AN HE

Muerte del General Wolfe...Benjamin West General Wolfe´s Death

Painting and walking on Minsk ...Прогулка по Столице....Маргарита Манис

Pieter Claesz (1627)

Naturaleza muerta con una vela ardiente...Still life with a burning candle.

Desayuno..Breakfast

Gilbert Stuart...III

John Adams, 

c. 1821 oil on wood overall: 66 x 54.5 cm (26 x 21 7/16 in.) Ailsa Mellon Bruce Fund 

John Adams, 

c. 1800/1815 oil on canvas overall: 73.7 x 61 cm (29 x 24 in.) framed: 97.5 x 84.5 x 10.8 cm (38 3/8 x 33 1/4 x 4 1/4 in.) Gift of Mrs. Robert Homans

Robert Liston, 

1800 oil on canvas overall: 73.8 x 61 cm (29 1/16 x 24 in.) framed: 90.5 x 78.1 x 6 cm (35 5/8 x 30 3/4 x 2 3/8 in.) Chester Dale Collection 

Ann Barry, 

1803/1805 oil on canvas overall: 74.3 x 61 cm (29 1/4 x 24 in.) framed: 94.8 x 81.4 x 8.2 cm (37 5/16 x 32 1/16 x 3 1/4 in.) Gift of Jean McGinley Draper 

George Washington, 

c. 1803/1805 oil on canvas overall: 73.6 x 61.4 cm (29 x 24 3/16 in.) framed: 92.7 x 80 x 7.6 cm (36 1/2 x 31 1/2 x 3 in.) Gift of Jean McGinley Draper 

John Randolph, 

1804/1805 oil on canvas overall: 73.6 x 61 cm (29 x 24 in.) framed: 89.5 x 76.8 x 7 cm (35 1/4 x 30 1/4 x 2 3/4 in.) Andrew W. Mellon Collection 

Dr. William Hartigan (?),

 c. 1793 oil on canvas overall: 76.2 x 63.5 cm (30 x 25 in.) framed: 97.2 x 84.8 cm (38 1/4 x 33 3/8 in.) Andrew W. Mellon Collection 

Sir Joshua Reynolds, 

1784 oil on canvas overall: 91.6 x 76.4 cm (36 1/16 x 30 1/16 in.) framed: 108 x 93.7 x 5.7 cm (42 1/2 x 36 7/8 x 2 1/4 in.) Andrew W. Mellon Collection 

John Bill Ricketts, 

1795/1799 oil on canvas overall: 74.6 x 61.5 cm (29 3/8 x 24 3/16 in.) framed: 95.3 x 82.6 x 7.6 cm (37 1/2 x 32 1/2 x 3 in.) Gift of Mrs. Robert B. Noyes in memory of Elisha Riggs 

San Francisco orando...Saint Francis in prayer

Bernardo Strozzi...1620-1630

Gilbert Stuart ..II

Lawrence Reid Yates 

1793/1794 oil on canvas overall: 76.2 x 63.5 cm (30 x 25 in.) Andrew W. Mellon Collection 

Abigail Smith Adams (Mrs. John Adams) 

1800/1815 oil on canvas overall: 73.4 x 59.7 cm (28 7/8 x 23 1/2 in.) framed: 97.5 x 84.8 x 10.8 cm (38 3/8 x 33 3/8 x 4 1/4 in.) Gift of Mrs. Robert Homans 

Stephen Van Rensselaer III 

1793/1795 oil on canvas overall: 91.7 x 71.3 cm (36 1/8 x 28 1/16 in.) framed: 113 x 92.7 x 6.7 cm (44 1/2 x 36 1/2 x 2 5/8 in.) Andrew W. Mellon Collection 

Richard Yates 

1793/1794 oil on canvas overall: 75.5 x 61.9 cm (29 3/4 x 24 3/8 in.) framed: 99.1 x 86.5 cm (39 x 34 1/16 in.) Andrew W. Mellon Collection 

Benjamin Tappan 

1814 oil on wood overall: 72.5 x 58.7 cm (28 9/16 x 23 1/8 in.) framed: 91.4 x 77.5 x 8.6 cm (36 x 30 1/2 x 3 3/8 in.) Gift of Lady Vereker 

Sarah Homes Tappan (Mrs. Benjamin Tappan) 

1814 oil on wood overall: 72.8 x 58.6 cm (28 11/16 x 23 1/16 in.) framed: 90.2 x 78.7 x 8.3 cm (35 1/2 x 31 x 3 1/4 in.) Gift of Lady Vereker 

Eleanor Parke Custis Lewis (Mrs. Lawrence Lewis) 

1804 oil on canvas overall: 73.7 x 61.6 cm (29 x 24 1/4 in.) framed: 87.6 x 74 x 5.1 cm (34 1/2 x 29 1/8 x 2 in.) Gift of H. H. Walker Lewis in memory of his parents, Mr. and Mrs. Edwin A. S. Lewis 

James Madison 

c. 1821 oil on wood overall: 65.3 x 54.3 cm (25 11/16 x 21 3/8 in.) framed: 88.9 x 79.4 x 12.1 cm (35 x 31 1/4 x 4 3/4 in.) Ailsa Mellon Bruce Fund 

Gilbert Stuart..I

Gilbert Stuart, 1755 - 1828 

Mary Barry 

1803/1805 oil on canvas overall: 74.3 x 61.6 cm (29 1/4 x 24 1/4 in.) framed: 95.2 x 82.5 x 8.8 cm (37 1/2 x 32 1/2 x 3 7/16 in.) 

Gift of Jean McGinley Draper 

George Washington 

(Vaughan-Sinclair portrait), 1795 oil on canvas overall: 73.8 x 61.1 cm (29 1/16 x 24 1/16 in.) framed: 92.7 x 80 x 9.5 cm (36 1/2 x 31 1/2 x 3 3/4 in.) Andrew W. Mellon Collectio

Commodore Thomas Macdonough . 

1815/1818 oil on wood overall (original fabric): 72.5 x 57.1 cm (28 9/16 x 22 1/2 in.) support: 72.5 x 58.5 cm (28 9/16 x 23 1/16 in.) framed: 100.3 x 88.9 x 6.7 cm (39 1/2 x 35 x 2 5/8 in.) Andrew W. Mellon Collection

Sir John Dick

1783 oil on canvas overall: 91.8 x 71.4 cm (36 1/8 x 28 1/8 in.) framed: 109.9 x 89.5 x 6.4 cm (43 1/4 x 35 1/4 x 2 1/2 in.) Andrew W. Mellon Collection

James Monroe, c. 

1817 oil on wood overall: 64.8 x 55 cm (25 1/2 x 21 5/8 in.) Ailsa Mellon Bruce Fun

Henrietta Marchant Liston (Mrs. Robert Liston) 

1800 oil on canvas overall: 74 x 61.3 cm (29 1/8 x 24 1/8 in.) framed: 92.4 x 79.7 x 8.3 cm (36 3/8 x 31 3/8 x 3 1/4 in.) Chester Dale Collection

Captain Joseph Anthony

1794 oil on canvas overall: 91.5 x 71 cm (36 x 27 15/16 in.) framed: 123.8 x 103.2 cm (48 3/4 x 40 5/8 in.) Andrew W. Mellon Collection

An Interior of Cathedral of St.Stephen at Vienna....by Rudolf Von Alt..1841 ....Interior de la Catedral de San Esteban en Viena.

La Descripcion de Lady Shalott... The Description of Lady Shalott

La Descripcion de Lady Shalott, es una escena del poema de 1832 de Alfred Lord Tennyson del mismo título, en el cual el poeta describe la situación grave de una mujer joven aislada bajo una maldición sin revelar en una torre cerca al Camelot de rey Arturo. 

Es típicamente Pre-Rafaelitico en el cual ilustra a una mujer vulnerable y condenada y se baña en la luz temprana y de la tarde natural. La señora se retrata mirando fijamente a lo lejos el crucifijo, que se sienta al lado de tres velas. Durante los fines del siglo diecinueve, las velas a menudo eran usadas para simbolizar la vida: en esta imagen, dos se han apagado.

The Description of Lady Shalott, it´s a scene of the poem of 1832 of Alfred Lord Tennyson of the same title, in which the poet describes the serious situation of a young woman isolated under a curse without revealing in a tower close the Camelot of king Arturo. 

It´s typically Pre-Raphaelite in which it illustrates a vulnerable and convicted woman and bathes in the early light and of the natural evening. The lady has her portrait painted looking fixedly in the distance and lcrucifijo, that sits down next to three sails. During the ends of the century nineteen, the sails often were used to symbolize the life: in this image, two have gone out.

Dos campesinas...Two Farmers..Два фермера

Alumno de Repin, Philip Maliavin obtuvo gran éxito en su época con este tipo de obras vivamente coloridas, pintadas apasionadamente. 

Otra de las constantes de su obra fue la cultura campesina rusa, de la que este cuadro es un buen ejemplo.

Un crítico de arte contemporáneo del maestro dijo que en sus cuadros "...aparece algo espontaneo y sutil del espiritu ruso, un reflejo de los incendios y el olor a sangre que han cubierto la historia rusa...". 

Esta obra forma parte de la colección del Museo Ruso de San Petersburgo.

Pupil of Repin, Philip Maliavin obtained big success in its epoch with this type of works vividly coloring, painted passionately. Other one of the constants of its work was the Russian rural culture, of which this picture is a good example.

A critic of contemporary art of the teacher said that in its pictures "... it turns out to be slightly spontaneous and subtle of the Russian spirit, a reflex of the fires and the smell of blood that have covered the Russian history...". 

This work is part of the collection of the Russian Museum of Saint Petersburg.

Arnold Bockin .. La isla de la muerte...Death´s Island

En 1880 Marie Berna, la viuda de origen americano de un diplomático alemán, visitó a Böcklin en Florencia, donde vio una primera versión inacabada de esta pintura (ahora Kunstmuseum Basilea) en su base. Encargó la lona presente como un monumento conmemorativo de su marido, solicitando las adiciones del ataúd cubierto y la figura femenina cubierta. Pinchado por su distribuidor, Böcklin pintó otras tres versiones hacia 1886. Esta imagen romántica se haría una de Alemania más querida, extensamente puesta en circulación a través de reproducciones pobres así como una aguafuerte relacionada de 1890 por Max Klinger (1857–1901).

In 1880 Marie Berna, the American-born widow of a German diplomat, visited Böcklin in Florence, where she saw an unfinished first version of this painting (now Kunstmuseum Basel) on his easel. She commissioned the present canvas as a memorial to her husband, requesting the additions of the draped coffin and the shrouded female figure. Prodded by his dealer, Böcklin painted three other versions by 1886. This romantic image would become one of Germany's most beloved, widely circulated through poor reproductions as well as a related etching of 1890 by Max Klinger (1857–1901).

Дима Дмитриев

Dima Dmitriev nació en Moscú, Rusia, y pertenece a una segunda generación de artistas. Se mudó a la Palestina Ocupada y luego a Praga, República Checa, donde se graduó en la Academia de Artes, Arquitectura y Diseño. 

A medida que sus pinturas fueron atrayendo la atención en exhibiciones de arte por Europa, Dmitriev se ha convertido en uno de los jóvenes artistas de los que más se habla en la floreciente comunidad artística de Praga. Ha participado en exposiciones individuales y colectivas en Europa, Norteamérica y Asia.

Las pinturas de Dima representan una suerte de "paraíso visual". Él describe el proceso como de extracción de color, luz y texturas de lugares reales, destilándolos en sus óleos para lograr mundos idealizados. Raramente utiliza el pincel. Su herramienta preferida es la espátula. También añade profundidad y saturación de color a algunos de sus trabajos, comenzando con lienzos negros en vez de los tradicionales blancos. 

Las composiciones impresionistas de Dima y su estilo en combinación con la maestría de su espátula crean pinturas al óleo vibrantes y escultóricas. Sus trabajos a veces incluyen temas relacionados con la niñez, la naturaleza y el mar.

Dima Dmitriev was born in Moscow, Russia, and is the second generation of artists in his family.  He moved to Occupied Palestine, and then Prague, Czech Republic, where he graduated from the Academy of Arts, Architecture and Design. 

As his paintings gained attention and praise at fine art exhibitions throughout Europe, Dmitriev became one of the most talked about young artists living in Prague’s flourishing artistic community. Dmitriev has participated in solo and group exhibitions in Europe, North America, and Asia.

Dima’s paintings represent forms of “visual paradise.”  He describes this as the process of extracting the color, light, and texture from real places and distilling these onto his canvases as idealized worlds.  Dima rarely uses a brush. His preferred tool is the palette knife. Dima also adds depth and color saturation to some of his works by starting with black, rather than the traditional white, canvas.  

Dima’s Impressionistic composition and style combined with his mastery of the palette knife create oil paintings that are vibrant and sculptural.  His works often include themes of childhood, nature and the sea.