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This is by Salvador Dali, an example of Surrealism. Bizzare type of art, definitely out of a dream, perhaps a nightmare.

John Martin 1789-1854, British
The Great Day of His Wrath 1851-3
Oil on canvas (Oc),support 1965mm x 3032mm

It is strange, in spite of the terrible subject I am flabbergasted of admiration for art when I see this painting. I saw it several times and it always overwhelmed me by the powerful expression.

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This reminds me of when I was a kid, playing the game 'Masterpiece'. I found this written about it:
American Gothic Oil on beaverboard, 1930; 74.3 x 62.4 cm Friends of American Art Collection, 1930.934 Grant Wood adopted the precise realism of 15th-century northern European artists, but his native Iowa provided the artist with his subject matter. American Gothicdepicts a farmer and his spinster daughter posing before their house, whose gabled window and tracery, in the American Gothic style, inspired the painting's title. In fact, the models were the painter's sister and their dentist. Wood was accused of creating in this work a satire on the intolerance and rigidity that the insular nature of rural life can produce; he denied the accusation. American Gothicis an image that epitomizes the Puritan ethic and virtues that he believed dignified the Midwestern character.

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Two Figures Reclining in a Landscape, Henri Matisse. His paintings have brilliant colors.

h 7

The Death of Socrates 1787 (100 Kb); Oil on canvas, 129.5 x 196.2 cm (51 x 77 1/4 in); The Metropolitan Museum of Art, New York

David, Jacques-Louis (1748-1825). French painter, one of the central figures of Neoclassicism.

'His uncompromising subordination of color to drawing and his economy of statement were in keeping with the new severity of taste. His themes gave expression to the new cult of the civic virtues of stoical self-sacrifice, devotion to duty, honesty, and austerity. Seldom have paintings so completely typified the sentiment of an age as David's The Oath of the Horatii (Louvre, Paris, 1784), Brutus and his Dead Sons (Louvre, 1789), and The Death of Socrates (Metropolitan Museum, New York, 1787). They were received with acclamation by critics and public alike. Reynolds compared the Socrates with Michelangelo's Sistine Ceiling and Raphael's Stanze, and after ten visits to the Salon described it as `in every sense perfect'.'