George Inness was an American landscape painter.
Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.
Sesshū Tōyō, also known simply as Sesshū (雪舟), was a Japanese Zen monk and painter who is considered a great master of Japanese ink painting. Initially inspired by Chinese landscapes, Sesshū's work holds a distinctively Japanese style that reflects Zen Buddhist aesthetics. His prominent work captured images of landscapes, portraits, and birds and flowers paintings, infused with Zen Buddhist beliefs, flattened perspective, and emphatic lines.
George Wesley Bellows was an American realist painter, known for his bold depictions of urban life in New York City. He became, according to the Columbus Museum of Art, "the most acclaimed American artist of his generation".
Jonas Lie was a Norwegian-born American painter and teacher.
Luminism is a style of American landscape painting of the 1850s to 1870s, characterized by effects of light in a landscape, through the use of aerial perspective and the concealing of visible brushstrokes. Luminist landscapes emphasize tranquility, often depicting calm, reflective water and a soft, hazy sky. Artists who were most central to the development of the luminist style include Fitz Henry Lane, Martin Johnson Heade, Sanford Gifford, and John F. Kensett. Painters with a less clear affiliation include Frederic Edwin Church, Jasper Cropsey, Albert Bierstadt, Worthington Whittredge, Raymond Dabb Yelland, Alfred Thompson Bricher, James Augustus Suydam, and David Johnson. Some precursor artists are George Harvey and Robert Salmon. Joseph Rusling Meeker also worked in the style.
Levi Wells Prentice was an American still life and landscape painter. Prentice was associated with the Hudson River School.
American realism was a movement in art, music and literature that depicted contemporary social realities and the lives and everyday activities of ordinary people. The movement began in literature in the mid-19th century, and became an important tendency in visual art in the early 20th century. Whether a cultural portrayal or a scenic view of downtown New York City, American realist works attempted to define what was real.
Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne, depicting the French mountain Montagne Sainte-Victoire.
Eliahu Gat was an Israeli landscape painter.
Asnières, now named Asnières-sur-Seine, is the subject and location of paintings that Vincent van Gogh made in 1887. The works, which include parks, restaurants, riverside settings and factories, mark a breakthrough in van Gogh's artistic development. In the Netherlands his work was shaped by great Dutch masters as well as Anton Mauve a Dutch realist painter who was a leading member of the Hague School and a significant early influence on his cousin-in-law van Gogh. In Paris van Gogh was exposed to and influenced by Impressionism, Symbolism, Pointillism, and Japanese woodblock print genres.
Big Painting No. 6 is a 1965 oil and Magna on canvas painting by Roy Lichtenstein. Measuring 235 cm × 330 cm, it is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush. It set a record auction price for a painting by a living American artist when it sold for $75,000 in 1970. The painting is in the Kunstsammlung Nordrhein-Westfalen collection.
Brushstrokes series is the name for a series of paintings produced in 1965-1966 by Roy Lichtenstein. It also refers to derivative sculptural representations of these paintings that were first made in the 1980s. In the series, the theme is art as a subject, but rather than reproduce masterpieces as he had starting in 1962, Lichtenstein depicted the gestural expressions of the painting brushstroke itself. The works in this series are linked to those produced by artists who use the gestural painting style of abstract expressionism made famous by Jackson Pollock, but differ from them due to their mechanically produced appearance. The series is considered a satire or parody of gestural painting by both Lichtenstein and his critics. After 1966, Lichtenstein incorporated this series into later motifs and themes of his work.
Boulevard des Capucines is the title of two oil-on-canvas paintings depicting the famous Paris boulevard by French Impressionist artist Claude Monet, created between 1873-1874. One version is vertical in format and depicts a snowy street scene looking down the boulevard towards the Place de l'Opéra. The other version is a horizontal composition and shows the same street on a sunny winter day; it is housed at The Pushkin State Museum of Fine Arts in Moscow and is believed to be the version that was exhibited at the first Impressionist exhibit in 1874. Monet painted the works from the photography studio of Félix Nadar at 35 Boulevard des Capucines. The elevated vantage point and loose brushstrokes allow the audience to see the commotion of the boulevard from a position high above street level. Certain aspects of the paintings have parallels in the photography of Monet's day and in Japanese prints, which may have influenced Monet.
The Banks of the Oise near Pontoise is an 1873 oil painting by French artist Camille Pissarro, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts the river Oise near the market town of Pontoise.
Walter Elmer Schofield was an American Impressionist landscape and marine painter. Although he never lived in New Hope or Bucks County, Schofield is regarded as one of the Pennsylvania Impressionists.
The American artist Mary Cassatt painted The Cup of Tea in Paris ca. 1879–1881. The painting depicts Mary's sister Lydia Cassatt in a typical, upper class-Parisian ritual of afternoon tea. Scholars have observed that Cassatt's choice to employ vivid colors, loose brushstrokes, and novel perspective to portray the scene makes it a quintessentially Impressionist painting.
The Wanderer is an oil painting on canvas created by the German artist George Grosz. The painting was completed in 1943 and is currently on display at the Memorial Art Gallery in Rochester, New York.
The Rocks at Pourville, Low Tide (1882), was conceived when Claude Monet had his tourism at Pourville, a town on the Normandy coast near Dieppe. He stayed there for seven weeks with a series of creations from early February 1882. This work illustrates a seascape that captures the beauty of nature, showing the intersection of land and sea tranquility and dynamics. This artwork centers on the interaction between jagged coastal rocks and the sea, with the angular irregularity of the rocks in the foreground emphasizing the cragginess of the shoreline, contrasting with the dark colors and white foam of the broken waves.
Interlude is an oil-on-canvas work by mid-20th-century painter John Koch, that sits in the Memorial Art Gallery's permanent collection. It was completed in 1963 in the midst of the Civil Rights Movement. It is one of Koch's many known works featuring himself and a nude model in-studio. Interlude along with other pieces such as The Sculptor (1964), and Painter and Models (1972) present the theme of a scene in which artist and model are in the midst of taking a break. Nakedness of the model is still portrayed, but in an unprompted and naturalistic state different from whatever artificial pose they might have been in. The model is alongside Koch before his unfinished canvas, in his high end domestic space - a fourteen-room apartment on Central Park West. An interaction between Koch and the model, or the model and another subject, is customarily caught in frame. Interlude depicts Koch's wife, Dora Zaslavsky, handing the model a cup of tea for example. This unique take on the nude portrait is a stand out feature of Koch's body of work. In addition to subject matter, Koch's painting style reflects traditional European Realism, somewhat of a rare sight in post-war American Expressionism.
