The Rouen Museum of Fine Arts owes this work, one of its masterpieces, to a highly inspired and relatively late purchase made in 1955. This Flagellation of Christ with its small number of characters seen from close up, captured in the shadows but sculpted by a light from a cellar window that emanates from above and marks out their forms, is characteristic of Caravaggio.
A comprehensive resource for information about Edward Hopper, his paintings, biography, and quotes
Edward Hopper prints with a gallery of famous Edward Hopper paintings.
Art History News Wednesday, June 6, 2012 Edward Hopper: The Watercolors The first major exhibition in forty years of the watercolors of Edward Hopper (1882–1967) premiered at the
The official site of the Mucha Foundation. A comprehensive resource for information on Alphonse Mucha (or Alfons Mucha) with details on his life, the Mucha Trust Collection, news, exhibitions, events and publications.
Room in New York, 1932 by Edward Hopper
Francisco Goya: Analysis of 50 Famous Paintings & Biography
Alphonse Mucha lived in the XIX – XX cent., a remarkable figure of Czech Art Nouveau. Find more works of this artist at Wikiart.org – best visual art database.
The Portuguese, 1911 by Georges Braque
Cara Manes: This is Jasper Johns's Target With Four Faces from 1955. You'll immediately recognize its subject: the alternating bands of color, the concentric circles, even a bull's eye. In fact, Johns described the Target as something that “the mind already knows.” Johns was really interested in trying to imagine a new set of possibilities for painting, and did so by playing with the subject matter, by creating paintings that at first glance, don't look any different than the actual objects that they represent. This is a time when Abstract Expressionism was the dominant force in the art world. These artists shared the conviction that art is inextricably tied to the artist's subjective experience. And they made work that could capture the individual essence of the artist through the gestures he or she makes in paint on the canvas. So if you think of it in that kind of context, Johns is pointing in a totally new direction, both in terms of the subject but also in terms of technique. If you look closely at the Target, you can see the newsprint that he used to collage on the canvas as a bottom layer. The method of wax encaustic allowed him to really build up a tactile surface that reveals the slow and measured process by which the work was made. The faces were cast over the course of several months. He used a friend and neighbor as a model. The faces are abstracted by their having been cropped at the eyes. They become a kind of banner above the target. This work, for me, evokes a state of precariousness. When you start to think about the target as an object, that conjures a whole host of associations–of, say, an arrow from a bow shooting at the picture, about to puncture it.