Par MMaxi le 8 April 2008 à 01:53
Title Pierrot (Oudezijds Achterburgwal)
Artist James Abott McNeill Whistler
Technique Ink on paper/Dry-point and etching
Dimensions 22,9 x 16,1 cm
The back of a house reflected in the water of an Amsterdam canal. There are two people in the doorway on the waterfront: a man leaning against a post (a dreamy figure, perhaps the Pierrot of the title?) and a woman leaning over the water. The building and the water are rendered with rough areas of hatching which leave large areas of black. A vague reflection of the two figures is visible in the water. James McNeill Whistler made this print in 1889, when he spent two months in the Netherlands. In fact, the artist visited this country several times. He found the rivers and canals inspiring and was especially enthralled by Amsterdam. In a series of prints he recorded his favourite parts of the city: the picturesque canals of the slum areas with their delapidated houses and rows of washing lines.
Par MMaxi le 13 February 2008 à 05:32
At the Louvre in Paris, I will come and see it very soon.
Thank you Paris and thank you friends.
Cexhib thank you for the pleasure of beeing part of your world and art.
Your a true friend and it was nice to see you smile.
For all the good reasons.
Atè breve amigo.
Par MMaxi le 30 September 2007 à 23:35
Rembrandt Harmensz. van Rijn
Rembrandt was about 22 when he drew this self portrait. The manner in which it is drawn is loose and sketch-like. His characteristic features, the unkempt head of curly hair, the wide nose and faint moustache, are accurately captured. Rembrandt began by sketching his face in pen and brown ink, showing the contrast between light and shadow. He then reworked the drawing with brush and grey ink. This was a rare combination of techniques for Rembrandt.
Par MMaxi le 27 March 2007 à 00:03
Sir Anthony (Anton) van Dyck (22 March 1599 – 9 December 1641) was a Flemish artist who became the leading court painter in England. He is most famous for his portraits of royalty, painted with a preternatural virtuosity which set the standard for elegance in the genre. He excelled also in the painting of biblical and mythological subjects, displayed outstanding facility as a draftsman, and was a master of etching.
From the Beginning Van Dyck painted mythological and religious subjects.
While few portrait drawings in chalk on grey paper survive - perhaps they were usually destroyed in the process of transferring their information to the canvas - large numbers of drawings connected with history - painting projects do.
As Van Dyck's thinking evolved, there remained a constant; the formal idea that he surely owed to Rubens in the first instance. It was the diagonal, a recurrent device in Ruben's work, lending disequilibrium to composition and drama to narrative. Anyone could see its force in the Cathedral in Antwerp, in the Raising of the Cross and the Deposition.