Moses Striking the Rock
(Italian, Naples 1634–1705 Naples)
Date:
1634–1705
Medium:
Pen and brown ink, over lead or black chalk
Dimensions:
10-1/8 x 16-1/4 in. (25.7 x 41.2 cm)
Thursday, April 30, 2015
Monday, April 27, 2015
Mike Grell / Josef Rubinstein
Green Arrow: Mike Grell / Josef Rubinstein
Artists: Mike Grell (Penciller)
, Josef Rubinstein (Inker)
Sunday, April 26, 2015
WENDY ARTIN
Laura Wind, 2009, watercolor on Rives BFK paper, 20 x 34 cm, © 2009-2014
Laura Arms Locked, 2004, watercolor on Rives BFK, 8" x 13", © 2004-2014
Uploaded on Apr 27, 2010
Video
of Wendy Artin in Rome in 2002, with Russ Gerard of Gurari Collections,
Adele Chatfield-Taylor of the American Academy in Rome, and Anne McGhee
of Harvard University. To see Wendy Artin's website, go to
www.wendyartin.com. For photos from recent exhibitions, see
www.wendyartin.wordpress.com.
Thursday, April 23, 2015
Tuesday, April 21, 2015
Monday, April 20, 2015
Sunday, April 19, 2015
Adriaen van Ostade
Peasants Drinking in a Tavern
(Dutch, 1610 - 1685)
The Netherlands (Place created),early 1640
Pen and brown ink and wash over black chalk
11 x 14.8 cm (4 5/16 x 5 13/16 in.)
Monday, April 13, 2015
Friday, April 10, 2015
Tuesday, April 7, 2015
Philippe de Champaigne
Portrait of Dame Étiennette
Philippe de Champaigne
(French, born Belgium, 1602 - 1674)
France (Place created) 1647
Brush and gray ink
22.5 x 16.8 cm (8 7/8 x 6 5/8 in.)
Philippe de Champaigne
(French, born Belgium, 1602 - 1674)
France (Place created) 1647
Brush and gray ink
22.5 x 16.8 cm (8 7/8 x 6 5/8 in.)
A middle-aged woman dressed in a coif and layers of plain white
clothing--connoting the purposes of comfort and utility--faces the
viewer for a portrait. Her direct gaze and slight smile imply that she
knows the onlooker well, and in fact it is thought that she may have
been a domestic in Phillippe de Champaigne's home. An inscription on the
subject's laced bodice indicates this with an abbreviation: "Gardi,"
meaning "gardienne" or caretaker, beneath the name, "Dame Étiennette."
The
manner in which this drawing is executed, with its veracity of
observation and varied brushwork, conveys what must have been before the
artist: subtle degrees of shadow and light and texture defining
structures of bone, skin, and fabric. Soft, watery washes denote both
shadows on the wall as well as the volume of the woman's figure. A
dry-brush technique offers a tactile quality to what we see, from the
linen cloth of the dress to the softness of aging skin. getty.edu
Sunday, April 5, 2015
Friday, April 3, 2015
Walter Beach Humphrey
study for Hovey Murals
Walter Beach Humphrey
Mural Illustrating Richard Hovey’s “Eleazar Wheelock” (panel
5)
1938
Oil on canvas
Inscribed, lower left to right: [who was] / He had Tobacco by the Cord, ten Squaws and more to come / But he never yet had tasted of New England Rum
Commissioned by Trustees of Dartmouth College
1938
Oil on canvas
Inscribed, lower left to right: [who was] / He had Tobacco by the Cord, ten Squaws and more to come / But he never yet had tasted of New England Rum
Commissioned by Trustees of Dartmouth College
hoodmuseum
Wednesday, April 1, 2015
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