THEN & NOW Famous Oil Painting Location Photos TILT-SHIFT Oil Painting Photo Comparisons.
Greco - El Greco A View of Toledo
A View of Toledo Then and Now Photo and Oil Painting.
Most striking are the unmistakable color contrast between the dark and somber skies above and the shining green slopes beneath. While influenced by the Mannerist style, El Greco's expressive treatment of color and form is without parallel in the history of art.
In this work of art, he takes liberties with the actual design of Toledo seeing that specific building locations are re-arranged. Be that as it may, the area of the Castle of San Servando, on the right, is accurately depicted. This painting already has hints of abstraction, with the city, landscape, and sky being composed of circular patterns.
Tilt-Shift El Greco A View of Toledo Photo.
The tilt-shift A View of Toledo photo had many possible areas that could give a perspective of distance but because of the numerous angles of walls and landscape, the best area to focus on was the river, from this vantage point, distance is simulated in various directions.
Greco - Tilt-Shift El Greco Oil Paintings.
Tilt-Shift El Greco The Annunciation.
Tilt-Shift El Greco The Opening of the Fifth Seal The Vision of St John.
Etty - William Etty Monk Bar York
Monk Bar, York Then and Now Photo and Oil Painting.
William Etty painted in 1838 Monk Bar, York one of four oil paintings he did on this subject. By 1826 four of the city gates "Bars" short for Barbicans (a tower over a gate which is used for defensive purposes) had been demolished. In 1832 Etty began a writing campaign to local papers for the preservation of the city walls and the remaining Barbicans, which were planned to be demolished to open up the city, which by now had outgrown itself. Some newspapers were supportive of preservation efforts for the sake of the tourist trade, but the locals, who lived in the walled town with few entry/exit points, wanted the walls and the gates gone. The walls were eventually saved in 1889, and Etty is credited with their salvation.
Everything remains the same as in the painting, the only thing that has disappeared is the house on the right side that was butting up to the gate and obstructing one of the pedestrian walkways.
Tilt-Shift William Etty Monk Bar York Photo.
What makes this a difficult tilt-shift William Etty Monk Bar York photo is mainly the monochrome color scheme, where even the people are blended into the background colors.
Friedrich - Caspar David Friedrich Chalk Cliffs On Rugen
Chalk Cliffs On Rugen Then and Now Photo and Oil Painting.
Friedrich wedded Christiane Caroline Bommer in 1818, and on their honeymoon, they visited relatives in Neubrandenburg and Greifswald. From there, the couple went on a trip to the island of Rugen with Friedrich's brother Christian. Chalk Cliffs on Rügen was painted the same year to celebrate the couple's union. Although the trees and sea are expertly painted, the focus is on the height of the cliffs and the viewer is forced with a slight case of vertigo, to get closer and want to look over.
Rügen, together with the Danish island of Møn on the most distant side of Rügen in the Baltic Sea and the region around Dover in England, once were a large chalk plateau, which had been pushed by to the earth's surface by tectonic plate movements. The vast majority of this white chalk cliff land mass has since disappeared as a result of erosion and landslides.
Tilt-Shift Caspar David Friedrich Chalk Cliffs On Rugen Photo.
The way Caspar David Friedrich's Chalk Cliffs on Rugen is laid out, it is very difficult to encompass the areas that need to be tilt-shift in and out of focus due to the fact that the people at the bottom and the trees at the top are all technically the foreground.
Read the interesting biography of Caspar David Friedrich and see all the famous oil painting reproductions by Caspar David Friedrich. Click Chalk Cliffs On Rugen if you like the oil painting and want to purchase it.
Friedrich - Tilt-Shift Caspar David Friedrich Paintings.
Tilt-Shift Caspar David Friedrich Landscape with Crumbling Wall.
Tilt-Shift Caspar David Friedrich Winter Landscape with Church.
Tilt-Shift Caspar David Friedrich The Stages of Life.
Tilt-Shift Caspar David Friedrich Wanderer above the Sea of Fog.
Tilt-Shift Caspar David Friedrich Landscape with Rainbow.
Guillaumin - Armand Guillaumin Pont Marie From The Quai d Anjou
Pont Marie From The Quai d Anjou Then and Now Photo and Oil Painting.
Painted around 1878, it shows the work in progress of the cobblestone paving of the wharf on the Seine river. He also painted another view looking in the opposite direction.
The Pont Marie gets its name from the designer Christophe Marie, who proposed its construction beginning in 1605 with a specific end goal to increase and aid the urbanization of the île Saint-Louis. However, the bridge was not actually endorsed for building by the king until 1614, at which point Louis XIII laid the primary stone as a component of a formal bridge building ceremony.
Following approval, the Pont Marie's construction was spread out more than 20 years. Hence, the bridge is one of the oldest bridges in Paris. It is fascinating to take note that in each of the five arches of the Pont Marie the niches in the abutments were never filled with any busts or statues, although that was not the initial plan.
Tilt-Shift Armand Guillaumin Pont Marie From The Quai D Anjou Photo.
The area for the tilt-shift Armand Guillaumin Pont Marie from the Quai d Anjou to be worked on is the sand pile in the middle of the oil painting. By focusing here, and blurring the area above and below it, produces a photo where the characters are miniaturized.
Read the interesting biography of Armand Guillaumin and see all the famous oil painting reproductions by Armand Guillaumin. Click Pont Marie From The Quai d Anjou if you like the oil painting and want to purchase it.
Guillaumin - Armand Guillaumin Notre Dame de Paris
Notre Dame de Paris Then and Now Photo and Oil Painting.
Armand Guillemin painting of the Notre Dame Cathedral in Paris, showing the Pont de l'Archeveche on the left and the Pont Saint Louis on the right. Although the bridge on the left is still standing as the original bridge, the bridge on the right in the painting has been updated.
A suspension bridge supplanted it in 1842. Twenty years later, this was replaced by a metallic bridge, with a single arch, the one appearing in the painting. In 1939, this one was also demolished. In 1941, it was replaced by a "passerelle" resembling an iron cage. And finally, In 1968, the present bridge (in the photo) was begun, and inaugurated in 1970. Guillemin painted many scenes on the Seine during the reconstruction on the banks of the Seine River.
Tilt-Shift Armand Guillaumin Notre Dame De Paris Photo.
The tilt-shift area for the Armand Guillaumin Notre Dame de Paris is the middle of the oil painting. This focus produces a photo where the people, river, and boats are miniaturized giving this painting a great effect.
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Guillaumin - Tilt-Shift Armand Guillaumin Paintings.
Tilt-Shift Grainstacks by Armand Guillaumin.
Tilt-Shift Bridge over the Marne at Joinville by Armand Guillaumin.
Tilt-Shift The Banks of the Marne by Armand Guillaumin.
Tilt-Shift Midday Landscape by Armand Guillaumin.
Harvey - Harold Harvey A View Of Mousehole Harbour Cornwall
A View Of Mousehole Harbour Cornwall Then & Now Photo and Oil Painting.
Harold Harvey found most of his inspiration for painting in the area of Penzance in Cornwall, England. Mousehole (pronounced 'Mauzl') is a tiny pilchard fishing village of five hundred residents located at the tip of England's southwest corner, two miles from Penzance, and here in 1933, Harvey came to paint A View Of Mousehole Harbour Cornwall.
The painting is done in the late afternoon at high tide, with the small fishing boats in the harbor, and the viewpoint is from the Ship Inn, an old Inn, and pub on the dockside.
Tilt-Shift Harold Harvey A View Of Mousehole Harbour Cornwall Photo.
Picking the right components to do a tilt-shift Harold Harvey A View of Mousehole Harbour Cornwall, seems easy at first, but it requires careful manipulation to get the right people and objects into the frame. It was important to get the bystanders on the rail and the man in the rowboat at the same time. This composition enabled a greater depth of field focus.
Read the interesting biography of Harold Harvey and see all the famous oil painting reproductions by Harold Harvey. Click A View of Mousehole Harbour Cornwall if you like the oil painting and want to purchase it.
Hopper - Edward Hopper Nighthawks
Nighthawks Then & Now Photo and Oil Painting.
People say the scene was inspired by a diner since demolished in Greenwich Village, Hopper's neighborhood in Manhattan. Hopper himself said the painting "was suggested by a restaurant on Greenwich Avenue where two streets meet." Additionally, he noted that "I simplified the scene a great deal and made the restaurant bigger." This has led Hopper aficionados to look for the original location in vain.
The Nighthawks Painting Location is Obvious & has been Found.
The spots usually associated with the former location is a now-vacant lot known as Mulry Square at the intersection of Seventh Avenue South, Greenwich Avenue, and West 11th Street, about seven blocks North West of Hopper's studio on Washington Square. But, according to an article by Jeremiah Moss in The New York Times, this cannot be the location of the diner that inspired the painting as a gas station occupied that lot from the 1930s to the 1970s. Moss located a land-use map in a 1950s municipal atlas showing that "Sometime between the late '30s and early '50s, a new diner appeared near Mulry Square." The diner was located immediately to the right of the gas station, "not in the empty northern lot, but on the southwest side, where Perry Street slants." Either way, the supposed location, is not the location.
So in 1942 when it was sold, no one took a photo of the possible location of the painting? No one made a sketch? No one made any notes about the location? Is everything left to speculation?
Well, I think we have been lead on a wild goose chase and the true location is Greenwich St. and Christopher St. Since there is a Greenwich Ave. and a Greenwich St. it could have been easily confused or Hopper changed the street to throw people off from finding it.
So why these streets, Greenwich St and Christopher Ave? Look at the painting and the then and now photo comparison, you see that the corner of the building has curved glass. Also, the window in the background is shorter in length overall than the window in the foreground. Now, look at the photo. Same thing, the left side window is shorter in length than the right side window. But most importantly, the corner of the building itself is rounded, therefore able to accommodate a rounded curved glass window as in the painting. This type of glass would not work nor can be can be put in a flat right angle cornered building. Yet, everyone has been looking for the location without regard to the architectural style of the building, which is one of the most important factors.
Interpretation of the Nighthawks Oil Painting.
It is Hopper's most renowned and is a standout among the most unmistakable compositions in American art. Within months of its completion, it was sold to the Art Institute of Chicago for $3,000 and has stayed there from that point forward.
In the background, through the darkened windows of an anonymous storefront, one can just make out a cash register, a silent but meaningful symbol of money's dominant and indispensable role in modern society. The mysterious character seen from behind seems to be staring into the glass in his hand, lost in thought. He resembles the classic Hollywood stereotype of the “stranger”. The customers on the far right side of the counter recall images from American cinema of that period, the woman checking her nail polish, the man with the cigarette staring into space. The hands of the two figures are almost touching, but Hopper gives no clue whether or not this contact is intentional. The barman is the only character who shows any vitality at all, rather he is doing his job, not interacting with the customers.
A subtle but very important detail is the series of round stools at the counter. These empty stools wait for other customers, other stories, and for other secrets to emerge from the night. They also embody what is the most bitter aspect of Hopper's urban scenes, the chance encounters, the fleeting contacts, and the hidden recesses of private lives, all set in anonymous, monotonous, soulless contexts. The wide deserted sidewalk makes the scene strangely, with all the figures pushed to the right of the composition, in the shelter of the night diner, while the ample stretch of empty street conveys a sense of loneliness and uneasiness.
Tilt-Shift Edward Hopper Nighthawks Photo.
The Edward Hopper Nighthawks oil painting is a flat painting where everything is in focus, very little depth of field vision. So, in determining which area to focus on, it was simply a choice of which person to concentrate on.
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