In the Salon of 1822, Eugene Delacroix ( 1798-1863), exhibited a scene from the Divine Comedy. But there was nothing in this livid vision of Virgil and Dante in Hell very surprising to a public familiar with Caravaggio, and the Raft of the Medusa. It was not until two years later, before the Massacre of Scio, that the critics inveighed against the “massacre of painting”
Delacroix had, in fact, transformed his pictorial language in the interval; inspired by the English landscape painters he had loaded his palette with brilliant colours and illumined Gros’ robust impasto with the glint of Oriental tissues and the marble tints of putrefaction. This time, the work was frankly revolutionary; the young Romanticists rallied round Delacroix, and the struggle against the classical tradition began; no durable school resulted from it, but the consequences were such as to transform the very conception of art.
To these young Romanticists art was not the realisation of an abstract ideal, but the expression of an individual soul, and the more original the artist, the greater the value of his works. He should not fear to manifest his vigorous personality; on the contrary, he should defend it jealously against external influences, against all the forces that, by limiting his personality, tend to obscure his genius.
Romanticism was the revolt of sensitive faculties, hitherto disciplined by the play of definite ideas. Latent and irresponsible forces rose from unconscious depths to reject classical logic. For logic, with its fixed principles, is identical among all men; it has a sort of eternal existence, superior to the minds which successively exercise it; and the Romanticist affects to despise this faculty which makes individuals similar.
During the second half of the nineteenth century, scholars gradually supplanted poets in the general governance of minds. The Romanticist, Victor Hugo or Delacroix, like Narcissus bending over his fountain, only looked at Nature to see the reflection of himself. To him, the universe was but a storehouse of images on which he drew to give colour to his poetry. When these exuberant personalities had sobered down, reality appeared to them, and interested them.
The landscape painters had set the example; following in their wake, painters and sculptors, as well as writers, began to think that absolute exactitude was the true ambition of art; this submission to the object is a scientist’s virtue, and, indeed, Naturalism is the artistic form of the positive spirit.
During this period, the continuity of French life was interrupted by sudden revolutions. Artists were not, of course, unmoved by the agitations which keep us poised, as it were, between revolution and compression; but the convulsions of social fury did not disturb the radiant summits of art.
Architecture, which always expresses the general character of communities clearly, was at once very prolific, and somewhat lacking in originality; this seems to show that the general existence was not so unstable as it seemed to be, and that society had not yet evolved a new form of collective life. These abrupt changes were after all only a question of political régime, a battle of pure theory or of personal interest. Governments, whatever they are, must always have one and the same object, which is to aid in the increase of riches.
The conflicting movements which agitated superficial France must not be allowed to hide that deep current, the slow pressure of which nothing can resist. Every day, a rather larger number of men achieve a little ease, or in other words, a relative prosperity and an average intellectual culture. This was the great social event of the nineteenth century, and modern art was to manifest this indefinite enfranchisement of the middle classes after its fashion.
Dalí, May 11, 1904, in Spain’s Catalonia region located in the town of Figueres, Salvador Dalí and Felipa Domenech Ferres i Cusí couple’s second child came into the world. The couple’s first child was born in 1901, Dalí’s birth, nine months and ten days ago (August 1, 1903), died of inflammation of the digestive tract, it is a name that Salvador had been the second child.
The first children at a young age to die a kind of acceptance can not Dalí couple of small Dali by frequent dead brother talking about the first Salvador’s a picture of the bedroom walls of the sheds, and Dalí’yle together regularly for the first Salvador’s tomb visits were. This, in Dalí’s early years led to confusion about their identity. Later, I did not know about his brother “were alike as two drops of water, but reflected was different. It was probably my first version was designed to be more positive.” I would write.
Dali’s father, a notary public was tough and authoritarian character. Unlike the full understanding and compassionate mother and son had given support to the efforts of the painting. Dali’s sister Ana María was born three years old. House as the only male child, mother, sister, aunt, grandmother, friends and carers of interest from the permanent Dalí, spoiled and capricious since a young age began to display a character.
1914 with the support of his mother to a special school post pictures of the Dali opened his first exhibition at the Municipal Theater in Figueres in 1919. In February 1921 of his beloved mother died of breast cancer. About his mother’s death “was the biggest blow I received in my life. I used to adore him. There may make my soul will not appear inevitable flaws always accept the loss of a being I could not trust.” I would write. Dali’s father, shortly after the death of his wife’s sister married.
This wonderful picture’s primitive, early Mediterranean feel is another vibrant example of Picasso’s monumental neo-Classical figures. The three women emerge from the rocky scene like gigantic sculptures in relief, their strong chiselled profiles and exaggerated statuesque contours reminiscent of late or provincial Hellenistic styles, from the time of Alexander the Great’s successors. The massive work is 204 x 174 cm (7 x 5.5 ft) in size, and its perspective draws the viewer’s eye up to these huge shapes.
The strange rotundity of the bodies is not only juxtaposed by the heavily hewed faces but by the deep gouged-in lines to denote the folds of the dresses. The accentuated width of these folds and the dramatic use of colour to create them – silvery in quality, against the bright blue -add to this sense of heightened relief, contrasting with the browny ochre backdrop of the rocks.
This use of folding to create motion and define shape is similar to techniques Picasso used in earlier pictures from the Blue Period, such as Mother and Child (Maternity) (1901). Here, instead of creating a rhythm to counteract the strong perpendicular lines of the chair, the folds act in reverse, creating a heavy, angular tension.
Jacob’s Ladder is a ladder to heaven, described in the Book of Genesis, that the biblical patriarch Jacob envisions during his flight from his brother Esau.
The description of Jacob’s ladder appears in the Book of Genesis (28:11–19): Jacob left Beersheba, and went toward Haran. He came to the place and stayed there that night, because the sun had set. Taking one of the stones of the place, he put it under his head and lay down in that place to sleep.
And he dreamed that there was a ladder set up on the earth, and the top of it reached to heaven; and behold, the angels of God were ascending and descending on it! And behold, the Lord stood above it [or “beside him”] and said, “I am the Lord, the God of Abraham your father and the God of Isaac; the land on which you lie I will give to you and to your descendants; and your descendants shall be like the dust of the earth, and you shall spread abroad to the west and to the east and to the north and to the south; and by you and your descendants shall all the families of the earth bless themselves.
Behold, I am with you and will keep you wherever you go, and will bring you back to this land; for I will not leave you until I have done that of which I have spoken to you.” Then Jacob awoke from his sleep and said, “Surely the Lord is in this place; and I did not know it.” And he was afraid, and said, “This is none other than the house of God, and this is the gate of heaven.”
Afterwards, Jacob names the place, “Bethel” (literally, “House of God”).
Frida Kahlo (July 6, 1907 – July 13, 1954)
Frida Kahlo was born Magdalena Carmen Frieda Kahlo y Calderón in her parents’ house in Coyoacán, which was then a small town on the outskirts of Mexico City. His father was a painter and photographer of German-Jewish origin, whose family is originally from Oradea, Romania.
Following a crippling traffic accident in 1925, Kahlo turned her attention from a medical career to painting. Based on his experience, his works are often shocking in their representation of Stark pain and the harsh life of women. Fifty-five of his 143 paintings are self-portraits that incorporate personal symbolism complete with graphic anatomical references. She was also influenced by indigenous Mexican culture, aspects of which she depicts in vivid color, with a mixture of realism and symbolism.
Her paintings have attracted the attention of the artist Diego Rivera, whom she later married, divorced and remarried. An active supporter of communism, it would have had an affair with Leon Trotsky, who was assassinated by agents of Stalin in Mexico in 1940.
Although Kahlo’s work is sometimes classified as surrealist and she did exhibit several times with European surrealists, she disputed the label. His concern themes of women and figurative candor with which she expressed was something of a feminist cult figure in the last decades of the 20th century.
She probably committed suicide July 13, 1954, his ashes placed in a pre-Columbian urn which are exhibited in her former home La Casa Azul in Coyoacán, which has been transformed into a museum containing a number of his works.
A biography documentary containing archival footage, entitled Frida Kahlo, was released in 1982 in Germany. In 1984, director Paul Le Duc, released the film Frida naturaleza viva, which highlights Ofelia Medina as Frida Kahlo. In 2002, Miramax released a film called Frida, with Salma Hayek in the title role.
christian art, christianity, christie’s images, collections, dante and virgil encounter lucifer in hell, english art, Giclee Prints, henry john stock, Symbolism
Edvard Munch, 12 December 1863 – 23 January 1944) was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionistic art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of love, fear, death, melancholia, and anxiety.
The Norwegian artist Edvard Munch is regarded as a pioneer in the Expressionist movement in modern painting. At an early stage Munch was recognized in Germany and central Europe as one of the creators of a new epoch. His star is still on the ascendant in the other European countries, and in the rest of the world. Munch’s art from the 1890s is the most well known, but his later work is steadily attracting greater attention, and it appears to inspire present-day artists in particular.
From 1876 to 1883 Gustav Klimt attended the Vienna School of Arts and Crafts and from 1879 he started working with his brother Ernst Klimt on decorative paintings, designed for public buildings in Vienna, Bucharest and Rijeka. In 1897 Klimt was one of the founding members of the Vienna Secession. He was chairman until he resigned in 1905. Gustav Klimt created a new and highly individual style in the Austrian art world. He broke with the conventional academic ideals.
Especially Klimt’s later work is defined by the use of intensive colors, golden backgrounds, ornamental layouts, erotic elements and heavy symbolism. Although his work was controversal, Klimt had a strong influence on the cultural world of his time and established himself as a very popular painter in the Viennese society. In Vienna’s museums you can admire some of his most famous works. The Museum of Applied Arts is proud of its collection.
At the Belvedere you can take in ‘Der Kuss’ (The Kiss) in all its glory. The Kiss is probably now one of the most famous pictures in the world and is to be found everywhere from apartments to hotel lobbies