Guy Pène du Bois painted Pierrot Tired while living in France in the 1920s. Although the artist’s strained finances forced him to live some 30 miles outside Paris, his fascination with that city’s café society and expatriate culture led him to paint many views of well-to-do restaurant and nightclub patrons.
Vose, Jr., to Betsy Fahlman, and an e–mail of 20 April 2004, from Siobhan Wheeler
This could be a scene from a children’s book, but the story is a strange one. At first glance, everything looks ordinary.
Institute of Chicago, and it was returned to them after the closing on 1 November 1934 (e–mail
include the accession number, artist name and title of the work of art in your e–mail
Richards‘ early work as a landscape painter was strongly influenced by the paintings of the Hudson River School, which was at that time in its most active and creative phase. These works followed the school’s well-established formulas for depicting expanses of rural and wild scenery in a romanticized and stylized manner.
[2] See e–mail message of 2 September 2003 from Godel & Co. to Franklin Kelly,
In this winter landscape, aristocrats, burghers, countrymen, and orphans take to the ice of the frozen Amstel River. From a young boy propelling himself with sticks on a prikslee (small push-sled) to the group of three stately men with no skates conversing by the riverbank, each of Van Breen’s figures colorfully brings to life the possible actions and interactions of a winter’s day on the ice.
[1] This information was provided by William Mitchell, e–mail to Arthur K.
Thanks to correspondence from Olafur Thorvaldsson (e–mail of 27 September 2019, in
ship we don’t usually see—peering up at the bow of the four-masted Bradford E.
In European art, images of children blowing soap bubbles often suggest how frivolous and short our time on earth is. Life, like fragile bubbles, is fleeting.
and says that Gimpel was reading from an accounts book when he wrote the entry (e–mail
Hurlbut Collection 1133.1922 [1] New York Evening Mail, quoted in Charles H.
Its Christian subject matter, simplicity of organization, and lack of shock value separate The Sacrament of the Last Supper from most of Salvador Dal۪̉s other works. Dal۪̉s reputation from the late 1920s to the mid-1940s was founded on his surrealist manner and use of Freudian dream imagery.
The Commercial-Mail (3 April 1958): 1, repro.
