Category Archives: Pintura

Fulvio De Marinis, 1971 | Pintura in Facebook, Arte Literatura e Pintura

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Nacido en Nápoles, se graduó en el Instituto de Arte y asistió a la Academia de las Artes de Nápoles. De Marinis es un pintor que hunde sus raices en la pintura clásica, pero sus obras son extremadamente actuales, a través de la representación de lugares, colores y costumbres de nuestros días.

Madonna, 1894 by Edvard Munch

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Originally called Loving Woman, this picture can be taken to symbolize what Munch considered the essential acts of the female life cycle: sexual intercourse, causing fertilization, procreation and death. Evidence for the first is in the picture itself, an intensified, spiritualized variation in the nude of the ‘mating’ pose, the woman depicted as though recumbent beneath her lover. The ethereal beauty of her face was said to resemble both Dagny Przybyszewska and her sister Ragnhild Backstrom. Procreation was implied by the decoration of the original frame, later discarded, on which were painted drops of semen and an embryo. That Munch associated the image with death is clear from his own comments on the picture, in which he sees it as representing the eternal cyclical process of generation and decay in nature. He continually connected love with death: for the man, because it eviscerated him, for the woman, because, following Schopenhauer, he appears to have thought her function ended with child-bearing.

https://www.edvardmunch.org/madonna.jsp

Yellow-Red-Blue, 1925 by Wassily Kandinsky

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Yellow-Red-Blue was created by Wassily Kandinsky in 1925. The primary colors on the painting feature squares, circles and triangles and there are abstract shapes mixed in with these. There are also straight and curved black lines that go through the colors and shapes. This is to help provoke deep thought in the person viewing the piece.

Yellow-Red-Blue can actually be divided in half with how different each of the sides are. The left side has rectangles, squares and straight lines in bright colors while the right side features darker colors in various abstract shapes. These two sides show different influences and are meant to create varied emotions in the viewer.

https://www.wassily-kandinsky.org/Yellow-Red-Blue.jsp

Pintura de Konstantin Razumov, Pintor russo

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Konstantin Razumov (nacido en 1974) crea pinturas en varios géneros, desde Nu hasta paisajes, pero está especialmente refinado con la escritura de retratos de mujeres. Dibujando señoritas encantadoras, la artista no las representa como mujeres modernas, más a menudo la mujer en sus pinturas es una mujer de ensueño que vino de un tiempo diferente, del siglo pasado. El sueño de la mujer en las pinturas del artista es encantador, refinado y femenino.

Olympia | Édouard Manet | Técnica  óleo sobre tela, 1863 | Dimensões  130,5 × 190 | Localização  Museu d´Orsay, Paris

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Olympia é uma pintura realista de Édouard Manet. Foi pintada em 1863, mede 130,5 por 190 centímetros e está no Museu d’Orsay em Paris.[1] Foi selecionada para o Salon de Paris em 1865 e lá exibida.

O quadro mostra uma mulher nua (“Olympia”) deitada em uma cama, enquanto uma serva lhe traz flores. Foram modelos Victorine Meurent e Laure. O olhar direto de Olympia causou choque e espanto quando a pintura foi exibida pela primeira vez, porque um certo número de detalhes na pintura a identificavam como uma prostituta. O governo francês adquiriu a pintura em 1890 após uma subscrição pública organizada por Claude Monet.

Conteúdo

O que chocou o público contemporâneo não foi a nudez de Olympia, nem a presença de sua empregada totalmente vestida, mas o seu olhar de confrontação e uma série de detalhes identificando-a como uma semi-mundana ou prostituta. Estes incluem a orquídea em seus cabelos, sua pulseira, brincos de pérola e o xaile oriental em que ela repousa, símbolos de riqueza e sensualidade. A fita preta em volta do pescoço, em contraste com sua carne pálida, e seu chinelo solto sublinham a atmosfera voluptuosa.[2] “Olympia” era um nome associado a prostitutas na década de 1860 em Paris.[3]

Precedentes : A pintura foi inspirada na Vênus de Urbino de Ticiano, que por sua vez tem referência na obra Vênus Adormecida de Giorgione.

Vénus de Urbino (1538) | óleo sobre tela de Ticiano

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Vénus de Urbino (1538) é um óleo sobre tela de Ticiano. Exibe o nu de uma jovem identificada como Vénus, deitada numa espécie de cama sumptuosa. A obra se encontra na Galleria degli Uffizi em Florença. A pose é baseada na Vénus Adormecida (c. 1510) de Giorgione, que Ticiano completou e que por sua vez está no Pinacoteca dos Mestres Antigos, em Dresden. A pintura foi financiada por Guidubaldo II, duque de Urbino. Vénus de Urbino inspirou designadamente a pintura Olympia de Édouard Manet.

“CRUCIFICAÇÃO DE SÃO PEDRO” de Caravaggio (Michelangelo Merisi)

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Exposta na Capela Cerasi de Santa Maria del Popolo em Roma, onde está preservada juntamente com a “Conversão de São Paulo”. As duas obras foram encomendadas a Merisi pelo monsenhor Tiberio Cerasi em 1600.

Como no caso de São Paulo, a “Crucificação” é também uma segunda versão do trabalho encomendado. Ao contrário da “Conversão”, a tela original não sobreviveu ao tempo. A razão? Parece que as dimensões foram reduzidas ao trabalho que já tinha começado.

Continuar a ler →

7. Caravaggio: His life and style in three paintings | National Gallery

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Curator of Later Italian, Spanish, and French 17th-century Paintings, Letizia Treves, guides you through the tumultuous life of Caravaggio. She looks at how his innovative style developed from a focus on nature and expression in his early works to the sophistication of his mature works.

Edward Hopper | Automat – 1927 | Oil on Canvas 113,7x 102cm

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Des Moines Art Center, acquired with funds from the Edmundson Art Foundation in 1958.

In his work Automat, Edward Hopper depicts a young woman alone in an American cafeteria, an Automat, where people could buy it’s food and drink in a vending machine. 

The title of the painting draws a parallel between the place and the inexpressive and empty attitude of the young woman. The colors of the work, the lighting, the fact that the young woman kept her clothes and her left glove communicate a feeling of cold. 

The woman, lost in her thoughts, is at the center of the canvas and everything converges towards her. Through this painting Hopper illustrates the idea of social alienation in the Metropolitan American cities of the 1920s.

There is another subtle theme at work here and that is that Automats provided a public dining option for women that was groundbreaking. It has been either overlooked or simply forgotten that at this time, a lot restaurants didn’t permit unescorted women to enter their premises because it was understood (or presumed) that unescorted women were likely to be prostitutes and therefore a potential nuisance or disruption. It’s really hard to believe that access to public eating establishments was denied to women and other minorities, but it’s true. The Automat was a key device for bringing that sort of discrimination to an end. There was nobody at the door controlling access. Anyone with a nickel was able to use the facilities.

Mao | Andy Warhol, American | 1973

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In 1972 U.S. President Richard Nixon traveled to China to meet Chairman Mao Zedong, ending years of diplomatic isolation between the two nations. This historic event captured the imagination of Warhol, who, between 1972 and 1973, created 199 silkscreen paintings of Mao in five scales. An extension of his fascination with celebrity, the Mao paintings utilize Warhol’s characteristic silkscreen process to transfer to canvas one of the most recognized portraits in the world: the photograph of Mao reproduced throughout China during the Cultural Revolution (1966–76). As interpreted by Warhol, these works, with their repeated image painted in flamboyant colors and with expressionistic marks, may suggest a parallel between political propaganda and capitalist advertising.

The Fascination of Flaming June | Frederic Leighton | 1895

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When the British artist Frederic Leighton exhibited his iconic painting Flaming June in 1895 at the Royal Academy of Arts in London, critics assessed it as one of his finest submissions, and it quickly became a popular hit. Now, almost 130 years later, it continues to draw praise and attention as the subject of recent pieces in the Washington Post, the Wall Street Journal, Airmail, and NBC New York. The current installation at The Met, on loan from the Museo de Arte de Ponce in Puerto Rico through January 2024 due to the closure of its galleries from devastating earthquakes in 2020, represents an astonishing comeback for the painting, which was eclipsed for most of the twentieth century as other artistic styles dominated. Why are we so fascinated by Flaming June? Taking a closer look at this picture and its history can help us understand the work’s magnetism.

Paul Kelley Painting

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I believe that it is important to appreciate beauty as an end in itself. It is as simple as being able to stop and regard the beauty of sunrise regardless of what the rest of the day has in store; and as complicated as overcoming our preconditioning to desire to see more than what we see. Allegory and metaphor exist in my artwork, or at least I hope they do, but the beauty and grace of the female form in my artwork is intended to convey just that.