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Ah, I see you are back for MORE of the Friday Afternoon Challenge! Today: Inspiration!
These works inspired paintings by later artists. Can you identify the original work and the later ones?
...and what have I told you about cheating? Don’t.
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46 replies
= new reply since forum marked as read
= new reply since forum marked as read
The Temptation of Donald Duck:
It is an Etruscan tomb decoration which later inspired Cher's costume designer:
The inspiration for Manet's The Balcony:
The Balcony is an 1868 oil painting by the French painter Édouard Manet and was exhibited at the Paris Salon of 1869. The painting depicts four figures. On the left is Berthe Morisot, who became in 1874 the wife of his brother, Eugène. In the centre is the painter Jean Baptiste Antoine Guillemet. On the right is Fanny Claus, a violist. The fourth figure is the background is possibly Leon Leenhoff, Manet's (step) son.[1] It was sold by Gustave Caillebotte in 1884 and is currently kept at the Musée d'Orsay, in Paris.
[edit] Inspiration and descriptionThe painting, inspired by The Majas at the balcony by Francisco Goya, was created at the same time and with the same purpose as The Lunch in the workshop. The three characters, who were all friends of Manet, seem to be disconnected from each other: while Berthe Morisot, on the left, looks like a romantic and inaccessible heroine, the young violinist Fanny Claus and the painter Antoine Guillemet seem to display indifference. The boy in the background is Manet's son, Léon. Just behind the railings, there are a hydrangea and a dog with a ball.[2]
http://en.wikipedia.org/wiki/The_Balcony_(painting)
[edit] Inspiration and descriptionThe painting, inspired by The Majas at the balcony by Francisco Goya, was created at the same time and with the same purpose as The Lunch in the workshop. The three characters, who were all friends of Manet, seem to be disconnected from each other: while Berthe Morisot, on the left, looks like a romantic and inaccessible heroine, the young violinist Fanny Claus and the painter Antoine Guillemet seem to display indifference. The boy in the background is Manet's son, Léon. Just behind the railings, there are a hydrangea and a dog with a ball.[2]
http://en.wikipedia.org/wiki/The_Balcony_(painting)
And discovered that Magritte also did a parody of the Manet using the same title:
Magritte, 'The Balcony'
He used Michelangelo's portrait of Isaiah at the Sistine Chapel for Rosie's pose (with "Mein Kampf" under her shoe).
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Once Warren ID'd the artist, it was easy to find by googling Klimt's works (which is not cheating). There seem to be more than one version, but I think this is the right one:
The "Golden Adele"
The Portrait of Adele Bloch-Bauer I undoubtedly represents the culmination of Klimt's occupation with the portraiture of women. Inspired by the sixth-century mosaics of Empress Theodora that Klimt saw in Ravenna's Church of San Vitale, the painter created a monument to the glorification of female beauty, expending all the time and effort befitting an empress. Klimt's extensive use of gold leaf - while largely foregoing colour - and a deep awareness of artistic tradition combine to create the inimitable aura that sets the Viennese Jugendstil apart from similar artistic trends in other European centres. At the same time the detailed and finely delineated face of Adele Bloch-Bauer prevents the subject from disappearing into anonymity behind the universality of the picture.
http://www.austria.info/uk/art-culture/gustav-klimt-and-women-1545376.html
The Portrait of Adele Bloch-Bauer I undoubtedly represents the culmination of Klimt's occupation with the portraiture of women. Inspired by the sixth-century mosaics of Empress Theodora that Klimt saw in Ravenna's Church of San Vitale, the painter created a monument to the glorification of female beauty, expending all the time and effort befitting an empress. Klimt's extensive use of gold leaf - while largely foregoing colour - and a deep awareness of artistic tradition combine to create the inimitable aura that sets the Viennese Jugendstil apart from similar artistic trends in other European centres. At the same time the detailed and finely delineated face of Adele Bloch-Bauer prevents the subject from disappearing into anonymity behind the universality of the picture.
http://www.austria.info/uk/art-culture/gustav-klimt-and-women-1545376.html
In 1611, the Arquebusiers - Antwerp's civic guard - commissioned a Descent from the Cross by their illustrious townsman Rubens for their altar in the cathedral. The dean of the guild at that time was Burgomaster Nicolaas Rockox, who appear in the painting. The Descent from the Cross is the second of Rubens's great altarpieces for the Antwerp Cathedral. It shows the Visitation, and the Presentation of the Temple on either side of the Descent from the Cross. (The first triptych of the Raising of the Cross was executed in 1611-12.) His rich painterly Baroque technique incorporated both elements of Venetian design and also the composition and lighting of the Roman period of Caravaggio. But the result is purely Flemish.
Although at first sight the themes presented in the triptych seem extremely wide-ranging, they are actually linked, for St Christopher was the Arquebusiers' patron saint. When the triptych was closed, all that worshippers could see was this scene from the legend of St Christopher, whose Greek name 'Christophorus' means 'Christ-bearer'. This fact forms the key to the entire painting, in which the friends and holy women in the centre panel, and Mary and Simeon in the wings are also 'Christ-bearers'.
http://www.wga.hu/frames-e.html?/html/r/rubens/11religi/07desce.html
Although at first sight the themes presented in the triptych seem extremely wide-ranging, they are actually linked, for St Christopher was the Arquebusiers' patron saint. When the triptych was closed, all that worshippers could see was this scene from the legend of St Christopher, whose Greek name 'Christophorus' means 'Christ-bearer'. This fact forms the key to the entire painting, in which the friends and holy women in the centre panel, and Mary and Simeon in the wings are also 'Christ-bearers'.
http://www.wga.hu/frames-e.html?/html/r/rubens/11religi/07desce.html
Rembrandt, The Descent from the Cross:
Rembrandt received a commission from the court in about 1628 through Constantijn Huygens, secretary to the Prince of Orange, for five paintings of the Passion of Christ. The series started with the Raising of the Cross and Descent from the Cross. He was hired to create small versions of Rubens famous altarpieces in Antwerp, the Raising of the Cross and the Descent from the Cross. Huygens asked Rembrandt to produce paintings less than one-twenty-fifth the size of the Rubenses. It must also have been agreed between Huygens and Rembrandt that the artist would inset himself into the composition of the Descent from the Cross as one of the followers of Christ who eased the body to the ground. Originally the Descent from the Cross was intended to be part of a triptych but finally it became one of the five paintings in this series.
http://www.wga.hu/html_m/r/rembrand/12passio/02passio.html
http://www.wga.hu/html_m/r/rembrand/12passio/02passio.html
I'm surprised that the one who was "inspired" wasn't listed in your research....
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...but was this the school?
Paul Gauguin, The Yellow Christ:
The Yellow Christ (in French: Le Christ jaune) is a painting executed by Paul Gauguin in autumn 1889 in Pont-Aven. Together with The Green Christ, it is considered to be one of the key-works of Symbolism in painting.
Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ:
The Yellow Christ was painted by Gauguin at Pont Aven in 1889. It is a symbolic piece that shows the crucifixion of Christ taking place in nineteenth century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.
A study done in pencil of the Yellow Christ is preserved in the Thyssen-Bornemisza Museum, and a sketch in watercolor in the collection Chapman in New York.
http://en.wikipedia.org/wiki/The_Yellow_Christ
Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ:
The Yellow Christ was painted by Gauguin at Pont Aven in 1889. It is a symbolic piece that shows the crucifixion of Christ taking place in nineteenth century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.
A study done in pencil of the Yellow Christ is preserved in the Thyssen-Bornemisza Museum, and a sketch in watercolor in the collection Chapman in New York.
http://en.wikipedia.org/wiki/The_Yellow_Christ
After the hint, I looked at a ton of stuff on art movements and schools in France before finding a reference to the village in Brittany.
Thanks for another great Challenge, CTyankee. 
