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Tiziano | The Aldobrandini Madonna, 1532

Artist: Titian (1506-1576)**
Full title: The Virgin and Child with the Infant Saint John and a Female Saint or Donor / The Aldobrandini Madonna / The Madonna of the Rabbit / The Aldobrandini Madonna.
Date made about: 1532
Medium and support: Oil on canvas
Dimensions: 100.6 x 142.2 cm
Acquisition credit: Bought, 1860
Location: The National Gallery, Trafalgar Square, London, Room 2
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Claude Monet | Le Tuileries, 1875

Title: Le Tuileries
Author: Claude Monet (1840-1926)
Date: 1875
Medium: Olio su tavola
Dimensions: 50 x 75,5 cm
Current location: Parigi, Musée d’Orsay - © René-Gabriel Ojéda / RMN-Réunion des Musées Nationaux/ distr. Alinari.
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Caravaggio | John the Baptist feeding the Lamb

- Michelangelo Merisi da Caravaggio | John the Baptist feeding the Lamb, end of the first decade of the 17th Century, oil on canvas, 78x122 cm

John the Baptist (sometimes called John in the Wilderness) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571-1610).

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Ludwig Passini | The pretty fruit vendor / La bella venditora di frutta


Ludwig Johann Passini (1832-1903) was an Austrian narrative and genre painter and printmaker.
Ludwig Passini was born on 9 July 1832 in Vienna, the son of the engraver Johann Nepomuk Passini - the Passini family moved to Trieste in 1850.
On 9 November 1864 Passini married Anna Warsaw (1841-1866) at Berlin, she the daughter of Robert and Mary Warschauer, the great-granddaughter of banker Joseph Mendelssohn and the great-great-granddaughter of philosopher Moses Mendelssohn.

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Guillaume-Charles Brun | Young Rag Seller, 1870


Charles Guillaume Brun (Montpellier, 1825 - Paris, 1908) was registered in 1847 at the Paris Beaux-Arts school, where he studied under the direction of François- Edouard Picot (1786-1868) and of Alexandre Cabanel (1823-1889)**.
His participation in the Paris Salon began in 1851 with genre subjects (Young girl doing her morning prayer), but as soon as 1853, he regularly sent Orientalist scenes, located in Algeria (Prayer in 1859, Rendez-vous in Constantine in 1861, Moorish woman in 1867), strongly architecturally designed, animated with sharp contrasts in lighting effects and showing a fine sensitivity while modulating his grays. 
In addition to numerous landscapes of Algeria, he was also known as military portraitist, painting accurately uniforms, and he naturally became official painter to the Ministry of War, where he worked with Alexandre Cabanel**. He was also the author of decoration of churches, including that of Villemomble (Martyrdom of St. Lawrence, 1857). Brun became a member of the French Artists society from 1883.
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Edvard Munch | Girls on the Bridge, 1899

Girls on a Bridge
Edvard Munch
Date: 1899 - 1900
Style: Expressionism
Period: European period
Genre: genre painting
Media: oil, canvas
Location: Private Collection
Perhaps more than any of Munch's painting, Girls on the Bridge has gained a wide measure of justly deserved popularity. The theme engaged and held Munch's interest through many versions in paint and print, from the waning years of the nineteenth century to his old age.

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Antonietta Brandeis | The Ponte Vecchio, Florence

Antonietta Brandeis was born in Miskowitz, Austria in 1849. She studied under Karel Javurek in Prague before moving to Venice to become a pupil at the Academy.
The development of international tourism in the nineteenth century meant that many more people were travelling to the beauty spots of Europe.
Venice was a very popular destination for these travellers and the demand for paintings of Venice grew. This demand resulted in an influx of artists to Venice who all produced topographical views of the city and its environs.
The presence of painters from Austria, such as Eugene de Blaas and F. R. Unterberger is not surprising in view of the fact that Venice was under Austrian rule for part of the century. Brandeis was another such artist.


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Vincent van Gogh | Irises, 1890

Title: Irises
Artist: Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise)
Date: 1890
Medium: Oil on canvas
Dimensions: 29 x 36 1/4 in. (73.7 x 92.1 cm)
Classification: Paintings
Credit Line: Gift of Adele R. Levy, 1958
Accession Number: 58.187
On view at The Met Fifth Avenue in Gallery 825.
In May 1890, just before he checked himself out of the asylum at Saint-Rémy, Van Gogh painted four exuberant bouquets of spring flowers, the only still lifes of any ambition he had undertaken during his yearlong stay: two of irises, two of roses, in contrasting color schemes and formats.
In the Museum’s Irises he sought a “harmonious and soft” effect by placing the “violet” flowers against a “pink background”, which have since faded owing to his use of fugitive red pigments. Another work from this series, Roses (1993.400.5), hangs in the adjacent gallery. Both were owned by the artist’s mother until her death in 1907. | © The Metropolitan Museum of Art.
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Vincent Van Gogh | White Roses, 1890


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Yannick Bouchard (Canadian, 1982)


I am not claiming myself as a "surrealist artist", but my art is undeniably marked by their influence. I was also very impressed by some notable fantasy artists; the way they depict beauty and sensuality, and how they bring grandiose imaginary worlds to life.
Overall, my paintings are more or less a mixture of all those types; surrealism, fantasy with a touch of symbolism and even sometimes macabre.

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Vincent Van Gogh | A Girl in White in the Woods, 1882


Girl in White in the Woods is an oil painting created in 1882 by Vincent van Gogh.
Of a study that Van Gogh made for Girl in a Wood or Girl in White in the Woods, he remarked at how much he enjoyed the work and explains how he wishes to trigger the audience's senses and how they may experience the painting:
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Pietro Annigoni (1910-1988)

Pietro Annigoni è uno dei più noti pittori Italiani del '900. Artista di grande carisma, nato in un secolo di grandi rivoluzioni e contestazioni, ha impegnato le sue capacità tecniche, uniche al mondo, per realizzare opere gigantesche e minuscole incisioni, ritratti, paesaggi e grandi composizioni allegoriche che hanno suscitato contrastanti reazioni di ammirazione o di rifiuto.
Artista ormai affermato in tutto il mondo, la rivista "Time" gli ha dedicato ben sette copertine, Pietro Annigoni ha saputo raccogliere intorno a se ed alla sua "bottega" una vera e propria scuola di tipo rinascimentale, assolutamente gratuita, liberamente frequentata da artisti molto diversi tra loro ed oggi affermati, quali Luciano Guarnieri, Marcello Tommasi, Romano Stefanelli, Nelso H. White, Fernando Berardini, Timothy Widborne, Silvestro Pistolesi, Dawn Cookso, Antoio Ciccone, Ben Long, Douglas Anderson, Luigi Falai e molti altri.


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August Hagborg | Reflections On The Beach


August Wilhelm Nikolaus Hagborg (born in Gothenburg on 26 May 1852, died in Paris on 30 April 1921) was a Swedish painter.
After initial training received at the Academy of Fine Arts in Stockholm, August Hagborg came to Paris in 1875 to complete his training.
He maintained a studio for most of his career, and continuously exhibited at the Salons between 1876-1909.
An Important figure in the naturalistic movement at the turn of the century, often close to artists such as Jules Breton and Jules Bastien-Lepage, he often depicted scenes inspired by coastal Normandy.
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Jean-François de Troy | Study of three figures


Jean-François de Troy, de Troy also spelled Detroy (baptized January 27, 1679, Paris, France - died January 26, 1752, Rome, Papal States [Italy]), French Rococo painter known for his tableaux de mode, or scenes of the life of the French upper class and aristocracy, especially during the period of the regency-e.g., Hunt Breakfast (1737) and Luncheon with Oysters (1735).
As a youngster he studied with his father, François de Troy (1645–1730), a portrait painter from Toulouse, but moved to Italy at 14 years of age.
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Alena Plihal (Canadan painter)


Born in the Czech republic Alena as been established in Quebec for many years, Alena explores several techniques at her disposal to create vibrante paintings.
Since her firt work painting has been a deliverance and freedom!
The pictorial expression of Alena is passionate and communicative.

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Debra Hill | Australia


Originaria di Sydney, in Australia, Debra risiede a New York.
Dalla diversa energia di Manhattan crea potenti pezzi narrativi tratti dalla sua immaginazione.
Eseguiti in olio su tela, i suoi stimolanti dipinti simbolici utilizzano una tavolozza di colori vibranti.
Debra ha studiato disegno dal vero e ritrattistica alla Paddington Art School di Sydney.
Il suo fascino per la figura combinato con la sua passione per la danza ha portato a pezzi figurativi dinamici in cui il soggetto quasi salta fuori dalla tela.

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Claude Monet | Bridge at Argenteuil on a gray day, 1876


Bridge at Argenteuil on a Gray Day
Artist: Claude Monet
Date: 1876, Impressionism
Current location: National Gallery of Art, Washington D.C.
Original size: 24.0 x 31.6" (61 x 80.3 cm)
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Armand Guillaumin | The rackets, 1880


Born Jean-Baptiste Armand Guillaumin in Paris, Armand Guillaumin worked at his uncle's lingerie shop while attending evening drawing lessons.
He also worked for a French government railway before studying at the Académie Suisse in 1861.
There, he met Paul Cézanne and Camille Pissarro with whom he maintained lifelong friendships. While he never achieved the stature of these two, his influence on their work was significant.

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Edward Cucuel | Autumn Sun


American painter🎨 Edward Alfred Cucuel (1875-1954) was born in San Francisco, California.
He is best known for his paintings of sunny genre scenes of boating, afternoon tea, sleeping or reading in landscape settings.

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Pascal Chove, 1963

Nato a Parigi, Pascal Chove ha studiato presso la scuola d'arte applicata Ecole des Arts Appliques Duperre di Parigi.
Fino al 1986, ha dipinto numerosi murales a Parigi e nel resto della Francia; in seguito a questo periodo decise di concentrarsi esclusivamente sulla pittura da cavalletto.
Preferisce lavorare con il legno perchè non ama dipingere su tela, la trova troppo morbida ed inadatta per il suo stile, le sue opere devono essere graffiate e raschiate.
Dipinge i suoi quadri con la resina su cui aggiunge vari materiali come cartone, reti o tessuti. Si possono vedere diversi piani sovrapposti supportati dall’uso elaborato della luce.


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Raffaello Sorbi | The Harvest Dance, 1893


Raffaello Sorbi (1844-1931) was an Italian painter🎨.
He was born in Florence. As a young man, he studied design in the Royal Academy of Fine Arts in Florence; then painting under professor Antonio Ciseri. By 18 years, he had completed his first major work: Corso Donati mortally wounded is transported by Monks of San Salvi to their Abbey.

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Bartolomeo Veneto (1502-1555)


Bartolomeo Veneto was an Italian painter who worked in Venice, the Veneto (the mainland) and Lombardy.
During his time in Venice, he studied under Gentile Bellini.
The little information available about Bartolomeo's life has been derived from his signatures, dates, and inscriptions.
His best known works are portraits or pictures with portrait-like character.

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Giorgio de Chirico | The Seer, 1914


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Van Gogh | Le Moulin de Blutefin, 1886

Le Moulin de Blute-fin, Museum de Fundatie, Zwolle
Disputed Van Gogh painting Le Blute-Fin Mill goes on display
The Guardian News | 24 February 2010

Dirk Hannema was known as a brilliant art curator but a bit of a fool. He claimed he had seven Vermeers in his collection, several Van Goghs and a few Rembrandts, but no one believed him.
Now, 25 years after his death it turns out he was right – at least about one work, by Vincent van Gogh. The painting, Le Blute-Fin Mill, went on display today in the Museum de Fundatie in the central Dutch town of Zwolle.
Louis van Tilborgh, curator of research at the Van Gogh Museum in Amsterdam, said the painting was unusual for the impressionist, depicting large human figures in a landscape. It shows Parisians climbing wooden stairs to a windmill in the Montmartre district.
But the work was typical of Van Gogh's at that time in other ways, with its bright colours lathered roughly on the canvas.
Van Tilborgh said it was painted in 1886 when the artist was living in Paris. The canvas bore the stamp of an art store he frequented, and used pigments common in other works. The painting "adds to his oeuvre", he said.
"You can link it to certain works of Van Gogh in that period, but not that many".
It is the first Van Gogh to be authenticated since 1995 and the sixth to be added to the confirmed list of the artist's paintings since the latest edition of the standard catalogue was published in 1970, Van Tilborgh said.
Van Gogh painted about 900 works. Afflicted by mental illness, he died of a self-inflicted wound in 1890, aged 37.
Hannema, who died in 1984, bought the painting in 1975 from a dealer in Paris. He paid 5,000 guilders for this and another work, and insured it for 16 times what he paid. He touted the painting with "absolute certainty" as a Van Gogh, but no one was listening. He had been discredited since he bought a purported Vermeer in 1937 that later was shown to be a forgery. | © The Guardian News
 
Il dipinto Le Moulin de Blutefin di Vincent Van Gogh era rimasto per 35 anni in un deposito di un museo della cittadina olandese al Museum de Fundatie di Zwolle.
Il quadro era stato acquistato nel 1975 dal fondatore e gestore del museo locale de Fundatie, Dirk Hannema, in un negozio di oggetti d'arte parigino come opera del famoso artista.
Visto che il collezionista privato è deceduto nel 1984 e ha sempre avuto una 'cattiva fama' come commerciante di opere d'arte, il dipinto ha avuto poca attenzione ed è finito in un deposito.
Nal 2010, le precise analisi di esperti del museo Van Gogh di Amsterdam confermano senza ombra di dubbio che il dipinto, 55 per 38 centimetri, è un originale Van Gogh.
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Van Gogh | Prisoners Exercising | La ronda dei carcerati, 1890

Prisoners Exercising (Prisoners Round)
Vincent van Gogh.
Date: 1890; Saint-rémy-de-provence, France.
Style: Post-Impressionism.
Genre: Genre painting.
Media: oil, canvas.
Dimensions: 64 x 80 cm.
Location: Pushkin Museum, Moscow, Russia,

Vincent van Gogh painted Prisoners Exercising, or Prisoners’ Round, in February of 1890 during his time at the Saint-Remy asylum. It is a copy of an engraving by Gustave Dore titled, Newgate Exercise Yard which offers a glimpse into prison life as inmates slowly march in a circle for exercise in the prison yard, surrounded by walls that seem to go up forever.
While in the asylum, Van Gogh copied a number of paintings by other artists. Prisoners Exercising is considered by some to be one of the best copies he created, perhaps even outshining the original artist.
Some people have suggested that the tall prisoner with the light shining on his face, who seems to be looking out from the canvas might actually be a portrait of the artist, Van Gogh. However, there is no evidence to support the validity of this claim and not all critics agree. One must wonder if while painting this piece Van Gogh felt like a prisoner himself, confined within the walls of Saint Paul de Mausole asylum or perhaps to a mentally distraught captivity.

La ronda dei carcerati
Artista: Vincent van Gogh
Dimensioni: 2 ft 7 in x 2 ft 1 in
Supporto: Colore ad olio
Parte della serie: Copie di Van Gogh
Data di creazione: 10 febbraio 1890 - 11 febbraio 1890.

La ronda dei carcerati è un dipinto del pittore Olandese** Vincent van Gogh, realizzato nel 1890 e conservato al Museo Puškin di Mosca.
Questa opera è stata realizzata mentre van Gogh era degente nel manicomio di Saint-Rémy. Il soggetto non è originale, ma è tratto da un'incisione in bianco e nero di Gustave Doré: in quel periodo, infatti, Van Gogh era rinchiuso in isolamento nel manicomio di Saint-Rémy-de-Provence, e, non avendo possibilità di dipingere all'aperto, realizzò numerose copie di stampe di vari artisti, fra i quali Honoré Daumier, Jean-François Millet, ed appunto Doré, che aveva pubblicato quest'incisione nel volume London, a Pilgrimage con il titolo Newgate: The Exercise Yard.
Il soggetto scelto da Doré certamente rifletteva la tensione allucinata che gravava sull'animo di Vincent, il quale era da lungo tempo tormentato da momenti di depressione e istinti autodistruttivi: era solo questione di mesi perché egli andasse incontro alla morte, suicidandosi in un campo di grano maturo.

La scena si ambienta in una «fossa dei serpenti» dalla forma poligonale, dalle pareti che estendendosi minacciosamente verso l'alto precludono l'orizzonte allo sguardo, il quale vorrebbe andare oltre questo cortile claustrofobico e opprimente.
Ogni velleità di speranza è funestamente rovinata, anche per via delle grandi pietre della pavimentazione che, riflettendo ulteriormente l'irreale luce azzurra che inonda la scena, la cala in un'atmosfera asfissiante e allucinata. Il senso di chiusura che scaturisce da questa visione viene esasperato dai prigionieri che, fuoriusciti dalle celle per l'ora d'aria, sembrano ruotare senza fine, con il loro incedere apatico, affaticato e ripetitivo.
Alcuni carcerieri, che per il loro aspetto farebbero pensare piuttosto a dei flâneur borghesi, osservano con una raccapricciante indifferenza il dramma umano che si sta consumando davanti ai loro occhi.

Uno dei carcerati, quello in primo piano con i capelli fulvi, rivolge il suo sguardo disperato all'osservatore: le sue braccia cadono inerti lungo i fianchi e non indossa alcun berretto, a differenza dei suoi compagni, che tengono le mani in tasca o giunte dietro la schiena e hanno il capo coperto.
Si distingue, dunque, dalla massa anonima e informe intorno a lui, si rende conto di come le sue condizioni umane siano state violentate, e ora intende abbandonare senza timori le «maschere» che la società gli ha imposto: secondo alcuni critici si tratterebbe di un autoritratto dell'artista stesso, ormai smanioso di sottrarsi allo stato di abbandono cui lo ha costretto la degenza a Saint-Rémy e di evadere, alla ricerca della libertà.
Van Gogh, in questo modo, racconta la sua tragedia di artista esiliato dalla società, incompreso, disadattato, nonostante il suo struggente desiderio di amare il prossimo. Ma in tutta questa tristezza permane un anelito di speranza. Due piccole farfalle, in alto, aleggiano vicine sulla parete: con le loro ali fragili e bianche possono superare ostacoli insormontabili per gli esseri umani e ricercare felicità infinite.

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Van Gogh | Cottage with Woman Digging, 1885


Cottage with Woman Digging
Vincent van Gogh
Date: 1885; Nunen / Nuenen, Netherlands
Style: Realism
Genre: Genre painting
Media: oil, canvas
Location: Art Institute of Chicago, Chicago, IL, US.

Cottages is a subject of paintings created by Vincent van Gogh from 1883-1885.
This is related to the Peasant Character Studies that Van Gogh worked on during the same time period.
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Van Gogh | Garden with Courting Couples, 1887


Garden with Courting Couples: Square Saint-Pierre

Paris, May 1887 Vincent van Gogh (1853 - 1890)
oil on canvas, 75.0 cm x 113.0 cm
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Van Gogh called this sunny park scene 'the painting of the garden with lovers'. Couples in love are strolling under the young chestnut trees and sitting along the winding paths.

He used a free variation on the technique of the Pointillists.
They built up their compositions from dots of paint. Van Gogh instead applied small brushstrokes of varying length in different directions.
This helped him to create the effect of a radiant spring day, which fit the sense of intimacy and togetherness he wished to express.
He too longed for a wife and a family, but he had 'the most impossible love affairs'. He eventually resigned himself to the situation; he was devoted to his art.
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Antonio Mancini | Lost in Thought, 1895-1898


Antonio Mancini’s Lost in Thought is one of no fewer than fifteen works by this artist owned by the museum.
Mesdag and Mancini had an unusual agreement.
From 1885 onwards, Mesdag regularly sent money to the Italian artist in Rome, who in return sent him paintings and drawings, around 150 works in all.
Mesdag kept some for himself, but sold the bulk on to others.
In this painting Mancini worked with broad strokes and a loaded brush, rendering the shimmering silk skirt with great verve.
The girl’s face is much more delicately painted, whereby her contemplative expression gains in intensity. | Source: © The Mesdag Collection, The Hague

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Jose Royo: "Dipingere è un privilegio, devi guadagnartelo!"

"Ho sempre desiderato essere un artista, o per meglio dire, non ho mai avuto scelta.
Era predeterminato. I miei occhi, il mio cervello e le mie mani hanno tradotto tutto in disegni, forme e colori.
Era un gioco dalle dimensioni infinite che dava senso alla vita.
Dipingere è un privilegio, devi guadagnartelo"- Jose Royo, 1941.


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Petrus van Schendel | Charity in the Night Market, c.1851-54

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Karen Dupré

La californiana Karen Dupré è un'artista autodidatta il cui primo l'ispirazione derivava dal suo interesse per i cavalli.
Questo fascino l'ha portata rapidamente a tradurre lo splendore di questi animali e di altri animali selvatici attraverso il disegno.
All'età di nove anni, Dupré iniziò a lavorare con i pastelli, che presto progredì nell'uso di altri mezzi, principalmente colori acrilici.
Da quando nei suoi primi anni come artista, Dupré ha ampliato il suo repertorio includendolo paesaggi, immagini di nature morte e figure, senza mai abbandonare il fauna selvatica che per prima ha acceso la sua immaginazione.


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Marina Sharapova ed Igor Kozlovsky

Marina Sharapova è nata nel 1960 a Leningrado, San Pietroburgo, Russia.
Igor Kozlovskij è nato nel 1956 a Slobodskoi, regione di Kirov, Russia.
Artisti, designer ed architetti d'interni, Igor e Marina sono marito e moglie che lavorano insieme sulla stessa tela.


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Franz Marc (1880-1916)

Franz Marc nacque dal pittore Wilhelm Marc che gli impartì una severa formazione calvinista insieme a suo fratello Paul. Per breve tempo coltivò l'idea di diventare pastore.
Nel 1899 iniziò gli studi nella facoltà di filosofia all’università Ludwig Maximilian di Monaco ma nel 1900 decise di iscriversi all’accademia delle Belle Arti di Monaco e di darsi alla pittura.
Compì diversi viaggi. Particolarmente importanti per lui furono i due soggiorni a Parigi del 1903 e del 1907.
Tornato dalla prima visita Marc lasciò l'accademia.
La seconda esperienza lasciò tracce ancora più evidenti dallo studio dell’opera di Van Gogh. Nel corso di questi anni dipinse prevalentemente paesaggi e ritratti lavorando tra Monaco, Staffel-Alm, Indersdorf e Kochel; si dedicò anche all’illustrazione di libri e diede lezioni private per sostentarsi.


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James Tissot | Holiday, 1876


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Hubert Robert | Hall of Seasons at the Louvre, 1802-03


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Antonio Mancini | Ritratto maschile, 1891


Autore: Mancini, Antonio (1852-1930)
Titolo: Ritratto maschile
Periodo: XIX secolo
Datazione: 1891
Tecnica e materiali: Olio su tela
Dimensioni (altezza x larghezza in centimetri): 100,5 x 60
Luogo di conservazione: Enrico Gallerie d’Arte, Milano, Italia.

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Childe Hassam | Rainy Day, Boston, 1885

"I am never tired of observing [people] in every-day life…. Humanity in motion is a constant study to me" - Childe Hassam.

From Toledo Museum of Art:

In "Rainy Day, Boston" Childe Hassam chose a thoroughly modern subject: the wide avenues and new brick row houses of Boston’s fashionable South End at the intersection of Columbus Avenue (on the left) and Appleton Street.
Hassam, who lived at the time on Columbus Avenue, explained that his street "was all paved in asphalt, and I used to think it very pretty when it was wet and shining, and caught the reflections of passing people and vehicles".
Modern, too, was the unusual use of empty space in the center foreground of the painting.


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Edvard Munch | Legacy / Eredità

When a norwegian Symbolist painter Edvard Munch (1863-1944)died, his remaining works were bequeathed to the city of Oslo, which built the Munch Museum at Tøyen (it opened in 1963).
The museum holds a collection of approximately 1,100 paintings, 4,500 drawings, and 18,000 prints, the broadest collection of his works in the world.
The Munch Museum serves as Munch's official estate; it has been active in responding to copyright infringements as well as clearing copyright for the work, such as the appearance of Munch's The Scream in a 2006 M and M's advertising campaign.
The U.S. copyright representative for the Munch Museum and the Estate of Edvard Munch is the Artists Rights Society.
Munch's art was highly personalized and he did little teaching. His "private" symbolism was far more personal than that of other Symbolist painters such as Gustave Moreau and James Ensor.


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Carlo Maria Mariani, 1931 | Pittore metafisico

Carlo Maria Mariani (Roma, 25 luglio 1931) è un pittore Italiano.

Biografia

Carlo Maria Mariani frequenta in gioventù i corsi dell'Istituto d'Arte e nel 1955 consegue il diploma presso l'Accademia di Belle Arti di Roma. Dopo il diploma, Mariani lavora dapprima nell'abito della pittura murale e alla fine degli anni Sessanta comincia ad esporre le proprie opere di cavalletto.
La prima mostra importante di Carlo M. Mariani è del 1975; da allora si sono susseguite numerose esposizioni nelle sedi più importanti del mondo: Documenta, Kassel; Centre George Pompidou, Paris; Hirshorn Museum, Washington D.C.; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Mathildenhohe Darmstadt; Los Angeles County Museum of Art; Frankfurt Kunstverein; GNAM, Roma; Palais des Beaux Art, Charleroi; Biennale di Venezia; California Center for the Arts; Frye Museum, Seattle; Ostende Museum of Modern Art; Quadriennale di Roma; Philadelphia Museum of Art; Museo di Palazzo Te, Mantova; Smithsonian National Portrait Gallery, Washington. L'artista risiede a New York dal 1993.


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Marc Chagall | Parigi dalla mia finestra, 1913

C'è l'Opéra, il Louvre, L'Arc de Triomphe, Notre-Dame, la Tour Eiffel, il Panthéon, Place de la Concorde, Saint-GermainDes-Pres. Esplodono in arancioni, verdi, blu, viola, rossi.
Ci volteggiano sopra amanti, animali, madri, fiori, angeli.
Chagall non smise mai di ricordarla, di trasfigurarla nei suoi sogni, di farla orizzonte su cui si mimetizzava tutto il suo immaginario intimo e poetico.
C'è la città con i suoi luoghi simbolici, e c'è il pittore con la sua storia, i suoi miti. Parigi evoca e accoglie al tempo stesso, si fa materia onirica nello sguardo di Chagall.