Art that you like

[North Star]

Time to bump this thread!

William Degouve de Nuncques was a Belgian painter of French birth. After the Franco-Prussian war (1870–71), his parents settled in Belgium. Although self-taught, he was advised by Jan Toorop, with whom he shared a studio, and later lived with Henry de Groux. In 1894 he married Juliette Massin, a painter and Emile Verhaeren's sister-in-law, who introduced him to the circle of Symbolist poets. His art, which bears the influence of poetry, transfigures reality in the sense that it affords a view

   
     

     

[North Star]

Some Canadian art

Franklin Carmichael - Autumn Hillside (1920),    Autumn in Orillia (1924)     & Mirror Lake (1929)

     

Lawren Harris - Pine Tree and Red House, Winter City, 1924




J.E.H. MacDonald - Study for October Shower Gleam & October Shower Gleam (1922)



September Snow on Mount Schaffer (1929)    Snowfields, Evening (xxxx)       The Solemn Land (1921)
        


Tom Thomson - After the Sleet Storm (1915)

[North Star]

Degouve de Nuncques - The Black Swan, 1896

[Todd]

Nathan Vincent's Let's Play War!  (The full spread at Bellevue Arts Museum is better yet, with its effective, dim lighting.)

[Todd]

Looks like the little army toys I used to fiddle around with as a tiny kid

Nothing escapes your eagle eye. 

[bhodges]

Nathan Vincent's Let's Play War!  (The full spread at Bellevue Arts Museum is better yet, with its effective, dim lighting.)

This looks like a great piece. I had never heard of Vincent, and glad he's given a solo outing. And I would never have guessed that these figures are made from fiber, which adds an odd dimension. From the museum's website:

"The New York-based artist, whose work was featured in BAM's 2011 group show The Mysterious Content of Softness, continues to explore the power of fiber to challenge ideas about the codes of conduct still at work within the American domestic landscape. Taking inspiration from the packs of cheap, plastic army men Vincent played with as a child, the artist asked what it would look like if the toys of our youth were to grow up with us. Vincent alters the scale and material presence of these ubiquitous toys by creating half life-size figures and knitting and crocheting yarn 'skins' to dress two battling armies."

--Bruce

[Ken B]

Looks like the little army toys I used to fiddle around with as a tiny kid .. now it's Art?

You are missing the point. The futility of war. Such an edgy subject, no-one has ever taken that tack before. You really have to admire the artist for his moral courage. And the audience. Especially the audience.

Clear now James?

[Ken B]

Nathan Vincent's Let's Play War!  (The full spread at Bellevue Arts Museum is better yet, with its effective, dim lighting.)

http://www.telegraph.co.uk/art/what-to-see/sylvanian-families-isis-banned-freedom-expression/

[Henk]

Jackson Pollock - The Deep

[Henk]

A painting by Dutch artist Jan Sluijters (1881-1957)

[Karl Henning]

You are missing the point. The futility of war. Such an edgy subject, no-one has ever taken that tack before. You really have to admire the artist for his moral courage. And the audience. Especially the audience.

Clear now James?

I do feel sorry for James; hardly anybody pays any heed to his indiscriminate scorn anymore.

[Henk]

Two more by Sluijters

 

[Henk]

More Sluijters

   

[Henk]

Sluijters most famous painting:



Jan Sluijters: Bar Tabarin (1906); Stedelijk Museum, Amsterdam.

"Today, Jan Sluijters (1881-1957) is considered to be one of the pioneering figures in the development of Modernism in the Netherlands. Throughout his life, he experimented with numerous styles. Ironically, his modern career took off when he was awarded the Prix de Rome based on a traditional biblical scene. Understandably, the jury members were very disgruntled to find out that he used the money to travel to France where he changed his style radically. It was in the City of Light that the relatively new phenomenon of electric lights (rather than gas lamps) around the turn of the century inspired Sluijters to develop works in an ultra-modern style, Dutch Luminism. The big city nightlife and French Fauvism were the main influences on this style, which is characterized by splashes of color, as we can see in this exuberant work, Bal Tabarin (1906).
Bal Tabarin in Paris' Montmartre was the place to be for the young and hip. The nightclub featured costumed balls and can-can dancing by showgirls, which was all the more dazzling due to the fact that people were unaccustomed to the color effects of electric lights. The mesmerizing, almost psychedelic atmosphere as caught by Sluijters abhorred the Prix de Rome committee: in their eyes, this painting of the Bal Tabarin expressed a loathing of beauty and mockery of technique. As a result, they decided to end his yearly allowance.
His unorthodox work was also sharply criticized by the Dutch press. Nonetheless, a number of Dutch painters welcomed this new current. Upon his return to the Netherlands, Sluijters applied the bright colors of the Parisian nightlife to his representation of landscapes. The same tendency can be seen in nature scenes by other Luminists, like Leo Gestel and Piet Mondriaan.

I'm hoping that this festive painting by Jan Sluijters will put you in the right mood for tonight's celebrations. From all of us at The World According to Art: HAPPY NEW YEAR!
(Text: Pauline Dorhout)"
(http://rijksmuseumamsterdam.blogspot.nl/)

[North Star]

Eero Järnefelt's landscapes from Koli

   

   

[Karl Henning]

The second reminds me of Cadillac Mountain in Maine!

[North Star]

The second reminds me of Cadillac Mountain in Maine!

One mountain can certainly be very much like another.

[Ken B]

They look rather Group of Seven-y. (This is praise.)

[North Star]

They look rather Group of Seven-y. (This is praise.)

Of course it would be praise from you.

Järnefeldt (1863-1937) worked already well before G7, or Tom Thomson, of course. Here's his Autumn Scene from Lake Pielinen, from 1899 - again, from Koli.

[North Star]

Alexei Jawlensky: Still-life with Hyacinths and Oranges, 1902