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Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. [2] [3] Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. [4] Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas. [5] [6]
This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement." [30] [31] In 1953, Kenneth Noland and Morris Louis saw her Mountains and Sea which, Louis said later, was a "bridge between Pollock and what was possible."
A Girl with a Watering Can is an 1876 Impressionist oil painting on canvas by Pierre-Auguste Renoir. The work was apparently painted in Claude Monet's famous garden at Argenteuil, and may portray one of the girls in Renoir's neighborhood in a blue dress holding a watering can. [1] The painting is in the National Gallery of Art, in Washington, D.C..
In 1953, Louis and Noland visited Helen Frankenthaler's New York studio, where they saw and were greatly impressed by her stain paintings, especially Mountains and Sea (1952). Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application.
The Monk by the Sea: 1809 Oil on canvas 115 x 110 cm Berlin: Alte Nationalgalerie: The Abbey in the Oakwood: 1809 to 1810 Oil on canvas 110 x 171 cm Berlin: Alte Nationalgalerie [4] Giant Mountains Landscape with Rising Fog [Wikidata] 1809 to 1810 Oil on canvas 54.9 x 70.4 cm Munich: Neue Pinakothek: Mountain Landscape with Rainbow: 1810 Oil on ...
Mountain Landscape with Rainbow (German: Gebirgslandschaft mit Regenbogen), is an oil painting by the German Romantic artist Caspar David Friedrich, from 1809-1810.Depicting a traveler who has stopped to view a mountainous landscape with a rainbow shining above, the painting was inspired by Friedrich's travels through Germany and along the shores of the Baltic Sea in 1809.
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The various elements of the painting are unified through brushwork; short, crisp strokes were used to paint the grasses of the cliff, the girls' drapery and the distant sea. A sense of movement suggested by painterly calligraphy was a property of Monet's work in the 1880s, and is here used to connote the effect of a summer wind upon figures ...