Larissa Morais

Born and raised in Moscow, Morais is influenced by everything in her life. Her brush creates a realistic impression as if it couldn't possibly be anything but a photo.

She views her subject matter as architecture.

She sees the subject and presents it in a way that is usually not seen from the naked eye.

Her favorite subject to paint is the human figure from which she brings a reality to the paintings where attention to detail is as strong as attention to the character of the model. In her artwork, we are in the company of beautiful men and women, intimately poised and positioned.

All her artwork is conceived from a sketch, which she later paints onto a large black canvas.

Her delicate technique is with very thin layers of oil paint, while using the black background for shadowing. She captures every detail of her subject. For her it is all there, she just uncovers it.

Dylan John Lisle, 1978 | Pittore Romantico

Il lavoro di Dylan Lisle mantiene un dinamismo contemporaneo attraverso il suo passato rappresentazioni magistrali della forma femminile.

Nodi e fasce vibranti, il tessuto appassionato avvolge le sue figure sensuali, od altrimenti sono le oggetto di studi più ampi, che attingono al chiaroscuro, che ricorda Caravaggio, Rembrandt, Vermeer e Rubens.

Henri Matisse | Seated Woman, Back Turned to the Open Window, 1922

Author: Henri Matisse;

Title: Seated Woman, Back Turned to the Open Window, c. 1922 (Femme assise, le dos torné vers la fenêtre ouverte);

Medium and Dimensions: Oil on canvas. 73,3 x 92,50 cm;

Current location: The Montreal Museum of Fine Arts.

Henri Matisse | Woman before an aquarium, 1922

Henri Matisse was fascinated by the cultures of North Africa and the Middle East.

In 1903 he visited an Islamic art exhibition at the Musée des Arts Décoratifs, Paris; in 1910 he traveled to Munich for a major display of Islamic objects and then to Spain to see Moorish architecture.

He also collected brilliantly colored and richly ornamented textiles, pottery, and tiles.

It was, however, the physical experience of these lands that proved to have the greatest impact on Matisse's vision and creativity.

Henri Matisse | Young Woman before an Aquarium (Jeune fille devant un aquarium) | Between September 1921 and February 1922. | Art Institute of Chicago

Henri Matisse | Woman in a Purple Coat, 1937

"Woman In A Purple Coat" or "The Purple Coat" is a painting by Henri Matisse from 1937.

It depicts Matisse's assistant Lydia Delectorskaya.

This painting is an example of Henri Matisse's mature decorative style.

Matisse depicts his model and companion of many years, Lydia Delectorskaya, in an exotic Moroccan clothing, surrounded by a complex of abstract design and exotic color.

This is an example of one of the final groups of oil paintings in Matisse's career, in 1950 he stopped painting oil paintings in favor of creating paper cutouts.

Henri Matisse | Romanian blouse, 1940 | Centre Pompidou

The ornamental embroideries of the blouse are actually the main topic here, as the painter showed great interest in all types of fabrics.

Matisse was moved by the graphic beauty of motifs in craftsmanship that he collected.

He conveys his exaltation, smoothing out details, streamlining lines and creating colour blocks, as the stylisation of the oak leaves central ornaments suggests it.

The blouse billows out, becoming pictorial space as much as metaphor.

11 photographs show the various stages of creation for this portrait, gradually erasing the young girl to better emphasise the embroidered blouse. | Source: © Centre Pompidou, Musée national d’art moderne

Henri Matisse | Romanian blouse, 1940 | Centre Pompidou - Musée national d'art moderne

Aung Kyaw Htet, 1965

Aung Kyaw Htet è un pittore del Myanmar.

I suoi dipinti della vita religiosa in Myanmar mostrano monaci e monache in modo realistico, sebbene gli oggetti non essenziali siano omessi dai dipinti.

Ha studiato alla Scuola Statale di Belle Arti a Rangoon.

È un devoto buddista ed è cresciuto in un piccolo villaggio, due fattori che hanno una forte influenza sulla sua arte.

I suoi quadri di la vita religiosa in Birmania mostra però monaci e monache in modo realistico gli oggetti non essenziali vengono omessi dai dipinti per disegnare attenzione alle persone.