#oilpainting

52 posts · Last used Sep 20

By Flemish painter David Teniers the Younger (1610–1690), better known for his scenes of peasants and tavern life: Cat Concert (Katzenkonzert), oil on panel, 26 x 31.5 cm, Bavarian State Painting Collections, Staatsgalerie Neuburg. #art #arthistory #painting #oilpainting #cats Katzenkonzert was a popular theme at the time. Sometimes called a “glaring of cats,” referring to a group of 3 or more cats.
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Today at the portrait I tried to make simpler statements and not go with transitions. Normally I go towards transitions and more details at some point but I tried to hold myself back, trying to optimize my shapes instead. It didn’t go very well yet I think. I will look at some masters that do those better and maybe make better decisions with the next one. I really want to learn this #portraitpainting #painting #oilpainting #mastoart #fediart #allaprima
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Here is the final #oilpainting The subject is based of a photograph from 1910, made in #Lofoten (Norway). The man in the portrait unfortunately isn't named, but he was a #cod #fisherman working in the dried codfish export. The photograph has always struck me, seeing these everyday people dragging these strange creatures out of the depths they never got to see with their own eyes. The painting is made with water-mixable oils. #lofotfiske
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Vincent van Gogh (1853–1890), The Prison Courtyard (after Gustave Doré), 1890, oil on canvas, 31.4x25.1 inches (80x64 cm), Pushkin Museum of Fine Arts. #arthistory #painting #oilpainting #vangogh #prison From HSE University, Moscow: “Vincent van Gogh painted The Prison Courtyard in 1890, inspired by an engraving by French illustrator Gustave Doré. In February 1890, Van Gogh was staying at the Saint-Paul-de-Mausole asylum, where he had no opportunity to paint from life… When examining Van Gogh's painting, one can notice a pair of butterflies fluttering against the prison wall. For the artist, they may have symbolized hope for liberation… When painting this work, Van Gogh primarily used blue paint. The artist was known for his fondness for cool blue, which he combined with warm yellow to convey his inner state. The clash of these two colors also symbolizes the inner conflict that marked Van Gogh’s life—between hope and despair, joy and sorrow. The artist often used blue for his self-portraits. Through blue and its many shades, he sought to understand himself as a person and as an individual.”
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Your art history post for today: by Thomas Cole (1801-1848), “The Course of Empire: Destruction,” 1836, oil on canvas, 39 1/4 × 63 1/2 inches (99.7 × 161.3 cm), collection of The New York Historical. #arthistory #painting #oilpainting From the museum: ‘On August 30, 1836 the artist wrote to his friend and fellow artist Asher B. Durand "I have been engaged in Sacking & Burning a city ever since I saw you & am well nigh tired of such horrid work." The vainglorious city that Cole depicted in The Consummation of Empire has fallen to a savage enemy, and the critic for the New-York Mirror lauded Cole's critique of imperial rule, agreeing with the artist's depiction that "[s]uch is the merited downfall of all the empires which the earth has heretofore known." Instead of the statue of Minerva, goddess of wisdom, that kept watch over The Consummation of Empire, a headless colossal figure taken from the Louvre's Borghese Warrior witnesses the rapacious acts of the invading army. Cole was likely influenced by the English painter John Martin's panoramic scenes of apocalyptic disaster, and he no doubt knew that his depiction would bring to mind the terror and destruction wrought in New York by the Great Fire of 1835. Unlike the other paintings, here Cole's signature is audaciously large and carved in slashing letters, almost like an act of vandalism, on the pedestal of the ruined statue at the right.’
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Replying to
Ihr habt es so gewollt!! #mastoart #workinprogress #landscape #oilpainting
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