Ellie Ross
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Alexandre de Riquer (1856 -1920). "Ex-libris J. Maragal, 1911". Aiguafort. 17.5 x 10.5 cm.

Alexandre de Riquer (1856 -1920). "Ex-libris J. Maragal, 1911". Aiguafort. 17.5 x 10.5 cm.

Alexandre de Riquer (1856 -1920). Exlibris Lorenz Aschenbrenner [Material gràfic]: llegar al fondo. 1904. (Biblioteca de Catalunya)

Alexandre de Riquer (1856 -1920). Exlibris Lorenz Aschenbrenner [Material gràfic]: llegar al fondo. 1904. (Biblioteca de Catalunya)

Ex Libris//Bookplates: Alexander de Riquer

Ex Libris//Bookplates: Alexander de Riquer

Marco Battaglini pastiches together bits of Renaissance art with graffiti  and other elements of modern pop — not unlike the divine versus the vulgar  — in his digital paintings. By mashing together opposing visual traditions,  the Italian artist (living in Costa Rica) challenges the viewer to  contemplate a variety of topics: cultural democratization, the evolution of  knowledge and information, and what he calls our 'patchwork culture.'  via

Marco Battaglini pastiches together bits of Renaissance art with graffiti and other elements of modern pop — not unlike the divine versus the vulgar — in his digital paintings. By mashing together opposing visual traditions, the Italian artist (living in Costa Rica) challenges the viewer to contemplate a variety of topics: cultural democratization, the evolution of knowledge and information, and what he calls our 'patchwork culture.' via

Hubert and Jan van EYCK / The Ghent Altarpiece with wings open (upper section) /   Eve (detail)  1425-29  Oil on wood  Cathedral of St Bavo, Ghent

Hubert and Jan van EYCK / The Ghent Altarpiece with wings open (upper section) / Eve (detail) 1425-29 Oil on wood Cathedral of St Bavo, Ghent

Sandro Boticelli's "The Birth of Venus", 1486, Galleria degli Uffizi, Florence. Most paintings of women during the middle Ages symbolize the Virgin Mary, showing her in a demure appearance with an angelic smile and covered head. So Botticelli's depiction of a beautiful goddess, not only an obvious symbol of pagan mythology but also painted as a nude was groundbreaking.

Sandro Boticelli's "The Birth of Venus", 1486, Galleria degli Uffizi, Florence. Most paintings of women during the middle Ages symbolize the Virgin Mary, showing her in a demure appearance with an angelic smile and covered head. So Botticelli's depiction of a beautiful goddess, not only an obvious symbol of pagan mythology but also painted as a nude was groundbreaking.