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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Emily Dickinson | The Spirit lasts, but in what mode / Lo Spirito persiste, ma in che modo..

The Spirit lasts - but in what mode -
Below, the Body speaks,
But as the Spirit furnishes -
Apart, it never talks -
The Music in the Violin
Does not emerge alone
But Arm in Arm with Touch, yet Touch
Alone - is not a Tune -

Sir. Joshua Reynolds PRA | Mrs. Lloyd | Smithsonian American Art Museum

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Edvard Munch | Dance on the Shore ,1900

Originally, The Dance on the Shore was part of the collection of twenty-two paintings entitled "The Frieze of Life".
The figures of dancing girls are at the centre of the action being observed by two figures in black – widows. The solitary woman in red symbolises the age of the climax of erotic strength.
The cycle of life is rendered in wide colourful lines dividing the space into multi-coloured bands. | National Gallery, Prague

Edvard Munch | Dance on the Shore, 1900 | National Gallery, Prague

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Edvard Munch | Evening, 1888

From very early on in his career Edvard Munch aimed to convey the angst and isolation characteristic of modern man. Evening reflects these interests.
It is considered to be the artist’s first treatment of the subject of melancholy and also looks forward to his more characteristic Symbolist compositions.
Munch used his sister Laura as a model on numerous occasions.

In this canvas she is depicted seated and in profile, in front of the house on the Norwegian fjord where they spent the summer of 1888. Her body occupies the foreground, albeit located on the far left-hand side and truncated at the bottom and on the left side.

Edvard Munch | Evening, 1888 | Munch Museum

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Edvard Munch | Summer Evening in Åsgårdstrand, 1891

In October 1889, aged twenty-five, Edvard Munch left his native Norway for an extended stay in France, supported by an artist’s grant from the Norwegian State. The terms of his bursary stipulated that he enroll in a traditional art school, but he lasted only a few weeks in Léon Bonnat’s studio before storming out during a dispute over color.

Instead, for the next two and a half years, Munch steeped himself in French modernism, returning home only for summer holidays.
He absorbed the plein air ethos of Impressionism at the Galeries Durand-Ruel and Georges Petit; at the Salon des Indépendants, he encountered the latest work of Georges Seurat, Paul Signac, Henri de Toulouse-Lautrec, and Vincent van Gogh.

Edvard Munch | Summer Evening in Åsgårdstrand, 1891

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Karl Raupp (1837-1918) | Genre painter

Karl Raupp was a German landscape and genre painter.
After studying genre painting under Jakob Becker at the Städel Institute in Frankfurt, he became a pupil and zealous follower of Piloty in Munich (1860-65), where he soon gathered a small school.
After 1865, he opened a studio, taking private pupils in painting.

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Robert Schumann: "Talent works, genius creates"!

"Art was not created as a way to riches. Strive to become a true artist; all else will take care of itself".
"Only if the form is first clear to you will the spirit then reveal itself".
"To compose is to remember music that has never been written".
"When you play, never mind who listens to you".

▻ "Andare lento e correre sono errori di pari gravità".
▻ "Il musicista colto potrà studiare una Madonna di Raffaello con la stessa utilità con cui il pittore studierà una sinfonia di Mozart... L'estetica di un'arte è quella delle altre, soltanto il materiale è diverso".

Gustave Adolphe Mossa (1883-1971) | Clara and Robert Schumann

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Claude Monet | Lo stile

Claude Monet è stato il sostenitore più convinto ed instancabile del «metodo impressionista» che vide già riassunto nelle opere dell'amico Manet. Per comprendere appieno la carica rivoluzionaria della figura di Monet, tuttavia, è necessario calarla con precisione nell'ambiente storico ed artistico francese della seconda metà dell'Ottocento.
La Francia della seconda metà del XIX secolo era una nazione viva, moderna, ricca di magnificenze e di contraddizioni, che in seguito all'offensiva prussiana del 1870 aveva conosciuto un impetuoso sviluppo economico e sociale che, tuttavia, aveva inizialmente mancato di investire le arti figurative.

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Vincent van Gogh | Still Life of Oranges and Lemons with Blue Gloves, 1889

Vincent van Gogh painted this picture soon after his release from the hospital, where he was recovering from the disastrous final days of Paul Gauguin’s stay with him in Arles.
In a long letter to his brother Theo posted January 23, 1889, he mentions creating this painting alongside several other issues, including the need to make money through picture sales. He likely had the market in mind in painting this still life.

The painter was clearly attracted to the shapes and hues of the citrus fruit arrayed in the wicker basket, and the way their varied orb shapes play against the weave of the dried sticks, the whole set off by the prickly needles of the cypress branches. Van Gogh refers in his letter to an "air of chic" in this picture, prompted perhaps by the inclusion of blue garden gloves.
The painting reveals the artist’s extraordinarily original sense of color, as well as his richly expressive paint application as he struggles to evoke the nubby waxen skin of the various fruits, the spiky fur of the branches, and the limp material of the worn gloves.