日本では、美術鑑賞というと「見て感じるもの」というイメージがありますが、西洋では「読むもの」という考えが根付いているそうです。『人騒がせな名画たち』（木村泰司/マガジンハウス）は、美術の教科書でも見たことがあるような名画の背景にある「人騒が…

Bato Dugarzhapov (1966 -) Russian impressionist painter. After discovering and sharing Eduard Manet’s legacy and before returning to printed matters meet this Russian painter. (Left: bouquet, a detail) Site-links where you can visit Bato Dugarzhapov’s art are at the end of this posting. Selecting 16 out of the odd 300 I found on the Internet an impossible and unthankful task. Just ask me to “publish” 16 more. Born in Chita in the far far East of Russia, north of China and north of Mongolia maybe explaining his “wide angle” vision and why so many of his compositions are painted against the light. For photographers, besides the most interesting, creative and challenging also the most difficult light to pursue and catch. This selection a few my favorites. To get you interested in case, like me, you’ve never heard of him before. Now you have. 250+ to go. (Paris, Seine bookstall and banks) (Thaw) Konstantin Korovin (1861-1934) is considered the Russian Claude Monet (1840-1926). He was a contemporary of Monet. A century later Bato Durgazhapov taking Impressionism beyond Monet and Korovin. His picking up Light with a brush from his soft pastel pallet is extraordinary. Some of his painting almost “go completely abstract” but squeezing the eyelids against the sun the scene eventually emerges from the canvas. Comparing one can find examples of practically all stages of Monet’s artistic lifetime evolution. The same goes for Korovin . He must have studied both painters intensively. Korovin once was director of the Moskow Art School where Bato D. was a student a century later. His paintings are of course way out of my financial range but discovering him made me a richer man. Hopefully there will be a book in future. In my lifetime. See the gull in the sky !! (Paris, Seine at night) Willow and pond (Whisterias) Visit: http://eye-likey.blogspot.com/2010/10/bato-dugarzhapov.html http://www.artrussia.ru/artists/artist_s.php?id=440&foa=f Let me know what you think by leaving a comment.

ベルトルト・ヴォルツェの「鬱陶しい紳士」っていう絵画のオッサンまじで鬱陶しいから見てほしい

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Frantisek Kupka. 1871-1967. Paris. Le rouge à lèvres. N°2. The lipstick. # 2. 1908. Strasbourg. Musée d'Art Moderne et Contemporain. UNE PETITE HISTOIRE DE LA PEINTURE EUROPEENNE L'Art de tous les temps et à toutes les époque s'est décidé en haut des hiérarchies sociales et a été le reflet des volontés des élites politiques et idéologiques du temps. 1° La peinture européenne, du 5è siècle au 15è siècle, est totalement inspirée par les thèmes religieux dictés par le catholicisme et l'orthodoxie. Les racines de l'Europe sont donc bien, non pas chrétiennes, mais catholiques et orthodoxes. C'est un fait qui déplait à beaucoup d' Idéologues et de politiques contemporains, surtout en France. Certes ces racines disparaissent, c'est un fait aussi, et les Influents Innommables du mondialisme font tout pour que les peuples européens perdent jusqu'au souvenir de leurs racines. 2° Au 15è siècle en Europe, plus particulièrement en Italie, apparaissent des thèmes nouveaux tirés de l'Antiquité Grecque et Romaine. Autres racines, plus anciennes, en voie de disparition à notre époque. Les Influents mécènes ne sont plus seulement d'Eglise, ils viennent de l'Aristocratie guerrière, foncière et de la ploutocratie marchande. C'est l'Art Humaniste dans lequel la religion, catholique et orthodoxe et l'Antiquité (Mythologie et Histoire) coexistent en bonne intelligence. Le portrait devient un genre en lui même, indépendant. 3°Au 17è siècle dans les Pays Bas du Nord, protestants, s'est produit une petite révolution idéologique, la Réforme, qui modifie du tout au tout, à plus ou moins longue échéance, l'art de la peinture en Europe : Disparition presque totale de l'art religieux, et de l'art inspiré par les valeurs de l'Antiquité greco-romaine, au profit d'un art profane, uniquement occupé par la société du présent. On a parlé d'Art Naturaliste. Epanouissement de la peinture de paysage, qui est traité seul, pour lui même, sans prétexte religieux ou mythologique. Apparition de la peinture de moeurs, descriptive de la société quotidienne. Non seulement dans les milieux aristocratiques, mais aussi dans les milieux bourgeois et paysans. Développement du portrait qui ne concerne plus seulement l'aristocratie, mais aussi les classes moyennes. Apparition de la "Nature morte" en tant que thème totalement indépendant. Peinture des objets, des animaux, des fleurs. Une peinture qui peut prendre un ton moraliste avec les "Vanités". Pendant tout le 17è et encore au 18è cette peinture naturaliste du présent reste principalement limitée aux Pays Bas. Les autres pays d'Europe continuent dans la voie ouverte par l'Art Humaniste et les thèmes principaux de la peinture demeurent la religion et l'Antiquité. Rares sont en France, en Allemagne, en Italie en Espagne, en Grande Bretagne les peintres influents totalement spécialisés dans le paysage ou la peinture de moeurs. Il en existe, mais ils restent une minorité. La peinture de paysage demeure principalement liée aux grands sujet religieux, mythologiques ou historiques. La nature morte est de même bien moins développée qu'aux Pays Bas. Le Portrait reste l'apanage des classes aristocratiques ou des grands bourgeois. 4° La fin du 18è, le 19è et le début du 20è siècle voient la peinture européenne se diversifier de manière presque explosive. C'est une époque extraordinairement plurielle pour l'art européen. Une époque de liberté et de grande diversité idéologique. Non seulement les thèmes les plus divers sont traités partout en Europe, mais les techniques de la peinture se diversifient et se renouvellent. En fin de période apparaît une nouveauté intéressante : l'Art Abstrait. Nous voyons ici avec Millais et Rossetti deux exemples de cette diversité d'inspiration idéologique d'un art européen qui traite encore des thèmes religieux, mais aussi d'autres thèmes, profanes, comme Hamlet, ou la mythologie grecque. Des thèmes et une diversité qui vont totalement disparaître après les années 1950. 5° Vers 1950 s'impose, dans les musées occidentaux, ce que l'on appelle l'Art Contemporain, témoin de la nouvelle idéologie mondialiste de la Table Rase et d'un art sans aucunes racines culturelles. A voir les oeuvres d'art exposées dans les Musées d'Art Contemporain le but des élites mondialistes est très clair : aculturer les hommes, uniformiser les peuples du monde pour mieux les dominer. A LITTLE STORY OF EUROPEAN PAINTING Art of all times and in all ages, has decided at the top of the social hierarchy, and was a reflection of the will of political and ideological elite of the time. 1. The European painting from the 5th century to the 15th century, is totally inspired by religious themes dictated by Catholicism and Orthodoxy. Europe's roots are threrefore welle, not Christian, but Catholics and Orthodox. It is a fact that displeases many Ideologues and political contemporaries, especially in France. Certainly these roots disappear, it is also a fact, and the Influents, Innommables (Unspeakables), of the Globalism do everything to make that the European peoples lose the memory of their roots. 2. In the 15th century in Europe, especially in Italy, appear new themes drawn from Antiquity Greek and Roman. Other roots, most ancient, as endangered in our time. The Influents patrons are not only for the Church, they come from the warrior aristocracy, land tenure, and the Merchant plutocracy. This is the Humanist Art, in which the Catholic and Orthodox religion and Antiquity (Mythology and History) coexist in harmony. The portrait became a genre in itself, independent 3. In the 17th century, in the Netherlands Northern, Protestant, occured a ideological revolution, the Reformation, which amends completely, more or less long term, the art of painting in Europe: Almost total disappearance of religious art, and art inspired by the values of the Greco-Roman Antiquity, in favour of a secular art, only occupied by the society of the present. There was talk of a Naturalist Art Developpement of landscape painting, which is treated alone, for himself, without religious or mythological pretext. Appearance of the painting of manners, descriptive of everyday society. Not only in aristocratic circles, but also in bourgeois and peasants circles. Development of the portrait, which no longer concerns only the aristocracy, but also the middle classes. Appearance of "Still Life", as a completely independent theme. Painting objects, animals, flowers. A painting can take a moralistic tone with "the Vanities." During the 17th and again in the 18th, this naturalistic painting is mainly restricted to the Netherlands. Other European countries continue in the path opened by the Humanist Art and the main themes of the painting remains the religion and antiquity. Few are in France, Germany, Italy, Spain, Great Britain, influential painters totally specialized in landscape or painting of manners. They exist, but they remain a minority. Landscape painting remains primarily linked to the religious, mythological or historical subject. The still life is even less developed than in the Netherlands. The Portrait is the prerogative of the aristocratic classes or the great bourgeoisie. 4. At the end of the 18th century, during the 19th and early 20th century European paintings diversifies, almost explosively. It is an extraordinarily pluralistic era for European art. An era of freedom and great ideological diversity. Not only the most diverse themes are treated everywhere Europe, but the techniques of painting are diversifying and renewing. At the end of period appears an interesting novelty: Abstract Art. We see here, with Millais and Rossetti, two examples of this diversity of ideological inspiration of a European art, who still deals with religious themes, but also other themes, profane, like Hamlet, or Greek mythology. Themes and a diversity that will completely disappear after the 1950s. 5. Around 1950 is needed in the Western museums, the so-called Contemporary Art, witness the new globalist ideology of Table Rase and an art without any cultural roots. To see the works of art exhibited in the Museum of Contemporary Art, the goal of the globalist elite is very clear: eliminate the differences in culture between men, standardizing the peoples of the world, in order to better dominate.

Born in 1979, Albin Veselka's interest in art came at an early age. He is very grateful to his parents who were instrumental in promoting his emerging talent. In 2006 Albin received his BFA from Brigham Young University Idaho. He credits the knowledgeable and student oriented faculty of the BYUI art department for giving him "the tools all representational artist must have to open the door to communicating in the visual arts".

Modigliani ritratto

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Etudiant le tableau de la Joconde, Pascal Cotte, ingénieur français et fondateur de la société Lumiere Technology, a découvert un portrait caché derrière celui de Mona Lisa. Cinq siècles après sa conception, la Joconde de Léonard de Vinci, tableau...

Now nothing. Green is an amazing color! And green decor is classic and timeless. a true story… Many moons ago, when I was in interior design school, my color teacher, Ms. Fax loved to tell a story about a student who said that she loved blue. Ms. Fax told her, “you just think that you […]

先日、スポーツクラブでシャワーを浴びたあと、洗面台に片足をかけてドライアーで下の毛を乾かしているじじいがいました💢。あのドライアーはもう使いたくない。　今回は青騎士にも所属していたパウル・クレー（１８７９−１９４０）（下１枚目）です。天使の絵なんかが有

2022年4月6日(水)～12日(火)、神戸大丸店にて古河原泉個展「OUTLINE of existence(存在のリンカク)」を開催。(土日は作家在廊予定)

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Albania-born modern artist Josef Kote painted fabulous feminine figurative paintings with gentle touch, and softer color palette. Josef has worked in

Explore the Albertina Museum in Vienna with my detailed guide! Discover its extensive collections, including the world's largest collection of graphic arts with works by Michelangelo, Raphael, and Albrecht Durer. Dive into modernism from Monet to Picasso. Find must-see masterpieces and insider tips for an enriching visit.

To see Vermeer's "Girl with a Pearl Earring" (circa 1665), you'll have to have to travel to the Netherlands, as it won't be leaving the Mauritschuis.

For Italian painter🎨 Simon Pasini, light plays a very important role in his paintings.His inspiration is mostly actions in daily life, it looks like people are not posing in his painting.