January 10, 2012
pjorrt:

Jean-Baptiste Carpeaux’s Pêcheur à la coquille

pjorrt:

Jean-Baptiste Carpeaux’s Pêcheur à la coquille

(via imbrogliorosso)

January 6, 2012


Karlovszky, Bertalan (1858-1938) - Reclining Nude (Private Collection)
Oil on fiberboard.
Hungarian painter. After studying in Munich and Paris, he settled down in Budapest, his native town, where he was first engaged in illustrations, then in studies of heads (“Hungarian Peasant Woman”) and portraits. He was famous for his portraits which were as accurate as photos. Even his larger pictures had a miniature-like treatment of textures and details of faces. He was a typical representative of the so-called Art Gallery naturalism. He ran a private art school in Budapest for some time.
He was awarded several prizes. He became a teacher of the Art School, Budapest in 1928. His major works include “Gyula Rózsavölgyi”, “Female Nude in Workshop”, “István Kléh” (1920), “G.H. Becker, Minister of Education, Prussia” (1932), “Árpád Ódry as Hamlet” and “Self Portrait”, all in the collection of the Hungarian National Gallery.

Karlovszky, Bertalan (1858-1938) - Reclining Nude (Private Collection)

Oil on fiberboard.

Hungarian painter. After studying in Munich and Paris, he settled down in Budapest, his native town, where he was first engaged in illustrations, then in studies of heads (“Hungarian Peasant Woman”) and portraits. He was famous for his portraits which were as accurate as photos. Even his larger pictures had a miniature-like treatment of textures and details of faces. He was a typical representative of the so-called Art Gallery naturalism. He ran a private art school in Budapest for some time.

He was awarded several prizes. He became a teacher of the Art School, Budapest in 1928. His major works include “Gyula Rózsavölgyi”, “Female Nude in Workshop”, “István Kléh” (1920), “G.H. Becker, Minister of Education, Prussia” (1932), “Árpád Ódry as Hamlet” and “Self Portrait”, all in the collection of the Hungarian National Gallery.

December 20, 2011

Herbert Gustave SCHMALZ (1856-1935) Blind Girl of Pompei
Herbert Gustave Schmalz (1856-1935)Born near Newcastle in 1856 to a German father, Schmalz moved to London at the age of seventeen before enrolling at the South Kensington Art School and later, the Royal Academy. After studying in Antwerp, Schmalz returned to London to establish his career.Time spent in Jerusalem in 1890 served him well for his New Testament work in the years to follow. A mixture of Pre-Raphaelite and Victorian Neo-Classicism the paintings are effective for their atmospheric use of light in creating a mood of foreboding and sorrow.
Text from:
http://bibleillustration.blogspot.com/2008/06/herbert-gustave-schmalz-1856-1935.html

Herbert Gustave SCHMALZ (1856-1935) Blind Girl of Pompei

Herbert Gustave Schmalz (1856-1935)
Born near Newcastle in 1856 to a German father, Schmalz moved to London at the age of seventeen before enrolling at the South Kensington Art School and later, the Royal Academy. After studying in Antwerp, Schmalz returned to London to establish his career.
Time spent in Jerusalem in 1890 served him well for his New Testament work in the years to follow. A mixture of Pre-Raphaelite and Victorian Neo-Classicism the paintings are effective for their atmospheric use of light in creating a mood of foreboding and sorrow.

Text from:

http://bibleillustration.blogspot.com/2008/06/herbert-gustave-schmalz-1856-1935.html

October 19, 2011

September 8, 2011
The Sack of Rome by the Visigoths on 24 August 410 by J-N Sylvestre (1890)
Are there any contemporary representations of Alaric? If not, why not?

The Sack of Rome by the Visigoths on 24 August 410 by J-N Sylvestre (1890)

Are there any contemporary representations of Alaric? If not, why not?

August 13, 2011
antonio-m:

Le Désespoir, Jean-Joseph Perraud Musée d’Orsay, Paris


Jean-Joseph Perraud (1819, Jura - 1876) was a French academic sculptor. According to Eaton, “During the Second Empireno sculptor enjoyed a greater reputation,” although his style fell out of fashion soon after his death.
Perraud was a student at the Ecole des Beaux-Arts from 1843 under Etienne-Jules Ramey and Augustin-Alexandre Dumont, co-winner of the Prix de Rome in 1847, officer in the Legion of Honor in 1867, and member of the Académie des Beaux-Arts.

antonio-m:

Le Désespoir, Jean-Joseph Perraud
Musée d’Orsay, Paris

Jean-Joseph Perraud (1819, Jura - 1876) was a French academic sculptor. According to Eaton, “During the Second Empireno sculptor enjoyed a greater reputation,” although his style fell out of fashion soon after his death.

Perraud was a student at the Ecole des Beaux-Arts from 1843 under Etienne-Jules Ramey and Augustin-Alexandre Dumont, co-winner of the Prix de Rome in 1847, officer in the Legion of Honor in 1867, and member of the Académie des Beaux-Arts.

(via malebeautyinart)

July 29, 2011
cormond. Cain. detail.

cormond. Cain. detail.

5:43pm  |   URL: http://tmblr.co/ZshkRy7fcWV5
  
Filed under: cormon cain akademizm 1880 detail 
July 29, 2011
Fernand Cormon. Cain.
“You will be a restless wanderer on the earth.”
Don’t know the relationship of the previous painting to this one.

Fernand Cormon. Cain.

“You will be a restless wanderer on the earth.”

Don’t know the relationship of the previous painting to this one.

5:41pm  |   URL: http://tmblr.co/ZshkRy7fcONT
  
Filed under: cormond cain akademizm 1880 
July 29, 2011
Fernand Cormon. Cain (1880)
(d’après Victor Hugo, La Légende des siècles)

Fernand Cormon. Cain (1880)

(d’après Victor Hugo, La Légende des siècles)

5:37pm  |   URL: http://tmblr.co/ZshkRy7fc5k_
  
Filed under: cormond akademizm 1880 cain 
June 29, 2011
missfolly:

Janelle and the Volume of Treasures, by Sir William Russell Flint, 1960

nice take on “women and books” (dare one say “bovaryism”…) Wikipedia mentions: “a perceived crassness in his eroticized treatment of the female figure” by the art critics….

missfolly:

Janelle and the Volume of Treasures, by Sir William Russell Flint, 1960

nice take on “women and books” (dare one say “bovaryism”…) Wikipedia mentions: “a perceived crassness in his eroticized treatment of the female figure” by the art critics….

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