an-art-and-soul-portrait-blog - Tumblr blog

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Calude Debussy

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Castelo de Vide / Portugal (by Nuno Sequeira).

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New work babys! 

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Sem titulo,

Acrílico e tinta de esmalte sobre papel, 100 cm x 70 cm, 2015

Alexandra Ferreira

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Bent Sørensen: Looking on Darkness

The best piece of accordion solo...in my opinion...

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Paul Chan, 6th Light, from the series 7 Lights, 2007, digital video projection. A Society for Contemporary Art Acquisition Selection.

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Colors of Morocco

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Treble clefs by (L to R) Bach, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Debussy, and Ravel.

Source

[an-art-and-soul-portrait-blog]

Claude Monet (French, 1840 - 1926)

Water Lilies 1907

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Liverpool Docks, John Atkinson Grimshaw

“‘The work of Atkinson Grimshaw is valuable and unique in several respects. He made a great popular success out of that amalgam of Pre-Raphaelite sentiment, nature and industry that dominated the culture of northern England in the later nineteenth century. His work is our only visual equivalent to the great epics of industrial change, the novels of Gaskell and Dickens.’ (David Bromfield, Atkinson Grimshaw 1836-1893, exhibition catalogue, 1979-1980, p. 5) Grimshaw began to expand the scope of his subjects in the early 1880s, beginning a series of paintings of urban street scenes and docks set in the evening light for which he is best known. His growing popularity, particularly with art collectors in the northern urban centres, encouraged him to paint industrial views of ports and harbours. Bromfield has interpreted Grimshaw’s port scenes as ‘icons of commerce and the city. They are remarkable in that they record the contemporary port’s role within Victorian life; they appealed directly to Victorian pride and energy. They also show that same darkness, a mysterious lack of complete experience of the subject which one associates with large cities and big business, which Dickens recounts so well in Bleak House and Great Expectations and for which Grimshaw’s moonlight became a perfect metaphor.’ (ibid Bromfield, p. 15)” (via)

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Vincent Van Gogh

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Switzerland

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London readers continue to browse at a bombed-out library, WWII. 

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A bird’s eye view of St. Bartholomä, Germany  (by B℮n)

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The Chateau de Pierrefonds, 1869.

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Four photographs of Monet in his Studio at Giverny by Henri Manuel