Dein Suchergebnis zum Thema: Toronto

Piet Mondrian intended his abstract or so-called „neo-plastic“ paintings to express his fundamentally spiritual notion that universal harmonies preside in nature. The horizontal and vertical elements of his compositions, assiduously calibrated to produce a balanced asymmetry, represented forces of opposition that parallel the dynamic equilibrium at work in the natural world.
Design, Providence, 1966, no. 112 Piet Mondrian 1872-1944, The Art Gallery of Toronto

Minneapolis Institute of Arts; San Francisco Museum of Art; The Art Gallery of Toronto

A ragtag group of people gathers around an elderly man holding a violin. He pauses, as if interrupted mid performance, and gazes directly at us.
Boston & Toronto, 1969: 168. Farwell, Beatrice.

Thomas Eakins made his career portraying upper-middle class residents of his native Philadelphia. Such depictions are anything but static likenesses;
repro., as The Pathetic Song. 1961 American Painting, 1865-1905, Art Gallery of Toronto

This painting, one of two views of Mortlake Terrace painted by Turner, is a view from the house, looking directly west into the luminous glow of the setting sun. Turner established the quiet mood of the late-afternoon scene with two ivy-covered elm trees, whose soft, feathery leaves and curving limbs frame the painting.
, no. 36, color repro. 2004 Turner, Whistler, Monet, Art Gallery of Ontario, Toronto

2025 Where I Learned to Look: Art from the Yard Elizabeth Harney, University of Toronto

In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day.
Newark, London, and Toronto, 1988: 22, 43-45, pl. 2. 1990 Powell, Earl A., III

Walker, Self-Portrait with Donors: Confessions of an Art Collector (Boston and Toronto

Hostilities between North American colonists and Britain were boiling over in the 1770s when Benjamin West painted this double portrait. The British wanted to ensure the loyalty of the Mohawk people, the easternmost tribe of the Haudenosaunee (Iroquois Confederacy), in case of war.
1984 Georgian Canada: Conflict and Culture, 1745-1820, Royal Ontario Museum, Toronto

Anthony van Dyck painted this portrait of an upper-class Antwerp woman around 1618, shortly after he registered as a master painter with the Antwerp Saint Luke’s Guild. At that time, Antwerp’s long-established portrait tradition emphasized a sitter’s virtuous character through restrained gestures and a direct gaze.
Boston and Toronto, 1974: 116. 1975 European Paintings: An Illustrated Summary