• Next

We Love Paintings

The Rejected Network

Andy's Bubble

We Love Sculptures

← →

40

Paul Cézanne
Portrait of the Artist’s Father 
c. 1866
Oil on canvas
198.5 x 119.3 cm
National Gallery of Art, Washington, D.C. 
___
One of the most important works of his early years is the portrait of his formidable father. The Artist’s Father is one of Cézanne’s “palette-knife pictures”, painted in short sessions between 1865 and 1866. Their realistic content and solid style reveal Cézanne’s admiration for Gustave Courbet. Here we see a craggy, unyielding man of business, a solid mass of manhood, bodily succint from the top of his black beret to the tips of his heavy shoes. The uncompromising verticals of the massive chair are echoed by the door, and the edges of the small still life by Cézanne on the wall just behind: everything corresponds to the absolute verticals of the edges of the canvas itself, further accentuating the air of certainty about the portrait. Thick hands hold a newspaper—though Cézanne has replaced his father’s conservative newspaper with the liberalL’Evénement, which published articles by his childhood friend, Emile Zola. His father devours the paper, sitting tensely upright in the elongated armchair. Yet it is a curiously tender portrait too. Cézanne seems to see his father as somehow unfulfilled: for all his size he does not fully occupy the chair, and neither does he see the still life on the wall behind him, which we recognize as being one of his son’s. We do not see his eyes— only the ironical mouth and his great frame, partly hidden behind the paper.
WebMuseum
40 notes | 2 years ago

112

Salvador DaliSantiago El Grande 1957 Oil on canvas 407.7 x 304.8
112 notes | 2 years ago

400

Edward John Poynter (1836-1919)The Cave of the Storm NymphsOil on canvas1903110.4 x 145.9 cmPrivate collection
400 notes | 2 years ago

105

oxane:

dog fish spirit
ArtbyLaw
105 notes | 2 years ago

178

fuckyeah-arthistory:

Railway - Manet, 1872-73
The redheaded woman in this painting is Victorine Meurent, the same model Manet used in his infamous Olympia painting. She was an artist in her own right, and eventually fell out of favor with Manet because she favored the more academic style of painting. 
178 notes | 2 years ago

815

missfolly:

You are the King by Yuqi Wang
815 notes | 2 years ago

60

Edgar Degas (1834-1917)The Bellelli Family1858-1867Oil on canvasH. 200; W. 250 cm© RMN
___
Masterpiece of Degas’s early years, this portrait evokes the family tensions isolating each member of the family. The imposing dimensions, the sober colours, the structured games of open perspectives (doors and mirrors), all converge in strengthening a climate of oppression. All the more so as suggestions of escape appear, such as this curious little dog split by the frame. The almost playful position of the younger daughter alone, crossing her leg under her skirt, contrasts with the heavy atmosphere whereas her elder sister seems already prisoner of adult conventions.
Musee-orsay.fr
60 notes | 2 years ago

77

Gustave Moreau (1826-1898)Salomé Dancing before HerodOil on canvas1876103.5 x 144 cmArmand Hammer Museum of Art (Los Angeles, California, United States)
77 notes | 2 years ago

88

PAUL GAUGUIN (French, 1848–1903) 
Christ in the Garden of Olives
1889 
Oil on canvas
72.4 x 91.4 cm
___
Gauguin depicted himself as the tormented, prayerful Jesus Christ, deserted by his disciples (the figures in the middleground) shortly before his betrayal by Judas Iscariot.  The facial features are those of Gauguin while the lurid red-orange hair signals Van Gogh, thus evoking the tragedy of their failure to forge an alliance and their shared experience of rejection by critics, dealers, and collectors of modern art. 
Norton.org
88 notes | 2 years ago

88

Paul Mathey (1844-1929)Woman and Child in an InteriorCirca 1890Oil on canvasH. 48; W. 38 cm© RMN (Musée d’Orsay) / Hervé Lewandowski
___
In this painting, the composition uses successive planes to lead the eye through the interior of the apartment and out into the street. In fact, the right hand side is entirely separated by a vertical section of wall against which leans the artist’s only son, Jacques (1883-1975), who would later become an art historian and a specialist in the work of Edouard Manet. His face stands out against a floral wallpaper, the only frivolous note in this very sober environment. It is the impassive expression of this child, as he stares out towards the spectator, that accentuates the strange atmosphere permeating this whole scene, where each character seems isolated in his or her own space.
With this technique of spatial gradation, moving progressively into the distance, the artist sets out the three ages of man: the youth of the child, the maturity of the wife and the old age of the servant. This construction gives his painting an allegorical or symbolic aspect beneath the primary evocation of family life.
Musee-orsay.fr
88 notes | 2 years ago

106

Louis Welden Hawkins (1849-1910)Girls Singing Music by Gabriel FabryOil on canvas190346 x 54.9 cmPrivate collection
106 notes | 2 years ago

114

davidstanton:
David Stanton
Olivia
1996
Oil on panel
16.5 x 20.5 inches
___
“Conceptually, I see painting as an organic proposition - a material organization that within its nature has the potential to address the psychology of the human condition.”
Davidstanton.net
114 notes | 2 years ago

62

Jean-Léon Gérôme (1824-1904)Young Greeks Attending a Cock Fight, also called The Cock Fight1846Oil on canvasH. 143; W. 204 cm© RMN (Musée d’Orsay) / Hervé Lewandowski
___
In the “Neo-Grec” style, characterised by a taste for meticulous finish, pale colours and smooth brushwork, Gérôme portrays a couple of near-naked adolescents at the foot of a fountain. Their youthfulness contrasts with the battered profile of the Sphinx in the background. The same opposition is found between the luxuriant vegetation and the dead branches on the ground, and in the fight between the two roosters, one of which is doomed to die.
Musee-orsay.fr
62 notes | 2 years ago

66

Louis Welden Hawkins (1849-1910)The Eiffel TowerAfter 1889Oil on canvasH. 55; W. 45 cm© RMN (Musée d’Orsay) / Franck Raux
___
Having been associated with the Symbolists in the 1890s, Hawkins changed direction at the end of the century and, after 1900 turned to late Impressionism, a style that was very successful internationally at that point, and thus offered valuable commercial openings. 
Both the framing and the free use of colour – in particular for the statue, painted with broad yellow, orange and blue brush strokes – give this painting a pseudo-modern style which was popular in all the salons of Europe at the time.
Musee-orsay.fr
66 notes | 2 years ago

64

Mikhail Nesterov
A Sick Girl
1928
Oil on canvas
The Memorial Museum of Maxim Gorky, Moscow, Russia
64 notes | 2 years ago