Willem van Aelst (1627-1683 or later) The Netherlands
Flower Still Life
ca. 1663
Willem van Aelst was one of the first flower painters to paint asymmetrically arranged-- and thus inherently more dynamic--bouquets. His ornate still lives are prized for their striking color contrasts, brightly lit and crisply outlined forms, and perfectly illusionistic rendering of surfaces. Note the gleaming silver vase, made in the flowing style popularized by the seventeenth-century Dutch silversmith Jan Lutma. The style is caked "auricular" because it echoes the swirling contours of the human ear--or even the shell of a snail.
I personally find this painting interesting because of the color scheme. I love how the base of the work is dark, and that the light blue and pink flowers really pop. I feel as if they are a focal point to the piece.
Flower Still Life
ca. 1663
Willem van Aelst was one of the first flower painters to paint asymmetrically arranged-- and thus inherently more dynamic--bouquets. His ornate still lives are prized for their striking color contrasts, brightly lit and crisply outlined forms, and perfectly illusionistic rendering of surfaces. Note the gleaming silver vase, made in the flowing style popularized by the seventeenth-century Dutch silversmith Jan Lutma. The style is caked "auricular" because it echoes the swirling contours of the human ear--or even the shell of a snail.
I personally find this painting interesting because of the color scheme. I love how the base of the work is dark, and that the light blue and pink flowers really pop. I feel as if they are a focal point to the piece.
Frank Duveneck (1848-1919)
Still Life with Watermelon
ca. 1878
Oil on canvas
The Dexter Fund
1922.109
This sumptuous work is one of few known still lives by Frank Duveneck. He may have painted it in Venice in the late 1870s, when working with his proteges known as The Duveneck Boys. Not intended originally as an independent composition, the canvas was once larger and included a head of his student John White Alexander (1856-1915). As a testimony to their friendship, Duveneck gave this painting to him. The array of fruits and vegetables, copper salver, and ceramic pitcher offer no particular meeting. Duveneck appears to have arranged them as a vehicle for lively combinations of vibrant colors and shapes. The juicy tomatoes and watermelon provide brilliant accents against the white tablecloth and contrast with the warm browns and rich black of the background. With the still life's tactile surface, the artist reveled in the sheer love of paint.
I also am drawn to the color scheme in this painting. Once again, I love how the pink color of the watermelon stand out and act as focal points in the piece. I also love how the white in the tablecloth brings out everything that is on the table.
Still Life with Watermelon
ca. 1878
Oil on canvas
The Dexter Fund
1922.109
This sumptuous work is one of few known still lives by Frank Duveneck. He may have painted it in Venice in the late 1870s, when working with his proteges known as The Duveneck Boys. Not intended originally as an independent composition, the canvas was once larger and included a head of his student John White Alexander (1856-1915). As a testimony to their friendship, Duveneck gave this painting to him. The array of fruits and vegetables, copper salver, and ceramic pitcher offer no particular meeting. Duveneck appears to have arranged them as a vehicle for lively combinations of vibrant colors and shapes. The juicy tomatoes and watermelon provide brilliant accents against the white tablecloth and contrast with the warm browns and rich black of the background. With the still life's tactile surface, the artist reveled in the sheer love of paint.
I also am drawn to the color scheme in this painting. Once again, I love how the pink color of the watermelon stand out and act as focal points in the piece. I also love how the white in the tablecloth brings out everything that is on the table.
Vase
1906
The Rookwood Pottery Company
(1880-1967)
Harriet Elizabeth Wilcox
(1869-1943), decorator
Earthenware, Painted Mat glaze line
Gift of William A. Stout
2000.276
I absolutely love the design in this vase. I like how it is kept simple, yet it still is very interesting to look at. I also think it is interesting how all of the colors are very similar; even the green has pink in it.
1906
The Rookwood Pottery Company
(1880-1967)
Harriet Elizabeth Wilcox
(1869-1943), decorator
Earthenware, Painted Mat glaze line
Gift of William A. Stout
2000.276
I absolutely love the design in this vase. I like how it is kept simple, yet it still is very interesting to look at. I also think it is interesting how all of the colors are very similar; even the green has pink in it.
Vase
1887
Cincinnati Art Pottery Company (1879-1891)
Carrie Schlachter (dates unknown), decorator
Earthenware
Gift of Theodore A. Langstroth
1970.679
I really like how this vase is more 3 dimensional than the last one. I also love the texture of the vase, as well as their use of materials. I think it is interesting how some of the flowers are sticking out, yet some of them aren't.
1887
Cincinnati Art Pottery Company (1879-1891)
Carrie Schlachter (dates unknown), decorator
Earthenware
Gift of Theodore A. Langstroth
1970.679
I really like how this vase is more 3 dimensional than the last one. I also love the texture of the vase, as well as their use of materials. I think it is interesting how some of the flowers are sticking out, yet some of them aren't.
Jules Breton (1827-1906)
France
Last Flowers
1890
oil on canvas
Gift of Emilie L. Heine in memory of Mr. and Mrs. John Hauck
1940.955
Jules Breton's paintings unite an academic concern for ideal beauty and refined technique with the realism found in peasant paintings by Jean Franois Millet. Most of Breton's scenes feature rural workers engaged in everyday tasks. Rather than expressing the drudgery of agrarian labor, his subjects-like this young woman gathering a late bouquet from a snowy garden--approach their chores with a simple joy and pride in accomplishment. As one contemporary reviewer noted, "Both Millet and Breton celebrate the occupations of rural life, the former with a kind of savage melancholy, the second with tender solemnity, austere grace and epic simplicity." Although he was primarily a figure painter. Breton's paintings are distinguished by a sensitivity to landscape, light, and atmosphere.
This painting is absolutely amazing because it looks so realistic. I can't imagine all of the details that were added to this to make it look like a real person.
France
Last Flowers
1890
oil on canvas
Gift of Emilie L. Heine in memory of Mr. and Mrs. John Hauck
1940.955
Jules Breton's paintings unite an academic concern for ideal beauty and refined technique with the realism found in peasant paintings by Jean Franois Millet. Most of Breton's scenes feature rural workers engaged in everyday tasks. Rather than expressing the drudgery of agrarian labor, his subjects-like this young woman gathering a late bouquet from a snowy garden--approach their chores with a simple joy and pride in accomplishment. As one contemporary reviewer noted, "Both Millet and Breton celebrate the occupations of rural life, the former with a kind of savage melancholy, the second with tender solemnity, austere grace and epic simplicity." Although he was primarily a figure painter. Breton's paintings are distinguished by a sensitivity to landscape, light, and atmosphere.
This painting is absolutely amazing because it looks so realistic. I can't imagine all of the details that were added to this to make it look like a real person.
Claude Schuffenecker (1851-1956) France
The Road Under Trees
ca. 1888
oil on canvas
Centennial Gift of Mr. and Mrs. Dwight J. Thomson
1980.276
My favorite thing about this piece is definitely the color scheme. The light colors give off such a bright, happy mood. I also like how the colors make the painting look as if it were morning.
The Road Under Trees
ca. 1888
oil on canvas
Centennial Gift of Mr. and Mrs. Dwight J. Thomson
1980.276
My favorite thing about this piece is definitely the color scheme. The light colors give off such a bright, happy mood. I also like how the colors make the painting look as if it were morning.
Marius-Jean-Antonin Mercie (1845-1916) France
David with the Head of Goliath after 1872
bronze with dark brown patina, gilded and silvered
Museum Purchase with funds provided by the Oliver Charitable Trust, 2002.44
What I really like about this piece the media that was used. I love how shiny the bronze color makes the statue.
David with the Head of Goliath after 1872
bronze with dark brown patina, gilded and silvered
Museum Purchase with funds provided by the Oliver Charitable Trust, 2002.44
What I really like about this piece the media that was used. I love how shiny the bronze color makes the statue.
Ana England (b.1953)
Night Sky Spiral II, 2033
United States (Cincinnati)
ceramic, wax
Museum Purchase: Lawrence Archer Wachs
Trust, 2003.23
According to the artist, "Night Sky Sprial II explores the beauty of the cosmos and the dynamic spiral movement of the galaxies." The forty-three black ceramic disks that constitute this work were created by a complex process that involved two firings. The second was a rake firing, during which the clay disks were reheated to a high temperature and then immediately enclosed in sand and sawdust nests to cool. As the risks slowly cooled, the atmosphere in the virtually airtight nests reacted with the surface of the clay and turned it black. The disks were then covered with synthetic wax producing a soft, luminous sheen
The artist resides in Cincinnati and is a professor at Northern Kentucky University.
I think it is very interesting that this piece was created by an NKU professor, and that it hangs in the cafe of the museum. I like how it is abstract, and the placement of the disks. I also like how there are specks of white in some of the disks.
Night Sky Spiral II, 2033
United States (Cincinnati)
ceramic, wax
Museum Purchase: Lawrence Archer Wachs
Trust, 2003.23
According to the artist, "Night Sky Sprial II explores the beauty of the cosmos and the dynamic spiral movement of the galaxies." The forty-three black ceramic disks that constitute this work were created by a complex process that involved two firings. The second was a rake firing, during which the clay disks were reheated to a high temperature and then immediately enclosed in sand and sawdust nests to cool. As the risks slowly cooled, the atmosphere in the virtually airtight nests reacted with the surface of the clay and turned it black. The disks were then covered with synthetic wax producing a soft, luminous sheen
The artist resides in Cincinnati and is a professor at Northern Kentucky University.
I think it is very interesting that this piece was created by an NKU professor, and that it hangs in the cafe of the museum. I like how it is abstract, and the placement of the disks. I also like how there are specks of white in some of the disks.
Vase 1893-1896
Louis Comfort Tiffany (1848-1933), designer
Tiffany Glass & Decorating Co. (1892-1902) New York (Corona)
I really like the vase pieces from the museum, but this one really stuck out to me because of the warm color scheme. I also think it is interesting how lines of green are added, and how the colors have a some-what ombre effect.
Louis Comfort Tiffany (1848-1933), designer
Tiffany Glass & Decorating Co. (1892-1902) New York (Corona)
I really like the vase pieces from the museum, but this one really stuck out to me because of the warm color scheme. I also think it is interesting how lines of green are added, and how the colors have a some-what ombre effect.
Rudolf Tschudi (1855-1923)
Still Life with Grapes, Peaches, and Wine Glass
undated
oil on panel
Gift of Barbara Freelan Steinberg in memory of her mother, Loretta Tschudi Freeland, granddaughter/adopted daughter of Rudolph and Bertha Messer Tschudi
2001.44
Swiss-born Rudolf Tschudi immigrated to America in 1873 and settled in Cincinnati the following year. He was an instructor at the Art Academy, where he was both a colleague and friend of Frank Duveneck. Tschudi was also enrolled in Duveneck's life class at the Cincinnati Art Club, and remained active there through the early 1920's. To supplement his income, Tschudi worked as a restorer of paintings at Closson's Art Gallery on Race Street. He lived and worked in Cincinnati throughout his entire adult life.
A painter primarily of landscapes, Tschudi painted only a few still lives. Paintings such as there, with household objects arranged on a table, became popular in the mid to late nineteenth century as decoration for dining rooms, with the rising fashion in american homes to own and display works of art.
I love how bright all of the colors are in this piece. I really like the rainbow effect the grapes are giving off. As an overall piece, I think it is interesting how the entire painting is very bright.
Still Life with Grapes, Peaches, and Wine Glass
undated
oil on panel
Gift of Barbara Freelan Steinberg in memory of her mother, Loretta Tschudi Freeland, granddaughter/adopted daughter of Rudolph and Bertha Messer Tschudi
2001.44
Swiss-born Rudolf Tschudi immigrated to America in 1873 and settled in Cincinnati the following year. He was an instructor at the Art Academy, where he was both a colleague and friend of Frank Duveneck. Tschudi was also enrolled in Duveneck's life class at the Cincinnati Art Club, and remained active there through the early 1920's. To supplement his income, Tschudi worked as a restorer of paintings at Closson's Art Gallery on Race Street. He lived and worked in Cincinnati throughout his entire adult life.
A painter primarily of landscapes, Tschudi painted only a few still lives. Paintings such as there, with household objects arranged on a table, became popular in the mid to late nineteenth century as decoration for dining rooms, with the rising fashion in american homes to own and display works of art.
I love how bright all of the colors are in this piece. I really like the rainbow effect the grapes are giving off. As an overall piece, I think it is interesting how the entire painting is very bright.