The Great Martyr Barbara, 1894

By Vladimir Beklemishev

My own personal Adonis.

I'm really proud of this piece, in Greek and Phoenician mythology Adonis was the pinnacle of male beauty. This is what male beauty is to me. :)

Acrylic on Canvas with a sculpted Terracotta frame.

Sheila Metzner

"Marie Sophie"

1986

The Dance of Eros, Giorgio Dante.

Giovanni Battista Piranesi (Italian, 1720–1778), "One of the Dioscuri of the Quirinal"

Timeless Cool: Cy Twombly at his home in Rome, 1966

wow look at me posting something not A Little Life related can you believe (it feels so WRONG)

but anyhweys here’s a lighting study in gouache

I might paint something with a similar vibe to this but as A Little Life fanart

Wet drape figure from the Gallery of Ancient Greece, Royal Ontario Museum.

von Bernini. Louvre-Museum, Paris.

Prophet

I am serving you Ilya angst with a dash of classical sculpture 🤌 im honestly so happy with how this turned out.

saw a pretty statue and decided it would be perfect for a look into what Ilya’s nightmares are like. 😈

Dreams and visions often blur into one another in the liminal gap between life and death, a space where Ilya is often drawn to find answers at the expense of his health and sanity

Have you ever in your life seen such an unimpressed sculpture? I love him. 

[ID: A sculpted alabaster bust of a man, possibly Leon according to the Louvre, with fancy draperies pinned at the shoulder, a crown of oak leaves, and a deeply skeptical look on his face. He looks like he caught you doing something he doesn’t approve of but isn’t going to say anything.]

Academic study after a sculpture: crouching Venus, 1816

By Michel Van Cuyck

Bronze portrait bust of a man

Roman

ca. 50 BCE-54 CE

Sleeping Beauty, Ludwig

Sussman-Hellborn Alte Nationalgalerie, Berlin

"Michelangelo first made a Pietà that he didn't like. He began another one over it. Traces of the old one remain: an eye in the head of the mother. A leg, from the knee down, entering the stone like a stake. Or into the ground (toward the center of the earth). With the entire group — we are in the midst of divinity. A Jesus, as if sleeping, elongating downward, under a burden that is his own mother. The effect is this: it seems that it's not the mother supporting him, but the other way around. He carries her. It's a burial of the mother, as if she endured all the passions, as if she died — and he who lives, or perhaps died long ago, is her guide. It is believed that the master did not want to finish the statue. It was — specialists claim — impossible: he didn't have enough stone. He wanted to perfect, for himself only, a feeling. The portrayal of a sentiment. To see how far he could go with this failure of a work (he knew he couldn't finish it)."

— Marin Sorescu, Insomnia, 1971