The Louvre, Afternoon, Rainy Weather by Camille Pissarro https://www.nga.gov/artworks/195850-louvre-afternoon-rainy-weather
20 March 2005, no. 15, repro. 2005 Camille Pissarro, Art Gallery of New South Wales
Meintest du waldes?
20 March 2005, no. 15, repro. 2005 Camille Pissarro, Art Gallery of New South Wales
To brighten Cézanne’s dark palette knife, his friend Camille Pissarro told him, „Never paint except with the three primary colors. .
Art Gallery of New South Wales, Sidney, 1998: 48, fig. 19.
Cézanne’s work, especially landscape paintings, increasingly verged on abstraction in the artist’s last two decades. In this study of light and reflection, structures on the bank and on the river are simplified into geometric shapes that contrast with the organic lushness surrounding them.
catalogue, repro. 2010 Paths to Abstraction 1867 to 1917, Art Gallery of New South Wales
A popular subject in Counter–Reformation Italy and Spain, Ribera’s profoundly moving work portrays the apostle’s final moments before he is to be flayed alive. The viewer is meant to empathize with Bartholomew, whose body seemingly bursts through the surface of the canvas, and whose outstretched arms embrace a mystical light that illuminates his flesh.
repro. 2003 Darkness & Light: Caravaggio & His World, Art Gallery of New South Wales
Ellsworth Kelly realized his first abstractions during his stay in France from 1948 to 1954. In these extremely productive years, he created a body of work whose refinement of line, form, and color remains the fundamental language of his art.
Kate Lowry, chief conservation officer, National Museums and Galleries of Wales.
Stockholm, 1997-1998, no. 24, repro. 1998 Classic Cézanne, Art Gallery of New South Wales
Paris, 2012-2013, no. 8, repro. 2014 Pop to Popism, Art Gallery of New South Wales
Gallery, Brisbane; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales
An inventory of 1632 confirms the presence of this rare set of pendant paintings by the still-life master Balthasar van der Ast in the collection of Princess Amalia van Solms, wife of Frederik Hendrik, Prince of Orange. The two works complement each other and reinforce the message that one should be grateful for the abundance and beauty of God’s creation.
Nabio Museum of Art, Osaka; Tokyo Station Gallery; Art Gallery of New South Wales
Here is Dutch artist Judith Leyster at her easel, taking a break from painting to engage with us. In what might be considered an early selfie, she leans her forearm on the chair and suspends her paintbrush in midair, as if she’ll turn back to the canvas in a moment.
Renaissance to Contemporary, National Portrait Gallery, London; Art Gallery of New South Wales