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Lady Lilith is an oil painting by Dante Gabriel Rossetti first painted in 1866–68 using his mistress F***y Cornforth as ...
05/23/2019

Lady Lilith is an oil painting by Dante Gabriel Rossetti first painted in 1866–68 using his mistress F***y Cornforth as the model, then altered in 1872–73 to show the face of Alexa Wilding. The subject is Lilith, who was, according to ancient Judaic myth, "the first wife of Adam" and is associated with the seduction of men and the murder of children. She is shown as a "powerful and evil temptress" and as "an iconic, Amazon-like female with long, flowing hair."
Characteristics of the painting that are commonly noted include the overt flower symbolism, and the unreal, crowded, depthless space, perhaps best shown by the bizarre mirror that reflects both the candles in the "room" and an exterior garden scene.

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The Lake. Rus1900 by Isaac Ilyich LevitanLevitan spent the final year of his life working on The Lake. Rus, which was pa...
05/18/2019

The Lake. Rus
1900 by Isaac Ilyich Levitan
Levitan spent the final year of his life working on The Lake. Rus, which was painted over a number of canvases never to be completed. Feodorov-Davydov interpreted this piece to be symbolic of Russia as “she ought to and deserves to be.” King thought it a “celebration of beauty of the Russian countryside.” The interpretation of works of art is an exhaustive task, but it can be said that Levitan did not simply celebrate nature. He dove into nature and struggled over how to understand the existence of humankind in relation to nature. His incompletion of this painting reveals that struggle
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Felice CasoratiYoung Girl on a Red Carpet 1912Before the First World War Felice Casorati still painted in the symbolist ...
05/16/2019

Felice Casorati
Young Girl on a Red Carpet 1912
Before the First World War Felice Casorati still painted in the symbolist style. During the war he was influenced by new movements such as metaphysical painting, Futurism and Cubism. From the start of the 1920s he still preferred to paint simple subjects and still-lifes in an austere, abstract style. The 1912 painting Young Girl on a Red Carpet is a good example of the artists symbolist period. The model for the painting was Ada, the oldest daughter of the painter Attilio Trentini. There is a photo of her standing in a similar pose and it was undoubtedly this that inspired Casorati. The birds-eye view emphasises the distance between the spectator and the girl, who has withdrawn into her own world. The objects around her refer to her past childhood years and the unknown years of adulthood which lie ahead. The light striking the carpet subtly suggests the outside world. The strange combination of red and violet-blue enhances the symbolic nature of the painting.

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Man in a Bowler Hat, 1964 by Rene MagritteIt was the mystery, the sense of wonder, that attracted Magritte and made him ...
05/15/2019

Man in a Bowler Hat, 1964 by Rene Magritte
It was the mystery, the sense of wonder, that attracted Magritte and made him so different from most of his fellow Surrealists. Where Joan Miro espoused the "automatic" approach, letting the unconscious determine the line, and Dali reached into the dreamworld, returning to three-dimensional and figurative art in his later work, Magritte kept rigidly to his canon of flat dimensions and frozen images. What he wanted, and what he achieves in his best work, was not so much to challenge the viewer as to intrigue him into seeing life liberated from the concrete and the present.

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Henri MatisseThe Woman in a Purple Coat, 1937 is a superb example of the use of color and light to express his emotions ...
05/09/2019

Henri Matisse
The Woman in a Purple Coat, 1937 is a superb example of the use of color and light to express his emotions in life, not towards his model like some artists, but to life itself. Although there is not a single straight line, the way the colors juxtapose each other there is no need for a straight line. There is no definite outline on some of the items, such as the fruit on the table. Everything else is surrounded by thick, black outline which accentuates all the other features, seemingly pushing out Lydia and all the other objects. The vivid, purple coat with the black outline makes Lydia almost pop out off the chaise lounge she is on, making her the main focal point, as she should be. It also gives the piece a sense of a three dimensional aspect, as if she could get up and walk away at any moment. The different patterns of the background also gives the impression she is in the corner of the room. The placement of the flowers to her right and the magazine at her feet, also alluding to this sense of depth.

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