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Rose Van Lear

@rosevanlear.bsky.social
363 followers 53 following 2.1K posts

A beauty to behold like a diamond in the coal Interests include music, HGTV, and art. Always looking for kindred spirits.

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Rose Van Lear @rosevanlear.bsky.social · 18h
She had an inside and an outside now, and suddenly she knew how not to mix them, 2018 Amy Sherald Oil on canvas #ArtSky
• The Subject: A stoic Black woman dressed as a suburban matriarch, wearing a vibrant blue shirt, patterned trousers, and a thick pearl or stone choker necklace.

• The Title: The phrase is taken from Zora Neale Hurston’s 1937 novel Their Eyes Were Watching God.

• The Meaning: The artwork explores the tension and boundary between a person's private, intimate inner emotional life and the public persona they project to handle societal expectations and external preconceptions.

• The Style: Sherald uses grayscale for the figure's skin to strip away racial categorization and draw focus to the subject's interiority and universal humanity.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 19h
Together, 1990 Herbert Gentry Acrylic on canvas #ArtSky
As the son of a Ziegfeld dancer, owner of a Parisian jazz club, husband of a jazz singer, and a lifelong music enthusiast, Herbert Gentry's artwork is significantly influenced by jazz music. Together demonstrates how his loose approach, painting from his subconscious, activated his canvases through rhythmic brushstrokes that suggest movement. Bright, limited color palettes charge his works with vibrant energy.

Raised in New York City in the height of the Harlem Renaissance, Gentry first arrived in Paris as a soldier during WWIl and ultimately settled there. While in Paris, Gentry and his wife, Honey Johnson, established a cabaret named Chez Honey. A salon and gallery by day and a vibrant jazz club at night, Chez Honey became a regular meeting place for many artists and intellectuals-including Duke Ellington, Lena Horne, Orson Welles, Eartha Kitt, and Richard Wright. The club closed in 1951, but jazz remained a central presence in Gentry's life.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 19h
Moon in a Bottle, 1955 Max Ernst Oil paint on canvas #ArtSky
After an eight-year exile in the U.S., where he and Dorothea Tanning settled in Arizona, Ernst traveled to Europe in 1949. In Paris, Ernst rediscovered his surrealist companions from the turbulent inter-war years. He continued to experiment with painterly techniques, as can be seen in the scraped and detailed surface of this painting. Moon in a Bottle was completed the year after Ernst won the painting prize at the 1954 Venice Biennale, which confirmed his status as one of the leading figures of contemporary art.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 19h
Youth, 1882 Helene Schjerfbeck Oil on canvas #ArtSky
Painting the nude was central to an artist's training at the Académie Colarossi. Schjerfbeck often made sensual studies of male models. In soft brushwork and sensitive modeling bathed in diffuse light, the artist deitly works up her subject, concentrating on his physique rather than his impenetrable gaze. This study is a striking example of Schjerfbeck's precocious artistic talent.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 29/09/2026
The Girl Next Door, 2019 Amy Sherald Oil on canvas #ArtSky
• The Subject: The painting features a Black woman—identified as Ileah Welch, a child advocacy lawyer—who was selected from an open casting call held by Sherald in Baltimore.

• The Attire: She wears a vintage-style polka-dot dress accented with a red belt, a garment sourced by Sherald from a second-hand shop to blur the lines between past and present.

• Grayscale Skin Tones: True to Sherald’s signature style, the subject's skin is rendered in grayscale monochrome, a technique meant to encourage viewers to perceive the subject’s humanity and interior life before her race.

• Direct Gaze: The woman gazes forward stoically and directly at the viewer, subverting traditional power dynamics in portraiture where Black subjects are passively looked upon.

• Dreamlike Space: Set against a solid, unadorned background color, the single figure exists in a suspended, timeless space free of conventional narrative burdens.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 29/09/2026
Portrait of a Man ("Léal Souvenir'), 1432 Jan van Eyck Oil on oak panel #ArtSky
This unusually narrow portrait of a man holding a scroll is an enigma.

The dimple near his chin, strain marks on his forehead and catchlights in his eyes make his presence feel astonishingly real.

The crumbling stone parapet bears several inscriptions, but besides van Eyck's signature and the date 1432, they are difficult to interpret.  The words 'LEAL SOUVENIR" (French for Loyal Remembrance) suggest that the portrait may have been painted - or completed - after the sitter's death.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 29/09/2026
Jazz Series - Quintet, 1983 Paul Keene Charcoal on paper #ArtSky
In Paule Keene's Jazz Series, musicians are brought to life within the shadowy haze of charcoal lines. Keene believed that to succeed as a fine artist, " ...the work must sing out, and the viewer must hear it." A lifelong jazz enthusiast who frequented clubs, he felt jazz music was a rhythmic and unique language. He deeply admired Miles Davis and said Davis could "create a picture in your mind with his music."

#art #charcoal
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Rose Van Lear @rosevanlear.bsky.social · 29/09/2026
The Stranded Ship, 1844 Asher Brown Durand Oil on canvas #ArtSky
The Stranded Ship, 1844
Asher Brown Durand
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 29/09/2026
Pumpkins, 1959 Grandma Moses Oil on high-density fiberboard #ArtSky
Pumpkins, 1959
Grandma Moses
Oil on high-density fiberboard
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 28/09/2026
Saint Woman, 2015 Amy Sherald Oil on canvas #ArtSky
• Visual Style: Features Sherald’s signature grisaille technique (rendering the subject's skin in grayscale) to challenge traditional perceptions of race and identity, paired with a vibrant background.

• Composition: Depicts a life-size or slightly larger-than-life Black female figure facing forward with her head turned in profile, evoking an archetype of a saint set against a bright, halo-like yellow backdrop.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 28/09/2026
Portrait of a Man (Self Portrait?), 1433 Jan Van Eyck Oil on oak panel #ArtSky
This may be the earliest self portrait in the history of European painting.
Jan van Eyck signed and dated it on the lower edge of the original frame, while proudly inscribing his motto, "As I can”, along the top.
Whoever the sitter is, he looks out intently at us, his acute gaze framed by fine wrinkles. His stubble seems to grow before our very eyes. His flamboyantly draped red headpiece steals the show.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 28/09/2026
A Present for the Past, 1942 Gordon Onslow-Ford Oil paint on canvas #ArtSky
After arriving in New York from Europe in 1941, Onslow-Ford lectured on surrealism at the New School for Social Research. His interest in Carl Jung's psychoanalytic theories struck a chord with such artists as Arshile Gorky and Jackson Pollock. Soon after, Onslow-Ford moved to Mexico. Immersing himself in the landscape, he developed the laborious technique seen in this painting. His later identification of a "Dark Queen" and "Knight" in it may relate to André Breton's proposition of the existence of beings beyond the realm of human senses, the Great Invisibles.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 28/09/2026
A View Near Devon, 1825 Frederick W. Watts Oil on canvas #ArtSky
Like his better-known contemporary, John Constable, Frederick W. Watts sought to capture the transitory effects of nature and celebrate the beauty of the English countryside. As he leads the viewer's eye through A View Near Devon, he constructs a harmonious relationship between humans and nature. A family rests on a log in the foreground, trees shade a cozy farmhouse, and, in the far distance, the spire of the village church points to nature's Creator. The small scale of the figures relative to the towering trees and the expansive plains conveys a sense of the majestic beauty of the natural surroundings. The painting is also tinged with an air of nostalgia; it may have been finished with a yellow varnish to create a golden glow like that sometimes seen in Old Master paintings.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 28/09/2026
Jar Dan, 2023 James Michalopoulos Oil on wood #ArtSky
This painting depicts a Creole townhouse in the French Quarter. Typically constructed of brick and stucco, Creole townhouses grew in popularity after devastating fires in the late 1700s destroyed most of the city's wooden structures.
Usually two or three stories tall, they were often built in rows with little or no setback from the street.
The ground floor typically featured a series of arched openings and occasionally a carriageway leading to an inner courtyard. The upper floors, as shown here, were often distinguished by ornate wrought- or cast-iron railings.

#art #painting #NOLA
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Rose Van Lear @rosevanlear.bsky.social · 27/09/2026
Mama Has Made the Bread (How Things Are Measured), 2018 Amy Sherald Oil on canvas #ArtSky
• The Subject: The piece portrays a Black woman rendered in Sherald's signature grayscale skin tones, emphasizing her interiority, poise, and everyday dignity.
• The Title: The title references poet Lucille Clifton’s work "Good Times," which reflects on moments of relief, paid bills, and small triumphs amid the strains of household economics

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 27/09/2026
View through Elliot's Shack Looking South, 1971 Lois Dodd Oil on canvas #ArtSky
View through Elliot's Shack Looking South, 1971
Lois Dodd
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 27/09/2026
Louis II of Bourbon and his eldest son, between 1662 and 1666 Attributed to Justus van Egmont, formerly attributed to Claude Lefebvre Oil on canvas #ArtSky
Fourth Prince of Condé, known as the Great Condé (1621-1686) and his eldest son Henri-Jules de Bourbon, Duke of Enghien (future fifth Prince of Condé) (1643-1709)

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 27/09/2026
Wisteria Table Lamp, ca. 1901 Designed by Clara Driscoll Stained Glass #ArtSky
Wisteria abounded in Tiffany's leaded glass windows and on the grounds of his country estate, Laurelton Hall. Whether the woody creeping vine artfully festooned window transoms or living examples were encouraged to drape over purpose-built canopies, their pendulous stalks of flowers eased the margins between indoors and out. Although the vine was a Tiffany favorite, Clara Driscoll's correspondence identifies her as the designer of the iconic Wisteria lamp, composed of nearly 2,000 tiny pieces of glass.

#art #StainedGlass #TiffanyGlass
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Rose Van Lear @rosevanlear.bsky.social · 27/09/2026
The Arnolfini Portrait, 1434 Jan van Eyck Oil on wood #ArtSky
This must be one of the most famous and intriguing paintings in the world. A richly dressed man and woman stand in a private room. They are probably Giovanni di Nicolao di Arnolfini, an Italian merchant working in Bruges, and his wife.

Although the room is totally plausible – as if Jan van Eyck had simply removed a wall – close examination reveals inconsistencies: there’s not enough space for the chandelier, and no sign of a fireplace. Moreover, every object has been carefully chosen to proclaim the couple’s wealth and social status without risking criticism for aping the aristocracy.

The man’s hand is raised, apparently in greeting. On the back wall, a large convex mirror reflects two men coming into the room, one of whom also raises his arm. Immediately above it is Van Eyck’s signature. Could the man in mirror be van Eyck himself, with his servant, coming on a visit?

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 26/09/2026
At the Piano, about 1890 Cecilia Beaux Oil on canvas #ArtSky
Beaux employed bold, quick brushwork to render this portrait of an unidentified sitter. The flattened sense of depth and use of negative space show the influence of the Japanese woodblock prints Beaux saw while studying in Paris. In August 1896, the painting was reproduced alongside a short story published in the popular magazine Scribner's. At the height of Beaux's career, her portraits were as praised as those done by her peers Mary Cassatt and John Singer Sargent.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 26/09/2026
Eine Kleine Nachtmusik, 1943 Dorothea Tanning Oil paint on canvas #ArtSky
The mysterious inaction of the two girls in Tanning's painting (the one in the doorway identifiable as a doll) is heightened by unseen forces: the giant sunflower, it doorway, and wind up the stairwell. When it was first exhibited in 1946, the surrealist Robert Melville commented that "turmoils of unassuaged desire have given rise to the inexplicable activities of the poltergeist." Tanning herself said it depicts the "confrontation between the forces of grown-up logic and the bottomless psyche of a child."

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 26/09/2026
Breakfast in the Loggia, 1910 John Singer Sargent Oil on canvas #ArtSky
Rounded arches and columns define a spacious arcade where two women enjoy a leisurely meal. John Singer Sargent's cheery depiction of breakfast at a Florentine villa appealed to collector Charles Lang Freer (1854-1919), who traveled across Italy seeking design inspiration for the building that would eventually house his collection. Architect Charles Adam Platt (1861-
1933) designed these galleries based on the Renaissance architecture he and Freer admired, creating light-filled spaces surrounding a central courtyard.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 25/09/2026
Portrait of a Man of African Descent, ca. 1600 Unknown Artist Oil on canvas #ArtSky
An important recent acquisition for the Brooklyn Museum's European art collection, this intriguing painting fosters a more expansive and nuanced view of history. The portrait is of an individual whose identity-along with the artist's—is still unknown. Although people of African descent lived, worked, and traveled throughout Europe, images like this one are uncommon in European art made before the eighteenth century. This figure might be a model posed in theatrical or courtly dress, or perhaps this is a study for a member of an ambassadorial retinue.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 25/09/2026
1980, 2020 OSGEMEOS Mixed media with sequins on MDF #ArtSky
1980, 2020
OSGEMEOS 
Mixed media with sequins on MDF
#art
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Rose Van Lear @rosevanlear.bsky.social · 25/09/2026
Madame Georges Charpentier (Marguerite-Louise Lemonnier) and Her Children, 1878 Auguste Renoir Oil on canvas #ArtSky
Auguste Renoir exhibited this portrait of Marguerite-Louise Lemonnier (1848-1904), wife of publisher Georges Charpentier, and their children, Georgette-Berthe and Paul-Emile-Charles, first at the Impressionist Exhibition of 1877 and then at the Salon of 1879. The renegade painter's return to the Salon signified the increasingly blurred boundaries between tradition and experimentation at the establishment venue. The success of this work guaranteed Renoir a steady stream of portrait commissions from patrons with avant-garde tastes. Seated in the fashionable interior where she often hosted notable artists and writers, Madame Charpentier embodies a version of modern Parisian womanhood that is cosmopolitan, yet domestic. Sargent would likely have seen this portrait at the Salon, as he exhibited two paintings there that same year.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 25/09/2026
Remembering Dolly today and every day 🦋 🩷 🦋
The late great Dolly Parton
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Rose Van Lear @rosevanlear.bsky.social · 24/09/2026
The Blue Girl, 1873-1876 James McNeill Whistler Pastel on brown paper #ArtSky
The Blue Girl, 1873-1876
James McNeill Whistler
Pastel on brown paper
#art #pastel
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Rose Van Lear @rosevanlear.bsky.social · 24/09/2026
A Virgin, 1892–1893 Abbott Handerson Thayer Oil on canvas #ArtSky
Art historical allusions abound in this monumental painting, which originally hung in the stair hall of Charles Lang Freer's residence in Detroit. Its composition recalls Italian Renaissance altarpieces of the Virgin Mary.
The striding central figure, with clouds billowing behind her like wings, was modeled on the Nike of Samothrace, known as the Winged Victory, a famous Hellenistic sculpture in the Musée du Louvre in Paris.

Thayer also looked closer to home for inspiration. The models were his three children: sixteen-year-old Mary with her brother Gerald and sister Gladys. Freer eventually acquired five paintings of the Thayer children, including two with Gladys appearing as an angel. The artist regarded these paintings of idealized female figures as among his most important works.

In the years following his wife's death in 1891, Thayer declared his children to be his "passion of passions." He confessed to Freer, "I paint, during this period of my life, almost nothing but my children, yet must sell [the works]." Freer paid the artist ten thousand dollars for A Virgin, the most he ever spent on a single painting.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 24/09/2026
La Grenouillère, 1869 Claude Monet Oil on canvas #ArtSky
During the summer of 1869, Monet and Renoir set up their easels at La Grenouillère, a boating and bathing resort on the Seine River, not far from Paris. Monet noted on September 25, I do have a dream, a painting, the baths of La Grenouillère, for which I have made some bad sketches, but it is only a dream. Renoir, who has just spent two months here, also wants to do this painting." Among their various depictions of the subject, this composition closely resembles one by Renoir in the National Museum, Stockholm.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 23/09/2026
Wheat Field with Cypresses, 1889 Vincent Van Gogh Oil on canvas #ArtSky
Cypresses gained ground in Van Gogh's work by late June 1889 when he resolved to devote one of his first series in Saint-Rémy to the towering trees. Distinctive for their rich impasto, his exuberant on-the-spot studies include the Met's close-up vertical view of cypresses and this majestic horizontal composition, which he illustrated in reed-pen drawings sent to his brother on July 2. Van Gogh regarded the present work as one of his "best" summer landscapes and was prompted
that September to make two studio renditions: one on the same scale (National Gallery, London) and the other a smaller replica, intended as a gift for his mother and sister (private collection).

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 23/09/2026
Portrait of Louis de Bourbon, Prince of Condé (1621-1686), 1650 Justus van Egmont Oil on canvas #ArtSky
Portrait of Louis de Bourbon, Prince of Condé (1621-1686), 1650
Justus van Egmont
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 23/09/2026
Fête Juive (Sukkot, Feast of Tabernacles), 1883 Helene Schjerfbeck Oil on canvas #ArtSky
Schjerfbeck returned to Helsinki from Paris in summer 1882 to paint her most ambitiously scaled canvas to date with the intention of submitting it to the Paris Salon. The subject of this work may have been drawn from the artist's childhood memories of the Jewish community in Helsinki. A father and daughter rest in a sukkah, a temporary shelter constructed for the autumn harvest festival of Sukkot. Schjerfbeck often walked past the Jewish cemetery in Helsinki with her mother and was aware, later in life, of the increasing persecution of Jews in Russian-led pogroms across Eastern Europe. The painting was admitted to the Salon in 1883, when the artist was twenty-one, and was the first of several of her pictures to be accepted.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 22/09/2026
The Love Potion, 1951 René Magritte Oil on canvas #ArtSky
In the 1950s, René Magritte began creating a series of what he called "stone age pictures," in which he calcified evocative words and objects into stone. So doing, he sought to transform everyday items and expressions into parables for the human experience. Here, he calcifies a simple men's jacket to give it both the grandeur of a mountain range and the frozen immobility of rock.

Although the painting is called The Love Potion, it is nearly impossible to imagine this jacket playing any part in a steamy affair. Hinting at the impermanence and fragility-but also magic— of love, the painting is a crumbling monument to some long-distant, longed-for romance, a painting of a stone cold embrace. As Magritte once wrote, "I hope for vibrant love, the impossible, the chimerical. I dread knowing precisely my own limitations."

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 22/09/2026
Untitled, no date Eddy Mumma Acrylic on board #ArtSky
Untitled, no date
Eddy Mumma
Acrylic on board
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 22/09/2026
Portrait of Elisabeth Charlotte of the Palatinate (1652-1722), Duchess of Orléans, ca. 1713 Hyacinthe Rigaud Oil on canvas #ArtSky
The Duchess wears the black vap and veil of a widow (her husband died in 1701).

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 22/09/2026
White Birches, 1961 Grandma Moses Oil on high-density fiberboard #ArtSky
White Birches, 1961
Grandma Moses
Oil on high-density fiberboard
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 21/09/2026
The Sketcher, 1858 Daniel Huntington Oil on canvas #ArtSky
From its earliest days, the Brooklyn Museum focused on collecting contemporary American art, distinguishing it from other museums. The Brooklyn Institute began acquiring art for a permanent gallery in 1846, with American paintings forming the core of that collection. In 1855 leading nineteenth-century American figure painter Daniel Huntington was one of two artists selected for the Institute's inaugural commission. Huntington may have chosen the subject of this painting because the figure personifies the art of drawing and the spirit of artistic creativity.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 21/09/2026
Woman in White, 1923 Pablo Picasso Oil, water-based paint, and crayon on canvas #ArtSky
In 1947, after decades of debate on how to ensure the Museum's collection would remain contemporary, MoMA entered into an agreement with the Metropolitan Museum of Art. The older institution would purchase works of art from MoMA's collection made between the late nineteenth-century and the 1920s, which would enable MoMA to acquire more recent ones. Woman in White was purchased by the Met in 1951. By 1952 MoMA terminated the arrangement because the Museum had come to believe it "essential for the understanding and enjoyment of its entire collection to have permanently on public view masterpieces of the modern movement, beginning with the latter half of the nineteenth century."

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 21/09/2026
Perch Perfect, 2021 James Michalopoulos Oil on canvas #ArtSky
The stoop is the perch. The place where New Orleans meets the world. Where we share the air backed by the safety of our lair. Not in, but not completely out. The perfect station for contemplation.
-James Michalopoulos

#art #painting #NOLA
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
The Grand Dauphin - Louis de France, 1697 Hyacinthe Rigaud Oil on canvas #ArtSky
This portrait from 1697 by Hyacinthe Rigaud shows Louis de France, the Grand Dauphin of France in armor.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
Riverboat, 1934 Malvin Gray Johnson Oil on canvas #ArtSky
Riverboat, 1934
Malvin Gray Johnson
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
Was that you sitting across from me?, 1978-2024 Loren Bloom Wax, wire, plaster, wood, rope, paper, cloth, paint, metal, plastic, cane, lighting #ArtSky
This mixed-media sculpture features a group of four adults and one child on perpendicular benches in a car of the now-retired ri-9 trains, which used to run on the lettered New York City subway lines.
Wicker transverse benches, advertisements, and a subway map date the work to the 197os. The interrogative title invites the viewer into the vignette and speaks to the interconnections forged in the subway.
As the artist reflects, "The subway... [is] a place where there are no walls between people. You...push your way in and everybody is there... united. You...hold on together, and it's a togetherness and a dance."

#art #sculpture
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
St Catherine of Siena and St Dominic Basilica of the National Shrine of the Immaculate Conception Stained glass #ArtSky
St Catherine of Siena and St Dominic
Basilica of the National Shrine of the Immaculate Conception
Stained glass
#art #stainedglass
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
The Gulf of Marseilles Seen from L'Estaque, ca. 1885 Paul Cézanne Oil on canvas #ArtSky
Cézanne enthused about the fishing village of L'Estaque to Pissarro in 1876: "It is like a playing card. Red roofs over the blue sea.... The sun is so terrific here that it seems to me as if the objects were silhouetted not only in black and white, but in blue, red, brown, and violet." Cézanne painted some twenty views of L'Estaque over the next decade, a dozen of them facing toward or across the gulf of Marseilles. In the distance of this painting, atop the hill to the right of the jetty, the towers of Notre-Dame-de-la-Garde stand watch over the city of Marseilles.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 20/09/2026
Ramón Subercaseaux in a Gondola, 1880 John Singer Sargent Oil on canvas mounted on board #ArtSky
Sargent met Chilean diplomat and aspiring artist Ramón Subercaseaux (1854-1937) in 1880 when he was commissioned to paint a portrait of Subercaseaux's wife, Amalia (shown in the next gallery). Amalia recalled that Sargent became "a real friend" and "was a man of very pleasant manners." Their friendship was long-lasting-the two artists even shared a studio in Venice for a short time in the early 1880s. In this candid and experimental sketch, Sargent recorded his friend at work in a gondola on a canal. According to Subercaseaux's son, at the same moment, Ramón was painting a watercolor portrait of Sargent (location unknown). Sargent contrasted the hazy, filtered glow of light inside the gondola with the sparkling water of the canal outside.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 18/09/2026
Seven A.M., 1948 Edward Hopper Oil on canvas #ArtSky
Seven A.M., 1948
Edward Hopper
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 18/09/2026
Louis de France, Duke of Burgundy, 1704 Hyacinthe Rigaud Oil on canvas #ArtSky
Louis de France, Duke of Burgundy, 1704
Hyacinthe Rigaud
Oil on canvas
#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 18/09/2026
The Farm at Les Collettes, Cagnes, 1908-14 Auguste Renoir Oil on canvas #ArtSky
In 1907, Renoir purchased the estate of Les Collettes at Cagnes on the Mediterranean near Nice. He moved there in autumn 1908. The estate, with its picturesque farmhouse, its groves of olive and orange trees, and the views it afforded of the hilly countryside, provided the artist with major motifs for his late landscapes. This painting, executed in a fluid manner and suffused by the bright light of southern France, is one of several representations of the farm framed by olive trees painted between 1908 and 1914. Renoir's use of trees as a visual screen recalls Cézanne's method of integrating foreground and background space.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 17/09/2026
Ideal View of Tivoli, 1644 Claude Lorrain Oil on canvas #ArtSky
Claude Lorrain spent most of his time in Italy, principally Rome. Caught up in the seventeenth-century fervor for landscape painting, he would wander the Italian countryside, sketching and observing the behavior of light. In this fanciful astoral scene, young herders wade across a stream at dusk in the shadow of Tivoli, with its picturesque first century BC Temple of Vesta. These elements are merely conventions; the actual subject of the painting is the breathtaking play of mauve and gold as the sunsets and cold shadows catch the trees. Such attention to the dramatic possibilities of light and atmosphere made Lorrain the foremost landscape painter of his day. On the far horizon, the recently completed dome of St. Peter's in Rome can be seen.

#art #painting
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Rose Van Lear @rosevanlear.bsky.social · 17/09/2026
Antiopolo, 1992 Reverend Howard Finster Acrylic on panel #ArtSky
Howard Finster was born on December 2, 1916, in Valley Head, Alabama. After becoming "born again" at a Baptist revival at age thirteen, he began preaching by sixteen and became pastor of Rock Bridge Baptist Church in 1940. In the late 1940s, Finster began creating large-scale art environments in Trion, Georgia, and in 1961 started a new one on four acres in Pennville, Georgia. Known as Paradise Garden, it ultimately grew to include more than 46,000 works by the time of his death in 2001.

In 1976, Finster's practice expanded beyond environmental constructions to include painting and drawing after receiving a mandate from God in a vision. "One day I was working on a patch job on a bicycle, and I was rubbing some white paint on that patch with this finger here, and I looked at the round tip o my finger, and there was a human face on it," he said. "Then a warm feeling come over my body, and a voice spoke to me and said, 'Paint sacred art.'' He began to paint for the first time after this vision, using George Washington's likeness on the dollar bill as subject. By 1995, The New York Times reported that he was working on his 36,892nd painting.

By the end of his life, Finster was among the most famous folk artists in the United States. He exhibited widely in museums, participated in the 1984 Venice Biennale, and appeared in Esquire and on the Johnny Carson Show. His work on album covers, perhaps, had the greatest impact on his fame. He collaborated with Michael Stipe for the cover of R.E.M.'s second album, "Reckoning" and The Talking Heads commissioned a Finster painting for the cover of their 1985 album, "Little Creatures."

#art #painting
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