periodas

judėjimas

  1. Landscape at Céret [Paysage à Céret] — Chaimas Sutinas, 1922
  2. Landscape with Small Wood — Aleksejus Fon Javlenskis, 1904
  3. Gorge de Loup-sur-Vence — Chaimas Sutinas, 1923
  4. Ceret Lanscape — Chaimas Sutinas, 1920
  5. La Saga de Prométhée, Detalių kairiojo sienos fragmentas, Saga de Prométhée, left Detail panel, Détrempe sur toile — Oskaras Kokoška
  6. Reclining Female Nude in Front of a Mirror — Ernstas Ludvigas Kiršianas
  7. Šūka Kristui — Emilis Noldė, 1909
  8. Landscape with trees in the wind — Chaimas Sutinas, 1919

nuotaika

temos

  1. Gorge de Loup-sur-Vence — Chaimas Sutinas, 1923

raktažodžiai

tonas

pagrindinė spalva

  1. La Saga de Prométhée, Detalių kairiojo sienos fragmentas, Saga de Prométhée, left Detail panel, Détrempe sur toile — Oskaras Kokoška
  2. Landscape with trees in the wind — Chaimas Sutinas, 1919
  3. Circus Rider (Bleecker Street Tavern Mural) — Franzas Kline'As, 1940
  4. Dancer in a Red Skirt (Fiesta) (Bleecker Street Tavern Mural) — Franzas Kline'As, 1940
  5. The Death of Consul Decius Mus. Copy after Rubens — vilhelm henry lundstrøm, 1920
  6. Fisherman Boating along a Wooded Landscape — Kamilis Koras, 1860
  7. Harpies — robert beauchamp, 1960
  8. The Adoration of the Magi — Adolphe Joseph Thomas Monticelli, 1875
  9. Portrait of Chaim Soutine — Amedėjas Modiljanis, 1917
  10. Šūka Kristui — Emilis Noldė, 1909
  11. Nature morte avec chat, putto et lapin, Still life with cat, putto and rabbit, — Oskaras Kokoška
  12. untitled (7795) — Chaimas Sutinas
  13. Moorland Landscape — george cartlidge, 1903
  14. Landscape at Céret [Paysage à Céret] — Chaimas Sutinas, 1922

kitas

  1. Landscape with Christ Appearing to the Apostles at the Sea of Tiberias — Pieteris Bruegelis Vyresnis, 1553
  2. Adoration Of The Magi — Paula Moderzon-Bekker
  3. Mountainous Landscape — arnold priestman
  4. Couple By A Fence — Davidas Davidovičius Burliukas
  5. (Landscape of Dead Fallen Tree and Pond), (painting) — frank harold hayward, 1895
  6. Purple and Gold Abstract — michele elizabeth field, 2005