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We Love Sculptures

63

acidadebranca:

Sparth.com

63 notes | 2 years ago

71

Paul Gauguin (1848-1903)The White Horse1898Oil on canvasH. 140; W. 91.5 cm© RMN (Musée d’Orsay) / Gérard Blot
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A white horse, its coat tinged with the green of the vegetation, has given the painting its title. It is drinking, standing in the middle of a stream which flows vertically through the composition. The solitary animal probably has a symbolic meaning related to the Tahitians’ beliefs about the passage of the soul into another world. In Polynesia, white is associated with death and worship of the gods.Behind the sacred animal, two nude figures are riding bareback into the distance. The tiered arrangement of these three animated motifs in the landscape accentuates the vertical, flat vision of the scene. To intensify the decorative effect, Gauguin has used a sumptuous palette. The greens – from grass green to emerald – and the deep blues contrast with orange and pink notes and the coppery colour of the riders’ skin.
Musee-orsay.fr

71 notes | 2 years ago

160

Fernand Khnopff (b. 1858 Termonde, Belgium, d. 1921 Brussels, Belgium)
Jeanne Kéfer
1885
Oil on canvas
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Fernand Khnopff depicted the daughter of a composer friend on a porch before a closed door, with her tiny thumb catching the edge of her bow as she reaches into her coat. With this small gesture, Khnopff captured the child’s vulnerability and uncertainty in facing the outside world. To further evoke a child’s perception of a world scaled for grown-ups, he framed Jeanne Kéfer’s tiny body against the adult-sized door and tilted the floor ever so slightly. Jeanne is further isolated by the free, abstract brushwork in the reflective door window behind her. Typical for Khnopff, Jeanne is not warm and inviting but cut off in the shallow background, a fixed haunting gaze on her face.
Getty Museum

160 notes | 2 years ago

490

Arnold Bocklin (1827-1901)Self Portrait with DeathOil on canvas1872Staatliche Museen (Berlin, Germany)

490 notes | 2 years ago

166

Vincent van Gogh (1853-1890)Wheat Field with CypressesOil on canvas188993.4 x 73 cm

166 notes | 2 years ago

7237

vincentvangogh-:

Detail on Van Gogh’s Mulberry Tree.

7,237 notes | 2 years ago

101

The Taking of Christ (The Kiss of Judas)

Michelangelo Merisi da Caravaggio 1602Oil on canvas, 133.5 x 169.5 cmDublin, National Gallery of Ireland
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The Taking of Christ was painted by Caravaggio for the Roman Marquis Ciriaco Mattei at the end of 1602, when he was at the height of his fame. Breaking with the past, the artist offered a new visual rendering of the narrative of the Gospels, reducing the space around the three-quarter-length figures and avoiding any description of the setting. All emphasis is directed on the action perpetrated by Judas and the Temple guards on an overwhelmed Jesus, who offers no resistance to his destiny.
Nationalgallery.ie

101 notes | 2 years ago

121

Hans Makart (1840-1884)Dame am SpinettOil on canvas187135.7 x 83 cmstereichische Galerie Belvedere (Wien, Austria)

121 notes | 2 years ago

60

Samuel BakThe Family, 1974Oil on canvas
“The Family sums up many of my artistic themes. The rear plan is a dark and smoke laden sky. In the first plan, bathed in a neutrally diffused light, a monumental egg, similar to a stone monument, is riddled by bullet holes. The beings that crowd the space between these two, speak of an ongoing process that is suspended between the forces of life, and the forces of death that are assaulting them.
In face of all this struggle and disintegration, confronted with a world that seems to have rejected the knowledge of its past errors, on an earth whose burning horizon illuminates an endless stream of refugees, these afflicted people gather in their huge Family portrait and look at us inquiringly, asking to be remembered.”
Text by Samuel Bak, from Between Worlds: The Paintings of Samuel Bak from 1946-2000.

60 notes | 2 years ago

117

Hans Baldung Grien
Death and the Maiden
1518-20
Oil on panel
31 x 19 cm
Öffentliche Kunstsammlung, Basel

117 notes | 2 years ago

98

Michelangelo Merisi da Caravaggio (1571-1610)St. JeromeOil on canvas1605-160681 x 118 cmMonastery de Montserrat (Spain)

98 notes | 2 years ago

314

Frederic Edwin Church (1826-1900)The Natural Bridge, VirginiaOil on canvas185258.42 x 71.12 cm
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For his spectacular and panoramic paintings of the wilderness of North and South America, Frederic Edwin Church was a dominant figure in the second generation of the Hudson River School. His canvases celebrated the drama of the American frontier and expressed the expansionist and optimistic outlook of the United States in the mid-nineteenth century.
Artrenewal.org

314 notes | 2 years ago

87

Degas, Edgar
Place de la Concorde
Oil on canvas
78 x 117 cm
France
1875
Hermitage Museum, St. Petersburg, Russia
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The chief figure in the picture is Ludovic-Napoléon Lepic (1839-1885), an aristocrat, artist, engraver, and a Parisian flâneur. Viscount Lepic and his two daughters are crossing the Place de la Concorde, with the Tuileries behind a stone wall. The painting displays movement, in several different directions at once. The Viscount strolls along unhurriedly - each detail corresponds precisely to the image of a flâneur. Both girls are entirely independent and seem to be going a completely different way. Some commentators see the children as a means of emphasizing the studied indifference of the flâneur, a person who always preserves self-possession, observing instead of taking part.
A number of recent commentators see the expansiveness of the painting as the result of the influence of photography. But the whole history of photography shows that it did not overtake painting but followed behind it.

87 notes | 2 years ago

1490

The Elephants, by Salvador Dalí
‘The Elephants, 1948’ is a painting of two elephants with vastly elongated legs, both carrying an obelisk, which was a commonly used motif in Dali’s work. He is trying to provoke a sense of weightlessness with the elephants which comes across in their spindly legs as they carry weighty objects on their backs. Dali’s work was described by himself as ‘absolute naturalness, without the slightest aesthetic concern’ and in producing work which he held no thought for it’s beauty, he managed to create wonderfully dreamlike pieces which take the viewer into an alternate reality in which they are surrounded by hidden images and meanings.
Source: PopartUK.com

1,490 notes | 2 years ago

60

Henri Matisse (1869-1954)
Madame Matisse, “The Green Line” ( La Raie verte)
1905
Oil and tempera on canvas
Statens Museum for Kunst, Copenhagen, Denmark
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Matisse painted this unusual portrait of his wife in 1905. The green stripe down the center of Amélie Matisse’s face acts as an artificial shadow line and divides the face in the conventional portraiture style, with a light and a dark side, Matisse divides the face chromatically, with a cool and warm side. The left side of the face seems to echo the green in the picture’s right, the corresponding is true for the right side of the face, where the pink responds to the orange on the left. The natural light is translated directly into colors and the highly visible brush strokes add to the sense of artistic drama.
Henry-matisse.com

60 notes | 2 years ago