F Founded in 1900 by a group of private citizens as the Art Museum of Toronto, the Art Gallery of Ontario is one of the largest art museums in North America, with a physical facility of 583,000 square ****. The AGO e*panded it facility in 2008 with an innovative architectural design by world-renowned architect Frank Gehry. The AGO holds more than 80,000, works in its collection, which spans from 100 A.D. to th Jar of Apricots 1758 Jean-Siméon Chardin Medium oil on canvas Credit Line Purchase, 1962 Rights Information © 2011 Art Gallery of Ontario. Purchase, 1962 Return to Artwork Category: Unknown Dimensions: w508 * h572 mm Art Gallery of Ontario More Art? In the Art Gallery of Ontario By Jean-Siméon Chardin
The Starry Night 1889 Vincent van Gogh Style Post-Impressionism Medium Oil on canvas Provenance Acquired through the Lillie P.Bliss Bequest Description Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star." The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.
St. Francis in the Desert Around 1480 Giovanni Bellini Viewing Notes Many a nonbeliever has been struck dumb by the spiritual force of this painting, which may well be Giovanni Bellini's masterpiece, one of the finest works in The Frick Collection, and possibly the greatest Renaissance painting in America. The artist has portrayed St. Francis of Assisi (1181/2-1226) alone in a stony wilderness, stepping forward from his simple shelter into a golden light that seems to transfigure him spiritually. Perhaps he is receiving the stigmata—the wounds of Christ's crucifixion—as it is believed he did in 1224 during a retreat on Mount Alverna. While this subject was frequently represented in the late fifteenth century, it usually included a small seraphic crucifix emitting rays. Here, however, the miracle is implicit in the transcendental light that originates at upper left, brightens the walls of the rock formation, and, in the right foreground, casts deep shadows behind the saint and the espaliered limbs that screen his workspace. Reinforcing this effect, the laurel tree at the upper left glows and bends, as if compelled to move toward a supernatural force. The landscape is filled with richly observed details—animals, birds, persons, plants, castles, objects such as the skull and sandals, even a bell and cord to ring the canonical hours. The scrap of paper blown against some branches at lower left bears the proud signature of the artist. Less Medium Oil and tempera on poplar panel Provenance Painted on the commission of Giovanni Michiel, Venice. Taddeo Contarini, Venice (1525). Palazzo Corner, Venice (?). Purchased c. 1850 by W. Buchanan. Sir John Murray and others sale, June 19, 1852, Christie's, Lot 48, sold for £735 to J. Dingwall, Tittenhurst, Sunninghill, Berkshire. Thomas Holloway, apparently acquired with the estate of Tittenhurst. Bequeathed by him to his sister‐in‐law, Miss Mary Ann Driver (Lady Martin‐Holloway). Bought in 1912 from the trustees of Miss Driver by Colnaghi and Obach. Knoedler. Frick, 1915. Source: Paintings in The Frick Collection: French, Italian and Spanish. Volume II. New York: The Frick Collection, 1968. More Description A moving evocation of the spiritual life and legacy of St. Francis of Assisi, Giovanni Bellini's St. Francis in the Desert is also a compendium of exquisitely researched detail. The gigapixel image brings to light the many objects and events represented in this masterpiece of circa 1480. For every detail mentioned in this brief guide, dozens more are visible to the attentive eye. In the foreground, Bellini's Francis appears in a simple brown habit, secured around the waist with a rough rope whose three knots symbolize the virtues of obedience, chastity, and poverty. Above and to the left of the figure, a grafted plant grows from an outcropping of rock; behind the saint, a carefully tended monastic garden contains healing plants such as mullein and juniper. A jug for watering the garden stands at lower right, and opposite it, an inquisitive rabbit peeks drolly from a gap in the masonry. The saint's hut is lovingly handmade, the lattice in front constructed of poles of different species of wood. On the desk appears the richest object in Bellini's humble painting, a red book bearing a faded tassel. The woven willow fence at the back of the structure sprouts new growth, and the shelter's roof is shaded by intricate tendrils of live grapevines. Above hangs a bell connected to a knotted string, used to ring the canonical hours of the Christian liturgy.
The Dream of Reason Brings forth Monsters 1799 Francisco de Goya y Lucientes Goya lived through a stormy period of history, covering the French Revolution, the Napoleonic Wars, and the period of Spanish social turbulence. His art was deeply infused by the events he witnessed. He lived to the age of eighty-two, and his career spanned the eras from Rococo to Realism, indeed even to the conceptualisation of Surrealism; from court tapestry designer, he developed into a famous portrait painter and also the most observant social critic of his day. Despite being court painter to three consecutive Spanish kings - Charles III, Charles IV and Ferdinand VII - he produced graphic sheets of sharp social criticism on his own account. His reputation spread mainly from four famous aquatint-series: Los Caprichos, Los Desastres de la ****** (The Disasters of War), La Tauromaquia (Bullfight) and Los Disparates (Proverbios). The first of these was the eighty-sheet Caprichos, published in 1799. It satirises - in the spirit of rationality and the Enlightenment - s**erstitious fears, the power of the Church and the Inquisition, the deeds of government agencies, the greed of courtiers, the corr**tion of officials and the decline in morals caused by poverty. He originally wanted to interpret his social-criticism pictures as bad dreams, and therefore chose as title page of the series the composition, "The dream of reason brings forth monsters". He added as a further explanation to the sheet: "Imagination, if not restrained by reason, brings forth monsters, but combined with reason is the mother of the arts and the source of wonders." However, Goya's explanations were often designed only to take the edge off his criticism and distract from the true essence of his bitingly satirical drawings, which were conceived in the spirit of enlightened liberalism. In his compositions, the nightmare-like owls, bats and wide-eyed giant cats swarming behind the sleeping figure are not just products of the artistic imagination as claimed by their author: they are themselves comments on the social phenomena which are his real targets. In the final order of the series, this sheet introduces the second part, abounding in witch scenes. Before the finely etched, homogeneous aquatint background, the figures made with freehand lines stand out sharply. Goya based his anecdotal pictures, made ** of a small number of figures, on observation from nature, and gave free rein to his personal expression. He combined the latest process for making copper printing plates, aquatint, with etching, and used it with dramatic expressive power in large patches opposed to one another. The principal features of his graphic idiom were a succinct visual expression, concentrating on a minimal number of characters, bursts of light and dark, and figures clearly gesticulating and emerging like silhouettes out of the background, brought close to the viewer.
Untitled 2010 Osgemeos Origin Gift Credit Suisse Technique Grafitti and varnish
Xochipilli (1250 - 1500) unknown Xochipilli, "Noble Flower", was considered the god of royal nobility, patron of the flowers and the sun incarnation of twilight related to agricultural fertility. In this stunning sculpture, Xochipilli wears a leather mask, a chest with the figure of a being covered with spines like monster land and bangles adorned with thorns or claws animal. Her body, painted red and covered by a simple truss or máxtlatl, is covered with flowers with psychotropic properties as snuff flower, datura or ololiuhqui creeper. These plants were considered sacred ritual whose consumption favored communication with divinity. His head is covered with a mantle fringed with feathers and carved with glyphs tonalli, or "heat of the Sun", formed by four circles, and four parallel bars representing the cardinal points. In the hollow of their hands securely placed elements characteristic of this god, maybe flowers or scepter with closing of heart called yollotopilli.Xochipilli was performed in a contemplative attitude, sitting cross-legged on a seat profusely decorated with flowers, butterflies and Sol.Ambas heat glyph pieces were found in the village of Tlalmanalco, in the region of Chalco. According to mythology Nahua Xochipilli was begotten by the divine couple formed by a solar god and Xochiquétzal Piltzintecuhtli called young earth goddess, in Chalco version of this same myth, the couple's son is Cinteotl sun and earth , the god of corn, with which shares several atributos.Arqlga Xochipilli. Bertina Olmedo Vera. Less Raw Material Andesitic basalt Central Highlands, Tlalmanalco, Edo. From Mexico Mexica Period Late Post Classic (1250-1521 AD)
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