#multifigural

[galleryofart]

Gathering Lilies

Artist: Eastman Johnson (American, 1824-1906)

Date: 1865

Medium: Oil on board

Collection: National Gallery of Art, Washington, DC, United States

Description

During the 1860s and 1870s Eastman Johnson was one of America's leading specialists in genre paintings. He spent the early years of his career painting portraits, primarily in Boston and Washington, but in 1849 decided to enroll in the prestigious art academy at Düsseldorf, Germany. There he studied with the history painter Emanuel Leutze, who provided superb instruction in the fundamentals of composing multifigure subjects. Johnson subsequently spent three years in The Hague, where he made careful study of the works of the Dutch old masters, and then moved to Paris to train in the studio of Thomas Couture, another accomplished history painter.

Johnson returned to America in 1855 and settled in New York. He quickly established a reputation as a genre painter, using the technical skills he had learned in Europe to create masterful works such as Old Kentucky Homer - Life in the South, 1859 (New-York Historical Society). During the mid-1860s, he turned his attention to painting idealized views of women in various pursuits; his masterpiece among these is the beautiful Gathering Lilies.

A solitary woman is shown bending down to pick the flower of a water lily from the surface of a tranquil pond with her right hand while holding other flowers in her left. Johnson perfectly captured the graceful elegance of her motion as she balances on the log and turns to grasp the stem of the flower. By using a close vantage point looking slightly downward and eliminating a view toward a distant horizon, he created an intimate environment of the pond and its banks, establishing the woman as the focus of the image.

[supersonicart]

John Moyers & Terri Kelly Moyers' "Echoes of the Past."

Currently on view at Maxwell Alexander Gallery in Los Angeles, California is John Moyers & Terri Kelly Moyers' exhibition, "Echoes of the Past."

A chance meeting at a Robert Lougheed workshop in British Columbia brought this couple together, but their love for art, travel, and painting outdoors has kept not only their love story alive, but their artist visions ever changing.  It's worth noting that just in the last month, Terri Kelly Moyers was awarded the Artist Choice Award at the Autry's Masters of the American West and John Moyers was given the Artist Excellence Award at the 2023 Booth Western Art Museum's annual Gala.  Between the two, they've won every possible award there is - from the Prix de West Purchase Award to the Autry Masters purchase award, and everything in between.  

It is always a pleasure when you come across artists in their prime.  In collecting contemporary artists it can sometimes be difficult to pinpoint those periods, but when looking at the new body of work created by the Moyers' it is no question that that time is now. 

John's fully formed vision of mixing abstract elements within hard painted edges jumps off the canvas in images like "Appeal to the Spirts," the artist's largest painting in the show.  The painting features a multifigure scene of Northern New Mexican Natives during a ceremony.  At first glance it feels like a warm representational painting of the past -- but at further inspection it is a total master class in abstraction and composition that very few can achieve so well.  Get close to this painting and you will experience thick application of paint mixed with highlights in just the right areas, masterful application of value and reflective light.  It is without a doubt a museum quality painting.  

Terri Kelly's painting "Song and Prayer" shows a colder climate scene with masterfully painted hills and landscape that allows the viewer to feel the warmth hitting the central figure.  Historical elements are always paid close attention to in Moyers' paintings.  The knowledge and interest in the people she paints comes through her masterful paint strokes, leaving detail out where it is not needed, and rendering other elements to lead the viewer's eye.  The composition is laid out like a perfect road map leading you into the scene and allowing the viewer to feel the vastness of nature.  You are left imagining the sounds of the song and prayer on this crisp fall day.  

THE SUPERSONIC ART SHOP | FOLLOW ON INSTAGRAM

[thora-sniper]

This is not shipping this only friendship... oh common whom I lying because I'm on my way to create polyBatch smut for Tho'ra. But I use them not in the main storyline so this is only friendship and I hope that I remake Wrecker because I tired from fighting with his huge.

I'm very misfit in my work with proposition between different people.

Want to make something multifigure composition in beachwear for all characters.

[sylviamaier]

#wip #artistsoninstagram #judithbeheadingholofernes #oil #art #blackart #multifigural #grisaille #africanamericanpainter https://www.instagram.com/sylviamaiernyc/p/Bvc4KupFy7m/?utm_source=ig_tumblr_share&igshid=11bj07ayedgaj

[lucasdurham]

This piece had a long journey, and I'm glad to finally share it with you. It started as a napkin sketch while I was listening to Ashley Eckstein moderate the Sisters of the Force panel at Star Wars Celebration Chicago in 2019. I've always wanted to do a Star Wars homage to Delacroix, and during Ashley's introduction to the panel I kept thinking how Ahsoka would be a perfect fit for the idea, because she could represent the new era in the fan community moving to a more hopeful and inclusive future. It sat dormant for a few months because I knew a multifigure piece like this would take a lot of effort to compose, but in the fall, I started sketching it as an art show proposal for SW Celebration 2020. Unfortunately, it was rejected, but in many ways that ended up being a blessing in disguise. Without a deadline, I was free to take as long as I needed to really flesh out the details, and it was the perfect distraction through the long quiet weekends of 2020. Anyway, like Ahsoka in this painting, hope you can find the inspiration to press forward in whatever life is throwing your way right now, big or small. May the Force be with you!

[artmialma]

Pierre-Auguste Renoir - The Great Bathers, 1884-1887,

  Philadelphia Museum of Art Although this painting depicts a fleeting moment when one bather playfully threatens to splash a companion, it has a timeless, monumental quality. The sculptural rendering of the figures against a shimmering landscape and the careful application of dry paint reflect the tradition of seventeenth- and eighteenth-century French painting. Renoir--in an attempt to reconcile this tradition with modern painting--labored over this work for three years, making numerous preparatory drawings for individual figures and at least two full-scale, multifigure drawings. Faced with criticism of his new style after completing The Large Bathers, an exhausted Renoir never again devoted such painstaking effort to a single work. #stomouseio #Renoir See less

[seakclauswinkler]

‚ So Ich muss jetzt los ‚ ( Detail, paper, 2013, oil, ) #SEAK #ClausWinkler #unna #Umma #yggdrasil #artoftheday #stadtlandfluss #throwup #wildstyle #canvaspainting #paperpainting #newpaintings #artdiscover #drawings #pintura #multifigure #pinturacontemporanea #drawings #multifigurepainting #allesgut #artecontemporanea #artecontemporaneo #arteeview #pienture #artistofinstagram #pleinair #allaprimapainting #newartdealers #throwup #SEAKClausWinkler https://www.instagram.com/p/B8KXt4_oiCm/?igshid=6pbrw44eo553

[lostfunzones]

John Piper Eye and Camera: Multifigure, 1972  Screenprint 57 x 77 cm                                                   

[met-africa-oceania]

Earflare with Multifigure Scene, A.D. 1350–1470, Metropolitan Museum of Art: Arts of Africa, Oceania, and the Americas

Jan Mitchell and Sons Collection, Gift of Jan Mitchell, 1991 Size: H. 5 3/8 × W. 5 3/8 × D. 5 in. (13.7 × 13.7 × 12.7 cm) Medium: Gold

https://www.metmuseum.org/art/collection/search/316436

[kristinagehrmann]

"The Captive" - new personal work

Basically just experimenting with light, color and multifigure compositions in my art :)

Print available

[revolutionoftenderness]

“It is good to love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is well done.”       ~ Vincent Van Gogh [Cypresses with Two Women, 1889 - Vincent van Gogh]

• Vincent Van Gogh (1853-1890)decided to become an artist at the age of 27. That decision would change his life and art history forever. More: https://www.vangoghmuseum.nl/.../vincents-life-1853-1890 

• Van Gogh’s admiration for the Barbizon artists, in particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition (The Potato Eaters, Van Gogh Museum, Amsterdam); in this gritty portrayal of a peasant family at mealtime, Van Gogh wrote that he sought to express that they “have tilled the earth themselves with the same hands they are putting in the dish.” Its dark palette and coarse application of paint typify works from the artist’s Nuenen period... More: https://www.metmuseum.org/toah/hd/gogh/hd_gogh.htm 

• "The cypresses still preoccupy me, I’d like to do something with them like the canvases of the sunflowers because it astonishes me that no one has yet done them as I see them. It’s beautiful as regards lines and proportions, like an Egyptian obelisk. And the green has such a distinguished quality." ... "It’s the dark patch in a sun-drenched landscape, but it’s one of the most interesting dark notes, the most difficult to hit off exactly that I can imagine. Now they must be seen here against the blue, in the blue, rather.” ... More: https://www.vangoghstudio.com/why-did-van-gogh-like-cypresses-so-much/

[aic-american]

The Mexican Major, Frederic Remington, 1889, Art Institute of Chicago: American Art

Frederic Remington was greatly impressed by the Mexican army, which he observed during a six-week visit to Mexico in 1889 in preparation for an article in Harper’s Weekly magazine. The Mexican Major is an elaborate, multifigural composition, designed to convey the professionalism, discipline, and “immensely picturesque” appearance of the officer and his regiment. Remington enjoyed the soldiers' ornate costumes, and he emphasized these through the use of rhythmic, flashing colors and the depiction of brilliant light. The line of horsemen stretches off into the far distance—a sign of honor, strength, and dignity. George F. Harding Collection Size: 87 × 124.8 cm (34 1/4 × 49 1/8 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/97912/

[dementedgnomicwizard]

hi long time no post art its finals rn so have a dump of a bunch of my preliminary background sketches + some multifigure composition sketches from my drawing for animation class final

[yosoyloqueveo]

aureaetmanus

Chimù gold earflare with multifigure scene: the principle figure, likely a depiction of political leader known as a cacique or lord in sixteenth-century Spanish texts, wears a large crescent headdress and stands on a litter (a type of conveyance used to carry an individual, or individuals), born aloft by two smaller-scale figures with similar, but smaller headdresses.

Date: 1350-1470 AD.

Credits: Metropolitan Museum.

[tigrikorn]

Paul Cezanne (French, 1839-1906) worked on the margins of the modern art world throughout his life. His career began on the periphery of the Impressionist group based in Paris and ended in relative seclusion and obscurity in the South of France. Across a career spanning 40 years, Cezanne approached painting as a technically rigorous yet deeply personal search for truth. He upended the conventions of European painting, laying bare the components of color and brushwork used to create images.

As a young man, Cezanne described himself as having unusually “strong sensations." His compositions, constructed from oversized touches of paint, came to approximate the feeling of perception, with its lapses and overlapping passages, its clarity and strange discordances. In his oil paintings and large-scale watercolors, Cezanne sought a form of visual expression that was as physically present and optically layered as life itself.

Cezanne's pursuit of an authentic language of expression led the way for many others, both during and after his lifetime. When his ground-breaking compositions were exhibited shortly after his death, their unfinished appearance attracted the minds and imaginations ofyounger artists, inviting them to examine the works' precarious coherence and unravel their construction. This exhibition--the museum's first on Cezanne in 70 years--seeks to continue and expand this multigenerational conversation about his picture making. Asindicated on the labels throughout the galleries, many well-known artists have owned paintings by Cezanne. Many more have been inspired by him, as the insightful reflections by contemporary artists on several key works here attest

LATE BATHERS

In his last years, Cezanne returned to painting bathers, now at monumental scale. Between 1899 and 1906 he created three large, multifigure scenes of women, known as The Large Bathers, one of which is displayed here. These ambitious works expanded on smaller compositions from decades earlier, like Three Bathers (1879-82) and Five Bathers (1885-87), both on view in this gallery.

Rather than using posed models for these ambitious scenes, Cezanne developed the figures and their interactions from his imagination. He envisioned the landscapes and figures in tandem so that their forms correspond harmoniously. Bodies arc in sympathy with bowed tree trunks, spread out along the verdant groundline, and draw themselves into boulder-like masses, as if to allegorize nature itself.

This gallery includes the most resolved version of The Large Bathers along with several related compositions from earlier in Cezanne's career, three of them owned by artists Henri Matisse, Henry Moore, and Pablo Picasso. These paintings encapsulate the contradictions of Cezanne himself, their modern vision balanced by the desire to create a new classical expression, timeless as icons in a museum but simultaneously as urgent as the brush marks that compose them.

More Photos

[tlatollotl]

Fox Warrior Bottle

Date: 7th–8th century

Geography: Peru

Culture: Moche

The stirrup-spout vessel—the shape of the spout recalls the stirrup on a horse's saddle—was a much favored bottle shape on Peru's northern coast for about 3,000 years. Although the importance and symbolism of this distinctive form is still puzzling to scholars, it has been suggested that the double-branch/single-spout shape may have prevented evaporation of liquids, and/or that it was convenient for carrying. Early in the first millennium A.D., the Moche elaborated stirrup-spout bottles into sculptural shapes depicting a wide range of subjects, including human figures, animals, and plants worked with a great deal of naturalism. About 500 years later, bottle chambers became predominantly globular, providing large surfaces for painting complex multifigure scenes. On this bottle, two animated warriors, their faces covered with fox face masks, carry round shields and war clubs. They are shown running across a hilly desert landscape indicated by a wavy line and cactus plants. A strong sense of forward motion is conveyed by leaning bodies and long strides. The warriors wear decorated long skirts, trapezoidal belt ornaments, and conical helmets.

The Met