Stefan Lochner

Another beautiful "doom painting".

Lochner was a German painter in the early 1400. His Gothic style painting was rich with clean, flowing lines, and bold colour. He was a skilled miniaturist.

Rogier van der Weyden

Snapshots of the "Last Judgement" (c1445-50)

The Last Judgement is a large polyptych (panel painting). Originally painted in oil on oak panels, some sections have been transferred to canvas. Unfortunately, the painting is in poor condition, having suffered paint loss and wear of colours. It was poorly restored in the late 1800's.

The Last Judgement is termed as a "Doom" painting. In Christian eschatology "Doom/the Doom" is specific term for paintings that depict the Last Judgement.

Alonzo Cano

The Crucifixion, Alonzo Cano (1636-38)

A haunting and poignant painting of the Crucifixion of Jesus Christ. A perfect example of tenebrism - a style of painting where light and the dark fiercely contrast. The subject is usually bathed in light, and the darkness dominates the image.

Peter Paul Rubens

By completing the fusion of the realistic tradition of Flemish painting with the imaginative freedom and classical themes of Italian Renaissance painting, Peter Paul Rubens fundamentally revitalized and redirected northern European painting.

(http://www.ibiblio.org/wm/paint/auth/rubens/)

Thomas Wilmer Dewing

1851-1938

A sensitive figure painter and accomplished draftsman who specialized in ethereal pictures of women

Rosso Fiorentino

A neurotic, even deformed stylisation that at times verges on the grotesque is the most immediate characteristic of Rosso Fiorentino's paintings, and can be glimpsed in this painting (the Ognissanti Altarpiece), executed for the Hospital of S. Maria Nuova in Florence. Most notably, the restlessness of the whole work contradicts a High Renaissance ideal: that of serene majesty. This accentuates the expressive dynamism of his compositions, whose colours and tones seem burnt or lividly overstated. The almost infernal aspect of some of his characters has given rise to a number of sometimes wild hypotheses about the painter's far-from-happy psychology. (He committed suicide.)

The altarpiece portrays the Virgin and Child between St John the Baptist, St Antony Abbot, St Stephen and St Jerome. The faces of saints, darkened by heavy shading, are utterly devoid of that serenity which characterizes the figures in traditional altarpieces. In the figure of St Jerome, the sunken abdomen, the prominent sternum, ribs and collar-bone of the chest area, and the skeletal thinness of the neck, arms and fingers, reveal unquestionable links with the studies of decomposing or flayed bodies that began to interest a great number of Tuscan artists from the 15th century.

(http://www.wga.hu/html_m/r/rosso/1/3madenth.html)

Goya

Snippets from a collection of 14 paintings aptly titled "Black Paintings", for their intense and haunting themes. Painted in Goya's older years, between 1819 - 1823. They were originally painted on the walls of his house, being transferred on to canvas in 1874.

Jean-Baptiste Pater

Painter Jean-Baptiste Joseph Pater was Jean-Antoine Watteau’s only student and closest follower. Even though Pater was allegedly dismissed in a flare-up of Watteau’s difficult temper, Pater ardently declared that everything he knew came from his short period of instruction under the master (and they would eventuall reconcile.) In fact, his early work so closely resembled Watteau’s that Pater’s works were sometimes misattributed to him. Pater’s style was also influenced by Flemish genre paintings; his later works were a blend of Watteau’s romantic vision with Flemish joviality.

(https://artsy.net/artist/jean-baptiste-joseph-pater)

John Singer Sargent

John Singer Sargent (12 January 1856 – 14 April 1925) was an American artist, considered the “leading portrait painter of his generation” for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings.

Ilya Repin

Ivan the Terrible and His Son Ivan

Ilya Repin

This painting depicts the historical 16th century story of Ivan the Terrible mortally wounding his son in Ivan in a fit of rage. By far the most psychologically intense of Repin’s paintings, the Emperor’s face is fraught with terror, as his son lay quietly dying in his arms, blood dripping down the side of his face.

bienvenu

Here is a blog dedicated to the artists who inspire me most