Henry Ward Ranger
Impressed by the Barbizon School landscapes and a Corot he saw in New York, the young artist went to Paris where he was attracted to the works of Millet, Theodore Rousseau, and Adolphe Monticelli.
Tim is relaxing with his family in the kitchen of his large, rural (second) home. His business partner (in yellow) has just told him that he is now an extremely wealthy man, as they have sold their software business to Richard Branson. On the table is a still life demonstrating the cultural bounty of his affluent lifestyle.
Musée ou collection : Philamuseum.
Sebastian, a Roman soldier turned Christian, was stripped and shot with arrows for shielding Christian martyrs in defiance of the Emperor. He is shown here under the care of Saint Irene, who miraculously removed the arrows and healed his wounds.
Piet Mondrian. Amaryllis on Blue Background, 1910
“Une sorte de peinture hiéroglyphe, aux couleurs bleu et rouge vaporeuse.”
Tendresse, délicatesse, poésie, harmonie et fantaisie irriguent l’oeuvre plurielle de Klee. Après avoir vu le Picasso surréaliste lors d’une rétrospective en 1930 à Zurich, Paul Klee invente cette Belle Jardinière. Continue reading
“There were no museums here, as yet, in the 1830s, and no color representations of paintings.”
Terra Foundation for American Art.
Les pionniers d’un art américain.
Samuel Morse, John Singleton Copley, Charles Peales, Gilbert Stuart.
“So he (Morse) was going to bring the culture of Europe — mainly the Renaissance Italian masterpieces in the Louvre collection — back to the United States for the benefit of his countrymen.” David McCullough, The Greater Journey : Americans in Paris.
In 1918, Sargent received a commission from the British government for a monumental painting commemorating the joint efforts of American and British troops during World War I. That summer, he traveled to the western front in the valley of the Somme in search of a subject. He painted a number of informal watercolors, including these sketches of British soldiers bathing.
Aquarelle et graphite. Metmuseum.
An ambitious farewell to his career as an artist. Stymied by a lack of financial success, he abandoned painting for science and inventing.
The painting shows the daughter of Samuel Morse at about the age of seventeen, sitting with a sketchbook in her lap and pencil in hand with her eyes raised in contemplation. This painting was first exhibited at the National Academy of Design in 1837, where it won enthusiastic praise.