Art

cross-posted from: https://piefed.social/c/artporn/p/1482941/wheatfield-under-thunderclouds-by-vincent-van-gogh-1890

Wheatfield Under Thunderclouds is an 1890 oil painting by Vincent van Gogh. The painting measures 50.4 cm × 101.3 cm (19.8 in × 39.9 in). It depicts a relatively flat and featureless landscape with fields of green wheat, under a foreboding dark blue sky with a few heavy white clouds. The horizon divides the work almost into two, with shades of green and yellow below and shades of blue and white above.

And also:

Minor planet 4457 Van Gogh is named in his honour. :)

https://en.wikipedia.org/wiki/Wheatfield_Under_Thunderclouds

A lot more Vincent: https://en.wikipedia.org/wiki/List_of_works_by_Vincent_van_Gogh

As a graphic artist and painter, Daumier chronicled the impact of industrialization on modern urban life in mid-nineteenth-century Paris. Here, he amplifies the subject of a lithograph made some ten years earlier: the hardship and quiet fortitude of third-class railway travelers. Bathed in light, the nursing mother, elderly woman, and sleeping boy emanate a serenity not often associated with public transport. Unfinished and squared for transfer, this picture closely corresponds to a watercolor of 1864 (Walters Art Museum, Baltimore) and a finished oil painting (National Gallery of Canada, Ottawa).

The met

At the end of 1889, Van Gogh painted three versions of this picture. He described the first as a study from nature "more colored with more solemn tones" (private collection) and the second as a studio rendition in a "very discreet range" of colors (National Gallery of Art, Washington, D.C.). The present work, the most resolved and stylized of the three, was intended for his sister and mother, to whom Van Gogh wrote: "I hope that the painting of the women in the olive trees will be a little to your taste—I sent [a] drawing of it to Gauguin, . . . and he thought it good. . . ."

The met.

This piece I just absolutely love. So clean yet detailed.

The traditional theme of women bathing attracted Courbet’s attention repeatedly in the 1860s. This scene revisits a motif that excited a furor of controversy when the artist first broached it a decade earlier: a realistically fleshy nude at water’s edge in a woodland setting. But by the time the present work was exhibited, viewers were more accepting of Courbet’s approach. One writer praised this "beautiful girl" dipping her toes in the water as "health itself, with an ample and plump silhouette . . . . One could not be more independent or more true."

The met

Painted shortly after Vedder completed the first version of "The Lair of the Sea Serpent" (1864, Museum of Fine Arts, Boston), this canvas combines the artist's experience of Italian plein-air painting with his developing visionary style. Vedder spent the years from 1857 to 1860 in northern Italy, where he worked in the company of the Macchiaioli, or "spot" painters. The influence of their distinctive approach to landscape paintings is apparent here in the broad rendering of the background as a series of flat, subtly related patches of color. Vedder had painted the same striking Tuscan terrain-which was known as the Balze, or Badlands, of Volterra-in Italy in 1860. The lone woman in the landscape remains an enigma, although she may relate to contemporary Pre-Raphaelite depictions of solitary, meditative figures. Her costume, however, is recognizably similar to that of monks in several of Vedder's Italian works. The peculiarity of the heavily clad figure led the artist's friends, who included Homer Dodge Martin, to christen to painting "The Idiot in the Bath Towel."

The met

Like Camille Corot, with whom he often sketched in the mid-1820s, Aligny executed oil studies out-of-doors, primarily as private exercises that were not intended for exhibition. This work, inscribed to his friend the artist Théophile-Emmanuel Duverger (1821–1898), is evidently an independent study. It is similar to other landscapes painted during the artist's sojourn in Italy in the mid-1830s.

The met

Springtime, with its associations of joyful new life, was a source of constant inspiration for Denis. This double-sided canvas presents two studies for his 1899 painting Virginal Spring (private collection), in which young women engage in a purification ritual evocative of Christian baptism and communion. The verdant setting is the Forest of Saint-Germain-en-Laye, near Paris, whose tree-lined glades and dainty wildflowers captivated Denis. He later reprised this composition in his mural series Eternal Spring (Musée départemental Maurice Denis, Saint-Germain-en-Laye), one of his most ambitious attempts at rejuvenating the practice of decorative painting in France.

The met

Weighing over 45 tons and 5.5 meters wide, created by British sculptor Jason deCaires Taylor. Resting 5 meters below the surface off the island of Tokunoshima, Japan, installed on October 14, 2025.

Another mouth of a cave

Interesting concept for a company.

The mouth of a cave is my single favourite element of nature as a visual metaphor. Always been obsessed with em. Will write about em in depth sometime.

Caves often symbolize the unconscious mind, hidden knowledge, and the journey of self-discovery.

Journey to a deeper understanding of what is mysterious and hidden. Literal and symbolic.

Also generally have the feminine association.

cross-posted from: https://hexbear.net/post/6751998

20x9.5 inches. This was my favourite sculpture there I'll say.

cross-posted from: https://lemmy.wtf/post/32410603

cross-posted from: https://lemmy.wtf/post/32400678

So, here's some of my recent art, made using a variety of different media.

A lot of it is using cardboard as a surface because I'm beginning to run out of paper, though.

The links are below and I'll update it if I want to add more to it.

https://pixelfed.social/p/DFX4509B/893715498292060831

https://pixelfed.social/p/DFX4509B/893407811146413154

https://pixelfed.social/p/DFX4509B/892635093126368220

https://pixelfed.social/p/DFX4509B/891448090137484307

A brilliant and massive piece. (in context, was well liked by people there) Acrylic paint. Archival pen on canvas.

cross-posted from: https://lemmy.wtf/post/32514220

So, I drew a scene of Pichu swinging under a tree while Pachirisu plays in a leaf pile and Pikachu and Buneary peek out from behind the tree yesterday.

This is colored pencil on cardboard.

Lead on paper.

cross-posted from: https://lemmy.wtf/post/32423768

cross-posted from: https://lemmy.wtf/post/32423712

So, I made a colored pencil drawing of porcupines eating sweet potatoes on someone's front porch, with a pair of squirrels joining them with peanuts, inspired by some of Unhinged Menagerie's vids.

This was drawn on cardboard as I'm running low on paper.

Oil on canvas, 9"x11"

The Weight of the Ordinary by Aleena Rahman 2025. 41x27 inches. Enamel paints, oils pastels, block printing on wood panel

Why haven't I posted much recently you ask. Well I've been to an art exhibit and related art shows in the last couple days and will be posting those over the next few days.

I'll spread the posts over a few days. I'm sorry about the image quality, I hate taking pictures in public and did so quickly and hence badly.

This all comes from NCA. THE art school in Pakistan responsible for, well, the entire artistic culture of Pakistan.

Mostly stuff from students and recent students at that.

(Sorry I havent posted much folks, new job, hence busy)

Why haven't I posted much recently you ask. Well I've been to an art exhibit and related art shows in the last couple days and will be posting those over the next few days.

I'll spread the posts over a few days. I'm sorry about the image quality, I hate taking pictures in public and did so quickly and hence badly.

This all comes from NCA. THE art school in Pakistan responsible for, well, the entire artistic culture of Pakistan.

Mostly stuff from students and recent students at that.