Лента №17: chetvergvecher

Harry Clarke ~ Tales of Mystery and Imagination by Edgar Allan Poe

От http://thegoldenagesite.blogspot.ru/

The Bouvier Sisters (1926). Albert Herter (American, 1871-1950). Oil on masonite. The Bouviers of East Hampton granted Herter the opportunity to paint their striking twins Maude and Michelle. Herter would take no fee provided he could take the painting on an exhibition tour. Today Maude and Michelle are most often associated with their celebrated and well-loved niece Jacqueline, wife of John F. Kennedy. Herter used soft tones and warm colors contrasted by his trademark turquoise blue to emphasize the red hues of the young sitters’ hair, creating a dreamy interlude for the twins

Critics on Costume, Fashions Change (1880). John Callcott Horsley (British, 1817-1903). Oil on canvas. Two languid beauties of the 1880s inspect a portrait of Queen Elizabeth I, herself a great beauty in her time. As with all of Horsley’s paintings, the viewer is led into a tight psychological narrative, with application beyond the period he has evoked. With the point of the parasol and the lady’s gesture the women are contrasting the Queen’s stiff, jeweled stomacher and tiny waist with their own more soft and flowing costume

Girl at the Piano (1914). Sergei Arsenevich Vinogradov (Russian, 1869-1938). Oil on canvas. Vinogradov studied at the Moscow School of Painting, Sculpture, and Architecture (1880-89) under E. S. Sorokin and V. D. Polenov. He was a member of the peredvizhniki (the “wanderers,” a progressive art movement) from 1899 to 1901. From the beginning of the 1900’s he painted mostly lyrical landscapes and interiors

Saint Agatha (c.1635). Andrea Vaccaro (Italian, 1604-1670). Oil on canvas. Prado Museum. After rejecting magistrate Quintian’s amorous advances, St Agatha was beaten, imprisoned, tortured, and her breasts were crushed and cut off. She told the judge, “Cruel man, have you forgotten your mother and the breast that nourished you, that you dare to mutilate me this way?” God gave her the relief she needed in the form of a vision of Saint Peter who then healed her wounds

Jane Eyre. Charlotte Brontë. New York: Random House, 1943. Wood engravings by Fritz Eichenberg. “If all the world hated you and believed you wicked, while your own conscience approved of you and absolved you from guilt, you would not be without friends.” ― Charlotte Brontë, Jane Eyre

Faust in zijn studeerkamer (1831). Ary Scheffer (Dutch, 1795-1858). Oil on canvas. Instead of the old alchemist of Goethe, Scheller has painted a young and handsome man seated in his study before a volume at which he looks with a melancholy air; behind him, Mephistopheles, smiling sardonically at the torments of his pupil. Salon, 1831

Susan Mary (Lily) Yeats (1900-1901). John Butler Yeats (Irish, 1839-1922). Oil on canvas. National Gallery of Ireland. Lily was the elder daughter of Yeats and the closest of his four children. Lily trained as an artist at the Metropolitan School of Art in Dublin and later worked as a textile artist with May Morris in London. She co-founded the Dun Emer Industries (1902) and the Cuala Industries (1908) with her sister Lolly, supervising the embroidery and textile work

Mother and child reading. Almanach Le Petit Echo de la Mode, 1950. The French fashion magazine Le Petit Echo de La Mode was published for over 100 years. Founded in Paris by Charles Huon de Penanster in 1879, the last issue was on the newstands in 1983, having been published weekly throughout (most of) that time

A Comfortable Corner (1887). Charles Courtney Curran (American, 1861-1942). Oil on canvas. In 1887, Curran’s paintings began exhibiting at the Pennsylvania Academy where he continued to show his work for nearly three decades. He left for Paris in 1889 where he studied under Jules Lefebvre at the Académie Julian for two years. Upon his return to the United States, the artist settled in New York and began teaching at the Pratt Institute and Art Students League

Allegory of Painting. Pompeo Giralamo Batoni (Italian, 1708-1787). Oil on canvas. Batoni displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. Batoni specialized in portraits of the high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background

Portrait of Joseph-Carle-Paul-Horace Delaroche (1851). Paul Delaroche (French, 1797-1856). Oil on canvas. This portrait shows the artist’s son at the age of fifteen, half length with a pile of books, having recently recovered from a severe illness. Delaroche’s wife Louise died at the age of 31, a tragedy from which it was said Delaroche would never recover. This portrait has added poignancy given the resemblance of Horace to his mother

The Music Party (1667). Pieter de Hooch (Dutch, 1629-1684). Oil on canvas. Royal Collection Trust. De Hooch decided that a scene is more effective if it appears glimpsed rather than stage-managed: this composition is lop-sided and asymmetrical, with figures apparently unaware of the viewer’s presence, even turning their backs. In De Hooch’s interior we see the street bathed in brilliant sunshine which narrows our pupils so that we can just make out the cloth backing of the wall as a shadowy veil

Portrait of Florence Wiczus (1955). Nicolai Fechin (Russian, 1881-1955). Oil on board. Wiczus was an adventurous professional photographer who befriended Fechin in the late 1940s. She photographed Fechin at work in his studio, and in 1955 he asked her to sit for him. Florence and her husband Clyde Swale practised abstract photography and in 1947, invited Fechin’s daughter Eya to promote their exhibition. Luminous in colour and abstract in design, their works were perceived as imaginative and innovative

Portrait of François Tronchin (1757). Jean-Étienne Liotard (Swiss, 1702-1789). Pastel on parchment. Cleveland Museum of Art. The Rembrandt painting (Lady in Bed, 1645-46) depicted on the easel in this portrait is now in the National Gallery of Scotland. Liotard, a friend and advisor to Tronchin (1704-1798), was popular throughout Europe for his portraits. Working in the difficult medium of pastel, he created images that are striking for their realism, brilliant effect, and extraordinary finish

The Neglected Lute (c.1708). Willem van Mieris (Dutch, 1662-1747). Oil on panel. Royal Collection Trust. The scene is one of seduction, combining the pleasures of taste, love and music in a suitably grand interior. The man is encouraging the woman to drink whilst her lapdog barks at the black servant. The oysters - recognised for their aphrodisiacal qualities - are moist and delicately coloured. Great care has been lavished on the texture of the various surfaces

A Scene from Undine (1843). Daniel Maclise (Irish, 1806-1870). Oil on canvas. Royal Collection, Windsor. The subject is based on a moment in a romantic German novel Undine, written by Friedrich de la Motte Fouqué. The young knight Huldbrand accompanies his bride Undine back home through the forest. The painting illustrates the forces of good, represented by the newly married couple, overcoming the power of evil, symbolised by the looming figure of the water god

A Concert (c.1520-25). Bernardino Licinio (Italian, c.1489-1565). Oil on canvas. Royal Collection Trust. A young woman, wearing an orange dress, is seated at the centre of the composition, playing the clavichord. It is perhaps most likely that the scene is one of commercial seduction. The link between Music and Love was a commonplace of the period, and pentimenti suggest the man and woman were originally in a more intimate pose

Inspiration. Nikolai Petrovich Bogdanov-Belsky (Russian, 1868-1945). Oil on canvas. Bogdanov-Belsky painted mostly genre paintings, especially of the education of peasant children, of which this work is a good example. He also painted portraits and impressionistic landscapes studies. He was an active Member of the Academy of Arts in 1914