 |
| Ohara Koson - Two geese in flight, 1900-30s |
Monday, July 21, 2025
Karl Heilmayer - Venice, A Moonlit Night in the Bacino, 1900
%20Karl%20Heilmayer%20(German,%201829%E2%80%931908)%20artvee.jpg) |
| Karl Heilmayer - Venice, A Moonlit Night in the Bacino, 1900 oil on canvas, 55 x 75 cm Private collection |
Attributed to Kawahara Keiga (1786-1860) - The Property of a Gentleman, early 19th century. Tsukimi (Moon-viewing) and a view of Nihonbashi
%20STUDIO,%20TSUKIMI%20%5BMOON-VIEWING%5D%20AND%20A%20VIEW%20OF%20NIHONBASHI,%20EDO%20PERIOD,%20EARLY%2019TH%20CENTURY.jpg) |
| Attributed to Kawahara Keiga (1786-1860) - The Property of a Gentleman, early 19th century. Tsukimi (Moon-viewing) and a view of Nihonbashi ink and colour on silk Private collection |
George Hyde Pownall - Westminster Abbey by Moonlight, 19th century
%20-%20Wesminster%20Abbey%20Moonlight%20tennants%20auctions.jpg) |
| George Hyde Pownall - Westminster Abbey by Moonlight, 19th century oil on board, 14.5 cm x 23 cm Private collection |
George Hyde Pownall - Westminster – Moonlight, 1901
%20Westminster%20%E2%80%93%20Moonlight.jpeg) |
| George Hyde Pownall - Westminster – Moonlight, 1901 oil on board, 24.1cm x 15.2cm Private collection |
William P. Chappel - The Lamp Lighter, 1870s
%20William%20P.%20Chappel%20(American,%201801-1878).jpg) |
| William P. Chappel - The Lamp Lighter, 1870s oil on slate paper, 15,4 x 23,2 cm The Metropolitan Museum of Art |
The city slumbers as a lamplighter makes his rounds, ladder and lantern in hand, in one of only three evening scenes in the series. The waxing crescent moon casts soft shadows on lower Broad Street, but the tranquility of this work belies potential perils lurking in the dark streets. As early as the 1760s, the city’s Common Council attempted to discourage nighttime muggings and robberies by installing whale-oil lamps maintained by municipal lamplighters. It would not be until the 1820s that the dim light from the smoky, unreliable whale-oil lamps was replaced by the luminous glow of a new technology—gas light.
Carl Gustav Carus - The Goethe Monument, 1832
 |
| Carl Gustav Carus - The Goethe Monument, 1832 oil on canvas, 72 x 54 cm Kunsthalle, Hamburg |
Carus was a great admirer of Goethe, who in turn highly appreciated both Carus's theoretical writings and his painting. Carus's painting of the Goethe monument is described in a contemporary journal as follows. "In a lonely rocky area stands Goethe's sarcophagus, and upon it a harp; moonlight falls through its strings, illuminating two angels who kneel reverently before it. Mists swirl around the base of the monument. It would seem that Goethe's manifold and magical contacts with Nature have inspired the ingenious artist to this Ossianic idea." Goethe, who devoted himself so intensively to questions of the world and humanity, has been recast in Carus's picture into an unworldly and lonely Romantic figure. His imaginary grave evokes Romantic yearning in terms of an actual destination, an envisioned place of pilgrimage, an altar, a holy of holies. via
Henry Ossawa Tanner - The Good Shepherd, 1902-1903
.jpg) |
| Henry Ossawa Tanner - The Good Shepherd, 1902-1903 oil on canvas, 30,1 x 36,22 cm Zimmerli Art Museum at Rutgers University |
Toshikata Mizuno - The Fourth Month, A Lady of the Enkyo Era (1744-48), from the series Thirty-six Elegant Selections, 1894
,%20from%20the%20series%20Thirty-six%20Elegant%20Selections%20(1894)%20Toshikata%20Mizuno%20(Japanese,%201866-1908).jpg) |
| Toshikata Mizuno - The Fourth Month, A Lady of the Enkyo Era (1744-48), from the series Thirty-six Elegant Selections, 1894 Woodblock print, ink and color on paper The Cleveland Museum of Art |
Subscribe to:
Posts (Atom)