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5 facts about the painting ‘Religious procession in Kursk Province’
1. This painting by Ilya Repin has more than seventy characters! The artist depicted people of all classes – peasants, clergymen, nobles, military, police and even beggars.
2. The author worked on it for seven years. He created several versions, traveled to the Kursk province in search of inspiration and to see the procession with his own eyes.
3. The religious procession took place in the ninth week after Easter and was considered the most massive in Russia. It gathered up to 60,000 people. Believers accompanied the Kursk-Root Icon of the Mother of God ‘Znamenie’ (‘Sign’) from the Znamensky Monastery in Kursk, where it was kept, to the Korennaya Pustyn Monastery, the place of its discovery. And, on September 12, the icon was brought back with the same honors.
4. In 1883, the painting was presented at the exhibition of the ‘Peredvizhniki’ – there, it was immediately bought by philanthropist Pavel Tretyakov and placed in the Tretyakov Gallery.
5. Repin was very fond of making changes to his paintings, even after they were sold. ‘The Religious Procession’ was no exception: the artist decided to add dust swirling over the road and, at the same time, to make it less red. The collector responded to this with restraint: “I really noticed the changes in your paintings; it seems they haven’t spoiled it.”
Credit: Tretyakov gallery
🤓Gateway to Russia
🎨 The Route Nationale at Samer, unknown date
by Jean Charles Cazin 🇫🇷
oil on canvas, 105.4 x 122.6 cm
Metropolitan Museum of Art, USA
About the artwork:
"The Route Nationale at Samer" likely depicts a scene along a national road in the town of Samer, in the Pas-de-Calais region of France. This painting would typically feature a view of the road as it travels through the landscape, possibly lined with trees or adjacent fields, capturing a moment of everyday rural life.
🎨 Gray Day, Goochland, 1884
by George Inness 🇺🇸
oil on plywood panel, 18 x 24 cm
The Phillips Collection, USA
About the artwork:
"Gray Day, Goochland" likely depicts a landscape scene in Goochland County, Virginia. This work would typically showcase Inness's ability to convey the subtleties of light and weather, capturing the overcast, muted tones of a gray day. The painting might feature a rural landscape, possibly with elements like fields, trees, and a distant horizon, all rendered in a soft, diffuse light that reflects the cloudy weather.
🎨 Evening in the Woods, 1876
by Worthington Whittredge 🇺🇸
oil on canvas, 107.5 x 91.7 cm
Metropolitan Museum of Art, USA
About the artwork:
"Evening in the Woods" likely depicts a serene forest scene at dusk, capturing the quiet and peaceful atmosphere of the woods as daylight fades. The painting would typically feature a dense array of trees with a soft, muted light filtering through the branches, highlighting the textures of the foliage and the forest floor.
🎨 Lemminkäinen's Mother, 1897
by Akseli Gallen Kallela 🇫🇮
tempera on canvas, 108.5 x 85.5 cm
Ateneum, Finland
About the artwork:
The painting captures the moment of intense grief and maternal love as Lemminkäinen's mother cradles her son's lifeless body in her arms, attempting to revive him. This scene is depicted with deep emotional resonance, utilizing a stark and moody palette that reflects the somber mood of the narrative. The background likely features a dark, symbolic landscape that emphasizes the tragedy and the mystical elements of the tale.
🎨 Portrait of the Ladies Amabel and Mary Jemima Yorke, c. 1761
by Joshua Reynolds 🇬🇧
oil on canvas, 196 x 170 cm
Cleveland Museum of Art, USA
About the artwork:
This portrait likely features the Yorke sisters, Amabel and Mary Jemima, depicted in an opulent setting that reflects their social status and the refined tastes of the period. Reynolds was known for his ability to imbue his portraits with both psychological depth and decorative grandeur, using poses and expressions that reflect the personalities and relationships of his subjects.
🎨 Simo and his former slave Sosia. From Terence´s Andria, 1803
by Abildgaard 🇩🇰
oil on canvas, 142 × 157.5
Statens Museum for Kunst, Denmark
About the artwork:
This painting is based on Terence’s play "Andria," a comedy written by the ancient Roman playwright, which explores themes of love, mistaken identity, and family dynamics. The scene depicted by Abildgaard likely portrays a pivotal moment between Simo, a wealthy Athenian gentleman, and his former slave, Sosia. The interaction might depict a discussion or confrontation that highlights themes of freedom, social status, or personal loyalty, which are central to the play.
🎨 Madame Roulin and Her Baby, 1888
by van Gogh 🇳🇱
oil on canvas, 63.5 × 50.8 cm
Metropolitan Museum of Art, USA
About the artwork:
In this painting, van Gogh's style is characterized by his expressive use of color and bold, emphatic brushstrokes, which convey emotional depth and texture. The background is typically simplified, allowing viewers to focus on the figures themselves, rendered with warmth and humanity. The colors are rich and vivid, reflecting van Gogh’s interest in color theory and his ability to use hues to express emotions and enhance the psychological depth of his subjects.
Madame Roulin is portrayed with a gentle expression, cradling her baby, who is a bundle of calm in her arms. The interaction is depicted with a sense of immediacy and closeness that is typical of van Gogh’s portraits, where the soul of the subject is as important as the external likeness.
🎨 White peacock, 1915
by Abanindranath Tagore 🇮🇳
watercolor paint, 25.4 x 17.7 cm
Victoria Memorial, India
About the artwork:
In "White Peacock," Tagore would likely have portrayed the peacock with a nuanced expression of its form and texture, focusing on capturing the essence and beauty of the bird, which is a significant symbol in Indian culture, representing grace, pride, and beauty. The use of watercolor would allow Tagore to achieve subtle gradations of color and fine details, highlighting the peacock's majestic plumage and delicate features.
🎨 Ariadne Watching the Struggle of Theseus with the Minotaur, 1815 - 1820
by Henry Fuseli 🇨🇭
Brown wash, oil, white gouache, white chalk, gum and graphite, 61.6 x 50.2 cm
Yale Center for British Art, USA
About the artwork:
In the artwork, Ariadne is likely portrayed in a state of distress or anticipation, her figure rendered with dramatic gestures and expressions, characteristic of Fuseli’s approach to capturing human emotion. The Minotaur and Theseus would be engaged in a violent struggle, possibly depicted in a dynamic and tumultuous manner, emphasizing the physicality and danger of the encounter.
The use of mixed media in this work allows Fuseli to achieve varied textures and depth, with the brown wash providing a shadowy, ominous background that enhances the drama of the scene. White gouache and chalk might be used to highlight key figures and elements, drawing the viewer’s eye to the central action and to Ariadne’s emotional response.
🎨 Seated Woman, c. 1923 –1924
by Chaim Soutine 🇷🇺
oil on canvas, 65 x 54 cm
Cleveland Museum of Art, USA
About the artwork:
In this painting, the woman might be depicted with exaggerated and elongated features, set against a blurred or dynamically painted background that enhances the emotional impact of the portrait. Soutine’s use of color would be bold and expressive, with a palette that could include stark contrasts and vibrant hues to highlight the emotional state and personality of the seated woman.
🎨 Landscape with St John the Baptist Preaching, 16th century
by Joachim Patinir 🇧🇪
oil on oak wood, 36.5 x 45 cm
Royal Museums of Fine Arts of Belgium, Belgium
About the artwork:
In "Landscape with St John the Baptist Preaching," Patinir likely presents the figure of St. John the Baptist as a small but focal element within a grand, sweeping landscape. This work would typically feature St. John depicted in the act of preaching to a group of diminutive figures, set against a backdrop that showcases Patinir's mastery of landscape painting.
The composition would include intricate detailing of natural elements—rocky terrains, distant mountains, lush foliage, and bodies of water, all rendered with a remarkable depth of perspective. Patinir’s landscapes are known for their layered and atmospheric qualities, with a use of color that enhances the depth and realism of the scene.
🎨 Nanny and Child, 1877 - 1878
by Eva Gonzales 🇫🇷
oil on canvas, 65 x 81.4 cm
National Gallery of Art, USA
About the artwork:
"Nanny and Child" likely depicts an intimate, everyday scene of a nanny caring for a child, a subject matter that reflects Gonzalès' interest in the roles of women and children in society. The painting would typically show the nanny engaged in a nurturing act, such as feeding, playing, or walking with the child, set against a backdrop that emphasizes a domestic or outdoor setting.
🎨 The Attributes of the Arts and the Rewards Which Are Accorded Them, 1766
by Siméon Chardin 🇫🇷
oil on canvas, 113 x 145 cm
Minneapolis Institute of Art, USA
About the artwork:
The Attributes of the Arts and the Rewards Which Are Accorded Them" likely depicts various symbolic objects associated with the arts—such as musical instruments, painter’s tools, books, and possibly laurel wreaths or other items symbolizing the rewards and recognition given to the arts. These objects would be arranged in a carefully balanced composition, showcasing Chardin’s skill in still life painting
🎨 Royal Visit 1925, 1925
by Harry Caldecott 🇿🇦
oil on canvas, 56 x 41 cm
Iziko South African National Gallery, South Africa
About the artwork:
This painting would typically depict the scene of the royal visit with a focus on the figures, possibly including the royal visitors and their entourage, amidst a gathering of dignitaries and spectators. The setting might be a notable location in South Africa, rendered with attention to architectural and natural details that signify its importance and the solemnity of the occasion.
🎨 The Cricket Match (Malay Quarter), 1924
by Harry Caldecott 🇿🇦
oil on panel, 44.5 x 60 cm
Iziko South African National Gallery, South Africa
About the artwork:
The painting would typically depict an animated cricket match in an urban setting, possibly with the colorful architecture of the Malay Quarter as a backdrop. The scene would be lively, capturing the energy and excitement of the game with spectators and players intermingled. Caldecott's use of vibrant colors and dynamic compositions would bring this community event to life, emphasizing the joy and communal spirit of the occasion.
🎨 A Moonlit Scene with a Winding River, c. 1827
by Samuel Palmer 🏴
watercolor, 26.7 x 18.1 cm
Yale Center for British Art, USA
About the artwork:
This painting likely depicts a serene nocturnal landscape illuminated by moonlight, featuring a winding river that gracefully meanders through the scene. Palmer's landscapes are known for their rich, detailed texture and atmospheric effects, which are particularly challenging to capture using watercolor.
🎨 An Architectural Capriccio of the Roman Forum with Philosophers and Soldiers among Ancient Ruins, including the Arch of Janus Quadrifrons, the Sarcophagus of Santa Constanza, the Farnese Hercules and the Cincinnatus, c. 1745 - 1750
by Giovanni Paolo Panini 🇮🇹
oil on canvas, 98.4 x 135 cm
National Museum of Western Art, Japan
About the artwork:
This painting, as suggested by its title, is a complex architectural fantasy that combines various famous Roman landmarks and sculptures within a single composition. The Arch of Janus Quadrifrons, known for its four-faced structure, and the Sarcophagus of Santa Constanza, along with the renowned Farnese Hercules statue and a depiction of Cincinnatus, an exemplar of Roman virtue, are all elements that Panini masterfully integrates into a cohesive scene.
In this capriccio, Panini would typically arrange the architectural elements amidst the ruins, with philosophers and soldiers populating the scene, possibly engaging in debate or contemplation. This interaction between the figures and their surroundings not only animates the landscape but also serves to reflect the intellectual and cultural vibrancy of Rome as a timeless center of learning and power.
🎨 A game of L'hombre in Brøndum's Hotel, 1885
by Anna Palm 🇸🇪
oil on canvas, 52.4 x 35.6 cm
Skagens Museum, Denmark
About the artwork:
The painting "A Game of L'hombre in Brøndum's Hotel" likely captures a social scene inside Brøndum's Hotel, a well-known gathering place for the Skagen artists. The artwork would typically depict a group of individuals engrossed in playing L'hombre, a popular card game in the 19th century. The scene is probably set in a cozy room, with the figures portrayed in mid-game, highlighting their expressions and the dynamics of the game.
🎨 The Waltz, 1891
by Anders Zorn 🇸🇪
etchin and drypoint, no informations
Cleveland Museum of Art, USA
About the artwork:
In "The Waltz," Zorn likely depicts a couple in the midst of a dance, characterized by elegant and fluid motion. The scene would be set either at a social gathering or a ball, capturing the elegance and excitement of the event. Zorn’s skill in drypoint allows for rich textural details in the clothing and background, enhancing the realism and immediacy of the scene.
🎨 The Money Diggers, 1831
by John Quidor 🇺🇸
oil on canvas, 40.5 x 53.2 cm
Brooklyn Museum, USA
About the artwork:
"The Money Diggers" likely illustrates a scene from Washington Irving's "The Devil and Tom Walker," a story that involves buried pirate treasure and a deal with the devil. This subject would be typical of Quidor's interest in the themes of American legend and superstition. The scene probably shows the characters in the act of digging for treasure, possibly with an ominous or supernatural atmosphere conveyed through the dramatic use of lighting and shadow.
🎨 Omnibus, 1892
by Anders Zorn 🇸🇪
etchin, no informations
Cleveland Museum of Art, USA
About the artwork:
The work titled "Omnibus" likely depicts a scene involving an omnibus, a horse-drawn vehicle commonly used for public transport in the late 19th century. The composition would typically focus on the interaction between the passengers and the motion of the vehicle, possibly capturing a lively street scene or a more intimate moment inside the omnibus.
🎨 Kynance, 1888
by John Brett 🇬🇧
oil on canvas, 17.8 x 35.9 cm
Metropolitan Museum of Art, USA
About the artwork:
"Kynance" likely depicts Kynance Cove in Cornwall, England, renowned for its outstanding beauty and dramatic coastal scenery. The painting would typically feature the distinctive rocky outcrops and turquoise waters of the cove, rendered with precision and a keen eye for the interplay of light on water and stone.
In this work, Brett’s use of color would be both subtle and vibrant, capturing the natural hues of the seascape with a realism that pulls the viewer into the scene. The composition would likely be panoramic, despite the small size of the canvas, offering a sweeping view of the cove that highlights the grandeur and scale of the natural landscape.
🎨 The Rest on The Flight into Egypt, unknown date
by Adam Elsheimer 🇩🇪
oil on copper, 29 x 39 cm
Schloss Weißenstein, Germany
About the artwork:
In "The Rest on The Flight into Egypt," Elsheimer likely depicts the Holy Family during their escape to Egypt, a common subject in Christian art that portrays Joseph, Mary, and the infant Jesus resting during their journey. This scene typically includes serene and intimate interactions between the family, set against a detailed landscape that reflects the calm and protective moment of rest.
🎨 Aqueduct in Ruins, unknown date
by Hubert Robert 🇫🇷
oil on canvas, 81.6 x 137.5 cm
Metropolitan Museum of Art, USA
About the artwork:
"Aqueduct in Ruins" likely portrays the remnants of a grand aqueduct set in an idyllic landscape. This theme is typical of Robert’s work, where ruins serve not only as a reminder of the past but also as a stark, aesthetic contrast to the enduring vitality of nature. The aqueduct, possibly inspired by Roman architecture, would be depicted amidst lush vegetation, with perhaps figures of people using the structure in new ways, such as for shelter or as a gathering place, which adds layers of narrative and depth to the scene.
In this painting, Robert’s use of light and shadow would play a crucial role in enhancing the textural details of the crumbling stone and the vibrant, overgrown foliage. His color palette would likely be earthy and natural, punctuated with the greens of nature and the greys and browns of stone, creating a harmonious and balanced composition.
🎨 Chrysanthemum, 1906 – 1942
by Piet Mondrian 🇳🇱
oil on canvas, 41.5 x 38.5 cm
Cleveland Museum of Art, USA
About the artwork:
This painting likely depicts a close-up view of a chrysanthemum flower, showcasing Mondrian’s interest in floral subjects, which were prevalent in his work before his shift towards complete abstraction. During this phase, his paintings often displayed a delicate handling of color and form to capture the essence of his subjects.
🎨 In the Sand-pit, 1901
by Henry Keller 🇺🇸
oil on canvas, 61 x 53.3 cm
Cleveland Museum of Art, USA
About the artwork:
Henry Keller, known for his landscape and genre paintings, often captured scenes of everyday life with a focus on the natural surroundings and activities of ordinary people. "In the Sand-pit" likely depicts a scene involving labor or play within a sand pit, a subject that offers a glimpse into the daily lives of its figures, perhaps children at play or workers extracting sand.
🎨 Ruins of the Château de Pierrefonds, 1825 - 1872
by Camille Corot 🇫🇷
oil on canvas, 74.5 x 106.4 cm
Cincinnati Art Museum, USA
About the artwork:
"Ruins of the Château de Pierrefonds" depicts the historic French castle located in Pierrefonds, which is known for its dramatic ruins and picturesque setting. This painting likely captures the ruins amidst a lush landscape, reflecting Corot's ability to harmonize architecture with its surrounding environment.
🎨 Roman Girl at a Fountain, 1875
by Léon Bonnat 🇫🇷
oil on canvas, 170.2 x 100.3 cm
Metropolitan Museum of Art, USA
About the artwork:
The painting would typically feature the young woman dressed in traditional or period clothing, emphasizing her beauty and the cultural context of the scene. Bonnat's skillful rendering of textures—from the fabric of the woman's clothes to the stone of the fountain and the water's reflective surface—would be evident, showcasing his attention to detail and mastery of light and shadow.
The composition of "Roman Girl at a Fountain" is likely balanced and carefully structured, with the fountain serving as a central focal point around which the scene is organized. The use of light would be particularly notable, with Bonnat possibly using it to highlight the figure's facial features and the water's movement, enhancing the painting's realism and emotional impact.