A Entrada para o Grande Canal, Veneza, Itália (The Entrance to the Grand Canal, Venice) - Giovanni Antônio Canal "Canaletto"

 
A Entrada para o Grande Canal, Veneza, Itália (The Entrance to the Grand Canal, Venice) - Giovanni Antônio Canal "Canaletto"
Veneza - Itália
Museu de Belas Artes de Houston, Estados Unidos
OST - 49x73 - 1730



Painted views of towns and landscapes were enormously popular in the 18th century. Travelers to Italy eagerly sought accurate and detailed records of their visits to Rome, Florence, Venice, and Naples. Canaletto was the most famous painter of vedute (Italian for "views") at the time. His ability to capture the light, life, buildings, and expanse of Venice established his reputation as one of the greatest topographical painters of all time. Canaletto was the son of Bernardo Canal, a painter of theater sets, with whom he worked and from whom he presumably learned the rules of perspective, so important for Canaletto's compositions. In 1719 Canaletto went to Rome, where he may have become familiar with the paintings of Giovanni Panini, an artist known for his Roman cityscapes and imaginary topographical views using actual landmarks as motifs. A year later Canaletto was back in Venice, attracting an international clientele, especially wealthy English patrons. This association, and the effects of the War of Austrian Succession, which greatly reduced the number of visitors to Venice, prompted Canaletto to travel to England, where he resided from 1746 until 1755. Canaletto’s works can be grouped into two major categories: topographic views depicting with extreme precision particular aspects of Venice and other European cities; and capricci, or imaginary views, in which architectural monuments have been displaced and rearranged according to the painter’s fancy. The Entrance to the Grand Canal, Venice, with the church of Santa Maria della Salute on the left, belongs in the first category. Despite the self-defined limits of his subject matter, Canaletto was an extraordinarily brilliant artist who delicately enhanced his subject by carefully omitting selected details in order to focus on an essential image. His fine colors subtly combine all the hues associated with the real Venice as much as with the idea, or memory, of the city. Executed in his studio after studies from the motif, his paintings are, therefore, more than topographic records. They are pure, intellectual re-creations.

Campo de Trigo com Ciprestes (A Wheatfield with Cypresses) - Vincent van Gogh

                                       
Campo de Trigo com Ciprestes (A Wheatfield with Cypresses) - Vincent van Gogh
National Gallery, Londres, Inglaterra
OST - 72x90 - 1889



This was painted in September 1889, when Van Gogh was in the St-Rémy mental asylum, near Arles, where he was a patient from May 1889 until May 1890. It is one of three almost identical versions of the composition. Another painting of the cypresses (New York, Metropolitan Museum of Art) was painted earlier in July 1889, and was probably painted directly in front of the subject.
A Wheatfield with Cypresses is any of three similar 1889 oil paintings by Vincent van Gogh, as part of his wheat field series. All were exhibited at the Saint-Paul-de-Mausole mental asylum at Saint-Rémy near Arles, France, where Van Gogh was voluntarily a patient from May 1889 to May 1890. The works were inspired by the view from the window at the asylum towards the Alpilles mountains.
The painting depicts golden fields of ripe wheat, a dark fastigiate Provençal cypress towering like a green obelisk to the right and lighter green olive trees in the middle distance, with hills and mountains visible behind, and white clouds swirling in an azure sky above. The first version (F717) was painted in late June or early July 1889, during a period of frantic painting and shortly after Van Gogh completed The Starry Night, at a time when he was fascinated by the cypress. It is likely to have been painted "en plein air", near the subject, when Van Gogh was able to leave the precincts of the asylum. Van Gogh regarded this work as one of his best summer paintings. In a letter to his brother, Theo, written on 2 July 1889, Vincent described the painting: "I have a canvas of cypresses with some ears of wheat, some poppies, a blue sky like a piece of Scotch plaid; the former painted with a thick impasto like the Monticelli's, and the wheat field in the sun, which represents the extreme heat, very thick too."
Van Gogh had to take time off painting in order to deal with some severe problems due to mental illness in late July and early August, but was able to resume painting in late August and early September 1889. After making a reed-pen drawing of the work, now held by the Van Gogh Museum in Amsterdam, he copied the composition twice in oils in his studio, one approximately the same size (F615) and a smaller version (F743). The larger studio version was probably painted in a single sitting, with a few minor later adjustments adding touches of yellow and brown. Van Gogh sketched out the design with charcoal underdrawing; he applied thin paint on the cypress trees and sky, with the ground allowed to show in places, and thick impasto for the foreground wheat and the clouds above. Characteristically, he preferred the brilliant white of zinc white (zinc oxide) for the white clouds rather than lead white, despite its poor drying qualities, with his palette also including cobalt blue for the sky, shades of chrome yellow for the wheat field, viridian and emerald green for the bushes and cypresses, and touches of vermilion for the poppies in the foreground and also synthetic ultramarine. The July "plein air" version was much more heavily worked, and may be considered a study for the more considered September studio painting. He sent the smaller and less accomplished studio version to his mother and sister as a gift.
Vincent sent the larger July and September versions to his brother in Paris later in September 1889. The July version was sold by Theo's widow in 1900 to artist Émile Schuffenecker. It passed through the hands of collector Alexandre Berthier and art dealer Paul Cassirer in Paris, where it was first exhibited and photographed at Galerie Eugène Druet in November 1909. It was sold to banker Franz von Mendelssohn (1865–1935) in Berlin in 1910 and remained with the Mendelssohn family in Germany and Switzerland until it was sold to industrialist Emil Bührle in Zurich in 1952. His son, Dieter Bührle, sold the painting in 1993 to the Metropolitan Museum of Art in New York for $57 million using funds donated by publisher, diplomat and philanthropist Walter Annenberg.
The National Gallery in London holds a similar version painted in Van Gogh's studio in September 1889, bought with the Courtauld Fund in 1923. It is unlined, and was never varnished or waxed. The third smaller version is held by a private collection (sold at Sotheby's in London in 1970; in the US in 1987).

O Esquife / The Skiff (La Yole) - Pierre Auguste Renoir

                                             
O Esquife / The Skiff (La Yole) - Pierre Auguste Renoir
National Gallery, Londres, Inglaterra
OST - 71x92 - 1875


This sunlit scene on the river Seine is typical of the imagery that has come to characterise Impressionism, and Renoir includes several familiar Impressionist motifs such as fashionably dressed women, a rowing boat, a sail boat, and a steam train crossing a bridge. The exact location has not been identified, but we are probably looking at the river near Chatou, some ten miles west of central Paris, which was a popular spot for recreational boating. If Renoir’s choice of subject is characteristically Impressionist, this is also true of his painting technique. He creates an effect of summer heat and light by using bright unmixed paint directly from the tube and by avoiding black or earth tones. In placing the bright orange boat against the dark blue water, Renoir has deliberately used complementary colours, which become more intense when seen alongside each other.

Vernazza, Cinque Terre, Itália (Cinque Terre) - Cândido Oliveira

                                                 
Vernazza, Cinque Terre, Itália (Cinque Terre) - Cândido Oliveira
Vernazza - Itália
Coleção privada
OST - 70x100 - 2017
                                     

Vaso de Rosas (Vaso de Rosas) - Ana Freví

                                                             
Vaso de Rosas (Vaso de Rosas) - Ana Freví
Coleção privada
OST - 60x50 - 2017

Beira de Rio (Beira de Rio) - Osmar dos Santos Soares

                                               

Beira de Rio (Beira de Rio) - Osmar dos Santos Soares
Coleção privada
OST - 80x100
     
                                           

Terraço em Sainte-Adresse, França (La Terrasse à Sainte-Adresse) - Claude Monet

                                           
Terraço em Sainte-Adresse, França (La Terrasse à Sainte-Adresse) - Claude Monet
Sainte-Adresse - França
Metropolitan Museum of Arts, Nova York, Estados Unidos
OST - 98x129 - 1867



The Garden at Sainte-Adresse is a painting by the French impressionist painter Claude Monet. (Oil on canvas, 98.1 cm x 129.9 cm). The painting was acquired by the Metropolitan Museum of Art after an auction sale at Christie's in December 1967, under the French title La terrasse à Sainte-Adresse. The painting was exhibited at the 4th Impressionist exhibition, Paris, April 10–May 11, 1879, as no. 157 under the title Jardin à Sainte-Adresse.
Monet spent the summer of 1867 at the resort town of Sainte-Adresse on the English Channel, near Le Havre (France). It was there, in a garden with a view of Honfleur on the horizon, that he painted this picture, which combines smooth, traditionally rendered areas with sparkling passages of rapid, separate brushwork, and spots of pure colour.
The models were probably Monet's father, Adolphe, in the foreground, Monet's cousin Jeanne Marguerite Lecadre at the fence; Adolphe Lecadre, her father; and perhaps Lecadre's other daughter, Sophie, the woman seated with her back to the viewer.
Although the scene projects affluent domesticity, it is by no means a family portrait. Monet's relations with his father were tense that summer, owing to family disapproval of the young artist's liaison with his companion, Camille Doncieux, his wife to be.
Monet called this work in his correspondence "the Chinese painting in which there are flags". His friend Pierre-Auguste Renoir referred to it as "the Japanese painting". In the 1860s, the composition's flat horizontal bands of colour would have reminded the sophisticated of Japanese colour wood-block prints, which were avidly collected by Monet, Manet, Renoir, Whistler, and others in their circle. The print by the Japanese artist Hokusai that may have inspired this picture, Turban-shell Hall of the Five-Hundred-Rakan Temple (1830), remains today at Monet's house-museum at Giverny.
The elevated vantage point and relatively even sizes of the horizontal areas emphasize the two-dimensionality of the painting. The three horizontal zones of the composition seem to rise parallel to the picture plane instead of receding into space. The subtle tension resulting from the combination of illusionism and the two-dimensionality of the surface remained an important characteristic of Monet's style.
The painting is now in the New York Metropolitan Museum of Art. It was bought in 1967, with special contributions given or bequeathed by friends of the Museum.
A tela de Monet, denominada Terraço em Sainte-Adresse (1867), apresenta um cenário tipicamente burguês, e é considerada uma obra-prima de sua fase juvenil. Embora à época houvesse grande tensão entre o pintor e seu pai, Monet retrata-o na cena.
Monet pinta a sua família no terraço da casa de sua tia Marie-Jeanne, situada em frente ao mar, em Sainte-Adresse. As figuras representadas no quadro são:
1- A tia Marie-Jeanne, sentada, segurando uma sombrinha branca que encobre a sua cabeça.
2- O pai, Adolphe, assentado à direita da tia, com o olhar direcionado para o mar, ao fundo.
3- A prima Jeanne-Marguerite e um jovem que conversa com ela.
No primeiro plano do quadro, encontra-se o jardim, assim como a balaustrada e os mastros com suas bandeiras. No terraço, existem duas cadeiras desocupadas, embora afastadas uma da outra, que pertencem ao casal que se encontra de pé.
Embora à época, Monet encontrasse-se numa situação nada comum, não tendo ainda se casado com Camille, mas já sendo pai de uma criança, o que ocasionava um sério atrito com o pai, o seu quadro burguês atem-se às convenções sociais, pois o casal namora sob o olhar observador de seus pais, mantendo certa distância entre os dois.
Pelas sombras das pessoas, plantas e objetos vistas no terraço e as sombrinhas abertas, percebe-se que é um dia de sol, embora esse não seja vislumbrado. Enquanto o tremular das bandeiras e a direção tomada pela fumaça, que sobe das embarcações espalhadas pelo mar, assim como as águas encrespadas desse, indicam que também há vento.
O pintor, amante das flores, e que trabalharia com elas até seus últimos dias de vida, retrata-as aqui com uma grande riqueza. É possível distinguir trepadeiras com suas flores vermelhas, diferentemente dos gerânios e papoulas com a mesma cor. Existem ainda a brancura das camomilas, flores alaranjadas, assim como uma enorme variação de tons de verde, presentes nas folhas e na grama. O pintor, pela primeira vez, utiliza o efeito colorido das sombras e cores contrastantes entre si, como o vermelho e o verde.

O Baile no Moulin de la Galette, Paris, França (Bal du Moulin de la Galette) - Pierre Auguste Renoir

O Baile no Moulin de la Galette, Paris, França (Bal du Moulin de la Galette) - Pierre Auguste Renoir
Paris - França
Museu d'Orsay, Paris, França
OST - 131x175 - 1876

Texto 1:
O Baile no Moulin de la Galette (em francês "Le bal du moulin de la Galette") é uma pintura realizada a óleo sobre tela em 1876, pelo impressionista francês Pierre-Auguste Renoir, consagrada como um marco da pintura impressionista.
O quadro foi pintado em Paris, no bairro de Montmartre, e retrata um tema frequente na pintura impressionista e que se encontra na base do movimento: o cotidiano burguês.
Esta pintura é, indubitavelmente, a mais célebre e significativa obra de Renoir. 

Foi exibida pela primeira vez no Salon em 1877, na exposição dos impressionistas. 

Ainda que o rosto de alguns dos seus amigos apareçam na imagem, como o cubano Cárdenas à esquerda dançando com uma moça, e Frank Lamy, Norbert Goeneutte e Georges Rivière sentados à mesa, a intenção de Renoir era captar a vivacidade e a atmosfera alegre desta popular dança de jardim no bairro de Montmartre, nas imediações do Moulin (moinho), hoje celebrizado pela tela. 

Inicialmente local de vendas de um pãozinho, passou a ser ponto de encontros, unindo bar, restaurante (ativo até hoje) e salão de danças; e dessa forma Renoir representou a belle époque (1870-1914) de Paris na França, um período de grande florescer artístico e econômico. 

O estudo da multidão em movimento, a inclusão lumínica natural e artificial e outros efeitos, foram concretizados através de pinceladas de cores vibrantes. 

A aparência um tanto desfocada da cena, capta algumas críticas negativas desde o seu tempo até à atualidade.
A interpretação da vida popular parisiense, com o seu estilo inovador e formato imponente, assina a ambição artística de Renoir. A descontração das personagens, a sombra imposta pela copa das árvores, os resquícios de luz natural que recaem sobre os vestidos das senhoras e os chapéus dos senhores em primeiro plano, e tantos outros elementos neste quadro, tornam-o uma das principais obras-primas do Impressionismo.
A obra foi adquirida por Gustave Caillebotte que a deixou ao estado francês, juntamente com toda a sua coleção. Renoir fez uma pequena cópia desta tela, que se tornou uma das telas mais caras já vendidas. 
Homens de cartola e mulheres com belos vestidos conversam, bebem e dançam sob as luzes brilhantes desse importante local dançante parisiense.
Pierre-Auguste Renoir adorava esse tema e pintou-o inúmeras vezes, reproduzindo os desenhos formados pela luz que se enreda nas figuras movendo-se pelo chão. Muitos dos amigos de Renoir serviam como modelos para os dançarinos. O casal a meia distância é formado por seus modelos favoritos, Marguerite Legrand e o pintor espanhol Pedro de Solares y Cardenas.
Como todos os impressionistas, Renoir pintava a partir do natural, sentado no meio do baile. Todos os dias os seus amigos o ajudavam a trazer as telas e a levá-las de volta ao estúdio.
Na época em que foi pintado o Moulin de la Galette, Renoir trabalhava muito próximo de Claude Monet. Passavam muito tempo pintando ao ar livre , captando os efeitos fugazes do sol que se difundia através de uma paisagem. Com sua paleta de arco-íris, Renoir pintou mais de 6 mil telas de mulheres, crianças, flores e campinas.
Esta pintura é considerada uma das mais importantes obras de Renoir e foi mostrada na exposição impressionista em 1877. O objetivo principal de Renoir era transmitir a atmosfera animada e alegre deste popular jardim na Butte Montmartre, localizado num dos bairros boêmios de Paris. O estudo da multidão em movimento, banhado pela luz natural e artificial, é tratado usando pinceladas coloridas e vibrantes.

Texto 2:  
Apesar de ser considerada uma grande obra de arte, O Baile no Moulin de la Galette foi alvo de algumas críticas devido ao aspecto de “borrado” que as pinceladas dão à pintura. Atualmente, a obra pode ser vista no Museu d’Orsay, em Paris.
O Moulin de la Galette era um antigo moinho de vento situado no topo da colina de Montmartre, construído em 1622, e conhecido como Blute-fin. Em 1809 foi adquirido pela família Debray, junto com o moinho Radet, de 1717. No século XVIII havia 14 moinhos na região, destinados a moer trigo, prensar uvas e flores. Restaram apenas dois: o Blute-fin e o Radet.
Em 1809 o moinho Radet foi adquirido pela família de moleiros Debray, que passou a produzir com o trigo que moía uma broa denominada galette, servida com um copo de leite. A galette tornou-se a tal ponto popular que o moinho passou a ser conhecido como “Moulin de la Galette”.
O Moulin de la Galette é também um marco de lutas patrióticas. Em 1814, durante as Guerras Napoleônicas, após a derrota de Napoleão Bonaparte, Montmartre foi invadida pelos cossacos. 

Os membros da familia Debray participaram da defesa da colina e três perderam a vida na luta. Tempo depois, durante a Guerra Franco-Prussiana, com a derrota de Napoleão III, em 1871 a colina de Montmartre foi atacada por 20 mil soldados prussianos. Durante os combates o moleiro Pierre-Charles Debray foi morto e seu corpo foi pregado às pás de seu moinho.
Um dos Debray que sobreviveram aos combates de 1814 resolveu abrir junto ao moinho, por volta de 1830, um bar popular, uma “guinguette”, como eram chamados esses espaços em que se podia até dançar, trocou leite por vinho e passou a atrair muita clientela. Os parisienses iam a Montmartre para aproveitar “os prazeres simples da vida” em um ambiente bucólico, com vinho, pão fresco e uma vista deslumbrante de Paris.
A seguir, num espaço adjacente, começaram a ser realizados os célebres bailes do Moulin da la Galette, imortalizados nas obras de Van Gogh, Renoir, Pissarro, Utrillo, Dufy, Toulouse-Lautrec, Picasso e outros grandes artistas. Entre os quadros que retrataram esses bailes, o mais famoso é sem dúvida Bal du Moulin de la Galette, de Renoir.
Ao longo do tempo, o edifício passou por uma série de usos: café a céu aberto, salão de música e estúdio de televisão até, em 1939, ser classificado como monumento histórico. Atualmente, ao lado do moinho, há um restaurante chamado “Le Moulin de la Galette”.
A obra Bal du Moulin de la Galette é uma das mais célebres de Pierre-Auguste Renoir, realizada em 1876, e uma das obras de arte mais emblemáticas do Museu D'Orsay em Paris.O quadro que tinha sido exposto na terceira exposição dos Impressionistas, em 1877, mostra-nos, de uma forma alegre e muito colorida, a multidão que se dirigia, em busca de diversão, ao baile dos domingos do conhecido Moulin de la Galette. O Moulin de la Gallete foi um moinho que se transformou em clube noturno, situado em Montmartre, onde várias gerações de artistas se encontravam. Ele foi retratado ao longo do século XIX e XX por dezenas de pintores.
Alguns amigos do pintor aparecem retratados nesta obra. O par que esta a dançar à esquerda é composto por Margot (a sua modelo preferida) e pelo pintor cubano Solares, e as jovens ao centro são as irmãs Estelle e Jeanne ( esta última também modelo do pintor).
Destaca-se nesta obra a despreocupação e o desprendimento com que a multidão desfruta do ambiente jovial proporcionado pelo baile ao ar livre, como um momento de evasão dos problemas do dia a dia. 

A jovem que surge sentada em primeiro plano tem uma expressão risonha e adopta uma postura descontraída e de uma grande naturalidade. O seu vestido todo às riscas revela-se exagerado e atrevido, conferindo uma nota de modernidade à moda da época representada na tela. A pincelada dinâmica e difusa, utilizada pelo artista esbate os rostos dos personagens. O movimento transmitido pelos gestos dos personagens é potenciado pelos efeitos de luz e de cor. A luz é tratada com grande mestria ao incidir sobre as figuras da cena e, inclusive, sobre o terreno onde tem lugar o baile, em forma de brilhos refulgentes.
A obra foi adquirida por Gustave Caillebotte que a deixou ao estado francês, juntamente com toda a sua colecção. Renoir fez uma pequena cópia desta obra, que se tornou uma das telas mais caras do mundo.

Texto 3:  
Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir. It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.
Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.
From 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896 to 1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Musée du Louvre until it was transferred to the Musée d'Orsay in 1986.
Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. In the first place, Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park". Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens and its buildings have been preserved as the Musée de Montmartre.
Rivière identified several of the personalities in the painting. Despite Renoir's resource of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, in the middle of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers dancing with the model called Margot (Marguerite Legrand). Apparently the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.
Rivière describes the painting as executed on the spot and that not without difficulty as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work.