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https://www.artyfactory.com/art_appreciation/visual-elements/line.html#:~:text=The%20Visual%20Element%20of,and%20a%20range%20of%20emotions.

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Website:https://www.metmuseum.org/art/collection/search/544227

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This, the last of Van Gogh’s self-portraits and one of the greatest, was painted only months before his death.

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Quais de la Seine, Paris - Troller, Norbert - Google Arts & Culture

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Boardwalk along the Seine with two boats docked. Bridge in the distance. Signed in bottom margin.

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Starry Night by Van Gogh Starry Night Coloring Page Van Gogh Starry Night Original Night Sky Stars Starry Night Outline Vincent Van Gogh Beautiful Night Sky Starry Night Wallpaper Starry Night Bacon Starry Night Sky Painting Starry Night Real Life Starry Winter Night Starry Night Sky Drawing Starry Night Prom

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See work from this American artist as well as others at the Phillips Collection in Washington, DC. Our website features over 700 pieces from our collection, a timeline of art in America and educational information for both teachers and students.

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lent from a private collection 2011 collection

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'Bust of a Woman', Pablo Picasso, 1944 | Tate

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On the Washburn - Joseph Mallord William Turner, 1775–1851, British - 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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Rot in Spitzform - Vasilij Vasil'evič Kandinskij - 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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Drawing for Point and Line on Plan - Kandinsky, Vassily - Google Arts & Culture

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https://www.artyfactory.com/art_appreciation/visual-elements/line.html#:~:text=The%20Visual%20Element%20of,and%20a%20range%20of%20emotions.

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Design for the western window in the Franciscan church. In this window the artist was planning to depict God the Father creating the world. Already in December 1897 the cartoon with God the Father and the other designs for stained glass windows in the Franciscan church were shown at the exhibition of the Towarzystwo Przyjaciół Sztuk Pięknych (TPSP) [Friends of Fine Arts Society] in Krakow.

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God the Father - Stanislaw Wyspianski - Google Arts & Culture

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Design for the western window in the Franciscan church. In this window the artist was planning to depict God the Father creating the world. Already in December 1897 the cartoon with God the Father and the other designs for stained glass windows in the Franciscan church were shown at the exhibition of the Towarzystwo Przyjaciół Sztuk Pięknych (TPSP) [Friends of Fine Arts Society] in Krakow.

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Tigre (Tiger) - Antoine-Louis Barye - 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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Coronavirus update: We are observing government advice on COVID-19 and our printing service continues to operate as usual,
with framed and unframed prints available for delivery in normal timescales.

Coronavirus update: We are observing government advice on COVID-19 and our printing service continues to operate as usual, with framed and unframed prints available for delivery in normal timescales.

Francis Terrace, Salford

Lowry, Laurence Stephen, 1887-1976

The Lowry Collection, Salford

© The Lowry Collection, Salford . Photo credit: The Lowry Collection, Salford

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Buy made to order art prints from Art UK Shop Francis Terrace, Salford

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Coronavirus update: We are observing government advice on COVID-19 and our printing service continues to operate as usual, with framed and unframed prints available for delivery in normal timescales. Coronavirus update: We are observing government advice on COVID-19 and our printing service continues to operate as usual, with framed and unframed prints available for delivery in normal timescales.

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Pictorial Puzzle-2 - Kim, Byung Jin - 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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Mary Cassatt. Letter to Mrs. H. O. (Louisine W.) Havemeyer. June 2, 1906 [excerpts published in Ref. Stein 1993, pp. 242-43], mentions that Vollard is holding two Degas drawings for the Havemeyers, probably this work and "Russian Dancer" (MMA 29.100.556).

[Ambroise Vollard]. Degas: Quatre-vingt-dix-huit reproductions signées par Degas. Paris, 1914, pl. XIII.

H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 185.

P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946-49], vol. 3, pp. 618-19, no. 1068, ill., dates it about 1890-95 and calls it a study for "Dancers in the Wings" of the same date (Saint Louis Art Museum; L1066).

Lillian Browse. Degas Dancers. New York, [1949], pp. 59, 403-4, 414, pl. 208, calls it "Danseuse à l'eventail, dans les coulisses" and dates it about 1900-1905; lists it as a study for pastels in the Museum of Fine Arts, Boston, Saint Louis Art Museum, and Wadsworth Atheneum, Hartford (L944, L1066, L1321).

Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 134, no. 1064, ill.

Geneviève Monnier. Pastels du XIXe siècle: Musée du Louvre, Cabinet des dessins; Musée d'Orsay. Paris, 1985, p. 69, under no. 60, confuses it with another drawing of a dancer with a fan in the Museum's collection (29.100.188).

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 167, mentions that Cassatt was confident that the Havemeyers "would like two drawings of dancers by Degas that she had asked Vollard to reserve for them" [probably this work and The Met 29.100.556; see Wold 1993].

Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 257, 337 n. 376.

Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 242, 286, identifies it as probably one of two drawings mentioned by Mary Cassatt in a letter of June 2, 1906 [see Ref. Cassatt 1906] as being held for the Havemeyers by Vollard.

Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 337-38, no. A254, ill.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 459, ill.

Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. London, 1996, pp. 48, 72, 188, 298, 307 n. 134, no. 24, ill. p. 203 (color), dates it about 1897-1901; mentions it in connection with Degas's shift in dealers from Durand-Ruel to Vollard, noting that Vollard interested the Havemeyers in this work in May or June 1906; discusses the independent status of drawings such as this one, which was signed, sold, and published; notes that individual figures such as this might later be incorporated into multi-figure compositions.

Julian Barnes. "The Artist as Voyeur." Modern Painters 9 (Autumn 1996), p. 22.

Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 27, 104, no. 2, ill. (color).

Rebecca A. Rabinow and Jayne S. Warman in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Ed. Rebecca A. Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 282, note that this picture and MMA 29.100.556 were bought by the Havemeyers for Fr 9,000 on May 4, 1906.

Asher Ethan Miller in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Ed. Rebecca A. Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 347, under no. 56, records the sale of MMA 29.100.556 by Vollard to the Havemeyers as "May or June 1906," reflecting Vollard's notation of May 4 and Mary Cassatt's letter of June 2, noting that the sale probably included this work.

Impressionist & Modern Masters. Exh. cat., Paris Biennale des Antiquaires. [London], 2008, unpaginated, under no. 7, ill. (color).

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Edgar Degas | Dancer with a Fan | The Met

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Mary Cassatt. Letter to Mrs. H. O. (Louisine W.) Havemeyer. June 2, 1906 [excerpts published in Ref. Stein 1993, pp. 242-43], mentions that Vollard is holding two Degas drawings for the Havemeyers, probably this work and "Russian Dancer" (MMA 29.100.556). [Ambroise Vollard]. Degas: Quatre-vingt-dix-huit reproductions signées par Degas. Paris, 1914, pl.

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Industry - Preston Dickinson - 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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This work resulted from a composite representation of several gasoline stations seen by the artist. The light in this painting-both natural and artificial-gives the scene of a gas station and its lone attendant at dusk an underlying sense of drama. But rather than simply depicting a straightforward narrative, Hopper's aim was "the most exact transcription possible of my most intimate impressions of nature"-in this case, the loneliness of an American country road. Fellow artist Charles Burchfield believed these paintings would remain memorable beyond their time, because in his "honest presentation of the American scene . . . Hopper does not insist upon what the beholder shall feel."

Gallery label from 2006.

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This work resulted from a composite representation of several gasoline stations seen by the artist. The light in this painting-both natural and artificial-gives the scene of a gas station and its lone attendant at dusk an underlying sense of drama.

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https://theartling.com/en/artwork/vince-low-louis-armstrong/

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Composition with Red, Blue and Yellow is dominated by a large red rectangle. In this type, developed by Piet Mondrian in around 1930, the edge of the painting is delimited by two wide, sub-divided strips. The criss-crossing black bars are displaced far from the centre and meet in a corner at the bottom left. Deep blue and lemon yellow separated by whitish-grey surfaces form the counterpoint to the red note.
Like Kandinsky, Piet Mondrian came to abstraction via his work on landscape. Yet what emerged was completely different. After a Cubist phase built entirely on the contrast between light and dark, in 1920 Mondrian found his own style, which he dubbed 'Neoplasticism'. In the construction of the picture, this process relied entirely on vertical and horizontal lines and the use of the primary colours red, blue and yellow. The aesthetic objective was to obtain an arrangement of balanced contrasts: non-colours/primary colours; vertical/horizontal. Mondrian sought to give expression to the 'universal' through the absolute harmony of the individual pictorial elements.

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Composition with Red, Blue and Yellow - Piet Mondrian - Google Arts & Culture

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Composition with Red, Blue and Yellow is dominated by a large red rectangle. In this type, developed by Piet Mondrian in around 1930, the edge of the painting is delimited by two wide, sub-divided strips. The criss-crossing black bars are displaced far from the centre and meet in a corner at the bottom left.

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The Railway - Edouard Manet - 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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https://www.artsy.net/article/artsy-editorial-breaking-takashi-murakamis-wildly-popular-expansive-art

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Born from the love between two persons, their "spiritual child", pascALEjandro, is a painterly endeavor : Alejandro Jodorowsky - filmmaker, poet, author of comic books, the inventor of psychomagic - traces the lines, and lays out the symbols, marking the masculine
element; the image is then filled with color by Pascale Montandon-Jodorowsky - painter,
costume and stage designer.

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The Man with a Thousand Egos - pascALEjandro - Google Arts & Culture

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Born from the love between two persons, their "spiritual child", pascALEjandro, is a painterly endeavor : Alejandro Jodorowsky - filmmaker, poet, author of comic books, the inventor of psychomagic - traces the lines, and lays out the symbols, marking the masculine element; the image is then filled with color by Pascale Montandon-Jodorowsky - painter, costume and stage designer.

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https://artsandculture.google.com/asset/the-railway/kAHNAxL76AyLUA

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https://g.co/arts/Bk4aYx5VGvTsrwr56

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Jusepe de Ribera not only contrasted the sizes of the gigantic potentate and his dwarf halberd bearer but also juxtaposed their somewhat disheveled appearance with their grandiloquent poses. This caricature-like representation displays Ribera's usual strain of irony and frequent combination of figures of differing scale.

The striking crimson ink underscores the outlandish qualities of Ribera's subject matter. To make the ink, the artist probably used a dye made from the cochineal insect, a relative of the mealybug. He also applied his ink somewhat unconventionally, in tremulous, undulating lines made with the point of a brush.

Ribera neither inscribed nor squared the drawing himself. Sometime after his death, another craftsman probably considered transferring the design to an engraving plate.

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An Oriental Potentate Accompanied by His Halberd Bearer - Jusepe de Ribera - Google Arts & Culture

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Jusepe de Ribera not only contrasted the sizes of the gigantic potentate and his dwarf halberd bearer but also juxtaposed their somewhat disheveled appearance with their grandiloquent poses. This caricature-like representation displays Ribera's usual strain of irony and frequent combination of figures of differing scale.

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Madame Pierre Gautreau Sketch
1883-1884

Two Studies for Madame X
c. 1883
Pencil on paper

c. 1883-84
Madame X Study
c. 1883

Whispers

Profile of Madame Gautreau
c. 1883-84

Studies for Madame X

In all of Sargent's sketches of Madame Pierre Gauteau and it is believed to be over a dozen total, not one sketch that I've seen shows her engaging us directly. This was to be a very special portrait from the beginning and what we see here is Sargent struggling with the idea of her final pose within his general concept of what he wanted.

He wants her to appear aloof. He wants us to gaze upon her -- not as a standard portrait -- but as an object of beauty. Little does he know just how effective he would eventually be.

Madame X

Note

Top two drawings

Exhibitions
John Singer Sargent, An Exhibition -- Whitney Museum, NY & The Art Institute of Chicago 1986-1987

Madame Gautreau
c.1883
Sketch

Madame Pierre Gautreau
Watercolor

Study for "Madame Pierre Gautreau"
c. 1884

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John Singer Sargent's Studies for Madame X

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Madame Pierre Gautreau Sketch 1883-1884 Two Studies for Madame X c. 1883 Pencil on paper c. 1883-84 Madame X Study c. 1883 Whispers Profile of Madame Gautreau c. 1883-84 Studies for Madame X In all of Sargent's sketches of Madame Pierre Gauteau and it is believed to be over a dozen total, not one sketch that I've seen shows her engaging us directly.