Dein Suchergebnis zum Thema: wale

Gallery, Brisbane; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales

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

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.

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

Stockholm, 1997-1998, no. 24, repro. 1998 Classic Cézanne, 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.

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

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

Vlaminck is often portrayed as the most unruly painter of the fauve school, an impression that reflects both on his personality (as it is revealed in his biography and writings) and his work. A self-taught artist, Vlaminck insisted that painting should be the unmediated expression of an artist’s temperament, „emotive, tender, ferocious, as natural as life itself.“ [1] Indeed, having been an anarchist sympathizer during the prewar period, he would later link the strident colorism and bold brushwork of his work to social and political dissent, a connection that was actually made by several art critics.
catalogue, repro. 1976 Modern Masters: Manet to Matisse, Art Gallery of New South Wales