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Diogenes and Plato - Mattia Preti - 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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View of Haarlem with Bleaching Grounds - Jacob van Ruisdael - Google Arts & Culture

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A rather smaller, but artistically particularly intense variant of this theme often treated by Ruisdael. In the center of the picture the St. Bavo church.

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Roses - Vincent van Gogh - Google Arts & Culture

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_Roses _was painted shortly before Van Gogh’s release from the asylum at Saint–Rémy. He felt he was coming to terms with his illness—and himself. In this h…

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In the late 1860s, Monet started to extend the need to capture sensations and render "the effect" to all transitory, even fleeting states of nature. Taking Pissarro, Renoir and Sisley with him, Monet tackled the great challenge of a snow-covered landscape, which Courbet had grandly explored with great success not long before. Toning down Courbet's lyricism, Monet preferred a frail magpie perched on a gate, like a note on a staff of music, to the world of the forest and hunting. Sun and shade construct the painting and translate the impalpable part-solid part-liquid matter. The Impressionist landscape was born, five years before the first official exhibition when the movement was given its name.

This painting of a place in the countryside near Etretat, executed on the spot, uses very unusual pale, luminous colours, a fact highlighted by the critic Felix Fénéon: "[The public] accustomed to the tarry sauces cooked up by the chefs of art schools and academies, was flabbergasted by this pale painting." The novelty and daring of Monet's approach, which was more about perception than description, explain the painting's rejection by the jury of the 1869 salon.

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The Magpie - Claude Monet - Google Arts & Culture

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In the late 1860s, Monet started to extend the need to capture sensations and render "the effect" to all transitory, even fleeting states of nature. Taking...

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California Spring - Albert Bierstadt (1830–1902) - Google Arts & Culture

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Albert Bierstadt belongs to the second generation of the Hudson River School and is best known for his panoramic views of the American West. Born in German…

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1. 아트앤컬처에서 마음에 드는 작품 하나 고르기

2. 링크 주소 복사하기

3. 자기이름이 적힌 게시물 선택하기

3.  두번째 보라색 아이콘 (링크) 버튼 클릭

4. 링크 주소 붙여넣기

5. 업데이트 하기

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After a dinner party in 1892, the guests went from Krøyer's home down to the beach to enjoy the summer's evening, and Anna Ancher and Marie Krøyer went for a walk together along the beach. This is where he first got the idea for this motif. During the 1890's in particular and until he died in 1909, Krøyer painted several works from Skagen, in which he depicted the twilight hour, the so-called 'blue hour', when the sky and the sea seem to merge into each other in the same shade of blue. Krøyer was far from the only artist to paint evocative, blue-tone paintings.

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Summer evening on Skagen Sønderstrand - Peder Severin Krøyer - Google Arts & Culture

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After a dinner party in 1892, the guests went from Krøyer's home down to the beach to enjoy the summer's evening, and Anna Ancher and Marie Krøyer went for...

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Moscow patio - Vasily Polenov - 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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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death). France was in the midst of a lengthy economic recession that affected Monet's sales. In addition, the artist was unenthusiastic about the upcoming seventh Impressionist exhibition-divisions within the group had become pronounced by this time-and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel.
Disappointed in the area around the harbor city of Dieppe, which he found too urban, Monet settled in Pourville and remained in this fishing village until mid-April. He became increasingly enamored of his surroundings, writing to Hoschedé and her children: "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville.
The two young women strolling in "Cliff Walk at Pourville" are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and color. The grass-composed of short, brisk, curved brushstrokes-appears to quiver in the breeze, and subtly modified versions of the same strokes and hues suggest the women's wind-whipped dresses and shawls and the undulation of the sea. X-ray imaging of the work reveals that Monet reduced the rocky outcropping at the far right to balance the proportions of sea and sky.

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Cliff Walk at Pourville - Claude Monet (French, 1840-1926) - Google Arts & Culture

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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and...

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1880 fue un año decisivo en la carrera de Auguste Rodin: el gobierno francés le compró La Edad de Bronce y recibió la comisión para crear La puerta del Infierno. Este pórtico se originó en el proyecto de un nuevo Museo de Artes Decorativas en París. Los volúmenes escultóricos tuvieron como eje central La Comedia de Dante Alighieri, asimismo se inspiraron en el averno de Hesíodo, en el pasaje de Orfeo, y en la puerta del Baptisterio de la catedral de Florencia decorada por Lorenzo Ghiberti. Las representaciones del maestro conformaban un universo cuyas partes constitutivas tomaban vida propia, y eran alentadas por el imaginario clásico del poeta latino Ovidio, el humanismo de Michelangelo y los poemas malditos de Charles Baudelaire, en su libro Las flores del mal. Una década de creación y centenares de formas contenidas en la maqueta original, comenzaron a rebasar los límites iniciales. Rodin declaró: Yo seguí mi imaginación, mi propio sentido de la disposición, movimiento y composición. Ha sido desde el principio, y lo continuará siendo hasta el final, simple y sencillamente un asunto de placer personal. Muchas de sus esculturas más célebres, que tuvieron su origen en La puerta: El Pensador, El beso, La eterna primavera y Juventud triunfante, fueron concebidas de una intensa búsqueda en las emociones y pasiones humanas, así como en la materia. Aunque el Museo de Artes Decorativas nunca se construyó, Rodin exhibió la primera maqueta en su muestra individual en el Pabellón del Alma. Entre 1908 y 1910, el artista regresó a trabajar en el pórtico, pero éste no se fundió sino hasta después de su muerte, en noviembre de 1917. Custodiada por el primer hombre y la primera mujer, Adán y Eva, da paso a la densa atmósfera romántica. Ellas son las figuras expulsadas del Paraíso, arrojadas a las dif icultades y al dolor físico: El sufrimiento es el sacramento de la vida, escribiría Rodin. Y al crítico Léonie Bernardini-Sjoestedt le parecía que el taller del maestro era ya un Infierno dantesco: Parece que la visión se ha continuado ahí. Pero las figuras trágicas de La puerta monumental del Inf ierno, el grupo de tres condenados [Las tres sombras] que, en gesto triplicado muestran la inscripción formidable, llevan en ellos mismos la ley fatal de su tormento. Su deseo, el deseo terrible es el inf ierno en el umbral del cual "hay que abandonar toda esperanza" -escribió en el homenaje al artista Rodin l'homme et l'oeuvre [Rodin. El hombre y la obra] que apareció en la publicación L'Art et les artistes [El arte y los artistas] en 1914, de la cual el acervo mexicano también cuenta con un ejemplar. En opinión del crítico Léonce Bénédite: La observación atenta de la naturaleza, en la infinita variedad de los movimientos de la vida, le había revelado la riqueza inagotable de su fondo. De esta manera, el maestro mantenía el rechazo naturalista contra el arte afectado e inerte. Por encargo al Museo Rodin de París, La puerta del Infierno de Museo Soumaya. Fundación Carlos Slim se fundió a la cera perdida y con una pátina clara que permite mayor reconocimiento de los volumenes. Es el octavo y último vaciado. Lo preceden en orden cronológico cuatro a la arena que produjo la casa Alexis Rudier y que se exhiben en el Museo Rodin de Filadelfia, EE.UU., y el Museo Rodin en París, Francia, ambas de 1925 y 1928, respectivamente. Le siguen las del Museo Nacional de Arte Occidental, en Tokio, Japón, fechada hacia 1930-1933, y la de Kunsthaus o Museo de Bellas Artes de Zúrich, Suiza, de 1942-1948. Tres décadas después, el museo parisino solicitó a la Fundidora Coubertin realizar los siguientes encargos. El procedimiento que utilizó fue el vaciado a la cera perdida para el Museo de Arte de la Universidad de Stanford, EE.UU., de 1977-1981; el Museo de Arte de la Prefectura de Shizuoka, Japón, de 1991-1993; y la Galería Rodin en el Edificio Samsung, de Seúl, en Corea del Sur, de 1995-1998. Desde 2016 es la pieza que recibe a los visitantes en el museo mexicano.

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La Puerta del Infierno - Auguste Rodin - Google Arts & Culture

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1880 fue un año decisivo en la carrera de Auguste Rodin: el gobierno francés le compró La Edad de Bronce y recibió la comisión para crear La puerta del Inf...

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The white orchard - Vincent van Gogh - Google Arts & Culture

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Van Gogh hoped his paintings of orchards in bloom would sell well because they would appeal to many people. He experimented with his painting technique by…

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Self-portrait with grey felt hat - Vincent van Gogh - Google Arts & Culture

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Van Gogh painted this self-portrait in the winter of 1887-1888, when he had been living in Paris for nearly two years. Since his arrival in the city he had…

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Pure Form - Kang Un - 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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Peasants’ houses, Eragny - Camille Pissarro - Google Arts & Culture

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Between 1884 and 1888 Pissarro experimented with the pointillist method of the younger Seurat. For an avowed anarchist it was perhaps no great step, but in…

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California Spring - Albert Bierstadt (1830–1902) - Google Arts & Culture

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Albert Bierstadt belongs to the second generation of the Hudson River School and is best known for his panoramic views of the American West. Born in German…

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The Starry Night - Vincent van Gogh - Google Arts & Culture

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Van Gogh’s night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamel…

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This view is from Battersea Bridge looking across the Thames towards Chelsea. The tower of Chelsea Old Church is just visible on the right, and a fisherman stands in the foreground looking out to a low barge. This is the first of Whistler's series of Nocturnes: paintings intended to convey a sense of the beauty and tranquillity of the River Thames in the evening or by night. The influence of Japanese woodblock prints is evident from the relatively small range of colours and the butterfly device at the lower centre, which Whistler used as his signature.

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Nocturne: Blue and Silver - Chelsea - James Abbott McNeill Whistler - Google Arts & Culture

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This view is from Battersea Bridge looking across the Thames towards Chelsea. The tower of Chelsea Old Church is just visible on the right, and a fisherman...

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Grapes - Shin Saimdang - 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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Arreau, Hautes-Pyrénées - Loïs Mailou Jones - Google Arts & Culture

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Google 아트 앤 컬처는 Google Cultural Institute와 제휴한 주요 박물관과 자료실 2,000여 곳의 콘텐츠 등 전 세계의 소중한 자료를 온라인으로 제공합니다.

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Cypresses - Vincent van Gogh - 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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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35

Find out more about The Starry Night at:
mo.ma/starrynight

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The Starry Night - Vincent van Gogh - Google Arts & Culture

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamel...

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Peasants’ houses, Eragny - Camille Pissarro - Google Arts & Culture

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Between 1884 and 1888 Pissarro experimented with the pointillist method of the younger Seurat. For an avowed anarchist it was perhaps no great step, but in art-historical terms Pissarro’s stylistic shift, however momentary, coincided with the end of impressionism’s avant-garde ascendancy. ‘Peasants’ houses, Eragny’ was painted during this fascinating interlude. Pissarro has fully absorbed the tenets and techniques of the distinctive style. Form is constructed by discrete juxtaposition of individual strokes, or ‘dots’, of pigment. Atmosphere is suggested by chromatic scintillation. Surface is treated as a single unity. The mechanical effect which can deaden pointillist painting is obviated by Pissarro’s acute sense of the internal dynamics of design. The cast shadows intruding from the right are deliberately naive; this was to be an important innovation for the younger generation of post-impressionists such as Gauguin and Cezanne. AGNSW Handbook, 1999

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Sorrowing old man (‘At Eternity’s Gate’) - Vincent van Gogh - Google Arts & Culture

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Work from Brabant At the end of April 1890, Van Gogh is recovering from another deep depression. He wants to quickly start working again and decides to rew…

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The Pontine Marshes at sunset - August Kopisch - 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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The Pontine Marshes at sunset - August Kopisch - 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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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and professional pressures. His wife, Camille, had died three years earlier, and Monet had entered into a domestic arrangement with Alice Hoschedé (whom he would marry in 1892, after her husband's death). France was in the midst of a lengthy economic recession that affected Monet's sales. In addition, the artist was unenthusiastic about the upcoming seventh Impressionist exhibition-divisions within the group had become pronounced by this time-and he delegated the responsibility for his contribution to his dealer, Paul Durand-Ruel.
Disappointed in the area around the harbor city of Dieppe, which he found too urban, Monet settled in Pourville and remained in this fishing village until mid-April. He became increasingly enamored of his surroundings, writing to Hoschedé and her children: "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" He was able to do so in June, when they joined him in Pourville.
The two young women strolling in "Cliff Walk at Pourville" are probably Marthe and Blanche, the eldest Hoschedé daughters. In this work, Monet addressed the problem of inserting figures into a landscape without disrupting the unity of its painterly surface. He integrated these elements with one another through texture and color. The grass-composed of short, brisk, curved brushstrokes-appears to quiver in the breeze, and subtly modified versions of the same strokes and hues suggest the women's wind-whipped dresses and shawls and the undulation of the sea. X-ray imaging of the work reveals that Monet reduced the rocky outcropping at the far right to balance the proportions of sea and sky.

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Cliff Walk at Pourville - Claude Monet (French, 1840-1926) - Google Arts & Culture

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In February 1882, Claude Monet went to Normandy to paint, one of many such expeditions that he made in the 1880s. This was also a retreat from personal and...

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Young Girls at the Piano

오귀스트 르누아르1892

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In the early 1890s, friends and admirers of Renoir took exception to the fact that the French State had never made any official purchase from the painter, then almost fifty years old. In 1892, Stéphane Mallarmé, who knew and admired the artist, helped by Roger Marx, a young member of the Beaux Arts administration and open to new trends, took steps to bring Impressionist works into the national museums. This was how, following an informal commission from the administration, Young Girls at the Piano was acquired and placed in the Musée du Luxembourg.

As well as this painting, where strong, supple drawing clearly defines the figures, while giving free rein to the lyricism of the palette, we know of three other finished versions using the same composition (one in the Metropolitan Museum de New York and the two others in private collections). There also exists a sketch in oils (Paris, Musée de l'Orangerie) and a pastel of the same size (private collection).

The repetition of this motif shows Renoir's interest for a subject he had moreover already treated. We know that the painter was always dissatisfied and kept on reworking his paintings, but such a concentrated effort on one and the same composition remains unique. Maybe we should see in this his desire to provide the museums with a perfectly accomplished work.

One can also not help thinking of the "series" that his friend Claude Monet was developing at the same time (Haystacks, 1891; Rouen Cathedral, 1892).

Recalling a classical theme that was very popular with French 18th century painters, notably Fragonard, Renoir sought to paint an ideal world, peopled with graceful young girls. But, scorning mere imitation, he also wanted to be a painter of his time, and presents us with an elegant, comfortably furnished, bourgeois interior.

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Young Girls at the Piano - Auguste Renoir - Google Arts & Culture

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In the early 1890s, friends and admirers of Renoir took exception to the fact that the French State had never made any official purchase from the painter, ...