Piet Mondrian, Still Life with Ginger Jar II. / Stilleven met gemberpot II (1911/12)
Showing posts with label *Paintings*. Show all posts
Showing posts with label *Paintings*. Show all posts
10/05/2008
Piet Mondrian - Still Life with Ginger Jar II
Piet Mondrian, Still Life with Ginger Jar II. / Stilleven met gemberpot II (1911/12)
04/04/2008
10/03/2008
28/02/2008
19/01/2008
14/01/2008
07/12/2007
04/12/2007
24/10/2007
22/10/2007
21/10/2007
01/05/2007
May 1 / Labour Day
The celebration of Labour Day has its origins in the eight hour day movement, which advocated eight hours for work, eight hours for recreation, and eight hours for rest. On 21 April 1856 Stonemasons and building workers on building sites around Melbourne, Australia, stopped work and marched from the University of Melbourne to Parliament House to achieve an eight hour day. Their direct action protest was a success, and they are noted as the first organized workers in the world to achieve an eight hour day with no loss of pay, which subsequently inspired the celebration of Labour Day and May Day... (more at Wikipedia)
Labour Day Parade in Toronto in early 1900s (Wikipedia)
Giuseppe Pellizza da Volpedo, Il Quarto Stato (1901)
Buon primo maggio!
Happy Labour Day!
Labour Day Parade in Toronto in early 1900s (Wikipedia)
Giuseppe Pellizza da Volpedo, Il Quarto Stato (1901)Buon primo maggio!
Happy Labour Day!
27/04/2007
Back Home!...
... and as soon as I manage to get out of my suitcase, I'll post something new. Stay tuned!
Jasper Mengel, Man in suitcase (2003)
Jasper Mengel, Man in suitcase (2003)acryllic paint on paper, 30 x 25 cm
27/02/2007
Art Gallery/5
Pieter Bruegel
The Peasant Dance (1568)
Oil on oak panel, 114 x 164 cm
Kunsthistorisches Museum Wien, Vienna
05/02/2007
Art Gallery (4) - Egon Schiele
Woman with Green Stockings (1917)
India ink and tempera on paper, 27,9 x 45 cm.
Private collection
Vier Bäume (1917)
Oil on canvas, 110 × 140,5 cm.
Österreichische Galerie, Wien
Selfportrait (1910)
Oil and surface colour on canvas, 44 × 30,5 cm.
Leopold Collection, Wien
21/01/2007
Art Gallery/3
Joan Miró
Blue II (1961)
Oil on canvas, 270 x 355 cm.
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Blue II (1961)
Oil on canvas, 270 x 355 cm.
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France.
15/01/2007
Art Gallery/2
William Blake
Whirlwind of Lovers (for Dante's Inferno) (c.1826)
Watercolour on paper, 38 x 53 cm.
From www.handprint.com: Blake’s approximately 100 completed illustrations of Dante’s Divine Comedy show an extraordinary degree of visual imagination and careful craftsmanship. […] The Whirlwind of Lovers […] presents the scene in Canto V of the Inferno in which Dante meets the spirit of Francesca da Rimini, who committed adultery with her brother in law, Paolo. Overcome with grief at their story of thwarted love, Dante has fainted at the feet of his underworld guide, the Roman poet Virgil, as a whirlwind of other sinful lovers writhes around them. Rather than simply illustrate the story, Blake has reinterpreted it in both subtle and obvious ways. In all the illustrations Dante is clothed in red (symbol of the passions) and Virgil in blue (symbol of the imagination), corresponding to Blake’s mythology that the imagination must guide our passions through the torment of the earth. More obviously, Blake put the spirits of Francesca and Paolo within the brilliant, heavenly light over Virgil’s head, rather than in the whirlwind with the other condemned souls: though technically sinners, he allows them the salvation of their love. This watercolor was one of only seven from the Dante series that Blake also engraved. […]
Whirlwind of Lovers (for Dante's Inferno) (c.1826)
Watercolour on paper, 38 x 53 cm.
From www.handprint.com: Blake’s approximately 100 completed illustrations of Dante’s Divine Comedy show an extraordinary degree of visual imagination and careful craftsmanship. […] The Whirlwind of Lovers […] presents the scene in Canto V of the Inferno in which Dante meets the spirit of Francesca da Rimini, who committed adultery with her brother in law, Paolo. Overcome with grief at their story of thwarted love, Dante has fainted at the feet of his underworld guide, the Roman poet Virgil, as a whirlwind of other sinful lovers writhes around them. Rather than simply illustrate the story, Blake has reinterpreted it in both subtle and obvious ways. In all the illustrations Dante is clothed in red (symbol of the passions) and Virgil in blue (symbol of the imagination), corresponding to Blake’s mythology that the imagination must guide our passions through the torment of the earth. More obviously, Blake put the spirits of Francesca and Paolo within the brilliant, heavenly light over Virgil’s head, rather than in the whirlwind with the other condemned souls: though technically sinners, he allows them the salvation of their love. This watercolor was one of only seven from the Dante series that Blake also engraved. […]
14/01/2007
Art Gallery/1
Albrecht Dürer
Willow Mill (c. 1496-98)
Watercolor and gouache on paper, 25 x 37 cm
Cabinet des Estampes, Bibliotheque Nationale de France, Paris.
Willow Mill (c. 1496-98)
Watercolor and gouache on paper, 25 x 37 cm
Cabinet des Estampes, Bibliotheque Nationale de France, Paris.
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