Szép festmények, műalkotások

William Russell Flint

Born in Edinburgh on the 4th April 1880, William Russell Flint's remarkable talent was discovered at an early age. Having been a student at the Royal Institution School of Art in Edinburgh, and serving a six year apprenticeship at a large printing works, he decided to move to London to become a medical illustrator at the age of 20.
In 1903 he joined the Illustrated London News which took his talents to the far reaches of the British Empire thanks to its extensive distribution.
He served in the First World War and became Admiralty Assistant Overseer - Airships. This took him back to his native Scotland, where in 1919 he painted a tiny watercolour called' Hilda's Bonnet' on the linen of a fragment of HM Airship 24 which he had previously commanded.
Post World War I, William Russell Flint's artistic career began to flourish. He painted in France and Spain (until the Civil War), where he produced wonderful paintings reflecting the local scenery and culture.
He was elected Associate of the Royal Academy in 1924, full member in 1933 and in 1936 became President of the Royal Society of Painters in Watercolour. After living in Devon during the Second World War, he and his wife moved back to London where the post war period became Russell Flint's greatest.
His talent with both the watercolour medium and his skill in depicting the female form created a hallmark style which would later become legendary.
In 1947 William Russell Flint was knighted. In 1962 his work was acknowledged by a retrospective exhibition in the Diploma Gallery of the Royal Academy. At the time, Charles Wheeler, the President, paid tribute to the artist, describing his watercolour technique as a 'baffling skill'.
In December 1969, Sir William Russell Flint died, aged 89, leaving behind one of the finest and most sought after collections of watercolours.

Albrecht Dürer

Albrecht Dürer

German artist of the Renaissance period, Albrecht Dürer (1471–1528 ) was born in the Franconian city of Nuremberg. He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking.

Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications. Dürer revolutionized printmaking, elevating it to the level of an independent art form. He expanded its tonal and dramatic range, and provided the imagery with a new conceptual foundation. By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498 ), the Large Woodcut Passion cycle (ca. 1497–1500), and the Life of the Virgin (begun 1500).

He wrote Four Books of Human Proportion (Vier Bücher von menschlichen Proportion), only the first of which was published during his lifetime (1528 ), as well as an introductory manual of geometric theory for students (Underweysung der Messung, 1525; 125.97 D932 ), which includes the first scientific treatment of perspective by a Northern European artist.

Dürer had access to some of Europe's outstanding theologians and scholars, including Erasmus. For Nuremberg's town hall, the artist painted two panels of the Four Apostles (1526; Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek), bearing texts in Martin Luther's translation that pay tribute to the city's adoption of Lutheranism. Hundreds of surviving drawings, letters, and diary entries document Dürer's travels through Italy and the Netherlands (1520–21), attesting to his insistently scientific perspective and demanding artistic judgment.

The artist also cast a bold light on his own image through a number of striking self-portraits—drawn, painted, and printed. They reveal an increasingly successful and self-assured master, eager to assert his creative genius and inherent nobility, while still marked by a clear-eyed, often foreboding outlook. They provide us with the cumulative portrait of an extraordinary Northern European artist whose epitaph proclaimed: "Whatever was mortal in Albrecht Dürer lies beneath this mound."

William-Adolphe Bouguereau

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter. William Bouguereau was a traditionalist; in his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body.

Gedő Ilka

Gedő Ilka

Gedő Ilka (1921-1985) Hungarian painter and graphic artist.
At the age of eleven she started drawing, and continuously created works on paper registering the events of her life.
In 1945 she enrolled at the Budapest Academy of Fine Art, and as indicated by her records, she studied anatomy and perspective from Jenő Barcsay.
Ilka Gedő's paintings reveal unique, poetic and spectacular colours. They are not inspired from the 'outside', but from the 'inside' thus their coherence and authenticity derive from the relationship that these works have with their creator.

Alfred de Breanski sr

<table class="text11" border="0" cellpadding="0" cellspacing="0"><tbody><tr><td valign="top">
</td> <td valign="top">Alfred de Breanski sr

1852 - 1928

Breanski originally came from Greenwich but he specialised in painting Welsh and Scottish landscapes, in particular highland lochs at sunset. In later life he also painted a number of views of the Thames, including a picture of Windsor Castle.

He was a meticulous painter, who almost always recorded the exact location of his paintings with an inscription on the reverse of the canvas and occasionally, the day's date. From 1869 he was a frequent exhibitor at the Royal Academy London, the Royal Society of British Artists Suffolk Street and the New Watercolour Society. His work was highly acclaimed and much sought after. His paintings feature in the collections of several museums and public art galleries around the world.</td></tr></tbody></table>

Vaszary János

Vaszari János (Kaposvár, 1867. november 30. – Budapest, Tabán, 1939. április 19.)


Kékruhás kislány ----------- Hölgy svájci sapkában

Elillanó divatok, a frivol társasági élet voltak Vaszary harmincas évekre beérő "fehér korszakának" szereplői. Korniss Dezső, a hűséges tanítvány így látja mesterét élete alkonyán: "Bivalyerős figura volt, de elegáns, finom. Sokkal műveltebb, mint kollégái, de végül ő is közülük való volt, úriember." Talán éppen ez az úriemberség tette alkalmassá arra, hogy olyan divatok és ideálok festőjévé (is) váljon, amiken majd olyan gyorsan lép túl, ahogyan a nyarat fújja el az ősz első szele.

Ennek a fauvizmust eleganciává szelidítő festészetnek egyik szép példája a "Hölgy svájci sapkában" című festmény. Két szélső érték, az illékony virtuozitás és az állandóság határozzák meg a kép alaphangulatát. Bár Vaszary nem használ rajzos kontúrokat, a színes foltok és határozott irányvonalaik mégis, valamiféle láthatatlan vonalrendszer mentén vezetik a tekintetet. A festésmód a képen belül is különböző; Vaszary kezét a lány fiatalos bája érezhetően "fékezi", hiszen különös figyelmet szentel a szemek, az orr, a száj, illetve az arc és a kéz találkozásának, mint a kifejezés hordozóinak. Ebben a koncentrált figyelem és puha, kamaszlányos merengés egyaránt megfér egymással. Az arcot Vaszary már csak hirtelen, szinte egy mozdulattal meghúzott anyagszerű foltokkal érzékelteti. A kompozícióból úgy bontja ki a lány alakját, ahogyan a virágcsendéletein szokta szirmaira szedni virágait. Nő és virág (vagy ahogyan a festő maga mondta: "A szép nő legveszélyesebb riválisa a virág."), e késői festészet sarkalatos pontjai, amelyeken keresztül a kései Vaszary vitalitása teljes erejében nyilvánulhatott meg.

Aknai Katalin

Bouguereau

William Adolphe Bouguereau (dzseff nyomán bandukolva)

Temptation

Alexander Max Koester

Alexander Max Koester (* 10. Februar 1864 in Neustadt (today Bergneustadt); † 21. Dezember 1932 in München)
The representation of ducks is synonymous with the German painter Alexander Koester. For most of his working life he drew inspiration from the feathered creatures mirrored in the glistening surface of the water.

Mary Cassatt

Mary Cassatt (1844 -1926)
American painter and printmaker who exhibited with the Impressionists.

Sarah in a green bonnet

Berény Róbert: Piros ruhás nő zöld szobában (Reggeli), 1920-as évek vége

"A művésznő szépen hajló, karcsú oválisokból fakadt alakján csupa gyöngéd simogatás fut végig" - írta Kállai Ernő Berény Róbert Csellózó nőjéről.
Berény második feleségét éppen reggeli közben láthatjuk. Igéző szempillák, átszellemült arc, a mester legszebb modellje teázik és újságot olvas...........sch mentén bandukolva............

Berény Róbert: Macska és csendélet

1930-ban a KÚT kiállításán szerepelt Macska és csendélet című műve, újabb törekvéseinek egyik legfrissebb variációja. A téri problémák bemutatását itt is az erős felülnézet könnyíti meg, olyannyira, hogy nem marad egyetlen alárendelt részlet sem, minden motívum egyenrangú társként jelentkezik a képmező sík felületén.

Andreas Schelfhout

Andreas Schelfhout (February 16, 1787, The Hague – April 19, 1870, The Hague) was a Dutch painter, etcher and lithographer, known for his landscape paintings.
He belongs to the Romantic movement. His Dutch winter scenes and frozen canals with skaters were already famous during his lifetime. He became one of the most influential Dutch landscape artists of his century.

Andrew Wyeth

Andrew Newell Wyeth (1917–2009)
American realist painter.

Julien Dupré

John Constable

John Constable (1776-1837)

Ranked as one of the greatest British landscape artists.

Rippl Rónai József: Lajos és Ödön, testvéreim

Rippl Rónai József: Lazarin és Anella

Rippl Rónai József: Szinyei Merse Pál




Rippl-Rónai József, a stílusújító modern festészet magyarországi meghonosítója. Münchenben, majd Párizsban tanult, a magyar posztimpresszionizmus legnagyobb alakja.
Miután "hazaérkezett" szülővárosába Kaposvárra 1908-ban megvásárolta a Róma-villát, mely haláláig lakhelyéül szolgált. A parkkal övezett, hatszobás emeletes villa színpompás, dekoratív képek, a kukoricás-stílus létrejöttének színtere volt.
A szobák a művész saját bútoraival berendezve, és több mint kilencven műalkotással, hűen tükrözik az eredeti állapotokat. Az otthoni környezet és a családi atmoszféra Rippl-Rónai művészetének állandó témául szolgált. A művészi kifejezés érdekében merész formai, stílusbeli újításokra is vállalkozott. A múzeum gazdag betekintést nyújt a művész minden festői korszakába.

Rippl Rónai József: Zorka piros fotelban

Czóbel Béla: Virágcsendélet