The Expressive Impulse
180
centuriespast:

BLAKE, WilliamJob Confessing his Presumption to God who Answers from the Whirlwind1803-05Pen, ink and watercolour over pencil on paper, 393 x 330 mmNational Gallery of Scotland, Edinburgh

centuriespast:

BLAKE, William
Job Confessing his Presumption to God who Answers from the Whirlwind
1803-05
Pen, ink and watercolour over pencil on paper, 393 x 330 mm
National Gallery of Scotland, Edinburgh

227
artmastered:

Odilon Redon, Pandora, c.1914, oil on canvas, 143.5 x 62.2 cm, The Metropolitan Museum of Art, New York.
Redon depicts the mythical beauty Pandora surrounded by brightly coloured flowers on a hazy, pastel background. She is shown holding her most famous attribute: a box that, when opened, will release all known evils to torment the human race.

artmastered:

Odilon Redon, Pandora, c.1914, oil on canvas, 143.5 x 62.2 cm, The Metropolitan Museum of Art, New York.

Redon depicts the mythical beauty Pandora surrounded by brightly coloured flowers on a hazy, pastel background. She is shown holding her most famous attribute: a box that, when opened, will release all known evils to torment the human race.

140
maertyrer:

Gustave Moreau - Salome carrying the Head of John the Baptist a Platter (1876)

maertyrer:

Gustave Moreau - Salome carrying the Head of John the Baptist a Platter (1876)

i-love-art:

Gustav Klimt, Upper Portion of Two Lovers, 1908

i-love-art:

Gustav Klimt, Upper Portion of Two Lovers, 1908

240

thegetty:

Masked Harlequin, the commedia dell’arte’s leading man, lures an innocent, elegantly dressed young lady into the world of prostitution. She’s caught the eye of a displeased young man, dressed in dapper clothes. They stand out in this scene of costumed characters in exaggerated clothing. 

Gillot’s light, quick brushstrokes mimics the satirical subject and lighthearted portrayal of human folly.

Fashion Fridays explores art, history, and costume inspired by the exhibition Rococo to Revolution #NowOnView

Scene from the Italian Comedy (recto), about 1700, Claude Gillot. The J. Paul Getty Museum

570
nycartscene:

thru Aug 3:“Alibis: Sigmar Polke 1963–2010”The Museum of Modern Art, 11 West 53 St., NYCSigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization.

nycartscene:

thru Aug 3:

Alibis: Sigmar Polke 1963–2010

The Museum of Modern Art, 11 West 53 St., NYC

Sigmar Polke (German, 1941–2010) was one of the most voraciously experimental artists of the twentieth century. This retrospective is the first to encompass the unusually broad range of mediums he worked with during his five-decade career, including painting, photography, film, sculpture, drawing, printmaking, television, performance, and stained glass, as well as his constant, highly innovative blurring of the boundaries between these mediums. Masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next—he always eluded easy categorization.

245
artnet:

If you would like to see Vermeer’s famous, beautiful Girl with a Pearl Earring, you’ll have to have to travel to the Netherlands, as it’s been banned from leaving the Mauritschuis Picture Gallery. 

artnet:

If you would like to see Vermeer’s famous, beautiful Girl with a Pearl Earring, you’ll have to have to travel to the Netherlands, as it’s been banned from leaving the Mauritschuis Picture Gallery. 

137
centuriespast:

Jean Baptiste Camille Corot (1796-1875), French  
Baptism of Christ (Study for the painting in the church of St. Nicholas-du-Chardonnet), 1844-45
Oil on canvas    
La Salle University Art Museum

centuriespast:

Jean Baptiste Camille Corot (1796-1875), French  

Baptism of Christ (Study for the painting in the church of St. Nicholas-du-Chardonnet), 1844-45

Oil on canvas    

La Salle University Art Museum

239
impressionsonmymind:

Camille Pissaro, Louveciennes, Route de Saint-Germain, 1872, watercolor over black chalk

impressionsonmymind:

Camille Pissaro, Louveciennes, Route de Saint-Germain, 1872, watercolor over black chalk

127
centuriespast:

Eugene Boudin (1824-1898), French        
Plougastel. Le Passage du Bac, 1870       
Oil on panel on board    
La Salle University Art Museum

centuriespast:

Eugene Boudin (1824-1898), French        

Plougastel. Le Passage du Bac, 1870       

Oil on panel on board    

La Salle University Art Museum