L'amore non muore mai di morte naturale.
Muore perché noi non sappiamo come rifornire la sua sorgente.
Muore di cecità e di errori e tradimenti.
Muore di malattia e di ferite,
muore di stanchezza, per logorio o per opacità.
Pinacoteca di Brera | 6 Masterpieces
The collection of the Pinacoteca di Brera includes some of the greatest masterpieces of Italian and foreign art from the 13th to the 20th century.
The works are displayed on the first floor of the building, where the Academy of Fine Arts is also located.
The Pinacoteca museum, which opened in 1809 thanks to Napoleon Bonaparte, was born as a collection of the finest works of art and was dedicated to the education of students.
The collection included Italian art masterpieces taken from churches and monasteries that were suppressed at the time when Milan was the capital city of the Kingdom of Italy. | Source: © Pinacoteca di Brera
Antonio Canova (Italian, 1757-1822) | Napoleone come Marte pacificatore / Napoleon as Mars the peacemaker, 1811 (detail) | Pinacoteca di Brera
Vincent van Gogh | The Laundry Boat on the Seine at Asnières, 1887
The Laundry Boat on the Seine at Asnières exemplifies some of the radical directions emerging from the paintings Vincent van Gogh (1853-1890) completed in Paris.
In March 1886, Van Gogh left his native Netherlands to reunite with his brother, Theo, in the French capital.
Soon after, he began meeting with several leading avant-garde artists whose works embodied strong reactions against the Impressionist tendencies that dominated the Parisian art world.
In 1887, Van Gogh took up residence in Asnières, a northwestern suburb of Paris, and his encounters with Signac and Gauguin proved catalytic for the painter's developing practice.
Vincent van Gogh | The Laundry Boat on the Seine at Asnières, 1887 | Virginia Museum of Fine Arts
Gauguin shared Van Gogh's enthusiasm for 19th-century Japanese woodblock prints and emulated their large planes of color in his burgeoning Synthetism and Cloisonnism techniques.
The compositional diagonals and strong contours in this painting recall both the distinctive divisions of the picture plane in Japanese landscapes and Gauguin’s simplified adaptation of these features.
The scene's striking chromatic contrasts and thickly layered brushstrokes also point to Van Gogh's interest in the experiments with complementary colors Seurat and Signac were making in these years.
The restaurant and park scenes and the views of the Seine that Van Gogh completed while living in Asnières began to demonstrate the indelible influence of Synthetism, Divisionism, and Pointillism even as a unique Post-Impressionist style was emerging in his paintings. | Virginia Museum of Fine Arts
Vincent van Gogh | Self-portrait as a painter, 1887-88
The Laundry Boat on the Seine at Asnières esemplifica alcune delle direzioni radicali emerse dai dipinti completati da Vincent van Gogh (1853-1890) a Parigi.
Nel marzo 1886, Van Gogh lasciò la natia Olanda per riunirsi al fratello Theo nella capitale francese.
Poco dopo, iniziò a incontrare diversi importanti artisti d'avanguardia le cui opere incarnavano forti reazioni contro le tendenze impressioniste che dominavano il mondo dell'arte parigino.
Nel 1887, Van Gogh si stabilì ad Asnières, un sobborgo nord-occidentale di Parigi, ed i suoi incontri con Signac e Gauguin si rivelarono catalizzatori per la pratica in via di sviluppo del pittore.
Gauguin condivideva l'entusiasmo di Van Gogh per le stampe xilografiche giapponesi del XIX secolo e ne emulò i grandi piani di colore nelle sue fiorenti tecniche di Sintetismo e Cloisonnisme.
Le diagonali compositive e i forti contorni in questo dipinto richiamano sia le divisioni distintive del piano pittorico nei paesaggi giapponesi sia l'adattamento semplificato di queste caratteristiche da parte di Gauguin.
I contrasti cromatici sorprendenti della scena e le pennellate spesse e stratificate indicano anche l'interesse di Van Gogh per gli esperimenti con colori complementari che Seurat e Signac stavano facendo in quegli anni.
Le scene del ristorante e del parco e le vedute della Senna che Van Gogh completò mentre viveva ad Asnières iniziarono a dimostrare l'influenza indelebile del sintetismo, del divisionismo e del puntinismo, anche se uno stile Post-impressionista unico stava emergendo nei suoi dipinti. | Virginia Museum of Fine Arts
More Asnières paintings by Vincent van Gogh
Vincent van Gogh | The restaurant Rispal in Asnières, 1887 | Museo Nelson-Atkins
Vincent van Gogh | Bridges across the Seine at Asnieres, 1887 | Collezione Bührle
Vincent van Gogh | Fishing in spring the Pont de Clichy (Asnieres), 1887 | Art Institute of Chicago
Vincent van Gogh | River Bank in Springtime, 1887 | Dallas Museum of Art
Vincent van Gogh | Restaurant de la Sirène at Asnières, 1887 | Musée d'Orsay
Vincent van Gogh | Fishing in Spring, the Pont de Clichy (Asnières), 1887 | Art Institute of Chicago
Henri Lebasque | Afternoon Tea on the Terrace in Sainte-Maxime, 1914
Henri Lebasque (1865-1937) first visited the French Riveria in 1906 at the suggestion of his friend Henri Manguin.
In 1924, Lebasque relocated to the region to permanently take advantage of its unparalleled light.
In the intervening years, the artist who would earn the sobriquet "Painter of Joy and Light" returned often.
In 1914, he brought his family to the town of Sainte-Maxime, about halfway between Cannes and St. Tropez.
Here, he would undertake an idyllic series of family portraits set on the terrace of their waterfront house.
Henri Lebasque | Afternoon Tea on the Terrace in Sainte-Maxime, 1914 | Christie's
Great paintings from the Clark Art Institute
Adrien Moreau | Contemplation, 1873
The solitary woman in Moreau's painting gazes down toward a duck pond.
Her contemplative expression -and the painting's title- suggest that she has chosen this isolated spot to be alone with her thoughts.
The woman's fashionable city clothes have been painted with a degree of detail that contrasts with the more textured brushstrokes used to describe the surrounding landscape. | Source: © Clark Art Institute
Adrien Moreau (French, 1843-1906) | Contemplation, 1873 | Clark Art Institute
Maria Martinetti | Orientalist painter
Maria Martinetti (1864-1921) was an Italian painter. She was a student of Gustavo Simoni.
She lived and exhibited in Italy and France.
In 1890 she moved to the United States.
She is known for her genre paintings.
Claude Monet | Woman in the Garden, Sainte-Adresse, 1867
This is a very early Impressionist work by the group's leader, Claude Monet.
The sunlight which floods the paintings of the Impressionists - who did most of their painting out of doors, directly from nature - here plays the central role.
Monet spent his childhood in Le Havre, which he periodically visited.
The Le Coteaux estate at Sainte-Adresse near Le Havre belonged to Monet's cousin, Paul-Eugene Lecadre.
Settling here in the summer of 1867, the artist painted several landscapes in the garden of the estate, of which "Woman in the Garden" is of central importance.
Claude Monet (1840-1926) | Woman in the Garden, Sainte-Adresse France, 1867 | Source: © State Hermitage Museum
Edmé Bouchardon | Cupid cutting his bow from the club of Hercules, 1750
Cupid cutting his bow from the club of Hercules (L'Amour se taillant un arc dans la massue d'Hercule) is a marble statue created by the sculptor Edmé Bouchardon (French sculptor, 1698-1762 in 1750 and currently preserved at the Musée du Louvre.
Born at Chaumont, Edmé Bouchardon became the pupil of Guillaume Coustou and gained the Prix de Rome in 1722.
Resisting the barocchetto tendency of the day he was classic in his taste, pure and chaste, always correct, charming and distinguished, a great stickler for all the finish that sandpaper could give.
Edmé Bouchardon | Cupid cutting his bow from the club of Hercules, 1750 (detail) | Musée du Louvre
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