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  • #VanGogh of the Day: Entrance to the Public Gardens in Arles, September 1888. Oil on canvas, 72.4 x 90.8 cm. The Phillips Collection, Washington DC.
  • #VanGogh of the Day: Entrance to the Public Gardens in Arles, September 1888. Oil on canvas, 72.4 x 90.8 cm. The Phillips Collection, Washington DC.
  • 4,200 24 21 September, 2019
  • _______________________________________________ “Plum And The Moon” | By: Shoda Koho (1871?-1946?)
_______________________________________________
Created in the 1930s, this majestic shin-hanga kacho-e “bird and flower” print depicts the branch of a Prunus mume - an East Asian tree species classified in the Armeniaca section of the genus Prunus subgenus Prunus. Its common names include Chinese plum and Japanese apricot. The flower is usually called a plum blossom. Behind the tree sits the large and majestic moon on top of a very fine bokashi gradation of colour. 
This distinct tree species is related to both the plum and apricot trees. Although generally referred to as a plum in English, it is more closely related to the apricot. In Chinese, Japanese, Korean and Vietnamese cooking, the fruit of the tree is used in juices, as a flavouring for alcohol, as a pickle and in sauces. It is also used in traditional medicine.
Shoda Koho is one of the shin hanga artists - and he is not the only one - of whom the art scene has hardly any information. There is practically nothing known about him. For someone who has just started to get acquainted with Japanese art prints, this is something hard to believe and to understand. Experienced collectors of Japanese prints are used to it, and may have accepted that the Japanese created great art prints, but sometimes do not even know the life data of an artist of the 20th century.
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#picturesofthefloatingworld #ukiyoe #浮世絵 #art #artist #artwork #fineart #japaneseart #japanesehistory #arthistory #arteducation #artmuseum #drawing #painting #woodblockprint #japaneseprint
#printmaking #reliefprinting 
#japanesetattoo #shodakoho #plumblossomtree #shinhanga
  • _______________________________________________ “Plum And The Moon” | By: Shoda Koho (1871?-1946?)
    _______________________________________________
    Created in the 1930s, this majestic shin-hanga kacho-e “bird and flower” print depicts the branch of a Prunus mume - an East Asian tree species classified in the Armeniaca section of the genus Prunus subgenus Prunus. Its common names include Chinese plum and Japanese apricot. The flower is usually called a plum blossom. Behind the tree sits the large and majestic moon on top of a very fine bokashi gradation of colour.
    This distinct tree species is related to both the plum and apricot trees. Although generally referred to as a plum in English, it is more closely related to the apricot. In Chinese, Japanese, Korean and Vietnamese cooking, the fruit of the tree is used in juices, as a flavouring for alcohol, as a pickle and in sauces. It is also used in traditional medicine.
    Shoda Koho is one of the shin hanga artists - and he is not the only one - of whom the art scene has hardly any information. There is practically nothing known about him. For someone who has just started to get acquainted with Japanese art prints, this is something hard to believe and to understand. Experienced collectors of Japanese prints are used to it, and may have accepted that the Japanese created great art prints, but sometimes do not even know the life data of an artist of the 20th century.
    ______________________________________________
    #picturesofthefloatingworld #ukiyoe #浮世絵 #art #artist #artwork #fineart #japaneseart #japanesehistory #arthistory #arteducation #artmuseum #drawing #painting #woodblockprint #japaneseprint
    #printmaking #reliefprinting
    #japanesetattoo #shodakoho #plumblossomtree #shinhanga
  • 1,435 10 21 September, 2019
  • _______________________________________________”Watanabe no Tsuna Fighting With Ibaraki at the Rashomon Gate” | By: Utagawa Kuniyoshi (1798-1861)
_______________________________________________
Created in 1855, this impressive print depicts 
Watanabe no Tsuna (953-1025), who was a Japanese samurai and a retainer of Minamoto no Yorimitsu (948-1021), one of the earliest samurai to be famed for his military exploits. 
Watanabe features in many of Yorimitsu's legendary adventures, and aids him in fighting many monsters, beasts and demons. 
Depicted in this print is his most famous feat; the defeat of the demon Ibaraki-doji, the principal follower of Shuten-doji. He fought Ibaraki-doji single-handedly at the Rashomon gate at the southern end of Suzaku-oji, the central North-South street in the old capital Heian-kyo (now Kyoto). According to legend Ibaraki-doji, a notorious Oni who resided at Rashomon Gate, harassed people who tried to pass through the gate until the heroic samurai Watanabe no Tsuna went to subdue the creature. 
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#picturesofthefloatingworld #ukiyoe #浮世絵 #art #artist #artwork #fineart #japaneseart #japanesehistory #arthistory #arteducation #artmuseum #drawing #painting #woodblockprint #japaneseprint
#printmaking #reliefprinting 
#japanesetattoo #ibaraki #kuniyoshi
  • _______________________________________________”Watanabe no Tsuna Fighting With Ibaraki at the Rashomon Gate” | By: Utagawa Kuniyoshi (1798-1861)
    _______________________________________________
    Created in 1855, this impressive print depicts
    Watanabe no Tsuna (953-1025), who was a Japanese samurai and a retainer of Minamoto no Yorimitsu (948-1021), one of the earliest samurai to be famed for his military exploits.
    Watanabe features in many of Yorimitsu's legendary adventures, and aids him in fighting many monsters, beasts and demons.
    Depicted in this print is his most famous feat; the defeat of the demon Ibaraki-doji, the principal follower of Shuten-doji. He fought Ibaraki-doji single-handedly at the Rashomon gate at the southern end of Suzaku-oji, the central North-South street in the old capital Heian-kyo (now Kyoto). According to legend Ibaraki-doji, a notorious Oni who resided at Rashomon Gate, harassed people who tried to pass through the gate until the heroic samurai Watanabe no Tsuna went to subdue the creature.
    _______________________________________________
    #picturesofthefloatingworld #ukiyoe #浮世絵 #art #artist #artwork #fineart #japaneseart #japanesehistory #arthistory #arteducation #artmuseum #drawing #painting #woodblockprint #japaneseprint
    #printmaking #reliefprinting
    #japanesetattoo #ibaraki #kuniyoshi
  • 1,506 8 17 hours ago
  • Claude Monet
‘Morning Haze’
Oil on Canvas
1894
_
Not on View
Philadelphia Museum of Art
@philamuseum
_
“Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.” -Claude Monet
  • Claude Monet
    ‘Morning Haze’
    Oil on Canvas
    1894
    _
    Not on View
    Philadelphia Museum of Art
    @philamuseum
    _
    “Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.” -Claude Monet
  • 2,024 12 21 September, 2019

Latest Instagram Posts

  • “Behind the Mask: Rose of Modernity”, co-organized by National Taiwan Museum of Fine Arts and Krasnoyarsk Museum Center (Ploshchad Mira), is currently on display in Russia, featuring photography works by 35 Taiwanese artists who explored the modernization of Taiwan from the early 20th century until today. The changes of natural and humanistic landscapes, the struggle of identity-building under the turbulence of global politics, the oppression, restlessness, liberation, and courage before and after the martial law were all examined in the artworks.
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攝影藝術在當代,彷彿透過鏡頭搭建起一座社會面貌的舞台,在所投射的日常情節裡,或展示人間百態。國美館和俄羅斯克拉斯諾亞爾斯克美術館共同策劃,匯集35位台灣藝術家的攝影聯展【透視假面──甜楚現代性】現正於俄羅斯展出,從現實世界存在的反常、矛盾、荒謬、淡然,呈現台灣社會在現代化的進程中,隨著物質層面的提升,生活態度的轉變。
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透視假面──甜楚現代性
Behind the Mask: Rose of Modernity
Под маской: Сущность современности
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
2019.9.18 - 11.18
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
俄羅斯克拉斯諾亞爾斯克美術館
Museum Centre «Ploschad' Mira»
Музейный центр «Площадь Мира»
/
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
圖: 吳天章〈永協同心文字篇〉2001  雷射輸出於相紙、亮片布邊、不鏽鋼框 135.5 × 189 cm 國立臺灣美術館典藏; 袁廣鳴〈棲居如詩〉2014  單頻道錄像、彩色有聲  5分鐘循環撥放  藝術家提供; 吳政璋〈台灣「美景」系列之「漂流木」〉2009 噴墨列印 100 × 150 cm  國立臺灣美術館典藏(展示輸出版本由藝術家提供); 許哲瑜〈所在-Stall〉2003 數位影像輸出 60 × 60 cm 藝術家提供
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@museum_centre_krsk #photography #exhibition #taiwan #artists #мира1 #artmuseum #國美館 #攝影藝術 #當代藝術 #contemporaryphotography #contemporaryphotoart #art #artexhibition #collaboration #museum #artexhibition
  • “Behind the Mask: Rose of Modernity”, co-organized by National Taiwan Museum of Fine Arts and Krasnoyarsk Museum Center (Ploshchad Mira), is currently on display in Russia, featuring photography works by 35 Taiwanese artists who explored the modernization of Taiwan from the early 20th century until today. The changes of natural and humanistic landscapes, the struggle of identity-building under the turbulence of global politics, the oppression, restlessness, liberation, and courage before and after the martial law were all examined in the artworks.
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    攝影藝術在當代,彷彿透過鏡頭搭建起一座社會面貌的舞台,在所投射的日常情節裡,或展示人間百態。國美館和俄羅斯克拉斯諾亞爾斯克美術館共同策劃,匯集35位台灣藝術家的攝影聯展【透視假面──甜楚現代性】現正於俄羅斯展出,從現實世界存在的反常、矛盾、荒謬、淡然,呈現台灣社會在現代化的進程中,隨著物質層面的提升,生活態度的轉變。
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    /
    透視假面──甜楚現代性
    Behind the Mask: Rose of Modernity
    Под маской: Сущность современности
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    2019.9.18 - 11.18
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    俄羅斯克拉斯諾亞爾斯克美術館
    Museum Centre «Ploschad' Mira»
    Музейный центр «Площадь Мира»
    /
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    圖: 吳天章〈永協同心文字篇〉2001 雷射輸出於相紙、亮片布邊、不鏽鋼框 135.5 × 189 cm 國立臺灣美術館典藏; 袁廣鳴〈棲居如詩〉2014 單頻道錄像、彩色有聲 5分鐘循環撥放 藝術家提供; 吳政璋〈台灣「美景」系列之「漂流木」〉2009 噴墨列印 100 × 150 cm 國立臺灣美術館典藏(展示輸出版本由藝術家提供); 許哲瑜〈所在-Stall〉2003 數位影像輸出 60 × 60 cm 藝術家提供
    ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
    @museum_centre_krsk #photography #exhibition #taiwan #artists #мира1 #artmuseum #國美館 #攝影藝術 #當代藝術 #contemporaryphotography #contemporaryphotoart #art #artexhibition #collaboration #museum #artexhibition
  • 11 0 11 minutes ago
  • #staatsgalerie_tiepolo 
We started with the construction of our next exhibition: »Tiepolo - The Best Painter of Venice«. From wall to ceiling - everything will be dedicated to this remarkable artist.
From October 11 until February 2 we present you the outstanding Tiepolo holdings of our collection in the context of international loans of paintings, prints and drawings. 
Get in the mood of our exhibition by watching last weeks #askacurator Q&A in our highlights!
  • #staatsgalerie_tiepolo
    We started with the construction of our next exhibition: »Tiepolo - The Best Painter of Venice«. From wall to ceiling - everything will be dedicated to this remarkable artist.
    From October 11 until February 2 we present you the outstanding Tiepolo holdings of our collection in the context of international loans of paintings, prints and drawings.
    Get in the mood of our exhibition by watching last weeks #askacurator Q&A in our highlights!
  • 40 1 13 minutes ago
  • Ruby City! Megan and I in front of San Antonio's newest contemporary art museum. We got to a sneak peek inside but it opens up to everyone on October 13! Another great reason to visit San Antonio. The curation of art is really well done and the building by famed architect Sir David Adjaye is one to see. I really like the secret peek-a-boo triangle skylight right before you enter the building. Also the long overhang helps you adjust from the bright Texas sun into the space or vice versa. Well DONE San Antonio! Also this museum is always free so everyone can enjoy it as well as the Chris Park and studio exhibit space across the street. I think eventually the San Pedro Creek linear park come to this museum from downtown. I sure hope so anyway.
  • Ruby City! Megan and I in front of San Antonio's newest contemporary art museum. We got to a sneak peek inside but it opens up to everyone on October 13! Another great reason to visit San Antonio. The curation of art is really well done and the building by famed architect Sir David Adjaye is one to see. I really like the secret peek-a-boo triangle skylight right before you enter the building. Also the long overhang helps you adjust from the bright Texas sun into the space or vice versa. Well DONE San Antonio! Also this museum is always free so everyone can enjoy it as well as the Chris Park and studio exhibit space across the street. I think eventually the San Pedro Creek linear park come to this museum from downtown. I sure hope so anyway.
  • 2 2 20 minutes ago
  • 8 1 47 minutes ago
  • Some parts of the #teamLab #Borderless #artmuseum feel like a daycare; other parts feel wasted in hourlong lines; nearly all parts feel like Instagram bait. The incredible #CrystalRoom part, though, feels like a cathedral from the future—an #InfinityRoom for those whom infinity wasn’t enough
  • Some parts of the #teamLab #Borderless #artmuseum feel like a daycare; other parts feel wasted in hourlong lines; nearly all parts feel like Instagram bait. The incredible #CrystalRoom part, though, feels like a cathedral from the future—an #InfinityRoom for those whom infinity wasn’t enough
  • 6 0 53 minutes ago
  • Mit der Live Lecture Performance „Ghosts in a Feedback Loop“ von Till Wittwer (*1985, Stuttgart) wird am Dienstag, den 1.10.10 um 18.00 Uhr, der erste Ankauf der @junge_sprengelfreunde präsentiert.
Till Wittwer untersucht in seiner Lecture Performance das Verhältnis des Physischen und des Digitalen. Die Recherchen des Künstlers zu Algorithmen und digitalen Infrastrukturen kreieren eine Rückkopplungsschleife (feedback loop): Während Wittwer Informationen zu eben diesen Strukturen sammelt, wird er im World Wide Web zu einem Verdächtigen, einem Geist. Über diese Identität werden durch Überwachungsalgorithmen wiederum sämtliche Informationen unumkehrbar gelistet und gespeichert.
Für alle unter Euch die es zur Live Lecture Performance nicht schaffen sollten: In unserer Oberen Sammlung wird sie anschließend als dauerhafte 2-Kanal HD Videoinstallation präsentiert. J
Abb.: Till Witter, Still aus GHOSTS IN A FEEDBACK LOOP, 2016/19, 2-Kanal HD Videoinstallation © Till Wittwer, 2019
#sprengelmuseum #hannover #performance #live #tillwittwer #artmuseum #contemporaryart #modernart #jungesprengelfreunde #sprengelfreunde #hannoverliebt
  • Mit der Live Lecture Performance „Ghosts in a Feedback Loop“ von Till Wittwer (*1985, Stuttgart) wird am Dienstag, den 1.10.10 um 18.00 Uhr, der erste Ankauf der @junge_sprengelfreunde präsentiert.
    Till Wittwer untersucht in seiner Lecture Performance das Verhältnis des Physischen und des Digitalen. Die Recherchen des Künstlers zu Algorithmen und digitalen Infrastrukturen kreieren eine Rückkopplungsschleife (feedback loop): Während Wittwer Informationen zu eben diesen Strukturen sammelt, wird er im World Wide Web zu einem Verdächtigen, einem Geist. Über diese Identität werden durch Überwachungsalgorithmen wiederum sämtliche Informationen unumkehrbar gelistet und gespeichert.
    Für alle unter Euch die es zur Live Lecture Performance nicht schaffen sollten: In unserer Oberen Sammlung wird sie anschließend als dauerhafte 2-Kanal HD Videoinstallation präsentiert. J
    Abb.: Till Witter, Still aus GHOSTS IN A FEEDBACK LOOP, 2016/19, 2-Kanal HD Videoinstallation © Till Wittwer, 2019
    #sprengelmuseum #hannover #performance #live #tillwittwer #artmuseum #contemporaryart #modernart #jungesprengelfreunde #sprengelfreunde #hannoverliebt
  • 19 1 57 minutes ago
  • #artmuseum 𓀍
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もう1週間前になってしまいますが、行ってきました。

ずっと楽しみにしていましたが、予想以上に、今の私にとって、感慨深いものでした。

彼の多彩な才能。
色々な経験をしてきた人生も有りだと勇気づけられました。

今も魅了される彼の作品の数々。
学生の頃行ったヴェネツィアへ、この仕事をしているからこそ、もう一度行きたい!

着物と洋服の融合。
そして、細部にわたる拘り。
様々ものに興味を持ち、学び続ける姿勢。

本当に共感することばかり。
そして、実はジュエリーの専門学校へ行く決心をする前、多摩美のテキスタイル科に入ろうと本気で勉強していた頃のことも思い出しましたw

もう一度見に行きたいくらい、私にはグッとくるものでした。 .
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#備忘録
#マリアノフォルチュニ展
  • #artmuseum 𓀍
    .
    .
    .
    もう1週間前になってしまいますが、行ってきました。

    ずっと楽しみにしていましたが、予想以上に、今の私にとって、感慨深いものでした。

    彼の多彩な才能。
    色々な経験をしてきた人生も有りだと勇気づけられました。

    今も魅了される彼の作品の数々。
    学生の頃行ったヴェネツィアへ、この仕事をしているからこそ、もう一度行きたい!

    着物と洋服の融合。
    そして、細部にわたる拘り。
    様々ものに興味を持ち、学び続ける姿勢。

    本当に共感することばかり。
    そして、実はジュエリーの専門学校へ行く決心をする前、多摩美のテキスタイル科に入ろうと本気で勉強していた頃のことも思い出しましたw

    もう一度見に行きたいくらい、私にはグッとくるものでした。 .
    .
    .
    .
    .
    .

    #備忘録
    #マリアノフォルチュニ展
  • 14 1 57 minutes ago
  • 1933年の室内装飾
@teienartmuseum 
凛とする美しさ。
  • 1933年の室内装飾
    @teienartmuseum
    凛とする美しさ。
  • 18 1 1 hour ago
  • 10 1 1 hour ago
  • 10 1 1 hour ago
  • Längst in i vår utställning: Väva fläta fästa – Textila pionjärer och samtida uttryck, hittar du ett helt rum tillägnat Sten Kauppi.

Kauppi växte upp i Jukkasjärvi, Kiruna. Genom modern, som är sömmerska, kommer Kauppi tidigt i kontakt med textilt hantverk. Men när han ska påbörja en konstnärlig utbildning blir det på avdelningen för reklam på Konstfackskolan i Stockholm och därefter en utbildning i måleri på Konsthögskolan i Stockholm. Han har dock kvar sitt textila intresse och börjar brodera under studietiden. 1951 kommer han i kontakt med Edna Martin, chef på Handarbetets Vänner som inkluderar Kauppi i en grupputställning i Stockholm 1953. Utställningen blir Kauppis genombrott och han får därefter många offentliga uppdrag nationellt. Kauppis hemort Kiruna förblir nära hans hjärta och det norrländska landskapet kan ses i flera av hans verk.
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#västerås #västeråskonstmuseum #karlsgatan2 #artmuseum #art #konst #visitvasteras #visitvästerås #textilkonst #textileart #textilearts
Syntolkat: Bild på två kvinnor som står framför tre upplysta tavlor av Sten Kauppi. Omgivningen är mörklagd vilket får tavlorna att lysa upp.
  • Längst in i vår utställning: Väva fläta fästa – Textila pionjärer och samtida uttryck, hittar du ett helt rum tillägnat Sten Kauppi.

    Kauppi växte upp i Jukkasjärvi, Kiruna. Genom modern, som är sömmerska, kommer Kauppi tidigt i kontakt med textilt hantverk. Men när han ska påbörja en konstnärlig utbildning blir det på avdelningen för reklam på Konstfackskolan i Stockholm och därefter en utbildning i måleri på Konsthögskolan i Stockholm. Han har dock kvar sitt textila intresse och börjar brodera under studietiden. 1951 kommer han i kontakt med Edna Martin, chef på Handarbetets Vänner som inkluderar Kauppi i en grupputställning i Stockholm 1953. Utställningen blir Kauppis genombrott och han får därefter många offentliga uppdrag nationellt. Kauppis hemort Kiruna förblir nära hans hjärta och det norrländska landskapet kan ses i flera av hans verk.
    .
    .
    #västerås #västeråskonstmuseum #karlsgatan2 #artmuseum #art #konst #visitvasteras #visitvästerås #textilkonst #textileart #textilearts
    Syntolkat: Bild på två kvinnor som står framför tre upplysta tavlor av Sten Kauppi. Omgivningen är mörklagd vilket får tavlorna att lysa upp.
  • 13 0 1 hour ago
  • 3 1 1 hour ago
  • #Repost @lets_talk_about_art
• • • • • •
Vincent van Gogh, The lover (portrait of Lieutenant Milliet), Late September - early October 1888, Oil on canvas, 60 x 50 cm, Kröller-Müller Museum, Otterlo.

Vincent van Gogh, 1853-1890, arrived in Arles on 20 February 1888. After two years in Paris, he was tired of the demands of life in the city and longed for the sunshine and vibrant colors of the south. In Arles, he met other artists and befriended several locals. This portrait of Lieutenant Paul-Eugène Milliet has been dated late September - early October 1888. Milliet was second lieutenant in the third regiment of the Zouaves, a class of light infantry regiments of the French Army linked to French North Africa. The regiment was stationed at the Caserne Calvin barracks in Arles. Milliet had a keen interest in art and was enthusiastic about painting and drawing. He became friends with van Gogh who decided to give him lessons. He wrote to Emile Bernard: “I know a second lieutenant in the Zouaves here; his name is Milliet. I give him drawing lessons--with my perspective frame--and he is beginning to do some drawings and, honestly, I've seen far worse. He is keen to learn.” Van Gogh painted Milliet in his military uniform. He wears a commemorative medal from his expedition to Tonkin. The star and crescent moon symbol, seen in the upper right hand corner, was the coat of arms for Milliet's Zouave regiment. Vincent subtitled the portrait of Milliet ’The Lover’, in reference to his friend’s success with the local women. He wrote: “Milliet’s lucky, he has all the Arlésiennes he wants, but there you are, he can’t paint them, and if he was a painter he wouldn’t have any” Milliet left on 1 November 1888 for Guelma, Algeria. Vincent hung the painting of his friend in his bedroom at the Yellow House.

Check out my other accounts:
@art_questions_and_debates & 
@my_favorite_work_of_art

#vincentvangogh #vangogh #gogh #portrait #portraitofaman #dutchartist #kröllermüllermuseum #oilpainting #krollermuller #kröllermüller #instaart #artcurator #artblog #onlineart #artinfo #artgallery #artmuseum #arthistorian @krollermullermuseum
  • #Repost @lets_talk_about_art
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    Vincent van Gogh, The lover (portrait of Lieutenant Milliet), Late September - early October 1888, Oil on canvas, 60 x 50 cm, Kröller-Müller Museum, Otterlo.

    Vincent van Gogh, 1853-1890, arrived in Arles on 20 February 1888. After two years in Paris, he was tired of the demands of life in the city and longed for the sunshine and vibrant colors of the south. In Arles, he met other artists and befriended several locals. This portrait of Lieutenant Paul-Eugène Milliet has been dated late September - early October 1888. Milliet was second lieutenant in the third regiment of the Zouaves, a class of light infantry regiments of the French Army linked to French North Africa. The regiment was stationed at the Caserne Calvin barracks in Arles. Milliet had a keen interest in art and was enthusiastic about painting and drawing. He became friends with van Gogh who decided to give him lessons. He wrote to Emile Bernard: “I know a second lieutenant in the Zouaves here; his name is Milliet. I give him drawing lessons--with my perspective frame--and he is beginning to do some drawings and, honestly, I've seen far worse. He is keen to learn.” Van Gogh painted Milliet in his military uniform. He wears a commemorative medal from his expedition to Tonkin. The star and crescent moon symbol, seen in the upper right hand corner, was the coat of arms for Milliet's Zouave regiment. Vincent subtitled the portrait of Milliet ’The Lover’, in reference to his friend’s success with the local women. He wrote: “Milliet’s lucky, he has all the Arlésiennes he wants, but there you are, he can’t paint them, and if he was a painter he wouldn’t have any” Milliet left on 1 November 1888 for Guelma, Algeria. Vincent hung the painting of his friend in his bedroom at the Yellow House.

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i am lost in wonderland 💍
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    i am lost in wonderland 💍
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