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Photos from National Gallery's post - National Gallery 2018-04-20 13:34

To coincide with 'The Credit Suisse Exhibition: Monet & Architecture', join us next week on 27–28 April for an international academic conference 'Monet & Architecture: Exploring a new dimension', in association with the Institut Français: http://bit.ly/2GJ3FRc The conference uses Monet’s paintings as starting points from which to explore many avenues, from contemporary aesthetics such as naturalism and symbolism, via practicalities such as tourism and transport, to issues of modernity and interpretation. Book your tickets today: http://bit.ly/2GJ3FRc

MoMA The Museum of Modern Art Photo 2018-04-19 19:30

“O sono (Sleep)” (c. 1928) is a dreamlike representation of tropical landscape by Brazilian artist Tarsila do Amaral. This painting is an example of Tarsila's venture into surrealism. Elements such as repetition, random association, and dreamlike figures are typical of surrealism that we can see as main elements of this composition. She was never a truly surrealist painter, but she was totally aware of surrealism’s legacy. #TarsilaMoMA … [Artwork: Tarsila do Amaral. "O sono (Sleep)." c. 1928. Oil on canvas. Private collection, Rio de Janeiro.]

National Gallery of Art Photo 2018-04-19 15:22

Do these cattle make you smile? Dutch Belted cattle were brought to the US from the Netherlands in the 19th century by a handful of people, including circus showman P.T. Barnum. He exhibited the cattle - notable for their striking white belt - in circus performances, describing them as a "rare and aristocratic breed." Lawrence Lebduska was probably similarly charmed by the cattle. He loved painting animals in colorful landscapes. Lebduska studied stained glass and set design before he decided to try painting. The flat appearance and bold colors in "White Belted Cattle" might be a reflection of Lebduska’s stained glass studies. #AmericanOutliers Lawrence Lebduska, "White-Belted Cattle," 1937, oil on canvas, Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950, courtesy of the Philadelphia Museum of Art / Art Resource, NY