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We Love Paintings

Project Point Zero

We Love Sculptures

The Rejected Network

Andy's Bubble

549

colourthysoul:

Eser Afacan

549 notes | 12 months ago

148

Lionel Bulmer
Footpath in the Snow
1954

148 notes | 12 months ago

114

Ritman, Louis (1889-1963)
Early Morning Sunshine
1913
(Indianapolis Museum of Art, Indiana, USA)

114 notes | 12 months ago

148

Jean Fouquet (1425-1480)Madonna And Child (panel of Melun Diptych)Oil on canvas1450Private collection

148 notes | 12 months ago

729

Herbert Gustave Schmalz (1856-1935)Faithful Unto DeathOil on canvas1888Private collection

729 notes | 12 months ago

486

deadpaint:

Felix Valloton, Bathing

486 notes | 12 months ago

145

Dan McCaw

145 notes | 12 months ago

960

John Atkinson Grimshaw (1836-1893)The Lady of ShalottOil on canvasPrivate collection
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The subject of the dead Lady in a boat or barge floating down the river inspired Edward Robert Hughes, William A. Breakspeare, John La Farge, and John Atkinson Grimshaw. This theme interested artists because of the sensuality suggested by dead Lady’s recumbent body and the decadent attraction of the union of death and beauty, sensuality and spirituality.
John Atkinson Grimshaw painted the dead Lady of Shalott floating down the river in her funeral barge after having done a similar painting, Elaine, in 1877. Both paintings convey the atmospheric stillness of the dead lady as she floats through the night.
Victorianweb.org

960 notes | 12 months ago

344

Arkhipov Abram

344 notes | 1 year ago

376

vaxhuvuden:

Raffaello Sanzio da Urbino

376 notes | 1 year ago

1664

Luca Fa Presto (Luca Giordano)
St. Michael
c. 1663

1,664 notes | 1 year ago

923

Caspar David Friedrich
The Cross In The Mountains
c. 1812

923 notes | 1 year ago

229

lyghtmylife:

EL GRECO
[Greek-born Spanish Mannerist Painter, 1541-1614]
The Burial of the Count of Orgaz (detail)1586-88Oil on canvasSanto Tomé, Toledo
No picture better demonstrates the essence of El Greco’s art than his most famous, The Burial of the Count of Orgaz, which was painted for his own parish church, Santo Tomé. Gonzalo Ruiz de Toledo, Count of Orgaz, was a Toledan nobleman who had lived in the fourteenth century and acquired a renown as a donor to religious institutions. Before he died, he had willed certain rents from the village of Orgaz to the church of Santo Tomé, where he had elected to be buried. In 1586 the parish priest initiated a project to refurbish the count’s burial chapel, and commissioned El Greco to paint what has to be considered as his masterpiece.
The most striking aspect of the composition is the juxtaposition of the imaginative vision of heaven with the burial scene, in which all the figures are garbed in contemporary costumes and presumably represent distinguished citizens of Al Greco’s Toledo. The dichotomy in style between the upper and lower parts is one of the most remarkable feature of the painting. In the lower zone, El Greco meticulously reproduces the appearances of persons and objects. The heavenly scene, by contrast is far more abstracted. This peculiar synthesis of real and super-real is essential to El Greco’s art.

229 notes | 1 year ago

126

Edmund Charles Tarbell

126 notes | 1 year ago

210

Turner, Joseph Mallord William (1775-1851)
Forum Romanum, For Mr Soane’s Museum
1826

210 notes | 1 year ago