Panorama da Urca, Rio de Janeiro, Brasil

Panorama da Urca, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
Foto Postal Colombo N. 92
Fotografia - Cartão Postal

Avenida Afonso Pena, 1942, Belo Horizonte, Minas Gerais, Brasil

Avenida Afonso Pena, 1942, Belo Horizonte, Minas Gerais, Brasil
Belo Horizonte - MG
N. 17
Fotografia - Cartão Postal

Abrigo da Praça XV de Novembro, Porto Alegre, Rio Grande do Sul, Brasil

Abrigo da Praça XV de Novembro, Porto Alegre, Rio Grande do Sul, Brasil
Porto Alegre - RS
Fotografia - Cartão Postal

Parque e Fonte, Poços de Caldas, Minas Gerais, Brasil

Parque e Fonte, Poços de Caldas, Minas Gerais, Brasil
Poços de Caldas - MG
Fotografia - Cartão Postal

Filosofia de Internet - Humor

Filosofia de Internet - Humor
Humor

Entrada da Ponte de Manhattan, Nova York, Estados Unidos (Manhattan Bridge Entrance) - Edward Hopper

Entrada da Ponte de Manhattan, Nova York, Estados Unidos (Manhattan Bridge Entrance) - Edward Hopper
Nova York - Estados Unidos
Coleção privada
Aquarela - 35x50 - 1926

Natureza Morta com Tulipas (Nature Morte aux Tulipes) - Angelina Drumaux

Natureza Morta com Tulipas (Nature Morte aux Tulipes) - Angelina Drumaux
Coleção privada
OST - 65x95

Angelina Marie-Eugénie Drumaux (Bouillon, January 23, 1881 - Florenville, 1959) was a Belgian still life painter. She was the daughter of Arthur Drumaux, poet, and teacher of the College of Bouillon.

Drumaux was a student of Adrien De Witte at the Academy of Liège. She painted still lifes of flowers, gardens, seascapes and landscapes in an impressionist style that evolved to Luminism. She made much use of backlighting effects. Many of her landscapes are situated in the Ardennes or southern France.

In 1902 she had her first solo exhibition in the "Cercle Royal des Beaux-Arts" in Liège.
1906 exhibition at the Walker Art Gallery in Liverpool.
1913: exhibition in Brussels with two canvases "Chrisanten Bouquet" and "Souvenir".
From 1908 she took part in the Paris Salons of the "Société des Artistes Français": in 1923 with “Chrysanten”, “Rode rozen”, “Bloementuil in de open lucht” and “Rozen en anjers”; in 1926 with “Veldbloemen”.

In 1913 she received the "Triennial Painting Prize". In 1949 she was awarded the Order of Leopold.

Avenida Central, Rio de Janeiro, Brasil

Avenida Central, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
N. 258 - 1º Versão
Fotografia - Cartão Postal

Nota do blog: Data e autoria não obtidas.

Ponte Mauá, Petrópolis, Rio de Janeiro, Brasil

Ponte Mauá, Petrópolis, Rio de Janeiro, Brasil
Petrópolis - RJ
Fotografia - Cartão Postal

Quartos à Beira-Mar (Rooms by the Sea) - Edward Hopper

Quartos à Beira-Mar (Rooms by the Sea) - Edward Hopper
Yale University Art Gallery New Haven Estados Unidos
OST - 74x101 - 1951

As a mature artist, Edward Hopper spent most of his summers on Cape Cod, Massachusetts. There, he designed and built a sunny, secluded studio at Truro, on a bluff overlooking the water. The view in Rooms by the Sea resembles what Hopper would have seen out the back door of his studio. But the description that he gave this painting in his notebook—”The Jumping Off Place”—suggests that the image is more a metaphor of solitude and introspection than a depiction of the actual place. Like Hopper’s most arresting images, this scene seems to be realistic, abstract, and surrealistic all at once.
The American artist Edward Hopper, born 1882, sold his first painting in 1913 for $250 but not one painting sold in his first solo exhibition in 1920 when he was 37. He had earned his living as a commercial illustrator but by 1924 a solo show sold out and in 1931 the Metropolitan Museum of Art bought a work for $4,500. He was on his way and he lived to enjoy being lauded. Last year a Hopper was sold at Christie's, New York, for $9.6m.

Hopper is best known for his dark, bleak paintings of one-night cheap hotels, or diners, waiting rooms, usually inhabited by loners, the alienated – his Nighthawks [1942] is one of the 20 Century's best known images – but Hopper's work is also drenched in sunshine: he's painted offices, cafeterias, bedrooms, lighthouses in Maine, where the sun streams in.

Here in this 1951 painting, Rooms by the Sea, Hopper fills his canvas with summer. Even the emptiness is beautiful.

Believing that 'If you could say it in words, there'd be no reason to paint', Hopper here paints shimmering air and a glorious light – things that are difficult if not impossible to capture in language.

There are two rooms: one, carpeted in soft green, is conventional and elegant with sofa, painting, chest of drawers but that only gets a look in. Cover the narrow strip on the left-hand side and the painting is transformed into something almost abstract.

The dove-grey wall and the golden floor are dramatically highlighted in angled brightness, turning surfaces into whiter shades of pale and lemon.

It's a room that opens outwards through a crisp, clearly outlined doorframe. That open, inviting door leads improbably, miraculously, to the beautiful blue calm sea. You just feel you want to step outside, you simply feel that you could walk on water.