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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Eugene de Blaas | Pittore di genere

Nacque ad Albano (Roma) il 24 luglio 1843 dal pittore Austriaco Carl von Blaas e da Agnese Auda, italiana.
Carl (Manders, Tirolo, 1815-Vienna 1894), che era stato chiamato in Italia nel 1832 dallo zio Francesco Purtscher di Eschenburg per frequentare l'accademia di Venezia, fu dal 1837 a Roma dove venne in contatto con il circolo dei Nazareni e ritornò a Vienna nel 1851; dall'estate 1856 fu a Venezia come professore presso l'accademia; ritornò definitivamente a Vienna nel 1866.
Un suo ritratto del figlio Eugenio a 5 anni è stato esposto a Vienna nel Belvedere superiore nel 1985.
Il de Blaas, dapprima allievo dei padre all'accademia di Venezia, si formò successivamente a Roma (nel 1862 vinse il pensionato; Marini, 1905, p. 249).

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Claude Monet | Le Déjeuner sur l'herbe, 1865-1866

From: Musée d’Orsay, Paris
This fragment, there is a second also in the Musée d'Orsay, is one of the remaining parts of the monumental Luncheon on the Grass by Monet. The work was started in the spring of 1865 and measured over four metres by six. It was intended to be both a tribute and a challenge to Manet whose painting of the same title had been the subject of much sarcasm from the public as well as the critics when it was exhibited in the Salon des Refusés in 1863. But the project was abandoned in 1866, just before the Salon where Monet intended to show it, opened.

In 1920, the painter himself recounted what had happened to the picture: "I had to pay my rent, I gave it to the landlord as security and he rolled it up and put in the cellar. When I finally had enough money to get it back, as you can see, it had gone mouldy". Monet got the painting back in1884, cut it up, and kept only three fragments. The third has now disappeared.

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Maurice Prendergast | Pittore post-impressionista

Maurice Brazil Prendergast (10 ottobre 1858 - 1 febbraio 1924) è stato un artista post-impressionista Americano che ha lavorato ad olio, acquerello e monotipo.
Espose come membro degli Eight - la Ashcan School, un movimento artistico negli Stati Uniti tra la fine del XIX e l'inizio del XX secolo, noto soprattutto per le opere che ritraggono scene di vita quotidiana a New York, spesso nelle zone più povere della città quartieri - sebbene la delicatezza delle sue composizioni e la bellezza musiva del suo stile differissero dalle intenzioni artistiche e dalla filosofia del gruppo.

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Beatrice Parsons | Garden painter

Beatrice Emma Parsons (1870–1955) was a British painter and is best known for her watercolours of garden subjects. Parsons, along with George Samuel Elgood and Ernest Arthur Rowe, is considered one of the leading English painters of gardens.
Parsons was born in Peckham, South London, England in 1870.
She was sister to Karl Parsons, a stained-glass artist, who commemorated their family in a stained-glass window in St. Matthew's Church, Oxhey.
Parsons attended the Haberdashers' Aske's School for Girls and studied at King's College London, before attending the Royal Academy Schools, where she won three prizes.

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Pierre-Auguste Renoir at the Museum Barberini

Pierre-Auguste Renoir | The Pear Tree, 1877

In the early 1860s Pierre-Auguste Renoir had studied in the Paris atelier of Swiss history painter Charles Gleyre.
Together with his fellow pupils Frédéric Bazille, Claude Monet and Alfred Sisley, he belonged to the nucleus of the group that would become known as Impressionists in the mid-1870s.
Renoir’s early experiments with painting in the open air were decisive for the development of his visual language. In a departure from traditional methods, he worked en plein air not merely for studies, but also, like Monet, in order to create independent, finished works.

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Childe Hassam | Geraniums, 1888-1889

From: Christie's
Following a successful career in Boston, in 1886 the celebrated American Impressionist Childe Hassam (1859-1935) journeyed to Paris with his wife Maud where he would remain until 1889.
During this time in the summer months, the Hassams visited the country home of German businessman Ernest Blumenthal and his wife, who was friends with Mrs. Hassam, in Villiers-Le-Bel, a small town ten miles northeast of Paris in the Val d’Oise.

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Vincent van Gogh | Edge of a Wheat Field with Poppies, 1887

From: Denver Art Museum
Edge of a Wheat Field with Poppies, made in the summer of 1887, gives a sense of the many influences van Gogh was exposed to during his first year in the "hotbed of ideas" [as he called Paris in a letter to his sister].

The small painting captivates us with its bright contrast between the orange yellow of the field and the complementary radiant blue of the sky, the dark green of the new shoots coming up and the vivid vermillion of the poppies, sprinkled across the canvas in free dashes.
The vertical space is evenly divided between earth and sky. The vantage point is surprisingly low to the ground; we look at the scene as though up a hill.
This is not the vast expanse of field shown in Caillebotte’s painting or van Gogh’s later landscapes, but a detail - a highly fragmented view. A slender poplar arcs along the left edge of the painting, and clusters of budding stalks seem to dance on the horizon line.

Vincent van Gogh | Edge of a Wheat Field with Poppies, 1887 | Denver Art Museum

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Camille Pissarro at the Museum Barberini

Camille Pissarro | Boulevard Montmartre, Twilight, 1897

In a series of fourteen paintings Camille Pissarro focused on the Boulevard Montmartre in the center of Paris.
From his room in the Grand Hôtel de Russie, with the opera building behind him, he had a view of the busy street on which twenty thousand carriages rattled by every day, past the expensive shops and the popular Café Tortoni.
This picture shows the boulevard with fresh green trees in springtime. | Source: © Museum Barberini