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"Les Trois Hollandaises", Pablo Picasso, 1905.
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Vincent van Gogh (Dutch, 1853–1890), Self-Portrait, 1887. Oil on artist's board, mounted on cradled panel, Art Institute of Chicago, Joseph Winterbotham Collection,.
In 1886 Vincent van Gogh left his native Holland and settled in Paris, where his beloved brother Theo was a dealer in paintings. Van Gogh created at least twenty-four self-portraits during his two-year stay in the energetic French capital. This early example is modest in size and was painted on prepared artist’s board rather than canvas. Its densely dabbed brushwork, which became a hallmark of Van Gogh’s style, reflects the artist’s response to Georges Seurat’s revolutionary pointillist technique in A Sunday on La Grande Jatte—1884. But what was for Seurat a method based on the cool objectivity of science became in Van Gogh’s hands an intense emotional language. The surface of the painting dances with particles of color—intense greens, blues, reds, and oranges. Dominating this dazzling array of staccato dots and dashes are the artist’s deep green eyes and the intensity of their gaze. “I prefer painting people’s eyes to cathedrals,” Van Gogh once wrote to Theo. “However solemn and imposing the latter may be—a human soul, be it that of a poor streetwalker, is more interesting to me.” From Paris, Van Gogh traveled to the southern town of Arles for fifteen months. At the time of his death, in 1890, he had actively pursued his art for only five years.
This is one of thirty-five works that comprise the Winterbotham Collection.
Courtesy Alain Truong
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Albert Paul Guillaume (French, 1873-1942) - Fascination
Source: andrewjonesauctions.com
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Elizabeth Peyton, Michael Clark, 2009
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Boy Drinking, Annibale Carracci , 1582-1583, Cleveland Museum of Art: European Painting and Sculpture
Together with his brother Agostino and cousin Lodovico, Annibale Carracci introduced artistic reforms in Italy based on close observation of the natural world. Annibale’s innovative and highly influential style steered a path between the smooth artificiality of Mannerism––in which style and technique took precedence over fidelity to nature––and the heightened drama of paintings by Caravaggio. In this remarkable early work, the coarse surface of the canvas, the inelegant subject matter, and the striking distortion of forms from light passing through glass all speak to his naturalistic approach. Size: Framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); Unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in.) Medium: oil on canvas
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Dawn of a Hunting Morning, Dahlov Ipcar, ca. 1946, Brooklyn Museum: American Art
Size: 31 15/16 x 44 in. (81.1 x 111.8 cm); frame: 38 7/8 x 51 in. (98.7 x 129.5 cm) Medium: Oil on canvas
Reblogged bm-american-art
Europe I, Larry Rivers, 1956, Minneapolis Institute of Art: Paintings
Portrait. Abstract. Donor: Mr. James Merrill, Connecticut Larry Rivers Public and Private Size: 72 x 48 in. (182.88 x 121.92 cm) (canvas) 76 5/8 x 53 5/8 in. (194.63 x 136.21 cm) (outer frame) Medium: Oil on canvas