martedì 3 maggio 2016

Lorenzo Bartolini | Venus after Titian | Art in Detail

The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia in which the figure of Venus is replaced with the model Victorine Meurent.
Reclining Venus, after Titian by Lorenzo Bartolini at the Uffizi Museum was perhaps commissioned in 1820 by Lord Robert Castlereagh, Marquis of Londonderry.
For the realization of the sculpture, Bartolini availed himself of the presence in Florence of his friend Ingres, for whom in 1821 he obtained permission of the Uffizi Gallery to realize a copy of Titian's Venus.



Benito Quinquela Martín | Seascape /Genre painter

Benito Quinquela Martín (March 1, 1890 - January 28, 1977) was an Argentine painter born in La Boca, Buenos Aires. Quinquela Martín is considered the port painter-par-excellence and one of the most popular Argentine painters. His paintings of port scenes show the activity, vigor and roughness of the daily life in the port of La Boca.
  • Early years
His birthday could not be determined precisely as he was abandoned on March 20, 1890 at an orphanage with a note that stated "This kid has been baptized, and his name is Benito Juan Martín". From his physical appearance, the nuns who found him deduced that he should be around twenty days old; thus March 1 is regarded as his birthday.




lunedì 2 maggio 2016

Titian | The Venus of Urbino, 1538 | Art in Detail

Toward the beginning of his career Titian had brought to completion Giorgione's unfinished canvas of a nude Venus asleep in a landscape; some twenty-five years later he adapted the central motif of the recumbent nude to a new setting and transformed its meaning by domesticating that pastoral deity. Giorgione's Venus - withdrawn in a private dream of love that we can share, to a degree, only by an effort of the imagination - has been brought indoors; fully awake now and aware of her audience, she displays her charms in a deliberately public proclamation of love. Nudity, in the context of the interior setting and her jeweled adornment, is evidently not her normal state; she is, rather, naked, awaiting the garments that will clothe her.



Édouard Manet | Olympia, 1863 | Art in Detail

With Olympia, Manet reworked the traditional theme of the female nude, using a strong, uncompromising technique. Both the subject matter and its depiction explain the scandal caused by this painting at the 1865 Salon. Even though Manet quoted numerous formal and iconographic references, such as Titian's Venus of Urbino, Goya's Maja desnuda, and the theme of the odalisque with her black slave, already handled by Ingres among others, the picture portrays the cold and prosaic reality of a truly contemporary subject.




Leonardo da Vinci | Differenza dalla pittura alla scultura | Il Trattato della Pittura

Trattato della Pittura - Parte prima /39

La prima maraviglia che apparisce nella pittura è il parere spiccata dal muro od altro piano, ed ingannare i sottili giudizi con quella cosa che non è divisa dalla superficie della parete; qui in questo caso lo scultore fa le opere sue che tanto paiono quanto elle sono, e qui è la causa che il pittore bisogna che faccia l'ufficio della notizia nelle ombre, che sieno compagne de' lumi.




domenica 1 maggio 2016

Vicki Sullivan, 1961 | Portrait /Figurative /Realist painter

Vicki Sullivan is an Australian Realist painter who focuses on portraiture.
She is a member of Portrait Artists Australia and the Melbourne Society of Women Sculptors and Painters founded in 1902, has participated in National and International exhibitions with her portraits, and has been a finalist in several Art Renewal Center International Salon Competitions.




Johan Zoffany | Neoclassical Portrait painter

Known primarily as a painter of portraits, conversation pieces and theatrical subjects, Johan Zoffany (1733-1810) was born Johannes Josephus Zauffaly, in Frankfurt-am-Main, Germany. The son of an architect and court cabinet maker, he was brought up at the court of Alexander Ferdinand, Prince von Thurn und Taxis, and enjoyed court patronage throughout his career. When the Prince took up residence at Regensburg, Johan was apprenticed to a local painter, Martin Speer (c.1702-65).