My attempt to do a study of this @gauguin.bsky.social painting last year. 🎨

#artsky #skyart #painting #acrylics #postimpressionism #symbolism

Irises was created during the Post-Impressionist period, time when artists were moving away from the strict realism of Impressionism and exploring more subjective and emotional expressions. Van Gogh, along with artists like Paul Cézanne and Paul Gauguin, played a key role in this transition, paving the way for the development of modern art movements ike Fauvism and Expressionism. The painting reflects the growing interest in Japanese art and design, which influenced many artists of the time through its flattened perspectives and bold use of color. It stands as a pivotal work bridging Impressionism's observation of light and color with the emotional intensity of Expressionism. Van Gogh used oil on canvas to create Irises. He employed impasto, applying thick layers of paint with visible brushstrokes, which contribute to the painting's texture and vibrancy. He also utilized complementary colors (purple and yellow, blue and orange) to create visual contrast and enhance the intensity of the hues. The painting demonstrates his mastery of color theory and his ability to convey emotion through paint application.

Irises by Vincent van Gogh, 1889, J. Paul Getty Museum (Los Angeles, CA)

#ArtHistory #ModernArt #PostImpressionism

"A Portrait of Vincent" a surprise post for lunch. Done by artist Arleen York (the woman in the black coat) in oil #oil #oilpainting #painting #postimpressionism #art #vincentvangogh #vangogh #arleenyork

In the guise of women dressed in contemporary clothing, Denis updates a subject taken from classical mythology – the muses who inspire the arts and sciences. But he transforms the theme profoundly, stripping the muses of the traditional attributes that allow them to be identified. In the group of three women sitting in the foreground, we can see the figure of Marthe, whom the painter married in June 1893 and who inspired his art until her death. In a device common in Denis' work, she is shown twice: in profile in red and from the back, sitting on the chair. Denis has set the scene on the terrace of Saint-Germain-en-Laye, the town where he lived all his life. The century-old chestnut trees give the composition rhythm and decorative power. The regular strokes of the tree trunks are a pretext for a play of vertical lines which contrast with the curves and ornamental arabesques of the branches, the leaves strewn on the ground, and the patterns and folds of the dresses. The graphic play of lines and interlacing is intensified by the unreal, autumnal colours, painted in areas of flat colour and neatly outlined. The flattened space is that of a "sacred wood," the setting for a revelation, and the figures' mysterious communication with nature and supernatural powers. An enigmatic tenth muse in the background (while traditionally there are only nine), with one arm raised to the light of the sky, convinces us of that.

The Muses by Maurice Denis, 1893, Musée d'Orsay (Aris, France)

#ArtHistory #ModernArt #PostImpressionism

Jonathan Summit, Soda Pop Gallery, 1120 Princess Wilm. NC, Acrylic canvas, 36 x 24
#modernartist #abstract_art #abstractart #artist #painting #artbrut #outsiderart #painting #rawart #surrealism #ncartist #outsiderart #painting #contemporarypainting #paintingsforsale
#postimpressionism

Jonathan Summit, Soda Pop Gallery, 1120 Princess Wilm. NC, Acrylic canvas, 36 x 24
#modernartist #abstract_art #abstractart #artist #painting #artbrut #outsiderart #painting #rawart #surrealism #ncartist #outsiderart #painting #contemporarypainting #paintingsforsale
#postimpressionism

The fragmented light across the rippling water dominates the scene. A long, green laundry boat anchors itself in the river, flanked by smaller vessels and a solitary figure standing on the embankment. Dense foliage frames the far bank, a verdant barrier against the sky. Loiseau applies swift broken strokes to the water's surface; this restless application breaks down the solidity of the river, imbuing it with movement and atmospheric luminescence. These quick touches of color, building form rather than delineating it precisely, capture ho ephemeral quality of light and its interaction with natural elements. The compressed planes of the laundry boat, rendered with dabs of green and yellow, evoke the functionality of industrial life newly embraced by artistic practice. Such rendering speaks to a broader fascination with the changing face of rural landscapes, now accommodating the burgeoning presence of modern commerce and leisure. This approach registers a moment where the traditional picturesque yields to a more direct engagement with contemporary realities. The shoreline, textured accumulation of earthy tones, grounds the composition against the fluid expanse of the river.

The Laundry Boat on the Seine at Herblay by Gustave Loiseau, 1903, Private Collection

#ArtHistory #ModernArt #PostImpressionism

Van Gogh painted it in January 1889, a week after leaving hospital. He had received treatment there after cutting off most of his left ear (shown here as the bandaged right ear because he painted himself in a mirror). This self-mutilation was a desperate act, committed a few weeks earlier, following a heated argument with his fellow painter Paul Gauguin. Van Gogh's fur cap secures his thick bandage and wards off the winter cold. Created in harsh conditions, this self-portrait demonstrates van Gogh's determination to continue painting. Above all, it is Van Gogh's brushwork and powerful handling of color that declare his renewed ambition as a painter.

Self-Portrait with Bandaged Ear by Vincent van Gogh, 1889, The Courtauld Institute of Art (London, UK)

#ArtHistory #ModernArt #PostImpressionism

For a comparison of an earlier self-portrait with this one, see www.tiktok.com/t/ZThvLpvRw/

still life of a coke can (2026) - 20x24 in acrylic on canvas

#acrylicpaint #acryliconcanvas #cocacola #pointillism #impressionism #postimpressionism #modernimpressionism #stilllife #seurat #artist #painter

Going back to my roots.

Painterly worlds. Thick strokes. Movement in every line.

They used to sit still.

Now they don’t.

#TheArtEclectic #VanGoghInspired #Painterly #DigitalArt #AIArt #ArtAnimation #VisualStorytelling #Impressionism #PostImpressionism #MovingArt

Pierre Bonnard, "Girls with a Seagull," oil on canvas, 1917; Petit Palais, Paris. #bonnard #postimpressionist #postimpressionism #paintings #oilpainting #modernart #peintures #art #arte #museum #artgallery

Good Morning community, today:

Unmount the Line: Xanthopsia 197

✨ Homage to: "Portrait of Agostina Segatori"

📊 2160 x 3840 px | 1/1 on @objkt.com :

objkt.com/tokens/KT1SP...

#Art #DigitalArt #VanGogh #Philosophy #NewMedia #FineArt #PostImpressionism #TechArt #VisualArt

This Van Gogh wall calendar honors his raw vision of nature and the human spirit, with spacious layouts for notes and goals. https://bit.ly/4qxh0xe #PostImpressionism #VanGogh #DailyInspiration

Vincent van Gogh Adored the Color Yellow. A New Exhibition in Amsterdam Wants You to Fall In Love With the Hue, Too The Dutch artist's paintings showcase plants, landscapes, objects and buildings in bold shades of yellow

Vincent van Gogh Adored the Color Yellow. A New Exhibition in Amsterdam Wants You to Fall In Love With the Hue, Too: The Dutch artist's paintings showcase plants, landscapes, objects and buildings in bold… @SmithsonianMag #VincentVanGogh #ColorYellow #ArtExhibition #Amsterdam #PostImpressionism

For me, these flowers are not just a still life—they’re a testament to the power of duality, of femininity, and of the courage to be unapologetically vibrant. #ChineseContemporaryArt #FemaleArtists #OilPainting #FloralArt #ButterflyLovesFlower #PostImpressionism #NatureInspired #ResilienceInArt

Two Tahitian women are seated on a pale sandy ground before horizontal bands of blue-black water, green land and dark blue sky with streaks of white clouds. The woman at left, shown in profile, has medium-brown skin and long black hair tied back with a yellow ribbon and a white flower tucked near her ear. She wears a sleeveless white top and a red pareu printed with large white leafs. Her posture is folded and inward, with one hand braced on the ground and her gaze lowered. The woman at right, also with medium-brown skin, sits cross-legged facing forward in a loose pink, long-sleeved missionary dress. Her dark hair is pulled back with a pink ribbon, and her hands gather thin yellow plant leaves in her lap. Between them lie small objects painted in simplified forms. French artist Paul Gauguin compresses space and flattens depth, using matte passages of pink, red, cream, green, and blue. The brushwork is broad and layered, giving the figures weight while keeping the setting quiet and still. The painting is central to Gauguin’s first Tahiti period (1891–1893) and shows the contrast between the left woman’s pareu and the right woman’s missionary-style dress, a visual marker of colonial change and cultural pressure in French Polynesia. The mood is not festive or theatrical. Instead, it feels paused, private, and psychologically distant. That stillness is part of the painting’s power. This painting should also be viewed critically because Gauguin’s Tahitian imagery is inseparable from colonial fantasy, exoticizing projection, and the unequal conditions under which he worked. The women are vividly present as individuals in the image, yet their names are not preserved, reflecting a broader archival pattern in colonial-era art. In 1891, Gauguin had left France seeking what he described as artistic and spiritual renewal, and he was developing the flattened color fields, strong contours, and symbolic atmosphere that shaped his Post-Impressionist and Synthetist legacy.

“Femmes de Tahiti (Tahitian Women on the Beach)” by Paul Gauguin (French) - Oil on canvas / 1891 - Musée d’Orsay (Paris, France) #WomenInArt #PaulGauguin #Gauguin #MuseeDOrsay #Muséed’Orsay #PostImpressionism #arte #artText #FrenchArt #art #TahitianArt #FrenchArtist #blueskyArt #ColonialArtHistory

悲運の天才画家ファン・ゴッホ - 美・人・生 だが、19世紀当時には無名で貧しい画家にすぎなかった。諸説あるが、ゴッホの生前に売れた作品はたったの1点&lt

西洋美術史で最も偉大な画家のひとり、色彩の魔術師フィンセント・ファン・ゴッホの隠された話と作品
Vincent van Gogh: The Wizard of Color and One of the Greatest Artists in Western Art History. Explore his hidden stories and masterpieces.
www.artstory.jp/%e6%82%b2%e9...

#ゴッホ #VanGogh #PostImpressionism #Masterpiece #고흐 #숨겨진이야기 #文森特梵高 #后印象派 #西洋艺术史

Ausgelassen feiernde Karnevalsgesellschaft, die Frauen zum Teil kostümiert als Balletttänzerin oder Pierrot, die meisten in Ballkleidung, z.T. mit Maske

Guten Morgen!
Adolf Behrman (1876-1943) 🎨 🇵🇱
Karneval, vor 1939 🖼️
#CarnivalInArt #ArtHistory #PostImpressionism #LostGeneration #BskyArt #History

Kitchen Table (Still Life with Basket). Paul Cezanne. 1888-1890. Musee d’Orsay. Paris, France. Cezanne (1839-1906) was a French painter of the Post-Impressionist movement known for his landscapes and still lifes, his planes of color with small brushstrokes. This scene portrays a table with a basket of fruit in tan, gold, and pale green colors, a white tablecloth, a pitcher, a bowl, a chair and wall in the background.

Sunday Cezanne.
Paul Cezanne.
Kitchen Table (Still Life with Basket). 1888-1890.
Musee d’Orsay.
Paris, France.

#art #painting #painters
#WeekFforFramed
#AlphabetChallenge
#PostImpressionism
#Frenchpainters #stilllife

A young woman sits on a low divan upholstered in wide, horizontal stripes of tans, blues, and reds against a cool green wall. She is turned slightly toward us, with one knee raised beneath the drape of her clothing. Her loose, pale lavender tunic pools in soft folds, painted with visible, gentle brushstrokes that let pinks, whites, and violets mingle like shifting light. Her left arm reaches forward delicately bent. A slim bracelet circles her wrist. Her other arm lifts, elbow angled outward, as her hand rests on the side of her head like an intimate, weary gesture that frames her face. She has dark, curling hair gathered back with a few curls falling across her forehead. Her skin is rendered in warm, golden-brown tones with subtle shadows at the cheekbones and around the eyes. Her gaze is lowered and slightly off to the side. Her expression inward and almost melancholic. Painted in 1895, this portrait comes from French artist Émile Bernard’s years in Cairo, Egypt after travels away from France. The Museum Folkwang highlights his immersion in local life and dress, and that he lived with the Saati family and married their daughter, Lebanese-born Hanenah Saati in 1894. The sitter may actually be Hanenah. In that light, her faraway look complicates the painting’s title: rather than a type (“the African”), we encounter a loved one rendered with tenderness and gravity, seated in a richly patterned interior. The striped divan is a banded horizon of color that holds her body, turning private space into a stage for mood and memory. Bernard described the Cairo quarter as a kind of paradise that promised life “outside western civilization,” and the painting carries that romantic longing while the woman’s pose, weighted head, and downcast eyes also hint at the costs of being looked at, named, and translated by someone else’s dream. Acquired for the Folkwang collection in 1909, this is an artifact of a cross-cultural encounter, yet it asks us to see the woman’s interiority.

“L'Africaine (The African)” by Émile Bernard (French) - Oil on canvas / 1895 - Museum Folkwang (Essen, Germany) #WomenInArt #ÉmileBernard #EmileBernard #Bernard #MuseumFolkwang #Folkwang #Essen #arte #artText #BlueskyArt #FrenchArt #PostImpressionism #FrenchArtist #19thCenturyArt #PortraitofaWoman

The intense, swirling light anchors the composition. Several thatched cottages, clustered on a hillside, occupy the midground. Smoke plumes, rendered in lively blues and greens, spiral from their chimneys. A solitary figure carrying a tool walks along a path in the foreground, his blue trousers and jacket stark against the golden earth. Each brushstroke, applied with visible urgency, carves texture into the forms. The thick impasto of the roofs and the agitated scribbles of the landscape dissolve clear boundaries, unifying the terrestrial and atmospheric. This visual dynamism speaks of a world perceived through heightened sensation, a departure from strict representation, echoing the era's growing interest in subjective experience. The bright sun, a flattened disc of yellow, asserts its presence.

Thatched Cottages in the Sunshine Reminiscence of the North by
Vincent van Gogh, 1890, The Barnes Foundation (Philadelphia, PA)

#ArtHistory #ModernArt #PostImpressionism

For me, art is a sanctuary—and this piece is my invitation to you to step into it. #ChineseContemporaryArt #FemaleArtists #OilPainting #FloralArt #NatureInspired #PostImpressionism #ArtForHealing #GlobalArtDialogue #ContemporaryStillLife #ResilienceInAr

Still Life with Pewter Jug and Pink Statuette. Henri Matisse. 1910. Hermitage Museum. St. Petersburg, Russia. Matisse (1869-1954) was a leading painter of the post-impressionist movement, using bold colors and vibrant scenes. This still life shows a red table against a light, paneled wall. A pewter jug, pink statuette of a nude, an orange and several cups are on top of the table.

Monday Matisse.
Henri Matisse.
Still Life with Pewter Jug and Pink Statuette. 1910.
Hermitage Museum.
St. Petersburg, Russia.

#art #painting #Matisse
#postimpressionism
#Frenchpainters #stilllife
#Blueskyart

Pop Art Painter Jamie Roxx Blog 👉 3 cheers for Fauvism & Post-Impressionism Birthday Remembrances. Today, Feb 6, 1879 – #OthonFriesz, French painter (d. 1949) was born. ( https://en.wikipedia.org/wiki/Othon_Friesz )

Othon Friesz Vibernt Colors and Urban Life in early 20 th Century,
& A collection of 74 paintings (HD)

👉 3 cheers for #Fauvism & #PostImpressionism

Birthday Remembrances. Today, Feb 6, 1879 – #OthonFriesz, French painter (d. 1949) was born.

tmblr.co/Z1qZLVirtLRU...

Crouching Woman with Red Hair (1897) - Henri de Toulouse-Lautrec #postimpressionism #nude_figure

Du Puigaudeau was a French Post-Impressionist associated with Pont-Aven School and the Nabis. "Chinese Shadows, The Rabbit" exemplifies the symbolist movement's interest in evoking moods and ideas through suggestive imagery rather than direct representation. It was created during a period when Japanese (Japonisme) and broader Eastern aesthetics were heavily influencing European artists, leading to experimentation with composition, color, and subject matter. The work also reflects the broader shift away from Realism towards more subjective and expressive forms of art. The flickering light from a single candle consumes the scene. Two girls, framed by a textured wall, conjure a rabbit shadow with their interlocked fingers. One gazes intently at the projected image, her hands forming the creature's ears. The other, younger, looks forward, her face softly illuminated. The close proximity of the figures to the wall presses the scene forward, amplifying the intimacy of their game. This compressed space channels the viewer's attention directly to the play light and shadow. The artist builds the surface through a multitude of short, tactile strokes, lending a shimmering, almost animated quality to the static forms. These fractured applications of color suggest a moment caught in flux, an ephemeral entertainment rendered tangible. This visual language embraces the Impressionist fascination with transient light and subjective perception. The girls' focused engagement with the shadow-play anchors them in a private world, suggesting a sanctuary from a rapidly changing external reality. The subtle hues and gentle forms evoke a sense of quietude within the era's burgeoning modernity. Their shared endeavor, conjured from simple gestures, creates a world within a world.

Chinese Shadows, The Rabbit by Ferdinand du Puigaudeau, 1892, might be in Private Collection

#ArtHistory #ModernArt #PostImpressionism

Vincent van Gogh
Undergrowth with Two Figures
1890
#PostImpressionism

Nostalgic Countryside at Sunset

#VincentVanGogh #PostImpressionism #DutchLandscape #AIArt #qpsfw #PromptShare #AIイラスト

Created with #Z-ImageTurbo for #WhereAreYouFrom