2014年4月24日星期四
Dance
The Fortune Teller
Madame de Pompadour
Madame de Pompadour,created by artist François Boucher in 1756.Alte
Pinakothek.
Jeanne Antoinette Poisson, Marquise de Pompadour, also known as Madame de Pompadour (29 December 1721 – 15 April 1764) was a member of the French court and was the official chief mistress of Louis XV from 1745 to her death. She was trained from childhood to be a mistress, and learned her trade well. She took charge of the king’s schedule and was an indispensable aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. She paid careful attention not to alienate the Queen, Marie Leszczyńska. She was a major patron of architecture and such decorative arts as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire. Hostile critics at the time said she was responsible for the Seven Years' War, and generally tarred her as a malevolent political influence. Historians are more favourable, emphasizing her successes as a patron of the arts and a champion of French pride.
Jeanne Antoinette Poisson, Marquise de Pompadour, also known as Madame de Pompadour (29 December 1721 – 15 April 1764) was a member of the French court and was the official chief mistress of Louis XV from 1745 to her death. She was trained from childhood to be a mistress, and learned her trade well. She took charge of the king’s schedule and was an indispensable aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. She paid careful attention not to alienate the Queen, Marie Leszczyńska. She was a major patron of architecture and such decorative arts as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire. Hostile critics at the time said she was responsible for the Seven Years' War, and generally tarred her as a malevolent political influence. Historians are more favourable, emphasizing her successes as a patron of the arts and a champion of French pride.
Nymphs and Satyr
Nymphs and Satyr , created by artist William-Adolphe Bouguereau in 1873.
Nymphs and Satyr was exhibited in Paris in 1873, a year before the Impressionists mounted their first exhibition. Purchased by the American art collector and speculator John Wolfe, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942.
Nymphs and Satyr was exhibited in Paris in 1873, a year before the Impressionists mounted their first exhibition. Purchased by the American art collector and speculator John Wolfe, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942.
2014年4月23日星期三
Portrait of Madame Barbe de Rimsky-Korsakov
Winding the skein
In 1867 Leighton visited Lindos on the Greek island of Rhodes, and sketched
local models on the roof terrace of a whitwashed house, as well as recording
views of the wide bay and the hills beyond the town. He returned to these
sources in about 1877 after travelling to Spain in search of a beautiful October
sky to accompany this two-figure composition of girls winding a skein of
worsted. The weather on that trip was disappointing — he artist noted that he
had a right to expect "the clear, keen autumn weather, after the air has been
well swept and purged by the equinoctial broom and pail" — so the more distant
recollection of golden sunlight over the Bay of Lindos was presumably closer to
what Leighton had in mind for this painting. The location is clearly
identifiable by the so-called Tomb of Cleobolos which may be seen at the end of
the promontory that juts out to the far right.
In 1895 Ernest Rhys remarked that subjects of this kind, the "idealization of a familiar occupationÑso that it is lifted out of a local or casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work." Yet it also had the distinct classical association with the Fates (Clotho, Lachesis and Atropos — who drew, measured and cut their thread). One of Leighton's regular models, a girl called Connie Gilchrist, posed for the figure of the child. She appears in two famous paintings of the previous year, Music lesson (London, Guildhall Art Gallery) and Study: At a reading desk (Liverpool, Sudley House). . . . The picture was engraved, and went to the Royal Academy in 1878.
In 1895 Ernest Rhys remarked that subjects of this kind, the "idealization of a familiar occupationÑso that it is lifted out of a local or casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work." Yet it also had the distinct classical association with the Fates (Clotho, Lachesis and Atropos — who drew, measured and cut their thread). One of Leighton's regular models, a girl called Connie Gilchrist, posed for the figure of the child. She appears in two famous paintings of the previous year, Music lesson (London, Guildhall Art Gallery) and Study: At a reading desk (Liverpool, Sudley House). . . . The picture was engraved, and went to the Royal Academy in 1878.
They did not Expect Him
The Turkish Bath
2014年4月22日星期二
Whistler's Mother
Arrangement in Grey and Black No.1, famous under its colloquial
name Whistler's Mother, is a painting in oils on canvas created by the
American-born painter James McNeill Whistler in 1871. The painting is 56.81 by
63.94 inches (144.3 cm × 162.4 cm), displayed in a frame of Whistler's own
design in the Musée d'Orsay in Paris, having been bought by the French state in
1891. It is now one of the most famous works by an American artist outside the
United States. It has been variously described as an American icon and a
Victorian Mona Lisa.
Morning in a Pine Forest
The Morning in a Pine Forest is a painting by Russian artists Ivan Shishkin
and Konstantin Savitsky. Savitsky has painted the bears,but the art collector
Pavel Tretyakov effaced his signature, stating that "from idea until
performance, everything discloses the painting manner and creative method
peculiar just to Shishkin" so the painting is now credited solely to
Shishkin.
The Morning in a Pine Forest turned very popular, being reproduced on various items, including the "Clubfooted Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring (1884) and The Sestroretsk Forest (1896).
It is believed that Shishkin painted the pine trees near Narva-Jõesuu in Estonia, where he often liked to rest in summers.
The Morning in a Pine Forest turned very popular, being reproduced on various items, including the "Clubfooted Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring (1884) and The Sestroretsk Forest (1896).
It is believed that Shishkin painted the pine trees near Narva-Jõesuu in Estonia, where he often liked to rest in summers.
Bal du moulin de la Galette
Bal du moulin de la Galette is an 1876 painting by French artist
Pierre-Auguste Renoir. It is housed at the Musée d'Orsay in Paris and is one of
Impressionism's most celebrated masterpieces. The painting depicts a typical
Sunday afternoon at Moulin de la Galette in the district of Montmartre in Paris.
In the late 19th century, working class Parisians would dress up and spend time
there dancing, drinking, and eating galettes into the evening.
Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering light.
From 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896 to 1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Musée du Louvre until it was transferred to the Musée d'Orsay in 1986.
Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering light.
From 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896 to 1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Musée du Louvre until it was transferred to the Musée d'Orsay in 1986.
Spring 1873
Spring is a paintings by French artist Pierre Auguste Cot,
completed in 1873. Currently on display at New York's Metropolitan Museum of
Art, the painting was commissioned from the artist in 1880 by Catharine
Lorillard Wolfe under the guidance of her cousin John Wolfe, one of Cot's
principal patrons.
2014年4月21日星期一
The Storm
The Fifer
Manet painted The Fifer after a trip in Spain that he made in 1865, where he
discovered the work of Diego Velázquez. The painting, in which Manet reflected
the influence of Spanish painting, was rejected by the jury of the Paris Salon
in 1866. The painting was exhibited in 1867. In 1884, it was present at the
major retrospective exhibition of his work organized as a tribute, after Manet's
death in 1883.
The rejection by the Salon jury prompted the writer Émile Zola to publish a series of articles in defense of Manet in the newspaper L'Événement.
Between 1873 and 1893, the painting was held by Jean-Baptiste Faure, French composer and baritone, friend of Manet. In 1893, it returned to the collection of Durand-Ruel, and was acquired the next year by Count Isaac de Camondo, remaining in his collection until 1911, then was delivered to the French state as a donation. The painting was intended for the Musée du Louvre, where it was not exhibited to the general public until 1914. In 1947, it was moving to the Galerie nationale du Jeu de Paume, a showroom located in the Jardin des Tuileries and belonging to the Louvre. It remained there until 1986, when it was brought to the Musée d'Orsay, like the rest of the collection of Impressionist paintings in the Louvre. It can currently be seen in room 14 of level 0 of the Musée d'Orsay.
The rejection by the Salon jury prompted the writer Émile Zola to publish a series of articles in defense of Manet in the newspaper L'Événement.
Between 1873 and 1893, the painting was held by Jean-Baptiste Faure, French composer and baritone, friend of Manet. In 1893, it returned to the collection of Durand-Ruel, and was acquired the next year by Count Isaac de Camondo, remaining in his collection until 1911, then was delivered to the French state as a donation. The painting was intended for the Musée du Louvre, where it was not exhibited to the general public until 1914. In 1947, it was moving to the Galerie nationale du Jeu de Paume, a showroom located in the Jardin des Tuileries and belonging to the Louvre. It remained there until 1986, when it was brought to the Musée d'Orsay, like the rest of the collection of Impressionist paintings in the Louvre. It can currently be seen in room 14 of level 0 of the Musée d'Orsay.
The Broken Pitcher
The Broken Pitcher, c.1772-73 (oil on canvas), Greuze, Jean
Baptiste (1725-1805) / Louvre, Paris, France / Giraudon / The Bridgeman Art
Library
Phryne revealed before the Areopagus
2014年4月18日星期五
The Young Ladies of Avignon
Mona Lisa
Sleeping Venus
Portrait of an Unknown Woman
2014年4月1日星期二
Polish artist carol park paintings
2014年3月31日星期一
Stolen 63 painting exhibition
27 the Baltimore museum of art in 63 years ago stolen a French famous painter Pierre le nuba small oil paintings.
The theft of the Seine river in 1951 for le nuba creation in 1879, only 23 cm long and 14 cm wide.The Baltimore museum of art on the same day with the subject of the painting held a named "return" le nuba works exhibition, 30 is scheduled to open to the public.
Collectors "YiDi May 1925 in the French capital Paris bought the painting and lend the Baltimore museum of art, then give the museum is more than 800 works of art.
The theft of the Seine river in 1951 for le nuba creation in 1879, only 23 cm long and 14 cm wide.The Baltimore museum of art on the same day with the subject of the painting held a named "return" le nuba works exhibition, 30 is scheduled to open to the public.
Collectors "YiDi May 1925 in the French capital Paris bought the painting and lend the Baltimore museum of art, then give the museum is more than 800 works of art.
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