Marie Krøyer,1890
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Приятного всем вечера!
Приятного всем вечера!
Art & Mood:Peder Severin Krøyer
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Art & Mood
Villa di Marlia, Lucca,1910
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Villa de Marlia, A Fountain,1910
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Villa de Marlia, A Fountain,1910
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Art & Mood
Florence:Boboli Gardens (I Giardini di Boboli)
Boboli Gardens,1907 (watercolours)
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+2
Florence: Fountain, Boboli Gardens,1907
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Boboli,1907
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Boboli Gardens,1907 (watercolours)
+2
Florence: Fountain, Boboli Gardens,1907
Boboli,1907
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J. S. Sargent:Gardens&Fountains (3)
Spanish Fountain,1912
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+7
Spanish Fountain,1903
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***
In a Medici Villa,1907
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Villa Torlonia Fountain,1907
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The Great Fountain of Bologna,1906
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Bologna Fountain,1906
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Pool in the Garden of La Granja,1912
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vase Fountain, Pocantico,1917
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+7
Spanish Fountain,1903
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In a Medici Villa,1907
Villa Torlonia Fountain,1907
The Great Fountain of Bologna,1906
Bologna Fountain,1906
***
Pool in the Garden of La Granja,1912
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vase Fountain, Pocantico,1917
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Сегодня в сообществе
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Warren Brandt (American, 1918-2002) -1
White Table, Black Chair,1977,Lois Borgenicht and Johannes Reim Collection. New York. U.S.A.
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+ 2 & 4 self-portraits
Empire Chair-1978-Grace Brandt Collection. New York. U.S.A.
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Tulips, Lilacs, and Dogwood,1979
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Self-Portrait in Morelos,1980
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Self-Portrait in Studio,1982;
The Artist in His Studio,1979
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Self-Portrait, Water Mill Studio,1986, Mr. and Mrs. Daniel Rose Collection. New York.
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*The New York Times-Warren Brandt (American, 1918-2002)
**Brandt exemplifies a generation that maintained close ties to the founding members of the New York School while seeking a newly figurative idiom, one based as much on the “decorative” color aesthetic of Henri Matisse as on the expressionistic brushwork of Willem de Kooning.
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+ 2 & 4 self-portraits
Empire Chair-1978-Grace Brandt Collection. New York. U.S.A.
Tulips, Lilacs, and Dogwood,1979
***
Self-Portrait in Morelos,1980
Self-Portrait in Studio,1982;
The Artist in His Studio,1979
Self-Portrait, Water Mill Studio,1986, Mr. and Mrs. Daniel Rose Collection. New York.
*The New York Times-Warren Brandt (American, 1918-2002)
**Brandt exemplifies a generation that maintained close ties to the founding members of the New York School while seeking a newly figurative idiom, one based as much on the “decorative” color aesthetic of Henri Matisse as on the expressionistic brushwork of Willem de Kooning.
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Warren Brandt -2
Poinsettias with Fan,1986-(*all-pastels)
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+4
Spring Flowers and Red Robes,1986
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Japanese Robes and Imari Vase,1986
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Le Rouge et Le Noir,1986
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Chinese Still Life,1985
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+4
Spring Flowers and Red Robes,1986
Japanese Robes and Imari Vase,1986
Le Rouge et Le Noir,1986
Chinese Still Life,1985
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Warren Brandt -3
Still Life on Antique Table,1984
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The Folding Mirror,1984
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*продолжение следует...
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The Folding Mirror,1984
*продолжение следует...
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Art of China-Wang Weidong (b.1963)
Wang Weidong (b.1963)
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+6
Still Life with Small Teapot and Cups
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Still Life with Teapot and Fan
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Still Life with Vase and Carving
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Still Life with Silk
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Still Life
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Still Life with Qing Carving and Vase
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+6
Still Life with Small Teapot and Cups
Still Life with Teapot and Fan
Still Life with Vase and Carving
Still Life with Silk
Still Life
Still Life with Qing Carving and Vase
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Wang Weidong-2
Still Life with Books and Seal
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+6
Still Life with Persimmons
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Still Life
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Still Life with Shell and Open Box
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Still Life with Brushes and Ink
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Still Life
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Still Life
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+6
Still Life with Persimmons
Still Life
Still Life with Shell and Open Box
Still Life with Brushes and Ink
Still Life
Still Life
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Art Links:Gary Cody (b.1945-Canadian)-1
©Gary Cody
Silver Plate;Pears And Grapes
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Blue Wallpaper,2003-Oil on canvas on board
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+5
Still Life With Portrait,2003-Oil on canvas on board
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Blue And White Plate; Apples And Mail
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Eight Glass Jars;Venice
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Silver Plate;Pears And Grapes
Blue Wallpaper,2003-Oil on canvas on board
+5
Still Life With Portrait,2003-Oil on canvas on board
Blue And White Plate; Apples And Mail
Eight Glass Jars;Venice
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Gary Cody-2
Japanese Print And Clock,2005
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Green Vase And Pink Roses,2006;Pink Square, Yellow Ribbons,2006
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+7
Deco Hood Ornaments I;Deco Streamliner-2005
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Airmail II;Blue Vase And Hood Ornament,2004-5
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Calendar With Yellow Ribbon;Checkerboard Mustang-2005
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Water Pistols At The World's Fair,2005
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продолжение следует...
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Green Vase And Pink Roses,2006;Pink Square, Yellow Ribbons,2006
+7
Deco Hood Ornaments I;Deco Streamliner-2005
Airmail II;Blue Vase And Hood Ornament,2004-5
Calendar With Yellow Ribbon;Checkerboard Mustang-2005
Water Pistols At The World's Fair,2005
продолжение следует...
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Night & Mood:W.Homer
| Gloucester Sunset,1880 (watercolour) |
Sunset at Gloucester,1880
+1
| Sunset Fires,1880 |
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Art & Mood :J.S.Sargent
The Garden Wall,1910
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*кликабельно как обычно-1146 x 877
**продолжение и апдейт архива следует...
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*кликабельно как обычно-1146 x 877
**продолжение и апдейт архива следует...
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Seasons:W.Homer
| Oranges on a Branch,1885 |
+1 Orange Tree
| Orange Tree, Nassau (aka Orange Trees and Gate) 1885 |
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Aristide Maillol (10)
Paysage,1918
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Aristide Maillol (11)
Roses et tournesols,1943
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+Les grenades
Les grenades,1893
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Nature morte aux poivrons,1940
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Nature morte à la grenade,1943
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+Les grenades
Les grenades,1893
Nature morte aux poivrons,1940
Nature morte à la grenade,1943
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Aristide Maillol (12)
Portrait de Madame Maillol,1894
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La soeur de l'artiste,1888
Portrait de tante Lucie,1892
Portrait d'une catalane,1885
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Portrait de Mademoiselle Jeanne Faraill,1888-89
Portrait de Lucien,1896
*продолжение следует...
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Edouard Vuillard & Aristide Maillol (17)
Maillol at work on Cezanne Memorial, c.1925
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+2Aristide Maillol-Monument à Paul Cézanne,1912-25
*Aristide Maillol, Pour le Monument à Paul Cézanne, 1912-1925
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* Christie's Aristide Maillol-Monument à Paul Cézanne
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In 1912 Maillol received a commission from Frantz Jourdain, the founder of the Salon d'Automne, and a group of friends of Paul Cézanne, for a monument to the master of Aix-en-Provence, who had died six years earlier. The committee was unable to solicit sufficient funds for the project, however, or agree on the details, and the outbreak of the First World War in 1914 put an end to their plans. Maillol, who regarded Cézanne as "the genius of modern painting" (quoted in J. Rewald, op. cit., p. 19), kept the idea alive, and returned to it following the end of the war in 1918.
Maillol had already made several preparatory studies, in which he tried out and rejected several reclining poses, including those seen in many of the smaller bronzes that have since been cast, in which one leg is raised significantly higher than the other. By 1920 the sculptor had arrived at the definitive state for his Monument à Paul Cézanne: the legs of the recumbent girl are only slightly bent, and she presents in her raised hand an offering of olive branches (not included in this lead version). Maillol intended her to be seen as a bather, one of Cézanne's important subjects; she reclines on a flowing drapery, as if she were resting in the current of a river, a symbol of passing time. Her forms are classical, having been rendered in simple, unadorned volumes, in keeping with Cézanne's conception of form as Maillol understood it. The antique stylization of the girl's hair carried connotations of the ancient Roman origins of Provençal culture. Maillol drew on the sense of serenity and repose that he had instilled in this work, as well as the motif of the olive branch, when he undertook his tribute to the French war dead in the Monument de Port-Vendres, 1921-1923.
The final version in stone was ready by 1925. Edouard Vuillard executed a large painting in 1931-1937 that shows Maillol at work on the Cézanne monument (Salomon and Cogeval, no. XI-120; fig. 1); he based this tribute to Maillol on a study that he made while the sculpture was in progress (no. XI-116; Musée d'Art Moderne de la Ville de Paris). Maillol had hoped that the citizens of Aix would place the sculpture by the fountain in their town square, believing that the setting and surrounding space were crucial to the harmony of his design. His plans fell through, however, and the town rejected the monument. Gaston Doumergue, the President of France, intervened, and had the state acquire the sculpture for the city of Paris. In October 1929 the stone version of the Monument à Paul Cézanne was finally installed, between the double ramps that lead to the terrace of the Orangerie in the Jardins des Tuileries gardens. A cast in lead replaced the stone sculpture in 1943; the latter is presently in the Musée d'Orsay, Paris. A bronze version from the present edition was installed in 1964 near the Carrousel in the Jardins des Tuileries, one of eighteen large sculptures that Dina Vierny donated to the French state.
(fig. 1) Edouard Vuillard, Aristide Maillol, 1931-1937. Musée d'Art Moderne de la Ville de Paris.
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+2Aristide Maillol-Monument à Paul Cézanne,1912-25
*Aristide Maillol, Pour le Monument à Paul Cézanne, 1912-1925
***
* Christie's Aristide Maillol-Monument à Paul Cézanne
In 1912 Maillol received a commission from Frantz Jourdain, the founder of the Salon d'Automne, and a group of friends of Paul Cézanne, for a monument to the master of Aix-en-Provence, who had died six years earlier. The committee was unable to solicit sufficient funds for the project, however, or agree on the details, and the outbreak of the First World War in 1914 put an end to their plans. Maillol, who regarded Cézanne as "the genius of modern painting" (quoted in J. Rewald, op. cit., p. 19), kept the idea alive, and returned to it following the end of the war in 1918.
Maillol had already made several preparatory studies, in which he tried out and rejected several reclining poses, including those seen in many of the smaller bronzes that have since been cast, in which one leg is raised significantly higher than the other. By 1920 the sculptor had arrived at the definitive state for his Monument à Paul Cézanne: the legs of the recumbent girl are only slightly bent, and she presents in her raised hand an offering of olive branches (not included in this lead version). Maillol intended her to be seen as a bather, one of Cézanne's important subjects; she reclines on a flowing drapery, as if she were resting in the current of a river, a symbol of passing time. Her forms are classical, having been rendered in simple, unadorned volumes, in keeping with Cézanne's conception of form as Maillol understood it. The antique stylization of the girl's hair carried connotations of the ancient Roman origins of Provençal culture. Maillol drew on the sense of serenity and repose that he had instilled in this work, as well as the motif of the olive branch, when he undertook his tribute to the French war dead in the Monument de Port-Vendres, 1921-1923.
The final version in stone was ready by 1925. Edouard Vuillard executed a large painting in 1931-1937 that shows Maillol at work on the Cézanne monument (Salomon and Cogeval, no. XI-120; fig. 1); he based this tribute to Maillol on a study that he made while the sculpture was in progress (no. XI-116; Musée d'Art Moderne de la Ville de Paris). Maillol had hoped that the citizens of Aix would place the sculpture by the fountain in their town square, believing that the setting and surrounding space were crucial to the harmony of his design. His plans fell through, however, and the town rejected the monument. Gaston Doumergue, the President of France, intervened, and had the state acquire the sculpture for the city of Paris. In October 1929 the stone version of the Monument à Paul Cézanne was finally installed, between the double ramps that lead to the terrace of the Orangerie in the Jardins des Tuileries gardens. A cast in lead replaced the stone sculpture in 1943; the latter is presently in the Musée d'Orsay, Paris. A bronze version from the present edition was installed in 1964 near the Carrousel in the Jardins des Tuileries, one of eighteen large sculptures that Dina Vierny donated to the French state.
(fig. 1) Edouard Vuillard, Aristide Maillol, 1931-1937. Musée d'Art Moderne de la Ville de Paris.
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Edouard Vuillard (18)
Birches at L'Etang-a-la-Ville, 1896
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+2
Trees in a Field
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Silver Trees
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+2
Trees in a Field
Silver Trees
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