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Kinky Christian
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Discussion Starter #241
George Bellows: North River | 1908
Description: A scene along the Hudson River just above New York.
Date: February 1908.
Medium: oil on canvas.
Dimensions: 83.5 cm x 109.2 cm.
Collection: Pennsylvania Academy of the Fine Arts.

 

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Kinky Christian
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Discussion Starter #244
John Singer Sargent: Morning Walk | 1888
Description: The model is the painter's sister, Violet.
Date: 1888.
Medium: oil on canvas.

 

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Kinky Christian
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Discussion Starter #245
Giovanni Boldini: Still Life with Rose
Original Title: Natura Morta con Rose.
Deutsch: Stillleben mit Rosen.
Polski: Martwa natura z różą.
Style: Realism.
Genre: flower painting.

 

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Kinky Christian
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Discussion Starter #246
Giovanni Boldini: Portrait of Robert de Montesquiou | 1897
Genre: portrait.
Depicted people: Robert de Montesquiou.
Date: 1897.
Medium: oil on canvas.
Dimensions: 82.5 cm x 116 cm x 82.5 cm.
Collection: Musée d'Orsay.

 

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Mutant and Proud
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Brauner Victor (1903 - 1966) Reflection of a Dark Complexioned Girl, 1945 Pigment with acrylic medium on canvas, 77 x 56 cm Donated by Alexandros Iolas

https://www.nationalgallery.gr/en/all-collections/collection/collections/reflection-of-a-dark-complexioned-girl.html


Parthenis Konstantinos (1878/1879 - 1967) Madonna and Child, before May 1935 Oil on canvas, 68 x 57 cm
https://www.nationalgallery.gr/en/all-collections/collection/collections/madonna-and-child.html



Νational Gallery - Athens, Greece.
https://www.nationalgallery.gr/en
 

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Kinky Christian
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Discussion Starter #248
Superficially, the one by Brauner Victor appears simple, but it depth, it is actually so complex.
The one by Parthenis Konstantinos, I find it to be very soothing.
 

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Kinky Christian
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Discussion Starter #249
Karl Bryullov: The Last Day of Pompeii | 1833

Español: Karl Briulov visitó Pompeya en 1828, y en esa oportunidad realizó bocetos representando la erupción del Monte Vesubio del año 79 d.C.
la pintura hecha por el artista en base a estos bocetos, recibió muchos elogios en la exposición realizada en Roma,
aportando a Briullov más aclamación y reconocimiento que el que pudiera haber recibido por cualquier otra obra suya.
Esa fue la primera obra de arte rusa que causó tanto interés en el extranjero, inspirando un poema antológico
de Alexander Pushkin, así como la novela "Los últimos días de Pompeya" de Edward Bulwer-Lytton.
Así se ha desarrollado un tema clásico, aunque incluyendo características del romanticismo tal como se lo ha manifestado
en el arte ruso, al abarcar el drama, el realismo templado (mezclado) con el idealismo,
el interés por la naturaleza, y la afición por los temas históricos.
Un autorretrato se presenta en la esquina superior izquierda de esta pintura,
bajo el campanario, aunque no es fácil de ubicar e identificar.

Genre: history painting.
Depicted people: Yuliya Samoylova.
Date: 1830 - 1833.
Medium: oil on canvas.
Dimensions: 456.5 cm x 651 cm.
Collection: Russian Museum.


















 

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Mutant and Proud
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Impressive those paintings by Karl Bryullov, unfortunately with a very current subject. :eek:hno: Let's hope for the best for all of us!
Parthenis is an emblematic figure of Greek Art and one of my favourite painters so I intend to post more of his incredible art. An other significant Greek painter from the 19th century is Lytras.


Lytras Nikephoros (1832 - 1904) Portrait of Mrs Serpieri, 1869 Oil on canvas, 248 x 148 cm Donated by Ioannis V. Serpieris
https://www.nationalgallery.gr/en/all-collections/collection/collections/portrait-of-mrs-serpieri.html

In 1855, while still a student, he took part in the International Exhibition of Paris, in which he also participated in 1867, 1878, 1889 and 1900, winning the bronze medal at the last two while in 1873 he took part in the International Exhibition of Vienna. At the same time he was extremely active in Greece, participating in 1881 at the Melas House Exhibition, in 1888 at the Panhellenio in the Zappeion Hall, in 1896 at the Panhellenio organized in the framework of the Olympic Games, at the exhibition at the Parnassos Hall and so on. After his death, his works were presented at various exhibitions in Greece and abroad, such as the exhibition The Piloty School 1858-1886 held in 1909 at the Heinemann gallery in Munich and the International Exhibition of Rome in 1911. Moreover, in 1933 the Athens School of Fine Arts organized a large retrospective exhibition of his work.


Nikephoros Lytras was one of the leading representatives of the School of Munich and is considered to be the father of modern Greek painting. Though he was acquainted with impressionism, he remained faithful to the academic tradition and was involved with nearly all forms of subject matter: portraits, still lifes, historical scenes and mythological motifs. But the most important part of his work consisted of genre scenes, which he, in essence, introduced to Greek painting and which contain scenes from the Greek provinces and the urban area, the Greek family and the world of the child, as well as other subjects from further East. He is also considered to have been an innovator in the sector of portraiture, where his endeavour to penetrate into the psychology of the figure being depicted can be readily seen. His teaching contribution was also of great importance, decisively influencing the following generations through his nearly forty years at the Athens School of Arts during which he undertook large-scale endeavors for the upgrading of the lessons and the reorganization of the artistic division.

Lytras Nikephoros (1832 - 1904) Antigone and Polynices, 1865 Oil on canvas, 109 x 157 cm
 

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Kinky Christian
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Discussion Starter #251
^ By googling his impressive work I came across another Lytras, this time a modernist.
Love this, it looks like a Cycladic scene.

ΝΙΚΟΛΑΟΣ ΛΥΤΡΑΣ | Seascape 1925
Greek modernist painter.

 

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Kinky Christian
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Discussion Starter #252
When it comes to symbolists I really like the work of Arnold.

Arnold Böcklin: Summer day | 1881
Date: 1881.
Medium: oil on mahogany wood.
Dimensions: 61 cm x 50 cm.
Collection: Galerie Neue Meister.

 

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Kinky Christian
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Discussion Starter #253
A lot of Yugoslav artists took this motif in their sculptures and paintings.
Not just Serbians, but Croatians and Macedonians too.
It was largely regarded as a tragedy (that led to 500 years of Ottoman rule, or slavery as we call it) that these nations fought for so log, and lost, almost everything in the process.
The lands are still poor. Drained. It seems 500 years of Freedom won't be enough for us to recover and take ourselves to a decent societal place.

Uroš Predić: Kosovo Maiden | 1919
Serbian: Косовка девојка.
Date: 1919.
Medium: oil on canvas.
Collection: Belgrade City Museum.

The Kosovo Maiden is the central figure of a poem with the same name, part of the Kosovo cycle in the Serbian epic poetry.
In it, a young beauty searches the battlefield for her betrothed husband and helps wounded Serbian warriors with water,
wine and bread after the Battle of Kosovo in 1389 between Serbia and the Ottoman Empire.
She finally finds the wounded and dying warrior Pavle Orlović who tells her that her fiancé and his blood-brothers are dead.
Before the battle they had given her a cloak, golden ring and veil for the wedding as a promise of safe return,
but they were slain and Pavle pointed to the direction of the bodies.

The poem finishes with:
O wretch! Evil is your fortune!
If I, a wretch, were to grasp a green pine,
Even the green pine would wither.

 

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Kinky Christian
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Discussion Starter #254
Maxfield Parrish: Jason and His Teacher | 1909
Description: Collier's magazine frontispiece.
Date: 1909.
Medium: oil on canvas.
Dimensions: 101.6 cm x 81.2 cm.
Collection: Private collection.
Source/Photographer: Heritage Auctions.

 

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Kinky Christian
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Discussion Starter #255
Kosovo Maiden...
Speaking of which, here's an equally beautiful Kosovo Maiden.
This one is searching thru more of an AI world, or that's what I gather from the video?
Previously I've shared Croatian and Macedonian music. Time for something Albanian while I'm still on the regional topic.

Era Istrefi | 13 | 2014

In December 2014, the singer made the pop ballad 13,
which was produced in the United States, available for consumption.
Its accompanying music video was viewed almost 200,000 times
within 24 hours on YouTube (currently has 14,156,554),
which later resulted in it being featured in V Magazine.



Albanian and English lyrics:

I will never hate you.. I could never do that..
Kurr nuk kom me t'urrejt, skom me mujt.
-----------------------------------------------------------------------
He let me go ‘cuz I deserve something better
M'la me shku se meritoj ma mirë

He let me go ‘cuz he needs something cheaper
M'la me shku se pi vyn diqka ma lirë

Uuu... he won’t have me any more
Ooo...nuk ka me m'pas mo

I lied when I said I don’t care
Kom rrejt kur kom thon qe spo ma nin

You told me to wait ‘cuz you would come back again
Mke thon pritëm se un prap vij

He and I are in trouble now
Ai edhe une n'maj kena ra
-----------------------------------------------------------------------
(X2)
Tkom pas n'men
You were on my mind

Ty pi weed edhe ven
While I was smoking weed and drinking wine

Heshtja jem e zavend'son
My silence substitutes

Dhimbjen tem (X2)
My pain

Zemra jeme s'i harron
My heart never forgets

Fjal't që kurrë s'i ke thonë
The words you never said

Un po t'shoh
I see you

Ti je,po nuk je..
You are, but you are not…
-----------------------------------------------------------------------
Kur t'merr malli veq kujtoje
When you miss me just remember

Që vet m'ke lon ti mu me shku
That you were the one who let me go

Ke thon që vdes mas meje
You said you were crazy about me

Uuu zemer ke harru
Oooh baby you forgot

Nuk e di a ka rëndsi(X2)
I don’t know if it matters

Që un krejt ditën(X2)
That all day long…

-----------------------------------------------------------------------
ah ah, ah ah, oh oh oh oh oh (x2)
-----------------------------------------------------------------------
Tkom pas n'men
You were on my mind

Ty pi weed edhe ven
While I was smoking weed and drinking wine
 

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Mutant and Proud
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Julian Schnabel - Maria Callas no.4
1982
Oil on velvet
274,3 x 308,9 cm

Basil & Elise Goulandris Museum of Modern Art, Athens, Greece.


https://goulandris.gr/en/artwork/schnabel-julian-maria-callas-no-4

When I visited the third floor of the new museum of modern art I instantly loved this velvet red and gold painting by Julian Schnabel. This hall became one of my favourites, with large paintings by Ed Ruscha and Anselm Kiefer as well as Signals by Takis.


https://www.lifo.gr/articles/arts_articles/252569/ayto-einai-to-neo-moyseio-sygxronis-texnis-toy-idrymatos-goylandri-apokleistikes-protes-eikones

http://www.julianschnabel.com/

https://goulandris.gr/en/
 

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Mutant and Proud
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Mutant and Proud
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69829_2000_2000.jpg
Giordano Luca (1632 - 1705)
The Healing of the Lame, 1653
Oil on panel, 96 x 87 cm
National Gallery, Athens. Gr



In 1967, the National Gallery purchased a painting by an unknown painter, entitled "The Pool of Siloam". In 1968-69, Robert Lebel, who had been asked to appraise the Western European painting collection, attributed it to Francesco Villamena (1564-1624). But on a visit to the National Gallery in 1988, Professor Federico Zeri attributed it to an early work of Luca Giordano. Angela Tamvaki, the then curator of the National Gallery’s Western European painting collection, did additional research and began to suspect that it was the painting that Wilhelm R. Valentine referred to and published in 1913. This opinion was supported by Giuseppe de Vito, a Luca Giordano scholar and specialist of his early works, who instigated a laboratory investigation into the existence of a signature and date.

The scholars’ suspicions were confirmed and proven correct when, in 1997, an examination of the painting using infrared reflectography revealed the signature and date written on along the side concealed by the frame on the lower left margin of the painting. No trace, however, was found of the Durer initials added by Giordano. In July 2008, a cleaning by the National Gallery conservators uncovered the monogram on the upper portion, in the center of the arch, a fact that identifies this painting as the one mentioned by Valentiner.

 
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