. This concept dates back to the time of the ancient Egyptians, which seemed to have influenced Klimt in this piece (notice the Egyptian looking eyes and bird located within the tree). The tree of life symbolizes the interconnection of all things, including heaven, hell, earth, life and death.

The “Expectation” panel features a woman in a patterned dress that looks as if she was inspired by ancient Egyptian art as well. Her dress is highly decorative and expands as it nears the ground.

The “Fulfillment” panel features a couple locked in an embrace. The clothes seem to entwine them both together. Elements of the patterned clothing of the figures mimic those found within the tree itself.

Today, the mansion is still privately owned by the Stoclet family; it is not open to the public. However, you can see the cartoons for the final “The Stoclet Frieze” mosaic on display at the �sterreichisches Museum f�r angewandte Kunst (Austrian Museum of Applied Arts) in Vienna. The working drawings specify the use of enamel, gold inlay and coloured glass.

The picture shows one of the nine cartoons displayed in the museum.

Fragments from the Baptistery
Fragments from the Baptistery by TINO DI CAMAINO

Fragments from the Baptistery

TINO DI CAMAINO

In 1321-23, Tino carved three life-size statues for each of the three portals of the Baptistery in Florence, a few fragments of which survive in the Museo dell’Opera del Duomo, Florence.

St John the Evangelist (detail)
St John the Evangelist (detail) by DONATELLO

St John the Evangelist (detail)

DONATELLO

When Donatello was working on the figure of St John for the cathedral fa�ade, Nanni di Banco was commissioned to produce St Luke and Niccolò di Piero Lamberti to create St Mark. The fourth evangelists was to be the job of whichever of the three rivals created the best work. But this original plan was abandoned as early as 1410 and instead Bernardo Ciuffagni was commissioned to produce St Matthew. The original idea of an artistic competition is, however, entirely typical of the cultural climate in the Florence of the early 15th century.

St John the Evangelist on Pathmos
St John the Evangelist on Pathmos by CANO, Alonso

St John the Evangelist on Pathmos

CANO, Alonso

In this painting the Evangelist is represented as a youthful visionary in a characteristic Baroque, diagonal position, in a pose that returns later in the Romantic portraits of poets, as a pose appropriate for the sacred moment of inspiration.

There is a variant of this painting in the Prado, Madrid.

Queen Mariana de Austria as a Widow
Queen Mariana de Austria as a Widow by CARREÑO DE MIRANDA, Juan

Queen Mariana de Austria as a Widow

CARREÑO DE MIRANDA, Juan

In this portrait Carreño follows the tradition of Vel�zquez.

Bust of a Young Man
Bust of a Young Man by JOUDERVILLE, Isaac de

Bust of a Young Man

JOUDERVILLE, Isaac de

This panel, found in the nineteenth century, is the only signed painting by Jouderville, a pupil of Rembrandt.

Adoration of the Magi (detail)
Adoration of the Magi (detail) by OLIVIERI, Pier Paolo

Adoration of the Magi (detail)

OLIVIERI, Pier Paolo

Decoration of the vault
Decoration of the vault by FRÉMINET, Martin

Decoration of the vault

FRÉMINET, Martin

King Henry IV commissioned Fr�minet to execute the decorations for the chapel of the Trinity at the château of Fontainebleau, following an iconography inspired by the Jesuit Louis Riche�me (1544–1625). From 1606 Fr�minet painted the vault and the piers and supplied designs for the stuccoes executed by Barth�lemy Tremblay, as well as for the high altar. Fourteen oval paintings representing scenes from the Life of Christ occupied the spaces between the windows. He died before completing work at the chapel.

Quaratesi Polyptych: St Mary Magdalen
Quaratesi Polyptych: St Mary Magdalen by GENTILE DA FABRIANO

Quaratesi Polyptych: St Mary Magdalen

GENTILE DA FABRIANO

One of the left side panels of the polyptych represents St Mary Magdalen.

Feedback