April 18, 2014
books0977:

Girl With the Violin (1890). Edmund Charles Tarbell (American, Impressionist, 1862–1938). Oil on canvas.
Tarbell was renowned for his elegant interiors and vivacious outdoor paintings of his family. He experimented with a range of forms through en plein air painting. He specialized in delicately finished, pearly interiors, and devoted a significant part of his career to capturing images of young women pursuing domestic activities, such as sewing or reading, in elegantly decorated rooms filled with antiquarian or oriental objects.

books0977:

Girl With the Violin (1890). Edmund Charles Tarbell (American, Impressionist, 1862–1938). Oil on canvas.

Tarbell was renowned for his elegant interiors and vivacious outdoor paintings of his family. He experimented with a range of forms through en plein air painting. He specialized in delicately finished, pearly interiors, and devoted a significant part of his career to capturing images of young women pursuing domestic activities, such as sewing or reading, in elegantly decorated rooms filled with antiquarian or oriental objects.

(via cavetocanvas)

April 17, 2014
cavetocanvas:

George Luks, The Wrestlers, 1905
From the Museum of Fine Arts, Boston:

Criticized for his poor handling of the human anatomy, Luks answered his detractors by rendering this complex scene of two nude wrestlers. The artist’s perspective was radical for the time. Luks’s composition effectively presses the viewer to the edge of the wrestling pit, thereby emphasizing the down-at-heels setting. The jarring vantage point also evokes the sweaty underbelly of modern urban life, a theme for which he and fellow members of the Ashcan School would become known.Luks’s scene of entangled human flesh under duress is reminiscent of the sporting scenes that fellow Philadelphian Thomas Eakins painted, in particular Eakins’s 1899 Wrestlers. Whereas Eakins depicted a wrestling hold with the impassive eye of a painter rendering a studio model, Luks conveys the passion exuded by the heaving torsos. Eakins applied carefully blended strokes of pigment, building up solidly modeled forms after the manner of his studio training with the French academic painter Jean-Léon Gérôme. Luks, in contrast, enlivens his figures with energetic brushwork and thick impasto. Luks’s familiarity with the popular press, gained from his work for illustrated periodicals, may have inspired the sense of immediacy he suggested—brilliantly illuminated flesh is thrown into relief against the dark background as though caught in a reporter’s flashbulb.
The opponent at the left also recalls the terrifying visages of the early-nineteenth-century Spanish painter Francisco Goya’s so-called Black Paintings, in which humans are transformed into ghouls. Luks portrays a distinctive type among the multitudes in New York City, in this case an aggressive athlete. Once again, his training as a newspaper illustrator likely honed his astute sensitivity to physiognomy, and here the thickly furrowed brow, devilish eyes, and flushed complexion suggest the bellicose personality befitting a pugnacious wrestler.

cavetocanvas:

George Luks, The Wrestlers, 1905

From the Museum of Fine Arts, Boston:

Criticized for his poor handling of the human anatomy, Luks answered his detractors by rendering this complex scene of two nude wrestlers. The artist’s perspective was radical for the time. Luks’s composition effectively presses the viewer to the edge of the wrestling pit, thereby emphasizing the down-at-heels setting. The jarring vantage point also evokes the sweaty underbelly of modern urban life, a theme for which he and fellow members of the Ashcan School would become known.

Luks’s scene of entangled human flesh under duress is reminiscent of the sporting scenes that fellow Philadelphian Thomas Eakins painted, in particular Eakins’s 1899 Wrestlers. Whereas Eakins depicted a wrestling hold with the impassive eye of a painter rendering a studio model, Luks conveys the passion exuded by the heaving torsos. Eakins applied carefully blended strokes of pigment, building up solidly modeled forms after the manner of his studio training with the French academic painter Jean-Léon Gérôme. Luks, in contrast, enlivens his figures with energetic brushwork and thick impasto. Luks’s familiarity with the popular press, gained from his work for illustrated periodicals, may have inspired the sense of immediacy he suggested—brilliantly illuminated flesh is thrown into relief against the dark background as though caught in a reporter’s flashbulb.

The opponent at the left also recalls the terrifying visages of the early-nineteenth-century Spanish painter Francisco Goya’s so-called Black Paintings, in which humans are transformed into ghouls. Luks portrays a distinctive type among the multitudes in New York City, in this case an aggressive athlete. Once again, his training as a newspaper illustrator likely honed his astute sensitivity to physiognomy, and here the thickly furrowed brow, devilish eyes, and flushed complexion suggest the bellicose personality befitting a pugnacious wrestler.

April 16, 2014
cavetocanvas:

Tom Thomson, The West Wind, 1917

cavetocanvas:

Tom Thomson, The West Wind, 1917

April 15, 2014
cavetocanvas:

Tom Thomson, Lightning, Canoe Lake, 1915

cavetocanvas:

Tom Thomson, Lightning, Canoe Lake, 1915

April 14, 2014
f-l-e-u-r-d-e-l-y-s:

New Orleans Cemetery, Sphinx, 2009 by sibylline photography

f-l-e-u-r-d-e-l-y-s:

New Orleans Cemetery, Sphinx, 2009 by sibylline photography

(via wine-loving-vagabond)

April 13, 2014
slowartday:

Edvard Munch, Evening on Karl Johan, 1892 
Art historians believe that Munch included himself in this painting as the lone figure retreating into the distance. 

slowartday:

Edvard MunchEvening on Karl Johan, 1892 

Art historians believe that Munch included himself in this painting as the lone figure retreating into the distance. 

April 12, 2014
slowartday:

Vincent Van Gogh, Self Portrait, 1889

slowartday:

Vincent Van Gogh, Self Portrait, 1889

April 11, 2014
bofransson:

Woman on the Verandah - Edvard Munch - 1924

bofransson:

Woman on the Verandah - Edvard Munch - 1924

(via wine-loving-vagabond)

April 10, 2014
cavetocanvas:

Arthur Dove, Clouds, 1927

cavetocanvas:

Arthur Dove, Clouds, 1927

April 9, 2014
crockeur:

Sketch

crockeur:

Sketch

April 8, 2014
slowartday:

Ernst Josephson, Death, 1898-1899 

slowartday:

Ernst Josephson, Death, 1898-1899 

April 7, 2014
fleurdulys:

Cloches du soir - Carlos Schwabe 
1891

fleurdulys:

Cloches du soir - Carlos Schwabe

1891

(via cavetocanvas)

April 6, 2014
jacobvanloon:

Kaohsiung study | Jacob van Loon

jacobvanloon:

Kaohsiung study | Jacob van Loon

(Source: jacobvanloon, via likeafieldmouse)

April 5, 2014
cavetocanvas:

Carolus-Duran, Zacharie Astruc, 1861

cavetocanvas:

Carolus-DuranZacharie Astruc, 1861

April 4, 2014
fuckyeahhistorycrushes:


Gustave Courbet. French painter who led the Realism movement, and rather attractive if this self-portrait is anything to go by. 1819-1877.

fuckyeahhistorycrushes:

Gustave Courbet. French painter who led the Realism movement, and rather attractive if this self-portrait is anything to go by. 1819-1877.