Visualizzazione post con etichetta 19th Century Art. Mostra tutti i post
Visualizzazione post con etichetta 19th Century Art. Mostra tutti i post
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Alfonso Simonetti | Romantic painter

Alfonso Simonetti (29 December 1840 - 22 August 1892) was an Italian painter of historical scenes, portraits and landscapes; best known for his works with moonlight and sunset effects.
Simonetti was born in Naples, Italy, to the painter Giuseppe Simonetti (1840-1864) and his wife Vincenza, née Piccirillo.
In 1859, he enrolled at the Royal Academy of Fine Arts, where he studied under Gabriele Smargiassi and Giuseppe Mancinelli.


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Claude Monet | Alice Hoschedé au jardin, 1881

Monet's magnificent depiction of his garden at Vétheuil exemplifies the visual splendor of Impressionism at its height.
Monet painted this work in 1881 as a new chapter of his life was unfolding, and this picture expresses the exuberance and renewed passion of the artist during this important period.
Seated among the flowers is Alice Hoschedé, the artist's thirty-seven year old lover and the wife of his close friend and patron Ernst Hoschedé.
The composition is lavished with all of the hallmarks of a great Impressionist composition, with its vivid color palette, intermingling of the natural elements and interplay of light and shadow.

Claude Monet | Alice Hoschedé au jardin, 1881

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Arthur Schopenhauer: "Music is the melody whose text is the world"

"For an author to write as he speaks is just as reprehensible as the opposite fault, to speak as he writes; for this gives a pedantic effect to what he says, and at the same time makes him hardly intelligible".
"A man can be himself only so long as he is alone, and if he does not love solitude, he will not love freedom, for it is only when he is alone that he is really free".

Antonio Nunziante

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Pierre-Auguste Renoir | Fragments and studies

Pierre-Auguste Renoir (1841-1919) was fascinated by hats and their infinite array of trimmings.
To quote the model-turned-painter Suzanne Valadon: "Renoir particularly loved women's hats... he never ceased buying lots of hats".
The millinery trade was a thriving industry in Paris during the second half of the 19th century.
When the vogue for hats reached its peak, Paris was home to about 1,000 milliners.
Since hats represented the most variable accessory in a wardrobe, even women with moderate means owned several.
In this kaleidoscopic sketch, Renoir lavished his attention on the hats, while the heads are no more individualized than mannequins.

Pierre-Auguste Renoir | Study of Heads, 1890 | Barnes Foundation

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Pierre-Auguste Renoir | At the Milliner's, 1878

At the Milliner's is an oil on canvas artwork by Pierre-Auguste Renoir (French Impressionist painter, 1841-1919), created in 1878.
This work is a product of the Impressionism movement, measuring 32.9 x 24.8 cm and is part of the collection of the Fogg Museum in Cambridge, Massachusetts.
At the Milliner's exhibits the quintessential Impressionist technique with its loose brushwork and the interplay of light and color, rather than intricate detail.

Pierre-Auguste Renoir | At the Milliner's, 1878 | Harvard Art Museums / Fogg Museum

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Amore non è amore se muta.. | Shakespeare, Sonetto 116

Shakespeare | Let me not to the marriage of true minds | Sonnet 116

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,

Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;

Alessandro Puttinati | Paolo e Virginia, 1844

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Egon Schiele | Herbstsonne, 1914

Herbstsonne (Autumn Sun) is a lost masterpiece of Schiele's art unseen since 1942 and thought, until now, to have been destroyed in the Second World War.
One of Schiele's (1890-1918) most important paintings and among the finest of all his landscapes, it is the culmination of a central theme in Schiele's work that had preoccupied him since first coming to artistic maturity in 1910.
Using landscape as an allegory of a human emotion, Herbstsonne is an 'Expressionist' landscape in the truest sense of the word and a masterpiece of the unique and precarious time in which it was made.

Egon Schiele | Herbstsonne, 1914 | Christies

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Lord Alfred Douglas | Due amori / Two Loves, 1894

Sognai di stare su un piccolo colle
e un piano ai miei piedi s’apriva simile
a vasto giardino che a suo talento fioriva
di fiori e boccioli. V’erano stagni sognanti
placidi e cupi, e candidi gigli,
sparuti, e crochi, e violette
purpuree e pallide, fritillarie sinuose,
rade presenze fra l’erba in rigoglio, e tra le verdi maglie
occhi blu di vergognose pervinche brillanti nel sole.


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Luigi Pirandello | La Maschera, 1890

Io non ti prego, o vuoto cranio umano,
che il gran nodo mi voglia distrigar.
Follie d 'Amleto! Io sto co 'l Lenau: è vano
de la vita la Morte interrogar.

A che avventarti questa malacia
che in van mi rode, in stolidi perché?
Non vo ‘ sapere a qual mai uom tu sia
appartenuto - ora, appartieni a me.

Sir Thomas Lawrence | John Philip Kemble as Hamlet, 1801 | Tate

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Angelo Inganni | Spazzacamino, 1843

Il tondo con lo Spazzacamino, esposto per la prima volta all’Ateneo di Brescia nel 1843, raffigura un soggetto caro e più volte replicato da Angelo Inganni (Brescia, 1807 - Gussago, 1880) e rientra nella serie delle opere inviate nella città natale durante il suo periodo milanese.
Il quadro fu commissionato da Camillo Brozzoni, che ne fece poi dono alla Pinacoteca Tosio Martinengo con il legato del 1863.
Al centro del tondo un giovane spazzacamino, seduto su una panchina di pietra, sta mangiando un pane con un pesce, tiene sotto il braccio sinistro uno scopino di saggina, ai suoi piedi una sacca; sul muro alle sue spalle dei disegni.

Angelo Inganni | Spazzacamino, 1843 | Museo del Risorgimento, Brescia

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Henri Chapu | Mercure inventant le caducée, 1861

Henri Chapu's Mercure inventant le caducée (Mercury inventing the caduceus) was executed for la Villa Médicis in Rome in 1861.
The caduceus (from Ancient Greek: κηρύκειον kērū́keion "herald's wand, or staff") is the staff carried by Hermes in Greek mythology and consequently by Hermes Trismegistus in Greco-Egyptian mythology.
The same staff was borne by other heralds like Iris, the messenger of Hera. The short staff is entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was depicted being carried in the left hand of Mercury, the messenger of the gods.
Some accounts assert that the oldest imagery of the caduceus is rooted in Mesopotamia with the Sumerian god Ningishzida; his symbol, a staff with two snakes intertwined around it, dates back to 4000 BC to 3000 BC.

Henri Chapu | Mercure inventant le caducée, 1861 | Musée d'Orsay

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Francesco Hayez | Melancholy, 1841-1842

Melancholy is an oil-on-canvas painting created during 1841-1842 by Francesco Hayez (Italian Romantic painter, 1791-1882).
The painting, measuring 138,6 x 104cm, is part of the collection of the Pinacoteca di Brera, in Milan.
The work, executed between 1840 and 1842, is full of erudite references to the Italian and European pictorial tradition: from reflections on the 16th-century painting of the Veneto exemplified by the treatment of the clothing, which echoes the textural effects of Savoldo and Titian, to the citation of Flemish still lifes.
Painted for Marquis Filippo Ala Ponzoni, a patron of the arts, patriot and follower of Giuseppe Mazzini, this picture owed its popularity both to its outstanding quality and to its emblematic value, making it a symbol of the restlessness of Romanticism.

Francesco Hayez (Italian, 1791-1882) | Malinconia, 1841-1842 | Pinacoteca di Brera

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Antonio Mancini | La lacrima, 1883-1890

Dopo un duro ricovero nel manicomio Provinciale di Napoli nel 1881, Antonio Mancini (1852-1930) trovò ospitalità a Roma, presso gli zii Andrea e Noemi, e durante il suo soggiorno in città può dedicarsi alla pittura utilizzando i nipoti come modelli.
In questa tela si vede infatti Agrippina, con lo sguardo delicato e sofferente e gli occhi lucidi inumiditi dalle lacrime.
Proprio questo dettaglio dà il titolo all’opera, e si dice fosse stato un rimprovero del pittore a far scaturire il pianto.

Antonio Mancini | La lacrima, 1883-1890 (detail) | GAM - Galleria d'Arte Moderna di Milano

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Massimo D'Azeglio | A vendetta, 1834-1835

"A Vendetta" is an oil on canvas by Massimo D'Azeglio, created in 1834-1835.
The painting, measuring 179 x 225 cm, is part of the collection of the GAM - Galleria d'Arte Moderna di Milano.
Massimo Taparelli, Marquess of Azeglio (24 October 1798 - 15 January 1866), commonly called Massimo d'Azeglio, was an artist, writer and minister during the Italian Risorgimento.
A vendetta belongs to the historical landscape genre - this refers to landscape paintings drawn "from life" or in a realistic fashion, but populated with figures from history or literature.

Massimo D'Azeglio | Una vendetta, 1834-1835 | GAM - Galleria d'Arte Moderna di Milano

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Claude Monet | Deux femmes en barque, 1887

In 1883, Claude Monet (1840-1926) acquired a property in Giverny, a small village in his native Normandy.
Over the next several decades, the artist transformed the isolated, overgrown grounds that surrounded his new home into a lush private paradise, replete with overflowing flowerbeds, sweeping willow trees, wisteria vines, and an infamous waterlily pond.
This curated gardenscape would ultimately inspire some of the artist’s most infamous works in the second half of his career.

Claude Monet | Deux femmes en barque, 1887 | Christie's

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Giovanni Segantini | The Two Mothers / Le due madri, 1889

"The Two Mothers" is an 1889 oil painting by Giovanni Segantini (Italian painter, 1858-1899).
This work is a product of the Divisionist technique and measuring 301x162.5 cm.
It is part of the collection of the GAM - Galleria d'Arte Moderna in Milan.
Presented at the inaugural Milan Triennale in 1891, alongside "Maternità" (Maternity) by Gaetano Previati (1858-1899), "Le due madri" is one of Segantini's most celebrated and talked-about works, and affirmed the revolutionary new technique known as Divisionism.

Giovanni Segantini | Le due madri, 1889 | olio su tela; 301x162.5 cm | GAM - Galleria d'Arte Moderna, Milano

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Pierre-Édouard Frère | Genre painter

Pierre Édouard Frère (1819-1886), was a French genre painter.
Frère studied under Paul Delaroche, entered the École des Beaux-Arts in 1836 and exhibited first at the Salon in 1843.
Among his chief works are the two paintings, Going to School and Coming from School, The Little Glutton (his first exhibited picture) and L'Exercice (in the 19th century this work was in John Jacob Astor's collection).


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Gaetano Previati | Maternity, 1890-1891 | From Scandal to Masterpiece

The "Maternity" is a monumental painting in which the Italian symbolist painter Gaetano Previati (1852-1920) interpreted the theme of Christian tradition in a secular way.
The painting was completed between 1890 and 1891 resides at the GAM - Gallery of Modern Art in Milan.
The "Maternity" has a complex and tormented genesis, not only due to the difficulties connected with the unconventional interpretation of a great theme, but also because of the high costs of making a painting of monumental dimensions (177 x 411 cm) .
A fundamental work, the painting represents a turning point in Previati's career and a manifesto of the new divisionist painting.

Gaetano Previati | Maternità, 1890-1891 | GAM - Galleria d'Arte Moderna di Milano

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Tito Corbella (1885-1966)

Tito Corbella (Pontremoli, 1885 - Rome, 1966) was an Italian painter and postcard designer.
Tito Corbella first studied chemistry at the University of Padua.
However, he changed fields and continued his studies at the Academy of Visual Arts in Venice, where he was a pupil of Guglielmo Ciardi and Ettore Tito.
After his training, he began a career as an illustrator.
In early 1912, he focused more on portraits of women and lovers.


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Helen Keller: "Tieni il viso rivolto al sole e non vedrai mai le ombre"

Helen Adams Keller (1880-1968) è stata una scrittrice ed accademica Americana, che, pur essendo sorda e cieca, si è fatta paladina della causa dei ciechi, dei sordi e dei muti in tutto il mondo.
Figlia di un direttore di giornale, Helen Keller contrasse la scarlattina all'età di diciannove mesi, che la lasciò cieca e sorda.
Quindi comunicò principalmente usando cartelli domestici fino all'età di sette anni, quando incontrò la sua prima insegnante Anne Sullivan (1866-1936), parzialmente cieca, avendo contratto il tracoma all'età di cinque anni ed ampiamente riconosciuta per i suoi successi nell'istruire ad alto livello una persona priva di vista, udito e linguaggio normale.
Sullivan, che si assunse l'oneroso e spesso frustrante compito di insegnare a Keller l'alfabeto manuale, tamburellando sul palmo della mano e come leggere le labbra appoggiando il pollice e l'indice sul viso di chi parlava, insegnò a Keller il linguaggio, inclusa la lettura e la scrittura.
Dopo un'istruzione sia presso scuole specialistiche che tradizionali, Keller frequentò il Radcliffe College dell'Università di Harvard e divenne la prima persona sordocieca negli Stati Uniti a conseguire una laurea in arti.

Helen Keller