Visualizzazione post con etichetta 19th century Art. Mostra tutti i post
Visualizzazione post con etichetta 19th century Art. Mostra tutti i post
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Giacomo Leopardi | Calm after the storm / The la quiete dopo la tempesta, 1829

The storm hath passed;
I hear the birds rejoice; the hen,
Returned into the road again,
Her cheerful notes repeats. The sky serene
Is, in the west, upon the mountain seen:
The country smiles; bright runs the silver stream.

Giovanni Segantini | Dopo il temporale / After the thunderstorm

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Carl Frederic Aagaard (1833-1895)

Carl Frederik Peder Aagaard was a Danish landscape painter and decorative artist.
He studied at the Royal Danish Academy of Fine Arts and under P. C. Skovgaard. Many of his paintings focused on spots frequented by tourists.


He was the son of a shoemaker. He had his first painting lessons in Odense but, in order to improve his skills, moved to Copenhagen in 1852 and joined his brother Johan, who was a woodcutter.

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Emily Dickinson | I Fear a man of frugal speech / Temo l'uomo di poche parole

Poem 543

I fear a Man of frugal Speech
I fear a Silent Man
Haranguer I can overtake
Or Babbler entertain

Temo un uomo di poche parole
temo un uomo che tace
l'arringatore - posso superarlo
il chiacchierone - posso intrattenerlo.

Danielle Richard | Sometimes in Summer

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Jean-François Millet at the National Museum of Wales

The goose girl's wistful gaze contrasts against the lively geese honking behind her and swimming in the water. In the background are the houses of Gruchy, the hamlet in Normandy where Millet was born.
This work was painted after his first visit to the area in nearly ten years.
There is a sense of personal nostlagia, less common to his works from Barbizon.

Jean Francois Millet | The goose girl at Gruchy | National Museum Wales

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Emily Dickinson | Heart! We will forget him! / Cuore! Lo dimenticheremo!

Heart! We will forget him!
You and I, tonight!
You may forget the warmth he gave,
I will forget the light!

Cuore! Lo dimenticheremo!
Tu ed io, questa notte!
Tu potrai dimenticare il calore che dava -
Io dimenticherò la luce!

Francine Van Hove, 1942

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Wassily Kandinsky | About General Aesthetic, 1910

Concerning the Spiritual in Art, 1910
Kandinsky's Introduction

Every work of art Is a child of its time, while often it is the parent of our emotions.
Thus, every cultural period creates art of its own, which can never be repeated again. An effort to revive art-principles of the past, at best, can only result in works of art resembling a still-born child. For example, it is impossible for us to relive or feel the inner spirit of the ancient Greeks.
The sculptor's attempts to employ Greek principles can only achieve a similarity in form, while the work itself remains for all time without a soul.

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Kandinsky | Lo Spirito dei colori

"Ogni opera d’arte è figlia del suo tempo, e spesso è madre dei nostri sentimenti" - Kandinsky

"Mi sembrava che l'anima viva dei colori emettesse un richiamo musicale, quando l'inflessibile volontà del pennello strappava loro una parte di vita", scriveva Wassily Kandinsky (1866-1944), il fondatore dell'Arte Astratta.
Nel sangue russo di Kandinsky si erano confusi quello tedesco della nonna materna e quello orientale della bisnonna paterna, che era una principessa cinese.
La musica diede una particolare impulso alla sua anima, Mussorgskij, Rimskji-Korsakov, Balakirev, Cui e Borodin erano i suoi preferiti.
Mentre, Monet, con i suoi Covoni esposti a Mosca nel 1895, gli diede la certezza della sua vocazione: egli ricorderà sempre quelle tele per l'impressione che ne aveva ricevuta d'esser la pittura in essa indipendente e comunque assai più forte della realtà per suo mezzo raffigurata.

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Edvard Munch | Kiss by the Window, 1892

"The Kiss by the Window" or "Kissing by the Window" is an 1892 oil on canvas painting by Edvard Munch, now in the National Gallery of Norway. It forms part of his series known as The Frieze of Life, which treats the cycle of life, death and love and was produced between 1893-1918.
Kiss by the Window artwork depicts a couple who embrace each other as they fuse into one and their faces merge into a featureless single shape.
The kissing couple is surrounded by swirling darkness with the only source of light showing through the window which is covered by a curtain.

Edvard Munch | Kissing by the Window, 1892