Just your average artist. She/Her.

Joined October 2020

Nude with a flower, Georges Valmier, 1928

The Witches in Macbeth, Alexandre-Gabriel Decamps, 1841

Surreal Portrait, Benjamin F. Berlin, 1938

Interior of a Lottery, James Kidder, 1821

Sarah Bernhardt Sculpting in Her Studio, Marie-Desiree Bourgoin, 1879

Polyhymnia, Muse of Eloquence, Charles Meynier, 1800

Hercules and Deianira, Antonio del Pollaiuolo, 1475-1480

The Feast of Anthony and Cleopatra, Leandro Bassano

Selene, Albert Aublet, 1880

The Witches’ Sabbath, Eugène Delacroix, 1831

Interior with Head and Still Life, Heinrich Campendonk, 1921

Heimdal Returns Brisingamen to Freya, Nils Andresson, 1846

Pushkin looking out to Ayu-Dag, Crimea, Ivan Aivazovsky, 1818

A Ghillie And Two Shetland Ponies In A Misty Landscape, Rosa Bonheur

Mary Wigman’s Dance, Ernst Ludwig Kirchner, 1933

At first glance, they might be identical. Two orange lozenges leaning out of shards of blue. Two paintings purportedly by the same artist. But look a little closer, and you’ll start to notice differences. The one on the left seems clunkier, its gradations in colour less subtle. The palette seems reduced, the brushwork less varied and interesting. The one on the right is Painterly Architectonic (1917) by Liubov Popova, a cubist and suprematist painter who lived a brief and active life in early 20th-century Moscow. The one on the left is a fake.

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South Sea Fishermen, David Davidovich Burliuk, 1921

Still Life with Checked Tablecloth, Juan Gris, 1915

Juan Legua, Juan Gris, 1911

Gleaning, Arthur Foord Hughes