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This picture was painted at the beginning of 1926, when the artist was already ill with the disease that would bring his death one year later.

The artist's paintings engage in a rich dialogue with his drawings, in which a strong figurative component and a classical conception are never missing. This classicism and sense of order, which were very popular in the post-war period, is perhaps the most personal contribution that Juan Gris made to the Cubist movement, not so much as a reaction to the avant-garde, but as the capacity to give it a new way of seeing. The return to order becomes evident in works such as this one from 1926 and others in which the artist seems to make reference to a synaesthetic and melancholic allegory of art, where painting, music and sculpture coincide.

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The Musician's Table - Juan Gris - Google Arts & Culture

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This picture was painted at the beginning of 1926, when the artist was already ill with the disease that would bring his death one year later. The artist's paintings engage in a rich dialogue with his drawings, in which a strong figurative component and a classical conception are never missing.

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Unique forms of continuity in space - Umberto Boccioni - Google Arts & Culture

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New aesthetic Speed and movement are the main themes of the Italian futurists. They regard the classical marble or bronze sculpture as entirely inappropria...

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The circus theme was often covered in the 1880's, especially by Renoir, Degas and Toulouse-Lautrec. However, The Circus, far from a merely anecdotal rendering of a modern form of entertainment, constitutes one of the most impressive applications of Divisionist theory.

Seurat interprets Charles Henry's theories on the psychological effects of line and colour as well those on the optical mixing of colours formulated by Chevreul and Hood.

When the painting was exhibited at the Salon des Indépendants, a critic observed that "everything in The Circus achieves harmony through analogy, through the conciliation of opposites, conspiring towards a sense of gaiety: ascending lines, successive tone contrasts, pronounced dominance of orange, highlighted by a frame which creates an opposition of tone and colour with the whole...".

With this work, Seurat was seeking to create a symbiosis between artistic creation and scientific analysis, a subject of great popular interest in the 19th century.

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The Circus - Georges Seurat - Google Arts & Culture

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The circus theme was often covered in the 1880's, especially by Renoir, Degas and Toulouse-Lautrec. However, The Circus, far from a merely anecdotal rendering of a modern form of entertainment, constitutes one of the most impressive applications of Divisionist theory.

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Album met 55 ingeplakte tekeningen - David Bles - Google Arts & Culture

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PATA PICTURALĂ

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Houses at Auvers - Vincent Van Gogh - Google Arts & Culture

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“Auvers is very beautiful, among other things a lot of old thatched roofs, which are getting rare…for really it is profoundly beautiful, it is the real cou...

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PATA PICTURALĂ

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This painting is the finest and most compelling portrait of Elizabeth I before her accession. It conveys her beauty, dignity, gentleness and learning. Although it was probably painted for her father, Henry VIII, it is first recorded in the collection of her half-brother, Edward VI, where it is described as 'the picture of the Ladye Elizabeth her grace with a booke in her hande her gowne like crymsen clothe'. In 1547 Princess Elizabeth sent a portrait of herself to her brother (the future Edward VI) accompanied by a letter. This was probably not this particular portrait, but the sentiment in the letter indicates the Princess's attitude to having her portrait painted. She described the portrait as 'the outwarde shadow of the body' and expressed a wish that her 'inwarde minde' could be more often in her brother's presence. The piety of this 'inwarde minde' is conveyed in this portrait, where the simplicity of the Princess's pose is enriched by the inclusion of two books. The smaller book probably alludes to the New Testament, and the larger book to the Old Testament. The Princess's costume is meticulously painted, drawing attention to the richness of the fabric of her dress and jewellery. This portrait seems to be a pair to one of Edward VI (RCIN 404441). The style is similar and the wooden panels on which the works are painted derive from the same tree. It has been suggested that the painter of these two works was William Scrots, an artist from the Netherlands who was employed by Henry VIII from 1545 and remained on the royal payroll until the accession of Mary in 1553.

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Elizabeth I when a Princess (1533-1603) - Attributed to William Scrots - Google Arts & Culture

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This painting is the finest and most compelling portrait of Elizabeth I before her accession. It conveys her beauty, dignity, gentleness and learning. Although it was probably painted for her father, Henry VIII, it is first recorded in the collection of her half-brother, Edward VI, where it is described as 'the picture of the Ladye Elizabeth her grace with a booke in her hande her gowne like crymsen clothe'.

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Pata de culoare - plată/decorativă, picturală/modelată+modulată.
Linia - grafică, gravură, forme în contur
Punctul - forme realizate din puncte - Pointilismul(neoimpresionismul)
Forma - bidimensională (2D) sau tridimensională (3D)

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Franz Marc envisaged a spiritual art expressed in pure colour and line. He despised modern society for its decadence and saw art as the key to its salvation. He found purity in nature and wanted to show the world through the innocence of animals. As result, many of his paintings depict horses, deer and sheep in harmony with nature. Marc´s colours are bold and exuberant. He attributed symbolic values to them, associating blue with masculinity and spirituality, and yellow with femininity and emotion. Red was the colour of `matter´. He saw painting as a collision of colours, with blue and yellow embroiled in a perpetual conflict with red. Believing that the First World War would have a cathartic effect on Europe and pave the way to a better society, Marc, like many of his contemporaries, joined the army when war broke out. He was killed in action in France in 1916.

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The Sheep - Franz Marc - Google Arts & Culture

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Franz Marc envisaged a spiritual art expressed in pure colour and line. He despised modern society for its decadence and saw art as the key to its salvation. He found purity in nature and wanted to show the world through the innocence of animals.

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The busy businessman looks up briefly from his work when his wife and two of the couple's children enter his office within the family's home on Store Strandstræde in Copenhagen.

The Danish middle class

With its clear demonstration of the pressures of work handled by the head of the family, the picture illustrates the fundamental values for the Danish middle classes circa 1830: Family and work. The home is sparingly furnished with no unnecessary ornamentation, reflecting the thriftiness prevalent in Denmark during the hard years that followed the Napoleonic wars.
Christian Waagepetersen
The head of the family shown in the picture is the wine merchant Christian Waagepetersen, one of the men who clearly marked that the middle classes had become the dominant group within Danish society after the aristocracy's centuries of dominance.Waagepetersen was keenly interested in art and music. He frequently threw musical soirees in his home, where the leading Danish composers and musicians attended alongside painters and sculptors.

Waagepetersen also commissioned several pictures addressing themes from his own life and work like this piece.

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The Waagepetersen Family - Wilhelm Bendz - Google Arts & Culture

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The busy businessman looks up briefly from his work when his wife and two of the couple's children enter his office within the family's home on Store Strandstræde in Copenhagen. The Danish middle class With its clear demonstration of the pressures of work handled by the head of the family, the picture illustrates the fundamental values for the Danish middle classes circa 1830: Family and work.

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Winslow Homer 1872

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The Metropolitan Museum of Art
New York City, United States

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Details

Title: Snap the Whip

Creator: Winslow Homer

Date Created: 1872

Physical Dimensions: 12 x 20 in. (30.5 x 50.8 cm)

Type: Painting

External Link: http://www.metmuseum.org/art/collection/search/11140

Medium: Oil on canvas

Repository: Metropolitan Museum of Art, New York, NY

Culture: American

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Weaning the Calf

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Home, Sweet Home

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Snap the Whip - Winslow Homer - Google Arts & Culture

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Vincent van Gogh 1888

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National Gallery of Art, Washington DC
Washington, DC, United States

Details

Title: La Mousmé

Creator: Vincent van Gogh

Date Created: 1888

External Link: For more information about this and thousands of other works of art in the NGA collection, please visit http://www.nga.gov/

Medium: oil on canvas

Object Credit: Chester Dale Collection

Dimensions: overall: 73.3 x 60.3 cm (28 7/8 x 23 3/4 in.) framed: 99 x 86.3 x 10.1 cm (39 x 34 x 4 in.)

Classification: Painting

Artist School: Dutch

Artist Nationality: Dutch

Artist Details: Dutch, 1853 - 1890

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Dr Paul Gachet

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La Mousmé - Vincent van Gogh - Google Arts & Culture

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Van Gogh produced three, almost identical paintings on the theme of his bedroom. The first, in the Van Gogh Museum in Amsterdam, was executed in October 1888, and damaged during a flood that occurred while the painter was in hospital in Arles. Almost a year later, Van Gogh made two copies of it: one, the same size, is now in the Art Institute in Chicago; the other, in the Musée d'Orsay, produced for his family in Holland, is smaller.

In a letter to his brother Theo, Vincent explained what had provoked him to paint such a picture: he wanted to express the tranquillity, and bring out the simplicity of his bedroom using the symbolism of colours. Thus, he described: "the pale, lilac walls, the uneven, faded red of the floor, the chrome-yellow chairs and bed, the pillows and sheet in very pale lime green, the blood-red blanket, the orange-coloured wash stand, the blue wash basin, and the green window", stating "I wanted to express absolute repose with these different colours".

Through these various colours, Van Gogh is referring to Japan, to its crêpe paper and its prints. He explained: "The Japanese lived in very simple interiors, and what great artists have lived in that country".

And although, in the eyes of the Japanese, a bedroom decorated with paintings and furniture would not really seem very simple, for Vincent it was "an empty bedroom with a wooden bed and two chairs". All the same he does achieve a certain sparseness through his composition made up almost entirely of straight lines, and through a rigorous combination of coloured surfaces, which compensate for the instability of the perspective.

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Van Gogh's Bedroom in Arles - Vincent van Gogh - Google Arts & Culture

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Van Gogh produced three, almost identical paintings on the theme of his bedroom. The first, in the Van Gogh Museum in Amsterdam, was executed in October 18...

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Vincent van Gogh painted a number of flower still lifes during his last weeks at the psychiatric hospital in Saint-Rémy. For him, the painting was a study in colour and contrast. He did so by placing the purple-blue flowers against a yellow background. Van Gogh spoke of 'an effect of terribly disparate complementaries that reinforce each other by their opposition'.

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Irises - Vincent van Gogh - Google Arts & Culture

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Vincent van Gogh painted a number of flower still lifes during his last weeks at the psychiatric hospital in Saint-Rémy. For him, the painting was a study ...

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Inchisă ( toate elementele sunt incadrate central )
Deschisă ( in imagine apar elemente care se continuă dincolo de cadrul tabloului, actiunea se continua si in

afara spatiului plastic avand unul sau mai multe centre de

interes )

Statică - formele se realizeaza intr-un echilibru stabil, elementele constitutive încadrandu-se intr-o forma geometrica stabila (triunghi, patrat, dreptunghi, piramida.
Dinamică - structurarea elementelor intr-un echilibru instabil prin folosirea liniilor curbe, spirale, oblice, intretaiate, ce dau configuratiei ansamblului miscare, dinamism.
Figurativă - conține elemente care pot fi asociate cu realitatea
Non-figurativă (abstractă) - elementele sunt stilizate, geometrizate, simplificate, sunt greu de asociat cu realitatea.

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Explore all art movements on Google Arts & Culture.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Compoziția cu personaje

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer.

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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position.

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Explore all artistic mediums on Google Arts & Culture.

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1. Date despre autor/ Epoca in care a trait, studii și influențe ale altor artiști, etape în evoluția
sa, opera.

2. Lucrarea ( titlul )
* Tehnica ( ulei pe panza, creion pe hartie, acrylic pe carton, sculptura, gravura, acuarela etc )
* Genul ( portret, peisaj, scenă de gen etc)
*Compoziția ( schema în care se încadrează, închisa-deschisă, statică-dinamică, figurativă-
nonfigurativă, centrul de interes )
* Elementele de limbaj plastic ( linia, punctul, forma, pata-plată sau picturală )
* Contrastul, efectul, valoarea, ritmul, acordul, monocromie etc
* Semnificația operei, mesajul
* Părerea personală