#art #fineart #artstream #artreview #artdiscussion #artcritique #arttalk #patricksaunders #patricksaundersfinearts #representationalart #realistart #oilpainting #irishpainting #irishart #irishartist #williamjohnleech #nationalgalleryofireland
Please let viewers enjoy it while listening to:
The Queen and The Soldier, by Suzanne Vega (link in the comments).
Hellelil and Hildebrand, The Meeting on the Turret Stairs, by Frederic William Burton (1816-1900).
Thank you, BBC Culture (link in the comments).
#art #love #nationalgalleryofireland
#Picasso #PicassoExhibition #TateModern #NationalGalleryofIreland #MuseoThyssen #MuseoPicassoMálaga #ModernArt #ArtExhibition #PaulKlee #BerggruenCollection #Surrealism #Modernism #ArtHistory #MuseumLovers
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Hilda Gerarda van Stockum made this self-portrait when she was 80 years old. She was a Dutch-born painter, writer, and illustrator. Born in Rotterdam, Netherlands, she grew up between there and Ireland. Her mother was half Irish and in her teenage years, Hilda came to Ireland to study art at the Dublin Metropolitan School of Art, now the National College of Art and Design. After Dublin, Hilda returned to the Netherlands to study at the Rijk’s Academy of Fine Art in Amsterdam. She came back yo Dublin and met her husband, Ervin Ross “Spike” Marlin. Marlin was an American student at Trinity College and the roommate of Hilda’s brother. They spent some time in Dublin during which Hilda taught art to pupils of Pearse Street National School. The couple later moved to Washington D.C. where Marlin joined the secret service and was posted in Ireland and London during World War II. They also began their family of six kids during this time and traveled the world due to Marlin’s assignments, but Van Stockum remained artistically active and began to write and illustrate children’s books which achieved international acclaim. This painting is made from oil paints. The technique van Stockum used is called pointillism. The artist applied small, distinct dots of paint in patterns to form an image. It is likely that she propped a mirror up beside her easel so that she could see her own reflection and her surroundings. In this portrait Hilda van Stockum shows herself as an artist. She is at a later stage in her life and she is still working and creating art. She sits in a garden setting, with trees and a grassy area, creating a sense of serenity and natural surroundings. Her hands are holding a palette with various colored paints. She is wearing a light purple, textured button-up top with a light-orange beaded necklace. A dark-colored hat is on her head. Her facial features convey wrinkles and the appearance of age, but maintains an overall sense of dignity and contemplation.
“Self-Portrait in a Black Hat” by Hilda Geralda van Stockum (Dutch Irish) - Oil on board / 1988 - National Gallery of Ireland (Dublin) #WomenInArt #art #WomanArtist #WomensArt #PortraitofaWoman #SelfPortrait #HildaGeraldavanStockum #artwork #NationalGalleryofIreland #WomenArtists #FemaleArtist
“The Sunshade” by Irish artist William John Leech depicts a young pale woman holding a green parasol which filters the sunlight and casts green shadows on the woman’s face, characteristic of Leech’s Post-Impressionist style. The warmth from the light in the picture and the enigmatic expression on the woman’s face make it a much loved painting in the National Gallery of Ireland. Elizabeth Saurine, the artist’s first wife, modeled for this painting. Sunlight bursts in strongly from the left and highlights the fine bone structure of Elizabeth's face and hands. Leech has painted her in the contemporary clothes of a modern woman. The cadmium yellow of the cardigan, painted in thick impasto to create texture, vibrates against the viridian green of the umbrella, which casts green shadows on her shoulders. In the background, tall stems of lilies are visible. The setting may be the garden in Concarneau, where Leech painted his well-known picture A Convent Garden, Brittany (c.1913; National Gallery of Ireland). Born in Dublin in 1881, Leech studied at the Metropolitan School of Art. He also studied at the RHA School and at the Academie Julian in Paris. From 1903 until 1917, Leech lived mainly in Concarneau in Brittany (France), but visited Dublin regularly. He continued to exhibit annually at the RHA, who elected him a full member in 1910. His reputation was gaining similar status in Paris, where he won a bronze medal at the 1914 Salon. In 1918, Leech served for a time in France, but this experience of World War I left him suffering from depression. He continued painting however, and exhibited throughout the 1920s and 1930s at the RHA, RA and New English Club in London. He also represented Ireland at a number of significant international exhibitions including Venice in 1926 and Brussels in 1930. Although he received a huge amount of recognition for his art throughout his life, Leech struggled financially, often making his own frames to save money.
“The Sunshade” by William John Leech (Irish) - Oil on canvas / c. 1913 - National Gallery of Ireland (Dublin) #WomenInArt #art #ArtText #artwork #portraitofawoman #oilpainting #WilliamJohnLeech #womensart #NationalGalleryofIreland #IrishArt #IrishArtist #WilliamLeech #umbrella #parasol #style #1910s
Saint Onuphrius (c. 1620), Jusepe de Ribera (c. 1591 – 1652), #NationalGalleryOfIreland. Santo Onofre foi um eremita piedoso que viveu no Egito no século III ou IV e passou quarenta anos no deserto em completo isolamento. Ribera foi muito influenciado por Caravaggio.
A Musical Party (c. 1616 – 1618), Gerrit van Honthorst (1592 – 1656),
#NationalGalleryOfIreland. Van Honthorst viajou para Roma no início da década de 1610, onde absorveu o trabalho de Caravaggio e dos seus seguidores.
Head of a Bearded Man (1622 – 1624), Peter Paul Rubens (1577 – 1640),
#NationalGalleryOfIreland. Rubens foi o mais versátil e influente artista barroco da Flandres do século XVII. Aliou influências do Alto Renascimento italiano com o realismo nórdico.
Head of an Old Man (c. 1629), Jan Lievens (1607 – 1674),
#NationalGalleryOfIreland. No início da sua carreira, Lievens trabalhou em estreita colaboração, ou provavelmente até partilhou um estúdio com Rembrandt em Leiden. Juntos, trocaram ideias, composições e assuntos.
Happy Easter !
Currently on view in the #nationalgalleryofireland is this beautiful piece ‘the Ninth hour’ (1941) by #MainieJellett as part of the new exhibition’The Art of Friendship’ celebrating her work alongside contemporary #EvieHone #pictureoftheday #modernart #cubism #artoftheday #Easter
Players at Tric-trac (c. 1652 – 1655), Pieter de Hooch (1629 – 1684 ), #NationalGalleryOfIreland. De Hooch especializou-se em retratar homens e mulheres elegantemente vestidos a jogar ou a partilhar uma bebida em interiores ricos ou pátios ensolarados.
Two Men Singing ( 1662 ), Cornelis Bega ( 1631/32 – 1664), #NationalGalleryOfIreland. Bega especializou-se em cenas da vida quotidiana retratando as classes média e baixa em interiores domésticos e tabernas. Os seus temas mais populares eram bêbados, jogadores, charlatões.
Man Writing a Letter (1664 – 1666), Gabriel Metsu (1629 – 1667), #NationalGalleryOfIreland. Esta pintura e a sua contraparte, Woman Reading a Letter, são as obras mais famosas de Metsu e pertencem às melhores pinturas holandesas do género do séc. XVII.
Woman Reading a Letter (1664 – 1666), Gabriel Metsu (1629 – 1667), #NationalGalleryOfIreland. Uma senhora lê uma carta que lhe foi enviada pelo seu pretendente. Inclina-a não só porque precisa de mais luz, mas também porque quer ter a certeza de que a empregada não o vê.
Saint Peter Denying Christ (c. 1610 – 1625), Pensionante del Saraceni (c. 1610 – 1625), #NationalGalleryOfIreland. Pedro a negar Jesus, como tinha profetizado. A juventude, o género e a posição dominante da jovem serva agravam a vergonha de Pedro.
Lenny Abrahamson (n. 1966), filmmaker (2018). Donald Teskey (n. 1956). #NationalGalleryOfIreland. Mais um banho de expressividade neste retrato do realizador das séries de TV das adaptações dos livros da Sally Rooney.
Michael Longley (1939-2025), poet, editor and anthropologist. Colin Davidson (n. 1968). #NationalGalleryOfIreland. O retratado foi um dos mais famosos poetas, editores e antropólogos da Irlanda. E para quem gosta de rabiscar retratos é impossível escapar a tanta expressividade.
The Lamentation of Christ (c. 1630 – 1635), Gerard Seghers (1591 – 1651),
#NationalGalleryOfIreland. O corpo crucificado de Cristo é apresentado à sua Mãe enlutada, enquanto Maria Madalena se ajoelha ao lado. Sexta-feira Santa por um pintor caravaggista da escola flamenga.
Woman Writing a Letter, with her Maid (c. 1670), Johannes Vermeer (1632 – 1675), #NationalGalleryOfIreland. Esta pintura é uma das composições mais engenhosas de Vermeer no final da sua carreira. Enquanto uma criada espreita pela janela, a sua senhora escreve uma carta.
Profile Donegal Man (2008), Lucian Freud (1922 – 2011), #NationalGalleryOfIreland. Este retrato tardio é um dos três que Lucian Freud fez do empresário irlandês Pat Doherty. O processo envolveu mais de 100 sessões no estúdio do artista em Soho.
Roses, Pierre-Auguste Renoir (1841 – 1919), #NationalGalleryOfIreland. Renoir fez muitas pinturas impressionistas de flores e jardins. A flor que preferia para as naturezas-mortas era a rosa. Pintar flores permitiu a Renoir concentrar-se na cor, na forma e na textura.
Still Life with Dead Birds (1645 – c. 1653), Christian Lucks (1623 – after 1657), #NationalGalleryOfIreland. Um gato tenta roubar pássaros que estão em cima de uma mesa. Entre eles estão um gaio, um dom-fafe, um estorninho, um chapim-real e duas perdizes.
A Banquet-piece (c. 1635), Willem Claesz Heda (1594-1680), #NationalGalleryOfIreland. A pintura de Heda é uma banketje (peça de banquete), um tipo de natureza-morta que retrata vários alimentos e utensílios de mesa, dispostos numa composição diagonal e colocados contra uma parede.
A Breakfast-piece (1637), Pieter Claesz Berchem (c. 1597/98 – 1660/61), #NationalGalleryOfIreland. A pintura de Claesz é uma típica ontbytje (peça de pequeno-almoço), um tipo de natureza-morta com artigos comestíveis e utensílios de mesa que foi uma das especializações do artista
A Group of Dead Game (1707), Alexandre-François Desportes (1661-1743) #NationalGalleryOfIreland.
Nesta pintura, um pato-real morto, uma perdiz-vermelha e uma lebre estão pendurados num gancho ao lado de um arranjo de fruta, seguindo a tradição realista flamenga da pintura.
Details from Venus, Mars and the Forge of Vulcan - #LucaGiordano c.1660
A story which became popular in art sees Venus,goddess of love,married to Vulcan,the god of fire, which was often seen as mismatched. However, Venus has a torrid affair with Mars, the god of war.
#nationalgalleryofIreland
Dublin, Ireland #Dublin #Ireland #Barrystea #Dublincastle #Guinness #Nationalgalleryofireland ##blueskyphotography ##blueskyphotographers
Because today is #SaintPatricksDay
here's a portrait of Irish actress and activist #MaireNicShiubhlaigh (1883-1958) painted by Irish painter #JohnButlerYeats (1839-1922)
to be seen in the #NationalGalleryofIreland
#IrishArt #Ireland #Eire
☘️🇮🇪
