Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828
Gemälde ID:: 10355
Sommer 1786.
Oil on canvas,
34 x 76 cm.
Fundacion Lazaro
Galdiano, Madrid 1786. Öl auf Leinwand, 34 X 76 cm. Fundacion Lazaro Galdiano, Madrid Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828
1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Gemälde ID:: 10940
Sommer Salon of 1873.
11' 5 3/4" x 16 7 1/2" ( 350 x 507 cm ). Salon von 1873. 11~ 5 3/4 X 16 7 1/2 (350 X 507 cm). 1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Sommer 1717
Oil on canvas
National Gallery of Art, Washington D.C. das Öl von 1717 auf Leinwand Nationaler Galerie der Kunst, Washingtons D.C. (1684?C1721).
Sommer mk62
c.1860-1862
Oil on canvas
314x109cm
Paris,Musee de la ville de Paris,
Petit Palais
mk62 c.1860-1862 Öl auf Leinwand 314x109cm Paris Musee de la ville de Paris Petit Palais French Post-Impressionist Painter, 1839-1906
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Gemälde ID:: 30519
Sommer mk68
Oil on canvas
30"x25"
Paris.Louvre
1573
Italy
mk68 Öl auf dem Italien von Leinwand 30x25 Paris. Louvre 1573 b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Gemälde ID:: 40392
Sommer mk156
1573
Oil on canvas
196x216cm
das Öl von mk156 1573 auf Leinwand 196x216cm b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Gemälde ID:: 56029
summer 1573 ,oil on canvas,30x25 in,76x63.5 cm,louvre,paris,france b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
(May 4, 1851 C November 5, 1938) was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world.
He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing.
Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so.
Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897.
Gemälde ID:: 58678
Summer Summer (1890, ', ', ', ', ', ', ', '), Smithsonian American Art Museum (May 4, 1851 C November 5, 1938) was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world.
He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing.
Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so.
Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897.
Italian Baroque Era Painter, 1578-1660
Albani's students included Pier Francesco Mola and Andrea Sacchi
Gemälde ID:: 62432
Summer 1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Summer , 1601-1650 , Italian Form: painting , mythological Italian Baroque Era Painter, 1578-1660
Albani's students included Pier Francesco Mola and Andrea Sacchi
Gemälde ID:: 63045
Summer 142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape Flemish Baroque Era Painter, 1577-1640
Gemälde ID:: 91357
Summer 1874(1874)
Medium oil on canvas
Dimensions Height: 57 cm (22.4 in). Width: 80 cm (31.5 in).
cjr French Impressionist Painter, 1840-1926
Ivana Kobilca (20 December 1861 - 4 December 1926) was a Slovene realist painter who lived, worked and studied in various European cities including Vienna, Sarajevo, Berlin, Paris and Munich. She was a member of Societe Nationale des Beaux Arts in Paris. Many of her paintings are still lifes, portraits or country settings. She later tended toward impressionism.
Her best known paintings are Kofetarica (Coffeemadam), 1888; Citrarica (The Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (A Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889.
Gemälde ID:: 92745
Summer 1889(1889) and 1890(1890)
Medium oil on canvas
Dimensions 180 X 140 cm (70.9 X 55.1 in)
cjr Ivana Kobilca (20 December 1861 - 4 December 1926) was a Slovene realist painter who lived, worked and studied in various European cities including Vienna, Sarajevo, Berlin, Paris and Munich. She was a member of Societe Nationale des Beaux Arts in Paris. Many of her paintings are still lifes, portraits or country settings. She later tended toward impressionism.
Her best known paintings are Kofetarica (Coffeemadam), 1888; Citrarica (The Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (A Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889.
Gemälde ID:: 98390
Summer second half of 16th century
Medium oil on canvas
Dimensions Height: 97 cm (38.2 in). Width: 127 cm (50 in).
Bassano 1549-Venice 1592
