Rose Van Lear

Yellow Cow was included in the first exhibition of Der Blaue Reiter (The Blue Rider), a loosely organized artistic association Franz Marc cofounded with Vasily Kandinsky and Gabriele Münter in Munich in 1911. By then, a back-to-nature movement had swept across Germany in response to what many perceived as an increasingly secular and materialistic society. Marc embraced its philosophy, among others, in his quest for alternative forms of spirituality. The artist also found inspiration in animals and nature, utilizing a non-naturalistic palette to heighten his images' emotional impact. This approach aligned with Marc's color symbolism, which stereotypically evoked gender traits. In 1910, he wrote: "Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay, and sensual.' These colors figure in this exuberant painting of a yellow cow with a full udder-a reminder of nourishment and regeneration-set against a multihued landscape and blue mountains. #art #painting

Yellow Cow, 1911
Franz Marc
Oil on canvas
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Pissarro felt an affinity for the daily rhythms of peasant life that he witnessed around his home in the village of Eragny, not far from Paris. This washerwoman is hard at work, scrubbing linens and clothing in one barrel and rinsing them in another. The artist depicted the surrounding landscape with dappled touches of his brush—a legacy of the Pointillist style that he adopted in the mid-1880s. To suggest the effect of shimmering sunlight, he mixed pure yellow paint into the greens of the grass and trees while the pigment was still wet. #art #painting

A Washerwoman at Eragny, 1893
Camille Pissarro
Oil on canvas
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In 1908 Vuillard moved into a fifth-floor corner apartment overlooking the place Vintimille (known today as place Adolphe Max. For the next twenty years he would render this small Parisian park with its tall trees from every angle and perspective. The present two outer views are part of a larger group of four panels commissioned by the playwright Henry Bernstein for his private residence. The four panels do not comprise a continuous whole, but rather capture different segments of the elliptical park, with each panel carefully depicting a distinctive time of day, shift in weather conditions or light, and other observations Vuillard made from his apartment window. With their screen format, representation of asymmetrical views, and the abrupt cropping of forms, the Place Vintimille panels recall the formal language of Japanese art. #art #painting

Place Vintimille. 1909-10
Édouard Vuillard
Distemper on brown Kraft paper, mounted to canvas
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Fernande with a Black Mantilla, 1905 Pablo Picasso Oil on canvas #art #painting

Fernande with a Black Mantilla, 1905
Pablo Picasso
Oil on canvas
#ArtSky

Vassé's model for this figure was exhibited at the Salon of 1761. The wall fountain was completed between 1761 and 1763 at the behest of the duc de Chevreuse for the entrance hall of his Château de Dampierre, where it remained until the early twentieth century. #art #sculpture

The Nymph of Dampierre, 1763
Louis-Claude Vassé
Marble
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A nude woman stands with her arms crossed behind her head. Picasso translates the figure into simplified, geometric forms, reflecting his interest in the arts of Africa and Oceania. Using only a few colors, he focuses our attention on the intersection of these forms, linking figure and ground in a dynamic, curving rhythm. #art #painting

Standing Figure, 1908
Pablo Picasso
Oil on canvas
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The Water Lily Pond, 1900 Claude Monet Oil on canvas #art #painting

The Water Lily Pond, 1900
Claude Monet
Oil on canvas
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Diane Keaton had died. 1946-2025

Some celeb deaths hit you harder than others. Losing Diane Keaton hurts.

Bird on a Tree (Loiseau), 1928 Pablo Picasso Oil on canvas #art #painting

Bird on a Tree (Loiseau), 1928
Pablo Picasso
Oil on canvas
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A toll clerk by profession, Rousseau only began to paint seriously in his forties. Critics lambasted the untrained artist's stylized images of faraway places (he had never traveled outside France), yet the Parisian avant-garde celebrated his innovative technique. In The Football Players, executed only two years before Rousseau died a pauper, he attempted to illustrate modern times by depicting its latest new sport, rugby. Interest in open-air sporting activities had been revived in France, partly due to English influence, with rugby among the new ball games reserved for the elite. Eccentrically clad in striped sports costumes, Rousseau's players clearly toss a rugby ball, yet the title of the painting references European football, or soccer, which had become more accessible to the working classes and flourished in urban centers. The work has a militaristic quality as well; sports not only were seen as a means of focusing youthful energy but also coincided with a nationalist resurgence in France in the 1910s. #art #painting

The Football Players (Les joueurs de football), 1908
Henri Rousseau
Oil on canvas
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Discouraged by the racism and homophobia he experienced in the United States, Beauford Delaney settled in Paris, where his career flourished. While there, he produced this portrait of prominent Atlanta-based cultural historian Dr. Richard A. Long. As a young scholar, Long was among a circle of American expatriates in Paris that included Delaney. Delaney painted this quarter-length portrait with intense shades of yellow against a soft blue background. It is a tender portrayal of a friend that illustrates both the promise of a future free of racial strife and the burgeoning talent of its young subject. #art #painting

Portrait of Richard A. Long, 1965
Beaufort Delaney
Oil on canvas
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Light reds and cerulean blues reflect stripes of color in the overcast sky, combining to form gray, churning waves. John Marin based his works on nature, expressing its turbulence by varying his brushstrokes. Thick paint applied in brushy gestures gave the effect of mo-tion. "In painting water," the artist wrote, "make the hand move the way water moves." Marin extended the experience of the painting all the way to the edges of its painted frame strategically uniting the composition with its surround. #art #painted

Sea, Light Red and Cerulean Blue, 1948
John Marin
Oil on canvas
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Abraham Walkowitz turned to the theme of the nude in natural settings as early as 1908, following his first visit to Paris, and continued with the subject over the course of thirty years. Rock and Bathers presents ambiguously gendered figures suspended in uncomfortable positions. These unnatural body positions bring an eerie feeling to an otherwise idyllic swimming hole. Painted around the moment when America entered World War I, already raging in Europe, the sense of isolation this work evokes may be understood as the artist capturing the solemn mood of the day. #art #painting

Rock and Bathers, 1917
Abraham Walkowitz
Oil on canvas
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Calvary and Church at Nizon, ca. 1893 Pierre Auguste Renoir Oil on canvas #art #painting

Calvary and Church at Nizon, ca. 1893
Pierre Auguste Renoir
Oil on canvas
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Houses Along the Road, 1885 Claude Monet Oil on canvas #art #painting

Houses Along the Road, 1885
Claude Monet
Oil on canvas
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This image was probably created for an abolitionist sympathizer. However, it depicts its subjects in caricatured style, suggesting that its maker or owner believed Black men deserved emancipation, but not necessarily equality. As with later caricatures, the artist implies that while the men depicted aspire to sophistication, they somehow miss the mark. The figure at the center is likely the earliest surviving painted depiction of Long-Tail Blue, a popular blackface minstrel character introduced in 1827, named for his exaggerated and outdated fashionable dress. The other men wear even more outdated garments, as they were copied directly from a 1793 satirical print mocking an "Equality Ball" given by John Hancock in Boston, demonstrating how caricature often relies on repeating and recontextualizing pejorative imagery. #art #painting

Untitled (African-American musicians), 1838
Attributed to George Washington Mark
Oil on canvas
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Sargent was a talented pianist and an avid concertgoer. He frequented the Cirque d'Hiver, an amphitheater in Paris's 11th arrondissement, where conductor Jules-Etienne Pasdeloup hosted a series of public concerts featuring classical music. Sargent's taste aligned with Pasdeloup's programs of modern French symphonic works by Gabriel Faure and the music of German composer Richard Wagner, among others. To depict this scene of urban leisure, Sargent embraced Impressionist strategies, using a high vantage point and dynamic cropping. The strange clowns in the foreground add a sense of scale and suggest the diverse uses for the arena. #art #painting

Rehearsal of the Pasdeloup Orchestra at the Cirque d'Hiver, ca. 1879
John Singer Sargent
Oil on canvas
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Someone to Share the Dreams, 2018 OSGEMEOS Acrylic, spray paint, and sequins on board #art #painting

Someone to Share the Dreams, 2018
OSGEMEOS
Acrylic, spray paint, and sequins on board
#ArtSky

Brandon Flowers of The Killers at the ACL Music Fest

I do love being able to watch The Killers live at ACL tonight from the comfort of my couch at home

In spring 1877 Sargent's father wrote relatives in the United States that his son had just completed "his first attempt at a serious, finished work-a very creditable and promising one." He explained that the portrait is intended for the 'Salon," Paris's renowned, state-sponsored annual art exhibition. The display of this portrait of family friend Frances Watts (1858- 1927), known as Fanny, marked Sargent's public debut as a painter. Sargent had first met the American-born Watts in the 1860s, when both of their families were living in Nice. Sargent and Watts would remain lifelong friends. The portrait received some favorable press, with one French critic describing it as a "charming portrait of a young miss." #Art #painting

Portrait of Frances Sherborne Ridley Watts, 1877
John Singer Sargent
Oil on canvas
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Summer Time, 2021 OSGEMEOS Mixed media on MDF #art #painting

Summer Time, 2021
OSGEMEOS
Mixed media on MDF
#ArtSky

After a false start as an apprentice cloth merchant, Jean-Baptiste-Camille Corot resolved to become a painter at age twenty-six. This work is one in a series he made in Lormes, a village in central France situated within the Morvan Regional Natural Park. Sunlight— striking the bark of a tree, highlighting a tuft of grass, or flooding the rocky stream bank—is an important element in this private slice of nature. The intimate mood fits Corot's contemporary reputation as a gentle, introspective painter of the French countryside. #art #painting

Ravine in the Morvan, Near Lormes, ca. 1840-1845
Jean-Baptiste-Camille Corot
Oil on canvas
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Long before it was common practice, Jean-Baptiste-Camille Corot painted en plein air ("in the open air"). He wished to paint as if seeing the outside world for the first time: "You must interpret nature naively and according to your own feeling, detaching yourself completely from what you know of the Old Masters or your contemporaries." Corot likely painted Farm Scene near his parents' home in Ville d'Avray, France. The action of two farmworkers provides a counterpoint to Corot's harmonious composition of greens and browns. #art #painting

Farm Scene, ca. 1865-1868
Jean-Baptiste-Camille Corot
Oil on canvas
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HGTV fired so much of their talent, now they’re resorting to pairing designers with “celebrities” for Rock The Block.

The distinctive silhouette of Mont Saint-Victoire rises above the Arc River valley near the town of Aix. To paint this scene, Cézanne stood close to Montbriand, his sister's property, at the top of the hill just behind her house; the wall of the neighboring farmhouse is barely visible. Cézanne sought to reveal the inner geometry of nature, "to make of Impressionism something solid and durable, like the art of museums." Indeed the railroad viaduct that cuts through this pastoral scene is evocative of a Roman aqueduct, recalling paintings by Nicolas Poussin. #art #painting

Mont Sainte-Victoire and the Viaduct of the Arc River Valley, 1882-85
Paul Cézanne
Oil on canvas
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Agapanthus, 1914-26 Claude Monet Oil on canvas #art #painting

Agapanthus, 1914-26
Claude Monet
Oil on canvas
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Agony, 1947 Arshile Gorky Oil on canvas #art #painting

Agony, 1947
Arshile Gorky
Oil on canvas
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The Dream, 1947 Wifredo Lam Oil on canvas #art #painting

The Dream, 1947
Wifredo Lam
Oil on canvas
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Seated Woman, 1955 Wifredo Lam Oil and charcoal on canvas #art #painting

Seated Woman, 1955
Wifredo Lam
Oil and charcoal on canvas
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This picture, like the two winter views of the Jardin des Tuileries by Pissarro in the Museum's collection (66.36 and 1979.414), belongs to a series that he painted from his apartment in the rue de Rivoli in 1899. Here, spring has arrived: underneath the blooming trees and soft blue sky, a woman can be seen at lower center, pushing a brightly-attired baby in a carriage. Having sold a number of the scenes to his dealer Durand-Ruel, later that year Pissarro rented the same apartment and executed another fourteen works. #art #painting

The Garden of the Tuileries on a Spring
Morning, 1899
Camille Pissarro
Oil on canvas
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