The Locations That Inspired Famous Oil Paintings THEN & NOW. See the painting, see the location.

Alfred Sisley, The Church at Moret Then & Now A Photo and an Oil Painting

Alfred Sisley one of the most famous Impressionist artists, lived in Moret Sur Loing from 1889 to 1899. He made several paintings of the town, including this church of Notre Dame, which he painted no less than 14 different times in different seasons. This medieval town was a source of inspiration for Oscar Claude Monet, Pierre-Auguste Renoir, and Camille Pissarro. Sisley is buried in Moret-sur-Loing.

Alfred Sisley The Church at Moret Oil Painting & Tilt-Shift Photo.

Tilt-Shift Alfred Sisley The Church at Moret has a lot of detail, none of which is easy to pick for the tilt-shift effect, because there is not much depth of field perspective. The solution was to highlight the closest tower, making it pop out in relation to the background.

Read the informative biography of Alfred Sisley, and see all the famous oil painting reproductions by Alfred Sisley. Click The Church at Moret if you like the oil painting and want to purchase it.

John French Sloan, Cornelia Street, Then & Now Photo and Oil Painting.

In Greenwich Village, on 6th Avenue, 2 Cornelia Street is an extraordinary flatiron-style building that stands out from its surrounding low-rise buildings. Built in 1900 to accommodate light manufacturing, offices, and artists' studios, 2 Cornelia Street was converted into luxury condominiums in 1981.

The atypical building structure is part of the appeal to occupants as the individual condos are uniquely laid out, with high 11-foot ceilings, and those on the sixth floor and above have open views of Greenwich Village and south-facing exposures all the way to lower Manhattan. It does not appear that much has changed. The building to the right of Two Cornelia Street is still there. The one thing that has disappeared is the elevated commuter train and its tracks.

John French Sloan, Cornelia Street Oil Painting & Tilt-Shift Photo.

Tilt-Shift John French Sloan Cornelia Street has a lot of details, and the angle of the building with the elevated train at the bottom left was ideal for the starting point. The buildings and the street become blurred, emphasizing the triangular building.

Read the informative biography of John French Sloan, see all the famous oil painting reproductions by John French Sloan. Click Cornelia Street if you like the oil painting and want to purchase it.

Frits Thaulow The Adige River at Verona Then & Now Photo and Oil Painting.

Frits Thaulow painted this oil painting in 1894. Having spanned the river for 2000 years, no one knew that 50 years after his famous painting was completed, most of the bridge would be destroyed.

The Ponte Pietra, Italian for "Stone Bridge", once known as the Pons Marmoreus, is a Roman arch bridge crossing the Adige River in Verona, Italy. The bridge was completed in 100 BC, and the Via Postumia from Genoa to Aquileia passed over it. It is the oldest bridge in Verona.

It originally flanked another Roman bridge, the Pons Postumius; both structures gave the city on the right bank access to the Roman theater on the east bank. The arched bridge nearest to the right bank of the Adige was rebuilt in 1298 by Alberto I Della Scala. Four arches of the bridge were blown up by retreating German troops in World War II, but it was rebuilt in 1957 with original stone materials.

Frits Thaulow The Adige River Bridge At Verona Oil Painting & Tilt-Shift Photo.

By Tilt-Shift the bridge in Frits Thaulow The Adige River at Verona. As a result, the river water and the town background are out of focus. This combination works to highlight the bridge, but more importantly, it adds brightness to the water under the bridge. This helps the image of the bridge pop out even more.

Read the fascinating biography of Frits Thaulow, and see all the famous oil painting reproductions by Frits Thaulow. Click The Adige River at Verona if you like the oil painting and want to purchase it.

J. M. William Turner, Alnwick Castle, Then & Now Photo and Oil Painting.

The photo is taken from the bridge over the River Aln. The bridge is the same as in the painting, although the castle is not quite the same. The Baron of Alnwick erected the first parts of the castle in 1096 and it was expanded over the centuries. Alnwick Castle is the second largest inhabited castle in England, after Windsor Castle. Giovanni Antonio Canaletto also painted his Alnwick Castle At Northumberland in 1750, about 50 years before Turner.

J. M. William Turner, Alnwick Castle Oil Painting & Tilt-Shift Photo.

J. M. William Turner's Alnwick Castle Tilt-Shift has increased the depth of field and the moodiness of the moonlight night simply by selective focusing on the stone bridge and the deer in the foreground. Click Alnwick Castle by J.M.W. Turner if you like the oil painting and want to purchase it.

J. M. William Turner Cathedral Church At Lincoln Then and Now Photograph and Oil Painting.

Lincoln Cathedral is in the town of Lincoln in Lincolnshire, England. In the vicinity of 1307 to 1311, the central tower was raised to its present height. Then, between 1370 and 1400, the western towers were elevated. Each of the three towers had spires until 1549 when the central tower’s spire blew down. For 238 years, it was the tallest building in the world.

The two tall spires in the painting were just added for semi-historical effect since they were not there for more than 300 years before Turner showed up to paint this scene. In fact, this cathedral at one point had 3 spires, not 2 as shown. Also, the gate entrance in the background of the painting is a different shape than the actual gate. So, Turner took a little artistic license in the representation of this scene.

J. M. William Turner Cathedral Church At Lincoln Oil Painting & Tilt-Shift Photo.

Tilt-Shift J. M. William Turner's Cathedral Church at Lincoln has a nice effect because the house on the left, which is partly in focus, helps to add a layer of added depth of field to the overall painting.

Read the fascinating biography of J.M.W.Turner, and see all the famous oil painting reproductions by J.M.William Turner. Click Cathedral Church At Lincoln if you like the oil painting and want to purchase it.

Vincent van Gogh The Town Hall at Auvers Then & Now A Photo and an Oil Painting.

The Town Hall at Auvers, July 1890, is a painting by Vincent van Gogh, completed in mid-July of 1890. It is based on the view Van Gogh had when he ventured out into the street from the Auberge Ravoux, a small inn. He stayed in room number 5. Sitting at the outdoor cafe on the sidewalk outside Auberge Ravoux on July 14, 1890, Bastille Day, Vincent painted Auvers-Sur-Oise's small town hall, which was partly obscured by trees, which he removed and thinned in his painting. Along with different canvases he painted during his brief period in Auvers-Sur-Oise, for example, The Church at Auvers (see description above) and paintings of houses with thatched roofs, this depiction appears to be reminiscent of scenes from the northern scenes of Van Gogh's adolescence and youth.

During the nineteenth century, various well-known artists lived and worked in Auvers-Sur-Oise, including Paul Cézanne, Charles-François Daubigny, Camille Pissarro, and Jean-Baptiste-Camille Corot. Daubigny's house is now a museum where one can admire paintings by the artist. If you stroll along the river from Auvers toward Pontoise, you will see a variety of perspectives that figured in the artworks of Pissarro.

If you like the oil painting and want to buy it, click The Town Hall at Auvers July 1890 by Vincent Van Gogh.

Vincent Van Gogh Olive Trees in a Mountainous Landscape Oil Painting and Then & Now Photo.

Vincent van Gogh painted no less than 18 depictions of olive trees, generally in the Saint-Rémy-de-Provence region in 1889. This oil painting is the most acclaimed of the series.

Van Gogh wrote to his brother Theo after he voluntarily entered the asylum at Saint-Rémy in the south of France, Van Gogh wrote to his brother Theo: "I did a landscape with olive trees and also a new study of a starry sky." Later, when the oil paintings had dried, he sent both of them to Theo in Paris, noting: "The olive trees with the white cloud and the mountains behind, as well as the rise of the moon and the night effect, are exaggerations from the point of view of the general arrangement; the outlines are accentuated as in some old woodcuts."

Van Gogh's letters make it clear that he created this one-of-a-kind exceptional vista as a daylight partner to the visionary nocturne of his more well-known canvas, The Starry Night. He felt that both pictures showed, in complementary ways, the principles he shared with his fellow painter Paul Gauguin, with respect to the flexibility of the artist to go beyond "the photographic and silly perfection of some painters" and intensify the experience of color and linear rhythms. " Both paintings utilize basically the same color pallet of blue, green, brown, and white, and the rounded undulating movement of the scenery.

Vincent Van Gogh's Olive Trees in a Mountainous Landscape Oil Painting & Tilt-Shift Photo.

Tilt-Shift Vincent Van Gogh's Olive Trees in a Mountainous Landscape had only one obvious choice to work on, the olive tree at the lower left corner. Focusing on this one tree, was enough to give the painting a needed depth of field as it progresses towards the background mountain range.

Click Olive Trees in a Mountainous Landscape by Vincent Van Gogh if you like the oil painting and want to purchase it.

Oil Painting and Then & Now Photo of Vincent Van Gogh's Wheatfield with Crows.

One of his most sensational paintings, with a foreboding premonition, is Wheatfield with Crows, as Van Gogh committed suicide in July at the edge of the same wheat field. During this period, he was seized by a terrible imaginative craze and started working at a frantic pace, doing about 70 paintings, which only served to aggravate his growing anxiety and tension. The contorted landscape and sinister black crows, roughly sketched with negligible brushstrokes, suggest the extreme inward turmoil that would soon make the artist end his life.

In Wheatfield with Crows, also known as Wheatfield under Clouded Sky, the colors are not blended or diluted and each stroke is deliberate and unmistakable. The brilliant yellow wheat diverges from the darker earth and the approaching storm in the dark blue sky as if the elements were at war with each other. The sense of conflict is further emphasized by the artist's use of rough lines and the complete absence of "classical" harmony and tonal subtleties. A simple wheat field is completely changed into an impression of the artist's disturbed mental state, and its pictorial rendition is only vaguely connected to the external reality.

Vincent gave up. One day, he walks to the wheat field and shoots himself in the chest. He stumbles back to his lodging, where he dies two days later in the arms of his brother, at age 37. He tried to kill himself at the edge of the same wheat field he painted. Vincent's coffin is covered with yellow flowers, and his easel, camp stool, and his brushes are placed on the ground next to his coffin. Theo's health suffers a precipitous decline, and six months later, Theo dies. It is said that this was Van Gogh's last painting.

Oil Painting & Tilt-Shift Photo of Vincent Van Gogh's Wheatfield With Crows.

Tilt-Shift Vincent Van Gogh Wheatfield with Crows is a very difficult painting to decide where the major focus should be. Is it the sky, the road, the crows, or the wheat field? In the end, one of the solutions to the problem was tilt-shifting part of the road, crows, and sky, so that the emphasis is on a diagonal eye movement.

Click Wheatfield with Crows by Vincent Van Gogh if you like the oil painting and want to purchase it.

Vincent Van Gogh Garden of the Hospital in Arles Then & Now A Photo and an Oil Painting.

The Saint-Paul Asylum, in Saint-Rémy near Arles in southern France, is the subject of three paintings of the Hospital at Arles that Vincent van Gogh did of the hospital in which he stayed for two months starting in December 1888.

One of the paintings is of the central courtyard garden, titled "Garden of the Hospital in Arles", otherwise called the Courtyard of the Hospital at Arles. The other painting is of an asylum ward inside the hospital, titled Ward of the Hospital in Arles. In a Portrait of Dr. Félix Rey. likewise, Van Gogh painted his attending doctor. Besides painting the inside and outside, he also painted patients, orderlies, and other'

Van Gogh's emotional health weakened and he became alarmingly eccentric, culminating in a fight with Paul Gauguin who was staying with Van Gogh in December 1888, after which Van Gogh cut off a piece of his own left ear. He was then hospitalized for a couple of months. His condition was analyzed by the hospital as "acute mania with generalized delirium".

The Ward of the Hospital in Arles portrays the inside of the hospital ward with its crazy patients, and the Garden of the Hospital in Arles is the view outside his hospital room painted from the balcony. A difference between the painting and the garden is that van Gogh expanded the size of the central fish pond for a better arrangement.

Vincent Van Gogh Garden of the Hospital in ArlesOil Painting & Tilt-Shift Photo.

Tilt-Shift Vincent Van Gogh Garden of the Hospital in Arles has many components as to where the major focus should be. First, it was done with the small trees and the fountain, but just highlighting the blue water in the fountain complemented all the other colors in the painting and made it stand out even more as the center of the work. Click on Garden of the Hospital in Arles by Vincent Van Gogh if you like the oil painting and want to purchase it.

Vincent Van Gogh The Church in Auvers-Sur-Oise View From The Chevet Then & Now Photo and Oil Painting.

Vincent Van Gogh painted The Church in Auvers-Sur-Oise, View from the Chevet in June of 1890. The church is in Auvers-Sur-Oise, a medieval town about 15 miles northwest of Paris.

Vincent Van Gogh settled in Auvers-Sur-Oise, a town on the edge of Paris. His brother Théo, worried about his well-being, convinced him to see Doctor Gachet, himself a painter and a companion of various artists, who accepted to treat him. Between the two months (he was there from May 21, 1890, to his death on July 29), Van Gogh made about seventy paintings, more than once a day, and also an extensive number of drawings.

This church, built in the thirteenth century in the early Gothic style, is flanked by two Romanesque chapels. If one contrasts this artwork with Claude Monet's works of the Cathedral in Rouen, a short time later, one can see how diverse Van Gogh's approach was from that of the Impressionists. Not at all like Monet, he didn't attempt to render the impression of the play of light on the landmark. Despite the fact the church remains recognizable, the painting does not so much offer the observer a faithful image of reality as a type of "expression" of a church. The creative means utilized by Van Gogh foresaw the work of the Fauvists and Expressionist painters.

The French painter Charles-François Daubigny first moored his studio barge, Botin, there in the 1850s and later acquired three houses in the town. With the approach of the railroad, the town became a tourist destination. It attracted artists such as Corot, Cezanne, and Pissarro, all seeking to capture its rustic natural charms.

 Vincent Van Gogh The Church in Auvers Sur Oise View From The Chevet Oil Painting & Tilt-Shift Photo.

Because this painting has no depth of field perspective, there were only two choices to be made regarding where to start, but the best choice for the Tilt-Shift Vincent Van Gogh's The Church in Auvers Sur Oise View From The Chevet is focused on the woman walking towards the church, thereby enhancing the view of the distance. If you like the oil painting and want to purchase it, click on The Church in Auvers Sur Oise View From The Chevet by Vincent Van Gogh if you like the oil painting and want to purchase it.