the beauty of a stranger

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

The beauty of a stranger is an exhibit showing the beautifully savage contrast between the landscapes and the living forms dwelling in the paints. Moreover, The beauty of a stranger is showing the gloomy and melancholic scenes that highlight a mysterious beauty in the paintings. For example, the feeling that this paintings provoke in my body is similar to the feeling of observing a person that I don't know and admiring his hidden and mysterious beauty. Nevertheless, The beauty of a stranger also is based on the interaction between two different characters. One of them is the stranger and the other one is the admirer of his beauty. In this case, the admirer is the landscape, the light values beneath it and foremost the balance that it is doing with the living beings below it. This paintings are a great inspiration for me because the paintings are showing a lapse between a poetically murky scene and a beautifully emotive one. The main painting in this exhibit is Witches Sabbath form F. de Goya. The reason of this painting for being the principal is because we can see a magic scene where the landscape is highlighting this horned creature surrounded by witches. This creature is the devil, although the painting is showing something more than only evil, the painting is showing a mysterious and gloomy beauty. Further more, thats why I choose this theme, because i want to represent the flattery of a beauty coming from an abstruse and poetic beauty.

Portrait of Mr. Van Amburgh, As He Appeared with His Animals at the London Theatres, Sir Edwin Henry Landseer, 1802–1873, British, Summer 1846 to March 1847, From the collection of: Yale Center for British Art

Deer and Deer Hounds in a Mountain Torrent, Sir Edwin Henry Landseer, 1832, From the collection of: Tate Britain

Agony is well represented in this paint.

The Unicorn in Captivity (from the Unicorn Tapestries), Unknown, 1495-1505, From the collection of: The Cloisters Museum and Gardens

Wrestlers, 1899, From the collection of: Los Angeles County Museum of Art

Although there's a man motionless below the body of another man, you can perceive a lot of movement in this paint, as the paint is inciting you to wait or the next move of this two men.

The Captive, Henry François Farny (American, b.1847, d.1916), 1885, From the collection of: Cincinnati Art Museum

The levels of this paint are real clear, you can see three: the man sitting with a tided white man, the indian houses and finally the mountains with a smoothly blue sky above, this aspects male the paint look really big.

Flock of sheep with shepherd in the snow, Anton Mauve, 1887/1888, From the collection of: Kunstmuseum

The blurry atmosphere fits really well with the vanishing stroke.

Fight for the Waterhole, Frederic Remington, 1903, From the collection of: The Museum of Fine Arts, Houston

The Call for Help, Frederic Remington, c. 1908, From the collection of: The Museum of Fine Arts, Houston

The mellow yellow spot and the grey bluish colors recreate the smooth and mysterious atmosphere of the night,

Fired On, Frederic Remington, 1907, From the collection of: Smithsonian American Art Museum

A beautiful white horse; as the focal point, in the middle of the darkness, is scared by the water.

Top of the Ridge, Lafayette Maynard Dixon, 1933, From the collection of: Blanton Museum of Art

The values of browns in the tree and in the bulls make a melancholic contrast with the noon behind this contrast.

The Action, Max Klinger, 1880, From the collection of: Cantor Arts Center at Stanford University

A balance based on a zig-zag structure for creating an equilibrium between the ice skaters

The Horse’s Bath, Joaquín Sorolla y Bastida, 1909, From the collection of: Sorolla Museum

I can see the stranger beneath those witchcraft billows.

Youth Mourning, Clausen, George (Sir) (RA), 1916, From the collection of: Imperial War Museums

A shiny body filling and empty and gloomy space

Kerstin, The Pawnee Grasslands, Colorado, Robert Adams, 1980, From the collection of: Fundacion MAPFRE

Creation of a hare, Siegfried Anzinger, 2000, From the collection of: Essl Museum - Contemporary Art

Again, Using a blurry stroke for creating images in movement: a rabbit, an angel... a spirit.

Reverie, Daniel Ridgway Knight, 1866, From the collection of: Berkshire Museum

Porcupines and vipers, Snyders, Frans, 1579-1657, From the collection of: Museo Cerralbo

Ptarmigan in a Landscape, Sir Edwin Landseer, English, 1802 - 1873, By 1833, From the collection of: Philadelphia Museum of Art

The Last of the Herd, Henry François Farny (American, b.1847, d.1916), 1906, From the collection of: Cincinnati Art Museum

Zacatecas Landscape with Hanged Men II, Francisco Goitia, ca. 1914, From the collection of: Museo Nacional de Arte

The Criminal, Ramon Martí i Alsina, 1866, From the collection of: Museu Nacional d'Art de Catalunya - MNAC, Barcelona

Credits: All media

This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

Philadelphia Museum of Art

Tate Britain

Museu Nacional d'Art de Catalunya - MNAC, Barcelona

Essl Museum - Contemporary Art

Museo Cerralbo

Kunstmuseum

Blanton Museum of Art

Yale Center for British Art

Fundacion MAPFRE

Berkshire Museum

Los Angeles County Museum of Art

Sorolla Museum