Create accountLogin

Recent searches

No recent searches

Search options

Only available when logged in.
mstdn.social is one of the many independent Mastodon servers you can use to participate in the fediverse.
A general-purpose Mastodon server with a 500 character limit. All languages are welcome.

Administered by:

Server stats:

14K
active users

mstdn.social: AboutStatusProfiles directoryPrivacy policy

Mastodon: AboutGet the appKeyboard shortcutsView source codev4.3.8

#oilpainting

75 posts64 participants12 posts today
Public
Jo-chin up, elbows up.

The first in a new series “Flying Geese”, inspired by the “Flying Geese” quilt pattern. It continues on with the themes in all the work I’ve been exploring lately on migration, climate change, and other reasons people leave home, seek new places to call home. Using textiles as inspiration.
These simple geometric shapes are a nice contrast to the many details of the rug paintings which take a long time to complete.
Oil on Board
#art #artwork #mastoart #oilpainting #quilting #quilt

A woman with dark short hair under a hat in grey with golden yellow triangular crown-like ray shapes. She wears a golden emergency blanket emphasizing the trianglular shapes from the folds. She sits in profile, head turned back looking at viewer. Mountains are behind her in neutral grey tones, warm & cool, also emphasizing these shapes as light hits the mountain sides. Some solid black triangles in foreground standing in as rock and tree. In the sky faded out is a flying geese quilt pattern in a loose migration formation.
Public
Jannes Koetsier

Onlangs had ik Beau als model. Deze pose met parasol, witte jurk en een zuchtje wind deed mij denken aan het schilderij van Monet, Vrouw met parasol. Zijn model was Suzanne Hoschedé.

#suzanne #model #parasol #modelpainting #vrouwmetparasol
#allaprimapainting #realism #figurative #contemporaryrealism #fineart #art #figurestudy #oilpaintingtechniques #artist #janneskoetsier #kunst #painting #schilderkunst #figuratievekunst #dutchart #oilpainting

Onlangs had ik Beau als model. Deze pose met parasol, witte jurk en een zuchtje wind deed mij denken aan het schilderij van Monet, Vrouw met parasol. Zijn model was Suzanne Hoschedé. #suzanne #model #parasol #modelpainting #vrouwmetparasol #allaprimapainting #realism #figurative #contemporaryrealism #fineart #art #figurestudy #oilpaintingtechniques #artist #janneskoetsier #kunst #painting #schilderkunst #figuratievekunst #dutchart #oilpainting
Public
Laura G, Sassy 70’s

Your art history post for today: by Pierre-Auguste Renoir (1841-1919), Roses in a Crystal Vase, ca. 1879, oil on canvas, 25 ¾ by 21 ½ in. (65.5 by 54.5 cm.), photo: Sotheby’s New York, 15 May 2024. #arthistory #art #oilpainting

From the catalogue note: ‘Pierre-Auguste Renoir’s lush, evocative rendering of a bouquet in Roses dans un vase de cristal is an exquisite product of his affinity for the still-life genre. Executed circa 1879, the present work belongs to the period of the artist’s most accomplished floral compositions, considered among the most refined still-lifes of his oeuvre.

With every inch of canvas brimming with opulent hue, Roses dans un vase de cristal demonstrates Renoir at the apex of his expressive power. Each sumptuous petal and verdant leaf that spills forth from the prismatic crystal vase is attentively modeled yet imbued with palpable energy. Such vitality is heightened by the background and table, in which luminous swathes of jewel tones are rendered with a gestural spontaneity that verges on complete abstraction.

The rendering of botanicals was a form of homecoming for Renoir. At the age of 13, he began his artistic career painting flowers on porcelain for the Sèvres workshop as an apprentice. As the factory mechanized as part of the Industrial Revolution in 1858, Renoir left the workshop and pursued a formal study of art; by the late 1860s, his masterful still-life practice evolved into prismatic depictions of floral arrangements… As embodied by Roses dans un vase de cristal, Renoir felt that the painting of flowers afforded him certain technical freedoms, declaring, “what seems to me most significant about our movement [Impressionism] is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story” (the artist quoted in Peter Mitchell, European Flower Paintings, London, 1973, pp. 211-12).’

Description in post
ExploreLive feeds
About