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1992 Cezanne once said that “nature should be rendered as a  sphere, a cylinder, or a cone.”  The sitters for this painting were probably local people from around Cezanne’s hometown of Aix.This painting was rejected for the Salon of 1866: its admirers and detractors alike found the contrast of colors 
“brusque.” This was Manet’s tribute to the seventeenth-century Spanish painter Diego Rodriguez de Silvay Velazquez.
This figure of a woman, dressed in the Florentine fashion of her day. The Mona Lisa’s enigmatic expression, which
seems both alluring and aloof, has given the portrait universal fame.
In an interview of 1920, Monet recalled that having identified the best vantage point, he had asked for and received permission to paint from a private balcony. The painting’s composition, with flagpoles on either side, was considered very daring.In 1872, Monet, followed by other future 
Impressionists, went to live in Argentueil, some five miles from Paris. Renoir, Sisley, Caillebotte, and Monet - the latter already considered by outsiders the group’s leader. The Japanese influence so prevalent in modern French art of the period appears straightforwardly in the little bridge that Monet had built in his beloved gardens at Giverny. This head-on view, in several treatments, would become a series. 1899In 1878, Monet stopped painting figures. He resumed again, for a while, in 1885, and it was at this point that he began detailing how light and colors change over the course of days and seasons.  
The model for this series of two is probably Suzanne Hoschede, one of the daughters of Monet’s lover, Alice Raingo Hoschede, who married the artist in 1892.
The harsh, timeless light suggests the state of mind of the absinthe drinker and her companion, both portrayed by popular models and fellow-denizens 
of impressionist circles. This painting shown in the Salon of 1883 to be viewed :not as a portrait but as a composition. The delicate tonalities and patterns refer to the Japanese style that was hugely influential not only in the European capitals, but in the United States as wellBy 1885, Toulouse-Lautrec was living in Montmartre, a fixture at the heart of bohemian Paris, and an insider who recorded the worlds of declasse entertainments, the demimonde, and those who frequented them. During his brief career as a pastor in Holland, Van Gogh had painted in a somber palette, with thick impasto. This remarkable portrait, assembled from brilliant, paint-laden brushstrokes.Van Gogh voluntarily entered the sanitarium of Saint-Paul-de-Mausole in Saint-Remy, some fifteen miles from Arles; he remained there until May 1890. During that time, he copied not only works of established masters, but his own.Poppies are the flowers of high summer, the  season of deep blue skies, and the child in the fore-ground, reveling in these ephemeral  blossoms, provides a way 
in for the viewer.  The energetic diagonal sweep of the red swath contrasts with lazy leisureIn 1903, Monet began painting his London scenes from memory; his most recent trip to that city had been in 1901, when he had ollapsed from overwork.  These paintings represented the first time Monet had not worked directly from nature since his youth. Degas Explored the boundaries of artifice.  His attitude was particularly in keeping with his approach: “No art,” he wrote, “could be less spontaneous than mine.”  Here, sketchy lines barely contain the bright, almost garish clouds of color that define shThe artist began his Grainstacks series in autumn of 1888, working in the field of a  neighbor at Giverny. By May 1891, he was able to show fifteen paintings on 
the subject at the Gallerie Durand-Ruel. Flandrin made the pilgrimage to Rome, and the Neoclassical fabric on which the 
pensive subject enough to suggest that here is the eternal southern Italian boy, resting after a swim.Rembrandt painted this portrait at age 54.The setting describes the quiet enclosure of an interior.  The artist’s shadow shows little space between himself and the rear wall, suggesting there is only room enough for Rembrandt and his easel.
 
         

Mic Re-creates the Masters (Scroll above to view the collection)

Mic has painted a collection of his own rendering of 20 masterpieces from the famed d'Orsay Museum and the Louvre Museum. These famous paintings such as the Mona Lisa, Whistler's Mother and other classics by Monet, Van Gogh, Cezanne, Manet, Rembrandt, Degas and Toulouse Lautrec.

Before the commercial art market, copying a work of a master was considered a tribute, not a forgery. In the previous centuries, many painters like Rembrandt had workshops with apprentices that studied painting techniques by copying the works and style of the master. www.miccarlson.com/masters

  copyright © Mic Carlson, 2004