promenade culturelle

Nicolas de Largillière

2012-01-23T09:08:00.002+01:00

Nicolas de Largillière 1756-1746

Portrait présumé de M. de Noirmont (v 1700), Nicolas de Largillière

Nicolas de Largilliere

2012-01-23T08:28:00.001+01:00

page extraite du musée des beaux arts de Tours

Nicolas de Largilliere
	(Paris, 1656 – Paris, 1746) Portrait de M. Roze-Moussard. 1697. Huile sur toile. 0,81 x 0,65 m. (ovale) Acquis avec l’aide du FRAM-Centre, 1988. 989-1-1
Une formation complexe entre la Flandre, où il étudie la peinture de genre, l’Angleterre, où il travaille dans l’atelier du portraitiste Peter Lely, et la France explique l’éclectisme et la richesse de la peinture de Nicolas de Largillière, marquée par le dynamisme de Rubens, l’élégance des poses de Van Dyck et l’audace d’un chromatisme éclatant. Revenu à Paris en 1682, il conquiert rapidement une vaste clientèle de parlementaires, de financiers et des grands bourgeois séduits par le réalisme de ses portraits. Artiste extrêmement fécond, brillant portraitiste de la seconde moitié du règne de Louis XIV, Nicolas de Largillière allie une exécution brillante à la finesse de l’analyse psychologique du sujet. Cette sensibilité est tout à fait perceptible dans cette représentation de M. Roze-Moussard (1638 – 1723), membre de la dynastie des Roze, fabricants de soieries à Tours depuis le XVIIème siècle et toujours en activité aujourd’hui, qui cumulait les charges de conseiller du roi, conseiller au Parlement, administrateur de l’hospice général de la Charité et contrôleur des deniers de l’hôtel de ville de Tours. Ce beau portrait, concentré sur le modèle, frappe par la vivacité du regard et par une expression tranquille et sereine qui donne au visage un caractère particulièrement vivant. L’importance du personnage est mise en valeur par la large draperie bleue qui enveloppe le buste d’un mouvement en spirale.

Nicolas de Largillierre (1656-1746)

2012-01-23T07:17:00.002+01:00

La Belle Strasbourgeoise 1703

Nicolas de Largillierre (1656-1746)

2012-01-23T07:07:00.004+01:00

Nicolas de Largillierre (1656-1746)

Nicolas de Largillière (1759-1838)
Autoportrait en tenue d’atelier
Huile sur toile - 92 x 73 cm
Washington, National Gallery of Art

Portrait du peintre Jean-Baptiste Forest (1636-1712)

Auteur :

Largillière Nicolas de (1656-1746)

1704

huile sur toile

Hauteur :

1.290 m.

Longueur :

0.960 m.

Localisation :

Lille, Palais des Beaux-Arts

Nicolas de Largillierre

2012-01-23T07:00:00.000+01:00

Nicolas de Largillierre 1656-1746

Nicolas de Largilliere (1656-1746)
Portrait de Marguerite de Largilliere,
fille de l’artiste, 1726
Huile sur toile - 81,7 x 65,3 cm
Lille, Palais des Beaux-Arts

Nicolas de Largillierre (1656-1746)
Marie-Madeleine de La Fayette, 1697
Huile sur toile - 146,5 x 113,5 cm
Collection Georges de Lastic

Elizabeth Throckmorton,
Canoness of the Order of the Dames Augustines Anglaises, 1729
Ailsa Mellon Bruce Fund

canoness=chanoinesse link

Portrait of a Young Man and His Tutor, 1685
Samuel H. Kress Collection

François Desportes

2012-01-22T21:04:00.002+01:00

François Desportes (1661 - 1743)

1. François Desportes (1661 - 1743)
Bonne, Nonne et Ponne en arrêt devant une perdrix, 1702
Huile sur toile - 159,9 x 199,5 cm
Paris, Musée de la chasse et de la nature

2. François Desportes (1661 - 1743)
Autoportrait en chasseur, 1699
Huile sur toile - 197 x 163 cm
Paris, Musée du Louvre

en savoir plus link

David Hockney

2012-01-22T10:29:00.001+01:00

David Hockney - autumn trees

Paul Cézanne - Still Life with Peaches and Pears.

2012-01-22T08:51:00.000+01:00

Paul Cézanne 1839-1906

Paul Cézanne. Still Life with Peachesand Pears. 1888-90.

Oil on canvas. The Pushkin Museum of Fine Art,Moscow, Russia.

David Hockney

2012-01-22T08:00:00.001+01:00

David Hockney

2012-01-22T07:41:00.002+01:00

David Hockney

Malibu House, 1988
oil on canvas, 24x36 in.

Red And Black Fruit, 1988
oil on canvas, 12x24 in.

un site remarquable sur David Hockney: http://www.hockneypictures.com/home.php

David Hockney - computer drawing

2012-01-22T07:29:00.005+01:00

David Hockney

Dr. Elizabeth Barton , 2008
inkjet printed computer drawing on paper 49 X 33 1/2in.

Peter Goulds , 2009 Edition: 12

inkjet printed computer drawing on paper 49 X 33 1/2in.

Cardigan Road, Brid., 2008 Edition: 25
inkjet printed computer drawing on paper 44 3/4 X 32in.

David Hockney

2012-01-22T07:18:00.002+01:00

David Hockney

Margaret and Ken Bridlington, 2002

ink on paper, 12 1/4x16 1/4 in

Margaret and Ken Bridlington, 2002

ink on paper, 12 1/4x16 1/4 in

More Crooked Timber on Woldgate 2008

charcoal on paper,22.5x30.5 in.

David Hockney

2012-01-22T07:02:00.002+01:00

David Hockney

un site remarquable sur David Hockney:
http://www.hockneypictures.com/home.php

The Photographer & His Daughter (Jim & Chloe McHugh), 2005

oil on canvas, 56x76 in.

Arcadia Fletcher and Robin Katz, 2002
watercolor on paper (4 sheets), 54 1/4 x 42 3/8 in

Woldgate Lane to Burton Agnes, 2007
oil on canvas, two panels, 48 x 72 in.

David Hockney

2012-01-20T06:58:00.001+01:00

A Closer Winter Tunnel, Feb-Mar, 2006

Woldgate Woods, East Yorkshire, 2006.

un site remarquable sur David Hockney: http://www.hockneypictures.com/home.php

Leonardo da Vinci

2012-01-19T07:00:00.000+01:00

Leonardo da Vinci 1452-1519

A man tricked by gypsies 1493

David Hockney

2012-01-17T07:03:00.001+01:00

David Hockney

The Road Across the Wolds (1997).

Winter Tunnel with Snow, March, 2006, oil on canvas.

Dirk Stewen

2012-01-15T07:56:00.002+01:00

Dirk Stewen

A thing or two ... Untitled (2010)

Gunnel Wåhlstrand

2012-01-15T07:43:00.002+01:00

Gunnel Wåhlstrand

Ronald Searle - Les Très Riches Heures De Mrs Mole

2012-01-04T22:30:00.001+01:00

Ronald Searle 1920-2011

Les Très Riches Heures De Mrs Mole

In Ronald Searle's most recent book, Les Très Riches Heures De Mrs Mole, published just three months before he died, the author brought to light the 47 drawings he produced for his wife, Monica Searle, as she was treated for a rare and virulent form of cancer over a five-year period in the early 1970s. She survived, and the intimate drawings stand as a moving testimony to love and hope.

The Guardian

Jan Bruegel the elder - Still Life with flowers in a glass

2012-01-03T08:56:00.001+01:00

Still Life with flowers in a glass

Rijksmuseum Amsterdam

David Hockney - Mr and Mrs Clark and Percy 1970-1

2012-01-01T11:23:00.001+01:00

David Hockney 1937 - ...

David Hockney - Mr and Mrs Clark and Percy 1970-1

1.http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=6534&tabview=text&texttype=10

2.http://en.wikipedia.org/wiki/Mr_and_Mrs_Clark_and_Percy

3.http://en.wikipedia.org/wiki/David_Hockney

Gerard ter Borch II - Woman at a Mirror

2011-12-31T14:40:00.000+01:00

Gerard ter Borch (1617-1681)

Jan Davidsz. Heem - Still Life with a Glass and Oysters

2011-12-31T13:52:00.000+01:00

Jan Davidsz. Heem
1606, Utrecht - 1684, Antwerp

Jan Davidsz. Heem

Still Life with a Glass and Oysters

c. 1640
25.1 x 19.1 cm
Metropolitan Museum of Art, New York

Still-life with Fruit and Butterflies

c. 1645-1655
32.8 x 48.8 cm
National Gallery of Canada

17th-century Dutch masters

2011-12-31T08:15:00.000+01:00

Gerrit Dou, Woman at a Window, 1663.

Oil on panel, 38.5 x 27.7 cm

The Fitzwilliam Museum, Cambridge

Gerard ter Borch, Woman Washing her Hands, c.1655.

Oil on panel, 53 x 43 cm

Gemäldegalerie Alte Meister, Dresden

Quiringh Gerritsz. Van Brekelenkam,

Confidential Conversation, 1661.

Oil on panel, 47 x 36 cm

Rijksmuseum, Amsterdam.

Gerrit Dou, A young woman at her toilet, 1667.

Oil on panel, 75,5 x 58 cm.

Donation: Henry Deterding 1936

Museum Boijmans Van Beuningen, Rotterdam

Pieter de Hooch,

The Courtyard of a House in Delft, 1658.

Oil on canvas, 73.5 x 60 cm

The National Gallery, London. Bought, 1871

Jacobus Vrel,

Woman at a Window, waving at a Girl, c. 1650.

Oil on panel, 47.5 x 39.2 cm

Fondation Custodia, Collection Frits Lugt

Johannes Vermeer - The National Gallery

2011-12-31T07:50:00.002+01:00

Johannes Vermeer 1632-1675

A Young Woman seated at a Virginal about 1670-2

A Young Woman standing at a Virginal about 1670-2

un site très riche et très complet sur Johannes Vermer (link)

( a very comprehensive website about Johannes Vermeer )

Joaquin Sorolla y Bastida - la sieste

2011-12-29T11:00:00.002+01:00

Joaquin Sorolla y Bastida (1863-1923)
La Sieste, 1911
Huile sur toile - 200 x 201 cm
Madrid, Museo Sorolla

David Hockney, Winter Timber, 2009

2011-12-27T22:40:00.003+01:00

David Hockney, Winter Timber, 2009

Picasso - Nusch Eluard

2011-12-25T20:20:00.002+01:00

Man Ray, Nusch Éluard, 1931

Katherine Mansfield - The Doll's House

2011-12-25T09:31:00.000+01:00

The Doll's House

by Katherine Mansfield 1888-1923 New Zealand

When dear old Mrs. Hay went back to town after staying with the Burnells she sent the children a doll's house. It was so big that the carter and Pat carried it into the courtyard, and there it stayed, propped up on two wooden boxes beside the feed-room door. No harm could come of it; it was summer. And perhaps the smell of paint would have gone off by the time it had to be taken in. For, really, the smell of paint coming from that doll's house ("Sweet of old Mrs. Hay, of course; most sweet and generous!") -- but the smell of paint was quite enough to make any one seriously ill, in Aunt Beryl's opinion. Even before the sacking was taken off. And when it was . . .

There stood the doll's house, a dark, oily, spinach green, picked out with bright yellow. Its two solid little chimneys, glued on to the roof, were painted red and white, and the door, gleaming with yellow varnish, was like a little slab of toffee. Four windows, real windows, were divided into panes by a broad streak of green. There was actually a tiny porch, too, painted yellow, with big lumps of congealed paint hanging along the edge.
But perfect, perfect little house! Who could possibly mind the smell? It was part of the joy, part of the newness.
"Open it quickly, some one!"
The hook at the side was stuck fast. Pat pried it open with his pen- knife, and the whole house-front swung back, and-there you were, gazing at one and the same moment into the drawing-room and dining-room, the kitchen and two bedrooms. That is the way for a house to open! Why don't all houses open like that? How much more exciting than peering through the slit of a door into a mean little hall with a hat-stand and two umbrellas! That is-isn't it? -- what you long to know about a house when you put your hand on the knocker. Perhaps it is the way God opens houses at dead of night when He is taking a quiet turn with an angel. . . .
"Oh-oh!" The Burnell children sounded as though they were in despair. It was too marvellous; it was too much for them. They had never seen anything like it in their lives. All the rooms were papered. There were pictures on the walls, painted on the paper, with gold frames complete. Red carpet covered all the floors except the kitchen; red plush chairs in the drawing-room, green in the dining-room; tables, beds with real bedclothes, a cradle, a stove, a dresser with tiny plates and one big jug. But what Kezia liked more than anything, what she liked frightfully, was the lamp. It stood in the middle of the dining-room table, an exquisite little amber lamp with a white globe. It was even filled all ready for lighting, though, of course, you couldn't light it. But there was something inside that looked like oil, and that moved when you shook it.
The father and mother dolls, who sprawled very stiff as though they had fainted in the drawing-room, and their two little children asleep upstairs, were really too big for the doll's house. They didn't look as though they belonged. But the lamp was perfect. It seemed to smile to Kezia, to say, "I live here." The lamp was real.
The Burnell children could hardly walk to school fast enough the next morning. They burned to tell everybody, to describe, to-well-to boast about their doll's house before the school-bell rang.
"I'm to tell," said Isabel, "because I'm the eldest. And you two can join in after. But I'm to tell first."
There was nothing to answer. Isabel was bossy, but she was always right, and Lottie and Kezia knew too well the powers that went with being eldest. They brushed through the thick buttercups at the road edge and said nothing.
"And I'm to choose who's to come and see it first. Mother said I might."
For it had been arranged that while the doll's house stood in the courtyard they might ask the girls at school, two at a time, to come and look. Not to stay to tea, of course, or to come traipsing through the house. But just to stand quietly in the courtyard while Isabel pointed out the beauties, and Lottie and Kezia looked pleased. . . .
But hurry as they might, by the time they had reached the tarred palings of the boys' playground the bell had begun to jangle. They only just had time to whip off their hats and fall into line before the roll was called. Never mind. Isabel tried to make up for it by looking very important and mysterious and by whispering behind her hand to the girls near her, "Got something to tell you at playtime."
Playtime came and Isabel was surrounded. The girls of her class nearly fought to put their arms round her, to walk away with her, to beam flatteringly, to be her special friend. She held quite a court under the huge pine trees at the side of the playground. Nudging, giggling together, the little girls pressed up close. And the only two who stayed outside the ring were the two who were always outside, the little Kelveys. They knew better than to come anywhere near the Burnells.
For the fact was, the school the Burnell children went to was not at all the kind of place their parents would have chosen if there had been any choice. But there was none. It was the only school for miles. And the consequence was all the children in the neighborhood, the judge's little girls, the doctor's daughters, the store-keeper's children, the milkman's, were forced to mix together. Not to speak of there being an equal number of rude, rough little boys as well. But the line had to be drawn somewhere. It was drawn at the Kelveys. Many of the children, including the Burnells, were not allowed even to speak to them. They walked past the Kelveys with their heads in the air, and as they set the fashion in all matters of behaviour, the Kelveys were shunned by everybody. Even the teacher had a special voice for them, and a special smile for the other children when Lil Kelvey came up to her desk with a bunch of dreadfully common-looking flowers.
They were the daughters of a spry, hardworking little washerwoman, who went about from house to house by the day. This was awful enough. But where was Mr. Kelvey? Nobody knew for certain. But everybody said he was in prison. So they were the daughters of a washerwoman and a gaolbird. Very nice company for other people's children! And they looked it. Why Mrs. Kelvey made them so conspicuous was hard to understand. The truth was they were dressed in "bits" given to her by the people for whom she worked. Lil, for instance, who was a stout, plain child, with big freckles, came to school in a dress made from a green art-serge table-cloth of the Burnells', with red plush sleeves from the Logans' curtains. Her hat, perched on top of her high forehead, was a grown-up woman's hat, once the property of Miss Lecky, the postmistress. It was turned up at the back and trimmed with a large scarlet quill. What a little guy she looked! It was impossible not to laugh. And her little sister, our Else, wore a long white dress, rather like a nightgown, and a pair of little boy's boots. But whatever our Else wore she would have looked strange. She was a tiny wishbone of a child, with cropped hair and enormous solemn eyes-a little white owl. Nobody had ever seen her smile; she scarcely ever spoke. She went through life holding on to Lil, with a piece of Lil's skirt screwed up in her hand. Where Lil went our Else followed. In the playground, on the road going to and from school, there was Lil marching in front and our Else holding on behind. Only when she wanted anything, or when she was out of breath, our Else gave Lil a tug, a twitch, and Lil stopped and turned round. The Kelveys never failed to understand each other.
Now they hovered at the edge; you couldn't stop them listening. When the little girls turned round and sneered, Lil, as usual, gave her silly, shamefaced smile, but our Else only looked.
And Isabel's voice, so very proud, went on telling. The carpet made a great sensation, but so did the beds with real bedclothes, and the stove with an oven door.
When she finished Kezia broke in. "You've forgotten the lamp, Isabel."
"Oh, yes," said Isabel, "and there's a teeny little lamp, all made of yellow glass, with a white globe that stands on the dining-room table. You couldn't tell it from a real one."
"The lamp's best of all," cried Kezia. She thought Isabel wasn't making half enough of the little lamp. But nobody paid any attention. Isabel was choosing the two who were to come back with them that afternoon and see it. She chose Emmie Cole and Lena Logan. But when the others knew they were all to have a chance, they couldn't be nice enough to Isabel. One by one they put their arms round Isabel's waist and walked her off. They had something to whisper to her, a secret. "Isabel's my friend."
Only the little Kelveys moved away forgotten; there was nothing more for them to hear.
Days passed, and as more children saw the doll's house, the fame of it spread. It became the one subject, the rage. The one question was, "Have you seen Burnells' doll's house?" "Oh, ain't it lovely!" "Haven't you seen it? Oh, I say!"
Even the dinner hour was given up to talking about it. The little girls sat under the pines eating their thick mutton sandwiches and big slabs of johnny cake spread with butter. While always, as near as they could get, sat the Kelveys, our Else holding on to Lil, listening too, while they chewed their jam sandwiches out of a newspaper soaked with large red blobs.
"Mother," said Kezia, "can't I ask the Kelveys just once?"
"Certainly not, Kezia."
"But why not?"
"Run away, Kezia; you know quite well why not."

At last everybody had seen it except them. On that day the subject rather flagged. It was the dinner hour. The children stood together under the pine trees, and suddenly, as they looked at the Kelveys eating out of their paper, always by themselves, always listening, they wanted to be horrid to them. Emmie Cole started the whisper.
"Lil Kelvey's going to be a servant when she grows up."
"O-oh, how awful!" said Isabel Burnell, and she made eyes at Emmie.
Emmie swallowed in a very meaning way and nodded to Isabel as she'd seen her mother do on those occasions.
"It's true-it's true-it's true," she said.
Then Lena Logan's little eyes snapped. "Shall I ask her?" she whispered.
"Bet you don't," said Jessie May.
"Pooh, I'm not frightened," said Lena. Suddenly she gave a little squeal and danced in front of the other girls. "Watch! Watch me! Watch me now!" said Lena. And sliding, gliding, dragging one foot, giggling behind her hand, Lena went over to the Kelveys.
Lil looked up from her dinner. She wrapped the rest quickly away. Our Else stopped chewing. What was coming now?
"Is it true you're going to be a servant when you grow up, Lil Kelvey?" shrilled Lena.
Dead silence. But instead of answering, Lil only gave her silly, shame-faced smile. She didn't seem to mind the question at all. What a sell for Lena! The girls began to titter.
Lena couldn't stand that. She put her hands on her hips; she shot forward. "Yah, yer father's in prison!" she hissed, spitefully.
This was such a marvellous thing to have said that the little girls rushed away in a body, deeply, deeply excited, wild with joy. Someone found a long rope, and they began skipping. And never did they skip so high, run in and out so fast, or do such daring things as on that morning.
In the afternoon Pat called for the Burnell children with the buggy and they drove home. There were visitors. Isabel and Lottie, who liked visitors, went upstairs to change their pinafores. But Kezia thieved out at the back. Nobody was about; she began to swing on the big white gates of the courtyard. Presently, looking along the road, she saw two little dots. They grew bigger, they were coming towards her. Now she could see that one was in front and one close behind. Now she could see that they were the Kelveys. Kezia stopped swinging. She slipped off the gate as if she was going to run away. Then she hesitated. The Kelveys came nearer, and beside them walked their shadows, very long, stretching right across the road with their heads in the buttercups. Kezia clambered back on the gate; she had made up her mind; she swung out.
"Hullo," she said to the passing Kelveys.
They were so astounded that they stopped. Lil gave her silly smile. Our Else stared.
"You can come and see our doll's house if you want to," said Kezia, and she dragged one toe on the ground. But at that Lil turned red and shook her head quickly.
"Why not?" asked Kezia.
Lil gasped, then she said, "Your ma told our ma you wasn't to speak to us."
"Oh, well," said Kezia. She didn't know what to reply. "It doesn't matter. You can come and see our doll's house all the same. Come on. Nobody's looking."
But Lil shook her head still harder.
"Don't you want to?" asked Kezia.
Suddenly there was a twitch, a tug at Lil's skirt. She turned round. Our Else was looking at her with big, imploring eyes; she was frowning; she wanted to go. For a moment Lil looked at our Else very doubtfully. But then our Else twitched her skirt again. She started forward. Kezia led the way. Like two little stray cats they followed across the courtyard to where the doll's house stood.
"There it is," said Kezia.
There was a pause. Lil breathed loudly, almost snorted; our Else was still as a stone.
"I'll open it for you," said Kezia kindly. She undid the hook and they looked inside.
"There's the drawing-room and the dining-room, and that's the-"
"Kezia!"
Oh, what a start they gave!
"Kezia!"
It was Aunt Beryl's voice. They turned round. At the back door stood Aunt Beryl, staring as if she couldn't believe what she saw.
"How dare you ask the little Kelveys into the courtyard?" said her cold, furious voice. "You know as well as I do, you're not allowed to talk to them. Run away, children, run away at once. And don't come back again," said Aunt Beryl. And she stepped into the yard and shooed them out as if they were chickens.
"Off you go immediately!" she called, cold and proud.
They did not need telling twice. Burning with shame, shrinking together, Lil huddling along like her mother, our Else dazed, somehow they crossed the big courtyard and squeezed through the white gate.
"Wicked, disobedient little girl!" said Aunt Beryl bitterly to Kezia, and she slammed the doll's house to.
The afternoon had been awful. A letter had come from Willie Brent, a terrifying, threatening letter, saying if she did not meet him that evening in Pulman's Bush, he'd come to the front door and ask the reason why! But now that she had frightened those little rats of Kelveys and given Kezia a good scolding, her heart felt lighter. That ghastly pressure was gone. She went back to the house humming.
When the Kelveys were well out of sight of Burnells', they sat down to rest on a big red drain-pipe by the side of the road. Lil's cheeks were still burning; she took off the hat with the quill and held it on her knee. Dreamily they looked over the hay paddocks, past the creek, to the group of wattles where Logan's cows stood waiting to be milked. What were their thoughts?
Presently our Else nudged up close to her sister. But now she had forgotten the cross lady. She put out a finger and stroked her sister's quill; she smiled her rare smile.
"I seen the little lamp," she said, softly.
Then both were silent once more.

Pieter Bruegel the Elder - Hunters in the snow

2011-12-24T07:44:00.000+01:00

Pieter Bruegel the Elder 1525-1569 - Hunters in the snow 1565

Oil on panel, 117 x 162 cm
Kunsthistorisches Museum, Vienna

Edith Wharton

2011-12-24T07:36:00.000+01:00

Edith Wharton 1862-1937- The House of Mirth, The Age of Innocence

Pablo Picasso - Portrait Of Gertrude Stein 1905 6

2011-12-23T15:00:00.000+01:00

Pablo Picasso - Portrait Of Gertrude Stein 1905 6

picasso - l'artiste et son modèle

2011-12-21T13:51:00.000+01:00

Picasso - The Artist And His Model 1963

Picasso -Femme couchee au bord de mer 1920

2011-12-20T17:52:00.000+01:00

Picasso - Femme couchée au bord de mer 1920

Picasso Femme allongee sur un divan (Dora Maar) 1935

Cézanne et Paris au Musée du Luxembourg

2011-12-12T08:32:00.000+01:00

Exposition : Cézanne et Paris au Musée du... par publicsenat

Lucien Freud

2011-12-11T06:19:00.001+01:00

Irish Woman on a Bed 2004

Rembrandt Self-portrait,aged 51

2011-12-04T08:31:00.001+01:00

Rembrandt van Rijn 1606-1669

Rembrandt Self-portrait,aged 51
SCOTTISH NATIONAL GALLERY

Franz Xaver Winterhalter

2011-12-03T06:55:00.001+01:00

Franz Xaver Winterhalter's Queen Victoria (1843)

the Limbourg brothers' illustration for February

2011-12-02T06:42:00.001+01:00

Rembrandt

2011-12-01T08:28:00.001+01:00

ADÈLE ROMANEE (PARIS 1769 – PARIS 1846)

2011-11-01T09:41:00.002+01:00

« AUTOPORTRAIT PRÉSUMÉ DE L’ARTISTE EN COMPAGNIE DE SA FILLE »

Picasso -Nu couché et homme jouant de la guitare

2011-10-28T12:38:00.000+02:00

Nu couché et homme jouant de la guitare 1970

Picasso-Matador-et-femme-nue-1970

2011-10-27T22:08:00.000+02:00

Nell Gwyn

2011-10-19T06:27:00.001+02:00

It was the Restoration of Charles II in 1660 that finally

allowed

women on the English stage. Before then men or boys

played female roles. Gwyn was one of the first female actors

and quickly became very well known. "Not only was she a

good actress she was incredibly astute at manipulating her

image and abilities," said Perry. Deft networking and a long

affair with the king – she had two children by Charles –

helped Gwyn become one of the first celebrities.

"She became extraordinarily popular. She had a very bold

character, she was witty and outspoken and she had a

charisma."

Gywn's fame was helped by mass reproduction of her image

and the admiration of people such as Samuel Pepys.

http://www.guardian.co.uk/artanddesign/2011/oct/18/nell-gwyn-first-actresses-exhibition

Vincent van Gogh (1853-1890)

2011-10-19T06:08:00.005+02:00

Vincent van Gogh (1853-1890)

1887 self-portrait

Gerhard Richter

2011-10-13T07:08:00.001+02:00

Gerhard Richter

http://www.gerhard-richter.com/

Woman with Child
Frau mit Kind (Strand)
1965
130 cm x 110 cm
Oil on canvas

David Hockney 1937-...

2011-10-13T06:43:00.000+02:00

David Hockney

David Hockney's Felled Trees on Woldgate (2008)

Museum Wuerth, Kunzelsau, Germany

Picasso

2011-10-13T06:32:00.000+02:00

Mother and Child, First Steps (1943) by Pablo Picasso

Francisco de Zurbarán

2011-10-13T06:20:00.000+02:00

Francisco de Zurbarán 1598-1664

Still Life With Lemons and Oranges (1633) by Francisco de Zurbarán

Plat avec citrons, Panier avec oranges et tasse avec rose

Picassso

2011-10-10T07:47:00.001+02:00

« Portrait de Madame Rosenberg et sa fille »

représentant la grand-mère et la mère d’Anne Sinclair. 1918

Musée Picasso , Paris

en savoir plus sur le tableau ( link )

Picasso -Gertrude Stein

2011-10-09T18:54:00.000+02:00

Gertrude Stein par Picasso 1906
Huile sur toile 119.4 x 104.1
« Vous verrez, elle finira par lui ressembler », disait le peintre à ceux qui trouvaient le tableau trop infidèle au modèle.

guido mocafico

2011-09-17T22:01:00.001+02:00

http://www.guidomocafico.com/

Plat d’étain avec figues.
© 2008.
43 X 43,7 cm.

Nature morte aux courges.
© 2008.
88 x 64,5 cm.

Richard Hamilton

2011-09-17T21:37:00.002+02:00

Swingeing London III (1972

Screenprint and collag

The State (1994)
Dye transfer (ed. 12)
48.5 x 48.5 cm (image); 64 x 63 cm (sheet)

Corot

2011-09-12T18:57:00.001+02:00

Agostina
c. 1866
Oil on canvas
52 1/4 x 38 3/8 in. (132.8 x 97.6 cm)
The National Gallery of Art, Washington

Gustave Courbet

2011-08-31T14:07:00.000+02:00

Les paysans de Flagey revenant de la foire

Jean-Baptiste-Camille Corot 1796-1875

2011-08-31T13:05:00.002+02:00

Corot - Ville d'avray

2011-08-30T10:59:00.003+02:00

Jean baptiste Camille Corot 1796-1875

Corot - ville d'Avray 1867

National Gallery, washington D.C.

La toilette

Gustave Courbet - l'enterrement à Ornans

2011-08-30T10:18:00.001+02:00

Gustave Courbet 1819-1877

Un enterrement à Ornans 1850

ou l'enterrement du romantisme

cliquer sur l'image

Huile sur toile

3,15x6,68 m, Musée d'Orsay

Balthus (Baltusz Klossowski de Rola)

2011-08-29T21:20:00.000+02:00

Balthus 1908-2001

Balthus - la rue

1933. Oil on canvas, 195 x 240 cm

Balthus - La toilette de Cathy (1933)

Gustave Courbet

2011-08-29T14:01:00.000+02:00

La baigneuse

Claude Monet

2011-08-29T08:50:00.000+02:00

Claude Monet (1840-1926)
Champs de coquelicots près de Vétheuil, vers 1879
Huile sur toile - 71,5 x 91,5 cm
Zurich, Fondation Collection E.G. Bührle

Claude Monet (1840-1926)
Coquelicots
1873
Huile sur toile
H. 50 ; L. 65 cm
Musée d'Orsay

gustave courbet quelques natures mortes

2011-08-27T14:00:00.001+02:00

Gustave Courbet

Quelques natures mortes

gustave courbet

2011-08-27T10:05:00.001+02:00

Gustave Courbet 1819-1877

portrait de juliette courbet 1844
Oil on canvass , 78x62 cm
musée du Petit Palais, Paris

portrait de Laure Borreau 1863
Oil on canvass 81x59 cm
Museum of Art, Cleveland

David Hockney - a bigger splash

2011-08-26T21:09:00.000+02:00

David Hockney 1937-...

A bigger splash 1967

Acrylic on canvas

242,6x243,8 cm

Tate Gallery, Londres

The Road to York through Sledmere, 1997

en szavoir plus sur david hockney et le yorkshire

Gustave COURBET - Pommes rouges au pied d’un arbre

2011-08-26T15:48:00.000+02:00

Gustave COURBET (1819-1877)
Pommes rouges au pied d’un arbre (1871-72)
Huile sur toile (51 x 62 cm)
Neue Pinakothek, Munich, Europe.

2011-08-26T08:53:00.002+02:00

The Turn of the Screw from Glyndebourne | Act I |

2011-08-23T08:15:00.000+02:00

The Turn of the Screw from Glyndebourne , Act I

Benjamin Britten

Rostropovich - Bach Cello Suite No.1 - Allemande

2011-08-23T06:57:00.000+02:00

Haydn-"The Clock" Symphony No.101 in D Major-Mov.2/4

2011-08-21T06:52:00.000+02:00

Emma Kirkby, Handel - Messiah, But who may abide

2011-08-19T06:35:00.000+02:00

wagner - l'or du rhin

2011-08-19T06:32:00.000+02:00

Choral from Cantata No.147 by Johann Sebastian Bach

2011-08-19T06:18:00.000+02:00

Herz und Mund und Tat und Leben
Muß von Christo Zeugnis geben
Ohne Furcht und Heuchelei,
Daß er Gott und Heiland sei.

Stanley Spencer 1891-1959

2011-08-18T07:21:00.007+02:00

Village Life, Gloucestershire. Oil on canvas

Stanley Spencer ( link français ) ( link english)

View from Cookham Bridge 1936

The Centurion's Servant 1914

Sarah Tubb and the Heavenly Visitors 1933

Daphne Spencer

Spencer Paintings in Public Art Galleries & Museums

Luis Meléndez

2011-08-17T06:47:00.002+02:00

Still Life with Melon and Pears

about 1772

Luis Meléndez, Spanish, 1716–1780

Pieter Claesz

2011-08-17T06:22:00.002+02:00

Still Life with Stoneware Jug, Wine Glass, Herring, and Bread 1642

Pieter Claesz., Dutch, about 1597–1660

émeutes à Londres

2011-08-09T16:54:00.005+02:00

Gordon riots 1780 ( link en fraçais) ( link en anglais )

Hundreds of people ( 300 ) were shot dead to bring the insurrection to a close.

voir aussi The Riot Act 1715 suite aux émeutes de Sacheverell

The Act was repealed on 18 July 1973 !

William Hogarth, Beer Street 1751

William Hogarth, Gin Lane 1751

Veronese Les noces de Cana

2011-08-06T10:48:00.003+02:00

Veronese 1528 1588

Peter Pan film complet 49mn 24 s

2011-08-03T08:02:00.005+02:00

Peter Pan par lecinema

Peter Pan ( 1902) de James Matthew Barrie (1860-1937)

Horowitz plays Mozart piano concerto 23 2nd mov

2011-08-03T06:48:00.002+02:00

O Pomar das Laranjeiras-Madredeus

2011-08-01T07:29:00.007+02:00

Jurarei
Eterno amor
Saudades
A vida inteira
Ao nascer do sol
No pomar das laranjeiras

E se o dia
Não vier
Voltarei
De qualquer maneira
Só para te ver
No pomar das laranjeiras

É tão grande
O meu amor
Foi assim
Logo a primeira
Só será maior
No pomar das laranjeiras

jean simeon chardin

2011-07-30T13:19:00.000+02:00

Jean Siméon CHARDIN: Bouquet de fleurs (1734)

Pierre Mignard (1612–1695)

2011-07-27T09:57:00.007+02:00

Louis of France, Grand Dauphin (son of Louis XIV and Maria Teresa of Austria),
and his wife Maria Anna Victoria of Bavaria
with their three sons: Louis, Petit Dauphin, Philippe (later King Felipe V of Spain)
and Charles, Duke of Berry

La prise de Philisbourg par Monseigneur le 29 octobre 1688.

Cérémonie du mariage du duc et de la duchesse de Bourgogne, le 7 décembre 1697, à Versailles.

Par Antoine Dieu (1662-1727)

Conservé à Versailles, châteaux de Versailles et de Trianon, INV MV9177

Monseigneur est situé juste derrière le roi son père. Le Grand Dauphin marie ici son fils aîné.

en savoir plus sur le Grand Dauphin, le fils de Louis XIV et le chateau de Meudon.

Lucien Freud

2011-07-27T07:49:00.003+02:00

Girl with a white dog, 1950

Girl with roses

Self portrait entitled the painter surprised by a naked admirer

a painting of Kate Moss

Benefits Supervisor Sleeping

lac Pavin juillet 2011

2011-07-27T07:11:00.002+02:00

Amy Winehouse Rehab

2011-07-25T09:21:00.003+02:00

They tried to make me go to rehab, I said no, no, no
Yes I've been black and when I come back, you'll know, know, know
I ain't got the time
And if my daddy thinks I’m fine
They tried to make me go to rehab I won’t go, go, go

I’d rather be at home with Ray
I ain’t got seventy days
Cos there’s nothing,there's nothing you can teach me
That I can’t learn from Mr Hathaway

Didn’t get a lot in class
But I know it don’t come in a shot glass

They tried to make me go to rehab, I said no, no, no
Yes I've been black and when I come back, you'll know know know
I ain't got the time
And if my daddy thinks I’m fine
They tried to make me go to rehab I won’t go, go, go

The man said "why do you think you here?"
I said "I got no idea"

I’m gonna, I'm gonna lose my baby
So I always keep a bottle near
He said "I just think you’re depressed"
Kiss me, here baby and go rest

They tried to make me go to rehab I said no, no, no
Yes I've been black but when I come back,you'll know, know, know

I don’t ever want to drink again
I just, ooh just need a friend
I’m not gonna spend ten weeks
Have everyone think I’m on the mend

It’s not just my pride
It’s just till these tears have dried

They tried to make me go to rehab, I said no, no, no
Yes I've been black and when I come back, you'll know know know
I ain't got the time
And if my daddy thinks I’m fine
They tried to make me go to rehab I won’t go, go, go.

Lucien Freud 1922-2011

2011-07-25T09:14:00.004+02:00

NAKED GIRL WITH EGG ( link )

1980/81

Lucien Freud 1922-2011

2011-07-25T08:33:00.002+02:00

Lucian Freud Girl With Roses (1947/8)

oil on canvas, 106 x 75.6 cm,

British Council Collection

Lucian Freud, Girl with a Kitten (1947) Oil on canvas 50.9 x 40.4 cm

Lucian Freud Interior in Paddington (1951) oil on canvas, 60 x 45 in

Mahler Symphony 8 1st Movement Part1 1906-1907

2011-07-17T02:34:00.002+02:00

Händel - The Messiah

2011-07-15T06:28:00.002+02:00

Rostropovich - Bach Cello Suite No.1 - Allemande

2011-07-15T06:21:00.000+02:00

Igor Stravinski - L'Oiseau de feu - 1910

2011-07-15T06:04:00.001+02:00

ANDRÉ KERTESZ

2011-07-12T08:39:00.001+02:00

ANDRÉ KERTESZ 2 July 1894 – 28 September 1985

Chez Mondrian, 1926

Giorgio de Chirico

2011-07-12T08:30:00.000+02:00

Giorgio de Chirico 1888-1978

La récompense du devin

Gare Montparnasse ou la mélancolie du départ

auto-portrait

Paul Cézanne

2011-07-11T08:50:00.004+02:00

Paul Cézanne 1839-1906

La Montagne Sainte-Victoire circa 1882

Courtauld Institute of Art, Londres.

Huile sur toile

Manuel Álvarez Bravo

2011-07-10T07:25:00.002+02:00

Manuel Álvarez Bravo 1904-2002

Manuel Alvarez Bravo, "Fruit défendu", 1977

Erbarme Dich, mein Gott,um meiner Zähren willen - Arie Nr.39 der Matthäuspassion

2011-07-09T20:47:00.001+02:00

Elizabeth Blackadder

2011-07-09T08:42:00.006+02:00

Black Cat, Abyssinian Cat and Tulips

Iris Oncocylus, 1996

Watercolour and pencil on paper

Francis Picabia - Sotileza -1928

2011-07-09T08:38:00.000+02:00

Francis Picabia - Sotileza [Subtlety]

Gouache on paper
Size 75.70 x 55.70 cm
Scottish National Gallery
This is one of Picabia's 'Transparency' paintings, in which several different images are layered on top of one another. There are three interpenetrating but distinct layers: the Spanish lady in a lace mantilla depicted in a deliberately kitsch style; an outline drawing of a matador in full costume; and a simplified representation of a Madonna, crowned in the Catalan Romanesque style. The obvious connecting link between all three figures is their Spanishness. Picabia's father was Spanish. The layering of images may be intended to provide the visual equivalent to memory and the stream of consciousness. The combination of apparently opposing styles and themes is typical of Picabia's work.

MINOR WHITE - Barn and Clouds

2011-07-07T14:05:00.000+02:00

MINOR WHITE. Barn and Clouds, in the Vicinity of Naples and Dansville, New York, 1955

André Kertész

2011-07-07T14:02:00.001+02:00

Distortion No. 6, 1932
André Kertész (American, born Hungary, 1894–1985)
Gelatin silver print

Kertész accentuated the narrow ribcage and long waist of the ideal contemporary woman by photographing his model in a carnival mirror. If the top half of this beautiful nude resembles those Modigliani painted, the swell of the haunch recalls Mannerist nudes and their nineteenth-century revivals, especially Ingres' grande odalisque.