Dein Suchergebnis zum Thema: Toronto

William Merritt Chase, an influential art teacher and one of the leading exponents of American impressionism, captured the genteel, privileged life of polite society in the 1890s. A Friendly Call , set in Chase’s elegant summer house at Shinnecock Hills, Long Island, shows two fashionably dressed women in a large, airy room decorated with prints, paintings, hanging textiles, and a large, gilt–framed mirror.
Small Paintings by Members of the Ontario Society of Artists, The Art Gallery of Toronto

Massa, 1626, Art Gallery of Ontario, Toronto, illustrated in Seymour Slive, Frans

Boston and Toronto, 1974: 42-44. 1975 European Paintings: An Illustrated Summary

Cole’s renowned four-part series traces the journey of an archetypal hero along the „River of Life.“ Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of „Youth“ and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence.
Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284

Manet came from a well–to–do family, and this painting provides a glimpse of the sophisticated Parisian world he loved. He was uncomfortable in the countryside, preferring instead the finery of the city.
London and Toronto, 1993: repro. 43. 1994 Rubin, James H.

London and Toronto, 1993: repro. pl. 56. Manoeuvre, Laurent. Manet-Paris.

Cole’s renowned four-part series traces the journey of an archetypal hero along the „River of Life.“ Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of „Youth“ and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence.
Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284

In the tradition of his Flemish predecessors, Memling’s painting contains a wealth of religious meaning; it is filled with symbols which explain the importance of Christ’s mission on earth.
New York, London, and Toronto, 1959-1983.

We glimpse the harrowing drama unfolding in this painting, as if we are crouching by the roots of the tropical foliage and peering through a space between the leaves. Our focus is on the anonymous silhouettes of men and women, their shackles more prominent than their features.
Toronto, 2009: 178, repro., 363. 2010 Barson, Tanya.

When his friend Marcotte first suggested that Ingres paint Ines Moitessier, the wife of a financier and jurist, he demurred. Ingres changed his mind after being struck by her „terrible et belle tête“ (terrible and beautiful head.) The author Théophile Gautier described her as „Junolike,“ and Ingres presents her with the imposing remoteness of a Roman goddess.
Exhibition of Great Paintings in Aid of Allied Merchant Seamen, The Art Gallery of Toronto