Saturday, April 23, 2011

Paja Jovanovic

Paja Jovanović was born in Vršac, on 4 June, 1859, in the family of a photographer Stevan Jovanović and Ernestina, née Deot. He received his first lessons in drawing from his grammar school teacher, Vodecki. In 1875 he went to Vienna with his father, where he enrolled in the Academy of Fine Arts in 1877, in the class of the professor Christian Gripenkerl. After he had finished his schooling at the Academy, he continued his studies in the master’s schools of Christian Gripenkerl and Leopold Carl Miller.

Bosko Jugovic

Some works of an Artist

Wounded Montenegrin (1882.) Oil on canvas, 186 × 114 cm (at the Gallery of Matica Serbian in Novi Sad)
Fencing (around 1884). Oil on canvas, 60.5 × 40.5 cm (at the National Museum in Belgrade)
Fencing (around the 1883rd) sketch, pencil on paper, 90.5 x 59 - cm} {- (the Museum of the City)
The Ambush (1884 - 1886th) oil on canvas, 27.5 × 38 cm (at the Gallery of Matica Serbian in Novi Sad)
Traitors (1886.) Oil on canvas, 148 x 100 cm (at the National muzjeu in BelgradeKicenje 
Cockfighting (1920 - 1926.) Oil on canvas, 95 × 63 cm, (in the Gallery of Matica Serbian in Novi Sad)
The Great Migration 1896.) Oil on canvas, 190 × 126 cm (in the [National Museum in Pancevo [1])
The Great Migration and Migration of Serbs (1908, 1895). Heliogravura: sketch, pencil on paper, 94.8 h 62.3 - {cm} -, 119 h 84 - {cm} - (at the Museum of the City of Belgrade)
King Milutin (1906-1912.) Oil on canvas, 131.5 × 201 cm (at the Cathedral Church of Karlowitz)
Archbishop Danilo (1906-1912.) Oil on canvas, 121 x 200 cm (at the Cathedral Church of Karlowitz)
Crucifixion (1919.) Oil on canvas, 174 × 275 cm (at the Gallery of Matica Serbian in Novi Sad)
Portrait of wife MUNI (1925.) Oil on canvas, 73 × 99 cm (at the Gallery of Matica Serbian in Novi Sad)
Self-Portrait (after 1930.) Oil on canvas, 29 × 46 cm (at the Gallery of Matica Serbian in Novi Sad)
Tito (1947.) Oil on canvas, 100 × 150.5 cm (at the National Museum in Belgrade)
Tito ((1952). Sketch, pencil on paper, 30.5 h 24 - {cm} - (at the Museum of the City of Belgrade)
Fairyland - SAN Parsifal (1906). Lithographs and heliografija (the Museum of the City)
Portrait of Milutin Milankovic (1943.) Oil on canvas


Monday, April 18, 2011

The Minotaur by George Frederic Watts

The Minotaur

In this terrible figure, half man, half bull, gazing over the sea from the battlement of a hill tower, we see the artist's representation of the greed and lust associated with modern civilisations. The picture was exhibited at the Winter Exhibition of the New Gallery, 1896, and formed part of the Watts Gift in 1897. It hangs in the Watts Room at the Tate Gallery.

Italy, and particularly Florence, was perpetual fascination and inspiration to Watts. There he imbibed the influences of Orcagna and Titian--influences, indeed, which were clearly represented in the next monumental painting which he attempted. It came about that Lord Holland persuaded his guest to enter a fresh competition for the decoration of the Parliament Houses, and Watts carried off the prize with his "Alfred inciting the Saxons to resist the landing of the Danes." The colour and movement of the great Italian masters, conspicuously absent from the "Caractacus" cartoon, were to be seen in this new effort, where, as has been said, the English king stands like a Raphaelesque archangel in the midst of the design.

FromWatts (1817-1904) by William Loftus Hare

Sunday, April 17, 2011

Carl Larsson

Suzanne, 1894

Firstborn child, aged ten, standing on a stool in a corner of wall-painting designs and Renaissance grotesques.Pontus Fürstenberg, who had commissioned this picture, accoladed it and the adjacent portrait of Lisbeth with andadmiring '' Bravo, Bravo, Bravissimo'' and resquested the double portrait of the brothers on the facing page.

In the Hawthorn Hedge, undated. 

The red accent in the midst of the luxuriant green is typical of Carl Larsson's art.Illustration Page.

Esbjörn, 1900,

As indicated by title, which Larsson often insterted as a sign, Esbjörn, born in 1900 as their seventh child, constitutes the subject of the picture.The painter also takes this idea into account in the bodly intersected figure of the child's mother.

Portrait of Fath Аli-Shah by Mihr Ali

Fath Ali Shah

Signature of Mihr Ali
19th Century

Portrait of Fath Ali Shah

Fath Ali Shah

Fath Ali Shah
( Detail from Portrait )


Signature of Mirza Baba ( Artist )
With Date ( 1798–99 )

( With Roman Numbers )

George Frederic Watts


At the first glance it is rather strange that such a picture should bear such a title, but the imagery is perfectly true.The heavens are illuminated by a solitary star, and Hope bends her ear to catch the music from the last remaining string of her almost shattered lyre. The picture was painted in 1885 and given to the nation in 1897. A very fine duplicate is in the possession of Mrs. Rushton.]

It was a peculiar difficulty of his nature which led him to insist, on the occasions of the London and provincial exhibitions of his pictures, that the borrowers were to make all arrangements with his frame-maker, that he should not be called upon to act in any way, and that no personal reference should be introduced. Watts always considered himself a private person; he disliked public functions and fled from them if here were any attempt to draw attention to him. His habits of work were consistent with these unusual traits. At sunrise he was at his easel.During the hot months of summer he was hard at work in his London studio, leaving for the country only for a few weeks during foggy weather.

At the age of sixty-nine Watts married Miss Mary Fraser-Tytler, with whom he journeyed to Egypt, painting there a study of the "Sphinx," one of the cleverest of his landscapes. Three years after his return, he settled at Limnerslease, Compton, in Surrey, where he took great interest in the attempt to revive industrial art among the rural population.

Twice, in 1885 and 1894, the artist refused, for private reasons, the baronetcy that other artists had accepted. He lived henceforth and died the untitled patriot and artist, George Frederick Watts.

Picture is from


Watts (1817-1904) by William Loftus Hare

Louis Valtat

 Femme a la Guitare, 1906

Field of Corn, 1917

Flowers, 1913

Girls Playing with a Lion Cub, 1905-06

Italian Landscape, 1902

La Dentelliere, 1906

Paysage du Midi, 1902

Pines by the Sea, Antheor, 1899

Pines by the Sea, Antheor, 1899

Othon Friesz

Figures in a Landscape, 1908

La Ciotat, 1907

Sainte-Victoire Mountain, 1906

 The Port of Anvers, 1906

Saturday, April 16, 2011

Imam Hossein and Imam Hassan

'' Shi'i Islam has been the official religion of Iran from the Safavids (1501-1732) to the present day. The Shi'i world experience has provided a rich artistic tradition, encompassing painting, sculpture and the production of artefacts and performance, which has helped to embed Shi'i identity in Iran as part of its national narrative.'' *

The Art and Material Culture of Iranian Shi'ism: Iconography and Religious Devotion in Shi'i Islam
Pedram Khosronejad

Paul Signac

Return of the long boats

The Tower

Calm Morning



 The Harbour


Thursday, April 14, 2011

Robert Rauschenberg : Paintings



Factum 2



Booster from the series Booster and 7 Studies

Preview from the series Hoarfrost Editions

Robert Rauschenberg

Robert Rauschenberg (October 22, 1925 – May 12, 2008) was an American artist who came to prominence in the 1950s transition from Abstract Expressionism to Pop Art. Rauschenberg is well-known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance.He was awarded the National Medal of Arts in 1993.