Caillebotte created many paintings showing urban Paris from unexpected perspectives, such as a streetscape seen from indoors in Jeune homme à la fenêtre (1875), or the exaggerated perspective of Rue de Paris, temps de pluie (1877). Vue de toits depicts snow-covered rooftops in Montmartre, Paris from a high vantage point, possibly a balcony. Here Caillebotte employs a largely monochromatic palette of grays, adding additional color to highlight building features. This perspective was not at all common in French paintings, and in fact Caillebotte may have been inspired by the photographic works of Hippolyte Bayard.
Note from reddit:
It’s a rich man fake garden ornament meant to look like Roman ruins. It was setup in 1778 and is called the Ruin of Carthage
Maxfield Parrish (July 25, 1870 – March 30, 1966) was an American painter and illustrator active in the first half of the 20th century. He is known for his distinctive saturated hues and idealized neo-classical imagery. His career spanned fifty years and was wildly successful: the National Museum of American Illustration deemed his painting Daybreak (1922) to be the most successful art print of the 20th century.
Odilon Redon (born Bertrand Redon; French: [ʁədɔ̃]; 20 April 1840 – 6 July 1916) was a French symbolist painter, printmaker, draughtsman and pastellist. Early in his career, both before and after fighting in the Franco-Prussian War, he worked almost exclusively in charcoal and lithography, works referred to as noirs. He started gaining recognition after his drawings were mentioned in the 1884 novel À rebours (Against Nature) by Joris-Karl Huysmans. During the 1890s he began working in pastel and oils, which quickly became his favourite medium, abandoning his previous style of noirs completely after 1900. He also developed a keen interest in Hindu and Buddhist religion and culture, which increasingly showed in his work.
He is perhaps best known today for the “dreamlike” paintings created in the first decade of the 20th century, which were heavily inspired by Japanese art and which, while continuing to take inspiration from nature, heavily flirted with abstraction. His work is considered a precursor to both Dadaism and Surrealism.
Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 (French: Opus 217. Sur l’émail d’un fond rythmique de mesures et d’angles, de tons et de teintes, Portrait de M. Félix Fénéon en 1890) is an 1890 oil painting by French artist Paul Signac. The Neo-impressionist work depicts the French art critic Félix Fénéon standing in front of a swirling coloured background. It has been held by the Museum of Modern Art in New York since 1991.
The Black Death quickly entered common folklore in many European countries. In Northern Europe, the plague was personified as an old, bent woman covered and hooded in black, carrying a broom and a rake. Norwegians told that if she used the rake, some of the population involved might survive, escaping through the teeth of the rake. On the other hand, if she used the broom, then the entire population in the area were doomed. The Plague-hag, or Pesta, were vividly drawn by the painter Theodor Kittelsen.
Mummy, There’s an old woman coming
Asnières, now named Asnières-sur-Seine, is the subject and location of paintings that Vincent van Gogh made in 1887. The works, which include parks, restaurants, riverside settings and factories, mark a breakthrough in van Gogh’s artistic development. In the Netherlands his work was shaped by great Dutch masters as well as Anton Mauve a Dutch realist painter who was a leading member of the Hague School and a significant early influence on his cousin-in-law van Gogh. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, and Japanese woodblock print genres.
The Raft of the Medusa is an oil painting of 1818–19 by the French Romantic painter and lithographer Théodore Géricault. Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (16′ 1″ × 23′ 6″), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today’s Mauritania on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practised cannibalism. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain.
Géricault chose to depict this event in order to launch his career with a large-scale uncommissioned work on a subject that had already generated great public interest. The event fascinated him, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.
While generally agreed to depict a contemporary street scene in 17th-century Delft, where Vermeer lived and worked, the exact location of the scene Vermeer painted has long been a topic of research and discussion, with studies arguing for the Voldersgracht, where the Vermeer Centre is located, or the Nieuwe Langendijk at the present-day numbers 22 to 26.