The Murderous Sky (Le ciel meurtrier) by René Magritte https://www.nga.gov/artworks/93066-murderous-sky-le-ciel-meurtrier
53, as The Murderous Sky. 2011 René Magritte: The Pleasure Principle, Tate Liverpool
53, as The Murderous Sky. 2011 René Magritte: The Pleasure Principle, Tate Liverpool
1871], The Polygon, Ardwick, Manchester; sold 1849 to John Naylor, Leighton Hall, Liverpool
unnumbered catalogue, fig. 11. 2013 Chagall, Modern Master, Kunsthaus Zürich; Tate Liverpool
Joseph Mallord William Turner excelled at capturing the beauty and mysteries of light. Cool, white moonlight contrasts with warm, yellow and orange firelight.
Polygon, Ardwick, Manchester; sold 1849 to John Naylor [1813-1889], Leighton Hall, Liverpool
, Canberra, 2002-2003, no catalogue. 2015 Jackson Pollock: Blind Spots, Tate Liverpool
When Approach to Venice was first exhibited in 1844, Joseph Mallord William Turner quoted Lord Byron in the catalog description: “The moon is up, and yet it is not night / The sun as yet disputes the day with her.� In Turner’s colorful view of Venice, a full moon shares the sky with the setting sun as a flotilla of barges and gondolas makes its way across the lagoon.
Loan Collection of Oil Paintings by British Artist Born before 1801, Art Club, Liverpool
Twombly: Later Paintings, Moderna Museet, Stockholm; Staatsgalerie Stuttgart; Tate Liverpool
Washington, D.C., 2009. 2010 Afro Modern: Journeys Through the Black Atlantic, Tate Liverpool
., London, 1905, no. 21. 2002 George Romney (1734-1802), Walker Art Gallery, Liverpool
Two of Magritte’s favored themes were the „window painting“ and the „painting within a painting.“ The Human Condition is one of Magritte’s earliest treatments of either subject, and in it he combines the two, making what may be his most subtle and profound statement of their shared meaning. The Human Condition displays an easel placed inside a room and in front of a window.
Florence, 2010, no. 56, repro. 2011 René Magritte: The Pleasure Principle, Tate Liverpool