Eric G. Thompson, After Tea, Oil on Panel.
Charles Partridge Adams - Platte River Sunset
“In the depth of winter I finally learned that there was in me an invincible summer.” -Albert Camus
We love how our artist Eric G. Thompson plays with light! See more of his work here.
Thomas Macaione, Untitled (Snow Scene), Oil on Canvas.
Celebrate International Museum Day with this behind-the-scenes look at framing Andrew Wyeth’s iconic painting Christina’s World.
Totally fascinating!
More behind-the-scenes views of the art world here.
Delve into our art files! Our latest e-newsletter is gorgeous.
Julius Jonas ‘Gyula' Klaber (1872-1939), Hungarian.
Frank Auerbach, Figure on a Bed, 1967-70, oil on board, 77.3 x 102.3 cm, Tate Collection. Source
A figure reclining on a bed is a recurring subject in Auerbach’s work, particularly in the second half of the 1960s. Tate Britain will be holding an Auerbach retrospective this autumn.
"It seems to me madness to wake up in the morning and do something other than paint, considering that one may not wake up the following morning." -Frank Auerbach
Above the Eternal Peace - Isaac Levitan (1894)
Pure serenity. Have an uplifting new year, art lovers!
Joseph Stella, The Virgin
"At my arrival [in Paris], Fauvism. Cubism, and Futurism were in full swing. There was in the air the glamour of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it." -Joseph Stella
More quotes from Joseph Stella about a "new religion" in art.
If the last two weeks at Matthews Gallery were an Alfred Morang painting, the cover image of this week’s Pasatiempo would be a good representation. Energetic figures dance between brightly colored food and libations in a surreal party scene that’s one part Matisse and two parts Bosch...
Delacroix’s palette and brushes. (Source)
This is just amazing. Sends tingles down the spine!
I wrote the other day about Charles Conder’s Tonalism- and Japanese-art-inspired oil paintings and their resemblance to water colors, but I have to write again.
This, dear reader, is Conder’s 1889 How We Lost Poor Flossie.
And even though you can plainly see the deep brush marks in the upper left side (and the cedar panel leaving little trails of grain throughout), the thick but dynamic outlines and soft, blending colors look like nothing so much as they look like a pen and ink wash.
(Plus, there’s something kind of charming about the implication that Conder lost his dog to a strange mutt in the rain.)
Stunning work, fascinating write-up.
Autour de la lampe le soir (Around the Lamp, evening) — Edouard Vuillard 1900
Reading and finding cozy art on Tumblr. Have a good Sunday, everyone!
Alfred Morang, Mountain Village, Oil on Canvas Board.
Come see artwork by Alfred Morang and his contemporaries in MORANG AND FRIENDS, a special exhibition opening Friday, December 12 from 5-7 pm and running through December 26. Learn more on the Matthews Gallery blog.