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#national gallery D.C.
thepaintedroom · 5 months
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Gari Melchers (American, 1860 – 1932) • Penelope • 1910 • National Gallery of Art, D.C.
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resplendentoutfit · 6 months
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Erastus Salisbury Field (American, 1805-1900) • Mrs. Paul Smith Palmer and her Twins • 1835-38 • National Gallery of Art, Washington D.C.
Hmmm...not only are they flat but the subjects of this peculiar portrait appear to be missing ears.
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arthistoryanimalia · 1 year
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For #PenguinAwarenessDay here is an unusual silk garment:
Haori with Penguins and Icebreaker Ships
Japan, Shōwa period, 1957-8
silk plain weave with stencil-printed warp & weft
Penguins aren’t native to Japan; This unique design was printed to commemorate Japan's 1st expedition to Antarctica in 1956-7.
Photographed at the Life of Animals in Japanese Art exhibition at the National Gallery of Art D.C. in 2019.
“This design, unusual for a waterside bird motif, commemorates Japan's first expedition to Antarctica in 1956-1957. Occurring a decade after Japan's defeat in World War II, this expedition was seen as a symbol of the nation's recovery. While the use of a penguin motif is unknown in Japanese garments of the Edo period, this piece shows how modern garment makers eagerly absorbed motifs from all over.” [The Life of Animals in Japanese Art, p. 231]
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onefootin1941 · 2 years
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The National Gallery of Art, Washington, DC
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longlistshort · 5 months
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Pictured above is Drossos P. Skyllas‘ painting, Wisconsin Ice Cave, 1950, part of LACMA’s 2018 exhibition, Outliers and American Vanguard Art.
About the artist from the National Gallery of Art in Washington D.C. where the exhibition was also on view-
Drossos Skyllas achieved the exquisitely detailed, jewel-like surfaces of his paintings with tiny brushes he fashioned himself. He applied miniscule dabs of luminous oil paint in a pointillist manner, which gave his subjects a petrified yet shimmering quality. His refined technique and adherence to the academic genres of still life, landscape, portraiture, and mythological scenes demonstrate his knowledge of art history. And inspired by the old masters, he perfected the difficult depiction of reflective surfaces, including gems, mirrors, water, and ice. At the same time, his uniform clarity of detail, imposed symmetry, and sense of frozen time create a dreamlike mysteriousness reminiscent of magic realism. In addition to high art sources, Skyllas likely drew upon commercial illustration and photography. Untitled (Roses) resembles both traditional floral still lifes and midcentury advertisements for jewelry and flowers. Wisconsin Ice Cave relates as much to northern Renaissance landscape painting as to mass-produced picture postcards.
Born in Greece, Skyllas worked in his father’s tobacco business before emigrating to the US shortly after World War II. He settled in Chicago and devoted himself to becoming a professional artist, though he had no formal artistic training. Supported financially by his wife, Skyllas produced thirty-eight paintings from the late 1940s until his death in 1973. Some of these he submitted to the annual juried exhibition at the Art Institute of Chicago, Chicago and Vicinity, which featured his work in 1955, 1967, 1969, and 1973. He also sought commissions to paint portraits, but with asking prices as high as $30,000, he never found any patrons.
Skyllas’s work was discovered after his death by Chicago gallerist Phyllis Kind, who added him to her roster of self-taught artists in 1974. He was likely known to artists Jim Nutt and Gladys Nilsson before this, as they had exhibited alongside him in the 1967 Chicago and Vicinity exhibition and are enthusiastic collectors of self-taught artists (Wisconsin Ice Cave is in their collection). The meticulous finish of Skyllas’s paintings, which simultaneously evokes advertising art and Renaissance illusionism, appealed to Nutt, Nilsson, and fellow Chicago imagist Roger Brown, whose art collection also included the self-taught Greek master.
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parnasse31 · 1 year
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Le grand dragon rouge et la bête de la mer par Athèna Via Flickr : Le grand dragon rouge et la bête de la mer (1805, National Gallery of Art, Washington D.C.) de William Blake (1757-1827)
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dailyrothko · 1 month
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Mark Rothko, Untitled. 1969 Ink on paper The National Gallery of Art (Washington, D.C.) Gift of The Mark Rothko Foundation, Inc.
© Kate Rothko Prizel and Christopher Rothko / ARS
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notjohnnyphantom · 2 years
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didoofcarthage · 4 months
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Angel Standing, attributed to Rembrandt van Rijn
Dutch, 17th century
pen and brown ink over traces of charcoal on laid paper
National Gallery of Art, Washington, D.C.
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arsvitaest · 1 year
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Edward Hopper, Haskell’s House, 1924 Watercolor over graphite on paperboard National Gallery of Art, Washington, D.C.
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nobrashfestivity · 26 days
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Edvard Munch Girls Bathing (Badende Madchen) 1895 aquatint and drypoint The National Gallery of Art (Washington, D.C.) Rosenwald Collection
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urgetocreate · 2 months
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Claude Monet (French 1840-1926), Woman with a Parasol - Madame Monet and Her Son, 1875, Oil on canvas, National Gallery of Art, Washington, D.C.
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garadinervi · 9 months
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Mark Rothko, No. 7, (mixed media on canvas), 1964 [National Gallery of Art, Washington, D.C. © Kate Rothko Prizel and Christopher Rothko / ARS, New York]
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rubenista · 5 months
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Hans Memling, Chalice of Saint John the Evangelist (reverse), ca. 1470/1475. Oil on panel, 30.2 x 23 cm. National Gallery of Art, Washington, D.C.
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dailyrothko · 4 months
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Mark Rothko, Cityscape. Date unknown, probably early 1940s or late 1930s
The National Gallery of Art (Washington, D.C.) Gift of The Mark Rothko Foundation, Inc. Image: Courtesy of National Gallery of Art, Washington; © 2014 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York
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John Singer Sargent, Nonchaloir (Repose), 1911, oil/canvas (National Gallery of Art, Washington D.C.)
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