Tutt'Art@ | Pittura * Scultura * Poesia * Musica

David Renshaw, 1973 | Romantic painter

noreply@blogger.com (TuttArt Bihiku) — Mon, 21 Sep 2026 22:57:04 +0000

David Renshaw (born in Southport, England) is a contemporary British artist celebrated for his romantic oil paintings and nostalgic landscapes.

He is best known for his popular "Northern Romance" series, which captures the enduring love story and travel adventures of two iconic characters, Ted and Doris.

Renshaw discovered his love for art early in life and went on to study graphic design, developing a foundational mastery of diverse mediums.

While fulfilling early watercolor and sketch commissions, he spent years working as a picture framer for a local art gallery.

Surrounded by fine art ranging from old masters to contemporary pieces, he was inspired to pursue painting full-time.

His paintings are highly recognizable for their rich, warm sunsets, atmospheric light, and the vibrant red heart that always accompanies Ted and Doris to symbolize timeless affection and shared life paths.

Today, his original oils and limited-edition prints are highly collectible, with his works hanging in private collections across the UK, Europe, the United States and Canada.

David Renshaw (nato a Southport) è un artista contemporaneo Britannico, noto principalmente per i suoi paesaggi evocativi e per la celebre serie pittorica "Northern Romance".

Le sue opere combinano colori intensi, un uso suggestivo della luce ed una forte componente narrativa incentrata sull'amore, la nostalgia e la memoria.

Ha manifestato una forte passione per il disegno fin dall'infanzia.

Ha approfondito i suoi studi nel campo del graphic design, un percorso che gli ha permesso di sperimentare con diversi tipi di media e tecniche espressive.

Prima di dedicarsi alla pittura a tempo pieno, ha lavorato per molti anni come corniciaio in una galleria d'arte.

Questa esperienza gli ha consentito di rimanere a stretto contatto con l'ambiente artistico e di affinare il proprio occhio critico.

Successivamente ha scelto di seguire interamente la sua vocazione artistica.

Oggi realizza dipinti a olio originali e stampe a tiratura limitata direttamente nel suo studio, e le sue opere sono incluse in numerose collezioni private in tutto il mondo.

È la sua linea di opere più famosa ed amata. Segue le vicende ed il viaggio sentimentale di due personaggi iconici, Ted e Doris, catturati in momenti intimi, romantici e quotidiani che celebrano la bellezza delle cose semplici.

I suoi sfondi presentano spesso romantici cieli al tramonto, paesaggi innevati o vedute collinari (come quelle del Lake District) caratterizzati da un calore emotivo avvolgente e nostalgico.

Michel Rauscher, 1957 | Abstract painter

noreply@blogger.com (TuttArt Bihiku) — Mon, 21 Sep 2026 21:14:06 +0000

Michel Rauscher painter and photographer, born in Alsace is a passionate autodidact.

Great traveler, he takes his endless curiosity in regions, on land that fascinated him in search of color, light and authenticity, with a predilection for the African continent.

His need for discovery and the interpretation of dreams become sources of inspiration for his painting.

It evokes the beauty of the everyday magic of ordinary, the emotion of the moment.

He expresses his artistic sensibility with timeless themes, stylized characters in cracked places, evocative and poetic silhouettes causing emotion and enthusiasm.

Michel Rauscher is mesmerized by the mystery, the light and colors of Africa and Asia.

"I like to blend into the local scene and observe the past being reborn from the cover of the present".

Working primarily with oil on wood and canvas, Michel creates stylized scenes of African life and elsewhere, complete with its sadness, joys and mystery.

His pieces have been exhibited throughout France, including Paris, Lyon and Strasbourg, as well as Luxembourg, Germany and the Netherlands and he has traveled extensively throughout Asia.

His paintings know no boundaries, and are an interpretation of his dreams, his passions, and of places that are everywhere and nowhere.

Michel has been commissioned by Amnesty International to create brochures and cards.

The CREATION

✍ "My inspiration arose from the fusion of my thoughts and lived moments.

Creation releases certain emotions, it prohibits the stifle or silence.

Each painting is a step of walking on a path of hope. It contains the echo of words and memories of smiles.

A gesture, lines and colors offered to our sight become a dialogue.

The space opens, we guess the wind, we forget the time. Light radiates".

✍ "I forget what surrounds the canvas.

I'm lost, I sink into it. I dream.

Touching my paintings with the tip of my brush in a sensual communion, I rise to characters who inhabit cracked spaces.

They come from my memories of men with original traditions.

Every moment of painting is a journey, an issue that wakes up the whole man.

Each travel colors my memory, serves me as a mirror to look deep within myself.

Each trip invites me to walk without feeling fatigue, soothing my moods".

Wandering

✍ "Light and shadows enter my mind, draw marks on the adobe walls that the sun colors in tan and ocher.

I visited blue cities, white towns surrounded by golden sands, cities of dreams.

Animals horned by crescent moons moving in a cloud of dust magnified by the sun.

The wind stirs the embers, the air is adorned with a transparent vapor of evening".

✍ "Mysterious wanderings on land that fascinates and absorbs me.

But also, there is the fear of depression, rebellion, disillusionment of man, the greedy of power, hostile nature.

The meeting of impostors whose charm breaks after deceit".

✍ "I carry the memory of the smell of earth and water, hot stone and burned wood. Memories selected by bits of string, rusted wire.

I let myself be seduced by the strangeness that carries the wind.

I am a seeker of recesses that magnify the ordinary, a white colorist who loves black".

Dreams and Reality

✍ "At twenty, I arrived in Tangier, crossing the gateway to Africa.

I was then seized by the irreversible virus of curiosity, I had to explore the unknown, discover contrasting country which combines the worst and laughter, warmth and tears.

The journey begins long before the day when you take the road, when hearing a need for space, light, unremitting exchange and a quest for yourself.

For those who really want, the appearance of the world reveals its intimate splendor and timeless magic drawn from the sanctuary of origins.

The world fascinates me and amazes me, this is a dream decor with its graceful puzzles".

✍ "The richness of the African is not palpable, it is all in the meanings and secrets that imperceptible holders are diviners, healers, seers, potters, marabouts, blacksmiths, weavers, tanners, trackers and insiders.

Why did I go where the emotion is so alive and powerful?

In return, I feel distraught, unable to regain my minds, overwhelmed by too many memories of life and survival.

The paintings are born well after".

Michel Rauscher (nato in Alsazia) è un celebre pittore e fotografo Francese autodidatta.

È universalmente riconosciuto come una delle figure emblematiche della cosiddetta "sensibilità etnica" nell'arte contemporanea.

Le sue opere fondono elementi di arte naïf e figurativismo astratto, traendo profonda ispirazione dai suoi innumerevoli viaggi, in particolare nel continente africano ed in Asia, oltre che dall'esplorazione del mondo onirico.

Le sue tele presentano spesso figure umane ed eleganti silhouette allungate che trasmettono un profondo senso di poesia, serenità ed atemporalità.

Uno dei tratti distintivi di Rauscher è l'utilizzo di texture materiche e sfondi screpolati, che evocano il calore delle terre aride, la storia e lo scorrere del tempo.

Ispirato dai caldi scenari africani, fa un uso magistrale di tonalità ocra, calde sfumature di rosso, blu profondi e ori, catturando la "magia dell'ordinario" e la spiritualità dei gesti quotidiani.

Lavora prevalentemente con la pittura ad olio ed acrilica stesa su supporti come il legno o la tela, affiancando alla pittura una prolifica attività fotografica.

Oggi l'artista vive e lavora nel sud della Francia (a Sète) quando non è in viaggio, e le sue riproduzioni ed esibizioni hanno riscosso un successo planetario, collaborando in passato anche con organizzazioni umanitarie come Amnesty International.

Dutch Art History and Sitemap

noreply@blogger.com (TuttArt Bihiku) — Wed, 16 Sep 2026 22:08:43 +0000

Dutch art describes the history of visual arts in the Netherlands, after the United Provinces separated from Flanders.

Earlier painting in the area is covered in Early Netherlandish painting and Dutch and Flemish Renaissance painting.

The history of Dutch art is dominated by the Dutch Golden Age painting, mostly of about 1620-1680, when a very distinct style and new types of painting were developed, though still keeping close links with Flemish Baroque painting.

Johannes Vermeer | The Allegory of Painting, 1666 | Art in Detail

Romee Kanis, 1953 | Figurative sculptor

There was a healthy artistic climate in Dutch cities during the seventeenth century.

For example, between 1605-1635 over 100,000 paintings were produced in Haarlem.

At that time art ownership in the city was 25%, a record high.

After the end of the Golden Age, production of paintings remained high, but ceased to influence the rest of Europe as strongly.

Many painters, sculptors and architects of the seventeenth century are called "Dutch masters", while earlier artists are generally referred to as part of the "Netherlandish" tradition.

An individual work's being labelled or catalogued as "Dutch School" without further attribution indicates that an individual artist for the work cannot be ascertained.

The Hague School of the 19th century re-interpreted the range of subjects of the Golden Age in contemporary terms, and made Dutch painting once again a European leader.

Rembrandt | The Return of the Prodigal Son, 1668 | Art in Detail

In the successive movements of art since the 19th century, the Dutch contribution has been best known from the work of the individual figures of Vincent van Gogh and Piet Mondrian, though both did their best work outside the Netherlands, and took some time to be appreciated.

Amsterdam Impressionism had a mainly local impact, but the De Stijl movement, of which Mondrian was a member, was influential abroad. | © Wikipedia

List of Dutch Artists: Painters, Sculptors, Photographers, Poets, Musicants, Writers published on Tutt'Art@

André Rieu, 1949 | The King of Waltz

Lotta Blokker, 1980 | Figurative sculptor

Gerrit Dou | Baroque Era painter

Liseth Visser | Classical Realist painter

L'arte Olandese descrive la storia delle arti visive nei Paesi Bassi, dopo che le province unite si separarono dalle Fiandre.

La pittura precedente nell'area è coperta dalla pittura dei primi Paesi Bassi e dalla pittura rinascimentale olandese e fiamminga.

La storia dell'arte olandese è dominata dalla pittura olandese dell'età d'oro, per lo più dal 1620-1680 circa, quando furono sviluppati uno stile molto distinto e nuovi tipi di pittura, pur mantenendo stretti legami con la pittura barocca fiamminga.

Cornelis Van Poelenburgh | Dutch Golden Age Landscape painter

C'era un clima artistico salutare nelle città olandesi durante il diciassettesimo secolo.

Ad esempio, tra il 1605-1635 furono prodotti oltre 100.000 dipinti ad Haarlem.

A quel tempo la proprietà artistica in città era del 25%, un livello record.

Dopo la fine dell'età d'oro, la produzione di dipinti rimase alta, ma cessò di influenzare il resto dell'Europa con la stessa forza.

Vincent van Gogh | The Wheat Field series / La serie Campi di grano

Molti pittori, scultori e architetti del diciassettesimo secolo sono chiamati "maestri olandesi", mentre gli artisti precedenti sono generalmente indicati come parte della tradizione "olandese".

Un'opera individuale che viene etichettata o catalogata come "Scuola olandese" senza ulteriore attribuzione indica che un singolo artista per l'opera non può essere verificato.

Ellen de Groot, 1959 | Realistic Figurative /Portrait painter

La scuola dell'Aia del XIX secolo reinterpretò la gamma di soggetti dell'età dell'oro in termini contemporanei e rese la pittura olandese ancora una volta un leader europeo.

Nei successivi movimenti dell'arte dal 19° secolo, il contributo olandese è stato meglio conosciuto dal lavoro delle singole figure di Vincent van Gogh e Piet Mondrian, sebbene entrambi abbiano fatto il loro miglior lavoro fuori dai Paesi Bassi, e ci sia voluto del tempo per essere apprezzato.

L'impressionismo di Amsterdam ebbe un impatto principalmente locale, ma il movimento De Stijl, di cui Mondrian era membro, ebbe un'influenza all'estero.

Hans Jochem Bakker, 1948 | Portrait Mixed media painter

Liseth Visser, 1960 | Classical Realist painter

noreply@blogger.com (TuttArt Bihiku) — Wed, 16 Sep 2026 22:03:43 +0000

Dutch artist Liseth Visser a.k.a. ElisabethV paints her pictures in a classic realistic way using oils.

She paints on panels and works both on a commission and non-commission basis.

She uses a traditional labour-intensive technique with under-layers, under-paintings and lots of (half) transparent to create softness, depth and glow within the final layers, this to achieve a natural and realistic skin tone in a poetic ambiance.

Liseth was given the rare opportunity to paint under the mentorship of Cornelis Le Mair.

This exceptional and international successful artist inspired her with his mentorship, master classes and advice to such an extent that she took up a study at the Academy of Fine Arts in Belgium.

In the meantime, Liseth quitted her managers job, the deadlines, competition and haste and exchanged it with a life surrounded by art.

She works and lives in Veghel, in a traditional English ambiance where she finds both a wealth of inspiration as well as a splendid surrounding to display her art.

Liseth appreciates the beauty of life and seeks ways to translate and narrate this into her classic yet contemporary portraits.

Le opere della pittrice Olandese Liseth Visser combinano l'influenza dei Grandi Maestri del passato con una sensibilità moderna.

Vive e lavora a Veghel, nella provincia del Brabante Settentrionale (Paesi Bassi), dove gestisce anche la sua scuola privata di pittura (Privat Portrait School) in cui tiene regolarmente corsi e workshop.

Per dedicarsi alla sua passione per la pittura ha lasciato il lavoro di amministratore nella compagnia del cioccolato Mars.

Ha iniziato a prendere lezioni dall'artista Cornelis Le Mair, che ha convinto Lisette a studiare pittura.

Si è diplomata alla Royal Academy of Fine Arts di Bruxelles, in Belgio.

Ha sviluppato il proprio stile di pittura sotto l'influenza delle opere di antichi maestri e la tendenza della modernità.

Utilizza la tecnica dell'inchiostro multistrato e diversi livelli lo rendono trasparente.

Ciò consente di ottenere un colore morbido e una luce intensa.

Vito Gaarin, 1980 | Surrealist artist

noreply@blogger.com (TuttArt Bihiku) — Mon, 14 Sep 2026 21:40:57 +0000

Vito Gaarin is a self-taught, multi-disciplinary artist, sculptor and musician -born in Teschen, Poland, who has been based in Berlin.

He explores multi-disciplinary works intersecting fine art, installations and sound/musical compositions.

His painting and visual portfolio highlights a unique combination of traditional techniques, digital painting and mixed media.

Gaarin produces work across multiple formats, including digital art, sculpture, painting, photography and mixed media.

He showcases his pieces-which often touch on concepts like power structures, freedom and identity-through his Vito Gaarin Art Facebook Page and the Vito Gaarin Art Instagram Profile.

As a musician, he is recognized for exploring experimental guitar techniques, including open and oriental tunings, as well as shamisen-style guitar tuning.

His paintings often present deep social commentaries, surreal metaphors and philosophical reflections.

Recurring concepts in his portfolio cover themes like the burden of conformity, the illusion of freedom, environmental extraction and human psychology.

Vito Gaarin è un artista autodidatta e multidisciplinare, scultore e musicista nato a Teschen, in Polonia e residente a Berlino.

Esplora opere multidisciplinari che uniscono arte figurativa, installazioni e composizioni sonore/musicali.

Il suo portfolio di pittura e visualizzazione evidenzia una combinazione unica di tecniche tradizionali, pittura digitale e supporti misti.

I suoi dipinti presentano spesso commenti sociali profondi, metafore surreali e riflessioni filosofiche.

I concetti ricorrenti nel suo portafoglio coprono temi come il peso del conformismo, l'illusione della libertà, l'estrazione ambientale e la psicologia umana.

Antoine Jossé, 1970 | Surrealist sculptor

noreply@blogger.com (TuttArt Bihiku) — Thu, 10 Sep 2026 22:15:42 +0000

Antoine Josse is a French artist, born in 1970.

His paintings and sculptures express an irrepressible desire for lightness, escapism and to be able to dream the impossible.

The use of captivating and revealing motifs, along with the presence of human beings immersed in a dream-like landscape, convey a unique charm to his work.

His paintings are alluring for their atmosphere, evocative colours, and tumultuous skies.

The minuscule beings are settled in a desolated and dangerous world where the vegetation rapidly spreads, bringing to life dramatic reds, blues and greens, creating spectacular yet enigmatic feelings.

He comments, "I imagine my paintings and sculptures as the moments of a story and it's up to you to create the whole story.

There are several different scenarios, and that's what I appreciate: the diversity of your looks.

You are an actor of this exhibition: Look! Imagine! Speak! Exchange your opinions!

A work exists only by the spectator's gaze, my paintings exist only thanks to your imagination".

For almost 20 years, Antoine Josse has exhibited his works all over the world, from his native Brittany (in France) to Normandy, Paris, London, Switzerland, Chile, Stockholm, Luxembourg, and New York.

Antoine Josse è un artista Francese, nato nel 1970. I suoi dipinti e le sue sculture esprimono un irrefrenabile desiderio di leggerezza, di evasione e di poter sognare l'impossibile.

L'uso di motivi accattivanti e rivelatori, insieme alla presenza di esseri umani immersi in un paesaggio da sogno, conferiscono un fascino unico al suo lavoro.

I suoi dipinti sono seducenti per la loro atmosfera, i colori evocativi e i cieli tumultuosi.

Gli esseri minuscoli sono sistemati in un mondo desolato e pericoloso, dove la vegetazione si diffonde rapidamente, dando vita a rossi, blu e verdi drammatici, creando sensazioni spettacolari ma enigmatiche.

L'Impressionismo romantico di Pino (Giuseppe Dangelico)

noreply@blogger.com (Anonymous) — Thu, 10 Sep 2026 21:10:03 +0000

Giuseppe Dangelico (1939-2010), noto universalmente con lo pseudonimo di Pino (o Pino Daeni), è stato un celebre pittore ed illustratore Italiano naturalizzato statunitense, considerato uno dei più grandi maestri dell'arte figurativa e della copertina editoriale del XX secolo.

Nato a Bari l'8 novembre 1939, è scomparso nel New Jersey il 25 maggio 2010.

È celebre per lo stile unico che unisce un realismo romantico a pennellate fluide ed impressioniste, focalizzandosi prevalentemente sulla bellezza femminile, l'intimità domestica e la nostalgia.

Il suo talento fu notato fin dall'infanzia a Bari.

Si iscrisse prima all'Istituto d'Arte locale e nel 1960 si trasferì a Milano per frequentare la prestigiosa Accademia di Belle Arti di Brera.

Durante gli studi milanesi affinò la pittura dal vero e subì la forte influenza dei Preraffaelliti e dei Macchiaioli toscani.

Tra il 1960 e il 1979 lavorò intensamente in Italia, ricevendo importanti commissioni per illustrazioni di libri da colossi dell'editoria come Mondadori e Rizzoli.

Nel 1979 Pino decise di emigrare negli Stati Uniti alla ricerca di maggiore libertà artistica.

Iniziò a collaborare con le principali case editrici di Manhattan (tra cui Bantam Books, Harlequin, Doubleday e Zebra).

È accreditato per aver rivoluzionato il concetto grafico dei romanzi rosa e storici, realizzando oltre 3.000 copertine di libri e lanciando icone della cultura pop come il modello Fabio Lanzoni.

Viene spesso definito "l'ultimo dei grandi illustratori tradizionali" (in parallelo a Norman Rockwell che fu tra i primi), poiché dipingeva rigorosamente a mano con olio su tavola prima dell'avvento della grafica digitale.

Negli ultimi anni della sua vita abbandonò l'illustrazione commerciale per dedicarsi esclusivamente alla pittura artistica personale.

Le sue tele, caratterizzate da colori caldi e atmosfere mediterranee, ritraggono spesso donne sinuose in abiti fluidi o scene familiari piene di luce e pathos emotivo.

Dang Can, 1957 | Watercolor romantic painter

noreply@blogger.com (TuttArt Bihiku) — Thu, 10 Sep 2026 20:36:27 +0000

The Vietnamese painter Đặng Văn Cần was born in An Duc commune, Long Ho District, Vinh Long Province, the place is located along riverside of Mekong river in Vietnam.

He showed an early talent in drawing and painting.

He commenced to art works since 1976 with main job as a illustrator for local newspaper and magazine.

Dang Can is a member of Vietnam Fine Arts Association.

He has many paintings in Private Collection in many countries.

For that, step by step, it has brought him to the public who like to take the delight in art.

His style of painting is not only very soft, deep but also very attractive in the peacefulness of Mekong Delta.

His paintings bring a full and semplice dream, to be imbrued with poetry, high-faluting but also reality.

The main subject throughout his works are the landscapes in peaceful countryside of Mekong delta, the school girl in Aodai, the daily changing of local residents.

It’s really simple but also very lovely.

Beside painting, he is also a composer/ designer in art of ceramics.

He used to take part time job for Art Ceramic Workshop in Vinh Long where the art ceramic products are famous for exporting to many countries in the world.

Looking Can’s art works, we couldn’t stand taking emotionless or nonchalant because he took us to the natural living in the lower section of Mekong river.

He wants to show us the human conditions, the sublimates of daily living as well as the lovely sceneries and the reform of our country day by day.

Time to time he will show us more beautiful paintings and he is also a great artist in the Mekong Delta area.

His watercolor pieces rely heavily on soft washes of light blue, warm yellows, and rich earth tones.

This makes the water and sky in his Mekong Delta landscapes look incredibly vibrant and naturally back-lit.

Unlike structural or highly detailed architectural watercolors, Dang Can uses fluid, wet-on-wet techniques to give the foliage, rustic cottages, and winding rivers a soft, atmospheric blur.

You will find the same beloved subjects-local fishermen on wooden boats drifting down the Mekong, peaceful rural villages wrapped in greenery and schoolgirls walking along country paths.

Đặng Văn Cần usa sfumature dorate, tonalità pastello e nebbie mattutine per dare un senso di assoluta dolcezza.

Anche se l'artista non appartiene al Romanticismo storico ottocentesco, la sua pittura è intrisa di un romanticismo moderno e bucolico che celebra l'armonia tra l'uomo e la natura.

Particolarmente romantici sono i suoi rari paesaggi notturni, come i dipinti intitolati Moon Night on River, dove la luce della luna piena si riflette sull'acqua creando un'atmosfera magica ed intima.

Le studentesse o le giovani donne che camminano tra i prati o lungo i fiumi, con i loro abiti tradizionali bianchi o colorati che si muovono al vento, sono l'emblema di una grazia d'altri tempi.

Spesso ritrae singole barche che scivolano su fiumi calmi al tramonto o figure solitarie immerse in sterminate distese di loto.

Questa scelta evoca una contemplazione lirica ed un profondo senso di pace interiore.

Francesco Gioli | Macchiaioli painter

noreply@blogger.com (TuttArt Bihiku) — Wed, 09 Sep 2026 22:20:25 +0000

Francesco Gioli (June 29, 1846 - February 4, 1922) was a prominent Italian painter associated with the Macchiaioli movement and Tuscan Naturalism.

Born into a wealthy family in San Frediano a Settimo (Pisa), he became celebrated for his elegant depictions of rural Tuscan life, atmospheric landscapes and intimate portraits.

Gioli initially trained under academic masters like Antonio Ciseri and Enrico Pollastrini, starting his career with traditional historical paintings.

In 1868, his early historical piece Carlo Emanuele I di Savoia che caccia l'ambasciatore spagnolo won an award, but he soon grew disillusioned with academic constraints, famously remarking that it was "un'Arte vecchia fatta da un giovane" (an old art made by a young man).

Driven to reinvent his approach, he aligned himself with the Macchiaioli group in the early 1870s.

Alongside close friends and fellow painters like Giovanni Fattori and Telemaco Signorini, he began painting en plein air (outdoors) at Diego Martelli's estate in Castiglioncello.

This shift brought a poetic, naturalistic focus to his work, capturing the light and daily realities of the Pisan and Maremma countryside.

Later in his career, influenced by international trends seen at the Venice Biennale, his style evolved to incorporate impressionistic lighting and atmospheric effect updates.

Francesco Gioli (San Frediano a Settimo, 29 giugno 1846 – Firenze, 4 febbraio 1922) è stato un importante pittore Italiano, tra i massimi esponenti del movimento dei Macchiaioli e del Naturalismo toscano.

Insieme al fratello minore Luigi Gioli, ha segnato profondamente la transizione della pittura toscana tra l'Ottocento ed il Novecento.

Nato da una famiglia nobile e benestante nel pisano, iniziò gli studi artistici all'Accademia di Pisa per poi trasferirsi all'Accademia di Belle Arti di Firenze, dove studiò sotto la guida di Enrico Pollastrini ed Antonio Ciseri.

Il suo esordio artistico nel 1868 fu legato alla pittura storica di stampo tardo-romantico con l'opera Carlo Emanuele di Savoia caccia l'ambasciatore spagnolo.

Ben presto, tuttavia, l'insoddisfazione verso i rigidi schemi accademici e l'incontro con figure come Diego Martelli, Giovanni Fattori e Telemaco Signorini lo spinsero ad abbracciare la pittura en plein air (all'aria aperta).

Iniziò così a frequentare la tenuta di Castiglioncello e la villa di Fauglia, dedicandosi allo studio dal vero della campagna toscana.

Nel 1875 compì un viaggio fondamentale a Parigi insieme a Giovanni Fattori, dove entrò in contatto con i pittori della Scuola di Barbizon e con le prime novità impressioniste, ricevendo persino gli elogi di Edgar Degas.

Sposò la marchesa Matilde Bartolommei, consolidando la sua posizione nel panorama culturale fiorentino, e divenne in seguito docente presso le Accademie di Bologna e di Firenze.

Franz Richard Unterberger | Romantic painter of waterscapes

noreply@blogger.com (TuttArt Bihiku) — Tue, 08 Sep 2026 22:24:00 +0000

Austrian painter Franz Richard Unterberger (1838-1902), a Romantic style painter of waterscapes, landscapes, architecture and Genre, was born in Innsbruck, in what was then the Austro-Hungarian Empire, on 15th August 1838, one of eleven children of a wealthy bourgeois family.

He decided to pursue a career as an artist at a relatively young age and enrolled in the Academy in Munich.

Here he studied with Albert Zimmerman (1808-1888) a professor and landscape painter at the Academy and with Julius Lange (1817-1878).

It was as a painter of Alpine landscapes that Unterberger first drew recognition, views particularly set in his native Tyrol.

In 1860 Unterberger continued his studies in Düsseldorf; in what was to be a particularly significant period he was much taken by the work of Oswald Aschenbach (1827-1905) a landscape painter and his brother Andreas (1815-1910) also a landscape painter who worked extensively in Scandinavia before moving to Italy in the 1870’s.

Düsseldorf was the favoured academy for Scandinavian painters studying abroad and as a result of this northern influence Unterberger was drawn to Scandinavia where in the early 1860’s he produced a number of atmospheric mountainous scenes.

Following this period Unterberger moved to Brussels, largely since he believed the art market there was likely to be more lucrative, he was to live and work there periodically for most of his life, though never acquiring a property or citizenship.

Unterberger was becoming a truly European artist, in the 1860’s painting from Norway to Sicily.

By the 1870’s he was exhibiting throughout Europe, Hamburg, Antwerp, Brussels, Berlin, Stuttgart, Paris, Munich, Vienna and in addition Philadelphia and Boston.

He was now painting panoramic Italian scenes, coastal landscapes set in Southern Italy, Capri, Naples, Amalfi, Sorrento, Palermo and views set in Venice his works suffused with a warm Mediterranean light and a shimmering silvery tone.

In 1883 Unterberger exhibited in Venezuela and the following year in London at the International Universal Exhibition, in the Austrian section, he was an artist with a huge International following.

Southern Italian and Venetian scenes formed the majority of his output in the 1890’s, in his later years Unterberger moved to a studio in Neuilly-sur-Seine where he died 25th May 1902.

His works can be found in museums in: Amalfi; Louviers; Troyes; Venice and Melbourne.

Wisława Szymborska | Allegro ma non troppo, 1972

noreply@blogger.com (TuttArt Bihiku) — Sun, 06 Sep 2026 14:38:13 +0000

Sei bella - dico alla vita,

è impensabile più rigoglio

più rane e più usignoli,

più formiche e più germogli.

Cerco di accattivarmela,

di blandirla, vezzeggiarla.

La saluto sempre per prima

con umile espressione.

Le taglio la strada da sinistra,

le taglio la strada da destra,

e mi innalzo nell’incanto,

e cado per lo stupore.

Quanto è di campo questo grillo,

e di bosco questo frutto -

mai l’avrei creduto

se non avessi vissuto!

Non trovo nulla - le dico -

a cui paragonarti.

Nessuno ha fatto un’altra pigna

né migliore, né peggiore.

Lodo la tua larghezza,

inventiva ed esattezza,

e cos’altro - e cosa più -

magia, stregoneria.

Mai vorrei recarti offesa,

né adirarti per dileggio.

Da centomila anni almeno

sorridendo ti corteggio.

Tiro la vita per una foglia:

si è fermata? Se n’è accorta?

Si è scordata dove corre,

almeno per una volta?

Wisława Szymborska | Allegro ma non troppo

From "Could Have", 1972

Life, you’re beautiful (I say)

you just couldn’t get more fecund,

more befrogged or nightingaley,

more anthilful or sproutsprouting.

I’m trying to court life’s favour,

to get into its good fraces,

to anticipate its whims.

I’m always the first to bow,

always there where it can see me

with my humble, reverent face,

soaring on the wings of rapture,

falling under waves of wonder.

Oh how grassy is this hopper,

How his berry ripely rasps.

I would never have conceived it

if I weren’t conceived myself!

Life (I say) I’ve no idea

what I could compare you to.

No one else can make a pine cone

and then make the pine cone’s clone.

I praise your inventiveness,

bounty, sweep, exactitude,

sense of order – gifts that border

on witchcraft and wizardry.

I just don’t want to upset you,

tease or anger, vex or rile.

For millennia, I’ve been trying

to appease you with my smile.

I tug at life by its leaf hem:

will it stop for me, just once,

momentarily forgetting

to what end it runs and runs?

Maria Wisława Anna Szymborska (1923-2012) was a Polish poet, essayist, translator and recipient of the 1996 Nobel Prize in Literature "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality".

Wisława Szymborska | Wesoło, ale nie za bardzo

Original - "Wszelki wypadek" (Ogni caso), 1972

Jesteś piękne - mówię życiu -

bujniej już nie można było,

bardziej żabio i słowiczo,

bardziej mrówczo i nasiennie.

Staram się mu przypodobać,

przypochlebić, patrzeć w oczy.

Zawsze pierwsza mu się kłaniam

z pokornym wyrazem twarzy.

Zabiegam mu drogę z lewej,

zabiegam mu drogę z prawej,

i unoszę się w zachwycie,

i upadam od podziwu.

Jaki polny jest ten konik,

jaka leśna ta jagoda -

nigdy bym nie uwierzyła,

gdybym się nie urodziła!

Nie znajduję - mówię życiu -

z czym mogłabym cię porównać.

Nikt nie zrobił drugiej szyszki

ani lepszej, ani gorszej.

Chwalę hojność, pomysłowość,

zamaszystość i dokładność,

i co jeszcze - i co dalej -

czarodziejstwo, czarnoksięstwo.

Byle tylko nie urazić,

nie rozgniewać, nie rozpętać.

Od dobrych stu tysiącleci

nadskakuję uśmiechnięta.

Szarpię życie za brzeg listka:

przystanęło? dosłyszało?

Czy na chwilę, choć raz jeden,

dokąd idzie - zapomniało?

Love Letter from Auguste Rodin to Camille Claudel, 1886

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 22:43:15 +0000

"My ferocious friend".... "Mia feroce amica"...

Thus begins Rodin’s desperate cry of love to Camille Claudel in the early years of their relationship.

Rodin was soon captivated by this pupil who became his assistant, mistress and muse, while Claudel outwardly remained in complete control of her feelings.

Consumed and tormented by an obsessive love, he implores her - “on his knees” - to ease his suffering from beginning to end of this letter, written in a muddled style, with erroneous syntax and imperfect spelling.

It is a unique document in which Rodin, overwhelmed by his feelings, has no other choice but to open his heart sincerely and truthfully. The rare documents in the museum archives - five letters from Rodin and about fifteen from Camille Claudel - often elated in tone, attest to this very intense and troubled relationship whose tragic ending is well known. | © Musée Rodin, Paris

Paris, 1886

"This morning I ran around (for hours) to all our spots without finding you.Death would be sweeter!

And how long is my agony.

Why didn’t you wait for me in the atelier, where are you going? (…)

In a single instant I feel your terrible force. Have pity, mean girl. I can’t go on. I can’t go another day without seeing you. Atrocious madness, it’s the end, I won’t be able to work anymore. Malevolent goddess, and yet I love you furiously… .

(…) Let me see you every day, which would be a good idea and might make me better, for only you can save me with your generosity. Don’t let this slow and hideous sickness overtake my intelligence, the ardened and pure love I have for you - in short, have pity, my beloved, and you will be rewarded..." Rodin

"Mia feroce amica"...

Inizia così il grido d'amore disperato di Rodin a Camille Claudel nei primi anni della loro relazione.

Rodin fu presto affascinato da questa allieva che divenne sua assistente, amante e musa, mentre Camille Claudel, esteriormente è rimasta in completo controllo dei suoi sentimenti.

Consumato e tormentato da un amore ossessivo, lui la implora - "in ginocchio" - per facilitare la sua sofferenza dall'inizio alla fine di questa lettera, scritta in uno stile confuso, con la sintassi errata ed ortografia imperfetta.

E' un documento unico in cui Rodin, sopraffatto dai suoi sentimenti, non ha altra scelta che quella di aprire il suo cuore sincero e veritiero.

I rari documenti negli archivi del museo - cinque lettere da Rodin e circa quindici da Camille Claudel - spesso esultante nel tono, attestano questo rapporto molto intenso e travagliato il cui finale tragico è ben noto. | © Musée Rodin, Paris

Paris, 1886

"Mia feroce amica,la mia povera testa è ben malata, e non riesco più ad alzarmi la mattina. Questa sera ho camminato per ore senza trovarti nei nostri luoghi. Come mi sarebbe dolce la morte!

E com'è lunga la mia agonia.

Perchè non mi hai atteso all'atelier?

A quale dolore ero predestinato. Ho momenti di amnesia in cui soffro di meno, ma oggi l’implacabile dolore persiste.

Camille, mia bene amata nonostante tutto, nonostante la follia che sento venire e che sarà opera tua se tutto questo continua.

Perchè non mi credi?

Abbandono il mio Salon, la scultura; se potessi andare in un posto qualsiasi, in un paese in cui poter dimenticare ma non esiste…

Ma poi in un solo istante sento la tua terribile potenza.

Abbi pietà, crudele.

Non ne posso più, non posso più passare un giorno senza vederti. Se no, l’atroce follia.

E’ finita, non lavoro più, divinità malefica, e tuttavia ti amo furiosamente…" Rodin

Vilhelm Hammershøi | Interior painter

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 22:34:14 +0000

Vilhelm Hammershøi (1864-1916) was a Danish painter. He is known for his poetic, subdued portraits and interiors.

In 1997, Denmark issued a postage stamp in his honour.

Vilhelm Hammershøi was born iin Copenhagen, Denmark.

The son of a well-to-do merchant, Christian Hammershøi, and his wife, Frederikke (née Rentzmann), Hammershøi studied drawing from the age of eight with Niels Christian Kierkegaard and Holger Grønvold, as well as painting with Vilhelm Kyhn, before embarking on studies with Frederik Vermehren and others at the Royal Danish Academy of Fine Arts.

From 1883-1885, he studied with Peder Severin Krøyer at the Independent Study Schools, then debuted in the Charlottenborg Spring Exhibition in 1885 with Portrait of a Young Girl (his sister, Anna; Pierre-Auguste Renoir is reported to have admired this painting).

Vilhelm Hammershøi - Portrait of a young woman. The artist's sister Anna Hammershøi

Hammershøi married Ida Ilsted in 1891.

Artistic career

Hammershøi worked mainly in his native city, painting portraits, architecture, and interiors. He also journeyed to the surrounding countryside and locations beyond, where he painted rolling hills, stands of trees, farm houses, and other landscapes.

He is most celebrated for his interiors, many of which he painted in Copenhagen at Strandgade 30 (where he lived with his wife from 1898-1909, and Strandgade 25 (where they lived from 1913-1916).

He travelled widely in Europe, finding London especially atmospheric in providing locations for his highly understated work, suffused as it was at the time with a foggy, coal smoke polluted atmosphere.

His work in consequence has been described as "Monet meets the Camden School".

Hammershøi's wife figures in many of his interiors, often depicted from behind.

Ida is also the model in many similar works by her brother, Peter Ilsted. Peter and Vilhelm were lifelong friends, business partners, and colleagues.

The Metropolitan Museum of Art held an exhibition of their collective works in 2001, and there was an exhibition of his works in 2008 at the Royal Academy of London.

Technique

Hammershøi's paintings are best described as muted in tone.

He refrained from employing bright colours (except in his very early academic works), opting always for a limited palette consisting of greys, as well as desaturated yellows, greens, and other dark hues.

His tableaux of figures turned away from the viewer project an air of slight tension and mystery, while his exteriors of grand buildings in Copenhagen and in London (he painted two exteriors of the British Museum between 1905-1906) are devoid of people, a quality they share with his landscapes.

Critical acclaim

Hammershøi's early works, with their simplicity and recording of the "banality of everyday life", enjoyed critical acclaim.

He was sought out by artists and literary figures of the time, among them Emil Nolde and Rainer Maria Rilke, who both remarked on his retiring manner and reluctance to talk.

After a trip to Paris, his work became overly detailed.

According to art critic Souren Melikian, his "painterly skill remained but the magic was lost".

Hammershøi’s melancholic vision has now regained its place in the public consciousness.

He is now one of the best-known artists in Scandinavia, and comprehensive retrospectives of his work have been organized by the Musée d'Orsay in Paris and the Guggenheim Museum in New York.

In 2008, the Royal Academy of London hosted the first major exhibition in Britain of Hammershøi’s work, Vilhelm Hammershøi: The Poetry of Silence.

Hammershøi’s only painting on constant display in Britain is 'Interior' in the National Gallery.

BBC documentary

In 2005, Hammershøi's life and oeuvre was featured in a BBC television documentary, Michael Palin and the Mystery of Hammershoi, with the British comedian and writer Michael Palin.

In the programme, Palin, fascinated by Hammershøi, whose pictures he conceived as having a distinct enigmatic coolness and distance about them, sets out to unlock the mysteries and find out about the background of Hammershøi.

Palin, wanting to know of his inspirations and the reason for these mystical pictures, started his search in Hayward Gallery in London, goes to Amsterdam and finally to Copenhagen.

Highest auction price for Danish work

In June 2012, Hammershøi's Ida læser et brev (Ida Reading a Letter) was auctioned by Sotheby's in London for £1,721,250 or DKK 15,747,499, a record for any Danish work of art.

Vilhelm Hammershøi | Ida che legge una lettera / Ida Reading a Letter | Sotheby's

Two other paintings by Hammershøi were also sold the same day at Sotheby's for unusually high prices: Interiør med to lys (Interior with Two Candles) was auctioned for DKK 10,110,000 and Ida i interiør (Ida in Interior) for DKK 6,120,000.

In December 2018, following Christie's New York European Art auction, The Getty Museum acquired the painting Interior with an Easel, Bredgade 25 (1912) for $5,037,500.

Influence on some contemporary figures

Hammershøi was a significant influence on British advertising Creative Director Paul Arden. | © Wikipedia

Vilhelm Hammershøi (Copenaghen, 1864-1916) è stato un pittore Danese.

Figlio di un mercante, studiò pittura dall'età di otto anni, frequentando anche l'Accademia delle Belle Arti di Copenaghen.

Lavorò soprattutto nella sua città di origine, eseguendo ritratti, dipinti di architetture e interni. Si riporta che Auguste Renoir avesse ammirato i dipinti di Hammershøi.

I suoi dipinti, di un realismo rarefatto e silenzioso, sono conservati in musei internazionali.

Sue retrospettive sono state organizzate al Museo d'Orsay a Parigi e al Museo Guggenheim di New York.

Pia Erlandsson, 1961 | Abstract Watercolor painter

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 22:16:15 +0000

Pia Erlandsson is a professional Swedish painter best known for her expressive, ethereal human portraits primarily created using watercolors.

Born in southern Halland, she has been living and working out of Gothenburg, Sweden since 1986.

After completing her artistic training - notably studying under Kerstin Sandbaum between 1995 and 1999 - she committed to painting full-time in 2007.

Her work heavily explores human emotions and states of mind.

While she leaves her backgrounds highly abstract to give viewers room for interpretation, she maintains sharp, intricate details when crafting her subjects' facial expressions and postures.

Her signature style leverages the direct contrast between light and dark, as well as the deliberate tension and harmony between colors and shapes.

Though celebrated primarily as a watercolorist, Erlandsson also works extensively with acrylics, oils, and mixed media.

She has noted that she enjoys watercolor specifically for its unpredictability, allowing the interaction of pigment and water to organically shape the canvas.

✍ - I was born in south of Sweden, living in Gothenburg since many years back. I have been working full time as a watercolor artist since 2007.

In my paintings I usually portray people.

I want to convey feelings and expressions of universal emotions, communicating different states of the human mind.

I try to find the tension and harmony between colors and shapes, and light and darkness, where the water and pigments together create new forms".

✍ "Watercolor is something I cannot entirely control, which makes it possible for me to take advantage of what is happening on the paper.

On the other hand, I do take care to make sure of the details and clarity of the expressions in the face and body of my subjects, which is important to me.

The background of the painting is abstract, giving viewers the freedom to create a room of their own".

✍ "For me, a painting is a story in which the colors and shapes are the words.

Last few years I also started working with acrylic and oil. Sometimes as separated techniques but also as a mixed media".

Pia Erlandsson è una pittrice Svedese, nota principalmente per le sue opere figurative ed eteree realizzate ad acquerello ed acrilico.

Cresciuta nella regione meridionale dell'Halland, dal 1986 vive e lavora a Göteborg.

Dopo aver completato la sua formazione artistica, che include corsi specialistici di acquerello tenuti da Kerstin Sandbaum tra il 1995-1999, Erlandsson ha intrapreso la carriera artistica a tempo pieno dal 2007.

La produzione artistica di Pia Erlandsson si concentra principalmente sulla figura umana e sulle sfumature delle emozioni universali:

👉 Ritratti ed Emozioni: Le sue opere ritraggono spesso persone colte in movimenti, espressioni o stati d'animo intimi, con l'obiettivo di trasmettere la complessità della mente umana.

👉 Sfondi Astratti: I soggetti sono solitamente inseriti in contesti astratti ed indefiniti. Questa scelta stilistica lascia allo spettatore la totale libertà di interpretare l'ambiente e creare un proprio spazio mentale ed emotivo attorno alla figura.

👉 Luce e Contrasto: Sperimenta costantemente con la tensione e l'armonia che si creano tra forme, colori e l'alternanza di luci ed ombre.

L'artista è membro dell'Associazione degli Artisti Svedesi (Svenska Konstnärer - SvK) e della Nordica Watercolor Society (Nordiska Akvarellsällskapet).

Le sue opere, che spaziano da dipinti originali a litografie d'autore, sono esposte e commercializzate presso diverse gallerie d'arte scandinave e piattaforme d'asta internazionali come Nordic Art ed Auctionet.

Rainer Maria Rilke / Rodin | Love Song, 1907

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 22:15:36 +0000

How shall I hold my soul and yet not touch

It with your own? How shall I ever place

It clear of you on anything beyond?

Oh gladly I would stow it next to such

Things in the darkness as are never found

Down in an alien and silent space

That does not resonate when you resound.

Auguste Rodin - Fugit Amor, 1881

Auguste Rodin | Fugit Amor, 1881

Rainer Maria Rilke | Canto d'Amore

Come potrei trattenerla in me,

la mia anima, che la tua non sfiori;

come levarla oltre te, all'infinito?

Ah, potessi nasconderla in un angolo

sperduto nelle tenebre;

un estraneo rifugio silenzioso

che non seguiti a vibrare

se vibra il tuo profondo.

Auguste Rodin | Fugit Amor, 1881

But everything that touches me and you

Takes us together like a bow on two

Taut strings to stroke them to the voice of one.

Auguste Rodin | Fugit Amor, 1881

What instrument have we been lain along?

Whose are the hands that play our unison?

Oh sweet song!

Auguste Rodin | Fugit Amor, 1881

Ma tutto quello che ci tocca, te

e me insieme

ci tende come un arco

che da due corde un suono solo rende.

Su quale strumento siamo tesi?

e quale grande musicista ci tiene nella mano?

O dolce canto.

Rainer Maria Rilke | La sera / The evening

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 22:10:18 +0000

Come una indefinibile fata d'ombre...

Vien da lungi la Sera, camminando

per l'abetaia tacita e nevosa.

Johan August Malmström (1829-1901) | Dancing Fairies, 1866

August Malmström - A study for the Dancing Fairies

Poi, contro tutte le finestre preme

le sue gelide guance e, zitta, origlia!

Si fa silenzio, allora, in ogni casa.

Siedono i vecchi, meditando. I bimbi

non si attentano ancora ai loro giochi!

Le madri stanno siccome regine.

Cade di mano alle fantesche il fuso.

La Sera ascolta, trepida pei vetri:

tutti, all'interno, ascoltano la Sera.

Johan August Malmström | Dancing Fairies, 1866

The evening

As an indefinable shadows fairy,

evening comes from afar, walking

for snowy fir and tacit.

Then, press it against all windows

its cheeks and cold, silent, listen!

There is silence, then, in every home.

Johan August Malmström - Dancing Fairies, 1866

Sit the old people, meditating.

The children, still do not go to their games!

Mothers are as queens.

Slips of the hand at the time maids.

The evening listens anxiously through the glass:

all inside, hear the evening.

Swedish Art History and Sitemap

noreply@blogger.com (TuttArt Bihiku) — Sat, 05 Sep 2026 21:53:20 +0000

Swedish art refers to the visual arts produced in Sweden or by Swedish artists.

Sweden has existed as country for over 1000 years, and for times before this, as well as many subsequent periods, Swedish art is usually considered as part of the wider Nordic art of Scandinavia.

It has, especially since about 1100, been strongly influenced by wider trends in European art.

After World War II, the influence of the United States strengthened substantially.

Due to generous art subsidies, contemporary Swedish art has a big production per capita.

Though usually not especially a major centre for art production or exporter of art, Sweden has been relatively successful in keeping its art; in particular, the relatively mild nature of the Swedish Reformation, and the lack of subsequent extensive rebuilding and redecoration of churches, has meant that with other Scandinavian countries, Sweden has unusually rich survivals of medieval church paintings and fittings.

One period when Nordic art exerted a strong influence over the rest of northern Europe was in Viking art, and there are many survivals, both in stone monuments left untouched around the countryside, and objects excavated in modern times.

The Reformation greatly disrupted Swedish artistic traditions, and left the existing body of painters and sculptors without large markets.

The requiremnents of the court and aristocracy were mainly for portraits, usually by imported artists, and it was not until the late 17th or 18th centuries that large numbers of Swedes were trained in contemporary styles.

The political success of the Vasa dynasty led to a considerable revival, expressed in the "Gustavan style", which again had some influence over neighbouring countries.

Among famous Swedish artists are John bauer, Carl Milles, Anders Zorn, Carl Larsson and Carl Eldh. | © Wikipedia

Anders Zorn | Waking up, 1898 (watercolor on paper)

List of Swedish Artists: Painters, Sculptors, Photographers, Poets, Musicants, Writers published on Tutt'Art@

L'arte Svedese si riferisce alle arti visive prodotte in Svezia o ad artisti svedesi.

La Svezia è esistita come paese da oltre 1.000 anni e l'arte svedese è generalmente considerata parte della più ampia arte nordica della Scandinavia.

Ha, soprattutto dal 1100 circa, una forte influenza delle più ampie tendenze dell'arte europea. Dopo la seconda guerra mondiale, l'influenza degli Stati Uniti si rafforzò notevolmente.

A causa di generosi sussidi artistici, l'arte svedese contemporanea ha una grande produzione pro capite.

Sebbene in genere non sia particolarmente un centro importante per la produzione artistica o l'esportazione di arte, la Svezia ha avuto relativamente successo nel mantenere la propria arte; in particolare, la natura relativamente mite della Riforma svedese e la mancanza di una successiva vasta ricostruzione e ristrutturazione delle chiese, ha fatto sì che in altri paesi scandinavi la Svezia abbia una vita insolitamente ricca di dipinti e arredi medievali.

Un periodo in cui l'arte nordica esercitò una forte influenza sul resto dell'Europa settentrionale fu nell'arte vichinga, e ci sono molte sopravvivenze, sia in monumenti di pietra rimasti intatti nella campagna, sia oggetti scavati in tempi moderni.

La Riforma sconvolse notevolmente le tradizioni artistiche svedesi e lasciò il corpo esistente di pittori e scultori senza grandi mercati. I requirenti della corte e dell'aristocrazia erano principalmente per i ritratti, di solito di artisti importati, e non è stato fino alla fine del 17° o 18° secolo che un gran numero di svedesi sono stati formati in stili contemporanei.

Il successo politico della dinastia Vasa portò a un notevole risveglio, espresso nello "stile Gustavo", che ebbe ancora una certa influenza sui paesi limitrofi.

Tra i famosi artisti svedesi ci sono John Bauer, Carl Milles, Anders Zorn, Carl Larsson e Carl Eldh.

Hans Jochem Bakker, 1948 | Abstract painter

noreply@blogger.com (TuttArt Bihiku) — Thu, 03 Sep 2026 22:38:53 +0000

Dutch Conceptual Artist Hans Jochem Bakker as a self taught undergone remarkable development.

He was initially inspired by the mystical world of Salvador Dali with his talent was not trained for that of his fellow artists.

Even celebrities like Miró and Picasso influenced the early work of Jochem.

Between 1980-1990 took place a sensational change.

The very detailed at times surreal work gave way to the broad approach of the expression.

Notable are the movement and energy that are reflected in the new work.

Old motifs such as birds, horses, bullfights and women remain interested in his work and persistence.

Salvador Dalí | Self-portraits

noreply@blogger.com (TuttArt Bihiku) — Thu, 03 Sep 2026 21:53:07 +0000

Salvador Dalí started to paint self-portraits very early on.

In the ones made during adolescence, Dalí represents himself with a distant attitude towards his companions, but at the same time wishing to make an impact on them (or to provoke them) and on the public in general.

Like other adolescents, he sought through his appearance an affirmation of his own personality, wearing long hair and sideburns, and dressing extravagantly.

Salvador Dali, 1941 | Soft self-portrait with grilled Bacon

In his autobiography The Secret Life, he himself explains the meaning of one of his best-known self-portraits:

"I'd let my hair grow, and wore it long like a girl's hair.

Looking at myself in the mirror I would often strike the poses and melancholy appearance of Raphael, to whom the greater resemblance I bore the better, as far as I was concerned.

I also awaited with impatience the sprouting of hair on my face so that I could shave and sport some good long sideburns. I wanted to give myself a 'weird appearance' as soon as possible, to compose a masterpiece with my own head".

Salvador Dali, 1920-1921 | Self-portrait with Raphaelesque neck

And he continues his explanations saying: "I bought a large black felt hat, and a pipe which I did not smoke and never lighted, but which I kept constantly hanging from the corner of my mouth.

I loathed long trousers, and decided to wear short pants with stockings, and some puttees. On rainy days I wore a raincoat I'd brought from Figueres, but so long that it nearly reached the ground.

I would wear the big black hat with that raincoat, my hair emerging from either side like a mane.

I now realise that those who knew me at the time were not exaggerating when they said that my appearance was 'fantastic'. For indeed it was.

Whenever I came out of my room or went back to it, groups of busy bodies would gather to see me go by.

And I would continue on my way with my head high, puffed up with pride".

Accordingly, in Self-portrait with Raphaelesque Neck Dalí is staring at the spectator in an almost severe manner.

As the title announces, this oil painting is a homage to one of his favorite painters, Raphael, whose self-portrait was very familiar to Dalí, since it was reproduced on the frontispiece of a book about that artist in the Gowans collection, which Dalí had in its entirety.

In both the Self-Portrait dating from 1921 and belonging to the Gala-Salvador Dalí Foundation, and the one dating from ca 1921 from the Salvador Dalí Museum of Saint Petersburg, the artist represent himself in profile, looking at us, though in the second portrait, one of his eyes is hidden.

This pose, while permitting a magnificent study of light and chiaroscuro, cannot conceal a certain arrogance, not to mention the iconographic connotations of the eye through the history of art and in Dalí's oeuvre.

In Self-Portrait with "L'Humanité", Dalí painted himself dressed as a worker and wishes to represent himself in a rebellious and provocative attitude, with a collage from the communist daily newspaper L'Humanité, which seems to bear out his declared admiration for the idea of revolution.

The oil painting itself dates from 1923, although the clipping from newspaper added to the cardboard is dated 24 July 1928.

The influence of Rafael Barradas is clear, both in the geometrical structures of the paintings - background of the studio, the newspaper itself - and in the schematic definition of the features in the self-portrait -eyebrows, eyes and sideburns-.

In the second half of the 1920s, after the visit he paid to Picasso in 1926, where he was able to see the latest Cubist paintings by the Málaga painter, Dalí's own painting underwent a major change.

This is the period of his Self-Portrait Splitting into Three.

Referring to that painting later in 1962, he said: "Painting a trinitary self-portrait.

The painter has to have three eyes; that third eye is today confirmed by the electrocular monocle".

The two self-portraits that close the exhibition are well-known: Soft Self-Portrait, also called Soft Self-Portrait with Fried Bacon, and the stereoscopic Dalí from the Back Painting Gala from the Back Eternalised by Six Virtual Corneas Provisionally Reflected in Six Real Mirrors.

Dalí defines his Soft Self-Portrait as an antipsychological self-portrait, for instead of painting the soul or interior he painted only the exterior, the wrapping, "the glove of myself".

But that glove is edible and even beginning to decay, which is why there are ants on the bacon. With this painting, he considers himself the most generous of painters, since he offers himself to be eaten, "thus providing our epoch with succulent nourishment".

In Dalí from the Back Painting Gala from the Back Eternalised by Six Virtual Corneas Provisionally Reflected in Six Real Mirrors, a stereoscopic painting made up of two elements and created by the painter in 1972-73, we see an example of the many stereoscopic experiments Dalí carried out during the 1970s.

Like in the work by his admired Velázquez, Las Meninas, Dalí is shown painting a portrait of Gala from the rear, with both of them reflected in a mirror.

Salvador Dali, 1923 | Self-portrait with l’Humanité

These paintings are accompanied by some of the preparatory drawings.

The other two works on temporary loan from the Florida Museum - Dionysus Spitting the Complete Image of Cadaqués on the Tip of the Tongue of a Three-Storeyed Gaudinian Woman and Figure on the Rocks, can be seen in the Treasure Room The second goes hand in hand with the Dalí Foundation work entitled Figures Lying on the Sand, 1926. | © Gala - Salvador Dali Foundation

Salvador Dali 1926 Self-portrait being duplicated into three

Salvador Dali 1928 Self-portrait dedicated to Federico Garcia Lorca

Salvador Dalí ha utilizzato la forma dell'autoritratto durante tutta la sua carriera artistica, trasformando la propria immagine per riflettere le sue continue evoluzioni stilistiche, psicologiche e concettuali.

Dalle influenze classiche della giovinezza fino alle provocazioni più puramente surrealiste, i suoi autoritratti tracciano un diario visivo unico.

Le Sperimentazioni Cubiste ed Espressioniste

Durante i suoi anni di studio a Madrid, Dalí è entrato in contatto con le avanguardie, integrando elementi geometrici e composizioni frammentate.

👉 Autoritratto cubista (1923): L'artista scompone il proprio volto inserendolo all'interno di una complessa struttura geometrica e dinamica, che include anche ritagli di giornale inseriti come collage.

👉 Autoritratto con L'Humanité (1923): Un'opera dallo stile marcatamente espressionista in cui Dalí si raffigura con abiti da operaio e una copia del giornale comunista francese L'Humanité.

La Maturità Surrealista

Nel pieno della sua fase surrealista, Dalí smette di dipingere la propria anima od il proprio aspetto fotografico, preferendo ritrarsi sotto forma di concetti filosofici, feticci ed elementi biomorfi molli.

👉 Autoritratto molle con pancetta fritta (1941): Considerato il suo autoritratto più famoso, è un'opera manifesto.

Creato durante il suo soggiorno negli Stati Uniti, Dalí stesso lo ha definito un autoritratto "antipsicologico": invece di dipingere l'anima, ha dipinto un guscio vuoto ed informe, tenuto in piedi da stampelle (simbolo di fragilità e sostegno).

Accanto al volto modellato come un formaggio molle, si trova una striscia di pancetta fritta su un piedistallo di pietra, a rappresentare il nutrimento e la quotidianità materiale.

Alfonso Gatto | Il bacio che cerco è l'anima / The kiss I seek is the soul

noreply@blogger.com (TuttArt Bihiku) — Wed, 02 Sep 2026 14:57:56 +0000

Le grandi notti d'estate

che nulla muove oltre il chiaro

filtro dei baci, il tuo volto

un sogno nelle mie mani.

Maria Amaral

Lontana come i tuoi occhi

tu sei venuta dal mare

dal vento che pare l'anima.

E baci perdutamente

sino a che l'arida bocca

come la notte è dischiusa

portata via dal suo soffio.

Tu vivi allora, tu vivi

il sogno ch'esisti è vero.

Da quanto t'ho cercata.

Ti stringo per dirti che i sogni

son belli come il tuo volto,

lontani come i tuoi occhi.

E il bacio che cerco è l'anima!

Alfonso Gatto (1909-1976) è stato uno dei più importanti poeti ed intellettuali Italiani del Novecento, strettamente legato alla corrente dell'Ermetismo.

Personalità dalla straripante vitalità, si distinse non solo nella lirica, ma anche come giornalista, scrittore per bambini, critico d'arte, pittore ed attore.

Alfonso Gatto (1909-1976) was one of the most prominent Italian poets, writers, and painters of the 20th century, widely celebrated as a leading figure of the Italian Hermeticism movement.

Born in Salerno, his extensive literary career blended deep emotional lyricism with an active political and cultural life.

Alfonso Gatto | The kiss I seek is the soul

You live then, you live

the dream that you exist is true.

How long have I been looking for you?

I hold you tight to tell you that dreams

they are as beautiful as your face,

as far away as your eyes.

And the kiss I seek is the soul.

Maria Amaral

Tristan Elwell | Fantasy Illustrator

noreply@blogger.com (TuttArt Bihiku) — Mon, 31 Aug 2026 23:00:00 +0000

Tristan Elwell is an award-winning American painter, illustrator and educator based in New York.

Best known for his highly detailed oil paintings that blend meticulous traditional techniques with pop-surrealism, fantasy and dark wit, he has created book covers and promotional art for nearly every major commercial publisher.

Tristan Elwell was born and raised in New York City, where he graduated from the High School of Music and Art, now LaGuardia High School.

He attended the School of Visual Arts on a full scholarship, graduating in 1990 at the top of his class.

While at SVA he also worked as a painting assistant to noted photorealist Charles Bell.

After college, Tristan quickly established his career as an illustrator, and in 1994 he joined the staff at SVA, where he teaches illustration and painting.

Tristan's oil paintings combine meticulous technique with a unique conceptual sense and often mordant wit.

These qualities have brought him assignments from countless editorial, advertising and corporate clients.

He has done book covers for all the major publishing houses, including Avon, Bantam, HarperCollins, Penguin, Pocket Books, Scholastic and Tor.

His work has appeared in Print and Communication Arts, and is a regular feature of the Society of Illustrators and Spectrum annuals.

His distinctive style has consistently placed his work among the premiere collections of speculative and contemporary art:

👉 Chesley Award: Winner of the Chesley Award for Best Paperback Cover.

👉 Hugo Award: Nominated for the prestigious Hugo Award for Best Professional Artist.

👉 Beautiful Bizarre Art Prize: Won 1st Prize in the Digital Art category for the Beautiful Bizarre Art Prize 2024 with his piece "Inversion".

👉 Publications: His works are regularly selected for Spectrum: The Best in Contemporary Fantastic Art, Print, Communication Arts and the Society of Illustrators annuals.

Tristan Elwell è un rinomato artista, illustratore ed insegnante statunitense, celebre per i suoi dipinti ad olio che fondono realismo, atmosfere fantasy e surrealismo pop.

Nato a New York nel 1968, si è affermato come una delle firme più riconoscibili nel mondo dell'editoria e dell'illustrazione commerciale.

Cresciuto a New York City, Elwell si diploma alla High School of Music and Art prima di frequentare la prestigiosa School of Visual Arts (SVA) con una borsa di studio totale, dove si laurea con lode nel 1990.

Durante gli anni universitari lavora come assistente del noto pittore fotorealista Charles Bell.

Nel 1994 entra a far parte del corpo docenti della stessa SVA di New York, dove tuttora insegna pittura ed illustrazione.

I dipinti ad olio di Elwell si distinguono per una tecnica meticolosa, unita ad un senso concettuale unico e ad una sottile ironia pungente.

Nelle sue opere personali e recenti ama unire atmosfere gotiche, figure femminili misteriose e gatti.La sua versatile produzione spazia in diversi settori:

👉 Copertine di libri: Ha realizzato centinaia di copertine per i giganti dell'editoria mondiale come Penguin, HarperCollins, Scholastic, Tor Books e Random House.

Tra i suoi lavori più noti figurano le copertine della serie di romanzi Kingdom Keepers.

👉 Editoria e pubblicità: Le sue illustrazioni sono apparse su testate di rilievo come Forbes, Print, Communication Arts e Playboy.

👉 Giochi e Carte Collezionabili: Ha collaborato alla realizzazione di artwork per popolari giochi di carte e progetti fantasy.

Riconoscimenti e Premi

Le sue opere sono incluse regolarmente nei cataloghi d'eccellenza della Society of Illustrators ed in ogni volume annuale di Spectrum fin dal 1997.

Nel 2024 ha consolidato la sua fama internazionale vincendo il primo premio nel prestigioso concorso d'arte contemporanea Beautiful Bizarre Art Prize con le sue opere di stampo pop-surreale.

Craig Tracy, 1967 | Body painter

noreply@blogger.com (TuttArt Bihiku) — Mon, 31 Aug 2026 22:23:40 +0000

Born and Raised in New Orleans La, Craig Tracy, American painter, has always been an Artist.

Craig credits New Orleans with it's authentic and vibrant culture as a significant factor in what is at the heart of his passion, creativity and bliss.

His parents and their “Hippie” nonconformist principles were instilled firmly in the young artist.

Coincidentally, it was that same hippie movement that re-ignited the soon to be interest and practice of Bodypainting in the western world.

As a graduate with honors from The Art Institute of Fort Lauderdale, It was his regained freedom to paint for himself and individuals and on a limitless variety of surfaces that lead him to his inclusion of faces and then full bodies.

Considered a cornerstone in Bodypaintings progressive movement, today Craig Tracy Bodypaints exclusively as well he owns and operates the very first art gallery in the world dedicated to fine art Bodypainted images.

The gallery allows even the most seasoned art collectors and novices alike to see and experience first hand what Bodypainting is ultimately capable of expressing.

Tracy's artworks relate to techniques of combining traditional paintbrushing and finger-painting with modern airbrushing.

The majority of his art is the result of the combination of bodypainting and imagery with minimal digital influences.

His compositions are inspired by a specific body shape combined with cultural and natural influences.

Many of Tracy's artworks includes manual creation of backdrop which complements the required visual.

An amalgamation of the bodypainting and the backdrop are photographed simultaneously in order to minimize the need of intertwining the artwork.

In an interview, Tracy suggested that the artists like Norman Rockwell, M.C. Escher, Boris Vallejo, Chuck Close, Robert Mapplethorpe, H.R. Giger and Gottfried Helnwein have been an inspiration to his artworks.

Tracy's work represents surreal moment captured in the artwork which makes the viewers question the visual reality.

Richard Blunt | Historia de un amor

noreply@blogger.com (TuttArt Bihiku) — Sat, 29 Aug 2026 15:44:05 +0000

- Born in Stourbridge in the West Midlands I had a happy but pretty average childhood for a kid growing up in the eighties.

My favourite place to be was outside but if I was ever inside I loved to be creative, especially with art and later on playing guitar and music.

On leaving school I went to art college to study 3D design and although I enjoyed the course, as with many teens I was easily distracted and became easily derailed.

I soon began to lose my way and eventually dropped out of art college early.

The next few years went from bad to worse, so much so that despite persistence from my family I stubbornly entered my twenties, homeless, in a strange town and my only possessions could be carried in the pockets of my coat".

"I hadn’t picked up a paintbrush or guitar for years but it was at this point that I started to rediscover my creative side.

It was this neglected creative drive that inspired me to start writing songs and playing music again and I spent the next few years gigging with various bands up and down the country before I finally decided to go back and reclaim my education.

I applied for university and it was a toss-up between studying art and studying music, but I decided to go for music.

However, while at university in Cardiff was inspired to try oil painting and was instantly hooked.

Before I knew it friends and family were asking if I could do portrait commissions and ironically soon the art was helping to pay for the education in music.

I was determined to do well in university and it was hard but I left with a first class BA Hons.

However, I was loving the painting so much that I was curious enough to see if I could paint some original compositions and to my surprise they turned out ok, not only that but I was lucky enough to sell them too.

I have since spent the last few years living in Cardiff selling my work both privately and in UK galleries while developing the style and technique that I have today".

Inspiration

"People sometimes look at my work and draw comparisons to other contemporary artists but as a painter I’ve always been more inspired by artists like Vermeer, John William Waterhouse and in particular Caravaggio. I’m amazed by not only the way they painted with their dramatic use of light and realism but by the way they managed to make their paintings look like a scene straight out of a modern movie".

"I've been a massive fan of film and music my whole life so I suppose it’s hardly surprising that I took influence from them both when I first started to paint and still do today.

A lot of my very early work contained musicians or scenes from films and I still find myself scrambling for the remote to pause a film because I’ve seen something that would make a great painting.

However, I soon moved on to composing my own scenes and the stories behind them. At the time I was watching a lot of Godfather type crime dramas and was inspired not only by the period they were based and the style that went with it, but also by a muffled theme of sadness and loneliness that seemed to lurk through the films.

This led to a series of paintings of an anonymous lone male figure, usually in a suit, overcoat and a Trilby or Fedora hat".

"I only really paint the things that I love and the things that inspire me.

I love painting people, I love painting skies and I love to be by the sea, so most of my work contains at least one if not all of these things.

I also like to try and tell a story or create a bit of mystery.

A book, film or song can do this but they have more time, the challenge is to capture a similar feeling in the snap shot of a single image and this is what I strive for.

I am never truly happy with a piece unless I feel it holds enough mystery to stop and intrigue the viewer, if only for a moment.

More often than not I am also inspired by my own experiences and as with most artists, as my life changes, so does my work.

Gradually evolving from my earlier compositions, themes of Love and Happiness started to emerge in my paintings.

More noticeably though the lonely, anonymous male found a female and I began to use a lot more colour.

Right now I paint the things that I would like to see on my wall, the things that make me happy".

Nato a Stourbridge nelle West Midlands, l'artista Richard Blunt ha avuto un'infanzia felice e il suo posto preferito era fuori. Se mai era dentro amava essere creativo, soprattutto con l'arte.

Storia e sfondo Direttamente dalla scuola, Richard Blunt è andato al college d'arte per studiare design 3D e, sebbene gli sia piaciuto il corso, ha lasciato senza una qualifica.

Richard ricorda che gli anni successivi andarono di male in peggio ed entrò nei suoi vent'anni in una strana città, senza casa, senza amici con i suoi unici averi portati nelle tasche del suo cappotto.

Fu a questo punto che iniziò a riscoprire il suo lato creativo e trascorse gli anni successivi suonando la chitarra in varie band prima di tornare agli studi.

Nonostante avesse scelto di studiare musica all'università, Richard iniziò a dipingere di nuovo e fu ispirato ad usare gli oli per la prima volta.

Divenne subito agganciato.

Da allora ha venduto il suo lavoro in gallerie indipendenti e privatamente, sviluppando lo stile e la tecnica che ha oggi.

József Kárpáti, 1956 | Figurative painter

noreply@blogger.com (TuttArt Bihiku) — Fri, 28 Aug 2026 15:54:38 +0000

József Kárpáti was born in Kevermes, Békés County, Hungary.

Graduated as a teacher of arts at the Teacher Training College of Eger.

At the beginning he took interest in the non-figurative style of painting, which shows the influence of his master, Ignác Kokas.

Within some years he found his individual abstract world of images.

His activities in pedagogy also have an important role in his life.

Presently he is teaching painting and graphic art at an art secondary school.

At the beginning of the 90s art theory considerations persuaded him to elaborate on a new style, in which process he was inspired by the art of renaissance.

According to the artist, subsequent to the movements of the avant-garde of 20th century, a new encounter between art and the audience is required through the revival of the valuable traditions.

As a result of this, the description of man and portrays take the foreground of his art.

Several of his works can be found in foreign private collections.

József Kárpáti è un pittore ed insegnante d'arte Ungherese, originario di Kevermes.

La sua traiettoria artistica e professionale si distingue per tappe precise:

Ha conseguito il diploma come insegnante di arti visive presso il Teacher Training College di Eger.

All'inizio della sua carriera ha sperimentato la pittura non figurativa, fortemente influenzato dal suo maestro Ignác Kokas, sviluppando poi un personale linguaggio astratto.

Nei primi anni '90, mosso da riflessioni teoriche sulla necessità di riavvicinare il pubblico all'arte dopo gli eccessi delle avanguardie del Novecento, ha cambiato rotta.

Ha elaborato uno stile figurativo unico che trae profonda ispirazione dall'arte del Rinascimento e dal recupero delle tradizioni classiche.

Le sue opere, spesso realizzate con tecniche miste, giocano molto sul potere espressivo delle consistenze e delle trame materiche (faktúra)

La didattica ricopre un ruolo centrale nella sua vita.

Insegna disegno, pittura e grafica presso la sezione di belle arti della scuola d'arte di Martonvásár.

Attualmente vive e lavora a Vál.

Maria Serafina, 1955 | Impressionist / Romantic painter

noreply@blogger.com (TuttArt Bihiku) — Wed, 26 Aug 2026 14:18:56 +0000

Maria Serafina Tribunella is an American of Sicilian origin (born in Collesano, Palermo); raised and educated in New York City.

After receiving a Bachelor of Fine Arts degree from New York University, she married and moved to the home of her ancestors, Italy.

It is there shat she now resides making her living as an accomplished painter alongside her husband, the Neapolitian artist, Raimondi Roberti.

The return to her native land has proved to be very important in the development of her artistic work.

There is a very strong influence of The Grand Tour heritage of Southern Italy that is nostalgically rendered in her paintings.

Pictorially, Serafina strives to capture the essence of the environments that she creates on her canvasses.

It is the myth of the Siren's Garden that inspires her to create majestic sanctuaries that evoke enchanted songs.

These gardens are among her most favored subjects and they are the results of a long period of study and reflection.

Serafina is particularly drawn to those gardens that can be found in Southern Italy, which are enclosed within a home or villa proper.

It is their seclusion and secretive charm that fascinates her.

In Serafrina's gardens, sharp shafts of shadow and sunlight weave an arabesque tapestry in which foliage, flowers, light and shadow interplay and mingle.

The viewer is thus led into a mysterious enclosure in which space and limits are never fully disclosed, but only suggested.

Her intent is for the viewers to be embraced within this enclosure and to find themselves refreshed and restored.

Serafina currently resides and works in the city of Naples.

Her paintings have found a warm reception in fine galleries throughout the United States.

Maria Serafina Tribunella è un artista Americana di origine siciliana cresciuta ed educata in New York City.

Dopo aver ricevuto un Bachelor of Fine Arts da New York Università, si sposò con l'artista napoletano Raimondi Roberti e si trasferì nella casa dei suoi antenati, in Italia.

Il ritorno nella sua terra nativa ha dimostrato di essere molto importante per lo sviluppo del suo lavoro artistico.

C'è una forte influenza del patrimonio artistico del Sud Italia che viene nostalgicamente resa nei suoi dipinti.

Pittoricamente, Serafina si sforza di catturare l'essenza degli ambienti che si crea sulle sue tele.

E 'il mito del Giardino della sirena che la ispira per creare santuari maestosi che evocano canzoni incantati.

Questi giardini sono tra i suoi soggetti più favoriti e sono il risultato di un lungo periodo di studio e di riflessione.

Serafina è particolarmente attratta da quei giardini che si trovano in Sud Italia, il loro isolamento ed il fascino segreto che la affascina.

Serafina attualmente risiede e lavora nella città di Napoli.

I suoi quadri hanno trovato una calda accoglienza nelle gallerie degli Stati Uniti.