# data[].attributes.attachment_link.readable_text
Van Gogh painted this vibrant seascape outdoors. In fast, loose brushstrokes he tried to capture the colour of the sea. He described it as 'a colour like mackerel, in other words, changing - you don't always know if it's green or purple - you don't always know if it's blue - because a second later, its changing reflection has taken on a pink or grey hue.' (See letter to Theo van Gogh, 3/4 June 1888)

In the paint layer of this work are grains of sand that got in there during painting in the open-air.

# data[].attributes.attachment_link.title
Seascape near Les Saintes-Maries-de-la-Mer - Vincent van Gogh - Google Arts & Culture

# data[].attributes.attachment_link.description
Van Gogh painted this vibrant seascape outdoors. In fast, loose brushstrokes he tried to capture the colour of the sea. He described it as 'a colour like mackerel, in other words, changing - you don't always know if it's green or purple - you don't always know if it's blue - because a second later, its changing reflection has taken on a pink or grey hue.'

# data[].attributes.attachment_link.readable_text
Aldo Bonadei ganhou a Medalha de Bronze na 37ª Exposição Geral de Belas Artes, inaugurada em agosto de 1930. Um mês depois, tendo acabado de chegar à Itália, enviou cartas à família nas quais dava notícia dos estudos que em breve esperava começar, entre os quais os cursos da Academia de Belas Artes florentina. Na Europa, sua trajetória como pintor sofreria influências determinantes, levando-o posteriormente a participar do Grupo Santa Helena (meados da década de 1930) com maior maturidade artística. A obra Cerejas é bem representativa desse momento de transição. Tendo começado a pintar muito cedo, fazendo sua primeira pintura à óleo em 1915, aos nove anos de idade, só em 1923 começou a estudar seriamente, com Pedro Alexandrino, conhecido pintor e professor de São Paulo. É com ele que aprende e desenvolve um modo seguro de composição e de uso das cores. Nessa pequena natureza morta ele explora uma reduzida paleta de cor, investindo em suas nuanças e variações, produzindo uma obra vibrante e sem grandes pretensões.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Cherries - Aldo Bonadei - Google Arts & Culture

# data[].attributes.attachment_link.description
Aldo Bonadei ganhou a Medalha de Bronze na 37ª Exposição Geral de Belas Artes, inaugurada em agosto de 1930. Um mês depois, tendo acabado de chegar à Itália, enviou cartas à família nas quais dava notícia dos estudos que em breve esperava começar, entre os quais os cursos da Academia de Belas Artes florentina.

# data[].attributes.attachment_link.title
The Snow - Julian Falat - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
Cotopaxi - Frederic Edwin Church - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
The South Ledges, Appledore - Childe Hassam - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
Not only president of the Royal Academy but a Peer of the Realm, Frederick Leighton occupied a uniquely privileged place in the artistic and social establishment of Victorian England. The first of many major paintings he exhibited at the Academy was purchased by Queen Victoria herself - an unbeatable beginning to a lifetime of official reward and international recognition. Leighton's taste, like that of his audience, was for ceremonial arrangements of beautifully draped figures in classical surroundings. The contemporary realities of industrial England made no appearance in his work, which is unashamedly nostalgic and idealising.The languorous splendour of 'Cymon and Iphigenia' - the tale of a raw youth brought to moral excellence by the revelation of feminine beauty - perfectly expresses the technical finesse and intense eroticism of Leighton's style. Iphigenia's extraordinary undulations betray a sensuous sensibility quite as much as the artist's obligatory scrutiny of classical statuary. The direct source of the narrative is Boccaccio's 'Decameron', in which the well-born and handsome young Galesus was renamed Cymon - meaning beast - on account of his brutishness. On a mild afternoon in May, Cymon chanced upon the sleeping Iphigenia, sensing at once that she was 'the loveliest object that any mortal being had ever seen'. Falling instantly in love, he became a lifelong devotee of beauty and philosophy.

AGNSW Handbook, 1999.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Cymon and Iphigenia - Lord Frederic Leighton - Google Arts & Culture

# data[].attributes.attachment_link.description
Not only president of the Royal Academy but a Peer of the Realm, Frederick Leighton occupied a uniquely privileged place in the artistic and social establishment of Victorian England. The first of many major paintings he exhibited at the Academy was purchased by Queen Victoria herself - an unbeatable beginning to a lifetime of official reward and international recognition.

# data[].attributes.attachment_link.readable_text
This winter picture was painted in 1874 - the year in which Alfred Sisley attracted attention with his participation in the First Impressionist Exhibition in Paris. The strong shadows cast in the foreground lead the viewer's gaze to the group of strollers, lending an element of instantaneity to the painting.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Snow Effect in Louveciennes - Alfred Sisley - Google Arts & Culture

# data[].attributes.attachment_link.description
This winter picture was painted in 1874 - the year in which Alfred Sisley attracted attention with his participation in the First Impressionist Exhibition in Paris. The strong shadows cast in the foreground lead the viewer's gaze to the group of strollers, lending an element of instantaneity to the painting.

# data[].attributes.attachment_link.readable_text
Francisco Lameyer is one of those rare examples in Spanish Romantic painting where there is a clear influence from the Orient and he took his images from life rather than from travel stories, literary fiction and photographs and engravings made by foreign artists. This work was painted around 1863, whilst Lameyer was in Morocco along with Mariano Fortuny, to paint the people, customs and ways of life of the Moroccans set against the special light of North Africa.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Desert Scene - Francisco Lameyer - Google Arts & Culture

# data[].attributes.attachment_link.description
Francisco Lameyer is one of those rare examples in Spanish Romantic painting where there is a clear influence from the Orient and he took his images from life rather than from travel stories, literary fiction and photographs and engravings made by foreign artists.

# data[].attributes.attachment_link.readable_text
The shimmering light of mid-afternoon infuses Claude Monet's painting of the old fortified coastal town of Antibes in the south of France. Monet traveled there in January of 1888 and was dazzled by the light and the striking scenery of the legendary Côte d'Azur (Azure Coast). However, he sometimes struggled with how to represent it on canvas, writing to his friend the sculptor Auguste Rodin, "I'm fencing and wrestling with the sun. And what a sun it is! In order to paint here one would need gold and precious stones."

Monet chose to paint this view from the vantage point of the Garden of La Salis looking across the water to Antibes. He positioned himself at the bottom of the garden, close to the water. A large, twisting olive tree dominates the composition, and Antibes sparkles in the distance. His efforts to express the light and color of the Mediterranean fulfilled a promise to his companion, Alice Hoschedé, that what he would paint in Antibes would be "sweetness itself, white, pink, blue, all of it enveloped in this fairy-tale-like air."

# data[].attributes.attachment_link.title
Antibes Seen from La Salis - Claude Monet - Google Arts & Culture

# data[].attributes.attachment_link.description
The shimmering light of mid-afternoon infuses Claude Monet's painting of the old fortified coastal town of Antibes in the south of France. Monet traveled t...

# data[].attributes.attachment_link.title
The Pyramids - MÜLLER, William James - Google Arts & Culture

# data[].attributes.attachment_link.description
This is a painting of The Pyramids at Giza by the Bristol artist William Muller. For over 1,000 years, the Egyptian pharaohs built themselves a pyramid as ...

# data[].attributes.attachment_link.title
Untitled (Stream in Snowy Field) - Edward W. Redfield - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
Central Australia' is among the most majestic paintings of the series that emerged out of Nolan's visit to Central Australia during 1949. Nolan himself stated to Professor Ford, who purchased this painting from Nolan's 1950 solo exhibition at David Jones' Art Gallery, that 'in many ways it was, I think, the most complete statement I was able to make on Central Australia'. Like other paintings of this series, it arose out of Nolan's experience of flying over inland Australia, accompanying mail runs to remote settlements. Using an aerial viewpoint to increase the sense of vastness, his painting celebrates the extraordinary beauty of desert colour, form and light.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Central Australia - Sidney Nolan - Google Arts & Culture

# data[].attributes.attachment_link.description
Central Australia' is among the most majestic paintings of the series that emerged out of Nolan's visit to Central Australia during 1949. Nolan himself stated to Professor Ford, who purchased this painting from Nolan's 1950 solo exhibition at David Jones' Art Gallery, that 'in many ways it was, I think, the most complete statement I was able to make on Central Australia'.

# data[].attributes.attachment_link.title
Leander's Tower on the Bosporus - Sanford Robinson Gifford - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
The vibrant colours and patterns of this panel provide an exotic jungle-like setting for the Greek goddess Diana, and her nymphs. The wild birds and animals, including the striking leopards at the front, allude to her role as the goddess of hunting. The panel is filled with exuberant rhythm and energy characteristic of 1920s design. It was created as part of the ambitious first floor decoration for Crawford's Tea Rooms at 70 Princes Street, Edinburgh. Burns was responsible for every detail of the interior design from the murals to the cake-stands.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
The Hunt (previously known as Diana and Her Nymphs) - Robert Burns - Google Arts & Culture

# data[].attributes.attachment_link.description
The vibrant colours and patterns of this panel provide an exotic jungle-like setting for the Greek goddess Diana, and her nymphs. The wild birds and animals, including the striking leopards at the front, allude to her role as the goddess of hunting. The panel is filled with exuberant rhythm and energy characteristic of 1920s design.

# data[].attributes.attachment_link.title
Wi-jún-jon, Pigeon's Egg Head (The Light), a Distinguished Young Warrior - George Catlin, born Wilkes-Barre, PA 1796-died Jersey City, NJ 1872 - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
The Assumption - Laurent de La Hyre - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
Crusaders before Jerusalem - Wilhelm von Kaulbach - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
It was common practice for a successful artist such as Van Dyck to employ a number of studio assistants. He himself had begun his career as an assistant in Rubens' studio, and later established his own workshops in Antwerp and Blackfriars.

Charity is just one of several studio copies painted
after the original by Van Dyck in the National Gallery, London. It reflects a strong Italian influence, suggesting that the original was created soon after Van Dyck's return from Italy in 1627. The involvement of a less experienced student is particularly obvious in the application of colour, which is less subtle than the original.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Charity - Workshop of Anthony van Dyck - Google Arts & Culture

# data[].attributes.attachment_link.description
It was common practice for a successful artist such as Van Dyck to employ a number of studio assistants. He himself had begun his career as an assistant in Rubens' studio, and later established his own workshops in Antwerp and Blackfriars.

# data[].attributes.attachment_link.title
Woman in front of Setting Sun - Caspar David Friedrich - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
With the glowing contrast of the complementary colors blue and red, Emile Bernard enhances the presence of both of the main motifs of his painting-the pot and the fruit. The elements of the still life have been arranged at the corner of a table. Bernard neutralized the depth of this narrow section of space to achieve a flat overall effect by boldly combining steep views from above and from the front. All the objects in the picture have been simplified in terms of form, and summarized in a tension of strongly colored surfaces with dark contours. This identifies the still life as being one of Emile Bernard's first purely cloisonné-like works. Together with Paul Gauguin, Bernard developed this type of painting in the Breton city of Pont-Aven in a dialogue with Louis Anquetin. Bernard treated the picture elements independently, seeking to detach the objects from their likeness so that their essence-that is, what is beneath the surface-could emerge: the inherent harmony of things and their secret poetry.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
The Blue Coffee Pot - Émile Bernard - Google Arts & Culture

# data[].attributes.attachment_link.description
With the glowing contrast of the complementary colors blue and red, Emile Bernard enhances the presence of both of the main motifs of his painting-the pot and the fruit. The elements of the still life have been arranged at the corner of a table.

# data[].attributes.attachment_link.readable_text
A portrait of the artist's daughter, Phyllis, painted during a visit to Florence in 1891-92. Though a member of the Newlyn school, Gotch's art changed radically at this time through his discovery of Italian early Renaissance painters. He abandoned the anecdotal realist subject matter of the Newlyn artists and started to explore a vein of symbolism focussing on images of women and children in timeless settings.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
My crown and sceptre - Thomas Cooper Gotch - Google Arts & Culture

# data[].attributes.attachment_link.description
A portrait of the artist's daughter, Phyllis, painted during a visit to Florence in 1891-92. Though a member of the Newlyn school, Gotch's art changed radically at this time through his discovery of Italian early Renaissance painters.

# data[].attributes.attachment_link.readable_text
By packing people together against a flat black backdrop, this painting makes its message of divine forgiveness as direct as possible. The scene depicts the story's climax, when Christ defends an adulteress before an angry mob that wants to stone her to death for her sins. Christ deflates the mob with his compassionate, clever response: "Let any of you who is without sin cast the first stone." To ensure viewers got the moral punch line, the artist inscribed it in German at the painting's upper edge.

71.484

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Christ and the Woman Taken in Adultery - Lucas Cranach the Younger - Google Arts & Culture

# data[].attributes.attachment_link.description
By packing people together against a flat black backdrop, this painting makes its message of divine forgiveness as direct as possible. The scene depicts the story's climax, when Christ defends an adulteress before an angry mob that wants to stone her to death for her sins.

# data[].attributes.attachment_link.title
Cotopaxi - Frederic Edwin Church - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
The Walker - Max Klinger - Google Arts & Culture

# data[].attributes.attachment_link.description
Treading the fine line between fantasy and reality, Klinger produced his first series of etchings in Berlin while at the same time painting this snapshot o...

# data[].attributes.attachment_link.readable_text
Francisco Lameyer is one of those rare examples in Spanish Romantic painting where there is a clear influence from the Orient and he took his images from life rather than from travel stories, literary fiction and photographs and engravings made by foreign artists. This work was painted around 1863, whilst Lameyer was in Morocco along with Mariano Fortuny, to paint the people, customs and ways of life of the Moroccans set against the special light of North Africa.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Desert Scene - Francisco Lameyer - Google Arts & Culture

# data[].attributes.attachment_link.description
Francisco Lameyer is one of those rare examples in Spanish Romantic painting where there is a clear influence from the Orient and he took his images from life rather than from travel stories, literary fiction and photographs and engravings made by foreign artists.

# data[].attributes.attachment_link.title
Madonna and Child - Luca Signorelli (Luca d'Egidio di Luca di Ventura) - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.title
Young Woman in a Landscape - Pierre-Auguste Renoir - Google Arts & Culture

# data[].attributes.attachment_link.description
In Young Woman in a Landscape (also known as Seated Woman), the seated woman reading, and seems to become at one with her surroundings. This informal, free...

# data[].attributes.attachment_link.readable_text
Das Gemälde der "Maria Immaculata" stammt aus dem Besitz des römischen Kardinals Alderano Cybo, der sich intensiv um eine Etablierung des Marienkults bemühte. Für den Kardinal war das Gemälde wohl von besonderer Bedeutung. Eine Ecke davon ist im Hintergrund seines vor 1688 entstandenen Porträts von Carlo Maratta (1625-1713) zu sehen, das sich heute im Musée des Beaux-Arts in Marseille befindet. Wahrscheinlich handelt es sich bei dem Gemälde in der Bildergalerie von Sanssouci um das Modell für den oberen Teil des großen Altarbildes, das Cybo 1685 ebenfalls bei Maratta für seine Familienkapelle in Santa Maria del Popolo in Rom in Auftrag gab. Dieses zeigt vier Kirchenväter, die über das Dogma der unbefleckten Empfängnis debattieren. Nach dem Tod Cybos erwarb Kardinal Silvio Valenti Gonzaga 1749 das Marienbild. Aus dessen umfangreicher Sammlung wiederum kaufte es der preußische König Friedrich II. im Jahr 1763. Die "Maria Immaculata" ist seit 1766 in der Bildergalerie nachweisbar. Hier hing sie zunächst neben einer historisch-mythologischen Darstellung von Maratta, der "Auffindung des Romulus und Remus" (SPSG, GK I 5282). Diese Erwerbungen zeigen, wie hoch der römische Künstler, den man als Nachfolger Raffaels ansah, geschätzt wurde. Seine Kompositionen, seine Zeichnung, die Farbgebung sowie die "klassische" Figurenauffassung wurden von Kritikern der Zeit außerordentlich gelobt. (Franziska Windt)

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Maria Immaculata - Carlo Maratta - Google Arts & Culture

# data[].attributes.attachment_link.description
Das Gemälde der "Maria Immaculata" stammt aus dem Besitz des römischen Kardinals Alderano Cybo, der sich intensiv um eine Etablierung des Marienkults bemühte. Für den Kardinal war das Gemälde wohl von besonderer Bedeutung. Eine Ecke davon ist im Hintergrund seines vor 1688 entstandenen Porträts von Carlo Maratta (1625-1713) zu sehen, das sich heute im Musée des Beaux-Arts in Marseille befindet.

# data[].attributes.attachment_link.title
Grant and His Generals - Ole Peter Hansen Balling - Google Arts & Culture

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.readable_text
O autorretrato Encontro é o primeiro e mais forte símbolo da integração de Segall à vida brasileira. É provável que ele o tenha iniciado na Alemanha, antes de sua vinda para o Brasil, usando como referência uma fotografia de 1919, tirada no dia de seu casamento com Margarete, na cidade de Dresden. De chapéu e terno escuro, exatamente como no retrato fotográfico, ele tinge a pele do rosto de marrom, identificando-se com o mulato brasileiro. Essa curiosa síntese entre Europa e Brasil revela ainda, no tratamento das duas figuras e da arquitetura do segundo plano, a marca inconfundível do estilo linear da Nova Objetividade.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

# data[].attributes.attachment_link.title
Encontro - Lasar Segall - Google Arts & Culture

# data[].attributes.attachment_link.description
O autorretrato Encontro é o primeiro e mais forte símbolo da integração de Segall à vida brasileira. É provável que ele o tenha iniciado na Alemanha, antes de sua vinda para o Brasil, usando como referência uma fotografia de 1919, tirada no dia de seu casamento com Margarete, na cidade de Dresden.

# data[].attributes.attachment_link.title
The Flower of Life - Frida Kahlo - Google Arts & Culture

# data[].attributes.attachment_link.description
In Flower of Life, Frida represented her obsession with fertility. The red flower, which appears amidst leaves of the same color, is nothing less than a re...