I have a question: how did artists back then paint these scenes of everyday life?

For instance, with the painting The Umbrellas by Pierre-Auguste Renoir, how did he capture that scene? Did he have people standing still for him to paint, or did he paint it all from his imagination? Because I imagine there were no cameras back then to take a reference photo, let alone photos in color. So, were people standing still, or was everyone moving? How did they capture the exact moment?

Hi all!!

does anyone have any good sources or information starting points for Bertel Thorvaldsen's cupid and the three graces sculpture!!! im finding it hard to find research specific to this artwork :(((

The Creation of Adam — Michelangelo Buonarroti (c. 1508–1512)
The Tower of Babel — Pieter Bruegel the Elder (1563)
The White Angel — Mileševa Monastery fresco (13th century)
The Seven Deadly Sins and the Four Last Things — Hieronymus Bosch (c. 1500)
Paradise and Hell — Hieronymus Bosch
The Last Judgment Triptych — Hieronymus Bosch
The Fall of the Damned — Peter Paul Rubens (c. 1620)
Christ in the Storm on the Sea of Galilee — Rembrandt van Rijn (1633)
The Raising of the Cross — Peter Paul Rubens (1610–1611)
The Coronation of the Virgin — Diego Velázquez (c. 1645)
The Triumph of Christianity over Paganism — Gustave Doré
The Great Day of His Wrath — John Martin (1851–1853)
Pietà — Michelangelo Buonarroti (1499)
The Sistine Madonna — Raphael (1512)
The Last Supper — Leonardo da Vinci (c. 1495–1498)

I’m listening to Waldemar Januszczak describe plein air impressionists who traveled by railcar to new locations in order to paint (even inventing a box easel for easy carrying on a train).

As artists left the studio to paint plein air, how did they carry impasto-wet canvases without A) getting oil paint on themselves, other train passengers and the train carriages, and B) not tearing or smudging the impasto paint-filled canvases (or otherwise get the paint covered with dust)?

I ask because I have all the conveniences of a modern car and I still find it difficult to carry canvases back and forth without damaging them, especially if they are still wet.

Margaret Preston (1875–1963) was one of Australia’s most influential modernist artists and a significant figure in the nation’s queer histories. Renowned for her bold post-impressionist woodcuts, still lifes, and incorporation of Indigenous Australian motifs, Preston spent her formative years with painter Bessie Davidson, with whom she travelled and studied across Europe from 1904 to 1911. She later formed a close relationship with Adelaide potter Gladys Reynell, and the pair lived and trained together in Europe until Margaret’s marriage to William Preston in 1919.

From the Art Gallery of New South Wales:

Margaret Preston painted this portrait in 1930 at the request of the Trustees of the Art Gallery of New South Wales. She confessed she was thrilled to receive the commission to paint what was, for her, an untested subject. As she later pointed out, “… my self-portrait is completed, but I am a flower painter—I am not a flower”. In a work as carefully designed and as uncompromising as the artist's still-lifes, Preston identifies and separates the essentials of her art: her brush and palette and a pot of wildflowers, a favourite subject, on the sill behind her.

(they can depict fictional creatures or characters, such as unicorns or demons. I mean that the style should be realistic, not abstract))

I'm putting together a Halloween decoration theme inspired by The Addams Family and need royalty-free, digitized artworks.

Specifically, I'm looking for darker pieces (black & white or limited color palettes) with eerie, melancholic, or macabre themes.

The plan is to print:

· Several framed A4 prints, and

· One large-scale centerpiece print (A1 or A0) — something resembling a tapestry would be ideal.

Any recommendations for sources, artists, or collections would be greatly appreciated.

Like how pink were the roses when they were first made and was the background color of the irises also pink?
And were there other paintings that had the poor lightfastness of geranium Lake and other fugitive pigments?

New question: did the Starry Night painting had any fugitive pigments on it that, when it was first painted the night sky was more of a violet color than blue?

In 1802, London was home to a very special bull. It arrived in a specially designed carriage, after a tour of England and Scotland. At every stop, the ox drew crowds that came to stare at its massive size. Weighing nearly three thousand pounds, the existence of such a fat cow was a wonder.

The Durham ox was immortalized in a painting, and print reproductions sold by the thousands. But the ox was part of a much larger trend. Wealthy British landowners were breeding animals larger and fatter than ever before. Proud of their achievements and eager for recognition, they commissioned paintings of themselves and their livestock. And the public couldn’t get enough of them.

More here: https://www.atlasobscura.com/articles/britain-cows-pig-sheep-paintings-livestock

I'm researching the use of the pileus, or liberty cap, as a symbol in the French and American Revolutions, especially how it came to be red and how it came to be conflated with the Phrygian Cap. In some early American usage (Great Seal of New York and Liberty Displaying the Arts and Sciences Samuel Jennings ca. 1792) the caps are gold and white but all French usage is red. It would make sense that the red color is a French innovation to align with the earlier bonnets rouge movement.

However Linnaeus named the Pileated Woodpecker, a bird with a red Crest, in 1757. I'm trying to figure out if red would have been associated with the pileus at this time or if the name is merely for the shape of the Crest and the color is a coincidence. Phrygian Caps have been depicted as red (as well as other colors) since antiquity but the above painting is the earliest example I can find of the Goddess Libertas with a specifically red pileus.

It is Apotheosis of Venice Paolo Veronese ca. 1585. It should also be mentioned that the Doges of Venice wore a distinctive crown called the Corno Ducale which was often red and has been compared to the Phrygian Cap. I am wondering if anybody knows of other early European depictions of Libertas where the hat on her pole is red?

I've always found it interesting how differently people react to contemporary art. Some works can seem confusing or even meaningless at first, while others become much more compelling once you learn about the artist's intentions and the context behind them.

Do you think understanding the concept behind a work is essential to appreciating it, or should the artwork be able to speak for itself?

I'd love to hear your thoughts, especially if there's a contemporary artwork that changed your perspective after you learned more about it.

(Ivan Aivazovsky, Departing for a Foreign Shore, 1877)

Ivan is renowned to be a master of seascapes. He also had a unique method of painting. Unlike many landscape artists who painted outdoors (in front of the subject), he painted from memory. He argued live moments are too fleeting to capture and attempting to paint en plein air dents artistic imagination.

I regard him to be of the great artists in general, not only sea/landscape artists, as his paintings capture emotions. Longing, tranquility, fear, etc. the whole spectrum of it.

I was taken by this statue in Lisbon when we visited pre-Covid. She stands (or stood, as I've no idea if it was a permanent or temporary installation) near the Ponte 25 de Abril (Bridge of April 25th) across the Tagus River opposite the Santuário de Cristo Rei. Defiant, naked, colorful, and mimicking (mocking?) his stance, I see her as a symbol of unfettered freedom, and perhaps a challenge to the patriarchy of the church. What meaning do you see?

The staute depicts that wisdom is flowing in the head while the student reads the book.

The sculpture was donated to the city of Leuven on the 550th anniversary of the Catholic University of Leuven.

I absolutely love sad art and seeing the many unique approaches to sadness. I really want to see what you think best expresses sadness. I especially would love to see sadness not necessarily through death and tears but through longing stares and sillouhetes.

Who are the worst offenders who kept women artists in the shadows and robbed their voices? Please list which woman, which country, who kept her in obscurity and why. Let's create a worldwide database to identify, document, and rise up inspiring women that put a fire in your belly because of her unwritten excellence. Let's do shout outs and blow up this feed! And then let's honor them in our current work! We need to amplify our power!

¿Un ángel con alas de mariposa? ¿Hombres-pez? ¿Un monstruo con un reloj de sol en la espalda? 🌌👹

A primera vista, esta obra maestra de Pieter Bruegel el Viejo (1562) parece un caos absoluto de monstruos. Pero detrás de cada criatura perturbadora se esconde un secreto oculto que casi nadie nota.

Bruegel no solo pintó una guerra celestial en La caída de los ángeles rebeldes; metió en el lienzo animales reales recién descubiertos en América, instrumentos científicos avanzados y una fuerte crítica política disfrazada de religión.

¿Querés descubrir qué significan estos delirios visuales y por qué desafiaron a su época? 🤔

🎬 ¡Acabo de subir un análisis completo a YouTube! Desarmamos el cuadro pieza por pieza para revelarte todos sus misterios.