Vintage styled illustration from Azabu Tailor
Diego Velázquez
Saint John the Evangelist on the Island of Patmos
c. 1618 · National Gallery, London · From Two Paintings for the Shod Carmelites, Seville
Saint John the Evangelist is shown writing the Book of Revelation, the final book of the New Testament, with his symbol, an eagle, at his side. Saint John looks up at his vision of the Woman of the Apocalypse (Revelation 12), which was the source for much of the imagery associated with the Immaculate Conception. This provides the thematic link between this work and its companion piece, ‘The Immaculate Conception’. As in all Velázquez’s early work, the central figures in both works are painted from models. The Saint John here is less idealised than the Virgin depicted in ‘The Immaculate Conception’.
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This here is Simon Renard. He was born in 1513 and was an ambassador of Spain to England, serving under Emperor Charles V and Phillip II of Spain.
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Emilio Pettorutti (Argentinian, 1892-1971)
El Hombre de la Flor Amarilla
1932. Oil on canvas. Private collection.
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Diego Velázquez
Head of an Apostle (1619-20)
Museo del Prado, Madrid, Spain
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Sargent, Study of Belleroche, 1882
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Painter George Agnew Reid, born in Wingham, Ontario, Canada, 1860-1947.
Diego Velázquez
Portrait of Don Luis de Góngora (1622)From the Museum of Fine Arts, Boston
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Paul Cadmus (1904-1999), Young Man with Two Chairs, n.d.
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Wikipedia:
Detail of Velázquez’s Portrait of Juan de Pareja a contemporary morisco Spaniard, slave and afterwards freedman, assistant and trust man of Diego Velazquez.
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Fauns Dancing on Wineskin.
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Lotz Károly (1833 - 1904)
marvin_mattelson