Painting Expressions

De soirée, Romà Ribera (1849-1935), 1894, Museu Nacional d'Art De Catalunya Leaving the Ball, 1894 Epilogue for a Masked Ball, 1891 Old sacristan, 1897 Woman in Evening Gown, 1893 (Dama con traje de noche) Leaving the Liecu Model in the Artist Studio, 1898 Going to the Ball,  Exiting the Ball,  Sleeping Woman, ?After the Ball, 

A maiden in contemplation, 1900 Gaston La Touche (1854-1913)-‘a difficult crossing’-oil on canvas  At the Music Hall Le Gué (The Ford),  Gaston La Touche (1854-1913)-‘the rescue’-oil on canvas The Delicate Step (Le Joli Pied) Translation of a Holy Relic, 1899, State Museum of New Western Art, Moscow  Temptation, 1892

Portrait of a Lady with her daughter, Thomas Hudson, English, 18th century, Museo del Prado The Thistlethwayte Family, 1758, Yale Center for British Art Elizabeth Dunch, later Lady Oxenden, 18th Century, Christie's Portrait of a Woman, 1749 This portrait of a woman in a 17th-century "Vandyke" dress is probably of Elizabeth Aislabie (1722? – 1780). She was the wife of William Aislabie of Studley Royal near Ripon, Yorkshire, England, UK. The elaborate frame may have been by Richard Fisher of York. Richard Fisher was one of the proprietors of J. and R. Fisher's Bloomingdale Flint Glass Works in New York. He came to America from England, probably around the same as did his brother John Fisher (ca. 1785-1848), who arrived in 1810.  Frederick R. Spencer, 1855, oil on canvas, New York Historical Society Museum

Island - Lake of Two Rivers, 1945, oil on canvas  Casson (1898 – 1992), Canadian  Oxtongue Lake, 1982, oil on canvas Oriental Poppies, 1940, gouache on card Boat Houses - the Pool at Bracebridge, 1947, watercolor Baptiste, 1959, watercolor A Street in Glen Williams - 1980, 1980, oil on canvas, sold for $542,800 Gathering Storm, 1981, oil on canvas, sold for $1,534,000 CDN 

  'Loves Messanger', 1885, Marie Spartali Stillman (1844-1927), Delaware Art Museum.  Watercolor, tempra and gold paint on paper (32"x26"). A dove, string attached to it's leg with free end of string wrapped around a rolled piece of paper (the message?). In front of her, an embroidery with a blindfolded figure holding a bow and arrow (cupid?). "The Vale of Rest", Sir John Everett Millais (1829-96), 1858-9, Tate. Millais was one of the founders of the Pre-Raphaelite Brotherhood.  'The title and subtitle, 'Where the weary find repose', both come from Mendelssohn's part-song 'Ruhetal' from Sechs Lieder, Opus 59, no.5. Millais heard his brother William singing the song and felt it suited the picture perfectly.' (tate.org.uk)

The Bridge at Villeneuve-la-Garenne, 1872, Alfred Sisley, MET He was inspired by the style and subject matter of previous modern painters Camille Pissarro and Edouard Manet. Sisley has been overshadowed by Monet, whose work his resembles in style and subject matter, although Sisley's effects are more subdued. The Banks of the Loing towards Moret, 1883, Alfred Sisley, Foundation Bemberg Grapes and Walnuts on a Table, 1876, Museum of Fine Art, Boston. Women Going to the Woods, 1866, Artizon Museum (Tokyo)   Alfred Sisley and his wife, Lise Tréhot, 1868, Renoir

  Dance at Bougival, 1883, Museum of Fine Arts Boston. Suzanne Valadon is the models. Originally a trapeze artist, she became an artist's model after an injury ended her performing career; however, she is best remembered as a successful painter herself.   Dance in the City, 1883, Musée d'Orsay Suzanne Valadon is the model.  Dance in the Country, 1883, Musée d'Orsay The woman is Aline Charigot, who later became the wife of the painter.  Portrait of Madame Renoir (a portrait of Aline Charigot, Renoir's wife), 1885, Philidalphia Museum of Art Blonde Bather, 1882, Pinacoteca Giovanni e Marella Agnelli (Turin, Italy) Aline Charigot, his girl friend traveling with him to Italy and  later to become Renoir's wife. An earlier version of Blonde Bather, 1881, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts In 1926 the American art collector Sterling Clark purchased the painting after some uncertainty for $100,000. It has been over-cleaned t...

  John White Alexander (American, 1856–1915) Art Institute of Chicago SUNLIGHT , 1909 Repose, 1895, MET Alexander, who lived in Paris during the 1890s, achieved international success with his studies of female figures gracefully posed in elegant interiors. In this example, the provocative facial expression and supple curves reflect the contemporary French taste for sensual images of women as well as the undulating linear rhythms of Art Nouveau. With its model decoratively attired in a sweep of white fabric, "Repose" was lampooned in a French magazine as a portrayal of Loïe Fuller (1862–1928), the American dancer famous for manipulating swirling folds of silk in her performances at the Folies Bergère in Paris. Study in Black and Green, 1906, MET The idealized, impassive woman, shown as if she were a precious object, was a favorite turn-of-the-century subject and one particularly suited to Alexander’s temperament. Here, a young beauty is absorbed in nothing more consequential t...