Photo Albums

The great masturbator

knuartlib — Sun, 02 Dec 2012 02:11:40 GMT

The Great Masturbator (1929) is a painting by Salvador Dalí executed during the surrealist epoch, and is currently displayed at Museo Nacional Centro de Arte Reina Sofía, Madrid.

The Madonna of Port Lligat

knuartlib — Sun, 02 Dec 2012 02:10:36 GMT

The Madonna of Port Lligat is the name of two paintings by Salvador Dalí. The first was created in 1949, measuring 49 x 37.5 centimetres (19.3 x 14.8 in), and is housed in the Haggerty Museum of Art at Marquette University in Milwaukee, Wisconsin, USA. Dali submitted it to Pope Pius XII for approval, which was granted. Dalí created a second painting in 1950 with the same title and same themes, with various poses and details changed, measuring 144 x 96 centimetres (57.7 x 37.8 in); As of 2008, the 1950 Madonna is exhibited at the Fukuoka Art Museum in Japan.

The son of man

knuartlib — Sun, 02 Dec 2012 02:09:26 GMT

The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte.
Magritte painted it as a self-portrait. The painting consists of a man in an overcoat and a bowler hat standing in front of a short wall, beyond which is the sea and a cloudy sky. The man's face is largely obscured by a hovering green apple. However, the man's eyes can be seen peeking over the edge of the apple. Another subtle feature is that the man's left arm appears to bend backwards at the elbow.
About the painting, Magritte said:
At least it hides the face partly. Well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present.

Golconda

knuartlib — Sun, 02 Dec 2012 02:08:25 GMT

Golconda (in French, Golconde) is an oil painting on canvas by Belgian surrealist René Magritte, painted in 1953. It is usually housed at the Menil Collection in Houston, Texas.
The piece depicts a scene of nearly identical men dressed in dark overcoats and bowler hats, who seem to be drops of heavy rain (or to be floating like helium balloons, though there is no actual indication of motion), against a backdrop of buildings and blue sky. The men are spaced in hexagonal grids facing the viewpoint and receding back in grid layers.
Magritte himself lived in a similar suburban environment, and dressed in a similar fashion. The bowler hat was a common feature of much of his work, and appears in paintings like The Son of Man.

The Mysteries of the horizon

knuartlib — Sun, 02 Dec 2012 02:07:28 GMT

The Mysteries of the Horizon (1955) is an oil on canvas painting by the Belgian surrealist René Magritte.
The painting depicts three seemingly identical men in bowler hats. They are in an outdoor setting at twilight. Though they appear to be sharing the same space each one also seems to exist in a separate reality. Each is facing a different direction. In the sky above each figure is a separate crescent moon.
Men in bowler hats appear frequently in Magritte's work starting with his 1926 painting The Musings of a Solitary Walker. They are represented as having undefined or identical personalities.

The basket of Apples

knuartlib — Sun, 02 Dec 2012 02:06:30 GMT

The Basket of Apples is a still life oil painting by French artist Paul Cézanne. It belongs to the Helen Birch Bartlett Memorial Collection of the Art Institute of Chicago.
The piece is often noted for its disjointed perspective. It has been described as a balanced composition due to its unbalanced parts; the tilted bottle, the incline of the basket, and the foreshortened lines of the cookies meshing with the lines of the tablecloth. Additionally, the right side of the tabletop is not in the same plane as the left side, as if the image simultaneously reflects two viewpoints. Paintings such as this helped form a bridge between Impressionism and Cubism.

Paris Street; Rainy Day

knuartlib — Sun, 02 Dec 2012 02:05:14 GMT

Paris Street; Rainy Day (or Paris: A Rainy Day) is a large (212.2cm x 276cm) 1877 oil painting by the French artist Gustave Caillebotte. The piece depicts the Place de Dublin, an intersection near the Gare Saint-Lazare, a railroad station in north Paris. One of Caillebotte's best known works, it debuted at the Third Impressionist Exhibition of 1877 and is currently owned by the Art Institute of Chicago.[1] Art Institute curator Gloria Groom described the piece as "the great picture of urban life in the late 19th century."

Boy carrying a sword

knuartlib — Sun, 02 Dec 2012 02:04:19 GMT

Boy Carrying a Sword is an 1861 oil painting by the French artist Édouard Manet and now displayed at the Metropolitan Museum of Art in New York. The work shows a small boy costumed as a page of the Spanish court of the seventeenth century and holding a full-sized sword and sword belt. The work was later reproduced as an engraving under the direction of Dijon painter and etcher Alphonse Legros, who collaborated in the work.

The Fifer

knuartlib — Sun, 02 Dec 2012 02:02:56 GMT

The Fifer or Young Flautist is a painting by French painter Édouard Manet, made in 1866. It is currently kept in the Musée d'Orsay, Paris.

In the conservatory

knuartlib — Sun, 02 Dec 2012 02:01:59 GMT

In the Conservatory (French: Dans la serre) is an 1879 oil painting by Édouard Manet in the Alte Nationalgalerie, Berlin. The setting is a conservatory at 70 Rue d'Amsterdam in Paris, then owned by painter Otto Rosen and which Manet used as a studio for nine months in 1878 and 1879.[1] At first glance, we see a double portrait of a fashionable and attractive couple of some social rank. They are Manet's friends, the Guillemets, who owned a clothing shop. Their married status is conveyed by their rings, and the proximity of their hands is the nearest hint of intimacy. The woman becomes the focus of the portrait, however, being more prominently placed and colourfully dressed. Their physical separation—with the husband Jules slouching in dark clothing behind the bench—and their lack of engagement with the viewer create a sense of detachment, which has been the primary theme in modern criticism of the work.