Sealing a letter (Allegory of Fire)Eberhart Keilhau

classic-art

Eberhart Keilhau, art

LIU Kuo-sung (Taiwanese, b. 1932) Eager Mountains: Tibetan Cento XIII 2000 Ink and color on paper 182 x 90 cm

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January 24, 2012 Robert Auer
October 12, 2012 Theo van Rysselberghe

John Atkinson Grimshaw (1836-1893)Blackman Street, LondonOil on canvas188563.8 x 76.5 cm(25.12" x 30.12")Private collection

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Antonio Mancini Il Saltimbanco 1879 Oil on canvas 203.8 x 110.8 cm Vance N. Jordan Collection ___ Mancini worked at the forefront of Verismo, an indigenous Italian response to nineteenth-century realism, producing haunting portrayals of circus performers, street musicians, and impoverished children taken from the streets of Naples. After suffering a disabling mental illness, Mancini settled in Rome, and with the support of American and Dutch patrons managed for many years to eke out a precario...

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konradwyrebek: Konrad Wyrebek ‘We Are Slaves To A World That Doesn Exist’, oil painting 40 x 50 cm ” Our ambitionsare the same: what we aim for can quickly become somewhere else.Paintings such as ‘Young Slaves’ and the sculpture ‘Three Graces’explore the possibility that the ideals we’re aiming for can enslaveus. Our culture places high value on celebrity, fashion, youth andbeauty. Super-perfect images and messages – celebrating andadvertising these targets – are all around us, and our attempts...

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Edvard Munch The Kiss, 1895, etching, aquatint and drypoint, 34.5 x 27.8 cm, signed in pencil lower right, Munch Museum, Oslo, Norway.

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Salvador Dalí The Sacrament of the Last Supper 1955 Oil on canvas 267 x 167 cm National Gallery of Art, Washington D.C.

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Claude Monet The Custom House, Morning Effect, 1882, oil on canvas. “I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot; and that is why I am working on the same motifs over and over again, even four or six times.” - Claude Monet

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Ferdinand Hodler Detail of Woman in Ecstasy, 1911, oil on canvas, private collection, Solothurn Art Museum, Switzerland.

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William Turner The Burning of the Houses of Lords and Commons, 16 October, 1834, 1835, oil on canvas, 92 × 123.2 cm, Cleveland Museum of Art, Ohio.

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Wassily Kandinsky Decisive Rose (Entscheidendes Rosa), March 1932, oil on canvas, 81 x 100 cm, Solomon R. Guggenheim Founding Collection. In 1922 Kandinsky accepted a teaching position at the Bauhaus, the state-sponsored Weimar school of art and applied design.Geometric shapes came to play a dominant role in Kandinsky’s pictorial vocabulary at the Bauhaus; the artist, who was interested in uncovering a universal aesthetic language, increased his use of overlapping, flat planes and clearly deline...

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Caspar David Friedrich The morning, ≈ 1820-1821, oil on canvas, 22 × 30.5 cm, Niedersächsisches Landesmuseum, Hannover. Friedrich’s landscapes are based entirely on those of northern Germany and are beautiful renderings of trees, hills, harbors, morning mists, and other light effects based on a close observation of nature.

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Ilya Repin Portrait of Chuguev resident S.L. Lyubitskaya, 1877, oil on canvas. Ilya Repin was a leading Russian painter of the Peredvizhniki artistic school. His realistic works expressed great psychological depth and exposed the tensions within the existing social order.

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Edgar Degas Dancer in Front of a Window (Dancer at the Photographer’s Studio), c.1874-77, oil on canvas, 50 x 65 cm, Pushkin Museum, Moscow.

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poboh: Garden, Giovanni Giacometti. Swiss (1868 - 1933) Father of Alberto and Diego Giacometti and architect Bruno Giacometti.

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Carlos Anderson Day’s End 1939 Opaque watercolor on fiberboard 91.5 x 66.0 cm. Smithsonian American Art Museum

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