Poster dos Jogos Olímpicos de Roma, 1960, Itália

Poster dos Jogos Olímpicos de Roma, 1960, Itália
Roma - Itália
Cartaz - Poster
                                       
                               

Roteiro da FEB na Campanha da Itália, 1945, Brasil

                                                 
Roteiro da FEB na Campanha da Itália, 1945, Brasil
Acervo Arquivo Nacional
Mapa

A Ruela, Delft, Holanda (Gezicht op Huizen in Delft, Bekend als Het Straatje / View of Houses in Delft, Known as The Little Street) - Johannes Vermeer

                                                           
A Ruela, Delft, Holanda (Gezicht op Huizen in Delft, Bekend als Het Straatje / View of Houses in Delft, Known as The Little Street) - Johannes Vermeer
Delft - Holanda
Rijksmuseum Amsterdã Holanda
OST - 54x44 - 1657-1661

The Little Street (Het Straatje) is a painting by the Dutch painter Johannes Vermeer, executed c. 1657–58. It is exhibited at the Rijksmuseum of Amsterdam, and signed, below the window in the lower left-hand corner, "I V MEER".

The painting is made in oil on canvas, and it is a relatively small painting, being 54.3 centimetres (21.4 in) high by 44.0 centimetres (17.3 in) wide.

The painting, showing a quiet street, depicts a typical aspect of the life in a Dutch Golden Age town. It is one of only three Vermeer paintings of views of Delft, the others being View of Delft and the now lost House Standing in Delft. This painting is considered to be an important work of the Dutch master.

Straight angles alternate with the triangle of the house and of the sky giving the composition a certain vitality. The walls, stones and brickwork are painted in a thicker paint layer, such that it makes them almost palpable.

While generally agreed to depict a contemporary street scene in 17th-century Delft, where Vermeer lived and worked, the exact location of the scene Vermeer painted has long been a topic of research and discussion, with studies arguing for the Voldersgracht, where the Vermeer Centre is located, or the Nieuwe Langendijk at the present-day numbers 22 to 26.

In 2015, archival research based on the city's quay dues register, which gives detailed measurements of all houses and passageways along the canals of Delft at the time, has resulted in the conclusion that the site is the Vlamingstraat, a street with a narrow canal, at the present-day numbers 40 and 42. The research also found that the property on the right in the painting belonged to Vermeer’s aunt, Ariaentgen Claes van der Minne. She had a business selling tripe, and the passageway beside the house was known as the Penspoort, or Tripe Gate. Vermeer’s mother and sister also lived on the same canal, diagonally opposite.

In 2017, this apparently sound conclusion was disputed by art historians Gert Eijkelboom and Gerrit Vermeer in the Dutch Journal of Historical Geography (Tijdschrift voor historische geografie). Their argumentation is essentially founded in the assertion that the painting does not depict an actual place, and thus cannot be accurately located. The authors said: "We do not know whether the question will ever be answered, because it seems that Vermeer's world-famous work is an allegorical representation, which he compiled from various elements and places."

Jovem Adormecida (A Maid Asleep / A Woman Asleep / A Girl Asleep) - Johannes Vermeer

                                                   
Jovem Adormecida (A Maid Asleep / A Woman Asleep / A Girl Asleep) - Johannes Vermeer
Metropolitan Museum of Arts Nova York
OST - 87x76 - 1656-1657

A Girl Asleep, also known as A Woman Asleep, A Woman Asleep at Table, and A Maid Asleep, is a painting by the Dutch master Johannes Vermeer, 1657. It is housed at the Metropolitan Museum of Art in New York City and may not be lent elsewhere under the terms of the donor's bequest.

According to Liedtke, the presence of the dog would have alluded to "the sort of impromptu relationships canine suitors strike up on the street." The man and the dog were replaced with a mirror on a far wall, suggesting how the experience of the senses quickly passes, and a chair left at an angle with a pillow on it, possibly signifying indolence, together with a hint of recent company. The idea that she was recently together with someone is reinforced by the wine pitcher, the glass on its side and the possible presence of a knife and fork on the table. The Chinese bowl with fruit is a symbol of temptation, and for a Vermeer contemporary familiar with the symbolism of Dutch art of the time, the knife and jug lying open-mouthed under a gauzy material would have brought to mind more than social intercourse.

The painting was very likely owned by Vermeer's patron, Pieter van Ruijvan, who also owned The Milkmaid, which has a similar tension between the symbolism of sexual or romantic relations with maids and their presentation in a way that was more sympathetic than the established tradition.

The painting was among the large collection of Vermeer works sold on May 16, 1696, from the estate of Jacob Dissius (1653–1695). It is widely believed the collection was originally owned by Dissius' father-in-law, Pieter Claesz van Ruijven of Delft as Vermeer's major patron, then passed down to Ruijven's daughter (1655–1682), who would have left it to Dissius. The work's history from that point is unknown until its ownership by John Waterloo Wilson in Paris after 1873. It was sold on March 14, 1881, in Paris when the Sedelmeyer Gallery in Paris bought it and sold it later that year to Rodolphe Kann, also of Paris. Kann owned the work until 1907. It was sold in 1908 through the Duveen Brothers of London to Benjamin Altman, and it was exhibited in New York in 1909. Altman owned the work until 1913, when it passed into the hands of the Metropolitan Museum of Art as a bequest.

The misbehavior of unsupervised maidservants was a common subject for seventeenth-century Dutch painters. Yet in his depiction of a young maid dozing next to a glass of wine, Vermeer transfigured an ordinary scene into an investigation of light, color, and texture that supersedes any moralizing lesson. While the toppled glass at left (now abraded with time) and rumpled table carpet may indicate a recently departed visitor, X-radiographs indicate that Vermeer chose to remove a male figure he had originally included standing in the door­way, heightening the painting’s ambiguity.

Cristo na Casa de Marta e Maria (Christ in the House of Martha and Mary) - Johannes Vermeer

                                     
Cristo na Casa de Marta e Maria (Christ in the House of Martha and Mary) - Johannes Vermeer
Scottish National Gallery Edimburgo Escócia
OST - 158x141 - 1654-1655

Christ in the House of Martha and Mary is a painting finished in 1655 by the Dutch painter Johannes Vermeer. It is housed in the Scottish National Gallery in Edinburgh. It is the largest painting by Vermeer and one of the very few with an overt religious motive. The story of Christ visiting the household of the two sisters Mary and Martha goes back to the New Testament.

Moça Lendo Uma Carta à Janela / Leitora à Janela (Girl Reading a Letter by an Open Window) - Johannes Vermeer

                                                   
Moça Lendo Uma Carta à Janela / Leitora à Janela (Girl Reading a Letter by an Open Window) - Johannes Vermeer
Gemäldegalerie Alte Meister, Dresden, Alemanha
OST - 83x64 - 1657-1659



Girl Reading a Letter at an Open Window is an oil painting by Dutch Golden Age painter Johannes Vermeer. Completed in approximately 1657–59, the painting is on display at the Gemäldegalerie in Dresden. For many years, the attribution of the painting—which features a young Dutch woman reading a letter before an open window—was lost, with first Rembrandt and then Pieter de Hooch being credited for the work before it was properly identified in 1880. After World War II, the painting was briefly in possession of the Soviet Union. Apparently well-preserved, the painting may have been altered after the painter's death.
The painting depicts a young Dutch blonde girl standing at an open window, in profile, reading a letter. A red drapery hangs over the top of the window glass, which has opened inward and which, in its lower right quadrant, reflects her. A tasseled ochre drapery in the foreground right, partially closed, masks a quarter of the room in which she stands. The color of the drape reflects the green of the woman's gown and the shades of the fruit tilted in a bowl on the red-draped table. On the table beside the bowl, a peach is cut in half, revealing its pit.
In Vermeer, 1632–1675 (2000), Norbert Schneider indicates that the open window is on one level intended to represent "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." He concludes that the letter is a love letter either planning or continuing her illicit relationship. This conclusion, he says, is supported by the fact that x-rays of the canvas have shown that at one point Vermeer had featured a Cupid in the painting. This putto once hung in the upper right of the piece before, for whatever reason, somebody closed the wall over it. This overpainting, which is now being reversed by restorators, seems to have taken place in the 18th century.
The draperies, hanging in the right foreground, are not an uncommon element for Vermeer, appearing in seven of his paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.
This painting and Officer and Laughing Girl represent the earliest known examples of the pointillé (not to be confused with pointillism) for which Vermeer became known. John Michael Montias in Vermeer and His Milieu (1991) points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.
Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labeled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.
Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.
The painting was investigated by Hermann Kühn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is painted mainly in a mixture of blue azurite and lead-tin-yellow, while the lower part contains green earth. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of vermilion, madder lake and lead white.

Nota do blog 1: Essa é a versão antiga da pintura. Em 2021 a pintura sofreu um meticuloso processo de restauro, onde foi descoberta uma alteração não feita pelo artista (para maiores informações ver tópico específico sobre o tema no blog). Abaixo a imagem atualizada da pintura. 

Nota do blog 2: O artista que me perdoe, mas prefiro mil vezes a versão antiga. Não dá para voltar atrás, não???

As Belas no Parque Monceau, Paris, França (Les Belles au Parc Monceau) - Henri Brispot

                                       
As Belas no Parque Monceau, Paris, França (Les Belles au Parc Monceau) - Henri Brispot
Paris - França
Coleção privada
OST - 84x116 - 1908

A Dama de Honra (The Bridesmaid) - James Jacques Joseph Tissot

                                                       
A Dama de Honra (The Bridesmaid) - James Jacques Joseph Tissot
Leeds Art Gallery Leeds Inglaterra
OST - 1883-1885

'The Bridesmaid' (1883-85), is a painting depicting a social event which were the hallmark of Tissot. A beautiful young women is pictured flirting with the groomsman, their attraction for each other taking over the moment as they appear oblivious to all those around them.

The scene from a middle class wedding, typical of the social circles in which Tissot would live in both London and Paris.
Jacques-Joseph Tissot was born in 1836, in the French seaport of Nantes.
The son of a successful shopkeeper, and devout Roman Catholic, he attended a Jesuit boarding school. His father was unimpressed with the idea of his son becoming an artist, but eventually gave way to his son's chosen career.
In 1856 Tissot went to Paris to train as a painter at the Ecole des Beaux-Arts under Ingres, Flandrin and Lamothe. It was here that the young Tissot met the young James McNiell Whistler, one of the most notable 19th century artists. It was during this time that Tissot became a friend of Impressionist painter Degas. Entirely for the purposes of a publicity stunt, Tissot changed his name with the addition of a Christian name 'James' becoming James Jacques Joseph Tissot.
In 1869 Tissot produced caricatures for Vanity Fair magazine, including a brilliant caricature of Frederic Leighton attending an evening reception.
In 1870 the Franco-Prussian war broke out which saw the defeat of France, and the occupation of Paris. In 1871 Tissot fled to London, England where he took refuge with journalist Thomas Gibson Bowles - the Founder / Editor of Vanity Fair.
Enjoying his new social circle in London, Tissot's oil paintings depicting 'social events' including 'The Bridesmaid' rapidly became very popular.
These paintings also present an interesting record of social life at the time, which was not without controversy.
This was period when the commercially successful were earning more than the aristocrats who had established themselves as patrons of art. The politics of art then, almost a reflection of the modern day, the differences then between artists and establishment - compare this with today and you have a similar situation in many art galleries where art is owned by the public, yet controlled by a few 'sometimes arrogant' council employees who wrongly believe they are in control. When the control starts to move away from them, or it is demonstrated that they have no real power of control, then the only hope they think they have is to castigate that which they do not understand. To all and sundry it smacks of fear, in reality it demonstrates alienation of the real world which they benefit from, but fail to live or understand. Perhaps Ruskin's attacks on Tissot demonstrate this perfectly as he described Tissot's paintings as: "mere painted photographs of vulgar society."
In 1873, Tissot bought the house in St John's Wood where he lived for the rest of his time in London. His popularity in England became the envy of the Parisian painters including Degas.
His popularity was not to last though, he struck up a relationship with Kathleen Newton who was to become his mistress. Kathleen had what was in those days considered a colourful and adulteress past, she became his model and the great love of his life. Yet in his social circles although many men also secretly had a mistress, Tissot lived openly with Kathleen.
This situation forced the painter to choose between his love for Kathleen or his social life. He chose Kathleen.
Tissot's days of fame and popularity were at an end with the conservative social circle, but as in all walks of life, they were not outcasts, merely moving on, they entertained the more liberal artistic friends at their home.
In the late 1870s Kathleen became seriously ill with the great 19th century killer Tuberculosis. Tissot remained devoted to her, but in 1882 the love of his life committed suicide. The devastated Tissot immediately left their home in St Johns Wood and never returned.
Tissot was never to fully recover from his great loss, it is thought that he visited spiritualists in the hope of contacting Kathleen beyond the grave.
He returned to Paris where he continued working, painting social scenes as he had in England.
Tissot died at Buillon on Friday 8th August 1902.

Falso Cartaz de Propaganda de Imigração Italiana, "Terre In Brasile Per Gli Italiani" - Anônimo

                                                       

Falso Cartaz de Propaganda de Imigração Italiana, "Terre In Brasile Per Gli Italiani" - Anônimo

Cartaz / Poster

Esse cartaz nunca existiu. 

Foi criado por alguém, talvez como brincadeira, postado na Internet, e, desde então, vem sendo usado como exemplo de propaganda para atrair imigrantes italianos para o Brasil, tendo vários sites e publicações embarcado nessa falsificação. 

É exemplo inequívoco de como devemos ter cuidado com o que encontramos pela Internet.

Algumas evidências da falsicação:

* O texto em italiano do cartaz é grotesco/risível;

* Não há menção do autor da propaganda no cartaz;

* Algumas fontes de letras utilizadas no cartaz não existiam na época;

* Não há registro histórico da existência do cartaz em nenhum site, museu, companhia de navegação ou instituição imigratória;

* Aspecto de um trabalho de colagem e xerox;

* Padrão de qualidade gráfico tosco, não condizente com os cartazes da época.
Nota do blog: Curiosamente, é, até hoje, o post mais visualizado do blog...rs.

A Poesia, Meu Jardim e o Mar (A Poesia, Meu Jardim e o Mar) - Washington Maguetas

                                     
A Poesia, Meu Jardim e o Mar (A Poesia, Meu Jardim e o Mar) - Washington Maguetas
Coleção privada
Técnica mista - 60x97