Visualizzazione post con etichetta Metropolitan Museum of Art. Mostra tutti i post
Visualizzazione post con etichetta Metropolitan Museum of Art. Mostra tutti i post
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Metropolitan Museum of Art: Why Study Art from the Past?

Art from the past holds clues to life in the past.
By looking at a work of art's symbolism, colors, and materials, we can learn about the culture that produced it.
For example, the two portraits above are full of symbolism referring to virtues of an ideal marriage during the fifteenth century.

Maestro delle Storie del Pane (Italian­čÄĘ (Emilian), active late 15th century) | Portrait of a Man, possibly Matteo di Sebastiano di Bernardino Gozzadini and Portrait of a Woman, possibly Ginevra d'Antonio Lupari Gozzadini, 1494

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Claude Monet | La terrasse à Sainte-Adresse, 1867

"The Garden at Sainte-Adresse" is a painting by the French impressionist painter Claude Monet.
The painting was acquired by the Metropolitan Museum of Art after an auction sale at Christie's in December 1967, under the French title "La terrasse à Sainte-Adresse".
The painting was exhibited at the 4th Impressionist exhibition, Paris, April 10-May 11, 1879, as no. 157 under the title Jardin à Sainte-Adresse.

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Claude Monet | Spring (Fruit Trees in Bloom) 1873

Claude Monet­čÄĘ made this work in the vicinity of his home in Argenteuil, a village on the Seine northwest of Paris that was a favorite gathering place of the Impressionists.
Although the scene has previously been called Plum Blossoms and Apples Trees in Bloom, the type of tree cannot be determined from the flurry of white buds evoked by the artist.

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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

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Camille Corot at the Metropolitan Museum of Art

Camille Corot (1796-1875) was a leading figure in the Barbizon school­čÄĘ of France in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

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Gustave Courbet | Jo, La Belle Irlandaise, 1866

Gustave Courbet | Jo, the Beautiful Irishwoman | The Metropolitan Museum of Art

The "beautiful Irishwoman" depicted in this painting is Joanna Hiffernan (born 1842/43), mistress and model of the artist James McNeill Whistler (1834-1903)­čÄĘ, and perhaps subsequently Courbet’s lover.
Although dated 1866, the picture was likely undertaken in 1865, when the two men painted together at the French seaside resort of Trouville; Courbet wrote of "the beauty of a superb redhead whose portrait I have begun".
He would paint three repetitions with minor variations. | © The Metropolitan Museum of Art

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Gaetano Gandolfi (1734-1802) | Drawings

Gaetano Gandolfi­čÄĘ was a painter, draughtsman, sculptor and etcher of the late Baroque and early Neoclassic period, active in Bologna, part of an Italian family of artists.
As a student at the Accademia Clementina he won two medals­čÄĘ for sculpture and four medals for his drawings.
Throughout his life he remained actively involved in the affairs of the Accademia Clementina, where he taught a class in life drawing. He was a gifted draughtsman, and his drawings were highly prized by contemporary collectors.

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Paul C├ęzanne at The Metropolitan Museum of Art

Paul C├ęzanne | Madame C├ęzanne (Hortense Fiquet, 1850-1922) in the Conservatory, 1891

Hortense Fiquet, a former artist’s model, met C├ęzanne about 1869; they had a son in 1872, fourteen years before they married.
This painting, one of more than two dozen for which Hortense posed, is set in the conservatory of Jas de Bouffan, the C├ęzanne family estate near Aix.
The unfinished canvas offers a revealing glimpse into C├ęzanne’s working method.
He placed Madame C├ęzanne’s carefully modeled head slightly off-center, cradled between a lush tree and a spindly plant, and then proceeded to build up the rest of the pyramidal composition, touch by exacting touch. | © The Metropolitan Museum of Art