Uploads from Cåsbr, tagged painting, with geodata

la rue mosnier aux drapeaux

nobody@flickr.com (Cåsbr) — Wed, 02 Jan 2013 23:34:58 -0800

Cåsbr posted a photo:

The Rue Mosnier with Flags
Édouard Manet
French, Paris, 1878
Oil on canvas
25 3/4 x 31 3/4 in.
The J. Paul Getty Museum. Los Angeles, CA.

www.getty.edu/art/gettyguide/artObjectDetails?artobj=946

To commemorate the recent Exposition Universelle, itself a celebration of luxury and prosperity, the French government declared June 30, 1878, a national holiday. The holiday, called the Fête de la Paix (Celebration of Peace), also marked France's recovery from the disastrous Franco-Prussian War of 1870-1871 and the bloody, divisive Paris Commune that followed. From his second-floor window, Édouard Manet captured the holiday afternoon with his most precise, staccato brushwork in a patriotic harmony of the reds, whites, and blues of the French flag that waves from the new buildings' windows.

The urban street was a principal subject of Impressionist and Modernist painting; many artists aimed to show not only the transformation and growth of the Industrial Age but how it also affected society. Manet's eyes saw both elegant passengers in hansom cabs and, in the foreground, a worker carrying a ladder. The hunched amputee on crutches, perhaps a war veteran or beggar, passes by fenced-in debris left from the construction of a new train track. Manet's sensitivity to the associated costs and sacrifices tempered his optimistic view of national pride and newfound prosperity.

spring (details)

nobody@flickr.com (Cåsbr) — Wed, 02 Jan 2013 23:34:00 -0800

Cåsbr posted a photo:

Lawrence Alma-Tadema
Dutch, 1894
Oil on canvas
The J. Paul Getty Museum. Los Angeles, CA.

www.getty.edu/art/gettyguide/artObjectDetails?artobj=680

A procession of women and children descending marble stairs carry and wear brightly colored flowers. Cheering spectators fill the windows and roof of a classical building. Lawrence Alma Tadema here represented the Victorian custom of sending children into the country to collect flowers on the morning of May 1, or May Day, but placed the scene in ancient Rome. In this way, he suggested the festival's great antiquity through architectural details, dress, sculpture, and even the musical instruments based on Roman originals.

Alma Tadema's curiosity about the ancient world was insatiable, and the knowledge he acquired was incorporated into over three hundred paintings of ancient archeological and architectural design. He said: "Now if you want to know what those Greeks and Romans looked like, whom you make your masters in language and thought, come to me. For I can show not only what I think but what I know."

Alma Tadema's paintings also enjoyed popularity later, when his large panoramic depictions of Greek and Roman life caught the attention of Hollywood. Certain scenes in Cecil B. De Mille's film Cleopatra (1934) were inspired by the painting Spring.

spring (more details)

nobody@flickr.com (Cåsbr) — Wed, 02 Jan 2013 23:33:46 -0800

Cåsbr posted a photo:

a hermit praying in the ruins of a roman temple

nobody@flickr.com (Cåsbr) — Tue, 01 Jan 2013 01:07:00 -0800

Cåsbr posted a photo:

Hubert Robert
French, about 1760
Oil on canvas
22 3/4 x 27 3/4 in.
The J. Paul Getty Museum. Los Angeles, CA.

www.getty.edu/art/gettyguide/artObjectDetails?artobj=918

In the crumbling remains of a Roman temple, a monk prays at the foot of an altar. Absorbed in his devotions, he is unaware of three young women sneaking inside to steal flowers from a makeshift shrine. Above this trio, a woman on a ladder leans over a low wall and, with a long branch, taunts the praying hermit.

Placed on the stone altar are a crucifix, books, an open Bible, an hourglass, a skull, and a rosary. The skull and hourglass, common symbols of the temporality of man and his creations, suggest that the building itself represents fallen greatness. Hubert Robert emphasizes the ruins' immensity by contrasting the small figures with the structure's massive columns. In the left foreground, a column shrouded in darkness runs nearly the full height of the composition. Birds roosting in the upper reaches of the lofty barrel vault reinforce the impression of the monument's vast dimensions. For this imaginary basilica, Robert likely drew inspiration from a contemporary print by Giovanni Battista Piranesi.

modern rome - campo vaccino

nobody@flickr.com (Cåsbr) — Tue, 01 Jan 2013 01:07:02 -0800

Cåsbr posted a photo:

Joseph Mallord William Turner
English, 1839
Oil on canvas
36 1/8 x 48 1/4 in.
The J. Paul Getty Museum. Los Angeles, CA.

www.getty.edu/art/gettyguide/artObjectDetails?artobj=324992
My perspective of Rome.

Ten years after his final journey to Rome, Turner envisioned the Eternal City through a veil of memory. Baroque churches and ancient monuments in and around the Roman Forum seem to dissolve in iridescent light shed by a moon rising at left and a sun setting behind the Capitoline Hill at right. Amidst these splendors, the city's inhabitants carry on with their daily activities. The picture's nacreous palette and shimmering light effects exemplify Turner at his most accomplished.

When first exhibited at the Royal Academy in 1839, the painting was accompanied by a modified quotation from Lord Byron's masterpiece, Childe Harold's Pilgrimage (1818): "The moon is up, and yet it is not night, / The sun as yet divides the day with her." Like the poem, Turner's painting evokes the enduring sublimity of Rome, which had been for artists throughout history less a place in the real world than one in the imagination. The painting is in a remarkable state of preservation and remains untouched since it left Turner's hands.

the holy family

nobody@flickr.com (Cåsbr) — Tue, 01 Jan 2013 01:06:57 -0800

Cåsbr posted a photo:

Joseph Paelinck
Belgian, about 1820
Oil on canvas
38 x 26 in.
The J. Paul Getty Museum. Los Angeles, CA.

www.getty.edu/art/gettyguide/artObjectDetails?artobj=647

Joseph Paelinck stressed the humanity of the Holy Family in this moment of peace and intimacy. His simple, orderly composition gives equal attention to each of the individual figures. The device of the draped wall encloses the space and intensifies the viewer's focus on the interaction among the large, idealized figures. Elements such as the dramatic lighting and the sharply articulated folds of drapery show Paelinck's admiration of Jacques-Louis David's Neoclassical style.

street mural

nobody@flickr.com (Cåsbr) — Mon, 12 Nov 2012 01:05:08 -0800

Cåsbr posted a photo:

Port Angeles, WA.

the mycenaean lady

nobody@flickr.com (Cåsbr) — Wed, 10 Oct 2012 13:49:02 -0700

Cåsbr posted a photo:

The serious and pensive expression of the goddess reveals the solemnity of the moment, as she accepts the gift - a necklace, which she holds tightly in her right hand. She wears a short sleeved bodice over a sheer blouse, which delineates her ample bosom. Her intricate hairstyle and rick jewelry (necklaces and bracelets) are striking.

National Archaeological Museum, Athens.

tiryns lady

nobody@flickr.com (Cåsbr) — Wed, 10 Oct 2012 13:49:05 -0700

Cåsbr posted a photo:

At Tiryns, as in the rest of the Mycenaean world, painters worked for the kings (14th-13th centuries BC). Large scale wall paintings usually represent religious ceremonies and hunting scenes. The former include processions and ritual bull leaping, where the influence of Minoan Crete is evident. Wild boar, whose tusks were used to make helmets, were a favorite pray for the Mycenaean ruling class, who uses chariots for both hunting and battle. The participation of women in religious processions and hunts denotes their elevated status in the Mycenaean world.

National Archaeological Museum, Athens.

jesus of nazareth

nobody@flickr.com (Cåsbr) — Wed, 20 Apr 2011 14:08:27 -0700

Cåsbr posted a photo:

Christmas Eve in Duomo di Milano.

langmusi thangka - white bodhisattva

nobody@flickr.com (Cåsbr) — Tue, 15 Jun 2010 23:17:38 -0700

Cåsbr posted a photo:

Thangkas are mural paintings you can find in Tibetan temples and houses. They are painted by lamas after years of training and apprenticeship, and the colors are all made from natural herbs and minerals.

Taken by Praktica LLC + Pentacon Auto 1.8/50mm + Kodak 100.
Scanned by Minolta Scan Dual IV.

tibetan thangka

nobody@flickr.com (Cåsbr) — Sun, 18 Apr 2010 22:01:15 -0700

Cåsbr posted a photo:

Capital Museum, Beijing.

pays-bas - maître au monogramme

nobody@flickr.com (Cåsbr) — Thu, 19 Nov 2009 00:13:09 -0800

Cåsbr posted a photo:

l'Adoration des mages
La présentation au temple
l'Entrée de Jesus Christ à Jérusalem
La Pentecôte

Musée des Beaux-Arts de Lyon.

pablo picasso - femme assise sur la plage

nobody@flickr.com (Cåsbr) — Thu, 19 Nov 2009 00:16:03 -0800

Cåsbr posted a photo:

10 février 1937
Huile, fusain et pastel sur toile
H. 131 ; L. 163,5 cm
Legs Jacqueline Delubac, 1997
Inv. 1997-45
Musée des Beaux-Arts de Lyon.

Pour Picasso, l'année 1937 est celle de Guernica (Madrid, centre d'art Reine Sophie) exécuté en juin pour le pavillon espagnol de l’Exposition internationale. C'est aussi l'année d’autres expérimentations. Il reprend ainsi, en février, le thème des baigneuses, déjà développé à la fin des années 1920. Thème qu'il déclinera uniquement en sculptures peu après. Au lieu de jouer à la balle ou de sauter dans les airs, les baigneuses sont désormais repliées sur elles-mêmes, leurs corps s’inscrivant dans un ovale. Cette série est encore inspirée par la figure de Marie-Thérèse Walter, muse et compagne omniprésente dans l’œuvre des années 1930, alors que Picasso commence à vivre avec Dora Maar.

Le tableau présente une baigneuse nue sur une plage se livrant à un geste familier. L’exagération des volumes et le rejet de toute vraisemblance anatomique sont frappants : les pieds et les mains sont disproportionnés par rapport au visage impersonnel. Les contours tracés au fusain donnent encore plus de densité au corps, alors que le modelé est souligné par le pastel blanc. La frontalité appuyée du personnage fait ressortir l’espace en arrière-plan comme une simple toile de fond. Un dessin à l’encre de chine (Paris, musée Picasso), daté lui aussi du 10 février, révèle que l’artiste a rapidement esquissé la composition. La baignade (Venise, collection Peggy Guggenheim), exécuté deux jours plus tard, reprend la figure – associée à une autre baigneuse – tenant un petit bateau à voiles.

claude monet - la tamise à charing cross

nobody@flickr.com (Cåsbr) — Thu, 19 Nov 2009 00:16:02 -0800

Cåsbr posted a photo:

The Thames at Charing Cross.
Musée des Beaux-Arts de Lyon. 1903

madonna and child

nobody@flickr.com (Cåsbr) — Tue, 19 Apr 2011 03:57:07 -0700

Cåsbr posted a photo:

Christmas Eve in Duomo di Milano.

happy palm sunday - duomo di milano

nobody@flickr.com (Cåsbr) — Sun, 17 Apr 2011 14:24:44 -0700

Cåsbr posted a photo:

The 2010 Christmas Mass with Archbishop Dionigi Tettamanzi.

Duomo di Milano is the second largest Catholic cathedral in the world: only Seville Cathedral is larger (and St. Peter's in Rome doesn't count because it's not a cathedral). It is 157 meters long and 40,000 people can comfortably fit within. Its five wide nave is the most impressive church interior I have ever seen.

Mark Twain, a great fan of the Duomo, has this to say (from Innocents Abroad):

What a wonder it is! So grand, so solemn, so vast! And yet so delicate, so airy, so graceful! A very world of solid weight, and yet it seems ...a delusion of frostwork that might vanish with a breath!... They say that the Cathedral of Milan is second only to St. Peter's at Rome. I cannot understand how it can be second to anything made by human hands.

Gallery of the Duomo in sacred-destinations.com

time washed away

nobody@flickr.com (Cåsbr) — Thu, 04 Mar 2010 22:44:23 -0800

Cåsbr posted a photo:

Dome of St Sophia Cathedral in Harbin, China. The cathedral is the largest orthodox church in the Far East. Built in 1932 by the 4th Siberian Infantry Division, it was abandoned and closed after communists took over in 1949 and severely damaged during the Cultural Revolution (1966-1976). In 1997 the city reopened the cathedral and turned it into a architectural museum.

哈尔滨圣索菲亚教堂/St Sophia Cathedral/Софийский собор.
Heilongjiang, China.

sunny afternoon, at a musuem

nobody@flickr.com (Cåsbr) — Thu, 19 Nov 2009 01:30:00 -0800

Cåsbr posted a photo:

In a sunny Sunday afternoon, at a great art museum in France almost all to myself. Talking about g'times.

Musée des Beaux-Arts de Lyon.

charlet - épisode de la campagne de russie (détail)

nobody@flickr.com (Cåsbr) — Thu, 19 Nov 2009 00:13:37 -0800

Cåsbr posted a photo:

Lesson learnt: If you don't have a visa, don't go to Russia.
Musée des Beaux-Arts de Lyon. 1836