We Love Paintings

5600

Thomas KenningtonGreat Britain 1856-1916Homeless 1890oil on canvas170.0 x 152.0 cm
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Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life.
In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time.
CultureVictoria

482

blueruins:

Masque Ouvert (1931) by Francis Picabia

307

Chad Wys
Vanish
paint on print
2011
11” x 8.5”

188

Herbert SchmalzGreat Britain 1856-1935Too Late c.1884-86oil on canvas156.4 x 255.0 cm
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Too Late is set against the aftermath of the fall of a Roman stronghold to Christianised barbarians.A yound barbarian chieftain returns from battle; he is too late, however, to be welcomed by his betrothed, who lies dead surrounded by mourners. The room is filled with Christian and barbarian symbols. Death is represented by the irises and by the extinguished flame on one side of the altar, while the promise of eventual reunion is symbolised by the two stars high in the background.
CultureVictoria

407

colourthysoul:

Anders Zorn - Sommervergnügen (1886)

237

Fritz von Uhde
Schwerer Gang (Der Gang nach Bethlehem)
1890
126 x 117 cm

86

Pascal-Adolphe-Jean Dagnan-Bouveret (1852-1929)Les Conscrits (Detail)Oil on canvas1889146.05 x 168.275 cm(4’ 9½” x 5’ 6¼”)Assemblee Nationale (Paris, France)

210

Sir Lawrence Alma-Tadema
Spring Flowers
Private Collection

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4 notes | 1 year ago

84

Lord Frederick Leighton
And the sea gave up the dead which were in it
1891
Oil on canvas
90″

238

Deborah Bell
Lovers in Cinema (Detail)
1985

1278

2headedsnake:

sergiocerchi.it
Sergio Cerchi, ‘Sitting Red Haired Girl’, oil on canvas, 100x80

chimaeriforme asked: What is the painting in your icon?

Horse in a landscape, by Franz Marc

5 notes | 1 year ago

444

Berman, Eugene (1899-1972)
Sunset - Medusa
1945
(North Carolina Museum of Art, USA)
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In Sunset (Medusa) the female figure, clothed in velvet and lace, kneels grandly on a shallow stage before a ruined wall—an ominous setting for this eerie and uncertain drama. The heightened clarity of the image as much as the trompe l’oeil monogram at the bottom edge suggest Northern Renaissance art, specifically that of the German master Albrecht Dürer. According to Emily Genauer, writing in Art Digest in 1949, Berman explained that the “curious, spattered, almost mouldy surface” of his paintings symbolized “all the bullet-holes with which the world’s walls have been peppered during [World War II], as well as our whole moral and spiritual degeneration.” The beauty of the writhing locks of Berman’s Medusa, modeled by the film actress Ona Munson (later Berman’s wife), suggests a comic, Freudian interpretation of the snake-haired Gorgon of Greek mythology, whose horrific features turned men to stone.
Artnc.org

268

Nikolai Ge
“What Is Truth?” Christ And Pilate
1890