chetvergvecher (chetvergvecher) wrote,

Лента № 85

Étienne Chevalier et Saint Étienne, 1454, by Jean Fouquet

16th c Northern Italian School - Portrait of an Unknown Man and Woman

Unknown - Albert Henry Collings

Albrecht Dürer (Ger. 1471-1528) Portrait of a Young Man (1500)

Cheapside, George Hyde Pownall. English (1876 - 1932)

Tomasz Alen Kopera

St. Pancras at night, English School, 19th Century

Head of the West Bow, Edinburgh, Louise Rayner. English (1832 - 1924) - Watercolor


Ángel Botello (1913-1986) Dos Mujeres

Gilles ANDRE crayon, encre, gouache sur papier, 24 x 16 cm - 2015

OLIVARES, John Paul (Lakandiwa) Sharareh - Prayers to the Night 2011 Metallic Gel Pen on Illustration Board

“Barbara” by Leon Kroll

The Reading Lesson. Émile Munier

Henry Scott Tuke (1858 - 1929), On the Beach, Bournemouth, March 1882

good morning 2011 by Norman Engel

Pierre-Gérard Langlois

Victor Bauer 1969 | American Figurative painter

La Liseuse (The Reader) - Marie Laurencin 1913 French painter 1883-1956

Eleonora of Toledo with her son Giovanni de’ Medici - Agnolo Bronzino, c. 1544-45

Jeremy Mann

Leo Gestel, Dame met sigaret (1911)


Miss Juliet Henley (At Breccles Hall), 1943. Rex Whistler (British, 1905-1944). Oil on canvas. Miss Henley writes at the typewriter in the library at Breccles Hall (constructed circa 1550). Following restoration work the Hon Edwin and Mrs Montagu purchased Breccles in 1910 and entertained many notable guests, including members of the royal family, Noel Coward, and Winston Churchill. Henley and Whistler perhaps were among the invited guests

Woman with a Mirror (1882). Arvid Liljelund (Finnish, 1844-1899). Oil on canvas. Liljelund studied at the Finnish Art Society drawing school in Turku, Finland in 1863-1864 and Helsinki in 1864-1865. He then continued his studies at the Düsseldorf Academy of Fine Arts in Germany from 1866 to 1869. He began to exhibit his work beginning in 1870

In the Shadow of the Tree (1914). Helen Galloway McNicoll (Canadian, 1879-1915). Oil on canvas. Musée National des Beaux-Arts du Québec. A young woman sits beside an infant in a perambulator under the shade of an umbrella. As she reads, she creates her own mental space apart from the child, with whom she nevertheless maintains physical contact. The hand that links the two is painted somewhat differently than the rest of the canvas, signalling its central role both psychologically and compositionally

Ida Rubinstein as Zobeide and Vaslav Nijinsky as the Golden Slave in Schéhérazade (1913). Georges Barbier. From “Designs on the Dances of Vaslav Nijinsky.“ Schéhérazade premiered on June 4, 1910 in the Theatre National de l'Opera, Paris, with Rubenstein, Cecchetti and Nijinsky. Rimsky-Korsakov was the composer. The ballet is one act, and was choreographed by Fokine with decor and costumes by Leon Bakst

Holiday Reading (1916). Carl Larsson (Swedish, 1853-1919). Watercolour and gouache over pencil on paper laid on canvas. Beautifully luminous and fresh, verdant and of large format, Holiday Reading is a prime depiction of family life at the Larssons’ country home. Karin, the artist’s wife, sits alongside their youngest son Esbjörn as they relax together, each engrossed in reading their own book. Next to them the table has been set for tea

Maternity (1917). Edmund Blair Leighton (English, 1852-1922). Oil on canvas. The beautiful mother sits with her infant on a bench in the stone room which may be in a church or convent. The second woman, perhaps a novice in a religious order, reads from a prayer book in order to give support to the mother. One is left to interpret in their own way the circumstances in this sentimental scene

Bal Bullier (poster 1894). Georges Meunier (French, 1869-1942). Original lithograph from “Les Maitre de L'Affiches” series, PL. 147. Printed by Imprimerie Chaix, Paris, 1899. Meunier was an admirer and disciple of Cheret, and most of his poster work was done at the same printing plant. Perhaps a trifle less airy than some of Cheret’s nymphs, and with her feet firmly planted on the ground, this cavorting joy-seeker takes second place to no one when it comes to having herself a ball

Niña al piano (1852). Antonio Gómez Cros (Spanish, 1808-1863). Oil on canvas. Gómez Cros’ style was romantic with classical influence. He was a disciple of Vicente Lopez at the Academy of San Fernando. He specialized in painting religious highlights. In 1846 he was appointed court painter to Isabel II

I Don’t Know Where I’m Going but I’m on My Way (1917). Composer: George
Fairman. Illustrator: E. Pfeiffer. Harry Von Tilzer, New York. Refrain: “I don’t know where I’m going but I’m on my way.” First Line: “Goodbye everybody I’m off to fight the foe”

The Duet (1898). Sir Francis Bernard Dicksee (English, 1853-1928). Oil on canvas. Coming to maturity at a time when the very word ‘art’ was synonymous with romantic and sentimental illustration, and the thing so understood more popular than ever before or since, Dicksee was by nature and temperament born to enjoy the popularity; and he enjoyed it without a trace of affectation or the least violation of his artistic conscience

Portrait of Marie Breunig (1894). Gustav Klimt (Austrian, 1862-1918). Oil on canvas. Klimt’s portrait offers a rare glimpse of his style before the Vienna Secession. The staggered rectilinear shapes that form the background heralded his mature period but this work is rooted in a cool, restrained formality much in vogue at the time. There a touch of Ingres’ handling in the anatomy of the lady’s soft forearm and digits, the deftly painted jewelry, and the rich plushness of her gown

Andreas Reading (c.1882-1883). Edvard Munch (Norwegian, 1863-1944). Oil on card. The work was painted in the family flat at Olaf Ryes Plass in Grünerløkka, There Edvard and his brother Andreas shared a room. Munch included few props, producing instead a composition that expresses the family’s straitened circumstances. Silhouetted against the window, Andreas strikes a nonchalant pose

Anne Loudoun, Lady Henderson of Fordell (1771). Angelika Kauffman (Austrian, 1741-1807). Oil on canvas. Angelika Kauffmann Museum, Schwarzenberg, Germany.
Lady Anne looks up while holding in her left hand an opened book, her finger keeping her place. The colors of the sunset are picked up in her bright dress. The British country living style can be seen in Lady Anne’s dress that previews the Greco-Roman revival of the French Revolutionary era

Reverie - The Letter (1870s). Raimundo de Madrazo y Garreta (Spanish, 1841-1920). Oil on panel. The Clark Art Institute. In an elegant salon, a fashionably dressed young woman has received a splendid bouquet of flowers. Having impatiently torn open the accompanying letter, she is reflecting on is contents. Her slumped pose suggests that the message is not the one she was hoping for. Madrazo’s meticulous brushwork captures the colors and textures of the room and its occupant in exquisite detail

Jeune femme lisant à sa fenêtre (1921). Marius Borgeaud (Swiss, 1861-1924). Oil on canvas. In the 1920s, Borgeaud moved to a village in Brittany, Le Faouët, known for its colony painters. He preferred anonymous places like the station and always painted more private interiors. The paintings he produced during the three years he spent in Faouët, between early 1920 and late 1922, are considered the height of his œuvre

Le Pays des Fées (poster 1889). Jules Cheret (French, 1836-1932). Original lithograph from “Les Maitre de L'Affiches” series, PL. 181. Printed by Imprimerie Chaix, Paris, 1899. A children’s attraction at the 1889 World’s Fair in Paris, ‘The Land of the Fairies,’ could serve virtually as a theme for much of Cheret’s work, It’s these happy, soaring fairies that remain his most memorable legacy. A delicate explosion of yellows, reds and blues

Elizabeth at the Piano (1875). Thomas Eakins (American, 1844-1916). Oil on canvas. Addison Gallery of American Art. Muted light from behind catches scattered points in this interior setting–most notably, wisps of white at her collar and cuffs, and the lovely small red flower. Eakins gives the greatest luminosity to the musical score propped on the piano’s music stand, but draws the attention to Elizabeth herself–to her face and hands. It is a haunting scene filled with unheard music, a contemplative moment

Girl in Green Reading (1917). Jules Pascin (Bulgarian, 1885-1930). Oil on canvas. The Barnes Foundation. Pascin became the symbol of the Montparnasse artist community. In his story, A Moveable Feast, Ernest Hemingway wrote a chapter titled With Pascin At the Dôme, recounting a night in 1923 when he had stopped off at Le Dôme and met Pascin escorted by two models. Hemingway’s depiction of the events of that night is considered one of the defining images of Montparnasse at the time

Tags: картинки14, музей14

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