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Лента №15

Berni Wrightson ~ Stephen King's The Stand Portfolio ~ Published by Glimmer Graphics 1991














The Suitor’s Visit (c.1658). Gerard ter Borch (Dutch, 1617-1681). Oil on canvas. National Gallery of Art, Washington. Ter Borch’s paintings often allude to music, a common 17th-century metaphor for love and harmony between family members, lovers, or friends. In The Suitor’s Visit, the arrival of a gentleman has interrupted a duet. A young woman has risen to greet him, leaving her bass viol and sheet music on the table, while her seated friend continues to strum a lute

Claude Monet Painting by the Edge of a Wood (c.1885). John Singer Sargent (American, 1856-1925). Oil paint on canvas. Tate. It was probably in 1885 that Sargent and Monet painted together at Giverny, near Paris. Sargent admired the way that Monet worked out of doors, and imitated some of his subjects and methods in sketches such as this. It is characteristic of Sargent to give a human view of Monet’s practice and of the patience of his wife, who sits behind him

Couples dancing. Art Deco inspired illustration by Mads Berg. “A classic piece of art is for me an image that by a first glance is truly perfect and strikingly beautiful, but when investigating further has some really weird or surprising elements to it. This makes an image forever fascinating. Perfection in itself is a dead thing after a short while, I believe. Holbein’s ’The Ambassadors’ is a classic example.” – Berg

The Fairy Tale (1902). Harrington Mann (Scottish, 1864-1937). Oil paint on canvas. Tate. A painting of the artist’s first wife and two of his three daughters, one of whom, Cathleen (1896-1959), became a painter and married the Marquess of Queensbury

East and West (after 1904). George Henry (Scottish, 1858-1943). Oil on panel. Scottish National Gallery. In 1893 Henry visited Japan and the trip was financed by the Glasgow art dealer Alexander Reid. Henry responded to the exoticism of his surroundings with a series of brilliant oil paintings and watercolours. The subject matter often appeared in his later works. After he settled in London he became a respected Academician but his late works are in a less free and adventurous style

The Phrenologist (1874). Lucius Rossi (Italian, 1846-1913). Oil on panel. George Combe created a system of philosophy of the human mind that became popular because of its simplified principles and wide range of social applications that were in harmony with the liberal Victorian world view. Combe’s book On the Constitution of Man and its Relationship to External Objects sold over 200,000 copies

Saint Mary Magdalene reading, at a table with fruit and a golden tazza. Workshop of The Master of the Parrot (active Antwerp 1525-50). Oil on panel. His portrayals of the Virgin and Child and Mary Magdalene, depicted as young aristocrats dressed in the fashion of the 1530s, are similar to the works of his contemporary, the Master of Female Half-lengths, whose highly Mannerist style and method of production are sometimes confused with figures by Pieter Coecke van Aelst

Clare (c.1933). Wilfrid Gabriel de Glehn (British, 1870-1951). Oil on canvas. Towneley Hall Art Gallery & Museum. De Glehn and his wife, American-born artist Jane Erin Emmet, travelled extensively, often accompanying John Singer Sargent on his trips through Europe. Sargent painted them at the Villa Torlonia, Frascati. Although some experts rank de Glehn alongside Sargent, he is considered as something of a late British Renoir, for his deft use of sunlight and shadow

Reading Woman with Parasol (1921). Henri Matisse (French, 1869-1954). Oil paint on canvas. Tate. Matisse painted this work while renting a house near Nice in the South of France. The relaxed, relatively naturalistic style is typical of his work of the early 1920s. Matisse wrote that the painting ‘will represent me as well as possible - moreover, I think that it will not frighten the acquisitions committee of the Modern Museum in London.’ In fact, the Tate initially turned it down, but accepted it in 1938

In the Shadow of the Tent (1914). Helen Galloway McNicoll (Canadian, 1879-1915). Oil on canvas. Museum of Fine Arts, Montreal. McNicoll acknowledged the “new woman” of the modernist age. In the Shadow of a Tent is especially effective in representing intimacy and bonding between women. A reviewer in the Family Herald and Weekly Star noted that “her style is broad and simple and she follows the modern school of sunlit effects without any affectation, but absolute sincerity”

Irish Girl (Mary O'Donnel), 1913. Robert Earle Henri (American, 1865-1929). Oil on canvas. Museum of Fine Arts, Boston. Henri complemented the ruddiness of O’Donnel’s complexion with her brilliant red sweater. The artist also noted her shyness, suggested by her averted glance and her nervously pursed lips, defined with touches of yellow pigment. Henri rendered Mary’s sparkling irises by allowing the lighter weave of the canvas to show through the palest blue stain of pigment.

Degas and his Model (c.1906). Maurice Denis (French, 1870-1943). Oil on canvas. Musée d'Orsay. The scene is organised around one of Degas’ famous notebooks in which the artist used to jot down his impressions of colour, and make quick, rough sketches. In the background, Degas’ drawings are laid out with their tones of grey, beige, brown, crimson and green. Although half hidden by Degas and his model, one can still make out a female nude and a dancer in a tutu

The Love Letter (early 1870s). Eugen von Blaas (Austrian, 1843-1931). Oil on canvas. Eugene de Blaas depicted Venetian beauties, often displayed against the pale, impressionistic, stonework of the city. One particular beauty, Paola Prina, married de Blaas in 1870 and is often depicted is his works, including The Love Letter. Here, she looks down, perhaps at the admirer that has delivered, by string and stone, a love letter

Cécile. Jean-Pierre Gibrat (French, born 1954). Si ce n'est le pantalon peu avantageux et déjà à la mode en 1943 ??? Ah bon ?? Et la tasse sur la pile de livre… Plutôt très contemporaine, non ?? D'autre part à l'occasion de la 2e réédition du C.E.J en 2000, 50 exemplaires ont été accompagné par ces 2 ex-libris (numérotés et signés)

La bailaora Josefa Vargas (1840). Antonio Maria Esquivel (Spanish, 1806-1857). Oil on canvas. Colección Duque de Alba. Josefa Vargas, known as Pepa, was a popular Spanish dancer in the 1840s. ‘Spanish’ solos and group dances were incorporated into many ballets in the 1830s and 1840s, using some authentic steps and movements but more ballet than genuine Spanish. Once native Spanish dancers began to tour Europe, they adopted the 'Spanish’ costume developed by ballet dancers when they performed the cachucha or bolero

Countess Wilhelmine von Brandenburg Bayreuth (c.1750). Antoine Pesne (French, 1683-1757). In addition to her other accomplishments, Wilhelmine was also a gifted composer and supporter of music. She was a lutenist, a student of Sylvius Leopold Weiss, and the employer of Bernhard Joachim Hagen. She wrote an opera, Argenore, performed in 1740 for her husband’s birthday, as well as some chamber music that still survives

Portrait d'une artiste dessinant d'après une antiquité. Jean-François Sablet (French, 1745-1819). Oil on canvas. Among Jean-François Sablet’s early portraits are those of Charles de Bourbon, Comte d'Artois, as Colonel General of the Swiss and Grison Guards (1774) and Charles-Henri, Comte d'Estaing. He also painted genre scenes and mythological scenes. In 1791 he left Paris for Rome to join his brother. While there he concentrated on landscapes, also depicting people in local costume

The Blue Mandarin Coat (The Blue Kimono), 1922. Joseph DeCamp (American, 1858-1923). Oil on canvas. High Museum of Art. The anonymous model possesses the regal bearing typical of the artist’s formal portraits of men, and her assertive pose contradicts contemporary models of femininity. The brilliant light radiating from within the model recalls the style of Rembrandt’s late portraits, and her luminous eyes, cast in a backward glance, appear to convey DeCamp’s own mood of retrospection

Lute Player (c.1629). Jan Lievensz (Dutch, 1607-1674). Oil on panel. Walters. In his formative years, Lievensz was influenced by the exuberant and boldly dramatic close-up paintings of tavern scenes of swaggering musicians by Utrecht painters. Lievensz responds to this development but interprets the mood of his musician as contemplative and introspective. The delicacy of his handling of light and color contributes to this mood.

The New Necklace (1910). William McGregor Paxton (American, 1869–1941). Oil on canvas. Museum of Fine Arts, Boston. Paxton has implied a narrative, involving the letter being written and the necklace. The jewelry may be a gift from an admirer or a purchase. The girl in green may be advising her friend. Paxton emulates Vermeer, whose narratives are often ambiguous. Paxton enhanced his connection to Dutch art by including paintings within his painting and by selecting a hand-carved frame in a Dutch style

Preparing for the Ballet (1936). Walter Ashworth (English, 1883-1952). Oil on canvas. Herbert Art Gallery & Museum. Ashworth was a sculptor, painter and teacher at Coventry College of Art and chairman of the Coventry and Warwickshire Society of Artists. He was a war artist during the Second World War

Copenhagen Tram. Paul-Gustave Fischer (Danish, 1860-1934). Oil on canvas. Despite the influence that Parisian artistic trends had in the 1880s and 1890s on the development of Danish art, Fischer remains one of the most quintessentially Danish artists of his time. Inspired largely by scenes of daily life in Copenhagen, his street scenes display the vitality and a sense of immediacy in their subject matter and execution that many of his contemporaries were seeking abroad

Self-Portrait with Brush (1924). Zinaida Serebriakova (Russian, 1884-1967). Oil on canvas. Serebryakova’s long years away from Russia were full of nostalgia and brought her neither joy nor creative satisfaction. The works she produced after 1924 indicate that even in a strange land she still stuck to her favourite theme of popular life, remaining faithful to the art of realism.

Portrait of a gentleman, half-length, seated in a red velvet jacket with a violin. Guillaume Voiriot (French, 1713-1799). Oil on canvas. According to a label on the reverse, the painting was once owned by the Comte de Moustier, French envoy to the United States from 1787 to 1789 and a close friend of George Washington. After the death of his wife he lived with his sister-in-law, who was an artist and painted one of the rare portraits of Washington

Lady Margaret Sackville (c.1910). George Henry (Scottish, 1858-1943). Oil on canvas. Laing Art Gallery. Sackville was a prolific poet, whose work spanned a range of poetic genres from dramatic verse to epigrams and fantasy for children. She also wrote fairy-tales, plays, and introductory essays. She published an early anthology of women’s poetry in 1910; her introduction to this volume speaks directly of the connection between women’s social freedom and the freedom of the imagination

Portrait of Karoline Stiffel-Ecalard (1859). Friedrich von Amerling (Austro-Hungarian, 1803-1887). Oil on canvas. Amerling created over 1000 works, mostly portraits. He was the most popular portrait painter of the high aristocracy and the large middle class of the Biedermeier period. The years from 1830 to 1850 represent the high point of his work. His style has points of similarity to that of Ingres, combining clarity of outline with rich coloration

Cup of Gold. John Steinbeck. New York: Robert M. McBride & Co., 1929. First edition. Original dust jacket. Historical fiction about the adventures of swashbuckler Sir Henry Morgan. Steinbeck intertwines some historical fact, as the title suggests, with a variety of literary conventions like medieval allegory, romantic adventure, and stark naturalism to retell the tale of Wales’ famous 17th century privateer

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