Giovanni Boldini ~ The Woman in Red

Giovanni Boldini (Italian, 1842-1931) ~ La Femme en Rouge [The Woman in Red]. – Boldini was renowned as a colorist and technician, and his works are considered very much Parisian. He had an exclusive contract with the eminent art dealer Adolphe Goupil, and for him produced small, brightly colored 18th century costume pieces that were popular with his Parisian clientele. He painted society portraits as he developed a reputation for his dazzling, elegant depictions of the fashionable women, executed with bold, fluid brushstrokes. His exuberance, vivacity and frank sensuousness won him the title of “Master of Swish.” (NégyArt, Szingy Books), Németh György Pin

Szingy Books

Everyone needs at least one friend who understands what we do not say. 

Simonetta Vespucci

Piero di Cosimo (Italian, 1462-1522) - Portrait of a woman said to be by Simonetta Vespucci, c.1490 (Oil on panel. Musée Condé, Chantilly) - - The young and beautiful mistress of Giuliano de Medici, “the idol of Florence,” who posed for Botticelli, died of consumption at the age of twenty-three in 1476 and her lover would have had this portrait painted in memory of her. The depiction of a woman with a naked bust is unusual for a 15th century portrait. It can also be an ideal portrait, a Neoplatonic allegory of death, symbolized by the serpent which bites its tail, which leads to beauty. The funeral interpretation of the painting is reinforced by the black clouds and the dead tree which appear in front of Simonetta, on the left, while on the right, the trees have leaves and the sky is blue - NégyArt (Szingy Books)

Young Woman Seated on a Chaise Lounge

Pierre Bonnard (French, 1867-1947) - Young Woman Seated on a Chaise Lounge, 1904 (Oil on canvas) - - As there are depicted items found in an artist’s studio, the young woman may be the artist’s model, resting between sessions of posing for the painter. - NégyArt (Szingy Books)

A Girl in Japanese Gown. The Kimono

William Merritt Chase (American, 1849-1916) - A Girl in Japanese Gown. The Kimono, c.1887 (Oil on canvas. Museo Nacional Thyssen-Bornemisza) - - William Merritt Chase shared the vogue for “japonisme” in European art and from the 1880s onwards began to include references to that culture in his own work. When devising his compositions Chase repeatedly made use of objects such as the screen, kimono and magazine stand that can be seen here. - NégyArt (Szingy Books)

Portrait of Wilhelmine with Braids, 1922

Lovis Corinth (German, 1858-1925) - Portrait of Wilhelmine with Braids, 1922 (Oil on canvas. Worcester Art Museum) - - Corinth’s mature work as a painter and printmaker realized a synthesis of impressionism and expressionism. A fine example is this portrait of his daughter. - NégyArt (Szingy Books)

Oscar Rabin, Girl in Black Dress

Oscar Rabin (Russian, 1928-2018) - Girl in Black Dress, c.1981 (Oil on canvas) - - Oscar Rabin was one of the originators of the nonconformism era and a key organizer of what is now referred to as the ‘Lianozovo Group’, a collective which grew around Yevgeniy Kropivnitskiy. Over a period of seven years (1958-1965), the former camp barracks in Lianozovo, where Oskar Rabin lived with his wife, Valentina Kropivnitskaya, acted as the center of the progressive intelligentsia. Soviet material life and its dramatic absurdity was for many years the central theme of Rabin’s creativity. The artist continued in the tradition of 1920s European expressionism. Rabin uses a distortion of perspective, the principles of deformation and the destruction of large-scale relationships. - NégyArt (Szingy Gallery)

Szingy Street

making someone laugh after they just finished crying is one of the most beautiful things to ever exist - szingy street

Sigmund Freud Quotes

Everywhere I go, I find a poet has been there before me… - Sigmund Freud (Szingy Gallery)

Oscar Wilde Quotes

Selfishness is not living as one wishes to live, it is asking others to live as one wishes to live. - Oscar Wilde (Szingy Gallery)

You are that story

You are that story that I would reread thousands of times, just to see the ending ever change. – Szingy Story

Echo and Narcissus (Szingy Gallery)

John William Waterhouse (English, 1849-1917) - Echo and Narcissus, 1903 (Oil on canvas. Walker Art Gallery, Liverpool) - - In this perfectly balanced painting, the nymph Echo, perched on a rock, tense with frustrated desire, gazes hopelessly at the languorous, lithe body of Narcissus as he gazes at his reflection in a pool, captivated by its beauty. The story, based on a Greek myth, is from the Roman poet Ovid’s Metamorphoses. Echo - who must repeat what’s said to her - is just one of many admirers - male as well as female - Narcissus has rejected. Taking pity on her, the goddess Nemesis decides to punish Narcissus for refusing love by making him fall in love with his own reflection. Here Echo is so close to Narcissus she can almost reach him, but the water separates her from him forever. And Narcissus himself can never be united with the object of his desire. - NégyArt (Szingy Books)

John William Waterhouse – Boreas

John William Waterhouse (English, 1849-1917) – Boreas, 1903 (Oil on canvas) – – Boreas is the name given by Ovidius to the cold northern wind. He can be seen in this painting only by the trees and clothes bending by his force. The woman that he is trying to catch is the Athenian princess, Oreithyia, who first declined his courtship, but cannot resist his brute power. She became later the goddess of mountain winds. This painting is even more powerful than the earlier “Windflowers” due to the use of cold colours and the protective position of the arms of the woman. – NégyArt (Szingy Books)

Eran Bugge and Michael Trusnovec in Esplanade

Eran Bugge and Michael Trusnovec in Esplanade, Paul Taylor’s American Modern Dance, March 2017. - For all Esplanade’s wit and charm, it is suffused with yearning.  The second movement is an elegiac lament and the fourth aches with tenderness, opening with two couples, each woman cradled in the arms of their partner.  Even in the brisk movements, dancers lightly touch one another, as if to say “play with me, please.”  Desire borders on devotion for both sexes: a man supine on the ground, props a woman up on his stomach, and promenades her like a music box ballerina. - NégyArt (Szingy Books) 

Ambrose McEvoy Painting – Szingy Gallery

Ambrose McEvoy (English, 1877-1927) - Mrs Claude Johnson c.1926 (Oil paint on canvas. Tate) -  - Mrs Johnson is depicted in a winter coat and a blue broad-brimmed hat, seated in an interior in front of a large, bright window. The sitter’s clothes and the pink blossom on the trees outside indicate that it is spring. McEvoy divided the canvas vertically into uneven thirds using the length of the window frames. This makes the painting appear narrower and encourages the viewer to focus on the sitter’s face in the centre of the canvas. McEvoy meticulously built up layers of coloured glazes with broad brushstrokes on a neutral, cream-coloured ground or primer. Although warmer hues dominate this composition, the slight cracking of the paint on the surface of Mrs Johnson’s coat reveals colder blue tones underneath. - NégyArt (Szingy Books) 

Constance Devernay and Andrew Peasgood

Constance Devernay and Andrew Peasgood in Kenneth MacMillan’s The Fairy’s Kiss, Scottish Ballet, October 2017. - MacMillan’s emotionally charged pas de deux is never far away. It might be a fanciful story, but these are real characters on stage and they touch us. The first night cast, of Constance Devernay as the Fairy, Andrew Peasgood as the Young Man and Bethany Kingsley-Garner as the Fiancée, were particularly impressive dramatically and gave a lucid account of often difficult movement. - NégyArt (Szingy Books)

Portrait of Lady Lavery as Kathleen Ni Houlihan

John Lavery (Irish, 1856-1941) - Portrait of Lady Lavery as Kathleen Ni Houlihan, 1927 (Oil on canvas. On loan from the Central Bank of Ireland. National Gallery of Ireland) - - In 1927, Lavery agreed to assist the Currency Commission in the design of the first Free State banknotes. Reworking a portrait of his wife Hazel of 1909, he cast her as Kathleen ni Houlihan, the mythical heroine of W.B. Yeats’s play of 1902, and placed her against a view of the lakes of Killarney. The artist later quoted W.T. Cosgrave, President of the Executive Council of the Irish Free State, as saying of the banknotes: ‘Every Irishman, not to mention the foreigner who visits Ireland, will carry one next to his heart.’ - NégyArt (Szingy Books)

John William Waterhouse - Windflowers

John William Waterhouse (English, 1849-1917) - Windflowers (Windswept), 1903 (Oil on canvas) - - A carefully-crafted full-length portrait of a woman in long, loose dress, the subject is seen struggling with the wind which flusters her hair and clothing, whilst she clings onto her recently collected flowers. For several years the artist had been interested in depicting nature within his work and also the impact of wind across the scene. Windflowers was first exhibited at the Royal Academy in 1903. - NégyArt (Szingy Books) 

Tari Aranka foto (ArankaArt)

The most painful thing is losing yourself in the process of loving someone too much… - Szigetingy Books {My style - Tari Aranka foto (ArankaArt)}, https://twitter.com/ArankaArt 

Nude Model in the Studio

Laura Knight (English, 1877-1972) – Nude Model in the Studio, c.1913 (Watercolour with gouache and pencil) – In 1913, Knight painted the revolutionary painting, Self Portrait with Nude. This subversive self-portrait was the first instance in the history of art of a painting depicting a female artist engaging in the practice of life drawing. This historically significant painting challenged the widespread barring of female students from life drawing classes. By creating works such as this, Knight was actively opening up a vital dialogue and encouraging a reassessment of the position of women within the art world. This drawing depicts a naked model casually tidying the studio – which may relate to Self Portrait with a Nude. – NégyArt (Szingy Books)