Titania pats Bottom

J.H.Fuseli- Titiana acaricia a Bottom

 

 

Johann Henrich Fussli ( Zúrich 1741 – Putney Hill 1825 ) :

 

Swiss painter, best known perhaps for his name adopted in England by Henry Fuseli. Son of the painter Johan Caspar, in his youth training was oriented more towards literature and theology painting, ordained pastor of the church of Zwingli, although his ideas illustrated exile and soon made him abandon this theology.

Germany happened to England, where most of his life happened except a time of 1770-1778 he was in Italy studying fine arts. His early training was neoclassical, and chronologically is between the neoclassicism and early romantic visions of art, but also has been considered as a precursor of symbolism.

He continued in that writing career until Sir Joshua Reynolds encourage you to go to painting. His art is characterized by a great fantasy lover drama, sources were often theatrical dramas, especially Shakespeare and his most fantastic works such as “A Midsummer Night’s Dream,” “The Tempest”, the terrible as “Macbeth”, or eroticism the Merry Wives of Windsor”.

 

The table :

 

In it, Fuseli shows the Queen of the Fairies, Titania, caressing the weaver Bottom, which has ass’s head as the husband of Titania, Oberon, his wife punishment achieved through a spell, this fall in love with bottom, and putting this that Head. All this is based on sequences of Shakespeare’s a Midsummer Night’s Dream”.

The picture is of great theatricality, enhanced by the presence of very different imaginary beings such as elves, fairies, and others. As in most of his work, in this eroticism content as Queen Titania is a voluptuous woman, and embrace as monstrous as Bottom can symbolize blind love is observed.

The chromatic range is very small, with a very dark background that enhances the whiteness of bodies, also contrasted by the warm light brown donkey‘s head and the hair of the Queen. The execution is very careful, but somewhat affected by the use of a sfumato” which blurs the contours, and brake energy of the scene, giving it a more romantic tone.

 

I hope you like it.

A greeting.

JESUS ​​AMONG DOCTORS

-Albrecht_Dürer_-_Jesus_among_the_Doctors

-Albrecht_Dürer_-_Jesus_among_the_Doctors_-_

 

 

Albrecht Dürer (Albrecht Dürer, 1471-1528):

It is the largest of the Central European painters of his time, and the great introducer and interpreter of the Renaissance in Northern Europe. His father was a goldsmith, and began his artistic aprendizace with him; in 1486 he entered the studio of painter Michael Wolgemut where also learned the trade, trends better then German painter Martin Schongauer, and Flemish masters.

 

Made two trips to Italy, in 1494 and 1506, where he met the best Italian artists of the time such as Bellini and Mantegna in the first, and some authors consider it likely that on the second trip, Dürer knew Leonardo da Vinci, and is certain is that his work met. In his painting clearly shows the Italian influence in its development, so it is considered as the most important link between the art of southern and northern Europe.It was very famous and recognized as a painter of the big bourgeoisie, the clergy, and the courts, as Frederick of Saxony, Maximilian of Hapsburg, and others, to the point that he was invited to the Coronation as Emperor Charles V at Aachen, being presented to the Emperor, I would affirm its economic privileges and tax relief that had been granted by his predecessor.Besides a great painter, Durer was one of the finest engravers in the history of art, and examples you can see The Melancholy” or San Jeronimo in his study.” He also wrote treatises on various aspects of his art, so we can consider it as a real Renaissance man. Since the time I play it live was very turbulent, with bloody riots (farmers, weavers, Anabaptists and others) and its repressions, taking an intellectual position advocating moderation and balance.

The table :
This box is located in the Thyssen-Bornemisza Museum in Madrid. It was painted in Venice during his second voyage, and is a unique painting in the production of Dürer by its composition and human types showing. The artist himself was well aware of this diversity, for in a letter to his friend Willibald Pirckheimer DATED on September 23, 1506, says, “I know that over the table, and also another picture unlike anything I’ve painted so far.” The first refers seems to be “The Feast of the Rosary”, and the second most historians identify him with that show.In an episode of the New Testament, in which Jesus, lost twelve years shown, and his parents found him in the temple, surrounded by the Doctors of the Law, and arguing with them about Religion. In CANVAS shown Jesus, very young, in the center of a circle formed by the heads of several elders, all almost completely filled the picture surface. In the center are the expressive hands of Jesus and an old man, and those that are counting on fingers, resource used in the time to count the arguments used in theological disputes.All figures are averages with a colorful, cleverly mixing the cold and warm. Noted a strong influence on the types of studies of the elderly by Bosch, and Leonardo’s drawings of heads of old, realize that this large NUMBER. Also the contrast between beauty “Italianof Jesus, and the cartoonish ugliness of others states and refers to more naturalistic painting in Northern Europe ..

I hope you like.
A greeting.

The Chocolate Girl

Jean-Etienne_Liotard_-_The_Chocolate_Girl_

 

Jean-Etienne Liotard ( 1702- 1789 ) :

 

Swiss painter, born and died in Geneva, is one of the leading representatives of the pastel, which dominated with great mastery. By timing your style should register between the late Rococo and Neoclassicism, but had its own personality. It was a great traveler, claimed as a portraitist in many countries. I paint in Rome for Pope Clement XII. Other countries I visit and work in France, Germany, Holland and England, finally settling in Geneva where he died .-

For four years I lived in Turkey, Constantinople, and fascinated by the environment adopted Turkish dress and leave a long beard, being called the Turkish painter.” In Constantinople I paint mostly members of the British colony, though not exclusively. This time I‘ll take the taste for oriental, as was seen later in some portraits in which his models wore the Turkish” as a portrait of Maria Adelaide of France dressed in Turkish.

He was very famous in his time, and his pastel technique with extraordinary finesse application was its hallmark. In his old age in Geneva, wrote a Treatise on the Art of Painting, which left embodied his idea that painting should be a mirror of nature.

 

 

The table :

 

It is a pastel on parchment, made in 1744, and can be admired in the Art Gallery of Dresden, where a great collection assembled over time by the Dukes of Saxony. - In the works is a maid carrying a tray a cup of Japanese lacquer Meissen porcelain chocolate, also carrying a glass Bohemian glass with water.

Liotard‘s mastery in depicting the tactile qualities of all items bearing the maid dresses also are wonderful, especially considering that the technique does not allow the cake Glitters oil .- The cold glitter Satin gray skirt seems that we can touch and feel the softness, the transparency of the glass of water, shadows on the lacquered tray, all this represented naturalistically and exacta.-

The box is made with such technical finesse, it would say is a work on porcelain enamel appearance. Liotard has used many shades of gray, ocher and pink to contrast with white apron and cup. The tones predominate clear and generally cold, and color range as well as the environment Jean Simeon Chardin remember whose works could know when Liotard study in Paris with thirteen.

 

I hope you like it.

A greeting.

 

Deshacer cambios

The kitchen

David_Teniers_El Joven (II)_-La cocina       David Teniers the Younger, (1610-1690): Flemish painter, son of the painter David Teniers the Elder, was a disciple of one of the greats of the genre painting, Adriaen Brouwer. He followed his master and is dedicated to portray the simple life of the peasants and the common people in their daily work and their leisure time.

His style and way of painting evolved and representations of human types became less rude, and showed with more dignity, and also was abandoned and adopting a monochrome palette richer. Probably had a lot to do with this change in their clientele, and it was elevated to important public offices and ceremony.

It was famous and make a lot of money. He moved to Antwerp and I work at the court of Archduke Leopold of Austria, Governor of the Netherlands. In his later years he came to represent quiet pastoral scenes.

The table :

There are several versions to explain cooking takes place in the action depicted in the painting; Some consider this to be the kitchen of the Archduke Leopold Palace, while others assume that it is the kitchen Teniers himself in his castle Dreitoren. But the representative implementation dates Table (1646), and his move to Brussels in 1651, we favor the first option.

Teniers represents a great stay, not very bright, which makes especially the dim background and this whole picture has a nearly uniform yellowish-brown tone, enlivened by touches of color, red, blue and gilt robes and utensils. The outlook is very good and gives great depth to the scene. The way to address the issue belongs to the second stage, where runaway burlesque and satirical aspect.

The box has been interpreted as an allegory of the four elements. Falconer Bajla window symbolize air, the brazier on the table, fire, fish and fishermen, water, and dogs, birds and plant the land.

Hope you like it.

A greeting.

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.

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