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By noreply@blogger.com (Gandalf)

Gandalf's Gallery was founded as a non-profit making, educational vehicle. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately. Please note that the nude figure is a tradition in Western Art and is included within the gallery’s collection.

Primitivo Álvarez Armesto - Victims of the Sea [1894]

By noreply@blogger.com (Gandalf)

Primitivo Álvarez Armesto (Vega de Valcarce, 1864 - Buenos Aires, 1939) was a Spanish painter of whom little biographical information is known. He studied at the San Fernando School of Fine Arts in Madrid and then moved to Rome. Starting in 1895 he participated in the National Exhibitions of Fine Arts, obtaining that same year a second class medal with the painting Victims of the Sea, a work of social intention. In 1910 he moved to Buenos Aires, where he worked as a portrait painter.

[Museo del Prado, Madrid - Oil on canvas, 334 x 445 cm]

José Bermudo Mateos - Under the Poop '1892]

By noreply@blogger.com (Gandalf)

This work represents the deck of a so-called pleasure vessel and has an awning to protect itself from the sun's rays. Two women are seated in the foreground. One of them has a child standing on her knees and the other looks with her binoculars towards the sea, where she can see the next port where they are going to disembark. In addition, you can see some boats sailing and calm waves. On the deck we see a sailor cleaning the floor and other passengers. In terms of colour, the pastel colours stand out in the clothes of the characters and in the incarnations of the women who appear in the foreground.

[Museo del Prado, Madrid - Oil on canvas, 55 x 80 cm]

James Ormsbee Chapin - Nine Workmen [1942-45]

By noreply@blogger.com (Gandalf)

With shovels, wheelbarrows, and other tools in hand, these men were possibly construction workers. At the time of this painting and just before, during the Great Depression, industry in New Jersey was on the decline, but construction was on the rise. Another interesting hypothesis is that these workers could have been gravediggers. In 1937 a group of 40 gravediggers in North Arlington, NJ held a sit-down strike and prevented burials from taking place in order to secure raises for the groundskeepers. The range in ages of the Nine Workmen could also allude to the human life span and symbolise the passage of time. If Chapin was commenting on the rights of workers, then his style of American Scene painting may more closely align with the Social Realists who addressed politics and social problems in the US at the time.

[Asheville Art Museum, North Carolina - Oil on canvas, 108.6 x 145.4 cm]

Henri Le Sidaner - Le bassin du refuge [1924]

By noreply@blogger.com (Gandalf)

Rather than incorporating an expansive sky, the composition’s upper area is adorned with idyllic clusters of trees and two charming buildings rendered in spectra of cider, pear and emerald. Behind the building on the left’s closed doors, an artificial marigold light beam suggests the possibility of a human presence in a scene devoid of figural representation. These structural intricacies create a captivating and intimate portrayal of a mystical town, seemingly transient as it is reflected on a mosaic-coloured body of water reminiscent of Monet's iconic Water Lilies.

[Christie’s, New York - Oil on canvas, 73 x 92 cm]

Georges Schreiber - Portrait of Thomas Hart Benton [1945]

By noreply@blogger.com (Gandalf)

Georges Schreiber (Brussels, April 25, 1904 - New York, 1977) was a well-known American Scene painter at the height of his career in the 1930s and 1940s.

[Whitney Museum of American Art, New York - Oil on burlap, 61.9 x 76.7 cm]

Thomas Hart Benton - The Lord is my Shepherd [1926]

By noreply@blogger.com (Gandalf)

[Whitney Museum of American Art, New York - Tempera and oil on canvas, 82.9 × 67.9 cm]

Floyd MacMillan Davis - Bar in Hotel Scribe [1944]

By noreply@blogger.com (Gandalf)

After the Allies drove the German army out of Paris in August 1944, the bar at the city’s Hôtel Scribe became a favourite haunt for journalists. As one observer put it, an outgoing stream of “spruce correspondents” was always leaving for the front lines while an incoming flow of “disheveled correspondents” could be seen rushing back to fill their seats.

Among the Scribe’s patrons was war illustrator Floyd Davis, who painted this picture for Life magazine. The image shows the bar bursting with reporters, who gathered there to talk over their news stories and complain about army press censorship. Among the individuals featured are New Yorker reporter Janet Flanner and CBS newscaster William Shirer, who are seated at a table (lower centre) with Ernest Hemingway. Just behind them stands the photographer Lee Miller, in a vibrant yellow scarf, and at top right lurks another photographer, Robert Capa, helmeted and unshaven.

[National Portrait Gallery, Smithsonian Institution - Oil on canvas, 48.3 x 74.3 cm]

Andre Derain - The Pool of London [1906]

By noreply@blogger.com (Gandalf)

This view of the Thames from London Bridge is one of four works painted by Derain, showing the same part of the river. At this time he was a leading member of the fauve group of painters in Paris. He had been sent to London by his dealer to update the popular Thames views painted by Claude Monet a few years earlier. Strongly-coloured and freely-handled, this painting is characteristic of fauvism in creating vivid effects through bold contrasts of colour.

[Tate, London - Oil on canvas, 65.7 x 99.1 cm]

Emil Orlik - Capriccio with Gilded Fan [1907]

By noreply@blogger.com (Gandalf)

Born in Prague, Emil Orlik (1870 – 1932) was a member of the Vienna Secession from 1899 to 1904; he even moved his studio to Vienna in 1904. There his artistic engagement with Japanese colour woodcuts broke new ground for the Secessionists. At a time of rampant mania for Japan, Orlik was one of the few artists who substantiated their fascination for Japan by actually traveling there. In search of traditional Japan and motivated by his interest in the technical execution of ukiyo-e colour woodcuts, he set out for Tokyo and Kyoto in 1900 at the age of 29. He recorded his observations in sketches, which later served as a basis for printed graphics and paintings. This portrait of a lady from 1907 combines Japanese and Secessionist elements in a sublime way by uniting the flatness of the stylised floral ornament with the off-centre, foreground figure in a square picture format.

[Leopold Museum, Vienna - Oil, gold and silver bronze on cardboard, 50 x 50 cm]

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