books0977
books0977:

Daisy Weber (1907). Théo (Théophile) van Rysselberghe (Belgian, 1862–1926). Oil on canvas.
Van Rysselberghe’s was a Neo-Impressionism of strictly objective foundations, characterized by a faithful reconstruction in terms of light and optics of the environmental reality. Perhaps his greatest contribution to the style was a series of portraits and group portraits in interior as well as outdoor settings, unique among the Neo-Impressionists. 

books0977:

Daisy Weber (1907). Théo (Théophile) van Rysselberghe (Belgian, 1862–1926). Oil on canvas.

Van Rysselberghe’s was a Neo-Impressionism of strictly objective foundations, characterized by a faithful reconstruction in terms of light and optics of the environmental reality. Perhaps his greatest contribution to the style was a series of portraits and group portraits in interior as well as outdoor settings, unique among the Neo-Impressionists. 

books0977
books0977:

At the Studio (1894). José Ferraz de Almeida Júnior (Brazilian, 1850–1899). Oil on canvas. Sergio Sahione Fadel private collection. 
While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state.

books0977:

At the Studio (1894). José Ferraz de Almeida Júnior (Brazilian, 1850–1899). Oil on canvas. Sergio Sahione Fadel private collection. 

While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state.

books0977
books0977:

The Boyhood of Alfred the Great (1913). Edmund Blair Leighton (British, 1852-1922). Oil on canvas. Kirklees Museums and Galleries.
In the late 1890s Blair Leighton’s work took on a more poetical and even symbolist tinge, a passing phase. Perhaps because symbolism itself was losing its hold on popular imagination, or perhaps because it was not Blair Leighton’s natural territory, he was soon returning to more literal historical themes, this work being a prime example. 

books0977:

The Boyhood of Alfred the Great (1913). Edmund Blair Leighton (British, 1852-1922). Oil on canvas. Kirklees Museums and Galleries.

In the late 1890s Blair Leighton’s work took on a more poetical and even symbolist tinge, a passing phase. Perhaps because symbolism itself was losing its hold on popular imagination, or perhaps because it was not Blair Leighton’s natural territory, he was soon returning to more literal historical themes, this work being a prime example. 

exites
books0977:

Summer Sunlight (1892). Frederick Childe Hassam (American, Impressionism, 1859-1935). Oil on canvas. Israel Museum.
Hassam, while studying and painting in Paris, remarked, ”The American Section…has convinced me for ever of the capability of Americans to claim a school. Inness, Whistler, Sargent and plenty of Americans just as well able to cope in their own chosen line with anything done over here…An artist should paint his own time and treat nature as he feels it, not repeat the same stupidities of his predecessors…The men who have made success today are the men who have got out of the rut.”

books0977:

Summer Sunlight (1892). Frederick Childe Hassam (American, Impressionism, 1859-1935). Oil on canvas. Israel Museum.

Hassam, while studying and painting in Paris, remarked, ”The American Section…has convinced me for ever of the capability of Americans to claim a school. Inness, Whistler, Sargent and plenty of Americans just as well able to cope in their own chosen line with anything done over here…An artist should paint his own time and treat nature as he feels it, not repeat the same stupidities of his predecessors…The men who have made success today are the men who have got out of the rut.”