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

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.

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
- San Giovanni Battista che nutre l'agnello, olio su tela, fine della prima decade del XVII secolo, cm 78x122, private collection, Rome
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).

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.

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.

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.

Antonietta Brandeis | The Ponte Vecchio, Florence


Antonietta Brandeis (also known as Antonie Brandeisova and Antonio Brandeis) (1848-1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces.

Auguste Renoir | Figures on the Beach, 1890

Figures on the Beach
Artist: Auguste Renoir (French, Limoges 1841–1919 Cagnes-sur-Mer)
Date: 1890
Medium: Oil on canvas
Dimensions: 20 3/4 x 25 1/4 in. (52.7 x 64.1 cm)
Classification: Paintings
Credit Line: Robert Lehman Collection, 1975
Accession Number:  1975.1.198
On view at The Met Fifth Avenue in Gallery 961

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.

Vincent Van Gogh | White Roses, 1890


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:

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.

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.

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)

Armand Guillaumin | The rackets, 1880


Van Gogh | Fishing in spring the Pont de Clichy (Asnieres), 1887


In this canvas, Vincent uses pointillist like dabs and his own developing thick dashes of yellows, lavender and greens to portray a locale commonly chosen by the impressionists, the Seine around Asnieres. A fisherman with blue pants, yellow brown shirt and black hat with pole resting in his right hand on his black outlined leg is fishing in the Seine below with the Pont de Clichy in the background. 
The Seine is depicted in lateral strokes of blue from cobalt to sky blue in the foreground and lighter blues to white beyond the fisherman. The lavender and prussian blue strokes are repeated in the foreground water, the fisherman’s pants and the under arch of the bridge. 
Reflections of the river’s bank are accomplished with multihued vertical strokes coming at the viewer with lavender and cobalt at top left and then greens and peach and blue vertical strokes at center right.

The green, yellow and blue boats are moored between brown vertically stroked wavy poles driven into the river bottom and look like man’s humble use of the carefully constructed tree trunk Vincent depicts at left. 
Two trunks have been cut and we can see the bare trunk tops in yellow while the red and green and black dots and horizontal dashes give the tree detail and character and a life-like emotion as it lends a comforting shade to the pastoral scene. While vague figures cross the bridge in the distance and the green and yellow flashes of the leaves frame our fisherman, he is in a quiet and tranquil harbor and is peacefully awaiting his catch.

The painting hangs at the Art Institute in Chicago, here are some of their words on the work:
“In technique, Fishing in Spring is a testament to Vincent van Gogh’s friendship with Paul Signac**. Van Gogh had seen works by Signac and George Seurat** in the spring of 1886 at the final Impressionist exhibition. Signac was an eloquent spokesman for Seurat’s pioneering Neo-Impressionism**, explaining it as a natural development of Impressionism. Under Signac’s influence, Van Gogh’s palette brightened, his brushstrokes became more varied, and his subject matter expanded. The setting of this work is the Seine River at the Pont de Clichy, near Asnières, where Van Gogh and Signac painted together on several occasions”.
Vincent would later help to have Seurat and Signac**’s paintings exhibited at Le Tambourin alongside his own and all three were allowed to show at the XXX in January of 1887 in an entry salon.  This painting is not mentioned in any of Vincent or Theo’s letters so we cannot know what Vincent thought of it precisely.

Though the bridge has changed, the location of Vincent’s perspective for this work can be found today.  It is just off the Quai de Clichy across the Seine from Asnieres.
Oil on Canvas,
Art Institute of Chicago,
Spring 1887

Vincenzo Migliaro | Porta Capuana


Vincenzo Migliaro (1858-1938) was an Italian painter** born in Naples.
After learning the art of wood carving at courses held by the Società Centrale Operaia Napoletana and working in the studio of Stanislao Lista, Migliaro enrolled in 1875 at the Naples Institute of Fine Arts, where his masters included Domenico Morelli**.
While a short trip to Paris in 1877 afforded him the opportunity to study the works exhibited in the Louvre, the artist’s main source of inspiration was Naples and its highly animated everyday life.
The works he presented in exhibitions at the national and international level - including Turin (1880, 1884 and 1898) and Barcelona (1911), where he won a silver medal - gained him a reputation as a keen observer of Neapolitan life.
Involved in the decoration of the Caffè Gambrinus in the following decade together with Vincenzo Irolli** and other painters, he took part in the Venice Biennale from 1901-1928 and exhibited alongside Vincenzo Caprile and Vincenzo Gemito, both Neapolitans, at the Galleria Pesaro, Milan, in 1927.


Vincenzo Migliaro (Napoli, 8 ottobre 1858 - Napoli, 16 marzo 1938) è stato un pittore, scultore e incisore Italiano, di scuola napoletana.
Dopo aver appreso l'arte dell'intaglio ai corsi della Società Centrale Operaia Napoletana e aver frequentato lo studio di Stanislao Lista, si iscrive nel 1875 all'Istituto di Belle Arti di Napoli, allievo tra gli altri di Domenico Morelli.
Nel 1877 compie un breve viaggio a Parigi dove si sofferma a studiare le opere esposte al Museo del Louvre.
È tuttavia Napoli con la sua vivace vita popolare la principale fonte di ispirazione dell'artista: le opere con le quali partecipa alle esposizioni nazionali (Torino, 1880, 1884 e 1898) ed internazionali (tra tutte citiamo Barcellona dove nel 1911 ottiene la medaglia d'argento) ne sanciscono la fama di attento indagatore della realtà napoletana.
Nel decennio successivo è chiamato con altri pittori tra i quali Vincenzo Irolli ad eseguire la decorazione del Caffè Gambrinus.
Partecipa alle esposizioni internazionali d'arte di Venezia dal 1901-1928 e nel 1927 alla Galleria Pesaro di Milano si tiene una sua esposizione di opere di Migliaro, Vincenzo Caprile e Vincenzo Gemito, tutti e tre napoletani.

Luigi Nono | Abandoned, 1903


Luigi Nono | Abandoned (study) 1875

Luigi Nono (Fusina, December 8, 1850 - Venice, October 17, 1918) was an Italian painter**.
A young Nono entered the Accademia of Venice, then under the leadership of Pompeo Marino Molmenti. But by at the age of twenty years, he went to Polcenigo in the Friulian countryside, and he began to refine his style of landscape paintings, including Sull' Avemaria, Le sorgenti del Gorgazzo, Ritorno dai campi, and Verso sera.
He later returned to painting genre subjects of everyday life, and these paintings would prove to be his most influential. If his contemporary, Giacomo Favretto depicted the sunny and humorous events of contemporary Venice, Nono delved into the painful and poignant scenes. 
For example, one of his paintings, Abbandonati exhibited at the 5th Exposizione of Venice, depicts a homeless mother and child sleeping under a church portal. He also paints the funeral of a child.
In 1880 at Turin, he exhibited: La caccia ai grilli and The Fruitseller; in 1881 at Milan, he displayed a genre painting, L'Ave Maria, and others titled: La povera madre; a half-figure Autunno; and October Morning. To the 1881 Mostra of Venice, he sent: Le amanti and Refugium peccatorum, considered one of his masterworks. To the 1883 Promotrice, he sent Sottomarino. To Rome also in 1883, he redisplayed Refugium peccatorum.
In 1887 at Venice, he exhibited: I Recini da festa and Ruth. In 1885, he painted Il Bimbo Malato. In 1888 at Bologna, he displayed: A Venezia.


Luigi Nono (Fusina, 8 dicembre 1850 - Venezia, 17 ottobre 1918) è stato un pittore Italiano**, esponente della scuola veneziana dell'Ottocento.
Fratello dello scultore Urbano, nacque a Fusina (oggi in comune di Venezia, allora località di Mira) da Francesco Luigi, impiegato alla dogana di origini bergamasche, e dalla sua seconda moglie Rosa Della Savia, nativa del Friuli. L'anno successivo la famiglia si trasferì a Sacile, dove Luigi trascorse l'infanzia.
Iniziò gli studi tecnici a Treviso ma nel 1865 il padre, avendo notato la sua precoce attitudine al disegno, lo iscrisse all'Accademia di Belle Arti di Venezia, dove studia sotto la guida di Pompeo Marino Molmenti. All'età di venti anni ritornò nella campagna friulana di Polcenigo, dove iniziò a perfezionare il suo stile di pittura paesaggistica dipingendo Sull'Avemaria, Le Sorgenti del Gorgazzo, Ritorno dai campi e Verso sera.
In seguito ritorna alla pittura di genere con soggetti della vita quotidiana, che risultarono poi la sua pittura più influente. 
Mentre il suo contemporaneo Giacomo Favretto rappresentò gli eventi solari e mondani della sua Venezia contemporanea, Luigi Nono approfondì le scene drammatiche: Abbandonati fu uno dei suoi dipinti esposti alla 5ª Esposizione internazionale d'arte di Venezia e raffigura una madre senza casa con un bambino che dorme sotto un portale della chiesa. 

In seguito dipinse anche il funerale del bambino.
Nel 1875 dipinse nella piana di Sacile, ai Camoi, "La Fanfara dei Granatieri"; poi nel 1876 soggiornò a Firenze, Roma e Napoli. 
Dopo il primo di questi viaggi dipinse "Primi passi", "Bambino malato" e "Sepoltura di un bambino". 
Partecipò a tutte le Biennali di Venezia, ove nel 1901 presentò anche una cospicua mostra personale. Nel 1880 presenta a Torino "La caccia ai grilli" e "Il fruttivendolo".
Nel 1881 espose a Milano "La morte del pulcino".
Insegnò pittura alle Accademie di Belle Arti di Venezia dal 1899 e di Bologna.
Dopo la scomparsa del padre visse a Venezia, dove anch'egli morì alla fine della prima guerra mondiale, qualche anno prima della nascita del nipote Luigi, compositore.
Nel 2012 fu organizzata a Milano un'importante mostra delle sue opere.

Raffaello Sorbi | The Harvest Dance | La festa della vendemmia, 1893


Raffaello Sorbi (February 24, 1844 - December 19, 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.
The painting won an award at the Florentine Triennale contest of 1861. He completed commissions for patrons in America and England. In 1863, he won a contest in Rome with the essay piece Savonarola explains the Bible to some friends in the Convent of San Marco. He was unable to make use of the stipend attached to the prize.
In Florence, he exhibited a work depicting Riccarda Donati kidnapped from the Convent of Santa Chiara, by her brother Corso. He completed a St Catherine of Siena before an angry Florentine mob after concluding peace with the Pope, by commission for signore marchese Carlo Torrigiani. His painting of Imelda de' Lambertazzi e Bonifazio Geremei (lovers from Donizetti's opera) was sold to Wilhelm Metzler of Frankfort, Germany.
In 1869, the sculptor Giovanni Duprè visited his studio, and commissioned a Phidias sculpts the Minerva Statue.
After this work, Sorbi produced mainly small canvases, mostly sold through the Goupil Gallery of Paris. Many are of antique Roman (Neo-Pompeian) or from the historical Tuscan past: Regatta in the Arno: il Girotondo; Il Decamerone; The Florentine Concert : Il Triclinio; The Vestal Virgins exit the Amphitheater after the spectacle: Il venditore di terre cotte; A family scene under a peristyle; Cornelia mother of the Gaius and Tiberius Gracchus. Other paintings are genre scenes in 18th-century dress and finery.
Among his works, Lo Corsa delle carrette nel Circo and il serraglio agli sposi, were bought by the Silley of London, and Le Maggiolate bought by Signor Egisto Vannucci of Florence. Many of his works were acquired by English collectors. Among his works are a series of games, including Il Giuoco delle Bocce, delle Carte, del Pallone, della Ruzzola, and della Mora. He painted a Convalesence of Dante.
In 1870, at the Mostra of Fine Arts di Parma, he displayed La strada. Sorbi became academician at the Royal Institute of Fine Arts of Florence and resident professor and honorary associate of the Royal Academy of Fine Arts of Urbino.



Raffaello Sorbi (Firenze, 1844 - 1931) è stato un pittore Italiano**.
Studiò all'Accademia di belle arti di Firenze sotto la guida di Antonio Ciseri. I suoi inizi sono improntati ad un accademismo storico che strizza l'occhio al pubblico e che per questo si attira uno stuolo di critiche specialmente da chi è avverso alla tradizione pittorica neoclassica e romantica, come i Macchiaioli.
Modificò allora la natura dei suoi dipinti, rendendoli più attinenti alla realtà, anche se seguitò a prediligere ambientazioni storiche medievali, settecentesche se non addirittura di Roma imperiale. Dipinse anche paesaggi che mostrano forti sintonie con le composizioni macchiaiole.
La carriera di Raffaello Sorbi si arricchì professionalmente ed economicamente dall'incontro con il mercante francese Eugene Goupil, con cui firmò nel 1872 un accordo in esclusiva della durata di sette anni, per un cachet mensile di 1000 franchi. 
Per lui si aprirono quindi le porte del mercato internazionale, che apprezzò soprattutto la capacità virtuosa nel disegnare le figure e le scene di genere. Ebbe così contatti con i mercanti tedeschi, Heinemann e Schulte, e il mercante inglese, Tooth.
Nel 1892 ebbe modo anche di testare la carriera di insegnante, divenendo docente all'Accademia di belle arti di Firenze. | © Wikipedia

Fausto Zonaro | La Sultana, 1920


Fausto Zonaro (18 September 1854 - 19 July 1929)** was an Italian painter**, best known for his Realist style paintings of life and history of the Ottoman Empire.
Zonaro painted portraits, landscapes and historical paintings. It is claimed that "Zonaro was one of those who made a major contribution to the development of western style art in Turkey".
He was a prolific artist who created hundreds of works, most of which are of the Ottoman Empire. An exhibition of his work in Florence in 1977 "received wide acclaim in the art world".
Today, most of Zonaro’s works remain in Istanbul, and many of them are on display in the city’s leading museums. His pictures can be found in the state museums of Topkapı Palace, Dolmabahçe Palace and the Istanbul Military Museum. Zonaro’s works can also be found in the private Sakıp Sabancı Museum and Pera Museum. Also, a number of them belong to private collectors in Turkey.
Some of Zonaro's paintings are in the Pera Art Museum in Istanbul (including Daughter of English Ambassador Riding in a Palaquin) and the Istanbul Museum of Modern Art.


Fausto Zonaro (Masi, 18 settembre 1854 - Sanremo, 19 luglio 1929)** è stato un pittore Italiano**.
Primo dei sei figli del muratore Maurizio Zonaro e di Elisabetta Bertoncin, manifesta fin da piccolo buone doti nel disegno e viene perciò mandato dai genitori a studiare nell'Istituto Tecnico della città di Lendinara e quindi a Verona, presso l'Accademia Cignaroli diretta da Napoleone Nani.
Apre quindi una piccola scuola di pittura a Venezia, ma la sua attività lo porta spesso a recarsi anche a Napoli. Fra le più importanti realizzazioni di questo periodo, particolare rilievo ha per l'appunto un ciclo di circa trenta pastelli con vedute di Napoli e dei dintorni realizzato per la villa del duca Paolo Camerini, ora Villa Simes-Contarini, di Piazzola sul Brenta.
La svolta nella carriera di Fausto Zonaro avviene però nel 1891 quando, insieme ad Elisabetta Pante, sua ex allieva a Venezia divenuta ora la sua compagna, decide di avventurarsi in Oriente, nell'allora Costantinopoli.
Qui, poco a poco riesce a farsi conoscere negli ambienti aristocratici, ottenendo commesse sempre più importanti fino a quando, nel 1896, viene nominato "pittore di corte" grazie ai buoni uffici dell'ambasciatore russo, per il quale aveva realizzato alcuni dipinti e che presenta al sultano Abdul-Hamid II l'opera Il reggimento imperiale di Ertugrul sul ponte di Galata, da questi immediatamente acquistata. Il sultano ordina a Zonaro una serie di altre opere, in particolare una serie di quadri sull'epopea di Maometto II.
Fausto Zonaro, ultimo pittore della corte imperiale di Costantinopoli, rimane nella Città d'Oro fino al 1909, anno in cui rientra in Italia a seguito del colpo di Stato che depone il sultano Abdul-Hamid. Si stabilisce allora a Sanremo e continua a dipingere piccole vedute della Riviera Ligure e della vicina Costa Azzurra.
A Sanremo Zonaro fu accolto con grande entusiasmo. Una clientela anche orientale gli continuò a commissionare ritratti e soggetti d'oriente che traeva dagli innumerevoli disegni portati in patria. Continuò a dipingere fino alla morte, avvenuta nel 1929. È sepolto nel cimitero della Foce a Sanremo.
Molte delle opere di Fausto Zonaro sono tuttora conservate nei più importanti musei di Istanbul, tra cui il Topkapi, il Palazzo Imperiale di Dolmabahçe e il Museo Militare. more....

Giorgio de Chirico | The Seer, 1914


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.

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.

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.

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.

Antonio Mancini | Lost in Thought, 1895-1898