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359

Roberto Ferri
La nascita dell’eclissi 
Oil on canvas
80x80
359 notes | 2 years ago

77

Roberto Ferri
Limbo 
Oil on canvas
120x70
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His paintings translate into images the dreams or (perhaps) the nightmares of each of us; all we have inside, all we feel, beyond the senses, in a way that is more or less conscious, verbalised. Roberto Ferri gives life, substance and form (a rather beautiful form) to his and our ghosts.
Angels and demons, spiritual aspirations and the bonds of the flesh, purity and lasciviousness are some of the recurrent themes in Roberto Ferri’s work: like leitmotivs that create a game, most of the time quite subtle and very cerebral, in no way predictable, based upon a technique of painting taken to the highest level.
The Italian Cultural Institute, Press Release
77 notes | 2 years ago

149

El Greco

Boy Lighting a Candle
1570
50.5 x 60.5 cm
Museo Nazionale di Capodimonte, Naples
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The action of blowing on an ember, while it lasts, can be perfectly steady and show no change. The passage of the air is invisible. The pursed lips, the glow of the ember, the hold of the hands: all these things can stay as they are. It is movement without any movement to be seen, while it lasts. But of course this process can’t continue for ever. The boy’s lungs will soon run out of air. Who knows how much puff is left? What we’re seeing is something temporary, on hold. And when his breath fails, the ember will fade too, and the whole scene, which relies on this light source, will revert to darkness.
Independent.co.uk
149 notes | 2 years ago

267

Yigal Ozeri
Jana and Jessica in the field
2009
Oil on paper
Mark Moore Gallery, USA
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Through his hyperrealistic oil portraits of distinctive young women in lush environments, Yigal Ozeri brings an ethereal sensibility to his tableaus. With tinges of Pre-Raphaelite aesthetics, Ozeri’s works engage with contemporary theories of femininity and sensuality while offering a revitalized connectivity to nature.
Markmooregallery.com
267 notes | 2 years ago

243

Hans Makart (1840-1884)Das schlafende Schneewittchen (Snow White Sleeping)Oil on canvas1872126 x 220 cmHistorisches Museum der Stadt Wien (Vienna, Austria)
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The “Makartstil”, which determined the culture of an entire era in  Vienna, was an aestheticism the likes of which hadn’t been seen before Hans Makart and has not been replicated to this day. Called the “magician of  colors”, the artist painted in brilliant colors and fluid forms, which placed  the design and the aesthetic of the work before all else. Often to  heighten the strength of his colors he introduced asphalt into his  paint, which has led to some deterioration in his paintings over the  years. The paintings were usually large-scale and theatrical productions  of historical motifs.
243 notes | 2 years ago

mycomputerisdead asked: still wondering why i did not know your blog °-°
amazingly beautiful ..

It’s never too late, honey… Hahah! Thank you :)

1 note | 2 years ago

161

The Head of Gerda
Auerbach, Frank (b Berlin, 29 Apr. 1931). German-born  painter who moved to England in 1939 as a refugee from Nazism and  became a British citizen in 1947. He studied under David Bomberg, whom  he found an inspiring teacher. His work is in the Expressionist vein of Bomberg’s late paintings and  is remarkable for its use of extreme impasto, so thick that the paint  at times seems modelled rather than brushed. He has a reputation as one  of the leading British painters of his time, although some critics find  his pictures muddy and overworked.
Source: The Oxford Dictionary of Art
161 notes | 2 years ago

539

Arnold Bocklin (1827-1901)Island of the DeadOil on canvasMuseum fur Bildende Kunste (Leipzig, Germany)
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This painting was remade five times between the years 1880-86, and so  five different versions exist.  The initial impulse for the picture was a  request made by Marie Berna, whose husband had died, for Böcklin to  depict her bereavement thematically.Island of the Dead invites  contemplation on the mystery of what lies beyond death.  The boatman is  reminiscent of Charon and the waters bring to mind the ancient river  Styx, across which Greeks believed the souls of their dead traveled to  Hades.The stones and trees make for an interesting comparison –  both are symbols of the natural world, the former dead and cold, the  latter alive yet silent.  The apparent lack of human life on the island  is made poignant by the inferable knowledge that once upon a time, the  stone ruins must have housed living men.  Now, however, like death, the  island is an isolated, isolating, and lonesome place.
Source: Litmed.med.nyu.edu
539 notes | 2 years ago

314

Thief Queen, by BADiDEAfactory
314 notes | 2 years ago

559

Edgar Degas (1834-1917)Orchestra MusiciansOil on canvas1870-1871
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Degas had come to the depiction of everyday life via history painting;  at the same time the portrait became his metier. His first work on the  musician theme, now in the Musée d’Orsay, accordingly reflects his  interest in the subjects’ physiognomies as well as their performance. In  this second variation we see only the backs of their heads; the  instruments are blocked from view. Degas radically reworked this  painting several times, cutting the canvas here, extending it there,  thus making space for the stage and his new chief protagonists – the  dancers. The spotlight shimmers in their white and pink costumes. The  dancers will have a formative impact on Degas’s work and lead him to  fame.
Source: Staedelmuseum.de
559 notes | 2 years ago

834

quaerere-deum:

Interior by Peter Vilhelm Ilsted, 1896
834 notes | 2 years ago

duarteinacan asked: I really like the descriptions about the paintings! Especially those that talk about that particular piece, makes you understand better what the artist wanted to send across. Keep up the amazing work! I want to recommend you, but don't know how to!
Take care!
Duarte.

Thank you once more! First for the suggestion and now for the feedback. :)

Unfortunately, I think tumblr abolished the recommendation system…

5 notes | 2 years ago

93

Edgar Degas (1834-1917)The Orchestra at the OperaCirca 1870Oil on canvas56.5 x 45 cm© RMN (Musée d’Orsay) / Hervé Lewandowski
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With great subtlety, Degas has obscured what is usually shown in a  theatre and focused on the area reserved for the audience, particularly  the orchestra pit. The space is divided into three zones. At the bottom  is the public part of the theatre, the area allocated to the audience of  the painting as well as the performance. In the centre is the pit where  the musicians sit. At the top is the stage, edged by the footlights and  filled with headless ballerinas. An X-ray shows that Degas  deliberately cut the canvas at the sides and top. The framing is  therefore more radical than he originally intended. The harp, the box  and the double bass were added later, linking the pit graphically to the  stage.
Source: Musee-orsay.fr
93 notes | 2 years ago

72

Hans Makart (1840-1884)Karoline GomperzOil on woodc187094.5 x 134 cmCarolino Augusteum, Salzburger Museum fur Kunst und Kulturge (Salzburg, Austria)
72 notes | 2 years ago

177

“The nature of my soul was sympathetic on all phenomena of a human life, but only art was and is my unique calling. Out of it I do not think of myself. Creativity many times rescued me from errors… I avoided to represent strong passions, preferring them a modest landscape, the person, leading an internal spiritual life in embraces of our mother-nature. And in portraits my, written last years, I was attracted to themselves with those people which noble life was reflexion of thoughts, feelings, their acts…”
Mikhail Nesterov
177 notes | 2 years ago