7 masterpieces at the Thyssen-Bornemisza Museum

Frederick Carl Frieseke | The House in Giverny, 1912

When Frieseke first settled at Giverny in 1906, he stayed at Le Hameau (the hamlet) on the rue du Pressoir.

The two-story cottage surrounded by high walls on three sides enclosing a garden was next door to the home of Claude Monet and had previously been occupied by the American artist Lilla Cabot Perry.

The house shown in The House in Giverny, however, is most likely the Whitman house, the second of Frieseke's three Giverny residences.

Its green shutters and the distinctive open lattice-work of green trellises laden with flowers appear in a number of Frieseke's paintings, including Lilies, Tea Time in a Giverny Garden (both Daniel J. Terra Collection) and Hollyhocks, c. 1912-1913 (Carmen Thyssen-Bornemisza Collection).

The intimacy of Frieseke's small painting and his interest in decorative pattern links the artist more closely with the Nabi painters Vuillard and Bonnard than to his neighbour Monet or with Renoir, the French Impressionist he most admired.

The artist stated his creed published in a 1914 interview: "My one idea is to reproduce flowers in sunlight.

I do not suggest detail by form, as I have to keep it as pure as possible or the effect of brilliancy will be lost.

Of course, there is a limit to the strength of pigments, and one can but relatively give the impression of nature. I may see a glare of white light at noon, but I cannot render it literally [...]

I usually make my first notes and impressions with dashes of tempera, then I paint over this with small strokes in oil to produce the effect of vibration, completing as I go". | Source: © Thyssen-Bornemisza Museum

Frederick Carl Frieseke (American, 1874-1939) | The House in Giverny, 1912 | Museo Nacional Thyssen-Bornemisza, Madrid

Enoch Wood Perry | A Month’s darning, 1876

In their subject matter and compositional format, Enoch Wood Perry’s watercolor paintings are quite similar to his oils, and his method of applying paint was consistently characterized by fastidious attention to detail.

Like his colleague Eastman Johnson, Enoch Wood Perry (1831-1915) studied in Düsseldorf and Paris, where he acquired a respect for careful draftsmanship.

He exhibited "A Month’s Darning" in 1876 at the American Society of Painters in Water Colors and later the same year at the Centennial Exposition in Philadelphia, where it was acclaimed for its evocation of times past.

The critic for the "New-York Tribune" found the woman’s head to be "the best part" of the composition and only regretted "that the sweet-faced girl . . . should have such large-footed men-folks to darn for". | Source: © The Metropolitan Museum of Art

Enoch Wood Perry | A Month’s Darning, 1876 | Metropolitan Museum of Art

Cindy Hendrick | Watercolor illustrator

A love of gardening, nature and woodland animals inspire Hendrick’s artwork.

Spending time in her surroundings, she observes these friends of the forest and field and their quirky behaviors.

The small company Hendrick started from her home in 2004, Woodfield Press has grown from humble beginnings with a handful of notecards and a couple of paper doll kits to a business with products in up to 450 stores throughout the US and the ability to print 40,000 cards at a time.

Camille Pissarro at the Christie's

Camille Pissarro | Paysannes travaillant dans les champs, Pontoise, 1881

In Paysannes travaillant dans les champs, Pontoise, painted in 1881, Camille Pissarro (1830-1903) depicts a group of five young women harvesting peas on the rural outskirts of Pontoise, a bustling market town about forty kilometers northwest of Paris where he and his family had lived for over a decade.

Pissarro had first treated the theme of picking peas in two oils the previous year, and he returned to the motif at least three times following his move to the agrarian hamlet of Éragny in 1884.

Camille Pissarro | Paysannes travaillant dans les champs, Pontoise, 1881 | Christie's

Happy birthday to Théo van Rysselberghe, born on this day in 1862

Happy birthday to Théophile "Théo" van Rysselberghe (23 November 1862 - 13 December 1926), a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the twentieth century.

Van Rysselberghe discovered the pointillist technique when he saw Georges Seurat's La Grande Jatte at the eighth impressionist exhibition in Paris in 1886.

Together with Henry Van de Velde, Georges Lemmen, Xavier Mellery, Willy Schlobach and Alfred William Finch and Anna Boch he "imported" this style to Belgium.

Metropolitan Museum of Art | Storia del Museo

Le prime radici del Metropolitan Museum of Art (Met) risalgono al 1866 a Parigi, Francia, quando un gruppo di americani decise di creare una "istituzione nazionale e galleria d'arte" per portare l'arte e l'educazione artistica al popolo americano.

L'avvocato John Jay, che propose l'idea, portò avanti rapidamente il progetto al suo ritorno negli Stati Uniti dalla Francia.

Sotto la presidenza di Jay, l'Union League Club di New York radunò leader civici, uomini d'affari, artisti, collezionisti d'arte e filantropi alla causa.

Alaa Awad, 1981 | Neo-pharaonic style art

Dr. Alaa Awad is an Egyptian painter and muralist, known for his public murals in Cairo and Luxor, Egypt.

Inspired by ancient Egyptian heritage and contemporary society, some of Awad’s most popular work includes scenes of celebration, victory, Sufism, Egyptian social life and culture.

Currently, he serves as an assistant lecturer and PhD candidate at South Valley University (SVU), Faculty of Fine Arts.

His PhD working dissertation title is, "Artistic Vision Inspired by the Murals of War and Peace in Ancient Egyptian Art" and will be released in 2019.