Brown Butter Chocolate Pecan Pie

Southern Interiors, 1988

Ford Mustang GT

by shot_by_eric via instagram

Vignette (The Kiss), Kerry James Marshall, 2018

Acrylic on PVC panel 72 x 60 in. (182.88 x 152.4 cm)

Nancy Howe - After the Storm. 2021. Oil on linen.

Michael Carroll

Gender: Male

Sexuality: Gay

DOB: N/A

Ethnicity: White - American

Occupation: Writer

Double exposure of a nighttime march, Ernest C. Withers, circa 1960s

Lily Collins

Dodge Viper GTS

Image by Michael Mucciaccio || IG

Portrait of Ellen M. Brown (Mrs. Ellen Berry) (1874). William Morris Hunt (American, 1824-1879). Oilon canvas. RISD Museum.

A talented amateur musician, Ellen Brown of Providence was 18 years old when she posed for Hunt. As in this portrait of Miss Brown, Hunt’s practice was to compose the figure with broad masses of light and dark, then refine details with thin washes of color and highlights of thick impasto. The preeminent American painter and teacher had social connections in Boston and Rhode Island and conducted a summer art school in Newport. Hunt received his artistic training in Paris and later promoted the work of French realist painters, applying their techniques to his American subjects.

Ford GT

by palmskee via instagram

Big Flowage, Neil Welliver, 1979

Woodcut 18 x 18 in. (45.72 x 45.72 cm)

From: Engelhardt, George W. (George Washington). Richmond, Virginia, the city on the James. Richmond : George W. Engelhardt, Publisher, 1902-3

F233.3 .E57 1902

Sheila Shulman (deceased)

Gender: Female

Sexuality: Lesbian

DOB: 18 October 1936  

DOD: 25 October 2014

Ethnicity: Ashkenazi Jewish

Nationality: American

Occupation: Rabbi, activist, teacher

Note: Was one of the first openly lesbian graduates of the Leo Baeck College.

The Kiss, Herbert Bayer, 1931-32

New England Morning by Antonio Cirino (Italian-born American, 1888--1983)

Interview with the Vampire (1994).

The Green Sash (1904). Frederick Carl Frieseke (American, 1874-1939). Oil on canvas. Terra Foundation for American Art.

In Frieseke’s The Green Sash, an elegantly dressed woman assumes a graceful stance as she gathers the tiered skirt of her white dress in her left hand. Her gesture and the painting’s title evoke her attempt to scrutinize in an unseen mirror the brilliant emerald-colored sash that spills down the back of her dress. Its sensuous curve, mimicking the woman’s body, emphasizes the spiraling twist of her dance-like pose. The figure is set against the warm tone of a pale-gold wall, a boldly patterned rug, and a drapery with a speckled pattern that echoes the spotted veil covering but not concealing her face. Her averted gaze, along with the tipped-up perspective of the setting, suggests the viewer’s somewhat elevated position in relation to the model.