contemporary painting

contemporary painting
famous landscape painting
american landscape painting
english landscape painting
¡¡¡¡All the men, and some of the women, when milking, dug their foreheads into the cows and gazed into the pail. But a few mainly the younger ones - rested their heads sideways. This was Tess Durbeyfield's habit, her temple pressing the milcher's flank, her eyes fixed on the far end of the meadow with the quiet of one lost in meditation. She was milking Old Pretty thus, and the sun chancing to be on the milking-side it shone flat upon her pink-gowned form and her white curtain-bonnet, and upon her profile, rendering it keen as a cameo cut from the dun background of the cow. ¡¡¡¡She did not know that Clare had followed her round, and that he sat under his cow watching her. The stillness of her head and features was remarkable: she might have been in a trance, her eyes open, yet unseeing. Nothing in the picture moved but Old Pretty's tail and Tess's pink hands, the latter so gently as to be a rhythmic pulsation only, as if they were obeying a reflex stimulus, like a beating heart. ¡¡¡¡How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman's lips and teeth which forced upon his mind with such persistent iteration the old Elizabethan simile of roses filled with snow. Perfect, he, as a lover, might have called them off-hand. But no - they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity.