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08/02/2024

Édouard Manet (1832–1883), The Monet Family in Their Garden at Argenteuil, 1874, Oil on canvas; 24 x 39 1/4 in. (61 x 1000 cm), Metropolitan Museum of Art, New York

In the late 1860s, Édouard Manet was Claude Monet's hero. By 1874, they had become friends and Manet came under the sway of Monet's approach to painting quickly, out of doors. This portrait of the Monet family—Camille Monet and Jean, with Claude Monet gardening at the left—is one of Manet's most significant essays in this new style.

In 1924, Monet recounted the circumstances of the day in his garden at Argenteuil: "Manet, enthralled by the color and the light, undertook an outdoor painting of figures under trees. During the sitting, Renoir arrived. . . . He asked me for palette, brush and canvas, and there he was, painting away alongside Manet. The latter was watching him out of the corner of his eye. . . . Then he made a face, passed discreetly near me, and whispered in my ear about Renoir: 'He has no talent, that boy! Since you are his friend, tell him to give up painting!'"
Renoir and Manet both gave their pictures to Monet. Renoir's painting is now in the National Gallery of Art, Washington, D.C. ( MET web site)

It is interesting to compare the two works painted that day. We see that, though influenced by his juniors, Manet remained Manet. His painting seems both more carefully thought out and more ambitious than Renoir's, and, though he breaks new ground in his brushstrokes and variety of colours, he remains allusive, lacking the spontaneity shown by Renoir. But then, Renoir was practiced at this kind of painting, whereas Manet was the beginner.

08/02/2024

Édouard Manet (1832–1883): Le Déjeuner sur l'herbe; Luncheon on the Grass, 208 cm × 265.5 cm (81.9 in × 104.5 in), 1863, Musée d'Orsay, Paris

Le Déjeuner sur l'herbe, originally titled Le Bain (The Bath), is a large oil on canvas painting by Édouard Manet created in 1862 and 1863. The painting depicts a female n**e and a sc****ly dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés (initiated the same year by Napoléon III) where the painting sparked public notoriety and controversy. A smaller, earlier version can be seen at the Courtauld Gallery, London.
In Le déjeuner sur l'herbe, Manet was paying tribute to Europe's artistic heritage, borrowing his subject from the Concert champêtre – a painting by Titian attributed at the time to Giorgione (Louvre) – and taking his inspiration for the composition of the central group from the Marcantonio Raimondi engraving after Raphael's Judgement of Paris. But the classical references were counterbalanced by Manet's boldness. The presence of a n**e woman among clothed men is justified neither by mythological nor allegorical precedents. This, and the contemporary dress, rendered the strange and almost unreal scene obscene in the eyes of the public of the day. Manet himself jokingly nicknamed his painting "la partie carrée"; The square party.
Le déjeuner sur l'herbe - testimony to Manet's refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation - can perhaps be considered as the departure point for Modern Art.

08/02/2024

Édouard Manet, Self-Portrait with Palette, 1879, Collection of Steven A. Cohen, Greenwich, Connecticut

Manet was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.

His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe), which will be the next post, and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art.

08/02/2024

Paul Cézanne: The Card Players 1894–1895, 47,5 x 57 cm, Musée d'Orsay, Paris

The Card Players is a series of oil paintings by the French Post-Impressionist artist Paul Cézanne. Painted during Cézanne's final period in the early 1890s, there are five paintings in the series. The versions vary in size and in the number of players depicted. Cézanne also completed numerous drawings and studies in preparation for The Card Players series. One version of The Card Players was sold in 2011 to the Royal Family of Qatar for a price variously estimated at between $250 million and $300 million, making it the second most expensive work of art ever sold.

Of the three versions, perhaps the best known and most often reproduced is in the Musée d'Orsay in Paris. It is also the smallest at 47.5 x 57 cm (17 3/4 x 22 1/2 in). The Orsay painting was described by art historian Meyer Schapiro as "the most monumental and also the most refined" of the versions, with the shapes being simpler but more varied in their relationships. It is the most sparsely painted, and generally considered the last of the Card Players series.

There is a shift of axis to the scene, in which the player to the left is more completely in the picture, chair included, with the appearance of being nearer to us. His partner to the right is cut off from the scene at his back, and the table is displayed at an angle to the plane.

08/02/2024

Paul Cézanne (1839–1906): The Bathers (Les grandes Baigneusess), 1899-1906, Philadelphia Museum of Art

The painting is the largest of a series of "Bather" paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Philadelphia, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne's finest work.

Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor Joseph E. Widener. It was previously owned by Leo Stein.

With each version of the bathers, Cézanne moved away from the traditional presentation of paintings, intentionally creating works which would not appeal to the novice viewer. He did this in order to avoid fleeting fads and give a timeless quality to his work, and in so doing paved the way for future artists to disregard current trends and paint pieces which would appeal equally to all generations. The abstract n**e females present in Large Bathers give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaption of the n**e forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, Large Bathers is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of n**e women of the same period, Picasso's Les Demoiselles d'Avignon
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07/02/2024

Paul Cezanne (1839-1906; French Post-Impressionist painter): Self-Portrait in a Felt Hat 1890-95, Bridgestone Museum of Art, Tokyo

Cezanne's works laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cezanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cezanne's intense study of his subjects.
Cezanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cezanne "is the father of us all."

06/02/2024

Percevel Rockwell (1894 — 1978; American painter and illustrator. His works enjoy a broad popular appeal in the United States for their reflection of American culture): The Connoisseur, Cover illustration for The Saturday Evening Post, January 13, 1962, Private collection

The January 13, 1962 cover of The Saturday Evening Post features an older man eying a painting that looks like Jackson Po***ck at his mos drippy! The painter was Norman Rockwell.

Called The Connoisseur, the painting is a mix of art criticism (this is what we're forced to look at now!). It mixes Jackson Po***ck's trademark drip painting with Rockwell's trademark illustrations. Po***ck, of course, famously painted with the canvas on the floor. According to the Norman Rockwell Museum, Rockwell rearranged his entire studio in 1961. He painted the abstract image first, on the floor like Po***ck, and then combined the man and Po***ck in his final painting.
While we can't be sure if Rockwell's Po***ck was parody or homage, we do have a hint. Norman Rockwell once said "I can take a lot of pats on the back. I love it when I get admiring letters from people. And, of course, I'd love it if the critics would notice me, too. Jackson Po***ck was receiving tremendous adulation from the art world while Rockwell, who always called himself an illustrator was held a little above the level of kitch. The Connoisseur was about that art world view rather than aimed specifically at Jackson Po***ck. It is a commentary on the art world's complementary view of non objective, action painting and their lower view of Rockwell's illustrations.

06/02/2024

painters.paintings Paul Jackson Po***ck (1912 —1956; influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting): Convergence (detail), 1952, Albright-Knox Art Gallery, Buffalo, NY, USA
***ck
In the 1940s and '50s, for the first time, American artists became internationally important with their new vision and new artistic vocabulary, known as Abstract Expressionism.
Abstract Expressionists shared a similarity of outlook rather than of style - an outlook characterized by a spirit of revolt and a belief in freedom of expression. The main exponents of the genre were Po***ck, de Kooning, and Rothko, but other artists included Guston, Kline, Newman and Still. Jackson Po***ck says in 1947: "On the floor I am more at ease, I feel nearer, more a part of the painting, since this way I can walk around in it, work from the four sides and be literally 'in' the painting."

05/02/2024

Woman with Ibis, c. 1860-62, Metropolitan Museum of Art, New York This striking work found fame at the Edgar Degas retrospective held in 1988-89 at the Museum, where visitors were surprised by its unfamiliarity. The fame of Degas's ballet, bather, and jockey scenes has eclipsed his early career, when he wanted nothing more than to be a history painter like his two gods, Ingres and Delacroix. Guided by the example of Pierre Puvis de Chavannes and his close friend Gustave Moreau, the young Degas sought to invent scenes that conveyed a sense of distant times and places. Moreau may have suggested this subject to Degas; an early notebook bears the title "Young Egyptian Girl Feeding Ibises." Probably begun in Rome over the winter and spring of 1857-58, the canvas was brought back to Paris, where Degas is thought to
have added the Oriental cityscape. He based the pose of the figure on Hippolyte Flandrin's painting Dreaming, which itself derived from the figure of Stratonice in Ingres' famous Antiochus and Stratonice (Musee Conde, Chantilly). In contrast to the meticulous finish of the figure, drapery, and cityscape, the flamboyant ibises are only sketched in. Degas failed to finish many of his early canvases, most of which, like this one, he kept until his death.

04/02/2024

painters.paintings Marie Bracquemond (1840-1916): « Sous la Lampe . (Sisley et sa femme dinant chez les Braquemond a Sevres); Under the Lamp (Sisley and his wife are having dinner at Braquemonds in Sevres), 1887, Private collection

04/02/2024

painters.paintings Marie Bracquemond (1840-1916; French Impressionist artist): On the Terrace at Sevres,1880, Musee du Petit Palais, Geneva, Switzerland

30/01/2024

painters.paintings Berthe Morisot (1841 — 1895): Grain field, c.1875, Musk d'Orsay

30/01/2024

painters.paintings Berthe Morisot (1841 — 1895): In the Dining Room, c. 1875, National Gallery of Art, Washington, D.C.

26/01/2024

painters.paintings Berthe Marie Pauline Morisot (1841 — 1895; French Impressionist painter): On the Balcony, 1872, Sammlung Ittleson Gallery, New York

In 1864, Berthe Morisot exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Academie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cezanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley. It was held at the studio of the photographer Nadar.
She was married to Eugene Manet, the brother of her friend and colleague Edouard Manet.

25/01/2024

painters.paintings Max Liebermann (1847 — 1935; German painter and printmaker, and one of the leading proponents of Impressionism in Germany): Munchner Biergarten (Munich Beer Garden), 1884, Alte Pinakothek, Munich

As the influence of Impressionism spread beyond France, artists, too numerous to list, became identified as practitioners of the new style. In Germany, beside Max Liebermann; Lovis Corinth, Ernst Oppler, Max Slevogt and Karl Walther were some of the prominent impressionists.

24/01/2024

painters.paintings Mary Stevenson Cassatt (1844-1926): The Child's Bath (The Bath), 1893, Art Institute of Chicago

24/01/2024

Rembrandt van Rijn (1606-1669): The Night Watch; Militia Company (1642) - Rijksmuseum, Amsterdam

Rembrandt has displayed the traditional emblem of the Arquebusiers in the painting in a natural way: the girl in yellow dress in the background is carrying the main symbols. She is a kind-of mascot herself: the claws of a dead chicken on her belt represent the clauweniers (arquebusiers); the pistol behind the chicken stands for 'clover'; and, she is holding the militia's goblet. The man in front of her is wearing a helmet with an oak leaf, a traditional motif of the Arquebusiers. The dead chicken is also meant to represent a defeated adversary. The colour yellow is often associated with victory.

23/01/2024

Pieter Bruegel, the elder: The Hunters in the Snow, 1565, Kunsthistorisches Museum, Vienna 'Popular activities in the Netherlands of Renaissance'

The landscape itself is a flat-bottomed valley with jagged peaks visible on the far side. A watermill is seen with its wheel frozen stiff. In the distance, figures ice skate, play hockey with modern style sticks and curl on a frozen lake; they are rendered as silhouettes.

In medieval Europe, skates were mainly made from animal bones. The Dutch are credited with improving the skates in the XIV century to the block of wood, tied to a shoe with leather straps, steel fasten the bottom strip of metal to better gliding. By 1500, it turned into a sharp metal blade – so there was the prototype of the modern design of the skate.
Bruegel’s paintings on the theme of winter are the first known images of this like a curling game.
Forerunner of ice-hockey was common in different countries of medieval Europe in the winter and in the summer version. Children in the picture probably enjoy Dutch winter game Colva. Its principle was to push the ball with a stick of wood or leather, to get to the target.

23/01/2024

Pieter Bruegel, the elder: The Hunters in the Snow, 1565, Kunsthistorisches Museum, Vienna

In front of an Inn with a sign inscribed with the words "Under the Stag" the villagers built a fire to smoke the pig carcass. This activity is in line with traditional work in December. In November, pigs fattened and in December were slaughtered for harvested meat. The inn is called Dit is inden Hert (The deer). The sign is painted, an animal and a saint in front of it on his knees, probably, Saint Eustace Placidus or Hubertus, patron of hunters

22/01/2024

painters.paintings Pieter Bruegel, the elder: The Hunters in the Snow, 1565, Kunsthistorisches Museum, Vienna

The Hunters in the Snow, also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Flemish artist Pieter Bruegel the Elder. The Northern Renaissance work is one of a series of six, five of which still survive, that depict different times of the year
The painting shows a wintry scene in which three hunters are returning from an expedition accompanied by their dogs. By appearances the outing was not successful; the hunters appear to trudge wearily, and the dogs appear downtrodden and miserable.

19/01/2024

painters.paintings Vincent van Gogh: The Red Vineyard at Arles, November 1888, Pushkin Museum, Moscow

The one and only painting Vincent van Gogh sold during his lifetime was Red Vineyard at Arles (The Vigne Rouge), which is now in the Pushkin Museum of Fine Arts in Moscow. It was exhibited in Brussels in 1890 at the annual exhibition of Les XX, and sold.

17/01/2024

painters.paintings Francis Danby (1793 — 1861; Irish painter of the Romantic era): Disappointed Love, 1821, Victoria and Albert Museum, London

16/01/2024

painters.paintings Giovanni Battista di Jacopo known as Rosso Fiorentino ("red Florentine" in Italian), or II Rosso (1494 — 1540: Italian Mannerist painter, in oil and fresco, belonging to the Florentine school): II Putto the suona; Angiolino musicante (Musician Angel), 1522, Galleria degli Uffizi, Florence

16/01/2024

painters.paintings Georges de La Tour (1593 — 1652): [Education de la Vierge; The Education of the Virgin, c. 1650, Frick Collection, New York

15/01/2024

Gerrit Van Honthorst ( 1590-1656; Dutch Baroque painter): The Happy Violinist with a Glass of Wine, c. 1624, Museo Thyssen-Bornemisza, Madrid

When you approach to the painting, those little white stains in the eyes are noticed and you do realize that the figure comes to life, partly, by means of them.
With only a tiny brush stroke this illusion of vividnes; a light reflaction effect has been created. Of course it is clear that without all the other mastery parts of the painting, this is useless. Such techniques have been used and are still used widely by artists in portraits and still-lives, like tiny white brush strokes on eyes, nose, chin, grapes... So one can say, these details have always been, in a way, showrooms of the masterpieces.

15/01/2024

Gerrit Van Honthorst ( 1590-1656; Dutch Baroque painter): The Happy Violinist with a Glass of Wine, c. 1624, Museo Thyssen-Bornemisza, Madrid

The first thing, in front of this painting, a viewer is impressed by is the vividness, liveliness of the figure, at least that is what I experienced, and one may wonder how this effect has been achieved...

15/01/2024

painters.paintings Gerrit Van Honthorst ( 1590-1656; Dutch Baroque painter): The Happy Violinist with a Glass of Wine, c. 1624, Museo Thyssen-Bornemisza, Madrid

Details of the paintings may sometimes tell unexpected stories and/or give some extra visual pleasures, as the previous Bosch details do!
And sometimes one can encounter some "tricks"; techniques to create a visual effect, behind the mastery hidden in the details.
I'll try to exemplify one of such "tricks" in the next two close ups of this painting.

15/01/2024

painters.paintings Johannes Vermeer (1632 — 1675): Officer and the laughing girl, 1655-60, The Frick collection, New York
Vermeer was a Dutch painter who specialized in domestic interior scenes of middle-class life. He was a moderately successful provincial genre painter in his lifetime. He seems never to have been particularly wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings.
Vermeer worked slowly and with great care, using bright colours and sometimes expensive pigments, with a preference for lapis lazuli and Indian yellow. He is particularly renowned for his masterly treatment and use of light in his work.
Vermeer painted mostly domestic interior scenes. Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.

15/01/2024

Hieronymus Bosch: The Garden of Earthly Delights,1490-1510, Museo del Prado, Madrid

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Rembrandt: The Night Watch; Militia Company (1642) - Rijksmuseum, Amsterdam #Rembrandt #Art #Artists #Painters #Paintings #Arthistory #Baroque #DutchArt #DuchGoldenAge #pittore #pittura #pintor #pintura #peintre #peinture #Arte #artista #artwork #Maler #Malerei #oilpainting #artgallery #Amsterdam #Rijksmuseum With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Behind them, the company's colours are carried by the ensign, Jan Visscher Cornelissen.

These two pieces are some Judith versions of Cristofano Allori and Artemisia Gentileschi, both, housed in the Palazzo Pitti, Florence . . Cristofano Allori (1577 - 1621): Judith with the Head of Holofernes, 1615-17, Oil on canvas, 139 x 116 cm, Galleria Palatina (Palazzo Pitti), Florence, Italy . . In Cristofano Allori's most famous painting, 'Judith with the Head of Holofernes', the extreme contrast between the dark and bearded head of Holofernes and the angelic face of his murderess owes much to the Mannerist school in which he was trained. Allori is said to have created a portrait of his mistress Mazzafirra in the figure of Judith and her mother in the figure of the elderly servant woman. The head of Holofernes may be a self-portrait. If this is true, the picture would certainly be a classic example of the portrait history in which real figures are presented as figures from history. This is the only painting from the long neglected Florentine school of the seventeenth century whose reputation has always remained at the highest level, and it therefore gained a sort of symbolic value. Moreover, its fame as a masterpiece of the Seicento spread beyond regional borders, thanks in part to its temporary confiscation and subsequent display in the Musée Napoléon in Paris between 1799 and 1815. The work is by far the best of the many existing versions, copies, and derivations. . . Artemisia Gentileschi (1590 - 1652): Judith and Her Maidservant, 1614-20, Oil on canvas, 114 x 93.5 cm, Galleria Palatina (Palazzo Pitti), Florence

It seems most of us in our 'community' are excited about the upcoming 'Loving Vincent'. So, I thought it would be a good idea to present also its making-of which includes many informative details. The making-of video lasts more than 6 minutes and because of upload problems, I could share only some short - but still stunning and satisfying - pieces out of it. "After 6 years of creative development, over 1,345 discarded paintings, out of 59,874 frames from 107 painters comes the painted film, Loving Vincent. The art form of film is different from painting. #reels #instadaily #babyt #viralvideos #shorts #explore #part2 #foryou #reels #fyp #fyp> #viral #foryourpage #chicago #usa #comedian #funnyree #everyone #reelsfb #usagirl #viral #chicagorealestate #1 m #shorts #challenge #viralreels #trend #canada #unitedstates #public #chicago #fyp>

painters.paintings Joris van Son (1623 - 1667) and Erasmus II. Quellinus (1607 - 1677): Cartouche with reels #instadaily #babyt #viralvideos #shorts #explore #part2 #foryou #reels #fyp #fyp> #viral #foryourpage #chicago #usa #comedian #funnyree #everyone #reelsfb #usagirl #viral #chicagorealestate #1 m #shorts #challenge #viralreels #trend #canada #unitedstates #public #chicago #fyp> Portraits in a Garland, 1657, Sternberg Palace

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