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| Rufin Gavrilovich Sudkovsky - Cliff In The Moonlight, 1880 |
Saturday, January 30, 2021
Caspar David Friedrich - Moonrise over the Sea, 1822
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| Caspar David Friedrich - Moonrise over the Sea, 1822 |
Three young people, two women side by side and a man further back, are sitting on a large boulder by the sea, silhouetted against the sky as they watch the moon rising to the east above a band of clouds. In the distance are two sailing vessels, ghosting on a light breeze towards the spectators on the shore. The painting is probably a view of the Baltic Sea, near Friedrich's birthplace in Swedish Pomerania. via
Vincent Van Gogh - Country road in Provence by night, 1890
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| Vincent Van Gogh - Country road in Provence by night, 1890 |
Van Gogh paints Country road in Provence by night shortly before leaving the asylum at Saint-Rémy. This is not an existing landscape, but instead composed at his own discretion, presumably as a final reminder of Saint-Rémy and as a summary of the many impressions he acquired during his stay in Provence. Van Gogh experiments with his use of colour and brushwork in Saint-Rémy. Many works are composed of graceful forms and swirling lines. That is also the case here. The short, rhythmic wavy brushstrokes placed side by side give the painting great dynamism. via
Evelyn de Morgan - Helen of Troy, 1898
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| Evelyn de Morgan - Helen of Troy, 1898 |
In Greek mythology, Helen was the daughter of Zeus (King of the Gods) and Leda (a human). Legend has it that Helen (the wife of Menelaus, King of Sparta) was carried away by Paris (the son of the King of Troy), an act which precipitated the siege and destruction of Troy. via
Arkhip Kuindzhi - Moonlit night on the Dnieper, 1882
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| Arhip Kuindzhi - Moonlit night on the Dnieper, 1882 |
The artist chose a high distant view point leaving a large part of the canvas for the sky. The moon is shining, painting the clouds’ outlines in cold tones. The moonlight is flickering on the dark water of the river emphasising its slow flow and drawing out its elegant shoreline. via
Ivan Aivazovsky - Stormy sea at night, 1849
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| Ivan Aivazovsky - Stormy sea at night, 1849 |
A dark, moody image depicting a tall sailing ship on storm tossed waters, with the moon brightly lighting up the scene. One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. via
Raja Ravi Varma (1848–1906) - Ladies in the moonlight
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| Raja Ravi Varma (1848–1906) - Ladies in the moonlight |
The oleograph from which this painting is based is titled ‘Damayanti.’ Damayanti is the protagonist and heroine in the Sanskrit epic, Nala and Damayanti. In the story, Damayanti and King Nala fall in love with each other after hearing about their respective noble traits, intelligence and beauty. Using a golden swan as a messenger, they exchange messages. Over time, Damayanti starts to pine for Nala, shunning food, sleep and other activities. The scene depicted in this painting is Damayanti, engrossed in thoughts of Nala and being fanned by her attendant Keshini.
The gold ornamentation and borders of the womens' sarees leap from the canvas while their bodies are both poised yet dynamic at the same time. The veranda floor is strewn with delicate flowers drawing the eyes to the emerging shadows and contrasting light effects from the moody skies above; jointly creating a tranquil yet moving ambiance. Interestingly, the scene was originally meant to be on a sunlit terrace but was glossed with a varnish that was too dark and the oleograph was converted into a night scene with a hand painted crescent moon. via
Radha at night, 1650
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| Radha at night, 1650 |
Radha (Sanskrit: राधा, IAST: Rādhā), also called Radhika, is a Hindu goddess and a consort of the god Krishna. She is worshipped as the goddess of love, tenderness, compassion and devotion. Radha is sometimes considered as an avatar of goddess Lakshmi as in the Nimbarka Sampradaya and by some, as the feminine form of Krishna himself. Radha is considered as a metaphor for the human spirit (atma), her love and longing for Krishna is theologically viewed as symbolic of the human quest for spiritual growth and union with the divine (brahman). She has inspired numerous literary works, and her Rasa lila dance with Krishna has inspired many types of performance arts. via
Tsukioka Yoshitoshi - Fujiwara no Yasumasa Playing the Flute by Moonlight, 1883
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| Tsukioka Yoshitoshi - Fujiwara no Yasumasa Playing the Flute by Moonlight, 1883 |
Fujiwara no Yasumasa (958-1036) was a renowned musician and poet in the Heian court. He is best known for the tale of a moonlit evening, banditry, and the power of beauty. One autumn night Yasumasa made his way home through the isolated Ichiharano moor. He played his flute as he sauntered along, thinking that he was alone amidst the tall grass, yet a bandit lay in wait. The highwayman, Hakamadare Yasusuke (also known as Kidomaru) planned to attack the lonely traveler and steal his elegant winter robes. Yet, as the music reached Yasusuke's ears, he found himself unable to attack. He became enchanted by the beauty of the music and followed Yasumasa all the way home. Upon reaching the courtier's home, the flutist noticed his unintended audience and offered Yasusuke a fine gift of clothing so that he would not go away empty-handed. Via
A fairy moon and a lonely shore, 1890
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| A fairy moon and a lonely shore, 1890 |
Shows a man with a shoulder pole walking along a moonlite shore. The term fairy moon (black moon) refers to an additional new moon that appears in a month or in a season. It may also refer to the absence of a full moon or of a new moon in a month. Since ancient times the Japanese have contemplated the combination of snow, flowers, moon, and the beauties of nature. And not only have they contemplated such scenes, they've also made them favored themes for paintings and poetry. The symbolic meaning of the moon is closely tied to the act of rejuvenation. Via
Friday, January 29, 2021
Ida Rentoul Outhwaite - The Nightingale, illustration from Fairyland, 1926
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| Ida Rentoul Outhwaite - The Nightingale, illustration from Fairyland, 1926 |
Caspar David Friedrich - Man and Woman Contemplating the Moon, around 1824
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| Caspar David Friedrich - Man and Woman Contemplating the Moon, around 1824 |
Pausing on their nocturnal walk through a mountain forest is a couple on a rise beside a dramatically contorted, uprooted oak. Darkness envelops the strollers; their eyes are raised to the reassuring celestial light of the moon that permeates the atmosphere with a solemn stillness. Deep in the moonlit night the trees and rocks acquire strange, almost eerie, dimensions and importance. The two figures are united by their shared experience of the natural world confronting them with an awareness of their transience; together they face the mystery of the unfathomable. via
Caspar David Friedrich - Two Men Contemplating the Moon ca. 1825–30
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| Caspar David Friedrich - Two Men Contemplating the Moon ca. 1825–30 |
These are a series of similar paintings by Caspar David Friedrich, the setting being among his best-known works. Friedrich painted at least three versions, with one variation featuring a man and a woman. These German Romantic landscape paintings feature two figures in a dark forest silhouetted by a pastel sky. The works' dark foregrounds and lighter backgrounds create a sharp contrast. The sky suggests that the time is around dusk, with the waxing crescent moon close to setting. A dead, uprooted tree's dark roots and branches contrast with the sky.
The jagged branches and stark contrasts seem to create a threatening environment for the figures, and are reminiscent of the imposing Gothic style seen originally in the medieval era, but revived in the Romantic era. The same can be said of the dark, shadowy trees and rocks surrounding the couple. The figures themselves are dressed in dark colors and stiff, somewhat formal garments, which also serve to signify their higher class. The works emphasize spirituality in nature and the presence of the sublime, which are major themes of Friedrich. via
Adam Elsheimer - The Flight into Egypt, 1609
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| Adam Elsheimer - The Flight into Egypt, 1609 |
Flight into Egypt is thought to be the first naturalistic rendering of the night sky in Renaissance art. Elsheimer's treatment is unique in placing the Holy Family in a nocturnal setting, true to the biblical description. The darkness creates opposing feelings of intimacy and fear of the unknown. The painting channels the mysteries of night, pondered by humans for centuries, into this moment of the Holy Family seeking refuge.
There are four sources of light in the painting: the Moon is accurately depicted and reflects off the calm water. There is a fire near the shepherds at left, where the family is headed. At the centre of the composition, Joseph holds a torch that illuminates Mary and the infant, who are riding an ass. The heavily treed landscape behind them is almost black, its outline forming a diagonal across the sky and completely containing the foreground figures. The diagonal is echoed in the night sky by the intricate band of the Milky Way, and detailed configurations of stars are seen, including Ursa Major at far left. Elsheimer is thought to be the first painter to accurately depict constellations. via
John Atkinson Grimshaw - A moonlit evening, 1880
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| John Atkinson Grimshaw - A moonlit evening, 1880 |
When John Atkinson Grimshaw married his wife, Theodosia Hubbard, they lived in a very small house in Leeds, and although he longed to paint, they had insufficient money to allow him to give up his job working on the railways. In the evenings, he enjoyed going for walks with his wife through the darkened streets and woodlands of the Leeds suburbs, and then inspired by this he would go home and paint. These records of moonlit walks now constitute the essence of Grimshaw's popularity and reputation as a painter. By 1861, he was successful enough as an artist to give up his daytime job and devote his career entirely to painting.
He was fascinated by the contrast between moonlight and artificial light and in his urban scenes, he experiments with the varied effects of the moon, the light glowing from inside houses, and the reflections of moonlight on the wet road. A Moonlit Evening is a wonderful example of the unique genre which Grimshaw created. Grimshaw specialised in the depiction of moonlit walks, shadowed streets and rain-washed roads, to make atmospheric compositions which were highly individual to the artist. The house in this painting is probably fictitious, to the artist's own design, based on a combination of styles which he observed and absorbed. He often included a solitary figure which added a sense of contemplation and ambiguity to the scene, inviting the viewer to imagine a narrative for the scene, to consider the thoughts and feelings of the person, and to dwell on their walk on a lost and lonely night. It implies both a sense of isolation, but simultaneously of freedom, in the abandonment of conventions for a single female to be wandering alone in the dark, accompanied only by her thoughts, and this is an appealing romantic notion, probably inspired by Grimshaw's love of Lord Alfred Tennyson's yearning poetry. via
J. M. W. Turner - Fisherman at sea, 1796
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| William Turner - Fishermen at sea, 1796 |
Fishermen at Sea, sometimes known as the Cholmeley Sea Piece, is an early oil painting by English artist J. M. W. Turner. It was exhibited at the Royal Academy in 1796 and has been owned by the Tate Gallery since 1972.
The painting depicts a moonlit view of fishermen on rough seas near the Needles, of the Isle of Wight. It juxtaposes the fragility of human life, represented by the small boat with its flickering lamp, and the sublime power of nature, represented by the dark clouded sky, the wide sea, and the threatening rocks in the background. The cold light of the Moon at night contrasts with the warmer glow of the fishermen's lantern. via
Claude Monet - A Seascape, Shipping by Moonlight, 1864
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| Claude Monet - A Seascape, Shipping by Moonlight, 1864 |
The bold light effects of the moonlit harbour of Honfleur, Normandy contribute to the scene's dramatic impact. Dark clouds obscure the moon but its presence is confirmed by the brilliant patches of light and reflections in the water. These are echoed by the lighthouse's beam and its reflection. The sailing boats and steam ship provide strong dark silhouettes against the elements. This is an early work by Monet, painted with an unusual combination of palette knife and brush. He commented later on his admiration for moonlight scenes but also on the difficulties involved in painting nature at night. via
Henry Pether – Trafalgar Square by Moonlight, 1865
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| Henry Pether – Trafalgar Square by Moonlight, 1865 |
This moon-lit view of Trafalgar Square looking south-eastwards towards Whitehall is unusual in that most artists depicting the Square tended to focus on the National Gallery or St. Martin-in-the-Fields. This picture is also remarkable for its inclusion of street and indoor gas lighting, as well as the lit clock-face of Big Ben.
A number of figures are shown in the foreground and several cabs can be seen in the distance. Beyond the Square can be spotted, from left to right: part of Morley's Hotel, Northumberland House, Whitehall with Big Ben and Victoria Tower in the distance, the offices and shops of Charing Cross and Cockspur Street, the top of the Duke of York's column, Carlton House Terrace and the Union Club. Henry Pether (1800-80) was an artist best known for his moonlight pictures. via
Kawase Hasui - Moonrise at Futago Island, Matsushima, 1933
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| Kawase Hasui - Moonrise at Futago Island, Matsushima, 1933 |
Tsukioka Yoshitoshi - The moon's four strings, Semimaru, from the series One hundred aspects of the moon
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| Tsukioka Yoshitoshi - The moon's four strings, Semimaru, from the series One hundred aspects of the moon |
Semimaru was a blind poet and musician who served the son of Emperor Uda. He was both an historical character and the protagonist in a nō play, 'Semimaru'. When the prince died in 966 he moved to live in the mountains near Kyoto. Here, he is in a remote dilapidated house, playing a 'biwa' (Japanese lute), which has a design of a crescent moon on it. He is surrounded by wild grasses, and in the foreground are the autumn blossoms of beautiful flowers. Ironically, Semimaru cannot not see the beauty of the moon or his poverty stricken surroundings, and all he has left is the splendour of his music. via
Thursday, January 28, 2021
George Inness - Moonlight, 1885
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| George Inness - Moonlight, 1885 |
In this atmospheric image, a lone woman in a flowing gown stands in a garden under a moonlit sky. The colors are dark and mysterious. To the right of the picture is the edge of a railing. Trees frame the landscape’s view and the reflection of the glowing moon. Romantic and poetic images like this were popular in the late 1800s. We cannot see the woman’s face, but we watch her contemplate the beautiful scene from afar and wonder what she is thinking. Inness uses lighting and color to create a calm, quiet, yet dramatic, mood. via
John Atkinson Grimshaw - At the lakeside, moonlight
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| John Atkinson Grimshaw - At the lakeside, moonlight |
The 1870s was arguably Grimshaw's most successful decade, where his sublime nocturnes, dubbed 'moonlights' began to seal the reputation that lasts to this day. In this prime example he delineates the outlines of the trees and branches, throwing them into relief by the light of the moonlit sky. The moon, veiled in thin cloud pours a dense silver across the landscape, throwing multiple reflections from the surface of the mirroring lake, and effusing the sky with a phosphorescence: a product of Grimshaw's keen sense of light and atmosphere.
Grimshaw was arguably the most evocative painter of moonlight and evening scenes, managing to perfectly portray the 'gloaming' that captured much of the poetic imagination and English romantic zeitgeist of the age, feeding the enormous appetite the Victorians had for such mood. via
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