Bridge and the Dala River Gorge

 

Caspar Wolf- Bridge_and_gorges_of_Dala_river_in_Leuekerbad,_

 

 

Caspar Wolf  (1735-1798 ) :

 

Swiss painter, who both style as well as the years he developed his ACTIVITY, is located halfway between the last years of the early Neoclassicism and Romanticism. Emphasize especially landscape painting, which also evolved from the classic landscaping UNTIL romantic. 

His painting studies conducted in the Constanza, and then traveled and performed in many cities in Germany WORKS AS Munich, Augsburg and Passau. In 1769 he moved to Paris, expanding their knowledge in the studio of painter Philippe Jacques de Loutherbourg, where he spent two years. Spent most of his career in Switzerland, although he returned to Paris in her old age, returning to their country to die.

On his return to his country, he specialized in alpine landscapes, making them custom series, which were much appreciated and disseminated, as well as a series that I hold paint castles. At THIS stage is where the romantic spirit pervades his pictures, representing a more realistic nature neoclassical,

The table :
In this spectacular view of a gorge through which the river, and the tiny bridge at the top, Wolf, and shows the influence of the romantic ideas that began to spread in Europe
. The view is almost topographical BUT pervades the aesthetics of the sublime” essence of the romantic landscapes. The human presence is minimal, and the figures of people are totally dwarfed by the frame of the rocks. 

There is a great play of light and shadows playing with the almost monochrome picture, where the overwhelmingly warm browns predominate, but with a huge range of them, they also serve to highlight the geological formations.

The drawing is precise, but not more pronounced than in the backlight of the rocks of the first term, while the backlit full sun, forms HAVE some very natural solution for light and distance, with a perspective very well made. The green of the trees, and water clarity sunlit, put a lovely counterpoint.

I hope you like.
A greeting.

Dancers in balance

Edgar_Degas_-_Balançant_danseurs

 

 

Hilaire-Germain-Edgar de Gas ( 1834-1917 ) :

 

Born in Paris, son of a wealthy banker and an aristocrat, his father financed her studies in painting, which performed at the School of Fine Arts in Paris, although he was little time in it. With his academic background, the then avant-garde groups, the realism of Courbet and the Impressionists he approached, PEROsiempre was a lost verse” in these trends. 

Very shy at meetings of young painters participated little in the discussions, UNTIL the point that Cezanne and he were called by others dumb”. Over time this attitude is accentuated, ending up becoming almost melancholy and becoming a prisoner of himself, homebound where only a few close friends visited him.

The topics for which he was and is best known are the scenes of hippodrome, theater and ballet, but also painted portraits, genre scenes and more, AS washerwomen. They really liked the spontaneity and liveliness of his style, and immediacy in capturing movements. When he exhibited at the Salon des Refuses famous then, his paintings were more business than those of Monet and Cezanne.

The table :

 

It is a painting that defines itself Degas style, showing us ballet dancers as they rehearse a little dance BETWEEN the scenes. The outlook in almost overhead, taken from high and closest point, which makes also some of the dancers are cut by the framework, which some critics based on the influence of the then fledgling photography and Japanese prints, highly prized in the time.

His technique is close to impressionism, but the drawing of the anatomical PARTS is firm and crisp, revealing the influence of his academic training and his admiration for the first time by the classicism of Ingres. Background dancers are but very fuzzy sketches with vague contours, but full of color, and in a very naturalistic attitudes.

The painter took notes of these scenes in the theater, both stalls, AS between racks. The brushstrokes are layered with a multitude of transparencies which FORMAN a swirl of color, and getting a sense of impressive movement. Cold blue tones predominate, but counteract the red background of the dancers, and the little touches of red in tutus.

 

I hope you like.

A greeting.

 

WORSHIP THE HOLY NAME OF JESUS

 

 

 

G.B.Gaulli, Il Gesu

 

 

Giovanni Battista Gaulli ( Baccicia , o Baccicio ), ( 1639-1709 ) :

 

High Baroque painter, born in Genoa, where he began his apprenticeship in workshops by local artists. In 1653 or 1656 he moved to Rome, that city studying the works of Raphael and Pietro da Cortona. Submitting later in the workshop as a disciple of the great Gian Lorenzo Bernini, the greatest interpreter of the Roman Baroque, especially as ARCHITECT and sculptor. 

 

Join the Academy of St. Luke in 1662, which was recognized his worth as a painter. He specialized in painting portraits, of which did a great NUMBER of good Roman society, and the frescoes in the churches, which displayed great imagination, one of the leading interpreters of the “illusion painting” in which it is to confuse the viewer, blurring the boundaries between painting and architectural elements.

In his painting dominated by warm tones, has a very PERSONAL treatment of light, and its fresh, pronounced foreshortening anatomies are well known, recognized these as very representative of the Baroque painting of his time, and making your style very dynamic, and influencing notably in Roman painting, especially in fresco.

The table :

 

The work of art in question, is painted on the ceiling of the nave of the Church of Il Gesu in Rome. This temple is the mother of the Jesuit church, and its construction, architecturally considered as the first Baroque church in Rome, was given to Giacomo della Porta. All this church frescoes were painted by Gaulli, and occupied him WORK for fifteen years.

It is one of the clearest examples of illusionistic painting. The artist managed to make it look like the sky is opened in the center and that viewers are entering heaven. In the lower, darker, a large group of demons and damned party are expelled from the heavenly mansion, while around the celestial light is a multitude of angels and saints. Warm colors, light and agitation are fully baroque.

It is almost impossible to distinguish in painting, statues and architectural elements of plaster, painted by the Gaulli. The figures seem to break the roof frame, debordándose clouds, saints and sinners that give the impression of falling TOWARDS inside the Church. The artist gets so I do not know what is real and what is illusory. Reproduction we show, does not do justice to reality. You have to see her live in the temple, and marvel at the virtuosity of the artist.

 

I hope you like.

A greeting.

The Milkmaid of Bordeaux

 

-Goya_La lechera de Burdeos

 

 

Francisco Jose de Goya y Lucientes , ( 1746-1828 ) :

One of the most brilliant painters and printmakers of all time. He began studying painting at thirteen, in Zaragoza, in the studio of a local painter named Luzan. At seventeen he failed a competition in Madrid, at the Royal Academy of Fine Arts of San Fernando, returning to Zaragoza, and entering the workshop of Francisco Bayeu.
After a trip to Italy, married Josefa Bayeu, sister of his master.Recommended by his brother moved to Madrid, working in the manufacture of cartons in the Royal Tapestry Factory. It progressed rapidly, and in 1780 membership in the Academy of San Fernando. Protected by the new King Carlos IV, became the more successful PAINTER. AS prodigious portraitist, I represent many paintings to the most important people of his time, with unprecedented psychological penetration to date. How PAINTER camera also painted single and group portrait of the Royal Family.

His last years, bitter about deafness, the War of Independence, and the absolutism of Fernando VII, was exiled in France, and his painting became more dark and dramatic. He is considered the great pioneer” of pictorial movements that were later developed, their loose brushwork and passionate anticipate impressionism; its dramatic themes, as the black paintings are considered antecedents of Expressionism, and many of his prints of the Caprichos, also are considered precursors of symbolism.

The table :

 

It is a virtually unanimous opinion that this box next to the portrait of Jose Pio de Molina, are the last works of Goya, when the artist had already 81 years old. Specifically this “Milkmaid of Bordeaux” has been considered the “swan song” of the painter. 

? Because the title ¿,? which leads us to believe that this is a dairy, and no other worker ¿. In the lower left corner is the top of a pitcher, and body posture suggests that the person IS mounted on a quadruped. Apparently dairy in Bordeaux, milk distributed by the house in jars, and were mounted on mules and donkeys.

The treatment of light in the picture, concentrate on head wrap girl and reflections on their clothes, is magnificent. Security showing Goya in his brushwork, loose, fast and uncorrected, correspond to what stopped writing his friend Moratin, I visit those days, and he said: Goya is very arrogantillo, and paint that peels them uncorrected never painted anything. French critics have opined that this is the first Impressionist painting painted in France, 50 years before this move appeared.
I hope you like it.
A greeting.

 

Napoleon at the Battle of Eylau

 

Antoine-Jean_Gros_-_Napoleon_on_the_Battlefield_of_Eylau

 

 

Antoine-Jean Gros , ( 1771-1835 ) :

 

 

French painter who was part of the time and Neoclasica school because it was pupil of Jacques -Louis David , great master of French Neoclassicism and Europe , which have posted on this blog, the “Death of Socrates ” . Gros was the follower of the teachings of his master, and the most important neoclassical painter of his country following the death of him .

His specialty was the pictorial representation of battlefields, of which coincide with the Napoleonic era no shortage of topics. His compositions and rich colors , according to some authors anticipate Romanticism, and indeed was much admired for example, by the great Romantic Eugene Delacroix. Belong to the circle of the Emperor and being named official portraitist of the same in 1814 , was also the portrait of Napoleon’s aristocracy.

I travel to Italy, but not to Rome , staying some time in Genoa , where he could study the works of Rubens and Van Dyck that was in that city, and for some time that influenced his painting , giving a baroque touch that might have led after a certain romanticism that already mentioned , which corresponds to have been considered a temperamental painter.

 

The table :

 

 

The Battle of Eylau, took place between days 7 and 8 February 1807 , near the village of East Prussia (now the Russian town of Bagrationovsk ) between the French army commanded by Emperor Napoleon Bonaparte, and an army Russian Beningssen under General . The meeting was bloody , with no clear victor, and with a low between the two armies of 35,000 to 40,000 dead – . Marshal Ney to visit the battle field said ” That slaughter , without results.”

The box represents Gros , on the morning of 9th , the Emperor visiting the battlefield , surrounded by his entourage , passing among the wounded of the war. By the uniform of these injuries were known to both armies are represented , and Napoleon seems requesting attention to the wounded . The figure of the composition focuses Emperor , not only for their place on the canvas, but also by the light color of the horse that seems to radiate light.

The background landscape of the battlefield is magnificent , with rows of soldiers accentuating the perspective , and serving as a contrast with whiteness , the group in the foreground, that unless the horse Napoleon, and some touch of color, as plumes red headdresses , has a predominance of dark colors. Both the epic theme, and the attitudes of the actors, with their pathetic gestures anticipate Romanticism, and his taste for the dramatic.

 

I hope you like it.

A greeting.

The Fountain of Grace

 

 

 

Workshop Jan van Eyck (XV Century):

In the history of painting has always been the problem of the powers of works that either are not signed or no documentary evidence and testimonies, with which it can be said with some degree of certainty who is the author. In these cases, usually follow stylistic criteria for allocations, followers and workshops for teachers, or are named as “Master …. (Place or topic in the table).

In the present case, this table is in the Museo del Prado in Madrid, but two excellent copies in the Cathedral of Segovia, and the Allen Memorial at Oberlin (Ohio). The study that was donated by King Henry IV and is documented both the donation as the place where he settled. There have been many hypotheses about the authorship, since it is from the hand of the same master Van Eyck, until they are copies of other artists.

 

The table :

 

The action depicted is framed in a beautiful architecture reminiscent of a Gothic church, with strong vertical needles and gables typical of that style. It is also noted that the composition is divided into three levels. In the lower left represents our Triumphant Church, with the Pope, bishops and other clergy and prelates. On the right, we see the characters in the Synagogue, overcome by the true church, symbolized the defeat in the band that covers the eyes of the High Priest. Both are separated by the Source of Grace, which is floating in the waters of Holy Ways.

In the central body are groups of angels musicians and singers who worship God, located on his throne at the top flanked by the Virgin and St. John, writing his Gospel, God having to foot the Mystic Lamb. The figure of the Creator is framed in a beautiful Gothic temple. Under the spring lamb just born in the Source.

Below, both human types and composition, colorful, and great detail, is typically Flemish. It is curious to note that the outlook is empirical; God’s throne is seen from the front, while at the bottom, the checkerboard floor and stack of the source viewed from above without a proper perspective.

Hope you like it.

A greeting.

Madonna with Child

Filippino_Lippi,_Madonna_and_Child_1484

 

 

Filippino Lippi  (1457 – 1504 ) :

 

Italian Renaissance painter , son of the painter and also Carmelite friar Fra . Filippo Lippi and nun Lucrezia Bunti . He began his apprenticeship with his father, and this complete death of his teaching in the workshop , then more famous painter of Florence, Sandro Botticelli , so your painting in the early years has a major influence of his teacher, with a sinuous drawing , reproduction of transparent veils and sumptuous costumes , and a firm, precise line .

It was very famous and appreciated, protected by Lorenzo the Magnificent and other patrons, as Cardinal Carafa to compare him with Apelles , the most famous painter of classical Greece . He died young , at age 46 , and the day of his burial in Florence, all the workshops of the Via dei Servi, an honor that was reserved only for the most important people in the city were closed.

They were concluded its work in fresco, among which the conclusion of the frescoes of Masaccio and Masolino Chapel Brancaci in Florence in this city paints the Strozzi Chapel in the Church of Santa Maria Novella , and Rome conducted to Carafa Cardinal frescoes in the Church of Santa Maria Sopra Minerva .

The table :

 

Classic religious theme from all periods of art , depicting the Virgin Mary with her son Jesus in an interior, these consisted of the years of the Renaissance, through the open window the background is a Lodge with arches and capitals classical historian . We also have the right in the background a magnificent still life with a candle of a large tactile quality and a landscape out the window to the left .

The influence of his master Botticelli is evident in the sinuous lines of the robes of the Virgin, as well as in the physical types , a Child Jesus ruddy , and a Virgin Mary, whose face reminiscent of Boticelli ‘s Venus . The composition with the pyramid that forms the body of the mother whose mantle is opened to welcome his son, and the heads of both in parallel in the same direction , give a great balance to the picture.

In this painting Filippino uses strong colors , highlighted with a contrast flaming red of her bodice and the cold and saturated blue mantle . Smoother flesh tones are the faces andthe child’s body. His style ranges from vigorous drawing of Masaccio and Andrea del Castagno and soft sfumato in other tables.

Hope you like it .

A greeting.

Madonna and Child with angels

 

-Fra_Filippo_Lippi_ Madonna con el niño y angeles

 

 

Filippo Lippi ( 406-1469 ) :

 

Carmelite friar who was trained as painter Masaccio, and was greatly influenced by this in its early stages . Working mainly in Florence, although tanbien traveled to Padua , Venice and Prato. In 1467 began the frescoes in the Cathedral of Spoleto , but he died and the work was completed by his disciples .

Among the painters who formed his workshop as apprentices was which was then the best-known painters Sandro Botticelli Quatroccento . Also apredio with her ​​son after Filippino Lippi would be very famous . This son was the friar with a nun from her convent , Lucrecia Bunti , with whom he maintained a relationship for years well known in the city and the reason for scandal. I also had a trial at which he was accused of falsification of documents.

In the beginning his painting was characterized by presenting his characters with great force, rotund bodies and full of solemnity , even though sin a somewhat archaic simplicity . From 1437 his painting hand, attributed this change to their knowledge of Flemish painting , which was imported from Flanders, as the ” Portinari triptych ” of Hugo Van der Goes. There are more realistic , and the characters are humanized losing that solemnity .

 

 

The Table :

 

For me it is one of the most beautiful Madonnas painted in the Renaissance, to the point that I have a reproduction in the living room of my house. It appears that the model was the nun lover Fra . Filippo , Lucrecia Bunti . Two angels with their hands raised to the Child Jesus to the Virgin Mary with brooding countenance seems to think about the future of his son. One of the angels with mischievous smile looking to introduce viewers instantly.

In the background stands the rocky landscape , the window frame in pale colors gives it more depth. All shades are soft and blend perfectly warm browns of the rocks, and the pink of the flesh tones , with dark blue and cold mantle of the Virgin. The drawing is firm but soft and sinuous lines , and to detail the robes and headdresses betrays the Flemish influence .

We must emphasize the great veil detail of the head and shoulders of the Virgin. It is a sublime delicacy and transparency. This highlights the artist’s exquisite technique , applying a layer of very thin paint with a steady hand and great sensitivity, which reveals what’s under it but veiled by the thin fabric .

Hope you like it .

A greeting.

lasmininas

The minins

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Brothel scene

 

-Brothel_Scene_1658_Frans_van_Mieris

 

 

 

Frans Van Mieris the Elder (1635 Leiden – 1681 Leiden ) :

 

 

Artist assigned to the so-called school of Leiden, characterized by ” painting precision and finesse ,” whose maximum representative was Gerrit Dou , whom Van Mieris was his best disciple , to the point that his master Dou, I miss writing about him recognized him as ” crowned prince of my students .” Curiously not cite knows how many brothers did , is cited as ” one of the last twenty-three .”

 

It was very famous, to the point that although apparently never traveled outside Leiden, his clients had the Grand Duke of Tuscany Cosimo III , Archduke Leopold, who ask him to travel to Vienna , declining the artist ‘s invitation , or the Elector Palatine. They specialize in small format paintings with few figures, and a proprietary technique painters in Leiden, in which the brushstrokes are applied so small and so softly that almost can not be seen .

 

Also was a master in the representation of the fabrics, it is famous for its silks and satins . Their colors are usually stronger than their CONTEMPORARY , but seems to have no basis for believing that they are well used in the primer of the canvas gold leaf . His characters are often treated with humor, his paintings often show gender issues represents a certain rudeness . His children and a grandson inherited the shop, but never came to the Masters of the initiator.

 

The table :

 

 

Have been ascribed various titles, p.e.j. ” The Maiden and the soldier ,” but the more accepted lately is contained in this blog. It is a typical genre painting canvas and inside the Dutch Golden Age . Displays a room of a house of bourgeois type , with a spatial construction and composition , also widely used , with leading figures in the foreground , the light coming from the left, where it is assumed that there is a window and a door to background that reveals another couple in loving attitude .

 

The cold blue apron women contrasts with the warm red coat male , while the dress she shines the light that shines in boots beautiful silk skirt . There is a soft chiaroscuro, very typical of Van Mieris between foreground and background shadows but these shadows are not dense , gloomy as in painting, but also transparent and reflect light, but in a more subdued manner.

 

The concerned a brothel scene , shows him as a man has grabbed by the woman ‘s skirt , he smiles invitingly . There are several signs that tell us more than it is a pleasure house , top left on the shelf is a lute , which refers to the pleasure of the senses, and on the table that is located after the couple there is a sleeping man , we can assume that under the influence of alcohol consumed in the brothel . But the most rude painter reference to this situation in a couple of dogs copulating in the lower right.

 

I hope you like it.

A greeting.