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A coffee with Art

Sit down with me, just for the time of a good black espresso. Let's have a quick chat about Art.

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Showing posts from June, 2022

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Joseph BEUYS - Felt dress (1970)

on June 30, 2022

Beuys Broodhaers Duchamp Joseph Beuys Oldenburg Schwitters

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Gian Lorenzo BERNINI - Ecstasy of Santa Teresa (1646-1652)

on June 29, 2022

Bernini Caravaggio Carracci Gian Lorenzo Bernini Michelangelo Reni

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George BELLOWS - Forty-two boys (1907)

on June 28, 2022

Bellows Eakins George Bellows Hopper Vuillard Wyeth

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Bernardo BELLOTTO - View of the Ponte delle Navi, Verona (about 1745)

on June 27, 2022

Bellotto Bernardo Bellotto Bonington Canaletto Gentile Bellini Guardi Pannini

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Hans BELLMER - The spinning top (about 1937-1956)

on June 24, 2022

Bellmer Brauner Dalí Delvaux Ernst Hans Bellmer Matta Tanguy

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Giovanni BELLINI - Naked woman in the mirror (1515)

on June 23, 2022

Gentile Bellini Giorgione Giovanni Bellini Ingres Mantegna Tiziano

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Gentile BELLINI - The miracle of the Cross (1500)

on June 22, 2022

Bellotto Canaletto Gentile Bellini Giovanni Bellini Guardi Hiroshige

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Max BECKMANN - Departure (1932-1935)

on June 21, 2022

Beckmann Bosch Ensor Heckel Kokoschka Max Beckmann Orozco Siqueiros

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Domenico BECCAFUMI - Tanaquilla, wife of Lucumone (about 1520)

on June 20, 2022

Beccafumi Cranach Domenico Beccafumi Goya Parmigianino Rosso Fiorentino

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André BEAUNEVEU - San Filippo (c. 1380-1385)

on June 17, 2022

André Beauneveu Antonello da Messina Beayneveu Fouquet Limbourg Van Eyck

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Frédéric BAZILLE - The artist's atelier (1879)

on June 16, 2022

Bazille Frédéric Bazille Manet Monet Renoir Sisley Teniers

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Willi BAUMEISTER - Montaruru mit Rot (1953)

on June 15, 2022

Arp Baumeister Dalí Heron Léger Matisse Miro Willi Baumeister

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Pompeo BATONI - Thomas William Coke (1774)

on June 14, 2022

Batoni Dobson Hilliard Kneller Moroni Pompeo Batoni

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Jacopo BASSANO - The animals enter the ark (about 1590)

on June 13, 2022

Bassano Hicks Jacopo Bassano Salviati Savery Tintoretto Veronese

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Jean Michel BASQUIAT - Without title (1984)

on June 10, 2022

Basquiat Dubuffet Gaudier-Brzeska Jean Micheal Basquiat Rauschenberg Twombly

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Georg BASELITZ - Other blondes (1992)

on June 09, 2022

Baselitz De Kooning Fautrier Georg Baselitz Kiefer Polke Van Gogh

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Fra' BARTOLOMEO - Resurrection of Christ and saints (1516)

on June 08, 2022

Carracci Fra' Bartolomeo Leonardo Michelangelo Raffaello

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BALTHUS - Girl and cat (1937)

on June 07, 2022

Balthus Bonnard Derain Foujita Rego Schiele Sherman

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Giacomo BALLA - Flight of swallows (1913)

on June 06, 2022

Balla Boccioni Braque Carrà Catlin Feininger Giacomo Balla Gris Severini

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Paris BORDONE - Presentation of the ring to the Doge (1534)

on June 03, 2022

Bordone Clouet Gentile Bellini Guardi Paris Bordone Sassetta Tiziano

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Hans BALDUNG GRIEN - The three ages of man and death (1539)

on June 03, 2022

Bosch Cranach Dürer Grien Hans Baldung Grien Ribera

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Hendrick AVERCAMP - Ice scene at a city (about 1615)

on June 02, 2022

Avercamp Brügel Cuyp Hendrick Avercamp Lowry Raeburn Ruisdael Van Goyen

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Pierre BONNARD - The open window (about 1921)

on June 01, 2022

Bonnard Caillebotte Denis Hassam Matisse Pierre Bonnard Vallotton Vuillard

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Frank AUERBACH - J Y M sitting in the study VI (1988)

on June 01, 2022

Auerbach Bacon De Kooning Frank Auerbach Kitaj Kossoff Sutherland

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Popular Posts

Giuseppe Maria Crespi - Death of Saint Josef (c. 1712)

Giuseppe Maria Crespi is the crossroads of different stimuli: Roman and Emilian seventeenth century, Venetian school, Neapolitan school and Flemish-Dutch tradition. Everything, well mixed, creates the unique and personal style of this Bolognese master. A very intense and expressive light. The silent dialogue of the figures engaged in this representation. Following the dictates of the Counter-Reformation, San Giuseppe must be given new visibility and importance; his whole family is present and Christ blesses him ... even if nothing is said about him after the infancy of Christ.

Peter BLAKE - On the balcony (1955-1957)

On the balcony 1955-1957 Oil painting on canvas (121x91 cm) Tate Gallery, London ******* The figures sitting on a park bench are surrounded by four paintings by some of Blake's companions and various commercial objects, including packets of cigarettes, newspapers and food packages. The structure of the painting is very simple and the attention to perspective is somewhat lacking; the real interest is to be found in the attention to the representation of the objects, which are the most important elements of the composition. At the time of its creation it was considered Blake's masterpiece for its strong visual impact and now communicates the full sense of cultural growth in the 1950s, putting the observer in front of a messy crowd of popular images. This representation of commercial objects paved the way for another great artistic movement: Pop Art. In the 1970s, Blake moved towards a more naturalistic style and by 1975 he also became a founding member of the Brotherhood of Rur

Antonello da Messina - Saint Jerome in the study (about 1475-1476)

Saint Jerome in the study about 1475-1476 Oil painting on canvas (46x36,5 cm) National Gallery, London ******* A work that plays on our strong desire as a voyeur. The invitation to look through the open window directly into St. Jerome's studio is explicit and pleasantly accepted. Nobody seems to notice us, but a shadow observes us on the right: the lion has noticed us. Antonello da Messina showcases the Dutch influence: the books on the shelves, the tiles on the floor, the birds on the windowsill and the presence of light; all presences that seem to recall the paintings of Robert Campin and Jan van Eyck. The author's biography does not allow us to reconstruct possible and eventual trips to Northern Europe but the influence that is denoted in his art demonstrates a profound knowledge of the pictorial techniques of those places. Some historians would like Antonello da Messina to have been a direct and personal pupil of Van Eyck, learning his "secret method" and introd

Jan van Eyck - Madonna of Chancellor Rolin (c. 1434)

In a single work Jan van Eyck has inserted a universe of Beauty and luxury. From the floor, to the walls and windows, from the fabrics to the view. Not to mention the crown of the Virgin. Accuracy is incredible. A masterpiece, simply.

Bernardo BELLOTTO - View of the Ponte delle Navi, Verona (about 1745)

View of the Ponte delle Navi, Verona about 1745 Oil painting on canvas (132x233,5 cm) Private collection ******* La veduta è di una precisione impressionante e il nostro occhio è invitato ad osservare il realismo delle superfici intonacate e con i mattoni a vista sotto il cielo brillante di Verona. Il virtuosismo di questo quadro è un chiaro testimone del fatto che Bernardo Bellotto ha appreso l'Arte della pittura alla bottega dello zio, Canaletto, apprendo a tal punto la sua tecnica da rendere spesso difficile riconoscere le opere dell'uno e dell'altro; situazione peggiorata dal fatto che spesso Bellotto firmava le sue opere come Canaletto. Una differenza sostanziale tra l'arte dello zio e del nipote esiste: le sue opere sono più fresche e pungenti con un maggior interesse per le nuvole e il fogliame. Un'altra grande differenza è da ricercarsi nel numero di persone presenti nelle opere: Canaletto inseriva molte meno figure umane rispetto al nipote Bellotto. Nel 1

Leonardo Da Vinci (attr.) - Madonna Litta (1490-1491)

Leonardo is still a prestigious name that ennobles any collection, not that the Hermitage needs it, to be honest. The world is divided, Leonardo yes, Leonardo no. It is probably a no, because he seems too much a pupil, a good but still pupil. Leonardo lacks the ability to mix everything without detaching the figures too much, the light with the shadows and the various planes.

Andrea Del Sarto - Madonna and Child with Saints (1519)

A Sacred Conversation that fully respects all composer rules. A nice group of figures interacting with each other. San Giovannino shows us, Saint Elizabeth and the Virgin speak to each other and seem to forget their respective children. St. Catherine silently invites us to reflect on the scene and its meaning. Leonardo feels like a distant echo, but he is present.

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