Visualizzazione post con etichetta Museum Masterpieces. Mostra tutti i post
Visualizzazione post con etichetta Museum Masterpieces. Mostra tutti i post
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Pierre-Auguste Renoir | The Wave / L'Onda, 1882

Each summer between 1879 and 1882 Pierre-Auguste Renoir traveled to Wargemont near Dieppe on the Normandy coast to visit his friend and patron Paul Bérard.
Renoir and Bérard, a banker and French diplomat, had met in 1878, when the artist was still struggling to find collectors for his Impressionist canvases.
Renoir and Bérard quickly formed a bond, leading to numerous commissioned portraits of the financier’s children and affording the artist a comfortable place to go for the summer well removed from the oppressive heat of Paris.

Pierre-Auguste Renoir | The Wave, 1882 | Dixon Gallery and Gardens, Memphis, United States

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Vincent van Gogh | Houses at Auvers, 1890

"Houses at Auvers" is an oil painting by Vincent van Gogh, located at the Toledo Museum of Art.
It was created towards the end of May or beginning of June 1890, shortly after he had moved to Auvers-sur-Oise, a small town northwest of Paris, France.
His move was prompted by his dissatisfaction with the boredom and monotony of asylum life at Saint-Rémy, as well as by his emergence as an artist of some renown following Albert Aurier's celebrated January 1890, Mercure de France, review of his work.
In his final two months at Saint-Rémy, van Gogh painted from memory a number of canvases he called, "reminisces of the North", harking back to his Dutch roots.
The influence of this return to the North continued at Auvers, notably in The Church at Auvers.
He did not, however, repeat his studies of peasant life of the sort he had made in his Nuenen period. His paintings of dwellings at Auvers encompassed a range of social domains. | Source: © Wikipedia

Vincent van Gogh | Houses at Auvers, 1890 | Toledo Museum of Art

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Museum Masterpieces

Annie Feray Mutrie (British, 1826-1893) - Cactus | Bonhams


Exhibited:
(possibly) Royal Academy, 1866, no. 370;
Paris Universal Exhibition, 1867.

Annie Feray Mutrie was the younger sister of Martha Darley Mutrie. Born in Manchester, both girls studied at the Manchester School of Design under George Wallis. Both artists specialised in still life painting, regularly exhibiting at the Royal Academy between 1851-1882.
The naturalistic style of their work was admired by John Ruskin, who in praise of Annie Feray wrote: "All these flower paintings are remarkable for very lovely, pure, and yet unobtrusive colour- perfectly tender and yet luscious, and a richness of petal texture that seems absolutely scented.

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Claude Monet | The River, 1881 | Museum Barberini

Claude Monet depicted an evening on the river using a reduced formal vocabulary. The impulsive play of lines seems to be rapidly set down, as if the painter had wanted to complete the composition just before the sun disappeared.
Several branches glow in the red light of its last rays. Although the picture has the appearance of a sketch, the artist’s signature indicates that he considered it an independent, completed work.
According to Academic standards, a finished painting was characterized by a polished surface in which even subordinate elements should be developed in some detail.
Monet resisted this aesthetic of the fini by dissolving the traditional distinction between the preparatory sketch (esquisse or étude) and the painting intended for exhibition (tableau).


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Saint Cecilia: Patroness of Musicians

In the fourth century a Greek religious romance on the Loves of Cecilia and Valerian was written in glorification of virginal life with the purpose of taking the place of then-popular sensual romances.
Consequently, until better evidence is produced, we must conclude that St. Cecilia was not known or venerated in Rome until about the time when Pope Gelasius (496) introduced her name into his Sacramentary.
It is said that there was a church dedicated to St. Cecilia in Rome in the fifth century, in which Pope Symmachus held a council in 500.
The story of St. Cecilia is not without beauty or merit. She is said to have been quite close to God and prayed often:
"In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity".

Orazio Gentileschi🎨 | Saint Cecilia with an Angel

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Pierre-Auguste Renoir at the Metropolitan Museum of Art


Famed for his sensual figures and charming scenes of pretty women, Pierre Auguste Renoir🎨 was a far more complex and thoughtful painter than generally assumed.
He was a founding member of the Impressionist movement, nevertheless he ceased to exhibit with the group after 1877.
From the 1880s until well into the twentieth century, he developed a monumental, classically inspired style that influenced such avant-garde giants as Pablo Picasso.

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Vermeer | A Young Woman standing at a Virginal, 1670-1672


The richly dressed lady playing a virginal stands in a prosperous Dutch home with paintings on the wall, a marble-tiled floor, and a skirting of locally produced Delft blue and white tiles. The two paintings on the wall behind her cannot be identified with certainty.
The small landscape on the left and the painting decorating the lid of the virginal resemble works by Vermeer🎨’s Delft colleague Pieter Groenewegen.
The second painting, attributed to Cesar van Everdingen, shows the motif of Cupid holding a card. This figure derives from a contemporary emblem. It may either refer to the idea of faithfulness to one lover or, in conjunction with the virginal, to the traditional association of music and love.

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Van der Vaart and Wissing | Queen Anne, when Princess of Denmark,1685


Title: Queen Anne, when Princess of Denmark;
Artists: Willem Wissing (Dutch painter🎨, 1656-1687), Jan van der Vaart (Dutch painter🎨, 1647-1721)
Current location: National Galleries of Scotland.

Queen Anne (1665-1714) - Princess of Denmark, Reigned 1702-1714 - was the last of the Stuart dynasty to occupy the British throne.
Shown here aged eighteen, seductively dressed and posed in a sumptuous interior, her reign was dominated by war with the French and her failure to produce an heir.