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Leo Putz - Seated Female Nude [1891]
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Canaletto - Santa Maria della Salute in Venice on the Grand Canal [c.1730]
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Garin Baker - Salting the Herring [2015]
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Gandalf's Gallery was founded as a non-profit making, educational website dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.
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Paul Delvaux - Le Miroir [1936]
![Paul Delvaux - Le Miroir [1936]](http://farm2.staticflickr.com/1711/23972526943_ef12f46288_o.jpg)
In this painting Delvaux presents an encounter of disparate elements, juxtaposed in such a way as to create a world of mystery and ambiguity, much in the spirit of the principle dogma of the Surrealist group. Here, Delvaux depicts at once an interior and an exterior setting – the principal protagonist, seen from the back, is depicted seated in a room, bare apart from the mirror, which offers a view onto a tree-lined street. Similarly, the artist creates an ambiguity in the relationship between the two figures: whilst the title suggests that the two seated women are mirror images of each other, one of them is depicted in an elaborate dress and the other one in the nude, both with their hands clasped on their laps. The atmosphere of stillness and mystery and the interior/exterior ambiguity reflect the influence of the metaphysical paintings by Giorgio de Chirico. Much in the manner favoured by his fellow countryman René Magritte, Delvaux here depicts a picture within a picture, playing with the viewer’s perception, and shifting between the worlds of real and imaginary.
[Sotheby’s, London - Oil on canvas, 110 x 136 cm]
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Mary Cassatt - Le Bain (Two Mothers and Their Children in a Boat) [1910]
![Mary Cassatt - Le Bain (Two Mothers and Their Children in a Boat) [1910]](http://farm2.staticflickr.com/1638/23972544803_4fdd0df291_o.jpg)
The Bath is a composition that demonstrates Mary Cassatt’s continuing loyalty to the Impressionist movement - together in a boat two young women and their children ready for swimming. The scene was observed on the pond Beaufresne Castle where Mary Cassatt spent the last years of her life.
[Petit Palais, Paris - Oil on canvas, 99 x 129 cm]
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Frederick Arthur Bridgman - Lawn Tennis Club [1891]
![Frederick Arthur Bridgman - Lawn Tennis Club [1891]](http://farm2.staticflickr.com/1559/24491038702_5f48108549_o.jpg)
Bridgman was a noted tennis player himself, and his enthusiasm for the sport is embodied in this lively portrayal of a mixed doubles match. By the early 1880s, England’s fervour for tennis had reached France, and local tennis clubs soon formed in Dinard, Cannes and Le Favre. In 1882, the first courts were constructed in Paris at Le Racing Club de France. Both in club play on courts and on the great lawns of country estates, the game of tennis proved incredibly popular, both for men and women, and helped promote healthy activity. Matches could be organised either as private, family recreation or, as Bridgman’s painting suggests, around larger social gatherings. In the present work, though the match has begun, the majority of the spectators in the background seem more absorbed in chatting while fellow players rest on the lawn waiting for their turn on the court - and perhaps to be captured by an artist sketching the activity at the net.
[Sotheby’s, New York - Oil on canvas, 100.3 x 177.8 cm]
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Article 0
Gandalf's Gallery was founded as a non-profit making, educational website dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.
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Thomas Eakins - Shad Fishing at Gloucester on the Delaware River [1881]
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William James Glackens - The Shoppers [1907]
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Olga & Aleksey Ivanov - Silver City [2015]
![Olga & Aleksey Ivanov - Silver City [2015]](http://farm2.staticflickr.com/1534/24252969319_aa2fbbb373_o.png)
The Ivanovs emigrated from Russia to the United States in 2002. There were a number of reasons for their move. “We were working with a New York art agency by that time, and due to bureaucracy it was nearly impossible to deliver our art to clients on time,” says Aleksey. “Also, the tremendous interest in our art in the U.S. gave us a clear message that this is the country where we want to create.” They heard about Colorado from a visiting American writer friend. After arriving in the states they headed west, and, finding the Colorado landscapes eerily similar to those in Mantegna’s paintings, they instantly fell in love with the state. Their studio and home are located just outside of Denver. “When we begin a painting it usually starts with a drive,” says Olga. “Then we will stop in a beautiful place and discuss it.”
[Saks Gallery, Denver - Egg Tempera, 30.5 × 30.5 cm]
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Article 0
Gandalf's Gallery was founded as a non-profit making, educational website dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.
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Thomas Wilmer Dewing - The Song [1891]
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Shane Wolf - Songs of Sagesse (Left panel) [2014]
![Shane Wolf - Songs of Sagesse (Left panel) [2014]](http://farm2.staticflickr.com/1662/24559107071_5142a9827b_o.jpg)
Born in 1976 in Cincinnati, Shane Wolf is showed and collected around the world. His fame is already significant in United States in the world of contemporary figurative art. His work always draws one's inspiration from real model, without exception. Today, he lives and works in Paris.
See: www.shane-wolf.com/
[Art Renewal Centre - Oil on canvas, 29 x 46 inches]
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Reza Rahimi - The Sound of Taar, Eastern Increment [2012]
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Article 0
Gandalf's Gallery was founded as a non-profit making, educational website dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.
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Rudolf Bauer - Squares [1937]
![Rudolf Bauer - Squares [1937]](http://farm2.staticflickr.com/1512/24637899036_e796565422_o.jpg)
Bauer painted this spectacular canvas from 1937 at the apotheosis of his fascinating career. German-born Rudolf Bauer was a principal innovator and exponent of Non-objective painting, the term favoured by Solomon R. Guggenheim himself to describe autonomous abstractions, from lyrical expressionism to geometric constructivism. Bauer began his career in Berlin at the onset of World War I, becoming a prominent figure in the avant-garde circle at Herwarth Walden's famed Galerie Der Sturm alongside fellow luminaries Paul Klee, Franz Marc and Wassily Kandinsky. It was the latter artist who influenced Bauer most, and their shared passion for spiritualism and musically-derived improvisation in art led them to collaboratively refine their styles and theories and exhibit together often throughout the late 1910s and early 1920s. By the 1930s, Bauer was considered a leader among the German avant-garde and was the favoured artist of Solomon R. Guggenheim, who ended up purchasing the lion's share of the artist's production.
[Sotheby’s, New York - Oil on canvas, 51 x 59 cm]
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Pablo Picasso - Still Life [1921]
![Pablo Picasso - Still Life [1921]](http://farm2.staticflickr.com/1714/24637914236_f0a1a61738_o.jpg)
In the present work, Picasso combines both natural and Cubist elements, abandoning the decorative approach for a bold linearity and angularity of forms. Discussing this phase of Picasso's Cubism, John Richardson notes that these still-lifes ‘are astonishingly varied in their dazzling colours, elaborate patterning, rich textures and complex compositions. No longer did Picasso feel obliged to investigate the intricate formal and spatial problems that had preoccupied him ten years before. Instead he felt free to relax and exploit his cubist discoveries in a decorative manner that delights the eye.’
[Sotheby’s, London - Oil on canvas, 22.5 x 45.5 cm]
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Vincent van Gogh - Still Life with Bible [1885]
![Vincent van Gogh - Still Life with Bible [1885]](http://farm2.staticflickr.com/1503/24035984294_2371e5e50e_o.jpg)
This hefty Bible belonged to Van Gogh’s father, a Protestant minister who died shortly before the painting was done. Vincent has placed his own copy of Emile Zola’s La joie de vivre next to it as a kind of Bible for modern life. The books symbolise the different world-views of Van Gogh and his father, who regularly clashed with one another. Van Gogh described this work to Theo as ‘a still life of an open, hence an off-white Bible, bound in leather, against a black background with a yellow-brown foreground, with an additional note of lemon yellow.’ He seemingly wanted to demonstrate that use of the colour black could work effectively – something the brothers had previously discussed at length. Theo thought Van Gogh’s canvases were too dark and gloomy, and encouraged his brother to use brighter tones like those of the Impressionists. Vincent responded by citing 17th-century Dutch masters like Frans Hals, who used a considerable amount of black in their work. He later admitted in Paris, however, that his dark palette was old-fashioned and adjusted his use of colour accordingly.
[Van Gogh Museum, Amsterdam - Oil on canvas, 65.7 cm x 78.5 cm]
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Article 0
Gandalf's Gallery was founded as a non-profit making, educational website dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.
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