Rose Van Lear

@rosevanlear.bsky.social

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A beauty to behold like a diamond in the coal Interests include music, HGTV, and art. Always looking for kindred spirits.

The Divers (Red and Black), 1942 Fernand Leger Oil on canvas #art #painting
Albert Bierstadt is best remembered for his paintings of the American West, but during his early career, the ambitious artist also created New England landscapes, particularly of the White Mountains, as seen here. When this painting was first exhibited in 1863, critics declared it Bierstadt's "best work" and praised the artist's deft contrast of "light and shade," which brought a heightened realism to the image. Bierstadt's affinity for the White Mountains mirrored a growing interest in the region as one of America's premier tourist attractions. Photographs of the area from the 19th century suggest that Bierstadt utilized landscape elements from the Flume, a popular New Hampshire tourist site, in this imaginary composition. #art #painting
From Spain, Sargent traveled to Morocco and rented a house in Tangier for two months. While there, he began this painting, which shows a woman perfuming herself with incense of ambergris, a precious, aromatic, waxy substance derived from sperm whales. Sargent invented this Moroccan fantasy to appeal to his Parisian audiences, taking inspiration from diverse North African sources. The painting was completed in his Paris studio using a model. It captured the attention of visitors and critics at the Salon of 1880, who praised its mysterious beauty and enigmatic narrative. Reviewers linked it to the Aesthetic movement and interpreted it in poetic or musical terms, while Sargent himself explained that the picture was all about color. The amazing white-on-white composition is amplified by the meticulous rendering of the incense burner, patterned rugs, and tiles on the floor. #art #painting
Woman with a Cow, 1886 Auguste Renoir Oil on canvas #art #painting
Jack-in-the-Pulpit No. IV, 1930 Georgia O'Keeffe Oil on canvas #art #painting
Both the sitter and the artist of this work received the prestigious Prix de Rome for history painting, allowing them to live and study for several years at the Villa Medici, seat of the French Academy in Rome. There, Alaux painted a group of portraits of fellow laureates in their private rooms. In this example, Pallière plays a guitar in a space decorated with the drawings, casts, and books that speak to his ongoing artistic education. A far more intimate image than the public commissions these artists completed, the portrait is a testament to friendship in a pivotal chapter in the lives of two young painters. #art #painting
Situated on the boulevard de Courcelles in Paris and surrounded by fashionable town houses, the Pare Monceau was planned in the late eighteenth century in the form of an English garden. Monet painted three views of the park in the spring of 1876. This one, shown at the 1877 Impressionist exhibition, focuses on the swaths of green grass and blooming trees. #art #painting
Williams often personalized his bold abstractions with autobiographical titles. Here, he refers to the artist's father, nicknamed "Red," and his father's best friend in the US Army during World War II, "Dr. Buzzard." By infusing his work with the deeply personal and historical, as well as with broader cultural references to jazz and quilting, Williams expanded the possibilities of abstraction. "I hope my paintings are loaded with human content," he reflected in 2018. "I thought that abstraction could address the human spirit just as well as representation." #art #painting
Death of the Crow, 1965 Benny Andrews Oil ón canvas #art #painting
Once part of a ceiling decoration at Venice's Palazzo Barbaro, this painting was never intended to be seen head-on or at such close range. The mental leaps necessary to reimagine it high overhead, however, replicates Tiepolo's process: through drawings and oil sketches that solved issues of color distribution, composition, perspective, and his patron's approval, Tiepolo foresaw highly site-specific demands. The trumpet, outstretched arm, and foreshortened central figure gave the false impression that the ceiling opened to the sky. Tiepolo was adept at allegorizing his patrons through figures that include Valor, Fame, and Glory. #art #painting
How the Wind Blows, 1946 Grandma Moses Oil on high-density fiberboard #art #painting
Wind River Mountain Range Scene, circa 1858-74 Alfred Jacob Miller Oil on panel #art #painting
At the end of 1889, Van Gogh painted three versions of this picture. He described the first as a study from nature "more colored with more solemn tones" (private collection) and the second as a studio rendition in a "very discreet range" of colors (National Gallery of Art, Washington, D.C.). The present work, the most resolved and stylized of the three, was intended for his sister and mother, to whom Van Gogh wrote: "I hope that the painting of the women in the olive trees will be a little to your taste—| sent [a] drawing of it to Gauguin, ... and he thought it good…” #art #painting
For a long time Helene has in her fantasy been revolving around a dream landscape, "a big, big surface which has gradually taken substantial form." She envisages the picture in front of her as a big rug on the wall, an island, and in the foreground a boy and a girl. -Einar Reuter, biographer It is possible that Einar Reuter was referring in his biography of Schjerfbeck to The Tapestry. The work is ambitious for its scale yet highly simplified and original in content: Two ethereal figures in a dreamlike setting stand against a large band of open sea and distant trees. There is speculation that the painting was preliminary to a tapestry-as early as 1905, Schjerfbeck's paintings inspired tapestry designs. #art #painting
The sheer number of Black people assembled in Harlem made an impression on every newcomer. As the lesbian novelist Dorothy West asked when she first arrived, "Is there a parade?" Hundreds of social clubs, lodges, sororities, church groups, and mutual benefit societies organized people's lives. They often took to the streets to celebrate their bonds to one another and the community. Johnson's Elks Marching depicts the Improved Benevolent and Protective Order of the Elks, one of many Black fraternal organizations. #art #painting
This imaginary landscape, or capriccio, is one of three in The Met collection from the castle of Colloredo di Monte Albano, near Udine. Guardi seems to have adjusted their sizes and shapes in the course of painting or immediately thereafter, probably in order to fit into decorative plaster surrounds. He composed these picturesque fantasies through combinations of rocky outcroppings, slanting tree trunks, and classical ruins, which are populated by fishermen and their families. #art #painting
This imaginary landscape, or capriccio, is one of three in The Met collection from the castle of Colloredo di Monte Albano, near Udine. Guardi seems to have adjusted their sizes and shapes in the course of painting or immediately thereafter, probably in order to fit into decorative plaster surrounds. He composed these picturesque fantasies through combinations of rocky outcroppings, slanting tree trunks, and classical ruins, which are populated by fishermen and their families. #art #painting
The French Quarter house that inspired this painting is a variation of a shotgun house called a sidehall. Like single and double shotguns, sidehalls have a Linear design, but they have three symmetrical bays opening to the street. The third bay makes room for an interior hallway, giving each room more privacy. #art #painting #NOLA
Saint Cecilia and an Angel, c. 1617/1618 and c. 1621/1627 Orazio Gentileschi & Giovanni Lanfranco Oil on canvas #art #painting
Woman Reading, 1907 Lucie Cousturier Oil on canvas #art #painting
Dumesnil followed Jean François de Troy's pioneering tableaux de mode (paintings of fashionable society) by depicting a scene of contemporary life that includes the modish card game of quadrille and a Black, probably enslaved, servant who tends the fire. Dumesnil probably painted this canvas between 1756 and 1759, when he lived in Bordeaux, an active port in the French slave trade. In an art world dominated by the French Royal Academy, Dumesnil made his career in the less prestigious guild association of the Académie de Saint Luc. #art #painting
The monks of Saint-Germain-des-Prés had a special devotion for Saint Vincent (d. 304), as their abbey had been founded to receive a relic of the saint's tunic. The relic had been transported from Spain by the Merovingian king Childebert (d. 558), who is shown here on horseback. The remaining scenes of this window, which is a composite from a larger ensemble, illustrate Saint Vincent's confrontations with the Roman proconsul Dacian. These include, from the bottom: two guards before Dacian; Bishop Valerius and Saint Vincent in chains with Dacian condemning them; King Childebert and King Clothar on their way to Spain; Valerius and Vincent led to prison; Vincent's body thrown into the sea and a man blowing an oliphant from a tower. A censing angel and tower decorate the uppermost panel of the window. Like the contemporary, famous windows of Louis IX's royal chapel, Sainte-Chapelle, these panels make it clear that by the middle of the thirteenth century Paris was the leading center for a new, expressive style of glass painting. #art #stainedglass
Evans showed an interest in the movement by writing a review of David Gascoyne's A Short Survey of Surrealism (1935) and contributing to the International Surrealist Exhibition in London a year later. In 1938, he moved to Durban, South Africa, to lecture on art. While there, he became familiar with local artistic traditions. The angular forms of Evans's paintings reflect the horrors of World War Il as seen from Africa, with The Mark of the Beast (taken as a reference to Hitler) explicitly alluding to the conflict. #art #painting
Degas is famous for his depictions of ballerinas. This painting is one of his most perplexing examples. Four dancers appear together, adjusting their shoulder straps as if preparing to step onto the stage. But is this a stage at all? Or is it an elaborate, dreamlike landscape with distant haystacks rising under a dramatically colored sky? Are these four separate women or a single dancer twirling through space and time? Art often blurs the lines between reality and fantasy. In this work, Degas invites us to decide which we are looking at. #art #painting
A man offers to help a woman reattach her garter, a common conceit in erotic painting and literature in eighteenth-century France. Her hand firmly rejects his advance, but the indecorous decision to reveal her leg in his presence suggests a ruse—perhaps inspired by the contents of the book she has discarded next to an already disrobed bronze statuette. The clock resembles the latest models by the famed furniture maker André Charles Boulle and includes a figure of Saturn, or Father Time, whose scythe has been stolen by Cupid. #art #painting
Chagall grew up in a Hasidic Jewish community in what is today Belarus. I and the Village, painted the year after he moved to Paris, evokes his memories of the place. He shows people and animals living side by side, their mutual dependence signified by the lines connecting the eyes of peasant and cow. The artist recalled of his childhood, "Lines, angles, triangles, squares carried me far away to enchanting horizons." The vibrant colors and loose geometries Chagall used to render the scene nostalgic and magical signal his awareness, among other things, of the new fractured and fragmented visual language of Cubism, which he encountered in Paris. #art #painting
Impressed by Sargent's showing at the Paris Salon in 1880, Chilean expatriates Ramón and Amalia Subercaseaux commissioned a portrait of Amalia (1860-1930), and in the process became lasting friends with the artist. Sargent painted her at her piano-as if she has just paused her playing- in the couple's stylish apartment. The beguiling image of Subercaseaux in an elegant black-and-white gown is as much a display of the young couple's wealth and refinement as it is of Sargent's skill. The portrait helped establish his reputation as a portraitist of chic Parisiennes even as some viewers, including playwright Edouard Pailleron, whose portrait is shown nearby, balked because she was not French. Nevertheless, Sargent earned a second-class medal at the Salon that year, an honor that allowed him to bypass the judging process in the future. #art #paintng
Figaro poses for his International Cat Day portrait 🐈‍⬛
A serene desert scene features a woman asleep on the ground, wearing a colorful striped dress. A lion stands protectively beside her, with the moon casting a glow over the landscape. #art #painting
With the artists Alice Rahon and Eva Sulzer, Paalen left Europe in 1939 to travel through North America, eventually settling in the SanÁngel neighborhood of Mexico City. He promoted surrealism in Mexico, co-organizing with poet César Moro the 1940 Exposición internacional del surrealismo and launching the journal Dyn. In this painting, Paalen used wavelike forms to depict a cosmological being influenced by the writings of the mystic Peter Ouspensky, heralding his own divergence, and that of friends like Gordon Onslow-Ford, from surrealism. #art #painting
Centering on one of the avant-garde subjects that Manet popularized in late nineteenth-century French painting, Before the Mirror captures a woman in front of her mirror, in a state of partial undress. In its iconography, the work is closely related to Manet's painting Nana (1877), and in turn to the infamous prostitute antiheroine of mile Zola's 1880 novel by the same name. However, it is difficult to make out her features, and the mirror's reflection lends a mysterious aura to the work; one only imagines what one cannot see. While the woman appears to be absorbed in contemplating her own image, her folded right arm suggests that she is aware of the presence behind her. The viewer assumes the role of spectator, intruding upon this private moment in the boudoir, during which the woman-back turned-grasps an extended corset string. #art #painting
Concentric circles most clearly represent a target in Retaliation. An arrow swings around the edges of the painting before taking aim for the center. Oubre could be referencing a retaliatory missile strike, something Americans feared while living during the Cold War between the United States and the Soviet Union. It could also reference his personal fears as a Black man during the Civil Rights Movement. Three years before painting this composition, Oubre was asked to leave ASU-the same year he won a teacher of the year award-likely due to conflicts with the administration about supporting politically engaged students. #art #painting
Visual Synthesis of the Idea: "War", 1914 Gino Severini Oil on canvas #art #painting
Hoping to recapture the success he had achieved with Madame Georges Charpentier and Her Children (07.122) at the Salon of 1879, Renoir sought to paint the daughters of his friend Catulle Mendes. In addition to the girls' manifest charm, he undoubtedly counted on the notoriety of their bohemian parents to gain attention: their father was a Symbolist poet and publisher, and their mother was the virtuoso pianist Augusta Holmès. Renoir completed the commission in a matter of weeks and immediately exhibited the large canvas in May 1888, but the response to his new manner of painting, with its intense hues and schematized faces, was unenthusiastic. #art #painting
Yellow Islands, 1952 Jackson Pollock Oil paint on canvas #art #painting
Specific Notation, 2019 Lorna Simpson Ink and screenprint on gessoed fiberglass #art #painting
Girl in a Red Dress, 1934 Charles Henry Alston Oil on canvas #art #painting
Begun in 1896, Monet's Mornings on the Seine series was not completed until 1897 because of inclement weather. Having patiently scouted out views along the river, Monet then painted the pictures from a boat that he had converted into a floating studio. For an extended period he rose by dawn in order to paint the changing effects of light as the sun came up. He then lined up the canvases on easels in his studio to complete them together as a series. Fifteen were shown at the Galerie Georges Petit in 1898. #art #painting
The Campo di SS. Giovanni e Paolo, Venice, 1743-1747 Bernardo Bellotto Oil on canvas #art #painting
In autumn 1901, a year after arriving in Paris from Spain, Picasso painted six canvases in a singular style that inaugurated his Blue Period. Dialogue with artistic predecessors was part of this breakthrough: in this painting, Picasso looked back to café scenes by Edouard Manet and Edgar Degas by way of Vincent van Gogh and Paul Gauguin. For the distinctive costume of Harlequin, he was inspired by the Italian theater tradition of the commedia dell'arte, which peaked in popularity in the eighteenth century but underwent a revival during Picasso's youth. The trickster Harlequin always wears a checkered costume, while the sad clown Pierrot has a white face, ruffs, and collar—but Picasso merged the characters for his own twist on the tradition. El Greco soon joined Picasso's diverse sources of inspiration as he developed the cool palette and distant, melancholy aspects seen in his classic Blue Period paintings. #art #painting
Anna Lintumäki was a favorite model in Hyvinkää. She appears in several of Schjerfbeck's paintings. As with Symbolist paintings of the last decades of the nineteenth century, Anna's bust length portrait is a metaphor for an abstract concept. She conveys the intended silence. The painting is a tour de force: contemplative and compelling in content while beautifully mastering diffuse light in soft brushwork. The black background is undefined; the bluish-white torso is loosely suggested without modeling and the head seems to float on the surface, mediating between the darkest surround and the barely suggested bodice. Silence is one of Sehjerfbeck's few pictures where facial definition is individualized. #art #painting
The women known as majas visually distinguished themselves through opulent, exaggerated traditional dress that became synonymous with Spanish popular culture. Goya's innovative composition of majas on a balcony seen from the street—accompanied by somewhat threatening male companions—was one of his most well-known paintings and is today in a private collection. This version may be a variant that Goya used to explore different expressive and stylistic emphases, or it may have been painted by a close follower. Goya's complex compositional device, in which balcony and picture plane overlap on the brink of public and private spaces, would inspire French painter Edouard Manet in his depictions of urban life in Paris during the late 186os. #art #painting
Siqueiros is best known for his murals using the latest in materials and techniques. The Hanged Man is one of his early experiments with the highly tactile pyroxylin, a new material used in automobile paint. A staunch Communist, Siqueiros imbued his works with his beliefs in autonomy, liberty, and workers' rights. His artwork is often linked to the history of U.S. interventionist policies in Latin America and the fight for the dignity of Indigenous people. This powerful close-up of a bound man hanging from a tree by his wrists is an image of violence and isolation—a lone figure seemingly abandoned by humanity. #art #painting
The Rainbow, painted in June 1961, is Moses's last finished painting. With its exuberant brushwork and bold colors, it exemplifies her late style at its best. The horizontal format compresses foreground and background, collapsing space and time. The rainbow itself can be seen as a beacon of hope: the reward for a day-or a lifetime-of hard work. #art #painting
A Midsummer Afternoon Dream, 2021 Amy Sherald Oil on canvas #art #painting
Notwithstanding their kinship with earlier works by Ingres and Delacroix, the harem pictures Matisse made in Nice, such as this odalisque of 1927, had a more practical basis. As Matisse explained: "I paint odalisques in order to paint the nude. Otherwise, how is the nude to be painted without being artificial? But also, I know they exist. I was in Morocco. I saw them." #art #painting
Houses at Payannet, near Gardanne (Hameau à Payannet près de Gardanne), 1885 - 1886 Paul Cezanne Oil on canvas White House Collection #art #painting
Study for Tillie's, 2013 James Michalopoulos Oil on canvas #art #painting
A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch), 1839 Thomas Cole Oil on canvas #art #painting
Untitled Self-Portrait, ca. 1949 Eileen Agar Oil on board #art #painting
Hunting was an aristocratic activity regulated by the king, who often led large hunting expeditions several times a week. This elegant picnic taken mid-hunt derives from Antoine Watteau's fêtes galantes, but teems with contemporary detail, including a Black, likely enslaved, servant dressed in exoticized costume. This oil sketch's verve and freshness reflect its status as a study to prepare for a large, closely related painting that was installed in the paneling of Louis XV's dining room at the Château de Fontainebleau in 1737. #art #painting
The asymmetrical composition of this panel reveals Tiffany's debt to Japanese art. The leading, sculpted in places to mimic the contours of magnolia branches, is as integral to the imagery as the glass. #art #stainedglass
Ophelia, 1936 Stanley William Hayter British, 1901-1988 Oil paint, casein tempera, and gesso on canvas #art #painting
Portrait of J.P. Marchand, 1873 Paul Poincy Oil on canvas #art #painting
Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924 Otto Dix Etching, aquatint, and drypoint from a portfolio of fifty prints This work was informed by the artist's personal experience with war. #art #painting
To paint this panoramic scene, Sisley walked up the hill from his rented house in Marly-le-Roi, near Paris, and selected a northwest view overlooking the town. The building at left was located within the border of neighboring Louveciennes. The lush, manicured grounds to the right of the path belonged to the more extensive property in Marly-le-Roi owned by Robert Le Lubez, an amateur singer and patron of contemporary composers such as Charles-François Gounod and Camille Saint-Saëns. #art #painting
This sensitive depiction of Sargent's close friend Emma Allouard-Jouan (1836-1918) was described by novelist Henry James as "a masterly rendering of the look of experience... slightly faded and eminently sensitive and distinguished." Allouard-Jouan was a prolific and successful playwright, translator, and society columnist who moved in the same circles as several of Sargent's friends and patrons, including Edouard Pailleron, Samuel Pozzi, and Judith Gautier. As a journalist, she publicized the activities of both Sargent and Virginie Amélie Gautreau; her column was the first to share the news that Sargent was painting a portrait of the famous society beauty. Gautreau would later confide to her that the painting, Madame X, was "a masterpiece." Sargent inscribed this portrait to Allouard-Jouan as "a testimony of friendship." #art #painting
Wilbert Tillman, Preservation Hall, 1963 Noel Rockmore Oil on canvas #art #painting
El Greco's candid portraits have been consistently admired for their naturalism and psychological insight, even when his other works fell out of favor. Having appeared regularly in Spanish, French, and German publications on the artist in the first years of the twentieth century, this painting entered the collection at The Met in 1924. With its direct address, informality, and similarity to images believed to represent El Greco himself, the work has often been identified as a self-portrait, though this is impossible to affirm definitively. #art #painting
Julie Manet, the daughter of Berthe Morisot and Eugène Manet, often accompanied the Renoir family on trips outside of Paris in the 18gos. Julie noted in her diary that the group visited the village of Nizon, in Brittany, in August 1895-as Renoir had also done in 1892 and 1893—thus providing considerable information about the context of this sketch. Renoir made two oil paintings of the site based on the watercolor, modifying his composition so that, in the paintings, the cross of the calvary did not overlap with the church's spire. #art #painting