Art Masterpieces to Color 60 Great Paintings

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    Art Masterpiecesto Color60 Great Paintings from Botticelli to Picasso

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    INTRODUCTIONHave you ever v anted to create a memorable: work of art? With this unique:collection, covering a w ide range of styles and movem ents, now art lovers offill a ge s c an e xp erim en t by attering the colors and hues of some very well-know n m aster-pieces of an. lncluded here are sixty b lack-and-white linerenderings of artistic treasures by some of the greatest artists in history,am ong them Bnnieelli, V erm eee, 001'

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    , 'fIll the tns: t S O S ,. .. Thf! M adO lma I~ _2. A lbr.ech t Durer. _

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    J '.Thorn as GJ lasbcrcugh. Till! Bluo 80): ca. 1770.

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    16.. P O " I C ou g1 lin . IVI,"" Will You t,/arrp', 1892.

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    ll,William G~aclu.':t\'s. CJ r I. ;; ,. 'v !ou tju r n, 190: ).

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    [9 . Franclsco G oya, Dtm l~lmrud O s o r i O ' MmrrhJH.f. ' d e Zw'liga. 1 7 8 7 .

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    20 . E l G re co , V iew o f T oled o. 1604-14.

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    21 . Fraes Hats. TIle Lau.ghing Cm'lllfer, 1624.

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    2;, F,ida Kahle. S.IjPo""ai, H " f I I , MO llke)'. 1940.

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    :/6" G.,!., Klhnt, T he K is ,1 90 7-08 ,

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    27 . F rcd erfc, L o rd L'elghton. Ham/JIg June. l89 j..

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    28. L eonardo da Vinci" }.{omj Lisa. l5-D6.

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    33.1'>Iichel.ngclo Bnuucrrnd, Delphic Sibyl. 1508-12.

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    35 . Joan M irO . I"'cplc mid DG.~s Before ,Il,' Sm . 1949.

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    ' ..Czechovr 11J \ 't o d i g J ia m . Lunia ~6 . A " ,c d" " k ~~'ilha Fall. 1919 .

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    0 ~f-- -r-- l-f- I - -Lf- I--

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    38. Claude Mone t . Sw rf1 m .~ 's. 1 88 1

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    40. Edrard Munch. The Scream , 189.1 .

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    41. Bar to lome Muril lo. The Lillie Fmi' Sell". 1670-75.

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    4 2 " P ab lo P icasso .. L es Demois elt es a'Avrgmm, 1 ,907.

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    44. Raphael, T ill! S i.rl i 1 1 ' t ; ' M u do nn a, Ij13-14.

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    46. Rembrandr ean Rljn. _,hisl(Hlf! CtJrJfentplGi ing s t s e Bus t of Homer, (653.

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    48 . Diego R"era. F lo lf:t !.f D o) " . 92.5.

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    o

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    51. Pe.f,r P l:lu l R u b en s . Portra it o f SU,\'mmf Fou r-m ew , 1 6" 25 .

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    5 8 . Jo hn W illiam \Vatc J- ho us e. A M f:rnJ {~ rd . 1901.

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    59 . Jean-Antoine watteau. P ie rre t: G d te s: (n t.

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    60 . G r on t W o od . American Gothic, 19JD.

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    I. Sir L:I'II'-['(~ A'ma-l":.deJOil (1836--191.2). A COill! (i fVam((ge. lS 9S . O il on e ,; II :W ' -. t.S , 21 1, u1.:t: 11'1 in. A pulntcr ofcla ssie al g en re SC'tlle~ A lm~ -T a:&n li: ll .....s 'b or n in Il]t

    1! 1 ~rl ' l lnds .1..110~udjoo iU the Amwerp Academy of A Ft. HC'~poci~!iled in sub jeot~ from G reek. R om an. and EgY PlianI l n L i q _ l J t - t y . AJ1tlil,l ';J"Shi s p nim ic ; S .$ U ~ L l ~ J! ) ' :J'Onm~'[.'(!:.'I.r o m a n -d c i ze d " 'i : io 1 0 r L , A J 'm : l- T ilo d e m < L feh o . h : J l historical a c c u r ac y . . . . .sor pr ime ' impor t; anoz . His me(icvlo~I~' p.1imeO1'!....,ln::~ were\'l::r)' WPUiLl f umcng t . b l r ViC:lOrian m;GrtJ~ classes atW h e P :- iJ -daeed j) 'O'.cJ ~OOp; Ji rL t_np in h is l if t1 .l il ~c ..Z. SaO Om 8 0nicelli (ca . 1445 -1 10). T'lt' BirlhlJ/ Vem~ ca .I~ gj. T empe ra 011 CO\'n\ ':I : ;, 6 , in. . ! . : I 10 in . Scm in flOrf;fiCC:,[ Ia ly . Bor rl ce lf b(oSilJl h i~ ~ .ni$ 1it tr air nn B 1,1'11:duFilippoL ippi. H e painted m os~Jy ponro!jlt5 and relig ious w orks, H eis best k.rH'lwn, however. for his: treatment of m)'~hol(}tiCli.1~U bjEC{ :s., nm ably, TIre Birth of J.-(!tIIIS. ~L~hi' l, pS h i;5 . mostadored p:lif.ltlnl:l, T~t' 8ir'llt e l f j !&mJ ccpi-c'~ venus ri~jn8from 3. go ild cd 5 oC aUOP~h ell. A lrb ou gh e died in ob $C 1ir~ty .D otticelli w as red isco ve red in tnt nineieentb tcnllUY by dIe'Pre. R nphuelites, w bo ~nl]' admired me . ." co rk o f th eRenaissance urtist.J. W UII :lun-AdoIJlht" 'SolJgllert.llu (18:2,).- I90S). Ymm g G frJDf!'jl!ndiftg HI!'I'.se1j o:.r",'tI'i1r.tt fro....8 S[ ). O il 0 [ '1 canvas, 6l!.ln.; ( 441, in . With ever 100 f il~1! .hed \I,'QJli:~ Bougue rc eu o !: nj i.l ~'e da J O I ' I , g , luct:d~rlil career as an a ca demic p rlln ttT . H is s up erb

    p am!inl !l 's o f Ti!titlQut In),lh otQ gi.cBI, i'lJ]d genN : su bjects arcta rirl'u lly c om p cs ed a nd p ai~ ta l< in ,g !y e xe cu te d. Aiotl:n.mt'b~IJPporr~r Qf tb e ; academic S alon p a-iu rers, B cu gu creauoppOsed the edm huon 01 tm pressionist W Ql"ksto Ihe :&11011,bcliev-lil:Q. them to be no '!'I'OJ~ than unfinished sketches. In1 9;5, 80iJgUCf~u e:xpl'ilioed his art ph~lo~oph}' b)' ~trl.tin~.... . t bl! !f c'~O ttl y one kind of p'1jming. It Is the: pi l in t ing thatpreserws the cYI= 'i"llh perfection, l .b e 'k in d o r beantllul ilndimpeccable eeamel )lQu find w Ver tHLI: 'S( l l. r. :d Ti tian . "Bouguereau's ~qujiiitc p-a~n[~ngsportray his: love or- richoolo r, h~s r rzm .a .r ki ii bi c te chni ca l p .r e6C 'i cn :: 'y , e nd h is p as si onfOr !be clll~51~~4. PitcI Bruegel [ca. 1525-1569), Tht ' /'t'(J'lunr Dmtct ' ,1:5 61-6 8. O il O n pan!!I, 44\ in . ;0 ; 6 d . - : - tn . B as ed O J) re al-h fcobseevaricn, t n = W() .. o f enu~,gtl ofL1! i ' Idepleted L~LI: pens-al]!t$ in h is nattve landscape. !!(l.rn illg h~1J l ~he: nickname"Peasant 9J'U~geJ."Around 1551. he: began to t r < l " c I thrQtlghFrance and I ' . . a l y , later ~~tlitltill B :f,tls sc ls . whe re h e- e cm -pkt~[] hb major wc;:d.s. HiiS:!....dl' genre paiF1t;n~ u f pe asu ntlife reach their fineltl c:(pr~ofl in rill' Blind ~ldilfg 11" ,Dfilf(i, TiI.~ P~ti:!am W(!dding. aud Tkt Pe-rmml {)(i1t('t,5. Sir [ dw IU~ E lI !_ :r ne -J OO l" S (I &ll -!8-91) . .All .A rlgel P/{I}"il'lg nFf(tJfJl-e1, 18'18. WalercQlm. 29)~ in. 24 in. PttRl)phaoClitl! 'p~imcf S ir E [3 \m rd 8 I1Tll'C ' JOm::!i ..v :a s ~ du t.ii.led . 1 . ( tbeUIllL~'ersil)' L ) f O xfo ro ~n o d SC:~11.: :dII lom liJ l1 . ..".ile-rt h-! lbceli.rnt a pupil Q r D ante Gabri(:t R M setti. The two a~'isISs ha re d r}.e fc ka 1s of the P~R :aph a~ti~M .. a sm ~1l bu t mt'lUe-ijtinl g r l , 1 1 1 J l of arum; ......ll Wil tl lOO 100re t:ap t'U re Ihe s ilTI lJ ii tl !) ;aod h igh m om] 10n!! [)f m ed~~l p::sintin~ M d dC '$ lS l'l.nur .m~ : Jon t=$ S _p. aim jf lg s. wh ic h d~p ic~ da$.s,k,al_ mcdtC'\,...tJ,a nd b lb li~ ~l Ihe:meS, itr-t noted r Qr t he ir d;"e1Im~', tOtrlaiUic i ~ 1X l 5 ' t : . ' I t ' : ilIlld!l'l:n~;m~nlilllly.

    .'10'lES6 , ~'hry C a.~ n (1 84 4-1 IJ 26 ). Y im 'l g Moth. :f ' Se ll ll lg , 1 9 0.2 ,OJ! (m canvas, ~W j 1~ . x 29 in. Bom [n ~'Ilns)'h-,Ulitl, Cassenw as tne cnly American member 0It" Ihe I_mprl!~ : tio l1 isu.SheS;lurued art 211L' e Pe;;llH,yl'n.nj.a Academ)' of Art and th-enlTl!i'rt)ed to Euro~ sptndi.llg mOtif Of he r life i~ P1!irlS.:Prof~'iQmdl), ~M W;,l~ :6'TC'-all~nllucnced b~ ' her close (r~nd..French Im pressionist painter E d!l:at D J::.E :t.~.Ca~~;mpJ;l'Ltl!'dfam ily scenes of m others and ch ildren, io lnd ach ieved recog-J ll!iO I1 fOOfth ese ten der rep re sen ta tio ns, S he W3:; ':lIS-()\'e!)'much illnuenC'LI 'b)' Japanese: wOQdCU1~ una execlled inmaking 1 A " C I o < k : l l 1 p rin t~ . H e T eycsight began to f.ril in 1900,and Cesssn stopped \\'orkipg by 19l4."I . ~uL CctlLDlJt (l5 lQ -]9 (}tlJ . T h~ l J J J U ! l 1 . t s e , LSS5-:R7, o non c anvas , J41, in . ~ lOI, ( n. F re nch i'fJstimpressioni'St painterP.aIJJcmDne was Ihe onl)' son of a w~lti.'i.)' ban~r. 11is.c:arly\io'D:tk:~h ad a d fl.rli... som b er re ne tbat b ri,g b1 cn eo afte r hebepan I" p

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    l"~ni.\~t~m~[,\ft'flw:r" D.t.lr~mOSI w e ll -k no wn p~!jJ1lin~. H~i J !~O pa; I1I[~d I 1 I ! l i e i o l J . : i o t h e m e s es " "' i!U H .~ m.l.merou.~ p o r L r ~ i f 5 ,I)t!tbwtre,II. t:':d~r Degas U83~ 19111. IJf{tJI'r: lht E.xum (iho?D,(mdl/$, em,I,If. 1880. P,utd 0.0 ~[ 'Ier, 2'4 ). in. x ]SI; in.B ern in P ari:,.. F mnce. D t.9 11 ~;jjl,lf.ht b i l l i [ ! > t < l f L iO I 'n in e h ~ '

    (. 'QpyiJl:g the Old M3.~tofof~ rc ure Lou\'te'. lit enrolled at I~ECQIt: o es B ea ux ArH . and ~Iltn to take an illti:'rt:,1 in patm ,in il r no d cl" il Me ~uiD ltt L:) . [ )1 ."S. jl 5,paiated the subtba move -ID~J11':S.r" m ~i\'l,m s.. b atlc! [b neers, end eth er ~ LiJ ge perform -I?~ in c lq ;aiH . p."L1nS:l!ikw3 d eta il, T hese kinds n{ :SUb . jJ :IL lSafforded 1 11 m'! L ht "ll,p ort~ .l!1 il> to de- rie l C lr cti ng mOlnc: !. '! ts inume und unusual angles. .I\kin I(J the vlew t fll ro u~ h th e l i ! " f J . ' j .or a C:U nHOl. De~.s pili"tin~io HC ;nfLJ~ with novet.u niq ue p ~'r ,; T' 1i\~ s Ih

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    21, Frans H~~ { C ' . i L . l .: iaO. . IWt06t . n tt ' ! ,. ,t lughing Cant / te l' .162.4.Oil o n c an va s, J . : J . \ irr '-:~'il, if F le er is b -b em pu ir ue rF'r-an.$.H als w as a prolific lX ' r 1n t il l~ ! who p ro 'f id :e d h ls s ht er swith a good !iken~:; at n rea)iJn~bl( psrce. Hl~U~d)' POUflli1.Sare cl 'J : :U; ,1(:1t.rized t i l ) ' f3.p.id b ru1ohU ' ltr t Ilml C ;] .pm t'( d ! ' k i ! - t l n ; g~:\ I' t' fS510m. The suave ~~ l'LL! l"m; :mL ' l:Cp~C100:P . Ti t! LAl(g/ r l' '' ~C ' t J " ' 1 1 / i C T , ahhol l- tU t naknown. \''lS~O U l ' . S man o f twcn!}"-sl.:\a t ( hI !' t im e or th e painting. H I.) facial fea lu ~ iac:lu di.n _g h i~j.[l.111'Il),moustache and gcmec, are p11!ci!;ely detalled. as is hi slnyered C"(Il!iU. which is a masterpiece of brushwork. 1-hd{swort. gn~!I)' Impressed $:uch nineteenth-century artis!~ esMa ne { a nd ' S ar,g cn ~,12 , Ed"" ii ltOHick s (11 'SO""]849 ) . T Iw fWlrf(lhfe K i't:gmm . e aIU7, OiJ On curw ue , 29 in ., ) ; J o t S in. A Quaker prcaeher inDu tk J j- CO llmy, J lt :n n $ },~ ,.anla E;dI\'Ollrd Hicks , supported h i~lar gt f,u uH )" th ro ug h m e in com e d eriv ed fl'Qm b l$ p ltin tu l!:. Iti...eesumed rhut Hicks p a t n t C 1 . l ever cn e hundred dtfrlrt:nlversicns of TIw h rJ c ru b Je K ir rg t/ (.mJ between [820 and hi:i-death. "'he Ihtm c is drawn from Chapter 11 of tbe 800k o rIs aiah ill rb e B ib le , in te rp re te d by Chr is t:i; !lj ir y a s a p ro pt" JCC) or t _ h l l . ' : - i:'Q rr nn@ . ofCttr iU .'r uj th e arrival c r e p e::I~ c:r L5 I ... ' t r 1 d .III illilr,y verscns ..such as th e one dC 'p tc lo ed ih er e, H i ck~ i11(:0 rpcrates iii secu lar v tgneue of fellow QU~l:tf Wtlliam Penn'sIl'Cal), with the Nalh-e Americans, "nkh had o.rolJg.:hl abouta measure o f .u . Mpcu .~ i! tMekiF1.EclQ~ o n earth.l..l, W inslow H orner (13l6-l9 101, SJ'lr//J Ihl! tVhrp. 1 :812. O ilo n c an va s, 22h in. x 361 -:- in . P ainted in an era ....ten art wasoften steeped i n ~nIJm{:i I] ;: al it )' , (h.e VI"Qfk$ of wmstewHO-lT 'II!:rtand Out a s I'(f rts hin g c ;(; lIm ple ~ or frank realism.One o f A lJ ll :'r ic .a .~ $ndisp1.l1 able m asters, he p ro du ced [] se riesof djnineth'e irneges of the sea Ih;a, i ,. unpa ra ll el ed inAmerican arlo (11 S lu -.p rl l .. ll7 iip, H omer, d~~riy inl1ulC"D!::hiby th ~ F re nc h plt!ifr. air reehnique, depicts bO }'! m play in ac ou ntry la nd ae ap e14 . t.dW lIItd Hopper (1882- I961) . 1f&r~1RI)(JnI, 193t. Oll eneanvas, 60 in. x 65 in. Twentieth-century Rtaliost painterE dw ard H c pp er ie t;.t~\ known for h is p,'li:l.ltiug$ that seem 10em pha5 ~ rhe t.oJleui:'eM and a lie na tio n foOu tli3In ou r ~acI~!r.Born in N),R'Ck, New 'rork, Hopper studied ((Imm erci31 artI::lItf or e.s ,, ilc hin g h _i: ;e ff or ts to J 1:~ e an. H ~ stud...