Agreed. Something about this piece of work really elevates it above other paintings of this style. I think it's in the eyes.
No need or desire to post a picture but my preferred painting is Michaelangelo's "The Creation of Adam"...from a spiritual or secular POV... sublime, regardless
Guston is very interesting. There are three distinct stages in his work, but when he turned the corner and walked away from abstract expressionism back to this sort of figural representation the art world largely walked away from him. He was panned at the Marlboro show for his work and retreated to continue painting. His daughter did a really good autobiography that's amazing and offers good insight.
Not one painting but all the works of William-Adolphe Bouguereau. The guy could paint light like no one's business. Better than Vermeer and Rembrandt in my opinion. Very underrated by the high art world in general due to his campy scenes of angles, nymphs and portraitures. But it his painting technique and ability to create atmosphere with incredible diffused light to make it dream like and other worldly makes his work more than what it seems on the surface. There's something hypnotic about his work. That's the best I can describe it. I was a painter in my teens attempting to paint light similarly before I recently discovered Bougurereau going beyond what I could imagine. This one out of the many that show up in a Google image search stopped me in my tracks and gave me the chills just from the delicate brush technique in blending into the light. It's not easy to do this effectively with paint on canvas...
Alma-Tadema worked more or less contemporaneously alongside the Pre-Raphaelite Brotherhood, so there might be a slight stylistic influence from the latter, but the subject matter and ideology of the two are poles apart. Alma-Tadema was concerned with depicting classical Rome in a realistic style, whereas the Pre-Raphaelites rejected the classical poses and compositions that came after Raphael — hence the name.
Awhile back I posted a couple of my own paintings (Creation, page 40, and an earlier oil You're Next employed as a convention program, page 22). The most difficult decisions sharing a passion for art is where to go next and how far along the road has that interest taken us. Do I post another painting I’ve created, go with a well known classical/modern piece uploaded from the web or perhaps post another scan of a collected original work like the George Rozen Shadow cover painting (also page 22) or the masterpiece by the late Keith Birdsong (page 36)? Having given this some thought, the latter is my inclination because the truest personal favorites are those that are passionately collected. We've all been introduced to a wide range of art in this thread. While everyone appreciates museum art (most of which is beyond the average consumer's reach), the willingness to take the next step by acquiring art reflects just how much we revere it and are willing to sacrifice to own it. With that in mind, here are five more paintings that my wife and I have collected... Hannes Bok (orig. unsigned work, mixed medium, published in the Hannes Bok Treasury, from the Jerry Weist Collection) Alex Schomburg (orig. gouache war propaganda painting recreating Marvel Mystery #66, last war cover, utilized for ltd. ed. signed/numbered lithographic prints 1983) Scan attribution: Imaged by Heritage Auctions, HA.com George Rozen (orig. Shadow pulp cover painting, June 1st, '42, oil on illustration board, professionally shot image prior to framing) Margaret Brundage (orig. gouache painting, date unknown) Frank Kelly Freas (orig. oil on burlap, published cover for Ace Double paperback) Cat
Excellent work. It has an exotic feel that reminds me of the pieces by artists like Diego Rivera and Hector Hyppolite. Also, the current tattoo artist Pauly Lingerfelt from New Orleans produces great paintings that have a similar style to the work you uploaded in your post.
There is a deep and dreamy feeling to that Picasso period. The Old Guitarist is my preferred choice from the collection.
Given this is a music forum, I've always found the pen and ink artwork from The Horrors' singer, Faris Badwan, to be genuinely brilliant. Obsessive attention to detail. Canadian artist "Kes Acorn" also uses pen and ink but has been tattooing as well recently I believe. His artwork could honestly be the best I've ever seen. It's perfection.
The original, in situ, this afternoon: It’s been a few years since I visited Manchester Art Gallery, so we popped in for a refresher today.
The Druids: Bringing in the Mistletoe (collaboration with Edward Atkinson Hornel), 1890 by George Henry. Glasgow art Gallery and Museums
Lucy McKenzie’s Cheney and Eileen Disturb a Historian at Pompeii SMERSH - Lucy McKenzie - Exhibitions - Metro Pictures
When I took a course in art history in college, I had to do a report on Grant Wood (of American Gothic fame). My favorite painting of his (besides the obvious one) was Daughters of Revolution.
There have seen many beautiful , and many impressive pieces posted here, some I'm familiar with, and many not. But I have never understood the appreciation of this guys work, or at least the ones I've seen. Not being argumentative , I just don't get it. Different strokes as they say.
After a false start elsewhere, this is a (rather than the) great favourite of mine, Richard Dadd's The Fairy Feller's Masterstroke: ‘The Fairy Feller’s Master-Stroke’ at Tate Britain Hides a Dark Secret
