Sunlit Winter Landscape, Peder Mørk Mønsted, oil on canvas, 28 x 39 inches (72 x 98 cm); Link is to Bukowski’s auctions, large version can be found here.
Another beautiful winter scene Danish painter Peder Mørk Mønsted, who I count as one of my favorite landscape painters.
I love the suggestion of a delicate tracery in the tops of the bare trees Mønsted has created with careful control of color and value and a delicate touch with the brush.
Martina Krupičková is a czech painter who focuses on landscape and cityscape.
Her website is in both Czech and English, with the English paragraphs right after the Czech ones.
Krupičková paints with painting knives. By varying her marks, she avoids the uniform sameness I sometimes see in paintings done entirely with a painting knife.
She adjusts her palettes to her subject, with high value contrasts and high chroma accent colors for sunlit landscapes, and muted grays for rain slicked site streets and overcast days.
Krupičková has a YouTube channel. Most of the videos are close-up views of individual paintings rather than process. An exception is a time-lapse video of her painting her entry in the British Landscape Artist of the Year competition for 2018.
The Roof Painter, Anton Pieck
20th century Dutch illustrator, printmaker and gallery artist Anton Pieck was noted for his charming winter scenes. Here, he shows an artist, perhaps meant to be a representation of Pieck himself, finding a view of the town that requires him to climb to a roof peak. A boy brings him hot soup while a cat casually takes in the activity.
This was one of a series of graphics sometimes referred to as his Christmas Cards, that were actually intended as New Year’s cards.
Ernst Grillhiesl, who signs his work “ErnstG”, is a contemporary German painter who works in watercolor. His landscape subjects usually include architectural elements, often set almost on the horizon with a deep but de-emphasized foreground.
Grillhiesl’s style is a combination of crisp, precise rendering of buildings and other artificial objects and a looser, somewhat softer approach to trees and shrubbery. The result is a visually appealing blend of accuracy and freedom.
He appears to live in a part of Bavaria where many of the houses and other buildings have red roofs, and a number of his compositions have a nicely subdued complementary color relationship in the setting of red roofs among the greens of summer grasses and foliage.
Though he has a websiite that includes images of his work, it’s not easy to navigate, particularly for non-German speakers. It’s much easier to view his work on his blog, which is arranged as a website with multiple image galleries.
The tagline on his blog, as translated by Google Translate, reads: “Everyday life brought to paper with a brush and paint”.
I have not been able to find much information on either location about how large his paintings are or whether they are for sale.
Portrait of Adele Bloch-Bauer I (also sometimes called “Woman in Gold” or “Lady in Gold”), Gustav Klimt; gold leaf, silver leaf, and oil on canvas; 55 x 55 inches (140 x 140 cm); in the collection of the Neue Galerie, New York.
Link is to the file page for the Neue Galerie version of the image on Wikimedia Commons.
This and The Kiss are the most widely recognized works by 19th century Austrian symbolist painter Gustav Klimt.
Both paintings are from Klimt’s “Golden Phase”, in which — inspired by the use of gold leaf in Byzantine mosaics in Venice and Ravenna — he began to incorporate gold leaf into his paintings. This is the most elaborate of his works from the period, incorporating not only the metal leaf, but bas-relief created with dimensional applications of gesso.
It is titled “Portrait of Adele Bloch-Bauer I” because Klimt painted a second, much less complex and dramatic portrait of her.
There is a Wikipedia page devoted to the painting that goes into more detail, including the sexual subtext of its imagery and the story of its disposition and seizure by the Nazi regime.
You will find many images of this work that are much brighter, more saturated and shifted in hue — even on the Wikipedia article about the painting.
However, if you follow that link to Wikimedia Commons, as I did, you will find a very different, darker and considerably more subdued version of the image as supplied by the Neue Galerie. The Wikimedia editors indicate the Neue Galerie image has superseded the brighter version as the recommended version of the image.
The bright version looks to me like it suffers — as do so many online art images — from someone throwing the image into Photoshop and cranking up the brightness and saturation because the more faithful image isn’t “pretty” enough.
However, at the risk of being hoist on my own petard, I have slightly increased the exposure on the version of the Neue Galerie’s image that I’m showing here.
it has been my experience in regard to images with which I’m personally familiar, that many museums and galleries post images of works in their collections that are darker than the real object. (Why this is so still eludes me.)
I have not had the pleasure of seeing this painting in person, but my guess is that the appearance of the real work is somewhere between the two versions, and closer to the Neue Galerie version. If someone who has seen the work in person can correct me, please do. I’ve based my adjustment on images of other works by Klimt from the same time period.
Belgian born 19th century painter Charles Henri Joseph Leickert spent most of his career living and painting in the Netherlands. He is noted for his winter scenes, particularly of activity on frozen rivers, and his cityscapes, rich with the textures of brick and stone.
When I first featured Leickert on Lines and Colors back in 2009, there were fewer images available of his work on the web, and I was also not including as many images in my posts as I am now.
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