lunes, 2 de marzo de 2015

Bouguereau: Homenaje al desnudo femenino

William-Adolphe Bouguereau (1825-1905)


Baigneuse 1870

Humeur Nocturne 1882

Baigneuse 1864

Naissance de Vénus 1879

Le Guêpier 1892

Les Deux Baigneuses 1884

Biblis 1884

La Vague 1896

Après le Bain 1875

Baigneuse 1879

miércoles, 18 de febrero de 2015

The Revival of Arthurian Legend in XIX Century

The Arthurian Legend 
in Victorian Era

The Last Sleep of Arthur in Avalon (detail) 1898

In the early 19th century, medievalism, Romanticism, and the Gothic Revival reawakened interest in Arthur and the medieval romances. A new code of ethics for 19th-century gentlemen was shaped around the chivalric ideals that the "Arthur of romance" embodied. This renewed interest first made itself felt in 1816, when Malory's Le Morte d'Arthur was reprinted for the first time since 1634. Initially the medieval Arthurian legends were of particular interest to poets, inspiring, for example, William Wordsworth to write "The Egyptian Maid" (1835), an allegory of the Holy Grail. Pre-eminent among these was Alfred Lord Tennyson, whose first Arthurian poem, "The Lady of Shalott", was published in 1832. 

Although Arthur himself played a minor role in some of these works, following in the medieval romance tradition, Tennyson's Arthurian work reached its peak of popularity with Idylls of the King, which reworked the entire narrative of Arthur's life for the Victorian era. First published in 1859, it sold 10,000 copies within the first week. In the Idylls, Arthur became a symbol of ideal manhood whose attempt to establish a perfect kingdom on earth fails, finally, through human weakness. 

Tennyson's works prompted a large number of imitators, generated considerable public interest in the legends of Arthur and the character himself, and brought Malory's tales to a wider audience. Indeed, the first modernisation of Malory's great compilation of Arthur's tales was published shortly after Idylls appeared, in 1862, and there were six further editions and five competitors before the century ended.

This interest in the "Arthur of romance" and his associated stories continued through the 19th century and into the 20th, and influenced poets such as William Morris and Pre-Raphaelite artists including Edward Burne-Jones. Even the humorous tale of Tom Thumb, which had been the primary manifestation of Arthur's legend in the 18th century, was rewritten after the publication of Idylls. While Tom maintained his small stature and remained a figure of comic relief, his story now included more elements from the medieval Arthurian romances, and Arthur is treated more seriously and historically in these new versions. 

The revived Arthurian romance also proved influential in the United States, with such books as Sidney Lanier's The Boy's King Arthur (1880) reaching wide audiences and providing inspiration for Mark Twain's satiric A Connecticut Yankee in King Arthur's Court (1889). Although the "Arthur of romance" was sometimes central to these new Arthurian works (as he was in Burne-Jones's The Last Sleep of Arthur in Avalon, 1881–1898), on other occasions he reverted to his medieval status and is either marginalised or even missing entirely, with Wagner's Arthurian operas providing a notable instance of the latter. Furthermore, the revival of interest in Arthur and the Arthurian tales did not continue unabated. 

By the end of the 19th century, it was confined mainly to Pre-Raphaelite imitators, and it could not avoid being affected by the First World War, which damaged the reputation of chivalry and thus interest in its medieval manifestations and Arthur as chivalric role model. The romance tradition did, however, remain sufficiently powerful to persuade Thomas Hardy, Laurence Binyon and John Masefield to compose Arthurian plays, and T. S. Eliot alludes to the Arthur myth (but not Arthur) in his poem The Waste Land, which mentions the Fisher King.

martes, 17 de febrero de 2015

John Everett Millais: Pre-Raphaelite Master

Sir John Everett Millais (1829-1896)

English painter and illustrator, and a founding member of the artistic movement known as the Pre-Raphaelite Brotherhood.

The Blind Girl 1856

Huguenot Lovers on St. Bartholomew's Day 1852

Autumn Leaves 1856

Esther 1865

Victory O Lord! 1871

The North-West Passage 1874

John Ruskin 1854

The Farmer's Daughter u.d.

Chill October 1870

Cherry Ripe 1879

domingo, 1 de febrero de 2015

"La canción de la noche en el mar", un poema de Rubén Darío

Rubén Darío (1867-1916)

La canción de la noche en el mar (1878-1881)

¿Qué barco viene allá? 
¿Es un farol o una estrella? 
¿Qué barco viene allá? 
Es una linterna tan bella 
¡y no se sabe adónde va! 

¡Es Venus, es Venus la bella! 
¿Es un alma o es una estrella? 
¿Qué barco viene allá? 
Es una linterna tan bella... 
¡y no se sabe adónde va! 

¡Es Venus, es Venus, es Ella! 
Es un fanal y es una estrella 
que nos indica el más allá, 
y que el Amor sublime sella, 
y es tan misteriosa y tan bella, 
que ni en la noche deja la huella 
¡y no se sabe adónde va!

jueves, 22 de enero de 2015

The Art of Nocturn Tonalism by McNeil Whistler

James Abbott McNeil Whistler (1834-1903)

Tonalism, a distinctive style of low-toned atmospheric landscape painting, developed a sizable following among American artists in the 1880s. This new generation of tonalist artists, most born after 1845, and many foreign trained in Paris and Munich, broke with the prevailing school of Hudson River artists and their large detailed panoramic views of the American scenes. Many streams of influences fed into the growing taste for a more intimate, poetic, and expressive style of landscape art, relying on soft-edged broadly painted tonalities to communicate emotion.


Nocturne in Grau und Gold, Schnee in Chelsea 1876

Nocturne in Blue and Gold: Valparaiso 1874

Nocturne 1877

Nocturne, etching and drypoint on Japan paper 1880

Nocturne Trafalgar Square Chelsea Snow 1876

Nocturne in Blue and Gold: Old Battersea Bridge 1875

Nocturne: Blue and Silver—Bognor 1876

Nocturne 1878

Nocturne in Black and Gold The Falling Rocket 1875

Nocturne in Grau und Gold, Westminster Bridge 1874

sábado, 17 de enero de 2015

Especial 3er Aniversario. Selección personal de Pinturas Románticas

Especial 3er Aniversario del Blog

Interno del monastero di Altacomba 1833

Rast auf dem Weinberg 1845

Friedhofseingang 1829

Mount Aetna from Taormina 1844

Seascape Study with Rain Cloud 1827

Måneskinn 1869

Autoportrait 1860

Souvenir d'Esneh 1876

Der Tod des Dichters Pietro Aretino 1854

The Horse Frightened by a Lion 1770

Die Einsamkeit bei Tagesanbruch 1796

The Large Day of the Divine Anger 1853

Das Kloster San Francesco im Sabinergebirge bei Rom 1812

Dutch Boats in a Storm 1801

L'Enterrement de Shelley 1889

L'Oiseau Pris 1857

Quiero agradecer a Sonia, Judith y Macarena su apoyo durante este tiempo para seguir publicando y apostando por el Arte. Gracias.