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1-2:Frank Bramley (6 May 1857 – 9 August 1915)was an English post-impressionistgenre painter of the Newlyn School.
3:John George Brown
4:EVA BONNIER 1857_1909
5:Gaetano Bellei
6:Jules Girardet
7:Alfred Augustus Glendening Sr. (British, 1840–1910).
8:Albert Lynch (1851-1912)
9:Alonso Pérez
10:Baby’s First Steps, Pierre Edouard Frère (1819 – 1886, French)
11:Julius Adam II (German, 1852-1913) - Young boy with a cat and two kittens, 1884 - Oil on panel
12,13:Peter Ilsted (14 February 1861 – 16 April 1933) was a leading Danish artist and printmaker. He was most associated with domestic interior scenes
14:Rudolf Epp (German, 1834-1910) - ehdu
15-18:Rudolf Epp (1834-1910, German)
3:John George Brown
4:EVA BONNIER 1857_1909
5:Gaetano Bellei
6:Jules Girardet
7:Alfred Augustus Glendening Sr. (British, 1840–1910).
8:Albert Lynch (1851-1912)
9:Alonso Pérez
10:Baby’s First Steps, Pierre Edouard Frère (1819 – 1886, French)
11:Julius Adam II (German, 1852-1913) - Young boy with a cat and two kittens, 1884 - Oil on panel
12,13:Peter Ilsted (14 February 1861 – 16 April 1933) was a leading Danish artist and printmaker. He was most associated with domestic interior scenes
14:Rudolf Epp (German, 1834-1910) - ehdu
15-18:Rudolf Epp (1834-1910, German)
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| SKYLER SIMPSON
“I collect and collage photographs and often invent a color palette reflecting my emotional state while I paint. Influenced by Northern Renaissance painters and their ability to convey authentic expression through quirky exactness, many of my pieces investigate the psyche that exists behind subtle facial expressions. Delicate shifts in their features suggest feelings of curiosity, anxiety, contentment, or isolation. I glaze oil paint in a manner reminiscent of these artists, building layers to achieve convincing detail. I am interested in creating familiar yet uncomfortable and ambiguous scenes; by making intimate, small-scale pieces, I encourage the viewer to search for a narrative within the details. For me that narrative includes contemporary mythologies as they relate to women. These females are vulnerable, sexual, but not sexualized. In part, the work serves as a counterpoint to women marginalized and objectified throughout art’s history.”
| SKYLER SIMPSON
“I collect and collage photographs and often invent a color palette reflecting my emotional state while I paint. Influenced by Northern Renaissance painters and their ability to convey authentic expression through quirky exactness, many of my pieces investigate the psyche that exists behind subtle facial expressions. Delicate shifts in their features suggest feelings of curiosity, anxiety, contentment, or isolation. I glaze oil paint in a manner reminiscent of these artists, building layers to achieve convincing detail. I am interested in creating familiar yet uncomfortable and ambiguous scenes; by making intimate, small-scale pieces, I encourage the viewer to search for a narrative within the details. For me that narrative includes contemporary mythologies as they relate to women. These females are vulnerable, sexual, but not sexualized. In part, the work serves as a counterpoint to women marginalized and objectified throughout art’s history.”
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