Louvre Part 4!

This is a post simply of the other pieces I found interesting. With such a vast number of paintings I find it impossible to take them all in from one visit, even when skipping the sections of sculptures and various artifacts etc. The follow up to this post will be the Rembrandt post, having taken particular time to try and find the area in which his work is and spending a good deal of time within said area, I thought his work deserved its own post.


I think I'll always be attracted to works in three parts!


Such a dynamic piece, I loved this version of the classic hero saving a damsel in distress.



This piece reminded me of Lucian Freud's work, a particular favourite artist of mine (of whom I shall be creating a special post for aswell) in the tonal delicacies of the face and how the facial features are structured.



I loved how thick this piece was painted, the technique is beautiful in itself. I also loved the take on the nude, however the face is not facing outwards so you do not connect with the female herself, merely the nude as an art piece, which I liked for its lack of titillation and lack of abuse of the female form, simply catching a bather in action.



This guys face is incredible, to capture something so cheeky and vibrant would these days be created using a photograph so as to keep the vibrance in its whole, however to create this piece must have been over hours of painstaking time; I praise the artist and his model for this fine work.



These two pieces (above and below) are equal forms of titillation, the below piece blatant and unwitting abuse of the female form as to acquire money for the piece, showing a pure essence as the quintessential desired female. The above piece is a little more discreet, nonetheless I still see no need for the woman to be baring a breast in full attire, crudely represented and a ridiculous representation of a woman scorned.




Above and below are two pieces painted of the front and back of two combatants. I respecr greatly the artists unique take on this, possibly acknowledging his inability to work in 3D such as sculpture, and so utilising his obvious strength in painting to capture in 3D this fight occuring.




© Dean Ross.