Hieronymus Bosch (Jeroen van Aken, ca 1450-1516), The Garden of Earthly Delights, triptych (ca 1500), central panel detail 9. (Source: en.wikipedia.org) The carnal life is alluded to in metaphorical and symbolic terms, for instance strawberries that figure prominently in the landscape, symbolizing here the fleeting nature of fleshly pleasure. Among other metaphors, hollow fruits and fruit peelings into which some of the couples have crept, are erotic symbols inspired by popular sayings and slang expressions of Bosch’s time.

A Michigan native, Andrea Kowch cites the Midwestern landscape as the prime inspiration for her work. Kowch's charming, haunting scenes have been compared to the work of Andrew Wyeth and Alfred Hitchcock. Like Wyeth, Kowch paints in a realist style, using rural settings as metaphors for her female subjects' internal states. And as in Hitchcock's films, the scenes Kowch depicts are not what they seem; mysterious plots and backstories seem to lurk below the surface. Kowch's fictive world is both domestic and wild: rabbits nest in women's laps, quails sit in their hands, moths land on their blouses. Even when her characters are inside, the natural world intrudes. In The Feast, three women gather around a table; wind blows through the wide-open windows, while a rooster sits beside their plates, its beak reaching for their loaf of bread. [RJD Gallery, Sag Harbour, New York - Acrylic on canvas, 91.4 × 91.4 cm]

Yuri Klapoukh - Lying Down in Green Pasture

Francesca Woodman, 1979

We catch up with the Wildcard Winner from Sky Arts Landscape Artist of the Year 2015, David Aldersade, about his unconventional journey to the semi-final

Frederick Carl Frieseke 1874-1939 | American At the Mirror Signed "F.C. Frieseke" (lower right) Oil on canvas Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in At the Mirror, resulting in a highly successful and balanced composition.  Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. At the Mirror exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. Painted by 1922 Canvas: 32 3/4" high x 32 1/4" wide Frame: 43" high x 42 1/2" wide Provenance: Macbeth Gallery, New York Sotheby's New York, May 25, 1988, Lot 194 Private collection M.S. Rau, New Orleans

František Kupka, 1913

Filippo Palizzi (1818-1899) fu uno dei maggiori artisti italiani della seconda metà dell'XIX secolo e uno degli esponenti più originali del verismo in

Fashion Flashback: Given that fashion was instrumental in the creation of Canada, this blog series explores the development of what Canadians wore one era at a time. “Man’s Tailcoat. P…

Loneliness, emptiness, and anxiety – these are the main complaints American existential psychologist Rollo May encountered over and over from his patients. In 1953, May published Man’s Search for Himself, in which he explores these problems – that are perhaps more relevant than ever in our modern age. When society can no longer give usContinue reading "Loneliness, Emptiness, Anxiety in Modern Society"

Oil on canvas; 58.5x99 cm.

"Green Water Falls" art print from the "Silent Figure With Landscape" series by Copenhagen based collage artist and musician øjeRum. A3 (29.7cm x 42cm) high quality digital print on 300g heavyweight recycled paper. Packed & shipped flat in a protective sleeve.

Traveling down the B3098 near Westbury, in Wiltshire, England, a curious sight greets drivers and passengers alike as they round a corner. Up on a

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About Intriguing painting on canvas by Istvan Sandorfi (1948-2007) "Lulu". Signed on the back of the canvas: Sandorfi Istvan, 1976, Lulu. One similar chair exhibited at the Asian Art Department of the Denver Art Museum.

Born in 1965 in Kewaskum, Wisconsin, where he now lives with his wife Jennifer, and their young children, Dan's interest in art emerged as a teenager.

The Fry Art Gallery in Saffron Walden puts Eric and Tirzah Ravilious side by side The Fry Art Gallery has a bit of a track record for this; reminding us of the wonderful world of Eric Ravilious, the artist whose...

Taller than trees and towering over buildings, Johanna Goodman‘s pieced together female forms appear to stretch far above the landscapes before them. The collaged works, which combine elements of art, design, and architecture, are a part of Goodman’s series titled The Catalogue of Imaginary Beings, which aims to explore the individual’s role in history and popular culture. “[The Catalogue of Imaginary Beings] draws its inspiration from a wide spectrum of sources—including magical realism, surrealism, and symbolism—and more specific references such cultural artifacts as talismans, idols, totems, and all of the material detritus that surrounds all of us all the time,” Goodman told Ms. More

Paintings by Old Masters, Modern and Contemporary Artists, Famous and Less Known Fine Art

Publication set to be released in September and will focus on the making of Rush’s classic 1977 album

Bathing, Dame Laura Knight. English Impressionist Painter (1877 - 1970)

Jago Jacopo Cardillo est un jeune sculpteur italien qui réalise des sculptures magnifiques et réalistes.

Felix Vallotton Greetings Cards. Dimensions: 178mm by 128mm (landscape). Blank inside, so suitable for birthdays, anniversaries, and all occasions.

Towering female figures fill the frame in large-scale collages by Johanna Goodman (previously). Using a range of contemporary and historic materials and visual motifs, ranging from bright red glitter to greyscale photos of classical sculptures, Goodman builds powerful protagonists from disparate materials. Elongated torsos are with clipped vintage photos, contemporary model shots, and even sculptures and paintings. Goodman places each figure in an imagined landscape—often oceanside or celestial—with the open horizon adding to the grandiosity of each “Imaginary Being”. More

Kim English - Morning paper