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Illuminated Manuscript, Book of Hours, St. John the Baptist, Walters Art Museum Ms. W.165, fol. 118v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Aboriginal artist creating a dot painting

Aboriginal artist creating a dot painting

Trumpet Player Painting, Memphis, Tennessee

Trumpet Player Painting, Memphis, Tennessee

Abstract Painting at the Museum in Barcelona Spain

Abstract Painting at the Museum in Barcelona Spain

How to learn to draw sketch of cute rooster. Creation step by step watercolor painting. Educational page for artists. Textbook for

How to learn to draw sketch of cute rooster. Creation step by step watercolor painting. Educational page for artists. Textbook for

José Clemente Orozco Mexican, 1883-1949 i>Zapatistas, 1931 Oil on canvas From the curation card: The slain revolutionary leader Emiliano Zapata (1879-1919) figures prominently in the work of Mexican artists of the 1920s and 1930s. In this painting Orozco depicts a somber moment in the Mexican Revolution,as Zapatistas -- Zapata's peasant followers -- march to their deaths. "I don't trust revolutions or glorify them, as I witnessed too much butchery," Orozco later remarked, referring to his experience in the Revolution. His trademark palatte, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made for revolutionary journals early in his career. Museum of Modern Art in New York City en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco

Set of bristles over paint smudges. Set of bristles over paint smudges

Painting of Man at the Museum

Painting of Man at the Museum

Painting by artists

Painting by artists

Illuminated Manuscript, Book of Hours, St. Barbara, Walters Art Museum Ms. W.165, fol. 127v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Painting stand for artist canvas. Painting stand for artist canvas

Illuminated Manuscript, Book of Hours, Crucifixion, Walters Art Museum Ms. W.165, fol. 23v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The Illumination begins the short hours of the cross: None. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The Illumination begins the short hours of the cross: None.

Berlin, the Wall, Painting, East Side Gallery. Old Trabant car breaks through the Wall. Mural

Berlin, the Wall, Painting, East Side Gallery. Old Trabant car breaks through the Wall. Mural

Illuminated Manuscript, Book of Hours, St. Agnes, Walters Art Museum Ms. W.165, fol. 125v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The prayer begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The prayer begins the suffrage.

Oil painted red canvas and the artists finger with a palette-knife

Artist hand and brush isolated

Close-up of the hand holding an artists brush against a blank white background. Suitable for background, copy, text, or an illustration. Close-up of the hand holding an artists brush against a blank white background. Suitable for background, copy, text, or an illustration.

Painting of Street Scene at the Museum in Barcelona

Painting of Street Scene at the Museum in Barcelona

Street Art Painting in Georgetown, Penang, Malaysi

Street Art Painting in Georgetown, Penang, Malaysi

Painting of Woman at the Museum in Barcelona

Painting of Woman at the Museum in Barcelona

Fragments and details for backgrounds and texture for 3D artists. Fragments and details for backgrounds and texture for 3D artists

Friends painting easter eggs

Two white persons creating easter traditional eggs. Two white persons creating easter traditional eggs

Wooden mannequin for artists

Wooden mannequins carries in his hand a flower, pencil drawing. Wooden mannequins carries in his hand a flower, pencil drawing

"SEE THE GULLS" Christchurch NZ

SEE THE GULLS: Australian artist Anthony Lister has created an enormous artwork on the wall of Les Mills in the city centre for the RISE street-art festival. Street artists armed with spray cans and paint rollers are coming to the rescue of Christchurch's struggling suburbs and city centre. Dozens of large artworks have been created on walls across the city this month with many more going up this week. The RISE street-art festival has commissioned a dozen large street-art paintings in the city centre, while the From the Ground Up project has organised about 16 large artworks in the city centre and Sydenham. Christchurch business owners and city leaders believe street art will help regenerate areas hit hard by the earthquakes and draw tourists to the city. SEE THE GULLS: Australian artist Anthony Lister has created an enormous artwork on the wall of Les Mills in the city centre for the RISE street-art festival. Street artists armed with spray cans and paint rollers are coming to the rescue of Christchurch's struggling suburbs and city centre. Dozens of large artworks have been created on walls across the city this month with many more going up this week. The RISE street-art festival has commissioned a dozen large street-art paintings in the city centre, while the From the Ground Up project has organised about 16 large artworks in the city centre and Sydenham. Christchurch business owners and city leaders believe street art will help regenerate areas hit hard by the earthquakes and draw tourists to the city.

A small simple wooden artists easel. A small simple wooden artists easel

Illuminated Manuscript, Book of Hours, Holy Cross with Symbols of the four Evangelists, Walters Art Museum Ms. W.165, fol. 113v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the holy cross. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the holy cross.

A set of two artist work, illustration one consists of a young male illustrator making a drawing, and illustration two consists of a painter and his flower design. A set of two artist work, illustration one consists of a young male illustrator making a drawing, and illustration two consists of a painter and his flower design

Illuminated Manuscript, Book of Hours, The Arrest of Christ, Walters Art Museum Ms. W.165, fol. 13v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the short hours of the cross. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the short hours of the cross.

Woman with Microphone Painting, Memphis, Tennessee

Woman with Microphone Painting, Memphis, Tennessee

Wall forest and tree Graffiti Painting

Graffiti on a concrete bridge wall. Graffiti on a concrete bridge wall

Artists in moment of happiness and leisure. Artists in moment of happiness and leisure

Illuminated Manuscript, Book of Hours, Five Wounds of Christ, Walters Art Museum Ms. W.165, fol. 110v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the five wounds. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the five wounds.

How to learn to draw sketch of cute little rabbit. Creation step by step watercolor painting. Educational page for artists.

How to learn to draw sketch of cute little rabbit. Creation step by step watercolor painting. Educational page for artists.

Mannequin Head Through Artist Canvas

An artists mannequin with head pushed into canvas. An artists mannequin with head pushed into canvas.

Shade colours on palette

This is my palette for mixing colours to the painting. This is my palette for mixing colours to the painting.

Illuminated Manuscript, Book of Hours, St. Anthony, Walters Art Museum Ms. W.165, fol. 116v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Food Still Life Painting at the Museum

Food Still Life Painting at the Museum

Painting of gay family on pride parade

Gay family on pride parade with their child. Gay family on pride parade with their child

Girls painting easter eggs

Two white persons creating easter traditional eggs. Two white persons creating easter traditional eggs

Illuminated Manuscript, Book of Hours, St. Catherine, Walters Art Museum Ms. W.165, fol. 123v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 27r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers.

Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 131r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead.

Young man and the woman draw on an open-air. Young man and the woman draw on an open-air

Woman painting easter eggs

Young woman creating traditional eggs. Young woman creating traditional eggs

Illuminated Manuscript, Book of Hours, Last Judgment, Walters Art Museum Ms. W.165, fol. 100v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayers to the limbs of Christ. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayers to the limbs of Christ.

Hula Girl Painting, Memphis, Tennessee

Hula Girl Painting, Memphis, Tennessee

Berlin Wall painting of crowd of people wishing to break the wall down, Berlin, East Side Gallery, Germany

Berlin Wall painting of crowd of people wishing to break the wall down, Berlin, East Side Gallery, Germany

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