100artistsbook: Dmitriy Zhilinsky Bathing Soldiers (detail) 1959. Oil on canvas.
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100artistsbook:

Dmitriy Zhilinsky Bathing Soldiers (detail) 1959. Oil on canvas.

(via coughdropqueen)

seafaringgypsy: Francesco Guardi - Santa Maria della Salute in Venice
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seafaringgypsy:

Francesco Guardi - Santa Maria della Salute in Venice

adventures-of-the-blackgang: Deck scene in an Indiaman artist: Capt Robert Williams; Early 19th century The attribution to Captain Robert Williams is not certain however the donor stated that it was painted by ‘a captain of an East Indiaman called Williams about the time of Trafalgar’. If so it can only be Robert Williams captain of the Thames, during the voyage to Bombay and China between February 1802 and April 1803. The Thames (1,200 tons) was owned by Abel Chapman and was built to replace, or ‘on the bottom of’, the ‘Winterton’ which had been constructed by Messrs. Perry and Sons in 1795. The vessel remained in the service of the East India Company until 1813, during which time it completed eight voyages to the east.
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adventures-of-the-blackgang:

Deck scene in an Indiaman

artist: Capt Robert Williams; Early 19th century

The attribution to Captain Robert Williams is not certain however the donor stated that it was painted by ‘a captain of an East Indiaman called Williams about the time of Trafalgar’. If so it can only be Robert Williams captain of the Thames, during the voyage to Bombay and China between February 1802 and April 1803.

The Thames (1,200 tons) was owned by Abel Chapman and was built to replace, or ‘on the bottom of’, the ‘Winterton’ which had been constructed by Messrs. Perry and Sons in 1795. The vessel remained in the service of the East India Company until 1813, during which time it completed eight voyages to the east.

artqueer: Jack Balas
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artqueer:

Jack Balas

thecabinet: Edvard Munch, “Bathing men” (1907)
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thecabinet:

Edvard Munch, “Bathing men” (1907)

(via blueguitar)

Rear Admiral Frank F. Fletcher, USN Portrait by W. L. Foster. (via the U.S. Naval History and Heritage Command)
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Rear Admiral Frank F. Fletcher, USN Portrait by W. L. Foster.

(via the U.S. Naval History and Heritage Command)

loverofbeauty:  I Canottieri, 1933 - Capogrossi
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loverofbeauty:

 I Canottieri, 1933 - Capogrossi

(via ellis91)

2headedsnake: jackbalas.com Jack Balas, 2012; PIER (#708); oil on canvas, 32” x 24”
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2headedsnake:

jackbalas.com

Jack Balas, 2012; PIER (#708); oil on canvas, 32” x 24”

(via sugaronastick)

blaaargh: Gustave Courbet, The Sea, 1873 “During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This “sea landscape” (paysage de mer), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition.”
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blaaargh:

Gustave Courbet, The Sea, 1873

“During successive sojourns at Trouville in the mid-1860s, Courbet fully developed the pictorial vocabulary that he used for his distinctive minimalist views of the sea and sky under different conditions of light and weather. This “sea landscape” (paysage de mer), as he called such works, may have been painted along the Normandy coast between 1865 and 1867, or it may be a later studio repetition.”

blaaargh: Gustave Courbet, The Calm Sea, 1869 “Courbet’s first encounter with the Mediterranean, in 1854, resulted in a group of seascapes. He returned to the genre during a prolific three-month period in Trouville in 1865. There, in the company of James McNeill Whistler and Claude Monet, he executed, by his own count, thirty-eight canvases, including twenty-five seascapes. Returning to Étretat along the coast of Normandy in August 1869, he painted this view of the Channel coast at low tide. The composition, in which an immense sky reduces the landscape to narrow bands of sea and shore, is one that Courbet favored for his seascapes.”
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blaaargh:

Gustave Courbet, The Calm Sea, 1869

“Courbet’s first encounter with the Mediterranean, in 1854, resulted in a group of seascapes. He returned to the genre during a prolific three-month period in Trouville in 1865. There, in the company of James McNeill Whistler and Claude Monet, he executed, by his own count, thirty-eight canvases, including twenty-five seascapes. Returning to Étretat along the coast of Normandy in August 1869, he painted this view of the Channel coast at low tide. The composition, in which an immense sky reduces the landscape to narrow bands of sea and shore, is one that Courbet favored for his seascapes.”