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Fruit Bowl on a Table is a c. 1934 still-life oil painting by the French artist Pierre Bonnard which was bought by the city of Strasbourg in 1995 from the heiresses of Claude Roger-Marx. Today this painting is in the Musée d'Art moderne et contemporain .
Rideau, Cruchon et Compotier (English: Curtain, Jug and Fruit Bowl) is an oil on canvas painting created c. 1893 to 1894 by French artist Paul Cézanne. It is a formal still life composition that displays Cézanne's exploration of form, balance and symmetry in objects.
The following year he married Maria la Hoes and moved into the house that remained his residence for the rest of his life. [4] The couple had seven children. [5] Still life of tulips, carnations, a rose and other flowers. Jacob van Hulsdonck was the teacher of his son Gillis who later worked for a long period as a still life painter in ...
Still Life - Balsam Apples and Vegetables; Still Life (Braque, 1911) Still Life of a Lamb's Head and Flanks; Still Life of Fruit and Dead Fowl; Still Life of Fruit, Dead Birds, and a Monkey; Still Life with a Chinese Porcelain Jar; Still Life with a Guitar; Still Life with a Parrot; Still Life with a Peacock; Still Life with a Poem; Still Life ...
When van Gogh created still life paintings he was able to explore light and its effect on colors. A close-up of the bottle in Still Life with Straw Hat reveals that way in which van Gogh used varying shades of the same color to depict how light would fall, or be shaded, in the everyday items he painted from home or the garden. [4]
This cubist still life depicts apples, pears, a lemon and perhaps a banana in and around a fruit bowl on a table. The still life became a usual theme for cubist painters. In this painting, where the influence of Cézanne and Picasso is apparent, the fruits and the bowl expand beyond the confines of a singular viewpoint, and the traditional ...
Still Life with Carafe, Bottle, and Fruit, 1906 Watercolor and soft graphite on pale buff wove paper 48 x 62.5 cm. (18 7/8 x 24 5/8 in.) framed: 75.3 x 90 x 3.8 cm (29 5/8 x 35 7/16 x 1 1/2 in.) The Henry and Rose Pearlman Foundation, on long-term loan to the Princeton University Art Museum L.1988.62.47
At first he placed light subjects against a background, as in Still Life with Four Stone Bottles, Flask and White Cup (1884) Then he realized the effectiveness of using "pure colors, such as in Still Life with Lemons on a plate (1887) and even more so in Still Life: Drawing Board, Pipe, Onions and Sealing-Wax (1889)." [65]
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