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The Approaching Herd - Frank Reaugh - Google Arts & Culture

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An early day herd of long-horn Texas cattle. These cattle on the 'point' were splendid specimens, five or six year olds. They were beautiful animals. They ...

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View of the waterfront at Canton with the paddle steamer 'Spark' - Tingqua studio (Guan Lianchang (fl. 1840-1870) - Google Arts & Culture

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The view is looking across the river at the foreign factories from the island of Honam. The 'Spark' was owned by the American firm of Russell and Co. and w...

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In one of his first paintings of early convoys on route to Berlin, official war artist Colin Colahan depicts the evacuation of German refugees and troops from the capital and surrounding villages as allied troops enter. The landscape is dramatically divided by two columns passing each other along the sweeping curve of road. Colahan worked directly in oil, rather than painting from sketches made in the field, and here the mood and atmosphere of the scene is rendered with immediacy and vigour.

Colahan was commissioned in 1942 and again in 1944. He began work in Britain, depicting the activities of the Royal Australian Air Force and Australian Forestry Units. After the surrender of Germany, Colahan went to Europe to capture the changing conditions in liberated areas. He travelled through Belgium, France and Germany, painting the celebrations of VE Day, fleeing refugees, and the destruction he witnessed in Berlin.

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East meets west (First British convoy en route to Berlin) - Colin Colahan (1897-1987) and Second World War official war artist - Google Arts & Culture

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In one of his first paintings of early convoys on route to Berlin, official war artist Colin Colahan depicts the evacuation of German refugees and troops from the capital and surrounding villages as allied troops enter. The landscape is dramatically divided by two columns passing each other along the sweeping curve of road.

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While in France, Nicolae Grigorescu spent long periods of time in Vitré, "a small medieval town in Brittany, where the narrow streets are stranded between old buildings with sharp, hood-like roofs, while the people themselves are stranded in their ancient, patriarchal traditions" - as the famous art collector Zambaccian describes it. The picturesque town fascinated Grigorescu who thus became the first Romanian painter to have immortalized it. And on canvas, this fascination was translated into a series of masterpieces. The brushstrokes transformed the landscape which became a visual equivalent of the sight which stirred up the painter's deepest, most sincere emotions. He painted everything: streets, houses, people, villages, towns, nature; what seems difficult to render on canvas - the specific features of the places - came with ease, flowed naturally, under his touch. Street in Vitré and Houses at Vitré (ca. 1879-1886) show the artist's preoccupation to exploit the values of light and air, to capture and render them in such a manner that the objects, in a variety of hues of grey, interpose the eyes of the viewer.

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Street in Vitré - NICOLAE GRIGORESCU - Google Arts & Culture

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While in France, Nicolae Grigorescu spent long periods of time in Vitré, "a small medieval town in Brittany, where the narrow streets are stranded between old buildings with sharp, hood-like roofs, while the people themselves are stranded in their ancient, patriarchal traditions" - as the famous art collector Zambaccian describes it.

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My Altar - Evgeny Ukhnalev - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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South Transept, Melrose Abbey - John Ruskin (1819-1900) - Google Arts & Culture

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The ruined abbey of Melrose, where Robert the Bruce's heart had been buried, lies close to Abbotsford, home of Ruskin's literary hero Sir Walter Scott. One...

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The 1909 trip to Venice definitely established the aspect of his creation. The light and the colours of Venice, the pleasure of capturing the movement of the sea, the solar joy of the landscape, make him one of the most fervent Romanian artists to paint this magnificent Italian city. Works like Venice, in our collection, bring a new, unique vision flooded by light and colour, to Romanian art. The artist is not interested in the picturesque sights, but in the evocative capacity of the colours. The atmosphere of the paintings is built and defined by chromatic strokes. He reduces his palette and uses pure hues in "brush-to-brush" strokes, superposing touches of different lengths in order to enhance the artistic expression. In this world of fluidity and lustre, Dărăscu knows how to find and keep the coherence of shape, expressing it in rough deep contours.

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Venice - NICOLAE DĂRĂSCU - Google Arts & Culture

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The 1909 trip to Venice definitely established the aspect of his creation. The light and the colours of Venice, the pleasure of capturing the movement of the sea, the solar joy of the landscape, make him one of the most fervent Romanian artists to paint this magnificent Italian city.

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Manhã Bairro Barra Funda - Raphael Galvez - Google Arts & Culture

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Explore collections and stories from around the world with Google Arts & Culture.

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Crafts Maps of India - Bihar - 2 - Neelkant Choudhury - Google Arts & Culture

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A contemporary version of Mithila art shows a new range of colours reflecting the fertile soil and the hand spun , hand woven silk of Bihar. It eliminates ...

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This painting depicts people enjoying the view of maple foliage beside the Kiyotaki river at Takao, north of the city of Kyoto, which is famous for the beauty of its maples in autumn. Beyond the thick clouds are the roofs of Jingoji temple with a red pagoda. Atago shrine covered in snow suggests the arrival of winter.On the right bank of the Kiyotaki river, beautifully dressed women with children are seated in a relaxed manner. A tea vendor is making tea, and the women, who are drinking tea and sake, seem to be enjoying this splendid autumn day. Two men are playing flutes on a bridge in the center. Meanwhile, Buddhist priests and young apprentices are about to cross the bridge. On the left bank of the river, warriors seated in a circle are singing and dancing at a sake party while white herons fly overhead.It is thought that there was another screen depicting spring and summer scenes, and the pair originally formed a meisho-e (painting of famous place) of the four seasons. Judging from the artist's seal the work is attributed to Kano Hideyori. Hideyori was active around the Eiroku era (1558-1570), when the city of Kyoto was recovering from the damage it incurred during the Onin War (1467-1477). Although rendered in the traditional style of the time, this work is most noted for its innovative characteristics, as seen in the vivid depictions of merrymaking under the autumn maples, focusing on the enjoyment of people of the Muromachi period.

Recommended

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Maple Viewers - Kano Hideyori - Google Arts & Culture

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This painting depicts people enjoying the view of maple foliage beside the Kiyotaki river at Takao, north of the city of Kyoto, which is famous for the beauty of its maples in autumn. Beyond the thick clouds are the roofs of Jingoji temple with a red pagoda.

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This portrait of Gim Yuk (1580-1658, a.k.a. Munjeonggong, or Jamgok) was painted by a Ming artist named Hu Bing in 1637 while the scholar-statesman was on a visit to the Chinese dynasty as a Joseon envoy. The diplomat is depicted wearing a silk head cloth and a "heron robe," standing under a pine tree in a relaxed manner. His head faces the viewer directly, but his body is turned slightly to the right, suggesting that he was wandering around the tree when the picture was painted. The top right of the painting contains a postscript written by King Yeongjo (r. 1724-1776) praising the life and achievements of Gim Yuk.

King Yeongjo's Eulogy on the Image of Munjeonggong, or Jamgok

"Who is that man in the painting wearing a silk head cloth and a heron robe, standing in the pine-scented breeze? He is none other than Jamgok, or Lord Gim.

A loyal subject, he served his country with all his heart long ago, pursued the righteousness of the old sages, and fulfilled all his duties.

It is marvelous that he designed the Uniform Land Tax Law. Ah! Let him be honored and admired by one hundred generations to come."

Second Month, Sinmi Year [1751]

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Songhahanyudo (Painting of the Rest under a Pine Tree) - Hu bing - Google Arts & Culture

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This portrait of Gim Yuk (1580-1658, a.k.a. Munjeonggong, or Jamgok) was painted by a Ming artist named Hu Bing in 1637 while the scholar-statesman was on a visit to the Chinese dynasty as a Joseon envoy. The diplomat is depicted wearing a silk head cloth and a "heron robe," standing under a pine tree in a relaxed manner.

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Town plan of Batavia, Java - Frederick De Wit - Google Arts & Culture

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This hand coloured engraving depicts the town plan of Batavia, Java (now Jakarta, Indonesia) and was published in Amsterdam in 1681. Batavia was the headqu...

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The Had Gadya, a charming ten-verse Aramaic ditty based on a German ballad, is chanted at the conclusion of the Passover seder. This song has been variously interpreted both textually and visually. Its verses describe a young goat, recently purchased by a father (made personal to each individual chanter by the pronoun "my" father). The goat is consumed by a cat, and the song continues to recount a succession of assailants until God destroys the final perpetrator, ending the vicious cycle. Generally considered an allegory for the oppression and persecution of the Jewish people, the various villains have been likened to aggressor nations in Jewish history. Yet God's triumph leaves hope for Jewish survival. The poem has been frequently illustrated as part of the Haggadah-the text for the seder ritual-a work that in itself was an illustrator's favorite because of its narrative simplicity and popular appeal.

El Lissitzky's folio of eleven printed illustrations, based on his 1917 watercolors of the same subject, is unusual for its lack of association with the text of the Haggadah. The Had Gadya derives mainly from the artist's involvement with pictures for Yiddish children's books executed between 1917 and 1919. El Lissitzky uses an architectural framework incorporating imaginatively designed, folk-influenced, modernist Hebrew typography as a border for each narrative sequence. The effect is a step in the development toward his classic, architecturally based abstraction. This culminates in El Lissitzky's remarkable artistic invention, which he referred to by the acronym PROUN (from the Russian words for "project for the affirmation of the new"). These later drawings, paintings, and geometric constructions became totally nonobjective, and soon El Lissitzky relinquished specific Jewish subject matter in a successful merger of art and architecture.

Sources for El Lissitzky's illustrations can be found in Jewish popular prints, Hebrew illuminated manuscripts, and the figurative style of Russia's famous painted wooden synagogues. His art also reflects his fascination with typography, Chagall's romantic Expressionism, and Suprematist avant-garde art. This combination of sources is a logical outgrowth of El Lissitzky's education and his maturing interests during the second decade of the twentieth century.

Denied admission to a Russian art school, El Lissitzky studied architecture in Darmstadt, Germany, where he is known to have become acquainted with that city's great Jewish masterpiece, the fifteenth-century Darmstadt Haggadah. He also made frequent trips to Worms, to study the architecture of its synagogue, then the oldest in Europe. When he returned to Russia in 1914, he soon became involved with the Jewish Ethnographic Society, which financed his expeditions to explore the Jewish art and architecture along the Dnieper River. There he was particularly moved by the fascinating architecture of the wooden synagogues and their imaginative and lushly painted interiors.

Although he exhibited his works in 1916 along with the first Suprematist works of the noted Russian constructivist Malevich, El Lissitzky continued for the next several years to illustrate children's books inspired by the folk motifs he had previously helped gather. In 1919 Chagall, head of the Vitebsk School of Art in Russia, offered him the position of professor of architecture. Chagall's resignation later that year brought El Lissitzky into closer contact with Suprematism through Chagall's successor, Malevich, the movement's originator.

The creation of the Had Gadya illustrations coincides with the year of the Bolshevik victory and prompted the popular notion that El Lissitzky saw the allegorical tale of survival and the triumph of good over evil as an analogue to the success of the Russian Revolution. If intentional, this is testament to Had Gadya's universality-and its limitless potential for interpretation.

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The Ox Came and Drank the Water - El Lissitzky - Google Arts & Culture

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The Had Gadya, a charming ten-verse Aramaic ditty based on a German ballad, is chanted at the conclusion of the Passover seder. This song has been variously interpreted both textually and visually. Its verses describe a young goat, recently purchased by a father (made personal to each individual chanter by the pronoun "my" father).

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This painting depicts the view from an upper-storey window on the eastern elevation of the Royal Castle in Warsaw, which can be seen stretching along the right side of the canvas. Unfolding in the distance, past the castle's terrace and the pale walls of the Tin Roof Palace, is the Warsaw panorama. Looking south along the Vistula river, we see churches, palaces and residential building dotting the landscape all the way to the former residence of King John III Sobieski in Wilanów. We can clearly discern the Holy Cross Church with its twin bell towers and a bright structure that is Kazimierz Palace, set at a distance from the neighbouring buildings. On the castle 's terrace, Bernardo Bellotto immortalises the everyday life of the last Polish king's court. Looking from left to right, we see a changing of the Royal Infantry Guard, a horseback riding lesson in the arena and work being done on the castle by workers of the royal sculpture studio.

It is worth taking note of one of the first-floor windows along the right edge, the man seen there in profile is likely King Stanislaus Augustus. The figures accompanying him have been identified as the king's sister-in-law Teresa Poniatowska née Kinska and her two children Józef and Maria Teresa. The gentleman in the light-coloured uniform with the crimson ribbon on his chest assisting the lady down the stairs is believed to be the Lithuanian Field Hetman Ludwik Tyszkiewicz, to whom the painting was presented by the king upon its completion. For this reason, this composition was never part of the castle's décor even though it was painted in the same period as Bellotto's other views of the capital intended for display in one of the rooms.

This painting by Bellotto is possibly the finest existing veduta of Enlightenment-era Warsaw, not only on account of the broad field of view and its accurate rendition of the numerous structures it depicts but also for purely artistic reasons. In it, the painter achieved a masterful harmony between the city's architecture, the light and airy landscape and the graceful and elegant staffage.

After the Second World War and Warsaw's near total destruction at the hands of the Nazis, Bellotto's vedute - this one included - served as visual records for the reconstruction of many of the city's levelled building.

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View of Warsaw from the Terrace of the Royal Castle - Bernardo Bellotto called Canaletto - Google Arts & Culture

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This painting depicts the view from an upper-storey window on the eastern elevation of the Royal Castle in Warsaw, which can be seen stretching along the right side of the canvas. Unfolding in the distance, past the castle's terrace and the pale walls of the Tin Roof Palace, is the Warsaw panorama.

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[Head of Gallipoli soldier with cigarette] - Sidney Nolan - Google Arts & Culture

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The portraits and landscapes in Sidney Nolan's Gallipoli series represent an attempt to define the Australian national character. They provide timeless ima...

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Landscape of Granada - Arcadi Mas i Fondevila - Google Arts & Culture

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"As it says in dedication on the painting, Arcadi Mas i Fondevila (Barcelona, 1852 - Sitges, 1934) gave Poble granadí to Santiago Rusiñol to remind him of ...

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UH-1D "Iroquois" (Huey) Helicopter - Bell Helicopter - Google Arts & Culture

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Entering service in the U.S. Army in 1959, the UH-1 "Iroquois," known by its crews as the "Huey," served throughout the Vietnam War and pioneered the use o...

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This silk batik was made around 1985-1986 by Nyukana 'Daisy' Baker (b. 1943) of Ernabella Arts in South Australia. Ernabella Arts is the longest running Aboriginal arts centre in Australia, founded in 1949 to create employment opportunities for young women from the local Aboriginal community, the Pitjantjatjara people. Nyukana is one of the most established and highly regarded artists of the centre and is internationally acclaimed not only for her batiks, but also ceramics, paintings and woven rugs. The technique of batik was first introduced to the Ernabella arts community in the mid-1970s by craft advisor, Winifred Hillier, and came to replace the more laborious process of weaving. As Cochrane says, "Batik was transportable and easy to make in simple conditions; people could sit on the ground with the fabric on their knees, and the wax and dyes could be heated outside. Interest in the process quickly spread to other communities, including those of the Anmatyerre and Alyawarre language speakers at the Aboriginal-owned 'homeland' Utopia in 1977, where Ernabella women and other artists came to teach". ('Decorative Arts and Design from the Powerhouse Museum', Powerhouse Publishing, 1991, p.172). This particular batik was first shown as part of the Commonwealth Arts Festival in Edinburgh in 1986. It epitomises Nyukana's vibrant designs inspired by everyday life in the desert and oral stories passed down by elders, which reflect her deep connections to the ancient landscape.

Recommended

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Batik by Nyukana Baker, Ernabella - Nyukana 'Daisy' Baker - Google Arts & Culture

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This silk batik was made around 1985-1986 by Nyukana 'Daisy' Baker (b. 1943) of Ernabella Arts in South Australia. Ernabella Arts is the longest running Aboriginal arts centre in Australia, founded in 1949 to create employment opportunities for young women from the local Aboriginal community, the Pitjantjatjara people.

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Basketry set: Jar - Google Arts & Culture

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On two occasions, Queen Sirikit gifted SUPPORT Foundation works to the Smithsonian Institution, contributing to its already extensive collection of gifts f...

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"En 1949, Excélsior lanzó una convocatoria llamada ?La ciudad de México interpretada por sus pintores?, que adquirió gran resonancia entre los artistas avecindados en la capital del país como José Chávez Morado y Juan O?Gorman, ya reconocidos en el ambiente. El jurado de admisión dio cabida a poco más de doscientas cincuenta obras expuestas en los espacios vítreos junto al entonces Museo de la Flora y la Fauna en Chapultepec. Angelina Beloff sometió a concurso ?La avenida Hidalgo vista desde Bellas Artes?, pieza que mereció una mención honorífica del jurado calificador, formado por Alfonso Reyes, Jorge Enciso, Manuel Toussaint, Fernando Gamboa y Justino Fernández. La artista, ex?pareja de Diego Rivera y habitante de la ciudad de México desde 1932, decidió mostrar una imagen de uno de los espacios más concurridos del centro de la capital y por ello, más susceptible a las aceleradas modificaciones que el entorno urbano estaba experimentando. La obra refleja la vivacidad de la zona, donde la tranquilidad de la Alameda y sus decenas de transeúntes, convivían con los autos y el tranvía, ya completamente asimilados a la geografía urbana. Los templos de la Santa Veracruz y San Juan de Dios, paradigmas de la herencia arquitectónica novohispana, se unen a partir de los puestos de flores que ofrecen coronas para difuntos y complementan el panorama de esta sutil composición. En el mencionado concurso, la obra de O?Gorman, Paisaje de la ciudad (Museo de Arte Moderno) recibió el primer premio. Además de la maestría en su elaboración, la obra del pintor resumía la visión triunfante de la urbanización y el crecimiento de la ciudad, incorporando elementos antiguos. Beloff, quien no incluyó elementos prehispánicos ni ejemplos de las modernas edificaciones en su representación, no comparte esa visión triunfalista. Parece incluso sorprendida por la acelerada transformación de una zona con tanta historia, lo que refleja en una composición melancólica de herencia post-impresionista, sin un realismo exacerbado, que suaviza los contornos e imprime una delicada muestra del color del paisaje urbano mexicano.
Vid. Claudia Barragán, Arte moderno de México. Colección Andrés Blaisten, México, Universidad Nacional Autonóma de México, 2005.
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Hidalgo Avenue - Angelina Beloff - Google Arts & Culture

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"En 1949, Excélsior lanzó una convocatoria llamada ?La ciudad de México interpretada por sus pintores?, que adquirió gran resonancia entre los artistas avecindados en la capital del país como José Chávez Morado y Juan O?Gorman, ya reconocidos en el ambiente.