Uploaded May 2012 | Updated September 2026, 1 week ago
Léon Spilliaert (July 28, 1881 -- November 23, 1946) was a Belgian symbolist painter and graphic artist.
Spilliaert was born in Ostend, the oldest of seven children of Léonard-Hubert Spilliaert, who was a perfumer, and Léonie (née Jonckheere).From childhood he displayed an interest in art and drawing. A prolific doodler and autodidact, he was predominantly a self taught artist. Sickly and reclusive, he spent most of his youth sketching scenes of ordinary life and the Belgian countryside. When he was 21 he went to work in Brussels for Edmond Demon, a publisher of the works of symbolist writers, which Spilliaert was to illustrate. He especially admired the work of Edgar Allan Poe.
Watercolor, gouache, and charcoal were the means by which he produced much of his best work, including a number of self-portraits executed in black crayon in the early years of the twentieth century. A significant influence on Spilliaert was Odilon Redon, whose expressive use of black finds parallels in his own work. Frequently depicting a lone figure in a dreamlike space, Spilliaert's paintings convey a sense of melancholy and silence.
His later work shows a concentration on seascapes. He died on November 23, 1946 in Brussels.
[from Wikipedia]
Music: Sergei Rachmaninoff "Cello Sonata in G minor Opus 19, Andante"
Léon Spilliaert (July 28, 1881 -- November 23, 1946) was a Belgian symbolist painter and graphic artist.
Spilliaert was born in Ostend, the oldest of seven children of Léonard-Hubert Spilliaert, who was a perfumer, and Léonie (née Jonckheere).From childhood he displayed an interest in art and drawing. A prolific doodler and autodidact, he was predominantly a self taught artist. Sickly and reclusive, he spent most of his youth sketching scenes of ordinary life and the Belgian countryside. When he was 21 he went to work in Brussels for Edmond Demon, a publisher of the works of symbolist writers, which Spilliaert was to illustrate. He especially admired the work of Edgar Allan Poe.
Watercolor, gouache, and charcoal were the means by which he produced much of his best work, including a number of self-portraits executed in black crayon in the early years of the twentieth century. A significant influence on Spilliaert was Odilon Redon, whose expressive use of black finds parallels in his own work. Frequently depicting a lone figure in a dreamlike space, Spilliaert's paintings convey a sense of melancholy and silence.
His later work shows a concentration on seascapes. He died on November 23, 1946 in Brussels.
[from Wikipedia]
Music: Sergei Rachmaninoff "Cello Sonata in G minor Opus 19, Andante"
![Andrew Wyeth
Andrew Newell Wyeth (/ˈwaɪ.ɛθ/ WY-eth; July 12, 1917 – January 16, 2009) was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He was one of the best-known U.S. artists of the middle 20th century.
In his art, Wyeths favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. Wyeth often noted: I paint my life. One of the best-known images in 20th-century American art is his painting Christinas World, currently in the collection of the Museum of Modern Art in New York City. This tempera was painted in 1948, when Wyeth was 31 years old.
In 1937, at age twenty, Wyeth had his first one-man exhibition of watercolors at the Macbeth Gallery in New York City. The entire inventory of paintings sold out, and his life path seemed certain. His style was different from his fathers: more spare, drier, and more limited in color range. He stated his belief that the great danger of the Pyle school is picture-making. He did some book illustrations in his early career, but not to the extent that N.C. Wyeth did.
Wyeth was a visual artist, primarily classified as a realist painter, like Winslow Homer or Eakins. In a Life Magazine article in 1965, Wyeth said that although he was thought of as a realist, he thought of himself as an abstractionist: My people, my objects breathe in a different way: theres another core—an excitement thats definitely abstract. My God, when you really begin to peer into something, a simple object, and realize the profound meaning of that thing—if you have an emotion about it, theres no end.
He worked predominantly in a regionalist style. In his art, Wyeths favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine.
Dividing his time between Pennsylvania and Maine, Wyeth maintained a realist painting style for over seventy years. He gravitated to several identifiable landscape subjects and models. His solitary walks were the primary means of inspiration for his landscapes. He developed an extraordinary intimacy with the land and sea and strove for a spiritual understanding based on history and unspoken emotion. He typically created dozens of studies on a subject in pencil or loosely brushed watercolor before executing a finished painting, either in watercolor, drybrush (a watercolor style in which the water is squeezed from the brush), or egg tempera.
On January 16, 2009, Andrew Wyeth died in his sleep in Chadds Ford, Pennsylvania, after a brief illness. He was 91 years old.
[from: https://en.wikipedia.org/wiki/Andrew_Wyeth]
Music: Steve Roach & Vidna Obmana The Graceful Sky Andrew Wyeth](https://i.ytimg.com/vi/OY1ebB4aFlE/mqdefault.jpg)
![Erik Satie - Gnossienne No.1
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.
Satie was introduced as a gymnopedist in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a phonometrograph or phonometrician (meaning someone who measures (and writes down) sounds) preferring this designation to that of musician, after having been called a clumsy but subtle technician in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.
Gnossienne is the name given to several piano pieces by French composer Erik Satie in the late 19th century.
Saties coining of the word gnossienne was one of the rare occasions when a composer used a new term to indicate a new type of composition. Satie had and would use many novel names for his compositions; for example, ogive had been the name of an architectural element until Satie used it as the name for a composition, the Ogives Similarly with vexations, croquis et agaceries and so on—but gnossienne was a word that did not exist before Satie used it to indicate a composition. Gnossienne appears to be derived from the word gnosis; Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan knossos or gnossus and link the Gnossiennes to Theseus, Ariadne and the Minotaur myth.
The Gnossiennes were composed by Satie in the decade following the composition of the Trois Sarabandes (1887) and the Trois Gymnopédies (1888). Like these Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself—the sarabande and the Gymnopaedia were at least historically known as dances.
The musical vocabulary of the Gnossiennes is a continuation of that of the Gymnopédies (a development that had started with the 1886 Ogives → Sarabandes → Gymnopédies → Gnossiennes) later leading to more harmonic experimentation in compositions like the Danses Gothiques. These series of compositions are all at the core of Saties characteristic 19th century style, and in this sense differ from his early salon compositions (like the 1885 Waltz compositions published in 1887), his turn-of-the-century cabaret compositions (like the Je te Veux Waltz), and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques in 1912.
[from Wikipedia]
Artwork:Remedios Varo
Played by:Daniel Varsano Erik Satie - Gnossienne No.1](https://i.ytimg.com/vi/PLFVGwGQcB0/mqdefault.jpg)
![Camille Saint-Saëns - The Swan
Le Carnaval des Animaux (The Carnival of the Animals) is a musical suite of fourteen movements by the French Romantic composer Camille Saint-Saëns.
Le Carnaval was composed in February 1886 while Saint-Saëns was vacationing in a small Austrian village. It was originally scored for a chamber group of flute, clarinet, two pianos, glass harmonica, xylophone, two violins, viola, cello and double bass, but is usually performed today with a full orchestra of strings, and with a glockenspiel substituting for the rare glass harmonica.
Saint-Saëns, apparently concerned that the piece was too frivolous and likely to harm his reputation as a serious composer, suppressed performances of it and only allowed one movement, Le Cygne, to be published in his lifetime. Only small private performances were given for close friends like Franz Liszt.
Saint-Saëns did, however, include a provision which allowed the suite to be published after his death, and it has since become one of his most popular works. It is a favorite of music teachers and young children, along with Prokofievs Peter and the Wolf and Brittens The Young Persons Guide to the Orchestra.
Le Cygne (The Swan)
Two pianos and cello: This is by far the most famous movement of the suite, often performed sole and is used to showcase the interpretive skills of the cellist. The lushly romantic cello solo is played over rippling sixteenths in one piano and rolled chords in the other.
[from Wikipedia]
Artwork:Leonora Carrington Camille Saint-Saëns - The Swan](https://i.ytimg.com/vi/PXAlznKcJvA/mqdefault.jpg)
![Virginia Frances Sterrett
Virginia Frances Sterrett (1900–1931) was an American artist and illustrator.
Sterrett received her first commission at the age of 19 (shortly after she was diagnosed with tuberculosis) from the Penn Publishing Company to illustrate Old French Fairy Tales (1920), a collection of works from the 19th-century French author, Comtesse de Ségur (Sophie Fedorovna Rostopchine).
A year after the publication of Old French Fairy Tales, a new title including commissioned works from Sterrett was presented by the Penn Publishing Company—Tanglewood Tales (1921). From 1923, in failing health, Sterrett was able to work on projects for short periods of time only and as a result, she was able to complete just one further commission prior to her death—her own interpretation of Arabian Nights (1928).
Her best-known work is the suite of illustrations for Arabian Nights (1928). She died of tuberculosis.
The comments of the St Louis Post-Dispatch in the supplement published following Sterretts death (published 5 July 1931) pay fitting tribute to her life and work:
Her achievement was beauty, a delicate, fantastic beauty, created with brush and pencil. Almost unschooled in art, her life spent in prosaic places of the West and Middle West, she made pictures of haunting loveliness, suggesting Oriental lands she never saw and magical realms no one ever knew except in the dreams of childhood ...
Perhaps it was the hardships of her own life that gave the young artists work its fanciful quality. In the imaginative scenes she set down on paper she must have escaped from the harsh actualities of existence.
[from Wikipedia]
Music by Hammock Virginia Frances Sterrett](https://i.ytimg.com/vi/PbrK3LQ7lT0/mqdefault.jpg)
![Franciszek Starowieyski (Polish Poster Art)
Franciszek Andrzej Bobola Biberstein-Starowieyski (8 July 1930 in Bratkówka – 23 February 2009 in Warsaw) was a Polish artist. From 1949 to 1955, he studied at the Academy of Fine Arts in Kraków and Warsaw.He specialized in poster, drawing, painting, stage designing, and book illustration. He was a member of Alliance Graphique International (AGI). Throughout his career his style deviated from the socialist realism that was prevalent during the start of his career and the popular, brightly colored Cyrk posters; however he did create one Cyrk poster Homage to Picasso in 1966.
He was the first Polish artist to have a one-man show at the Museum of Modern Art (MoMA) in New York, in 1986.
[from Wikipedia]
Music: William Basinski Variation VI Franciszek Starowieyski (Polish Poster Art)](https://i.ytimg.com/vi/Qad1lS5C4ig/mqdefault.jpg)
![Wiktor Sadowski (Polish Poster Art)
Wiktor Sadowski is a Polish artist working in poster, illustration and painting. He was born in Oleandry, Poland in 1956. He graduated in 1981 at the Academy of Fine Arts in Warsaw in Tomaszewskis studio.
[from Wikipedia]
Music: Alio die & Lingua fungi Stato di Grazia Wiktor Sadowski (Polish Poster Art)](https://i.ytimg.com/vi/QqSy0lxb-Mc/mqdefault.jpg)
![Daria Petrilli
In Daria Petrilli’s artworks the female figures appear ethereal and unreachable. The artist inserts them into a fairy-tale afterlife where they are often accompanied by animals. In clothes from a distant era, these pale Victorian beauties may look to the viewer with a piercing gaze. Some extend long fingers into the nothingness, reminiscent of the Italian Mannerist painter Bronzino. In Daria Petrilli’s extraordinary works, the women become mystical beings, their bodies adorned with shells and flowers. They are surrounded by ibises, parrots, or geese that appear more like the heralds of purgatory than birds of paradise. The artist says: “To me, these birds are messengers of primordial obsessions. That is why they appear in my work so often.”
In the Dreaming series, Daria Petrilli brings us into these fairy-tale worlds. In “Lady of the Red Ibis,” a woman leads six red ibises through a dreamscape, holding leashes tied around their long necks. Eyes down, she seems to be frozen in place. In Dual Nature, identical twins look out from the piece with an intense gaze. One appears to be wearing a meadow, the other is dressed dramatically in black. Different in nature. In Loneliness of an Anthurium, the solo laceleaf flower reflects the solitude of the protagonist whose head is, quite literally, up in the clouds.
Daria Petrilli digitally edits existing images, resulting in pieces of figurative symbolism reminiscent of classical painting. On her creative process, the Italian artist says: “I reworks photographs with digital painting interventions. I create a collage ... a triumph of Photoshop. I could have also used traditional instruments, but these illustrations were born as a personal amusement and I made them without the vetoes of a client and in the most immediate way.”
Daria Petrilli’s style blurs the lines between reality and imagination. With her singular visual vocabulary, she guides us into mystical worlds, making the subjects’ loneliness almost physically perceptible. The artist finds the balance between the Italian Renaissance and the subversive language of Pop Surrealism.
[from: https://www.lumas.com/pictures/daria_petrilli/dual_nature/]
Music: Robert Rich Generosity of Solitude (Part 2) Daria Petrilli](https://i.ytimg.com/vi/R2csZK3NwX0/mqdefault.jpg)
![Remedios Varo
Remedios Varo Uranga (16 December 1908 – 8 October 1963) was a Spanish surrealist artist.
Born in Anglès (north of Catalonia), Spain in 1908, she studied at the Real Academia de Bellas Artes de San Fernando, Madrid. Varo spent her formative years between France and Barcelona and was greatly influenced by the surrealist movement. While still married to her first husband Gerardo Lizarraga, Varo met her second partner, the French surrealist poet Benjamin Péret, in Barcelona. During the Spanish Civil War she fled to Paris with Péret leaving Lizarraga behind (1937). She was forced into exile from Paris during the German occupation of France and moved to Mexico City at the end of 1941 when the Mexican president, Lázaro Cardenas, made it a policy to welcome Spanish and European refugees. She died in 1963, at the height of her career, from a heart attack, in Mexico City.
As a young woman Varo had no doubts that she was meant to be an artist. After spending a year in Paris, Varo moved to Barcelona and formed her first artistic circle of friends, which included Josep-Lluis Florit, Óscar Domínguez, and Esteban Francés. Varo soon separated from her husband and shared a studio with Francés in a neighborhood filled with young avant-garde artists. The summer of 1935 marked Varo’s formal invitation into Surrealism when French surrealist Marcel Jean (fr) arrived in Barcelona. That same year, along with Jean and his artist friends, Dominguez and Francés, Varo took part in various surrealist games such as cadavres exquis that was meant to explore the subconscious association of participants by pairing different images at random. These cadavres exquis, meaning exquisite corpses, perfectly illustrated the principle André Breton wrote in his Surrealist manifestos. Varo soon joined a collective of artists and writers, called the Grupo Logicofobista, who had an interest in Surrealism and wanted to unite art together with metaphysics, while resisting logic and reason. Varo exhibited with this group in 1936 at the Galería Catalonia although she recognized they were not pure Surrealists.
Renaissance art inspired harmony, tonal nuances, unity, and narrative structure in Varo’s paintings. The allegorical nature of much of Varos work especially recalls the paintings of Hieronymus Bosch, and some critics, such as Dean Swinford, have described her art as postmodern allegory, much in the tradition of Irrealism.
Varo was influenced by styles as diverse as those of Francisco Goya, El Greco, Picasso, and Braque. While André Breton was a formative influence in her understanding of Surrealism, some of her paintings bear an uncanny resemblance to the Surrealist creations of the modern Greek-born Italian painter Giorgio de Chirico.
She considered surrealism as an expressive resting place within the limits of Cubism, and as a way of communicating the incommunicable.
Even though Varo was critical of her childhood religion, Catholicism, her work was influenced by religion. She differed from other Surrealists because of her constant use of religion in her work. She also turned to a wide range of mystic and hermetic traditions, both Western and non-Western for influence. She was influenced by her belief in magic and animistic faiths. She was very connected to nature and believed that there was strong relation between the plant, human, animal, and mechanical world. Her belief in mystical forces greatly influenced her paintings. Varo was aware of the importance of biology, chemistry, physics and botany, and thought it should blend together with other aspects of life. Her fascination for science, including Einsteins theory or relativity and Darwinian evolution, has been noted by admirers of her art.
Varo often painted images of women in confined spaces, achieving a sense of isolation. Later in her career, her characters developed into her emblematic androgynous figures with heart-shaped faces, large almond eyes, and the aquiline noses that represent her own features. Varo often depicted herself through these key features in her paintings, regardless of the figures gender.
[from Wikipedia]
Music: Robert Rich & Markus Reuter Twining Branches Make a Path Remedios Varo](https://i.ytimg.com/vi/R4-kH90I2vw/mqdefault.jpg)
![Takato Yamamoto
Takato Yamamoto (b.1960) is a Japanese painter and manga artist. He is most known for developing a unique style that he termed “Heisei aestheticism”, which blends influences from Japanese ukiyo-e painting with Western gothic art to create dark, but beautiful images. His surrealistic and highly detailed works often explore themes of violence, death and sexuality to create unsettling and highly symbolic imagery.
[from: http://www.muddycolors.com/2019/05/ar...]
Megumi Sakai: How did you get to be an artist?
Takato Yamamoto: I drew illustrations for commercial advertising, mainly in the 1980s after graduating from art university. In the 1990s, I had the yearning for UKIYOE to the cut-in illustration book, the work such as cut-in illustrations and cover illustrations of novels, and wanting to draw before increases. After 2000, I mainly worked on original paintings.
What inspires you as an artist? Which inspirations help you to make your stile?
My basic theme is the image of the universe operation that has repeated the circulating generation (life) and dismantlement (death). I express symbolically the image to be a man’s body as the main motif, while taking the image of a plant, an insect, and other various objects.
What is the process in creating one of your illustrations?
The character of the boy or the girl who becomes the face of the work is extracted from among the first hazy images. I multiply to imagine the image from that, and tie the form automatically, and then I start to draw the rough sketch of the line that becomes the blueprint of the work, is then made. After the rough sketch is done, I trace on canvas or paper and then paint.
[from:https://missmementomori.wordpress.com/2014/01/01/amazing-art-by-takato-yamamoto-2/]
Music: Steve Roach Present Moment Takato Yamamoto](https://i.ytimg.com/vi/RHt8rIPWO98/mqdefault.jpg)
![Erik Satie - Gymnopédie No.1
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.
Satie was introduced as a gymnopedist in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a phonometrograph or phonometrician (meaning someone who measures (and writes down) sounds) preferring this designation to that of musician, after having been called a clumsy but subtle technician in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.
The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie.
These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality.
Satie himself used the term furniture music to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Saties body of furniture music, perhaps due to John Cages interpretation of them.
[from Wikipedia]
Artwork: Leonora Carrington The Temptation of St.Anthony
Played by: Daniel Varsano, Philippe Entremont Erik Satie - Gymnopédie No.1](https://i.ytimg.com/vi/S-Xm7s9eGxU/mqdefault.jpg)
![Odilon Redon
Odilon Redon (born Bertrand Redon ; French: [ʁədɔ̃]; April 20, 1840 – July 6, 1916) was a French symbolist painter, printmaker, draughtsman and pastellist.
Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family. The young Bertrand Redon acquired the nickname Odilon from his mother, Odile. Redon started drawing as a child; and, at the age of ten, he was awarded a drawing prize at school. He began the formal study of drawing at fifteen; but, at his fathers insistence, he changed to architecture. Failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.)
Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871.
During his early years as an artist, Redons works were described as a synthesis of nightmares and dreams, as they contained dark, fantastical figures from the artists own imagination. His work represents an exploration of his internal feelings and psyche. He himself wanted to place the logic of the visible at the service of the invisible. A telling source of Redons inspiration and the forces behind his works can be found in his journal A Soi-même (To Myself). His process was explained best by himself when he said:
I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased.
The mystery and the evocation of Redons drawings are described by Huysmans in the following passage:
Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium.
The art historian Michael Gibson says that Redon began to want his works, even the ones darker in color and subject matter, to portray the triumph of light over darkness.
Redon described his work as ambiguous and undefinable:
My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.
[from Wikipedia]
My first Odilon Redon video:
https://www.youtube.com/watch?v=rezSGHLU7ds&t=292s
Music: Aglaia & Alio Die Celestial Stream Odilon Redon](https://i.ytimg.com/vi/S2yUX4EQJws/mqdefault.jpg)