Artist: Redina Tili
Size: 50 x 40 in
Year Created: 2018
*The artwork includes a certificate of authenticity (COA).*
Artist: Redina Tili
Size: 50 x 40 in
Year Created: 2018
*The artwork includes a certificate of authenticity (COA).*
Appraised at $650 million dollars, A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) is Georges Seurat's most famous work. Executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat’s composition includes several Parisians at a park on the banks of the River Seine. It is in the collection of the Art Institute of Chicago.
Seurat’s painting was a mirror impression of his painting, Bathers at Asnières, completed shortly before, in 1884. Whereas it is doused in light, almost every figure on La Grande Jatte appears to be cast in shadow, under trees, an umbrella, or another person.
In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their collection of French Post-Impressionist and Modernist art to the museum.
Blend's powerful use of colors and detailed brushstrokes, demonstrate the force and oneness that Native Americans had with their horses. Through the masterful use of color, Blend intertwines them together as one, mighty, powerful, and swift.
St. Francis in Ecstasy (or St. Francis in the Desert) is a painting by Italian Renaissance master Giovanni Bellini, started in 1475 and completed around 1480. Bellini depicted the religious figure of St. Francis of Assisi in a landscape. The painting portrays Francis of Assisi, the Italian saint of the early 13th century, in an Italian landscape, stepping out in the sun from his cave, his figure anchoring the creamy celadon and golden-green landscape.
Bellini became sophisticated in his painting skill in the fifteenth century, the culmination of which is Saint Francis In Ecstasy. The moment is depicted in the painting is Saint Francis’s stigmatization on the mountain of La Verna. Bellini envisioned the stigmatization as a moment of human transformation into the divine.[7] The sun’s rays shine on St. Francis, symbolizing him as a Seraph-Crucifix in front of the sun, which indicates the suffering image of the Seraphim.