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Articles 1 - 9 of 9
Full-Text Articles in Art and Design
Annunciate Virgin, Risd Museum, Evelyn Lincoln
Annunciate Virgin, Risd Museum, Evelyn Lincoln
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This scene from the Annunciation is all that remains of a commission for the Church of Santa Margherita, the devotional center of a hospital and monastery in the Tuscan city of Prato. Its daring color and figural exaggeration are aspects of a late-Renaissance Mannerist style for which the Florentine artist Mirabello Cavalori was known. Like many candlelit altarpieces, the painting was damaged by fire, destroying the figure of the Angel Gabriel. At left, his surviving hand draws the gaze of the Virgin Mary, who is seated in a 16th-century palazzo near a balcony overlooking a mountainous landscape. Her modest but …
Child In A Red Apron (L’Enfant Au Tablier Rouge), Risd Museum, Maureen O'Brien
Child In A Red Apron (L’Enfant Au Tablier Rouge), Risd Museum, Maureen O'Brien
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This painting depicts Julie Manet, the seven-year-old daughter of the artist Berthe Morisot and her husband, Eugène Manet. She peers at a wintry landscape outside the family’s home in Paris, perhaps holding a prism to her eyes. The setting was Morisot’s bedroom, distinguished by a window whose small panes function as a compositional device that connects interior to exterior space. Across the canvas, a fluid net of slashing and spiraling marks rush through the room and animate Julie’s costume and pose. The vertical glint of a brass knob suggests that the window is ajar, introducing a breeze that lifts the …
Crucifixion, Risd Museum, Susan Ashbrook Harvey
Crucifixion, Risd Museum, Susan Ashbrook Harvey
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In this depiction of the Crucifixion, the Roman centurion Longinus is shown lancing Christ’s side as Mary faints in the arms of John the Evangelist. Beside Christ hang two thieves, one repentant, the other offering his soul to a demon. The gilded and punched surface and lavishly costumed figures reflect a late International Gothic style, here dominated by Flemish realism. Although this altar panel once hung in the parish church of El Cubo de Don Sancho in Salamanca, it likely was commissioned by a wealthy donor for a more important setting. Unpainted upper corners indicate that its original frame had …
Chestnut Trees And Farm At Jas De Bouffan, Risd Museum, Deborah Bright, Eric Kramer
Chestnut Trees And Farm At Jas De Bouffan, Risd Museum, Deborah Bright, Eric Kramer
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The Cézanne family’s country home outside Aix-en-Provence appeared often in the artist’s work. Called Jas de Bouffan (“sheepfold of the winds”), the property consisted of an 18th-century manor house with surrounding gardens and a farm. Just out of sight of this view, beyond the farm buildings at right, loomed another favorite motif: the shimmering Montagne Sainte-Victoire. In 1881 Paul Cézanne built a studio at Jas de Bouffan and for the next eighteen years spent much of his time painting nearby landscapes. This composition features an allée of chestnut trees seen from the garden behind the house. Cézanne massed the trees …
Kwanseum, Risd Museum, Linda Heuman
Still Life With Lemons (Whose Forms Correspond To A Drawing Of A Black Vase Upon The Wall), Risd Museum, Ellen Mcbreen
Still Life With Lemons (Whose Forms Correspond To A Drawing Of A Black Vase Upon The Wall), Risd Museum, Ellen Mcbreen
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Matisse used solid, vivid colors to render the simple forms and geometric background segments of this still life. Roughly outlined and intentionally flattened, each element shows evidence of the artist’s brushstrokes and his manipulation of pigment. An extended title, Still life with lemons whose forms correspond to a drawing of a black vase upon the wall, points to intentional relationships between shapes. The ovoid form of the pitcher echoes the curves of the plump lemons below; those of its neck and base are repeated in the foot of the blue glass compote at lower left. A book entitled “Tapis” (Carpet) …
The Supper At Emmaus, Risd Museum, Butch Rovan, Horace Ballard
The Supper At Emmaus, Risd Museum, Butch Rovan, Horace Ballard
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In this biblical scene Christ breaks bread to bless it and give it to his dining partners at Emmaus on the third day after his Resurrection. Jan Cossiers depicted the two companions of Christ at the moment when Christ’s divinity is revealed to them. The man at the far right throws up his hands in surprise, while the man in the center points in a gesture of identification. The cockle shells, crossed staffs, medal, and tall hat of the man at right designate him as a pilgrim to the shrine of Santiago de Compostela, the most important and popular pilgrimage …
Self-Portrait, Risd Museum, Fritz Drury
Self-Portrait, Risd Museum, Fritz Drury
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This representation of an elegantly dressed lute-player is an intriguing variant on an artist’s self-portrait. It identifies the subject as the painter, seated before his own easel and palette, and expands on his cultural achievements by emphasizing his musical abilities. Although unsigned, this portrait has been attributed to Paul Bril (1553/4-1626), a Flemish artist who forged a highly successful career in Rome. The scene tacked to the easel is typical of Bril’s early compositions which were distinguished by small figures, deep, shaded foregrounds, and masses of silvery foliage, attributes that he shared with other Flemish painters. Bril’s Netherlandish roots helped …
Rain On The River, Risd Museum, Fritz Drury
Rain On The River, Risd Museum, Fritz Drury
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George Bellows was critically acclaimed for the frank, even brutal manner of the urban landscapes he painted in the early years of the twentieth century. His view from a rockly ledge above Riverside Park surveys a freight train making its way along the New York Central’s famous Water Level Route. The string of railcars echoes the rushing diagonal that marks the near bank of the Hudson River. Aggressive brushstrokes indicate reflective surfaces that are animated by graphic observations: a lone pedestrian scurries acros a rain-slicked path, and a horse-drawn cart awaits a delivery of scavenged coal. Bellows called Rain on …