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Georgescu Silvia

Georgescu Silvia

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"Where P O W E R dresses, and time pauses.....⁠ ⁠ It’s not a throne room, but it behaves like one. The kind of room where a king got dressed to be seenβ€” and seen to be king.⁠ ⁠ Walls shimmer with raso embroidered in gold and silver, echoing the original sketches of Mattia Gasparini, the Neapolitan designer who imagined every inch of this space as a performance. His rococo visionβ€”part chinoiserie, part botanical fantasyβ€”crawls up the stucco ceiling in a choreography of plaster, leaf, and shadow.⁠ ⁠ The floor anchors the spectacle: marble inlay cut from quarries across Spain, sent as samples to Carlos III, who chose them stone by stone. Nothing here is arbitraryβ€”not the gilded bronze handles, not the curving lines of the furniture, not even the clock on the mantelpiece: a marvel by Pierre Jacquet-Droz, whose mechanical flautist still plays for no one in particular.⁠ ⁠ It took decades to complete. By the time the finishing touches were setβ€”under the reign of Ferdinand VIIβ€”the style was already slipping out of fashion. Late rococo, stubbornly radiant, haunting the bones of a rising empire.⁠ ⁠ This was where power got dressed. Where gesture became language.⁠ The room doesn’t move, but it knows how to hold its pose.⁠ ⁠ Thank you to @patrimnacional for the opportunity to take photos there"⁠ ⁠ Photos and copy by the talented @jepsolell⁠ *⁠ *⁠ *⁠ #gasparinisalon #spain #europe #opulence #detail #design #interior #interiordesign #rooms #gilt #chandelier #gold #silver #decorate #marble #mattagasparini #rococo #chinoiserie #botanical #decor #stucco #bronze #style #furniture #patrimnacional #jepsolell #antique #antiques #europeanantiques #europeanantiquesnz 22/12/2025

"Where P O W E R dresses, and time pauses.....⁠ ⁠ It’s not a throne room, but it behaves like one. The kind of room where a king got dressed to be seenβ€” and seen to be king.⁠ ⁠ Walls shimmer with raso embroidered in gold and silver, echoing the original sketches of Mattia Gasparini, the Neapolitan designer who imagined every inch of this space as a performance. His rococo visionβ€”part chinoiserie, part botanical fantasyβ€”crawls up the stucco ceiling in a choreography of plaster, leaf, and shadow.⁠ ⁠ The floor anchors the spectacle: marble inlay cut from quarries across Spain, sent as samples to Carlos III, who chose them stone by stone. Nothing here is arbitraryβ€”not the gilded bronze handles, not the curving lines of the furniture, not even the clock on the mantelpiece: a marvel by Pierre Jacquet-Droz, whose mechanical flautist still plays for no one in particular.⁠ ⁠ It took decades to complete. By the time the finishing touches were setβ€”under the reign of Ferdinand VIIβ€”the style was already slipping out of fashion. Late rococo, stubbornly radiant, haunting the bones of a rising empire.⁠ ⁠ This was where power got dressed. Where gesture became language.⁠ The room doesn’t move, but it knows how to hold its pose.⁠ ⁠ Thank you to @patrimnacional for the opportunity to take photos there"⁠ ⁠ Photos and copy by the talented @jepsolell⁠ *⁠ *⁠ *⁠ #gasparinisalon #spain #europe #opulence #detail #design #interior #interiordesign #rooms #gilt #chandelier #gold #silver #decorate #marble #mattagasparini #rococo #chinoiserie #botanical #decor #stucco #bronze #style #furniture #patrimnacional #jepsolell #antique #antiques #europeanantiques #europeanantiquesnz

πŸ‘‰πŸΌ La Igreja de Santa Clara, en lo alto del casco histΓ³rico de Oporto, es uno de los templos barrocos mΓ‘s sorprendentes de Portugal. Desde fuera parece discreta, casi escondida entre callejuelas medievales, pero su interior es una explosiΓ³n de tallado en madera dorada, uno de los mejores ejemplos del talha dourada portuguΓ©s del siglo XVIII. πŸ‘‰πŸΌπŸ‘‰πŸΌ Lo mΓ‘s llamativo es que casi cada centΓ­metro del interior β€”muros, arcos, retablos y tribunasβ€” estΓ‘ cubierto por un trabajo minucioso que transformΓ³ esta antigua iglesia franciscana en un espacio luminoso y teatral. πŸ‘‰πŸΌπŸ‘‰πŸΌπŸ‘‰πŸΌ Declarada Monumento Nacional, Santa Clara conserva ademΓ‘s parte de su estructura medieval original, ya que fue fundada en 1416. πŸ“ Igreja de Santa Clara, Porto, Portugal 22/12/2025

πŸ‘‰πŸΌ La Igreja de Santa Clara, en lo alto del casco histΓ³rico de Oporto, es uno de los templos barrocos mΓ‘s sorprendentes de Portugal. Desde fuera parece discreta, casi escondida entre callejuelas medievales, pero su interior es una explosiΓ³n de tallado en madera dorada, uno de los mejores ejemplos del talha dourada portuguΓ©s del siglo XVIII. πŸ‘‰πŸΌπŸ‘‰πŸΌ Lo mΓ‘s llamativo es que casi cada centΓ­metro del interior β€”muros, arcos, retablos y tribunasβ€” estΓ‘ cubierto por un trabajo minucioso que transformΓ³ esta antigua iglesia franciscana en un espacio luminoso y teatral. πŸ‘‰πŸΌπŸ‘‰πŸΌπŸ‘‰πŸΌ Declarada Monumento Nacional, Santa Clara conserva ademΓ‘s parte de su estructura medieval original, ya que fue fundada en 1416. πŸ“ Igreja de Santa Clara, Porto, Portugal

πŸ“Ή Dalla sommitΓ  della facciata, lo sguardo si apre fino a incontrare l’inconfondibile profilo della Cupola. Un passaggio ideale tra due capolavori: la facciata ottocentesca dell'architetto Emilio De Fabris e l’ingegno quattrocentesco del geniale Filippo Brunelleschi. πŸ‘‰ Pietra e mattoni, arte e fede: un dialogo senza tempo che ancora oggi racconta l’anima di Firenze. πŸ“Ή From the top of the faΓ§ade, the view opens to reveal the unmistakable profile of the Dome. An ideal passage between two masterpieces: the 19th-century faΓ§ade designed by architect Emilio De Fabris and the 15th-century brilliance of Filippo Brunelleschi. πŸ‘‰ Stone and brick, art and faith: a timeless dialogue that still tells the story of Florence’s soul. πŸ“ΉOpera di Santa Maria del Fiore©️ 22/12/2025

πŸ“Ή Dalla sommitΓ  della facciata, lo sguardo si apre fino a incontrare l’inconfondibile profilo della Cupola. Un passaggio ideale tra due capolavori: la facciata ottocentesca dell'architetto Emilio De Fabris e l’ingegno quattrocentesco del geniale Filippo Brunelleschi. πŸ‘‰ Pietra e mattoni, arte e fede: un dialogo senza tempo che ancora oggi racconta l’anima di Firenze. πŸ“Ή From the top of the faΓ§ade, the view opens to reveal the unmistakable profile of the Dome. An ideal passage between two masterpieces: the 19th-century faΓ§ade designed by architect Emilio De Fabris and the 15th-century brilliance of Filippo Brunelleschi. πŸ‘‰ Stone and brick, art and faith: a timeless dialogue that still tells the story of Florence’s soul. πŸ“ΉOpera di Santa Maria del Fiore©️

09/08/2025

Jakub Schikaneder β€” In the Church / V kostele. 1884. Canvas, oil. 106 x 65 cm. Private collection.

Jakub Schikaneder (born February 27, 1855, Prague β€” died November 15, 1924, there) β€” Czech artist.
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🌈🌎🌍πŸ’₯β˜€οΈπŸ’¦π‘Ίπ’†π’“π’Šπ’π’–π’”π’π’š, π’˜π’‰π’š? π‘Šβ„Žπ‘’π‘› π‘›π‘’π‘–π‘”β„Žπ‘π‘œπ‘’π‘Ÿπ‘–π‘›π‘” π‘†π‘β„Žπ‘™π‘œπ‘ π‘  π‘†π‘Žπ‘›π‘ π‘ π‘œπ‘’π‘π‘– 𝑖𝑠 π‘œπ‘£π‘’π‘Ÿπ‘“π‘™π‘œπ‘€π‘–π‘›π‘” π‘€π‘–π‘‘β„Ž π‘π‘Ÿπ‘œπ‘€π‘‘π‘ , π‘¦π‘œπ‘’ β„Žπ‘Žπ‘£π‘’ π‘‘β„Žπ‘’ 𝑁𝑒𝑀 πΆβ„Žπ‘Žπ‘šπ‘π‘’π‘Ÿπ‘  - π‘Žπ‘™π‘ π‘œ 𝑏𝑒𝑖𝑙𝑑 𝑏𝑦 𝐾𝑖𝑛𝑔 πΉπ‘Ÿπ‘–π‘’π‘‘π‘Ÿπ‘–π‘β„Ž 𝐼𝐼 π‘œπ‘“ π‘ƒπ‘Ÿπ‘’π‘ π‘ π‘–π‘Ž 𝑖𝑛 β„Žπ‘–π‘  π‘ π‘–π‘”π‘›π‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘…π‘œπ‘π‘œπ‘π‘œ 𝑠𝑑𝑦𝑙𝑒 - π‘Žπ‘™π‘šπ‘œπ‘ π‘‘ π‘Žπ‘™π‘™ π‘‘π‘œ π‘¦π‘œπ‘’π‘Ÿπ‘ π‘’π‘™π‘“. 𝐴𝑛𝑑 𝑖𝑛 π‘šπ‘¦ β„Žπ‘’π‘šπ‘π‘™π‘’ π‘œπ‘π‘–π‘›π‘–π‘œπ‘› π‘‘β„Žπ‘’π‘¦ π‘šπ‘Žπ‘¦ π‘›π‘œπ‘‘ 𝑏𝑒 π‘Žπ‘  π‘“π‘Žπ‘šπ‘œπ‘’π‘  𝑏𝑒𝑑 π‘π‘’π‘Ÿπ‘‘π‘Žπ‘–π‘›π‘™π‘¦ π‘Žπ‘  𝑖𝑓 π‘›π‘œπ‘‘ π‘šπ‘œπ‘Ÿπ‘’ π‘π‘’π‘Žπ‘’π‘‘π‘–π‘“π‘’π‘™. @castleholic 09/08/2025

🌈🌎🌍πŸ’₯β˜€οΈπŸ’¦π‘Ίπ’†π’“π’Šπ’π’–π’”π’π’š, π’˜π’‰π’š? π‘Šβ„Žπ‘’π‘› π‘›π‘’π‘–π‘”β„Žπ‘π‘œπ‘’π‘Ÿπ‘–π‘›π‘” π‘†π‘β„Žπ‘™π‘œπ‘ π‘  π‘†π‘Žπ‘›π‘ π‘ π‘œπ‘’π‘π‘– 𝑖𝑠 π‘œπ‘£π‘’π‘Ÿπ‘“π‘™π‘œπ‘€π‘–π‘›π‘” π‘€π‘–π‘‘β„Ž π‘π‘Ÿπ‘œπ‘€π‘‘π‘ , π‘¦π‘œπ‘’ β„Žπ‘Žπ‘£π‘’ π‘‘β„Žπ‘’ 𝑁𝑒𝑀 πΆβ„Žπ‘Žπ‘šπ‘π‘’π‘Ÿπ‘  - π‘Žπ‘™π‘ π‘œ 𝑏𝑒𝑖𝑙𝑑 𝑏𝑦 𝐾𝑖𝑛𝑔 πΉπ‘Ÿπ‘–π‘’π‘‘π‘Ÿπ‘–π‘β„Ž 𝐼𝐼 π‘œπ‘“ π‘ƒπ‘Ÿπ‘’π‘ π‘ π‘–π‘Ž 𝑖𝑛 β„Žπ‘–π‘  π‘ π‘–π‘”π‘›π‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘…π‘œπ‘π‘œπ‘π‘œ 𝑠𝑑𝑦𝑙𝑒 - π‘Žπ‘™π‘šπ‘œπ‘ π‘‘ π‘Žπ‘™π‘™ π‘‘π‘œ π‘¦π‘œπ‘’π‘Ÿπ‘ π‘’π‘™π‘“. 𝐴𝑛𝑑 𝑖𝑛 π‘šπ‘¦ β„Žπ‘’π‘šπ‘π‘™π‘’ π‘œπ‘π‘–π‘›π‘–π‘œπ‘› π‘‘β„Žπ‘’π‘¦ π‘šπ‘Žπ‘¦ π‘›π‘œπ‘‘ 𝑏𝑒 π‘Žπ‘  π‘“π‘Žπ‘šπ‘œπ‘’π‘  𝑏𝑒𝑑 π‘π‘’π‘Ÿπ‘‘π‘Žπ‘–π‘›π‘™π‘¦ π‘Žπ‘  𝑖𝑓 π‘›π‘œπ‘‘ π‘šπ‘œπ‘Ÿπ‘’ π‘π‘’π‘Žπ‘’π‘‘π‘–π‘“π‘’π‘™. @castleholic

09/08/2025

The spinner (1869) by Eleuterio Pagliano (Iltalian artist lived 1826-1903).
As well as being a painter of the Romantic period, he battled for the unification of Italy.

09/08/2025

Luke Fildes (1844–1927)
β€œThe Venetians”
1885
Technique: Oil on canvas
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