2014年4月30日星期三
Florinda
The Raft of the Medusa
The Creation of Adam
The Hay Wain
2014年4月29日星期二
Truth
The painting is contemporary with the first small scale model
made by Lefebvre's fellow-FrenchmanFrédéric Bartholdi for what became the Statue
of Liberty, striking a similar pose, though fully clothed.
The Gleaners
The Gleaners is an oil painting by Jean-François Millet
completed in 1857. It depicts three peasant women gleaning a field of stray
grains of wheat after the harvest. The painting is famous for featuring in a
sympathetic way what were then the lowest ranks of rural society; this was
received poorly by the French upper classes.
Liberty Leading the People
The Painter's Studio
The Painter's Studio: A Real Allegory of a Seven Year Phase in my Artistic
and Moral Life is an 1855 oil painting on canvas by Gustave Courbet. It is
located in the Musée d'Orsay in Paris, France.
Begun in late 1854, he completed it in six weeks. "The world comes to be painted at my studio" said Courbet. The figures in the painting are allegorical representations of various influences on Courbet's artistic life. On the left are human figures from all levels of society. In the center, Courbet works on a landscape, while turned away from a nude model who is a symbol of academic arttradition. On the right are friends and associates of Courbet including writers George Sand andCharles Baudelaire, Champfleury, Pierre-Joseph Proudhon, collector Alfred Bruyas, and François Sabatier and his wife, Caroline Unger. The ghostly female figure visible to the left of Baudelaire (in the right corner of the painting) is believed to be Baudelaire's mistress Jeanne Duval, who Baudelaire requested to be painted over.
Begun in late 1854, he completed it in six weeks. "The world comes to be painted at my studio" said Courbet. The figures in the painting are allegorical representations of various influences on Courbet's artistic life. On the left are human figures from all levels of society. In the center, Courbet works on a landscape, while turned away from a nude model who is a symbol of academic arttradition. On the right are friends and associates of Courbet including writers George Sand andCharles Baudelaire, Champfleury, Pierre-Joseph Proudhon, collector Alfred Bruyas, and François Sabatier and his wife, Caroline Unger. The ghostly female figure visible to the left of Baudelaire (in the right corner of the painting) is believed to be Baudelaire's mistress Jeanne Duval, who Baudelaire requested to be painted over.
2014年4月27日星期日
Hylas and the Nymphs
Hylas and the Nymphs (1896) by John William Waterhouse
In classical mythology, Hylas was a youth who served as a companion of Heracles (Roman Hercules). His abduction by water nymphs was a theme of ancient art, and has been an enduring subject for Western art in the classical tradition.
In classical mythology, Hylas was a youth who served as a companion of Heracles (Roman Hercules). His abduction by water nymphs was a theme of ancient art, and has been an enduring subject for Western art in the classical tradition.
Where Do We Come From? What Are We? Where Are We Going?
Adam and Eve
Adam and Eve by German Renaissance artist Albrecht Durer.
Completed in 1507, the work followed a 1504 copper engraving by Durer on
the same subject, one which offered Durer the opportunity to depict the ideal
human figure. Painted in Nuremberg soon after his return from Venice, the panels
were influenced by Italian art. Durer's observations on his second trip to Italy
provided him with new approaches to portraying the human form. Here, he depicts
Adam and Eve at human scale—the first full-scale nude subjects in German
painting.
Adam and Eve's first home was the Prague Castle, the property of collector
Rudolf II. During theThirty Years' War, armies plundered the castle and the
panels came to be owned by Gustavus Adolphus of Sweden. His daughter, Christina,
gave the work to Philip IV of Spain in 1654. Later King Charles III ordered in
1777 that the painting be hidden in the Real Academia de Bellas Artes de San
Fernando. It arrived at its current home, Madrid's Museo del Prado, in 1827, but
was not publicly displayed until 1833.
Horsewoman
Oil Painting Reproductions
Horsewoman. Portrait of Giovanina and Amacilia Pacini, the Foster Children
of Countess Yu. P. Samoilova
Countess Yulia Samoilova was a rich heiress and Brulloff's mistress. After
her first marriage to Count N. Samoilov, which ended with a permanent
separation, she traveled all over Europe, living mostly in Italy and Paris. She
met Brulloff in Rome and they fell in love. She supported him throughout his
life and he painted numerous portraits of her. Unfortunately, they could not
marry because divroce was illegal under the tenets of the Orthodox church. We
can see her face in The Last Day of Pompeii as the mother with two daughters, as
the dead woman in the center of the picture and several others.
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