Latest Posts by art0634 - Page 3

Mernet Larsen

Reading in Bed, 2015

Gabriele Münter (German, 1877-1962), Gelbes Haus mit Apfelbaum [Yellow House with Apple Tree], 1910. Oil on board, 16 3⁄8 x 19 7⁄8 in.

The Light and the Dying

Artist: Gilliam Hornstein (American)

Date: 20th century

Medium: Oil on canvas

Collection: North Carolina Museum of Art, Raleigh, NC, United States

Francis Bott, Komposition in hellem Rot

signed and dated 60

oil on canvas

100 by 100 cm. 39 3/8 by 39 3/8 in.

Chop Suey

Artist: Edward Hopper (American, 1882 – 1967)

Date: 1929

Medium: Oil on canvas

Collection: Private collection

Description

The scene depicts two women at a table in a restaurant with another couple in the background. The only features being shown in particular detail are the painted woman’s face, the coat hanging above her, her companion’s back (to the viewer), the features of the couple in the background, the tea pot on the table, the masked lower window panel, and the restaurant sign outside. These are all features that would bring a sensory element (besides sight) to the memory painted: the buzzing noise of the outside light, the voices of the people in the background, the texture of the coat, the taste of the tea and smell of the cigarette smoke (held by the man), and the muddled light from the masked window.

Sequestered Afternoon

2025

Noak Esbjörnsson

Carol Hunt

Pierre Soulages Ohne Titel Farblithografie Auflage: 169/300 75 x 54 auf 89 x 68 cm  

Martyr Hill

Artist: O Louis Guglielmi (American, 1906-1956)

Date: c. 1933-1934

Medium: Oil on canvas

Collection: Smithsonian American Art Museum, Washington, DC, United States

Description

The eerie loneliness of Louis Guglielmi's painting Martyr Hill seems surreal. Yet the Grand Army of the Republic Hall in Peterborough, New Hampshire, actually looks much as it does in this painting. Guglielmi, who spent many summers at the MacDowell artist colony in Peterborough, knew the place well. He altered the scene slightly but effectively to create an uneasy, melancholy mood reflecting the troubles of the time.

Sweeping diagonal lines draw the viewer's attention to the GAR Hall, with its spiky finials and a cannon aimed to menace the viewer. In fact, the cannon stands on the opposite side of the hall’s lawn. Guglielmi removed the windows from the hall’s side wall, creating the solid red parallelogram he placed very near the dark front wall of the house in the foreground. This causes the eye to lurch disconcertingly from foreground to background. Nothing in the painting casts a shadow - the buildings therefore look oddly insubstantial. The sculpted bronze soldier on the Civil War Memorial, his head bent in sorrow, underlines the lack of a living person in the scene. The Nubanusit River flows under a bridge and out toward the viewer, who is left with no place to stand.

Ameisenhaufen

Artist: Marianne von Werefkin (Russian, 1860–1938)

Style: German Expressionism

Date: c. 1916

Medium: Oil and tempera on paper laid down on board

Collection: Private collection

Description

Marianne von Werefkin was one of the most remarkable women working at the centre of Munich’s avant-garde circle during a period of rapid change and intense creativity at the turn of the twentieth century. Born in the Russian town of Tula near Moscow in 1860, she studied art under the private tutelage of Ilya Repin. It was there that she met Alexej von Jawlensky in 1891, with whom her relationship as mentor, patron and companion would last until 1921. The couple moved to Munich in 1896, at which point Werefkin gave up painting for almost a decade in order to devote herself entirely to the development and promotion of Jawlensky’s talents. During this time, however, she played a decisive role in the Munich art scene as hostess of a salon on Giselastrasse, where she commanded the room of artists, writers, dancers, progressive thinkers and Russian émigrés who were attracted there.

After almost twelve months touring France with Jawlensky, Werefkin returned to painting in early 1907. The couple formed a close friendship with Wassily Kandinsky and Gabriele Münter, which led to the founding of a secessionist group called the Neue Künstlervereinigung München (New Association of Artists in Munich, NKVM) in 1909. The group’s spiritualist principles were founded on a desire to synthesise the impressions projected on the artist by the external world and the personal experience of this collected by the artist. The NVKM paved the way for the Blaue Reiter group, which would be created in 1911 in rejection of the former group by renegade members. Marianne von Werefkin, adhering artistically to Symbolism whilst belonging to the inner circle of the developing group, was the only artist close to the Blaue Reiter circle whose work focused on social issues and the world of human labour and factory work, and her figurative work became her defining point.

Sadamasa Motonaga (1922-2011) [Japan] ~ ‘Work’, 1965. Enamel on paper (27 x 24 cm).

Jeff Koons (American, born 1955)

Loopy, 1999

Oil on canvas

108 x 79 in. (274.3 x 200.7 cm.)

Private collection

Etel Adnan

Tanaka Atsuko Japanese, b.1932

untitled, 1964

Willem de Kooning

Christopher Richard Wynne Nevinson

"The Arrival" c.1913.

Edward Hopper, The Long Leg, 1930

Painting - Jarda

Painting on paper,

acryl, pencil, pen,

high gloss varnish,

mixed media, 28 x 46 cm

Evariste Vital Luminais - Les énervés de Jumièges, 1880

Kurt Schwitters (1887–1948) [Germany] — ‘Für Tilly’, 1923. Oil and rotating handle on panel (25,7 x 16 x 4,9 cm).

Fernando Botero

James Joyce

Artist: Robert M. Barnes (American, 1934 - )

Date: 1958

Medium: Oil on canvas

Collection: Pennsylvania Academy of Fine Arts, Philadelphia, PA, United States

Biography

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, poet and literary critic. He contributed to the modernist avant-garde movement and is regarded as one of the most influential and important writers of the 20th century. Joyce's novel Ulysses (1922) is a landmark in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, particularly stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, letters, and occasional journalism.

Takanori Oguiss 荻須高徳

Richard Diebenkorn, Berkeley #16 , 1954 - oil on canvas

Fernand Léger, Le buste, Painted in 1925

oil on canvas

65 by 50cm. - 25 5/8 by 19 5/8 in.

Mathieu Cherkit - Double Staircase, 2024 - Oil on canvas

Anselm Kiefer     Kranke Kunst (art malade) (art malade) 1974 https://www.britishmuseum.org/collection/object/P_2019-7042-3