Liverpool

John Grimshaw, Liverpool desde Wapping, ca. 1875, óleo sobre tela, Museo de Arte de Filadelfia

Palacio papal de Aviñón

Paul Signac, Palacio papal de Aviñón, 1909, óleo sobre tela, 74 × 92 cm. Musée d'Orsay, París

Mary von Stuck

Fernand Khnopff, Mary von Stuck en una silla roja, 1916, óleo sobre tela, 107 x 93 cm.

Interior de una casa holandesa

Pieter de Hooch, Interior de una casa holandesa, 1657, óleo sobre tabla, 60 x 49 cm. Museo del Louvre, París

Retrato de la Sra. Pataki

Jozsef Rippl-Ronai, Retrato de la Sra. Pataki, 1892, óleo sobre tela, 46 x 38 cm. Galería Nacional Húngara, Budapest 

Interior

Gleb Goloubetski, Interior, 2000, óleo sobre tela, 80 x 100 cm. Colección desconocida 

Ovidio en el exilio

Ion Theodorescu-Sion, Ovidio en el exilio, 1915, óleo sobre cartón, 36 x 43 cm. Colección particular

(Click sobre la imagen para ampliar)

“Exile at Tomis, a port originally settled by Greeks on the extreme confines of the Roman Empire, was a cruel punishment for a man of Ovid’s temperament and habits. He never ceased to hope, if not for pardon, at least for mitigation of sentence, keeping up in the Tristia and the Epistulae ex Ponto (“Letters from the Black Sea”) a ceaseless stream of pathetic pleas, chiefly through his wife and friends, to the emperor. But neither Augustus nor his successor Tiberius relented, and there are hints in the later poems that Ovid was even becoming reconciled to his fate when death released him.”

https://www.britannica.com/biography/Ovid-Roman-poet

Concierto

Emilio Pettoruti, Concierto, 1941, óleo sobre tela, 115 X 90 cm. Colección particular

El sembrador

Jean-Francois Millet, El sembrador, 1850, óleo sobre tela, 102 x 83 cm. Museum of Fine Arts, Boston 

“Sowing is the penultimate act of faith in man’s battle to earn his daily bread, for potentially edible grain is flung to the winds, in the hope of harvests far beyond the control of the sower. In Catholic France, the sower often began his task by crossing himself, or by forming a cross with a handful of grain flung into the air in two strokes. After reaping, sowing is the most frequently reproduced agricultural activity and, among countless prototypes, the illustrations for October in the Très Riches Heures of the Duke de Berry, depicting a similar sower – capped, wearing leggings, and holding his seed bag in his left hand – is often suggested as a source for Millet. But as with so many of his images, The Sower is more likely to have evolved from the conflation of several well-studied visual memories.”

“When The Sower was exhibited, it attracted a considerable amount of attention, with at least nineteen critics commenting on it in their reviews. For the most part, reactions were favorable, although the critics differed widely in their understanding of the picture. De Chenevières, an important conservative critic, admired the ‘beauty, poetry and grace’ of the figure, while Clément de Ris praised the picture as ‘an energetic study full of movement.’ The thick, heavily worked surface disconcerted most of the critics, and the otherwise favorably impressed [Théophile] Gautier described the technique as ‘Millet’s trowel scrapings.’ But even more than technique and style, the critics felt compelled to address the image itself: almost to a man, they were struck by ‘the strangeness and power of the figure,’ although after acknowledging the inescapable presence of the sower, they remained uncertain what he represented. Fizelière saw a religious dignity in the figure who stood ‘Alone, in the middle fo bare and newly turned ground, as if he understood the grandeur of his mission,’ Sabatier-Ungher saw ‘the Modern Demos,’ (the Greek personification of the common man), where Desplaces felt Millet had ‘vilified the sower.’”

Alexandra R. Murphy, Jean-François Millet. Exhibition catalogue (Boston, MA: Museum of Fine Arts, 1984), pp. 31 & 32.

Atardecer en Transvaal

Pieter Wenning, Atardecer en Transvaal, óleo sobre tela, 36 x 46 cm. Colección particular

Desnudo de pie

Jan Sluyters, Naturaleza muerta con desnudo de pie, sin fecha, óleo sobre tela. Colección particular

Después del ocaso

Carlo Carrà, Después del ocaso, 1927, óleo sobre tela. Pinacoteca di Brera,  Milán

Leemos por ahí: "Totalmente libero dal riferimento a un evento realmente accaduto è Dopo il tramonto, del 1927, che segue la conversione di Carrà alla Metafisica. Dal ritmo incalzante e frenetico del primo dipinto si passa qui alla perplessità di un’atmosfera di sogno: il silenzio assolato, la luce anomala, la cui intensità non sembra potersi conciliare con l’ora del giorno espressa nel titolo, portano l’osservatore in una dimensione onirica dal significato indecifrabile. I colori sono profondi e intensi; alla forte contrapposizione dei complementari, che ne I funerali dell’anarchico Galli imposta il dinamismo e dirige l’occhio da un punto all’altro della composizione, si sostituisce in Dopo il tramonto una sonnolenta giustapposizione, che sintetizza l’immagine in un’unica prospettiva."

(https://allancastria.wordpress.com)

Anunciación

Henry Ossawa Tanner, Anunciación, 1898, óleo sobre tela, 145 × 181 cm. Museo de Arte de Filadelfia

En el establo

Albert Pinkham Ryder, En el establo, ca. 1910, óleo sobre tela montada en hardboard, 53 x 81 cm, Smithsonian American Art Museum, Washington

El Dominio de Arnheim

James Ensor, El Dominio de Arnheim, 1890, óleo sobre tela, 80 x 100 cm, Musée Royaux des Beaux-Arts, Bruselas

(Click sobre la imagen para ampliar)

Madre e hijo filipinos

Vicente Manansala, Madre e hijo filipinos, 1965, óleo sobre tela,  Museo de Arte de Singapur

París

Jury Annenkov, París, sin fecha, óleo sobre tela, 97 x 76 cm? Colección desconocida

(Click sobre la imagen para ampliar) 

Retrato de hombre con turbante

Jan van Eyck , Retrato de hombre con turbante, 1433, óleo sobre tabla, 15.5 × 19 cm. National Gallery, Londres 

Pasa el tren

Marianne Stokes, Pasa el tren, 1890, óleo sobre tela, 61 x 76 cm. Colección particular

(Click sobre la imagen para ampliar)

Amanecer

Otto Dix, Amanecer, 1913, óleo sobre tela, 50,5 x 66 cm.  Städtische Galerie, Dresde

Caballo y tren

Alex Colville, Caballo y tren, 1954, témpera vidriada, 40 x 53 cm, Galería de Arte de Hamilton (Canadá)

Antiguo pasaje rumano

Horia Bernea, Antiguo paisaje rumano, sin fecha u otros datos

(Click sobre la imagen para ampliar)

Bosque en verde y amarillo

Natalia Sergheyevna Goncharova, Bosque en verde y amarillo (Una construcción rayonista), 1912, óleo sobre tela, 102x146 cm. Museo del Estado Ruso, San Petersburgo

Dama al piano

Igor Grabar, Dama al piano, 1899, óleo sobre tela. Colección particular

Autorretrato

Francesco Hayez, Autorretrato, 1878, óleo sobre tela, 34 x 39 cm. Colección particular

Virgen de Lovaina

Mabuse (Jean Gossart) o Bernard van Orley, Virgen de Lovaina, 1516, óleo sobre tabla, 39 x 45 cm. Museo del Prado, Madrid

Iglesia en Nápoles

William Congdon, Iglesia en Nápoles, 1950, óleo sobre hardboard, 54 x 67 cm. Kettle's Yard Collection, Cambridge

Aguatera egipcia

Jean-Léon Gérôme, Aguatera egipcia, ca. 1882, óleo sobre tela, 46 × 38 cm. Galería Porczynski, Varsovia

Retrato de Iren fon Radlov

Alexandre Jacovleff, Retrato de Iren fon Radlov, sin fecha, óleo sobre madera. Colección particular

Estación de trenes del Este

Tivadar Kosztka Csontvary, Estación de trenes del Este, por la noche, 1902, óleo sobre tela, 44 x 65 cm. Museo Herman Otto, Miskolc (Hungría)

Casas en la Provenza

Stefan Popescu, Casas en la Provenza, 1928, óleo sobre tela, 50 x 65 cm. Colección particular

El niño enfermo

Gabriel Metsu, El niño enfermo, ca. 1664-1666, óleo sobre tela, 27 x 32 cm. Rijksmuseum, Amsterdam

"In 1663 the plague raged throughout Amsterdam, killing one in ten citizens. Dating from around this time is Metsu’s poignant portrayal of a sick child, rendered in powerful, bright colours against a grey background. The scene is reminiscent of a pieta, a representation of the Virgin Mary holding her son’s dead body in her lap. The painting of the Crucifixion on the back wall also recalls Christ’s suffering."

https://www.rijksmuseum.nl/en/collection/SK-A-3059

Dos mujeres en la orilla

Mary Fedden, Dos mujeres en la orilla, 1977, acuarela, 19 x 19 cm. Colección particular

Amarradero en Noruega

Konstantin Korovin, Amarradero en Noruega, 1894, óleo sobre tela. Galería Tretyakov, Moscú

Amantes en gris

Marc Chagall, Amantes en gris, 1916-1917, óleo sobre tela, 49 x 69 cm. Colección particular

Los amantes en gris miran al futuro. El futuro no es bueno, ni brillante, ni piadoso. 

Los amantes lo saben y callan.

Trigal con mujer enchalinada

János Tornyai, Trigal con mujer enchalinada, 1912, óleo sobre madera, 20,5 x 21,5 cm. Museo János Tornyai, Hódmezovásárhely (Hungría)

Siena

Pyotr Konchalovsky, Siena, 1912, óleo sobre tela, 81 x 96.2 cm. Colección desconocida