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Eduardo Malta - Portrait of Amália Rodrigues [1949]

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Eduardo Malta - Portrait of Amália Rodrigues [1949]
Eduardo Malta (Covilha, October 28, 1900 - Óbidos, May 31, 1967) was a Portuguese artist. At the time when this portrait was painted, Amália Rodrigues was twenty-nine years old, at the height of her beauty and on the verge of recognition as the greatest ever singer of fado, already enjoying the fame that her incursions into the cinema had made possible.

[Museu do Caramulo - Oil on canvas, 39 x 30 cm]

Virgilio Ripari - Seated Nude

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Virgilio Ripari - Seated Nude
Virgilio Ripari (Asola, 1843 - Milan, April 11, 1902) was an Italian painter, mainly depicting genre scenes of women and flowers.

[Mantova Museo Urbano Diffuso, Italy - Oil on canvas]

Alexander Fedorov - Self-Portrait with an Elegant Beard [2009]

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Alexander Fedorov - Self-Portrait with an Elegant Beard [2009]
Alexander Fedorov was born in 1954 in Leningrad. Fedorov’s unique style demonstrates the duality of his talents: passion for art and ability in technical sciences. His simultaneously realistic and imaginary characters live in an utterly unreal vacuum-like environment. The artist seems to analyse every object and divide it into its components while trying to reveal the overarching structure. Mystery and ambiguity, intentionally entwined into the fabric of a subject, involve the viewer in a game of unraveling images and meanings.

[Erarta Museum of Contemporary Art, Saint Petersburg - Oil on canvas, 50 x 60 cm]

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Gandalf's Gallery was founded as a non-profit making, educational vehicle. 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. Please note that the nude figure is a tradition in Western Art and is included within the gallery’s collection.

Antonio Donghi - Woman at the Café [1931]

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Antonio Donghi - Woman at the Café [1931]
Antonio Donghi (Rome, March 16, 1897 - July 16, 1963) was an Italian painter of scenes of popular life, landscapes, and still life. He studied painting at the Instituto di Belle Arti from 1908 to 1916. After military service in World War I he studied art in Florence and Venice, soon establishing himself as one of Italy's leading figures in the neoclassical movement that arose in the 1920s. His figures possess a gravity and an archaic stiffness. 

[Ca' Pesaro, Galleria Internazionale d'Arte Moderna, Venice - Oil on canvas]

Edna Reindel - Woman at Lockheed Fastening the Plastic Canopy of the P-38 [1943]

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Edna Reindel - Woman at Lockheed Fastening the Plastic Canopy of the P-38 [1943]
Edna Reindel (Detroit, February 19, 1894 - Michigan, April 3, 1990) was a subtle Surrealist and American Regionalist painter, printmaker, illustrator, sculptor, muralist, and teacher active from the 1920s to the 1960s.

[National Museum of Women in the Arts, Washington, D.C. - Oil on canvas, 37.5 x 26 cm]

Carel de Moor - Man Trying to Embrace a Woman

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Carel de Moor - Man Trying to Embrace a Woman
Carel de Moor (Leiden, February 25, 1655 - Warmond, February 16, 1738) was a Dutch Golden Age etcher and painter. He was a pupil of Gerard Dou.

[Nationalmuseum, Stockholm - Oil on canvas mounted on wood, 33.5 x 47 cm]

Julius Leblanc Stewart - Poppy Field with Reclining Nude [1900]

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Julius Leblanc Stewart - Poppy Field with Reclining Nude [1900]
[Bukowski’s, Stockholm - Oil on canvas, 79 x 108 cm]

Claude Monet - Champ de Coquelicots (Field of Poppies) [1881]

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Claude Monet - Champ de Coquelicots (Field of Poppies) [1881]
The poppies in this painting are no more than small bright dabs of paint. Monet once wrote of his working method: "When you paint outdoors, attempt to forget the objects you see before you (...) Think only: here is a blue square, here a pink triangle, here a yellow stripe and paint exactly what is before your eyes.”

[Museum Boijmans Van Beuningen, Rotterdam - Oil on canvas, 79 x 58 cm]

John Singer Sargent - Gassed [1918]

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John Singer Sargent - Gassed [1918]
The scene is the aftermath of a mustard gas attack on the Western Front in August 1918 as witnessed by the artist. Mustard gas was an indiscriminate weapon causing widespread injury and burns, as well as affecting the eyes. The painting gives clues about the management of the victims, their relative lack of protective clothing, the impact and extent of the gas attack as well as its routine nature – the football match goes on regardless. The canvas is lightly painted with great skill. Sargent draws the viewer into the tactile relationships between the blinded men. There is a suggestion of redemption as the men are led off to the medical tents, but the overall impression is of loss and suffering, emphasised by the expressions of the men standing in line.

[Imperial War Museum, London - Oil on canvas, 231 x 611.1 cm]

Théo van Rysselberghe - In Thuin (The Tennis Game) [1889]

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Théo van Rysselberghe - In Thuin (The Tennis Game) [1889]
[Christie’s, Paris - Oil on canvas, 53.8 x 66.7 cm]

Stefan Johansson - In the Light of the Lamp [1925]

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Stefan Johansson - In the Light of the Lamp [1925]
[Bukowskis, Stockholm - Oil on canvas, 30 x 25 cm]

Vincent van Gogh - The Good Samaritan [1890]

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Vincent van Gogh - The Good Samaritan [1890]
[Kröller-Müller Museum, Otterlo - Oil on canvas, 73 x 60 cm]

Robert Reid - The Mirror [c.1910]

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Robert Reid - The Mirror [c.1910]
[Smithsonian American Art Museum - Oil on canvas, 94.9 x 77 cm]

Wilfrid Gabriel de Glehn - The Mirror

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Wilfrid Gabriel de Glehn - The Mirror
[Christie’s, London - Oil on canvas, 61 x 50.8 cm]

Attributed to Edwin Howland Blashfield - The Mirror

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Attributed to Edwin Howland Blashfield - The Mirror
[Sotheby’s, New York - Oil on canvas, diameter 155.6 cm]

Merry-Joseph Blondel - Family Portrait [1813]

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Merry-Joseph Blondel - Family Portrait [1813]
Rendered in a confined space, Family Portrait shows the head and shoulders of four persons who remain anonymous today, fanned out as if in relief. Whereas the young woman and the girl have been portrayed in strict profile facing left, the young man and the boy have both been painted in virtually head-on views. The gazes of the figures portrayed do not meet as a result, so that the impression of the group belonging together is solely conveyed by the tight arrangement of the composition 

[Kunsthalle Bremen - Oil on canvas, 39 x 60 cm]

Guillaume Seignac - Virginity [1900]

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Guillaume Seignac - Virginity [1900]
[Accademia Fine Art, Monte Carlo - Oil on canvas, 73 x 60 cm]

Jean-Léon Gérôme - Violin Player

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Jean-Léon Gérôme - Violin Player
[Sotheby’s, New York - Oil on canvas, 67.3 x 53.3 cm]

Henri Martin - Port of Collioure [c.1930]

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Henri Martin - Port of Collioure [c.1930]
This work presents a view of the bay drenched in the southern light which characterises much of Martin's work. The harmony of the composition, with the rampart walls, village homes and fishing boats, perfectly illustrates Martin's interest in recording both the interplay of light on objects and the rhythmic orchestration of line and geometric pattern. 

[Christie’s, New York - Oil on canvas, 85 x 95.5 cm]
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