Best Paintings in the Met

[Peter Jochems]

Tom - That's not a bad painting either.

I especially like the colours in the table-cloth and the dress of the woman. Also the highlighted area of her shoulder. There is a study for the Kroyer that was made in 1888, Renoir's 'Le Moulin de la Galette ' was made in in 1876.

The colours of the Kroyer are very bright. Do you think he could have made it this way without the work the Impressionists like Renoir and Monet made before that?

Thanks for showing the painting, didn't know it.

Greetings,
Peter

[Tom Edgerton]

Don't know about the color, as this post is slightly darker than my reproduction here, and I don't know how accurate my copy here is either. Haven't ever seen the painting and don't know where it is. Anyone?

I really respond to the conviviality of spirit in the piece.

Best--T

[Peter Jochems]

http://www.konstmuseum.goteborg.se/e...ten/kroyer.htm

It's in the art museum on Goteborg, I think.

Beautiful piece.

Peter

[Timothy C. Tyler]

Carl, he had a Degas too I think. He was tight with Claude (Monet was only slightly older). He collected good works and told others like E.S. Gardner which works to buy from certain folks and she gladly listened to him. By age 33 Sargent was more financially successful than most of his fellows (working outside). They took his money and snubbed him and resented his success (almost as much as Frye and Whistler) to whom Sargent also worked very hard to get work.

I look at those watercolors and think why would anyone ever try? I know of no other collection of watercolors, by one artist, better than the complete works of Sargent.

His compositons alone would secure his place in history.

Peter and Tom, those guys in the North could really paint huh?

[Peter Jochems]

I found a study for the Kroyer on the internet.

[Timothy C. Tyler]

It's interesting to see these along with the "finished work". Note how he lost the vibrant greens and the contrasts and the wonderful transparencies when he made the "finished" work. Compare the greens in the upper right corner. His darks become flatter.

I know he did it for "a reason". I just think the sketch is often more lively than the finished piece. Nature rules, dude.

[Timothy C. Tyler]

One more thing, Look at the lady's dress edge near the bottom left. In the sketch it's awesome. In the finished work it's boring. The sketch looks like Zorn and Sargent's work. The finished work is much less of a personal artistic statement. This is the common and often heard criticism of ateliers, that the work has no personality to it.

[Peter Jochems]

http://www.konstmuseum.goteborg.se/e...ten/kroyer.htm

It's interesting to know that he painted the finished painting from photographs, over several years.

This quote is from the artmuseum in Goteborg.
[QUOTE]Kr

[Timothy C. Tyler]

Peter, I did not know that (about the photos and the long time it took) but the results do not endorse slavish copying from photos, especially at the expense of "liveliness".

The color and value sketch he made was made, one assumes, for a purpose. Unless that original study has worth and the artist reveres that color sketch the finished version may well be disappointing. Sargent, Sorolla and Zorn worked from photos sometimes but, thankfully, it's hard to tell when. (Some of Zorn's lake paintings show hints of the photo useage.)

[John Zeissig]

I was reading this thread, which got me into investigating the Met online, which led to my discovery of this painting:

http://www.metmuseum.org/collections...1971%2E115%2E6

This is certainly not the best painting in the Met, although it might, arguably, be the worst. Nevertheless, I found it to have a certain idiosyncratic charm. Of course that has nothing to do with the name of the artist.

But seriously, this name is so statistically infrequent that there must be some connection with a certain Forum member. Is it a case of "biology is destiny"? Or are matters much more serious than that? Do you think I should call in Shirley MacLaine for a consultation?