The Archers by Sir Henry Raeburn (1789-1790)
The Archers' is one of a small number of outstanding portraits from the early part of Raeburn's career, in which he employed an exceptionally accomplished and subtle fusion of arresting compositions and dramatic treatment of light and shade to create a sense of intimacy between the spectator and the sitters. The portrait is datable to about 1789 or 1790, when the young subjects were in their late teens. Robert and Ronald Ferguson became members of the Royal Company of Archers in 1792 and 1801 respectively and the contemporary revival of archery as a fashionable sport appears to have served as inspiration for the composition. The two brothers are shown in a striking and complex arrangement of contrasts. Robert is lit from the left, while Ronald behind him is shown entirely in shadow, gazing out at the viewer while framed in the tautened bow of his brother. The stillness, darkness and broad, confident application of paint combine to create a sense of hushed atmosphere, which is at once formal and verging on the romantic.
Mr and Mrs Andrew by Thomas Gainsborough (1750)
Gainsborough’s portrait of the newly-married Robert and Frances Andrews is typical of the genre of "conversation pieces;" informal group portraits which gained popularity in the middle of the eighteenth century in England. Unlike the formal, straightforward portraits which characterized earlier periods and locations, the "conversation piece" usually presented a small group of individuals in an outdoor space, engaged in discussion and unaware of the viewer’s presence. Mr. and Mrs. Andrews diverts from that tradition, as its sitters are clearly reacting to Gainsborough’s presence, but their relaxed poses and location in the English countryside connects them to the "conversation piece" tradition.
At the time Gainsborough executed this painting, he was a 23-year-old emerging artist working in city of Ipswich in the rural English county of Suffolk. As a teenager he served an apprenticeship in London and also received instruction from Hubert-François Gravelot, a popular Rococo engraver working in England’s capital city. In 1749 Gainsborough moved with his wife to Ipswich, 70 miles from London and just 20 miles from his birthplace of Sudbury, in Suffolk County. Robert Andrews and his future wife, then known as Frances Carter, also grew up in Sudbury, in much wealthier families. In his portrait of the pair, Gainsborough captures the barely-veiled disdain in Frances Andrews’ eyes and her wry smile. She and her husband are well aware that the portraitist, whom they would have known since childhood, is well below them on the social ladder.
Little worlds in the drops of paint..
Does anyone else see a smiley face in the middle blob?
2 2632 minutes ago
Sir Peter Paul Rubens - Samson and Delilah (1609-1610)
In the painting, the room is lit by the candle present on the left of the room. One can observe a lot of elements like perfume vessels, well embroidered clothes, statues of Venus and Cupid, etc. The centre of the painting is occupied by Samson and Delilah. Rubens uses the typical Greek figure to depict the body of Samson. He is shown with a toned body indicating his strength for which the Philistines want him dead. However, the sleeping Samson shows peacefulness through his face revealing his love towards Delilah and his complete trust over her. Delilah is the brightest figure and probably the saddest as well, in the painting and is half naked. This shows that she has lured Samson with her beauty so that she can know the secret of his strength. But, her face suggests that she feels the guilt of her misdoings. This thought has probably arrived to Rubens from The Bible, where after letting the Philistines know about his secret several times, she immediately informs Samson about the entering of the enemies. It can also be observed that she doesn’t take part in removal of hair. She places one hand on Samson in a caring manner and the other hand is on the bed. The person cutting the locks of Samson is shown with cross hands, indicating an act of deceit. The woman besides him holds a candle for the act and is shown as a wicked one [as she suits the description of a witch in the Middle Ages]. The Philistines are too afraid to come near Samson and stand outside with an expression of fear and awe. One of the guards secretly watches the act while the others seem not to keen to involve themselves in ‘watching’ Samson.
The most unique aspect about the painting of Rubens is the presence of the statues of Venus and Cupid. Samson is often compared to Hercules, when it comes to strength and people believe that the story of Samson is created based on the myth of the Greek demigod. This clearly shows that Peter Rubens is in support of this theory.
I always have a hard time coming up with names for pieces. I always think if Jupiter when I use this burnt orange color. 🤦🏽♀️ problems of an abstract artist I guess!! What do you guys think?! This little guy is 4x4 and is for sale at a DISCOUNT for only $10 plus shipping 😍😍😍
Sneak peak at my newest live edge piece. It needs sanding and there's a popsicle stick stuck to the back 😂 whoops haha .
@countertopepoxy for the ultra glossy resin and there beautifully shimmery pigments 😍
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So honored to sit down with local artist @Redideo and learn about his fluid painting records. Check out his gallery and DM him to place an order for yourself.
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