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11/10/2026

Born in 1852 in Gothenburg, Sweden, Vilhelm Nikolaus August Hagborg was a Swedish painter who was particularly active in France, especially in Brittany and Normandy. Coming from a family with an academic background, Hagborg made the bold decision to make a career in the arts. At the age of twenty, Hagborg entered the Royal Swedish Academy of Fine Arts in Stockholm, receiving his training from Spanish artist Vicente Palmaroli. Discontented with the conservative training in Stockholm, Hagborg moved to Paris in 1875. becoming the student in the workshop of a famous painter, most likely Léon Bonnat or Jean-Léon Gérôme. In the late 1870s, during a summer trip to avoid the heat in Paris and look for new painting scenes, Hagborg discovered Normandy, its beaches, fishing villages, everchanging weather and inhabitants. He painted the lives of the fishermen and their families, as is testified by the “Burial of a Sailor in a Manche Village” which he made in 1911.
🖼️ Burial of a Sailor in a Manche Village
🧑‍🎨 August Hagborg
🏛️ Musée des Beaux-Arts de Rouen

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Born in 1852 in Gothenburg, Sweden, Vilhelm Nikolaus August Hagborg was a Swedish painter who was particularly active in...
11/10/2026

Born in 1852 in Gothenburg, Sweden, Vilhelm Nikolaus August Hagborg was a Swedish painter who was particularly active in France, especially in Brittany and Normandy. Coming from a family with an academic background, Hagborg made the bold decision to make a career in the arts. At the age of twenty, Hagborg entered the Royal Swedish Academy of Fine Arts in Stockholm, receiving his training from Spanish artist Vicente Palmaroli. Discontented with the conservative training in Stockholm, Hagborg moved to Paris in 1875. becoming the student in the workshop of a famous painter, most likely Léon Bonnat or Jean-Léon Gérôme. In the late 1870s, during a summer trip to avoid the heat in Paris and look for new painting scenes, Hagborg discovered Normandy, its beaches, fishing villages, everchanging weather and inhabitants. He painted the lives of the fishermen and their families, as is testified by the “Burial of a Sailor in a Manche Village” which he made in 1911.
🖼️ Burial of a Sailor in a Manche Village
🧑‍🎨 August Hagborg
🏛️ Musée des Beaux-Arts de Rouen

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10/10/2026

This work portrays the famous episode in which Emperor Taizu of Song called on Zhao Pu during a snowy night. As recorded in the History of Song, the emperor often traveled in disguise to the homes of his distinguished officials, while Zhao Pu made a habit of remaining in his court attire after returning from the palace. One night, with snow falling heavily, Pu assumed the Emperor would stay in. However, a knock sounded at his door, and he rushed out to discover the Emperor waiting in the cold. Greeting him with anxious reverence, Pu was told: "I have arranged to meet the Prince of Jin here." Soon, the Prince of Jin arrived. Thick cushions were laid out on the floor of the main hall, and meat roasted over a blazing charcoal fire; Pu's wife poured the w**e, and the Emperor addressed her as "Sister-in-law." Then they consulted with Pu on plans for the conquest of Taiyuan. The painting brings precisely this scene to life. Inside the multi-courtyard residence of the Deputy Commissioner of the Bureau of Military Affairs, 2 figures are seated around a brazier at the center of the front hall. In the seat of honor sits Emperor Taizu, imposing and dignified in a headscarf, a narrow-sleeved round-collared robe, and a brocade belt. His grave expression captures perfectly the bearing of a sovereign calling on a wise minister after dark to deliberate affairs of state. Zhao Pu, seated to one side in informal dress, speaks with earnest deference, vividly embodying a devoted strategist giving sincere counsel. Beyond the principal figures, the artist has attended to the setting with painstaking care. Rocks nearby and mountains in the distance, along with aged trees and roosting crows, are veiled in night; a mantle of pristine white snow lies over the bamboo leaves, branches, and rooftops, leaving no doubt of the bitter cold. 4 guards stand outside the main gate, seemingly after a long night's vigil. These details reinforce the painting's central theme: a ruler honoring a wise minister with a visit on a snowy night.

🖼️ Liu Jun, Visit to Zhao Pu on a Snowy Night (hanging scroll)
🧑‍🎨 Liu Jun
🏛️ Forbidden City

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This work portrays the famous episode in which Emperor Taizu of Song (Zhao Kuangyin) called on Zhao Pu during a snowy ni...
10/10/2026

This work portrays the famous episode in which Emperor Taizu of Song (Zhao Kuangyin) called on Zhao Pu during a snowy night. As recorded in the History of Song (Biography of Zhao Pu), the emperor often traveled in disguise to the homes of his distinguished officials, while Zhao Pu made a habit of remaining in his court attire after returning from the palace. One night, with snow falling heavily, Pu assumed the Emperor would stay in. Before long, however, a knock sounded at his door, and he rushed out to discover the Emperor waiting in the wind and snow. Greeting him with anxious reverence, Pu was told: "I have arranged to meet the Prince of Jin here." Soon, the Prince of Jin (the future Emperor Taizong) arrived. Thick cushions were laid out on the floor of the main hall, and meat roasted over a blazing charcoal fire; Pu's wife poured the w**e, and the Emperor addressed her as "Sister-in-law." Then they consulted with Pu on plans for the conquest of Taiyuan. The painting brings precisely this scene to life. Inside the sprawling, multi-courtyard residence of the Deputy Commissioner of the Bureau of Military Affairs, two figures are seated around a brazier at the center of the front hall. In the seat of honor sits Emperor Taizu, imposing and dignified in a headscarf, a narrow-sleeved round-collared robe, and a brocade belt. His grave expression and slightly turned head—caught in the act of listening—capture perfectly the bearing of a sovereign calling on a wise minister after dark to deliberate affairs of state. Zhao Pu, seated to one side in informal dress, speaks with earnest deference, vividly embodying a devoted strategist giving sincere counsel. Beyond the principal figures, the artist has attended to the setting with painstaking care. Rocks nearby and mountains in the distance, along with aged trees and roosting crows, are veiled in night; a mantle of pristine white snow lies over the bamboo leaves, branches, and rooftops, leaving no doubt of the bitter cold. To emphasize Zhao Kuangyin's status as the Son of Heaven, four guards stand outside the main gate, seemingly after a long night's vigil. These telling details reinforce the painting's central theme: a ruler honoring a wise minister with a visit on a snowy night.

🖼️ 刘俊雪夜访普图轴 (Liu Jun, Visit to Zhao Pu on a Snowy Night (hanging scroll) )
🧑‍🎨 Liu Jun
🏛️ Forbidden City

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#中国人 #宋太祖 #艺术品

09/10/2026

Painted during the summer of 1909 on a Valencia beach, following the artist's triumphant reception in the United States, “Walk on the beach” stands as one of Sorolla's best-known works and a highlight of the Sorolla museum's collection. At that time, Sorolla finished his fourth international exhibition, which had taken place earlier that year in various cities across the United States. The success he enjoyed in New York City is evident in the vitality and rich colours of this artwork. The shoreline's sea and sand—rendered in sweeping strokes of blue, mauve, and turquoise—serve as a near-abstract setting for the elegant figures of the painter's wife, Clotilde Garcia de Castillo, and their daughter María. A hint of breeze stirs the flowing dresses, heightening the sense of a fleeting, captured instant—an effect reinforced by the strikingly photographic framing, which crops Clotilde's wide-brimmed hat and leaves a stretch of bare sand along the bottom of the canvas. Though the location is familiar from Sorolla's other beach scenes, the mood here is quite distinct. The painting aligns closely with the "elegant stroll" genre—images that portrayed affluent, fashionably dressed figures walking along the seaside.
🖼️ Walk on the beach
🧑‍🎨 Joaquín Sorolla
🏛️ Sorolla Museum

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Painted during the summer of 1909 on a Valencia beach, following the artist's triumphant reception in the United States,...
09/10/2026

Painted during the summer of 1909 on a Valencia beach, following the artist's triumphant reception in the United States, “Walk on the beach” stands as one of Sorolla's best-known works and a highlight of the Sorolla museum's collection. At that time, Sorolla finished his fourth international exhibition, which had taken place earlier that year in various cities across the United States. The success he enjoyed in New York City is evident in the vitality and rich colours of this artwork. The shoreline's sea and sand—rendered in sweeping strokes of blue, mauve, and turquoise—serve as a near-abstract setting for the elegant figures of the painter's wife, Clotilde Garcia de Castillo, and their daughter María. A hint of breeze stirs the flowing dresses, heightening the sense of a fleeting, captured instant—an effect reinforced by the strikingly photographic framing, which crops Clotilde's wide-brimmed hat and leaves a stretch of bare sand along the bottom of the canvas. Though the location is familiar from Sorolla's other beach scenes, the mood here is quite distinct. The painting aligns closely with the "elegant stroll" genre—images that portrayed affluent, fashionably dressed figures walking along the seaside.
🖼️ Walk on the beach
🧑‍🎨 Joaquín Sorolla
🏛️ Sorolla Museum

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08/10/2026

Born in Kiev in 1879 to Polish parents, Kasimir Severinovitch Malevitch (Казимир Северинович Малевич) painted “The Woodcutter” in 1912. The painting depicts a mechanized figure with its arms raised and ready to strike in a state of tension. The logs piled behind the figure seem to be linked to each, like becoming parts of a machine. Indeed, the interaction of circles and cylinders in metallic colours reinforce the strong mechanical effect of the overall mosaic of the background. An abundant material in Russia, wood is used for various types of buildings including the traditional countryside dwelling, izba. Some long wooden logs in the painting could likely be used for the building of an izba. Having been influenced by Western European art, Malevich seems to have combined the lubok, a Russian print with simple graphics, and artistic principles inspired by Cézanne which are characterized by geometric shapes and metallic colours. Some similarities may be identified with works by French artists Georges Braque, Fernand Léger or Pablo Picasso but Malevich brings his original touch with varied distinctive colours contrasting with the reduced colour palette of ochres, browns, greys and blacks used by the French.
🖼️ The Woodcutter (Дровосек)
🧑‍🎨 Kazimir Malevich
🏛️ Stedelijk Museum Amsterdam

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Born in Kiev in 1879 to Polish parents, Kasimir Severinovitch Malevitch (Казимир Северинович Малевич) painted “The Woodc...
08/10/2026

Born in Kiev in 1879 to Polish parents, Kasimir Severinovitch Malevitch (Казимир Северинович Малевич) painted “The Woodcutter” in 1912. The painting depicts a mechanized figure with its arms raised and ready to strike in a state of tension. The logs piled behind the figure seem to be linked to each, like becoming parts of a machine. Indeed, the interaction of circles and cylinders in metallic colours reinforce the strong mechanical effect of the overall mosaic of the background. An abundant material in Russia, wood is used for various types of buildings including the traditional countryside dwelling, izba. Some long wooden logs in the painting could likely be used for the building of an izba. Having been influenced by Western European art, Malevich seems to have combined the lubok, a Russian print with simple graphics, and artistic principles inspired by Cézanne which are characterized by geometric shapes and metallic colours. Some similarities may be identified with works by French artists Georges Braque, Fernand Léger or Pablo Picasso but Malevich brings his original touch with varied distinctive colours contrasting with the reduced colour palette of ochres, browns, greys and blacks used by the French.
🖼️ The Woodcutter (Дровосек)
🧑‍🎨 Kazimir Malevich
🏛️ Stedelijk Museum Amsterdam

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#Малевич #Искусство

07/10/2026

“Saturn Devouring His Son” is a mural painting dating from 1820 which is part of the series of Black Paintings which Spanish artist Francisco de Goya made for his house, Quinta del Sordo, located in the surroundings of Madrid. The Black Paintings consisted of 14 murals painted using the oil on dry plaster technique and were destined to adorn the walls of the house which he acquired in 1819. After the artist’s death, the mural paintings were transferred to canvas using the strappo method which consists in gluing a canvas to the surface of the fresco to peel and lift the top pigment layer. Commissioned by Baron Emile d’Erlanger who wanted to sell the artworks at the Universal exhibition of 1878 in Paris, the transfer was undertaken by Spanish artist and art restorer Salvador Martinez Cubells. Finally the artwork was given to the Spanish state and is now exhibited at the Prado museum. “Saturn Devouring His Son” was placed to the left of a window on the east side wall which faced the entrance to the dining room. The painting showcases the mythological titan Cronus (Cronos or Kronos), also known as Saturn in Roman mythology, devouring his son. King of the gods, Cronus learnt from his parents, Gaia and Uranus, that he would be overthrown by one of his children. Despite having devoured his first five children to prevent the prophecy, his sixth child Zeus would overthrow him thanks to a trick conceived by Rhea. Here, in a terrifying scene, Goya represents Cronus as an aging and massive giant with gaping jaws who is holding the mutilated human body of his son. The chiaroscuro lighting and the distinctive colours of the flesh exacerbate the horror of the scene.
🖼️ Saturn Devouring His Son
🧑‍🎨 Francisco Goya
🏛️ Museo del Prado

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“Saturn Devouring His Son” is a mural painting dating from 1820 which is part of the series of Black Paintings which Spa...
07/10/2026

“Saturn Devouring His Son” is a mural painting dating from 1820 which is part of the series of Black Paintings which Spanish artist Francisco de Goya made for his house, Quinta del Sordo, located in the surroundings of Madrid. The Black Paintings consisted of 14 murals painted using the oil on dry plaster technique and were destined to adorn the walls of the house which he acquired in 1819. After the artist’s death, the mural paintings were transferred to canvas using the strappo method which consists in gluing a canvas to the surface of the fresco to peel and lift the top pigment layer. Commissioned by Baron Emile d’Erlanger who wanted to sell the artworks at the Universal exhibition of 1878 in Paris, the transfer was undertaken by Spanish artist and art restorer Salvador Martinez Cubells. Finally the artwork was given to the Spanish state and is now exhibited at the Prado museum. “Saturn Devouring His Son” was placed to the left of a window on the east side wall which faced the entrance to the dining room. The painting showcases the mythological titan Cronus (Cronos or Kronos), also known as Saturn in Roman mythology, devouring his son. King of the gods, Cronus learnt from his parents, Gaia and Uranus, that he would be overthrown by one of his children. Despite having devoured his first five children to prevent the prophecy, his sixth child Zeus would overthrow him thanks to a trick conceived by Rhea. Here, in a terrifying scene, Goya represents Cronus as an aging and massive giant with gaping jaws who is holding the mutilated human body of his son. The chiaroscuro lighting and the distinctive colours of the flesh exacerbate the horror of the scene.
🖼️ Saturn Devouring His Son
🧑‍🎨 Francisco Goya
🏛️ Museo del Prado

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