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Village at Full Moon (Czech: Vesnice za úplňku) is a tempera-on-panel painting by Flemish painter Joos de Momper. It was painted in the early 17th century, possibly in the 1620s, [1] and is now in the National Gallery in Prague. [2] [3]
Composition with the Yellow Half-Moon and the Y: 22.2 x 16.8 Metropolitan Museum of Art, New York Gouache and watercolor on gesso on fabric, on cardboard 1918 Irma Rossa the Animal Tamer: 29.5 x 23 Sprengel Museum, Hanover Watercolour and ink on paper, on cardboard 1918 Sunken Landscape: 17.6 x 16.3 Museum Folkwang, Essen Watercolour 1918 Hafenbild
Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tōkaidō and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure ...
It features an almost surreal portrait of Yadwigha (Jadwiga), Rousseau's Polish mistress from his youth, lying naked on a divan to the left of the painting, gazing over a landscape of lush jungle foliage, including lotus flowers, and animals including birds, monkeys, an elephant, a lion and lioness, and a snake.
In Chinese night paintings, the moon often symbolizes loneliness of the painting's character. It also sets the mood for a romantic setting. Chinese paintings also depict mythological characters who symbolize moonlight activity, such as Yue-Laou, the "old man of the moonlight" and Chang'e, the Chinese goddess of the moon. [citation needed]
Irworobongdo in the throne hall of Gyeongbokgung Palace. Irworobongdo (Korean: 일월오봉도; Hanja: 日月五峯圖) is a Korean folding screen with a highly stylized landscape painting of a sun and moon, five peaks which always was set behind Eojwa, the king’s royal throne during the Joseon Dynasty.
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