Explore Sharon Mollerus' 30669 photos on Flickr!
The Russian-born American painter Alex Kanevsky was born in Rostov (Russia) in 1963 and came to the United States in 1983 with his family. Kanevsky settled in Philadelphia where he later studied and graduated from the Pennsylvania Academy of Fine Arts. He was honored with many prestigious awards while attending PAFA including the Pearson Memorial Prize for Painting;
Vuillard was a member of Les Nabis, a group of Post-Impressionist artists who set the pace for fine art in France in the 1890s. In 1890, they began to successfully participate in public exhibitions. By 1896, the unity of the group had already begun to break. The Hommage à Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone. Meanwhile, most members of the group - Maurice Denis, Pierre Bonnard, Edouard Vuillard - could stand, artistically, on their own.
Was Hilma af Klint Europe’s first abstract artist? As an exhibition of her extraordinary, occult-inspired works opens in London, we travel to Stockholm to find out…
A Picture Paints a Thousand Words For millennia, artists have been telling stories through their art. Before there was the written word, and perhaps before there was even language itself, people used artwork to convey their interesting art stories. Ancient cave drawings told of the hunt, Greek gods and myths were immortalized through art, Biblical stories were illustrated to bring religion to the masses, French Impressionist artists sparked an entire movement, and historic battles were glorified and vilified by the artist’s hand. Narrative art, simply put, is that which tells a story. It has formed the cornerstone of most artworks throughout art history. Leonardo da Vinci, Vincent van Gogh, and Pablo Picasso were all famous artists that told magnificent stories through their famous paintings and other forms of art. The narratives that play out in their original and rare paintings come to life with their brushstrokes, inviting one to read the painting as they would a book. Here we explore five of our favorite narrative paintings currently in our New Orleans gallery—some tragic and others humorous—each with a fascinating tale to tell. Whether or not you're an art enthusiast, these artworks are sure to tell an interesting story that might just pique your interest. Paintings with a Story to Tell The Burial of Manon Lescaut Pascal-Adolphe-Jean Dagnan-Bouveret 1852-1929 | French This dramatic composition by French Romantic painter Pascal-Adolphe-Jean Dagnan-Bouveret represents the artist’s first public success. Based on Abbé Prévost’s controversial 18th-century novel The Story of the Chevalier des Grieux and Manon Lescaut, a larger version of the work earned him a third-class medal at the 1878 Paris Salon. Published in 1731, the novel was highly scandalous during its time, and soon after its publication, it was banned in France. Yet even a century later, the tragic and interesting story of the enigmatic courtesan Manon and the dashing nobleman des Grieux was well known throughout the art world. In fact, the book would go on to inspire at least three other novels as well as innumerable artworks, ballets, operas, films, and even a Japanese jazz opera and pop song. Set in France and Louisiana, the novel follows the tale of the Chevalier des Grieux and his lover, Manon Lescaut. In The Burial of Manon Lescaut, the artist captures a dramatic scene as a distraught des Grieux digs his beloved’s grave, resolved to follow her in death. Des Grieux was a young seminary student of noble birth who fell tragically in love with the enigmatic courtesan Manon. When Manon is deported to New Orleans on the charge of prostitution, des Grieux follows her; once they arrive, they pretend to be married. Their fantasy life is short-lived. However, when their ruse is revealed, and the nephew of the state governor becomes enamored of the bewitching Manon. Desperate to keep Manon for himself, des Grieux challenges the new suitor to a duel and knocks him unconscious. Believing that Des Grieux has murdered the nephew, the couple flees into the Louisiana wilderness. In this painting, Dagnan-Bouveret captures a dramatic moment from the novel’s conclusion after Manon has succumbed to death in the “desert” outside of New Orleans from either exposure or exhaustion. Des Grieux, maddened by grief, resolved to bury her where she fell and, after digging a hole in the soft sand, lay down beside her to await his own demise. Dagnan-Bouveret’s showing of the work in 1878 marked his ascendancy as an in-demand painter of modern genre scenes — those based on popular culture rather than the historicism preferred by his teacher and mentor, Jean-Léon Gérôme. Leda and the Swan Workshop of Bartholomaeus Spranger 16th Century | Flemish Retelling one of the most legendary Greco-Roman mythological tales, this exceptional 16th-century oil paint work depicts Leda and the Swan and is credited to the workshop of the great Flemish master Bartholomaeus Spranger. The story, in which Zeus transforms into a swan to seduce the young beauty Leda, has been taken up by artists since antiquity, and this painting represents a particularly sophisticated rendition of the myth. Derived from Greek mythology, the story appeared in Greco-Roman art and antiquities, re-emerging during the Renaissance as a recurrent motif in erotic art, and it is still explored to this day by contemporary art lovers and photographers. According to myth, Leda, the Queen of Sparta and wife to King Tyndareus, was one of the great loves of Zeus. He came to her in the form of a swan and seduced her while she bathed by a river. There are a few varying narratives that emerge in written histories, but it is generally held that Leda also slept with her mortal husband that day, resulting in the birth of not one, but two sets of twins — the children of Zeus, Helen (of Trojan War fame) and Polydeuces, and the children of King Tyndareus, Castor and Clytemnestra. Each of them would go on to become important figures in Greek mythology. This famous painting captures Leda as a languishing and voluptuous nude; Zeus, in the form of a swan, hovers over her figure in the background. Their children, Helen and Pollux, surround their mother. They are shown as having recently hatched from an egg, a popular trope that is a nod to the swan-form of their divine father. The story of Leda and the Swan was popular among Renaissance artists who had a wish to explore deeper themes in their art, sexuality being one of them. Due to the influence of the Church, human sexuality could not be explicitly portrayed. As a result, Leda’s union with Zeus in the form of a swan, as opposed to the form of a man, became an ideal way to explore human sexuality without angering religious sensibilities. While the subject briefly fell out of favor following the Renaissance, it became popular again with Academic artists of the 19th century. These artists, painting in the Neoclassical style, looked to antiquity and the Renaissance for inspiration, and naturally, the theme of Leda and the Swan was once again adopted with enthusiasm. Till Death Us Do Part Edmund Blair Leighton 1852-1922 | British This delightful oil on canvas was composed by the great Regency painter Edmund Blair Leighton. Like many of Leighton’s genre scenes, Till Death Us Do Part is a humorous portrayal of male-female interaction. Walking down the aisle of their wedding ceremony, a beautiful young woman in a period dress links arms with her new husband, a gentleman several years her senior. The artist exhibited this work at the Royal Academy in 1879, and when he first sent it to the Academy, he gave it the incisively sarcastic title “L.S.D.,” standing for the Latin phrase “librae, solidi, denarii.” The phrase translates to “pounds, shillings, pence,” suggesting the woman is marrying for money rather than affection. Elaborately detailed, the monumental canvas is filled with wedding guests who whisper and flash disapproving looks, wearing comical expressions ranging from worry to dazed confusion. The bride casts her eyes downward as the “well-wishers” look on, avoiding the gaze of a particular young man to her right. Was this forlorn fellow her true love? The scene does imply that it was they who were once to be married. The old groom (humorously painted as a self-portrait of the artist) stares ahead, his face blank, oblivious to their connection. Although no one looks happy on this occasion, Leighton is able to infuse the work with the rich narrative detail and his trademark sense of humor that make his canvases an absolute pleasure to view. Leighton first exhibited at the Royal Academy in 1878, beginning a period of over four decades in which he was represented by over sixty famous paintings and artworks at the Royal Academy’s summer annuals. The Siege of Tournai Pierre L'Enfant 1704-1787 | French This monumental oil on canvas by the French painter Pierre L'Enfant captures the historic siege of Tournai (1745) during the War of the Austrian Succession. The artist was renowned for his renderings of this conflict between France and the Habsburg Monarchy, including his famed series of panoramas that highlighted the battles in the Low Countries between 1744 and 1748. These panoramas are now in the collection of the Musée National des Châteaux de Versailles; the present painting closely resembles them in both subject and style. In late April of 1745, the French besieged the Belgian municipality of Tournai. Successfully taking Tournai would give the French control of the upper Scheldt basin, one of the most vital waterways for trade in northern Europe. French Marshal Maurice, Count de Saxe, left 22,000 troops to lay siege to the city while taking his main force 5 miles southwest to Fontenoy. The Allied troops (composed of English, Hanoverian, Dutch, and Austrian units) were united under William Augustus, Duke of Cumberland, son of King George II of England. While Cumberland sought to relieve Tournai, the French attacked from their superior defensive positions; their subsequent victory led to French control of the Austrian Netherlands by the end of 1745. Standing over 8 feet high and displaying both sweeping views of the battlefront and intimate scenes of the troops, L’Enfant offers a refreshing take on traditional history painting. Rather than focusing on the more brutal elements of war, L'Enfant presents the narrative of the everyday reality of troops during a long siege — soldiers playing cards, sharing stories, and preparing meals. Yet, drama looms on the horizon, as smoke billows from distant battles and the enemy approaches from the right. With an eye for detail and narrative, L'Enfant captures the calm before the storm. The Education of Achilles by the Centaur Chiron Auguste-Clément Chrétien 1835-1913 | French A masterpiece of 19th-century French Neoclassical painting, this monumental oil on canvas by Auguste-Clément Chrétien is among the most significant paintings in this celebrated painter's oeuvre. The composition depicts a famous episode in the early life of the mythological hero Achilles—his education by the centaur Chiron, the "wisest and justest of all the centaurs." Chrétien's The Education of Achilles, composed for and exhibited at the Paris Salon of 1861, fits perfectly into the traditions of both Neoclassical and historical painting. With his emphasis on symmetry, perspective, and narrative, Chrétien beautifully captures notions of both physical and moral ideals on canvas. Chrétien's The Education of Achilles, composed for and exhibited at the Paris Salon of 1861, fits perfectly into the traditions of both Neoclassical and history painting. With his emphasis on symmetry, perspective, and narrative, Chrétien beautifully captures notions of both physical and moral ideals on canvas. The legend of Achilles is one of the richest and oldest of Greek mythology. It was made famous by Homer in The Iliad, which helped to popularize the adventures of the young hero of the Trojan War. Son of Peleus, king of Phthia in Thessaly, and the sea nymph Thetis, Achilles is most remembered for his one weakness—his heel—which would eventually lead to his downfall. Chrétien's composition, however, captures the warrior as a youth with the centaur Chiron, the legendary tutor of gods and heroes who instructed him in the arts of medicine, music, riding, and hunting. Achilles is represented standing, dressed in a simple lion's skin tied around the neck, his body facing the viewer, his head turned in profile, and holding a bow with his left hand. Chiron stands behind him, kneeling on his front legs to lower himself to the height of his pupil, giving his young student instruction: with his left hand, he points the arrow, while with his right hand, he directs Achilles' arm. The scene takes place on Mount Pelion in front of the Centaur Cave; the Aegean Sea and the Gulf of Thessaloniki can be seen in the distance. Beautifully composed, the two figures are depicted in perfect juxtaposition: young versus old, man versus centaur, light versus dark. Yet, the result is a lyrical harmony enhanced by both the narrative and aesthetic presence of the piece. Indeed, Chrétien proves himself a master of Neoclassical proportion and symmetry, imbuing both figures with a strength and beauty of their own. If these paintings piqued your interest, consider reading more about unique artists signatures and their meanings. These five paintings represent just a fraction of the incredible artwork and their associated interesting art stories housed in the collection of M.S. Rau paintings. From narrative works like these to the timeless allure of portrait paintings, impressionist masterpieces, and abstract canvases by some of the 20th century’s most celebrated and famous artists, our collection spans more than 500 years of art history. It features a wide variety of styles, genres, and periods from which to choose. Explore the rich tapestry of art that has shaped the course of history.
The Russian-born American painter Alex Kanevsky was born in Rostov (Russia) in 1963 and came to the United States in 1983 with his family. Kanevsky settled in Philadelphia where he later studied and graduated from the Pennsylvania Academy of Fine Arts. He was honored with many prestigious awards while attending PAFA including the Pearson Memorial Prize for Painting;
The Russian-born American painter Alex Kanevsky was born in Rostov (Russia) in 1963 and came to the United States in 1983 with his family. Kanevsky settled in Philadelphia where he later studied and graduated from the Pennsylvania Academy of Fine Arts. He was honored with many prestigious awards while attending PAFA including the Pearson Memorial Prize for Painting;
The Russian-born American painter Alex Kanevsky was born in Rostov (Russia) in 1963 and came to the United States in 1983 with his family. Kanevsky settled in Philadelphia where he later studied and graduated from the Pennsylvania Academy of Fine Arts. He was honored with many prestigious awards while attending PAFA including the Pearson Memorial Prize for Painting;
City of Cézanne, Aix-en-Provence, As the hometown of post-Impressionist painter Paul Cézanne, Aix-en-Provence offers unique insight into his life and the influences that shaped him into one of the era's most significant artists....
Bridget Riley is one of Britain’s best-known artists whose career has spanned over 50 years. She first came to notice in the early 1960s with monochrome paintings that explored the dynamics of optical effects. “In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place…then, little by little, and, to some extent deliberately, I made it go the other way, opening up an interior space, as it were, so that there was a layered, shallow depth. It is important that the painting can be inhabited, so that the mind's eye, or the eye's mind, can move about it credibly." In 1967 Riley began experimenting with colour, and since then her paintings have examined the perception of nature by means of colour and form. “The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…one moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.” Riley was born in London in 1931 and was brought up in Cornwall. She studied at Goldsmiths College between 1949 – 1952 and the Royal College of Art between 1952 – 1955. In 1969 she was the first woman to win the International Prize for Painting whilst representing Britain at the 34th Venice Biennale. She holds honorary doctorates from Oxford University, 1994, and Cambridge University, 1995. She was made a CBE in 1974 and in 1999 was awarded the Companion of Honour. In 2009 she was awarded the Kaiser Ring of the City of Goslar, Germany, one of the world’s most prestigious art prizes. Major exhibitions have included the Hayward Gallery, 1970 and 1992/94; a British Council touring retrospective in the USA, Australia and Japan, 1979; and retrospective exhibitions at Tate Britain, 2003; Museum of Modern Art in Sydney, Australia, 2005; City Gallery Wellington, New Zealand, 2005; and Musee d’Art Moderne de la Ville de Paris, 2008. She lives and works in London, Cornwall and France. Part 1 is showing a selection of Riley's work from between 1961 and 1967. 1961 Kiss acrylic 1962 Blaze I emulsion 1963 Fall emulsion 1964 Hesitate oil 1964 Intake acrylic 1964 Loss oil 1964 White Disks emulsion 1965 Arrest III acrylic 1965 Arrest I emulsion 1965 Descending emulsion 1965 Fragment 2/10 screenprint on perspex 1966 Breathe emulsion 1966 Static 2 emulsion 1966 Untitled, Diagonal Curve emulsion 1967 Cataract 3 pva emulsion 1967 Deny II pva emulsion
A blog about art and art history, the old masters
The Russian-born American painter Alex Kanevsky was born in Rostov (Russia) in 1963 and came to the United States in 1983 with his family. Kanevsky settled in Philadelphia where he later studied and graduated from the Pennsylvania Academy of Fine Arts. He was honored with many prestigious awards while attending PAFA including the Pearson Memorial Prize for Painting;
To mark the release of Mr Turner we look at the landscape painter’s ten essential artworks
The 1906 death of Paul Cézanne led André Derain to pursue a subject favored by the last of the great Post-Impressionists: bathers in an idyllic landscape. ...
Not sure what got into me today; maybe it was the rockin’ good breakfast, maybe it was the gorgeous springtime weather. Whatever it was, I did two, count ’em, TWO fun new fauve-a-licious landscapes today! Pink Path © Karen Mathison Schmidt 14 x 11 x ¾ inches • oil on ¾" cradled Museum Series GessobordTM gloss varnish (UV protective) • sides painted dark umber can be beautifully displayed with or without a frame CLICK HERE TO BID or view the auction • ends evening of Thursday, April 9 10% of proceeds to be donated to Mercy Ships ____________________________________________________________ Bodega Bay © Karen Mathison Schmidt 14 x 11 x ¾ inches • oil on ¾" cradled Museum Series GessobordTM gloss varnish (UV protective) • sides painted dark umber can be beautifully displayed with or without a frame CLICK HERE TO BID or view the auction • ends evening of Thursday, April 9 10% of proceeds to be donated to Mercy Ships Back in January I participated in one of Susan Sarback’s color intensive workshops in Fair Oaks, California. I’ve studied and recommended her book, Capturing Radiant Light and Color in Oils & Pastels, for almost twenty years; it’s one of the books I reference again and again (along with my big book of California Impressionists that I’ve had for over ten years). At the workshop I met a bunch of friendly painterly type people, got to see Susan paint first hand, and learned how she builds up a painting by applying layers of color with a palette knife. I was somewhat out of my comfort zone, painting with a knife instead of a brush, but had a lot of fun learning to mix the colors actually on the painting instead of the palette and practicing; by the fourth and last day I was starting to get the hang of it. I also have been studying the paintings of Richard Schmid, another artist whose work I greatly admire, and reading his book, Alla Prima II: Everything I Know About Painting. So, in these paintings I started trying to incorporate what I’ve been learning about impressionist color relationships and technique, painting more thickly and quickly, wet into wet, all in one go. And might I just say: it’s a blast! I felt like I had a “Helen Keller at the water pump” afternoon -- you know, where she finally GOT that the words her teacher had been signing into the palm of her hand actually MEANT something. After I finished the first painting (which was oh-so-loosely based on a photo I took in Norton Art Gallery gardens here in Shreveport) I thought, what ELSE can I paint like this? A few days ago I had come across a photo of Bodega Bay that I took a decade ago and thought that would be a great subject to try. I just kept going and going, and then it was time to feed the dogs and have dinner with my husband. What a great work day! And on Monday I’ll be announcing details of a workshop (maybe two!) I myself will be teaching in Savannah, Georgia next April. And one or two here in Shreveport this fall. Woo-hoo! I hope you all have a beautiful Easter!
The creative community at DesignCrowd was challenged to recreate iconic artwork to feature famous politicians from around the world. The splendid suggestions featured fantastic Photoshop skills that incorporated a clever use of light, brushstrokes, and color. Ideas ranged from Hillary Clinton as the Mona Lisa to a post-impressionist Vladimir Putin, and a modern power couple.
Paul Cézanne (1839 – 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne’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 Cézanne’s intense study of his subjects. Cézanne can be said to form a 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 Cézanne “is the father of us all.” For full biographical notes on Cézanne see part 1. For earlier works see parts 1 - 12 also. This is part 13 of a 14-part post on the works of Paul Cézanne: Paul Cézanne 1899-1900 Bathers oil on canvas 22 x 33.5 cm Musée d'Orsay, Paris Paul Cézanne 1899-1904 Bathers oil on canvas 51.1 x 61.1 cm The Art Institute of Chicago, IL Paul Cézanne 1899c Apples and Oranges oil on canvas 74 x 93 cm Musée d'Orsay, Paris Paul Cézanne 1899c Man with Crossed Arms oil on canvas 92 x 72.7 cm Solomon R. Guggenheim Museum, New York Paul Cézanne 1899c Still Life with Curtain and Flowered Pitcher oil on canvas 55 x 74.5 cm Hermitage Museum, St Petersburg Paul Cézanne 1900 Almond Trees in Provence watercolour 58.5 x 47.5 cm Private Collection Paul Cézanne 1900 Bathers watercolour 21 x 27 cm Paul Cézanne 1900 Trees by the Water watercolour Private Collection Paul Cézanne 1900-02 Forest Scene oil on canvas 79.4 x 64.6 cm Beyeler Foundation, Riehen, Switzerland Paul Cézanne 1900-02c Bathers ( study ) oil on canvas 20 x 33 cm Private Collection Paul Cézanne 1900-03 Vase of Flowers oil on canvas 101 x 81.9 cm National Gallery of Art, Washington, DC Paul Cézanne 1900-04 Château Noir oil on canvas 73 x 92 cm Musée Picasso, Paris Paul Cézanne 1900-04 Château Noir oil on canvas 73.6 x 93.2 cm Museum of Modern Art, New York Paul Cézanne 1900-04 Chateau Noir oil on canvas 73.7 x 96.6 cm National Gallery of Art, Washington, DC Paul Cézanne 1900-04 Forest in the Rock Caves Above the Château Noir oil on canvas 90.7 x 71.4 cm The National Gallery, London Paul Cézanne 1900-04 View of the Road to Tholonet near the Château Noir oil on canvas 101.6 x 1.3 cm Henry and Rose Pearlman Foundation, New York Paul Cézanne 1900-04c Seated Peasant oil on canvas 73.3 x 60.3 cm Musée d'Orsay, Paris Paul Cézanne 1900-04c Skull oil on canvas Staatsgalerie Stuttgart, Germany Paul Cézanne 1900-04c Trees oil on canvas 44 x 37 cm Private Collection Paul Cézanne 1900-05 Bathers oil on canvas 73 x 92 cm Private Collection Paul Cézanne 1900-06 Bathers by a Bridge graphite and watercolour 21 x 27.2 cm Metropolitan Museum of Art, New York Paul Cézanne 1900-06 Bend in the Road 81.3 x 64.8 cm National Gallery of Art, Washington, DC Paul Cézanne 1900-06 Houses on the Hill oil on canvas McNay Art Museum, San Antonio, Texas Paul Cézanne 1900-06 Mill on the River watercolour 31 x 49 cm Marlborough Fine Art, London Paul Cézanne 1900-06 Morning in Provence oil on canvas 81 x 63 cm Albright-Knox Art Gallery, Buffalo, NY Paul Cézanne 1900-06 Still Life with Carafe, Sugar Bowl, Bottle, Pomegranates, and Watermelon graphite and watercolour 31.5 x 43.1 cm Paul Cézanne 1900-06 Still-Life with a Watermelon and Pomegranates graphite and watercolour on laid paper 31.4 x 48.8 cm Metropolitan Museum of Art, New York Paul Cézanne 1900-06 The Large Bathers oil on canvas 210.5 x 250.8 cm Philadelphia Museum of Art, PA Paul Cézanne 1900-06c Still Life with Blue Pot graphite and watercolour on paper 48.1 x 63.2 cm J. Paul Getty Museum, Los Angeles, CA Paul Cézanne 1900c Bibemus Quarry oil on canvas 65 x 81 cm Museum Folkwang, Essen Paul Cézanne 1900c Bibemus Quarry oil on canvas Private Collection Paul Cézanne 1900c In the Woods graphite and watercolour Private Collection Paul Cézanne 1900c Lady in Blue oil on canvas 90 x 73.5 cm Hermitage Museum, St. Petersburg Paul Cézanne 1900c Landscape oil on canvas 62.2 x 51.5 cm Fitzwilliam Museum, Cambridge, UK Paul Cézanne 1900c Pistachio Tree at Château Noir graphite and watercolour on cream wove paper 54.2 x 43.3 cm Art Institute of Chicago, IL Paul Cézanne 1900c Portrait of a Peasant oil on canvas 92.7 x 73.7 cm National Gallery of Canada, Ottowa Paul Cézanne 1900c Portrait of a Woman oil on canvas 65 x 54 cm Private Collection Paul Cézanne 1900c Seven Bathers oil on canvas 38 x 46 cm Beyeler Foundation, Riehen, Switzerland Paul Cézanne 1900c Still Life with Milk Jug and Fruit oil on canvas 45.8 x 54.9 cm National Gallery of Art, Washington, DC Paul Cézanne 1900c Still Life with Watermelon graphite and watercolour on paper 31.5 x 47.5 cm Beyeler Foundation, Riehen, Switzerland Paul Cézanne 1900c The Cistern in the Park at Chateau Noir oil on canvas 74.3 x 61 cm Private Collection Paul Cézanne 1900c Well by the Winding Road in the Park of Chateau Noir graphite and watercolour Private Collection Paul Cézanne 1901-06 Mont Sainte-Victoire Seen from Les Lauves graphite and watercolour 48 x 31 cm Private Collection Paul Cézanne 1902 Mont Sainte-Victoire watercolour Museum of Modern Art, New York Paul Cézanne 1902-04 Forest oil on canvas 81.4 x 66 cm National Gallery of Canada, Ottowa Paul Cézanne 1902-04 Girl with Doll oil on canvas 73 x 60 cm Private Collection Paul Cézanne 1902-04 Mont Sainte-Victoire oil on canvas 73 x 91.9 cm Philadelphia Museum of Art, PA Paul Cézanne 1902-04 The Large Trees oil on canvas 79.1 x 63.5 cm National Gallery of Scotland, Edinburgh Paul Cézanne 1902-06 Apples, Bottle and Chair-back graphite and watercolour 44.3 x 59 cm Private Collection Paul Cézanne 1902-06 Bathers oil on canvas 29.2 x 23.5 cm Private Collection Paul Cézanne 1902-06 Bathers, Mont-Sainte-Victoire in the Background pencil and watercolour Private Collection Paul Cézanne 1902-06 Bend in Forest Road oil on canvas 81.3 x 64.8 cm Private Collection Paul Cézanne 1902-06 Mont Sainte-Victoire oil on canvas 64.8 x 81.3 cm Philadelphia Museum of Art, PA
Mark Johnston | Contemporary British Landscape Painter and Artist | Based in Brighton, England Mark Johnston's artwork is collected around the world.
os dejamos un artículo en donde os mostramos la manera en la que enseñar a vuestros chavales dibujar con tijeras, a esculpir el papel a la manera de Matisse
Wassily Kandinsky (1866 –1944) was an influential Russian painter and art theorist. He is credited with painting the first purely abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow, studying law and economics. Successful in his profession - he was offered a professorship (chair of Roman Law) at the University of Dorpat - he began painting studies (life-drawing, sketching and anatomy) at the age of 30. For more biographical notes see part 1. For earlier works see parts 1, 2 and 3. This is part 4 of a 4-part post on the works of Wassily Kandinsky. The works are shown in chronological order: 1928 Black-Red © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1928 Little Game © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1928 On the Points © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1929 Downward © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1929 Upward oil on cardboard © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1930 Capricious oil on cardboard 40.5 x 56 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1930 Green Emptiness © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1930 Three Rectangles © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1931 Black Lace oil on cardboard 70 x 59.5 cm © ProLitteris, Zürich © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1931 Brownish oil on cardboard 49.2 x 70.2 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1931 Circulation Slowed © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1932 Decisive Pink oil on canvas 80.9 x 100 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1933 Compensation Rose © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1933 Gloomy Situation watercolour, gouache and pencil on paper 47.3 x 66.8 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1933 Soft Roughness © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1933 Increase oil, egg tempera and ink on paper 51 x 31.4 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1934 Surfaces Meeting © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1935 Brown with Supplement © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1935 Orange Violet oil on canvas 88.9 x 116.2 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1935 Two Green Points © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1936 Composition IX oil on canvas 113.5 x 195 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1936 Dominant Curve oil on canvas 129.3 x 194.3 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1936 White Line © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1937 Thirty oil on canvas 80 x 100 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1938 Colourful Ensemble oil and gloss on canvas 116 x 89 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1939 Composition X © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1940 Around the Circle © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1940 Sky Blue oil on canvas 100 x 73 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1940 Various Parts © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1941 Various Actions oil and enamel on canvas © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1942 A Floating Figure © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1942 Intime Message © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1942 Reciprocal Accords © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1943 Conglomerat © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1943 The Arrow oil on cardboard 41.9 x 57.9 cm © ProLitteris, Zürich © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1944 Composition © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1944 Tempered Elan oil on cardboard 42 x 58 cm © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris 1944 Untitled © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris
1930 Self-Portrait in front of Death of Marat I, Ekely © Tate, London The Norwegian artist Edvard Munch (1863-1944) is regarded as a pioneer in the Expressionist movement in modern painting. At an early stage Munch was : in Germany and central Europe as one of the creators of a new epoch. Munch’s art from the 1890s is the most well known, but his later work is steadily attracting greater attention. For full biographical notes on Munch see Edvard Munch part 1- introduction. For earlier works see parts 2-18 also. This is part 19 of a 20–part series of posts on the works of Edvard Munch: 1925-26 Landscape with Red House oil on canvas 120 x 100 cm Private Collection 1925-26 Lucien Dedichen and Jappe Nilssen oil on canvas 159.5 x 134.5 cm Munch Museum, Oslo 1925-26 Lucien Dedichen and Jappe Nilssen oil on canvas Munch Museum, Oslo 1925-26 Nude, Sitting on the Couch oil on canvas 80 x 70 cm Munch Museum, Oslo 1925-26 Nude, Sitting on the Couch oil on canvas 100 x 80 cm Munch Museum, Oslo 1925-26 Oslo Bohemians oil on canvas 72 x 100 cm Munch Museu, Oslo 1925-26 Oslo Bohemians oil on canvas 72 x 100 cm Munch Museum, Oslo 1925-26 The Wedding of the Bohemian oil on canvas 178.5 x 134.5 cm Munch Museum, Oslo 1925-26 Rolf Stenersen oil on canvas 110 x 90 cm Munch Museum, Oslo 1925-26 Self-Portrait at the Wedding Table oil on canvas 79 x 64.5 cm Munch Museum, Oslo 1925-26 Self-Portrait with Dogs oil on canvas 81 x 100 cm Pola Museum of Art, Japan 1925-26 Self-Portrait with Hands in Pockets oil on canvas 80 x 60 cm Munch Museum, Oslo 1925-26 Woman in a Blue Coat oil on canvas 79 x 69 cm Munch Museum, Oslo 1925-26 Woman with Airedale Terrier oil on canvas 120 x 100 cm Munch Museum, Oslo 1925-27 The House is Burning oil on canvas 80 x 135 cm Munch Museum, Oslo 1925-30 Nude with Bowed Head oil on wood panel 55 x 45.6 cm Private Collection 1925-30 Standing Nude against Blue Background oil on canvas 137.5 x 119 cm Munch Museum, Oslo 1925-30 Street with Blooming Chestnut Tree oil on canvas 55 x 45 cm Private Collection 1925-30 Street with Blooming Chestnut Tree oil on canvas 104.5 x 79.5 cm Munch Museum, Oslo 1925-30 Two Women in White on the Beach oil on canvas 119 x 147 cm Munch Museum, Oslo 1925-30 Winter Night oil on canvas 68.5 x 96 cm Munch Museum, Oslo 1926 Four Women in the Garden oil on canvas 72 x 100 cm Munch Museum, Oslo 1926 Self-Portrait at Ekely oil on canvas 90 x 68 cm Private Collection 1926 Self-Portrait in Front of the House Wall oil on canvas 91.5 x 73 cm Munch Museum, Oslo 1926 Spring Landscape with Red House oil on canvas 101 x 125 cm Munch Museum, Oslo 1926 The Red House 45.5 x 55 cm Private Collection 1926-30 The Red House oil on canvas 67 x 90 cm Private Collection 1926 The Red House oil on canvas 68 x 90 cm Munch Museum, Oslo 1926 Three Women in the Garden oil on canvas 147 x 120 cm Munch Museum, Oslo 1926 Two Horses in the Forest oil on canvas 90 x 72 cm Munch Museum, Oslo 1926 Two Women in the Garden oil on canvas 100 x 130 cm Munch Museum, Oslo 1926 Woman with Peonies oil on canvas 60 x 90 cm Munch Museum, Oslo 1926 Woman with Peonies oil on canvas 60 x 90 cm Private Collection 1926-27 Rainbow: Fragment crayon on paper 203 x 96 cm Munch Museum, Oslo 1926-27 The Storm: Left Middle Part oil on canvas 200 x 127 cm Munch Museum, Oslo 1926-27 The Storm: Right Part oil on canvas 205 x 132 cm Munch Museum, Oslo 1926-29 The Storm: Right Middle Part oil on canvas 205 x 61 cm Munch Museum, Oslo 1926-30 Still Life with Cabbage and other Vegetables oil on wood panel 45.5 x 55 cm Munch Museum, Oslo 1926-30 Still Life with Pumpkin and Other Vegetables oil on canvas 68.5 x 79 cm Munch Museum, Oslo 1926-30 Still Life with Tomatoes, Leek and Casseroles oil on canvas 60 x 80 cm Munch Museum, Oslo 1926-30 Still Life with Tomatoes, Leek and Casseroles oil on wood panel 49.5 x 61 cm Munch Museum, Oslo 1926-30 The Arbour in Late Autumn oil on canvas 116.5 x 117 cm Munch Museum, Oslo 1927 Dog's Face oil on wood panel 25 x 32 cm Stenersenmuseet, Oslo 1927 Frimann Koren oil on canvas 65 x 60 cm Munch Museum, Oslo 1927 Frimann Koren study 1927 P A. Munch's Grave in Rome oil on canvas 89 x 73.5 cm Munch Museum, Oslo 1927 Red House and Spruces 100 x 130 cm Munch Museum, Oslo 1927 Red House and Spruces oil on canvas 93 x 118 cm Munch Museum, Oslo 1927 Two Graces oil on canvas 94 x 70 cm Munch Museum, Oslo 1927-28 Fredrik Stang oil on canvas 95 x 110 cm Munch Museum, Oslo 1927-29 Kneeling Female Figure tempera on canvas 100 x 75 cm Munch Museum, Oslo 1927-29 Krotkaj oil on canvas 177.5 x 58.5 cm Munch Museum, Oslo 1927-29 Naked Figures tempera on canvas 100 x 72 cm Munch Museum, Oslo 1927-28 The Human Mountain: Sphinx oil on canvas 141 x 103 cm Munch Museum, Oslo 1927-28 The Human Mountain: Kneeling Nude oil on canvas 149.5 x 102.5 cm Munch Museum, Oslo 1927-29 The Human Mountain in Munch's studio 1927-29 The Human Mountain: Towards the Light oil on canvas 300 x 420 cm Munch Museum, Oslo 1927-29 Two Graces oil on canvas 118.5 x 99.5 cm Munch Museum, Oslo 1927-30 Around the Drinking Table oil on wood panel 50 x 61 cm Munch Museum Oslo 1927-30 Winter Forest oil on panel 38 x 46 cm Munch Museum, Oslo 1927-30 Woman in a Red Dress oil on canvas 72 x 38 cm Private Collection 1927c Evening Mood oil on canvas 110 x 129 cm Munch Museum, Oslo 1928 Adam and Eve oil on canvas 109 x 160 cm Munch Museum, Oslo 1928-29 Apple Tree in the Garden at Ekely oil on canvas 70.5 x 72 cm Private Collection 1928-29 Horse Team on a Building Site watercolour on paper 70 x 100 cm Munch Museum, Oslo 1928-30 Large Deciduous Tree oil on panel 33 x 24 cm Munch Museum, Oslo
