Dia Ensolarado no Rio Volga, Rússia (Não Obtido) - Sergey Basov

Dia Ensolarado no Rio Volga, Rússia (Não Obtido) - Sergey Basov
Rússia
Localização atual não obtida
OST - 60x100 - 2009

Caminho na Floresta (Não Obtido) - Sergey Basov

Caminho na Floresta (Não Obtido) - Sergey Basov
Coleção privada
OST - 60x100 - 2009

Piazza dell'Unità Italiana, Florença, Itália

Piazza dell'Unità Italiana, Florença, Itália
Florença - Itália
Fotografia - Cartão Postal

Piazza Verdi, Trieste, Itália

Piazza Verdi, Trieste, Itália
Trieste - Itália
Fotografia - Cartão Postal

Lagoa (Não Obtido) - Sergey Basov

Lagoa (Não Obtido) - Sergey Basov
Localização atual não obtida
OST - 2008

Paisagem com Rio (Não Obtido) - Sergey Basov

Paisagem com Rio (Não Obtido) - Sergey Basov
Localização atual não obtida
OST - 70x100

O Alegre Beberrão (The Merry Drinker) - Frans Hals

O Alegre Beberrão (The Merry Drinker) - Frans Hals
Rijksmuseum, Amsterdã, Holanda
OST - 81x66 - 1628-1630

This militiaman merrily raises his glass to toast us – who would not wish to join him? The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portrait’s sense of liveliness and animation. The man actually seems to be moving. This bravura painting style ensured the continued success of Frans Hals.

A composição acima é uma pintura de gênero. Nela, o pintor emprega tons claros e o uso de larga área fortemente colorida para efeito de contraste. Pela posição em que se encontra, tem-se a impressão de que o retratado, impregnado de vitalidade, foi congelado no tempo, com seus lábios entreabertos, como se estivesse prestes a proferir alguma palavra, com a  mão direita aberta, num gesto típico que acompanha a fala, como se fotografado tivesse sido.

The painting shows a man wearing a leather jerkin, lace collar and cuffs, and a floppy hat tipped at an angle. He is gesturing with his right hand and holding a glass of white wine in his left hand. He seems caught in a moment of discussion with the viewer. A medallion dangles from his neck chain, which Hofstede de Groot claimed was a likeness of Prince Maurice of Orange. Various experts have claimed the painting represents the sense of taste. In old Dutch inventories, the theme of a "merry drinker" or "jolly toper" occurs often, and this was probably not a portrait but meant as a genre piece.

O Cavalheiro Sorridente (The Laughing Cavalier) - Frans Hals

O Cavalheiro Sorridente (The Laughing Cavalier) - Frans Hals
The Wallace Collection, Londres, Inglaterra
OST - 83x67 - 1624




The Laughing Cavalier (1624) is a portrait by the Dutch Golden Age painter Frans Hals in the Wallace Collection in London, which has been described as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 1872–75, just after its arrival in England, after which it was regularly reproduced as a print, and became among of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.
The portrait measures 83 × 67.3 cm (32.7 × 26.5 in) and is inscribed at top right "Æ'TA SVÆ 26/A°1624", which expands to "aetatis suae 26, anno 1624" in Latin and means that the portrait was painted when the sitter was 26 and in the year 1624. The identity of the man is unknown, and though the recorded 19th-century titles in Dutch, English and French mostly suggest a military man, or at least an officer in one of the part-time militia companies that were often the subjects of group portraits, including some by Hals and later Rembrandt's Night Watch (1642), in fact he was as likely to be a wealthy civilian. Art historian Pieter Biesboer has theorised the painting possibly depicts Dutch cloth merchant Tieleman Roosterman, the subject of another of Hals' portraits.
The composition is lively and spontaneous, and despite the apparent labour involved in the gorgeous, and very expensive, silk costume, close inspection reveals long, quick brush strokes. The turning pose and low viewpoint are found in other portraits by Hals and here allow emphasis on the embroidered sleeve and lace cuff. There are many emblems in the embroidery: signifying "the pleasures and pains of love" are "bees, arrows, flaming cornucopiae, lovers' knots and tongues of fire", while an obelisk or pyramid signifies strength and Mercury's cap and caduceus fortune.
In general, commissioned portraits such as this rarely showed adults smiling until the late 18th century, though smiling is often seen in tronies and figures in genre painting. But Hals is an exception to the general rule and often showed sitters with broader smiles than here, and in informal poses that bring an impression of movement and spontaneity to his work.
The effect of the eyes appearing to follow the viewer from every angle is a result of the subject being depicted as looking directly forward, toward the artist's point of view, combined with being a static two dimensional representation of this from whichever angle the painting itself is viewed.
The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822. After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford, who outbid Baron James de Rothschild at more than six times the sales estimate. It was in Hertford's Paris home in 1871, listed as portrait d'un homme ("portrait of a man"), and then brought to London, probably for the purpose of exhibiting it in a large and long loan exhibition of old master paintings at Bethnal Green, which was deliberately sited away from the West End of London to attract the working classes. The exhibition was a huge success and A Cavalier (the catalogue title) a particular hit with both public and the critics; it played a considerable part in raising the critical estimation of Hals in England. By 1888, when it was again exhibited at the Royal Academy, it had become Laughing Cavalier, though a cleaning in the intervening period (in 1884) may have changed the effect. The critic in the Athenaeum noted a brighter appearance, but also that "The man smiles rather than laughs". Hertford's collection was bequeathed to his natural son Sir Richard Wallace Bt., whose widow donated it and his London house to the nation as the Wallace Collection.
The Laughing Cavalier is used by McEwan's beer as its logo. It has been modified showing the Laughing Cavalier enjoying the beer.
In the Scarlet Pimpernel adventure series by Emma Orczy, The Laughing Cavalier is a prequel recounting the story of the supposed subject of the painting, who is an ancestor of her main hero, the Scarlet Pimpernel, Sir Percy Blakeney.
The "eyes following you round the room" trope has long been a stand-by in British comedy, used by Pete and Dud in The Art Gallery, among many others, sometimes in the form of a portrait with cut-away eyes that can be used as a peephole.

Banquete dos Oficiais da Companhia de São Jorge em 1616, Haarlem, Holanda (The Banquet of the Officers of the St George Militia Company in 1616) - Frans Hals

Banquete dos Oficiais da Companhia de São Jorge em 1616, Haarlem, Holanda (The Banquet of the Officers of the St George Militia Company in 1616) - Frans Hals
Haarlem - Holanda
Frans Hals Museum, Haarlem, Holanda
OST - 175x324 - 1616

The Banquet of the Officers of the St George Militia Company in 1616 refers to the first of several large schutterstukken painted by Frans Hals for the St. George (or St. Joris) civic guard of Haarlem, and today is considered one of the main attractions of the Frans Hals Museum there.

Hals was in his thirties when he painted this piece, and was far from established as a portrait painter. To be safe, he based most of his design on the painting of his predecessor, Cornelis Cornelisz van Haarlem, who painted the same militia company in 1599.

Given a nearly impossible task, namely to complete his assignment but to add theatrical elements at the same time, Hals must have spent lots of time judging the politics of the group. He knew these men well as he served in the St. Joris militia himself from 1612-1615. In his painting, he indicates the political position of each man in the group as well as managing to give each a characteristic portrait. In Cornelis van Haarlem's piece the figures seem crammed into a tight space, and each face seems to have a similar expression. In Hals' group, an illusion of space and relaxed conversation is given.

Officers were selected by the council of Haarlem to serve for three years, and this group had just finished their tenure and celebrated their end of service with a portrait. The man with the orange sash heads the table and the second in command is on his right. The three ensigns stand and the servant is carrying a plate.

The men featured are from left to right Provost Johan van Napels, Colonel Hendrick van Berckenrode (wearing the orange sash), Captain Jacob Laurensz, Ensign Jacob Cornelisz Schout (holding the flag), Captain Vechter Jansz van Teffelen, Lieutenant Cornelis Jacobsz Schout, Lieutenant Hugo Mattheusz Steyn, a servant (standing in the back), Ensign Gerrit Cornelisz Vlasman, and Ensign Boudewijn van Offenberg. In the foreground seated in front of the table are Captain Nicolaes Woutersz van der Meer, and Lieutenant Pieter Adriaensz Verbeek.

Besides portraying the men and the group dynamics, this painting shows off the Haarlem damast tablecloth, brocade pillows on the chairs and the halberds hanging on the wall. It also displays Hals' talents as a painter: Portraiture, Still life, and Landscape.

The painting may have been painted on location, as Frans Hals lived in the Peuzelaarsteeg very close to the St. George militia headquarters (St. Jorisdoelen) who commissioned the painting, and managing a canvas of this size would have been a problem in Hals' studio. As an official art restorer employed by the city council, Hals had probably also already worked on paintings there. The premises had previously been the location of the women's convent call the St. Michielsklooster and after the old hall was refurbished in 1577 to house the St. Joris militia, a new hall in renaissance style was built at the north end in 1592. The paintings by Hals and Cornelis van Haarlem hung in the renaissance building at the corner of the Grote Houtstraat. Today a restaurant, the windows overlook the garden of the Proveniershuis, but in the 17th century this was an area used for target practise.

Hals' painting was a huge success, as he won several additional portrait commissions from the subjects and their relatives, as well as winning the commission to paint a group portrait of this militia again in 1627 and in 1639. In later years the painting was seen by visitors to Haarlem, as it remained hanging in its original building after it became an inn. The inn is featured on Romeyn de Hooghe's map of Haarlem in 1688, showing the gate with a statue of St. George slaying the dragon as silent witness to the building's earlier purpose.

A Festa no Jardim (The Garden Party) - Henri Victor Lesur

A Festa no Jardim (The Garden Party) - Henri Victor Lesur
Coleção privada
Óleo sobre painel - 63x80