The third collection of Band painting posts on SocialGalactic is mostly European art with some general unpozzed contemporary painting at the end. The main groups here are English and continental art - continental blurs out a lot of differences but this isn't a detailed or systematic enough venue for trying to untangle separate national traditions. English art - like Russian - is different enough because of its culture and history, as well as the large number of painters produced by each. But the main reason is that these posts follow our own lines of inquiry, and we've been looking at the English as a separately from the rest of Europe.
John Atkinson Grimshaw, A Wet Road by Moonlight, Wharfedale, 1872
Continental art is the most direct descendant of the painting traditions that shaped the West. Europe was the cauldron where what we call the arts of the West formed out of the Middle Ages. Our arts of the West posts are tracking the outlines of this history, but are just moving into the 1500s. The European posts here are where we are trying to see where this went and where it could have gone. The variety, vision, and skill of these artists should be a source of cultural pride.
English
The big changes in the 15th-17th centuries that set the path for the arts of the West were generally slow to arrive in England. They had a separate culture of their own that changes the timelines and filters new ideas through different channels. But by the 19th century, English painting was as diverse and refined as anywhere. This collection really shows modern convergence and decline - the earlier masters - Turner and Constable - are well-known and appear in the timelines and surveys. The painters who follow them for the most part don't. Because they don't support the satanic hatred of beauty that malevolent liars claim took over art. What really happened is that that legitimately evil degenerates used money and institutional to replace what was art with an inverted new skinsuit we call Art! But we don't waste time on zombie corpses.
What we are looking at is where the actual art went while modern "discourse" was forming. And we've found painters of monstrous talent and sublime vision showing logos with beauty. It's easy to get angry or sad over what the demons and their empty lunatic puppets did to culture. That's why it's so uplifting to see what was really going on. Plenty of raw material for the future. This selection focuses mostly on John Atkinson Grimshaw - a savant with nocturnal illumination that we call the Master of Moonlight. He's flat out amazing. To the point he can be hard to write on. He was an in into Victorian painting, and that proved way more interesting than expected. English culture has gone off a cliff. More artists will come in future collections.
Joseph M. W. Turner, Moonlight, a Study at Millbank, 1797.
How about the moon?
English master of fluid light with a tranquil nocturnal scene. The changes in the water and sky are subtle, but hard to see at first.
J. M. W. Turner, Keelmen Heaving in Coals by Moonlight, 1835
Turner was an influential painter with an almost liquid light that seems to create its atmosphere.
Sometimes he gets too abstract, but when he’s on, it’s pretty incredible.
John Constable, Salisbury Cathedral from the Meadows, early 19th century
His sensitivity to fine detail and atmosphere shows here, & the rainbow brings promise of a new beginning
John Atkinson Grimshaw, Silver Moonlight, 1880
Grimshaw was a self-taught master of light and atmosphere. His moonlit scenes are especially remarkable.
Another casualty of modernism. But nothing we can’t bring back.
John Atkinson Grimshaw, Shipping on the Clyde, 1881
Here’s Grimshaw again - not one of his moonlit pieces, but more virtuoso light and atmosphere.
The trick - darker oil glazes over light ground so luminosity seems to shine from below.
John Atkinson Grimshaw, Evening Glow, 1884
One more Grimshaw. His golds are less common.
He limited his color palette to simulate restricted vision in lower light. Oil glazes then enhance a scene that already reads subconsciously “true”.
John Atkinson Grimshaw, Under the Moonbeams, Knostrop Hall, 19th century
Grimshaw at his most silvery magical to blow away the stench of gamma and brimstone.
He manages a mind-blowing range of light effects within a pretty limited topic range.
John Atkinson Grimshaw, A Wet Road by Moonlight, Wharfedale, 1872
Time for some Grimshaw.
The very low horizon lets him focus on the moonlit sky so it’s easy to miss the textures in the foreground.
The distant silvery mist is magical.
John Atkinson Grimshaw, Boar Lane, Leeds by Lamplight, 1881
An artist with this level of control of light & atmosphere doesn’t even need to show the moon.
He can hint at it for texture & contrast while the lamplight does the work.
John Atkinson Grimshaw, Figures on a Moonlit Lane, 1873
An evening Grimshaw.
One of a series of lanes with more color in the sky. His moon is subdued, but the misty air & damp foreground with the diffuse lamplight mingling in is magic.
John Atkinson Grimshaw, Liverpool from Wapping, 1875
Evening Grimshaw,
No moon, but the luminous sky has shifting tones that are subtle but mesmerizing. Lamplight sharply contrasts then blurs with distance.
And that damp street…
John Atkinson Grimshaw, Autumn Morning, late 19th century
Grimshaw was known for his moonlit atmospheres, but this morning scene is pretty splendid.
His usual sharp foreground, but the light haze switched to morning gold.
Charles Thomas Burt, Country Wedding, 19th century.
Another 19th century English artist inspired by a wedding announcement.
It takes work to grow together in love and faith, but the rewards are incalculable.
John Atkinson Grimshaw, At the Park Gate, 1878
Dark foreground & paler background creates depth without much color or light.
But the brilliance is the sky. Sometimes Grimshaw is subtle, but here his moonlit mastery blazes.
Thomas Faed, Worn Out, 1868
Genre paintings depict ordinary people and usually have a message. This British painter shows you don’t need lollies & fancies to be a man.
But you do need to know what matters. And then bring it.
European
The European tradition is the central trunk of the arts of the West. This selection goes back to earlier eras before looking at painters from different countries. Including the French among a larger group is deliberate - the beast system narrative where Modernism is a natural evolution is based in French art. Parisian atavism and moral inversion is the skeleton that the rotting scraps of modernist flesh hang from. But after flushing the toilet, we see that there are real artists in early modern France. They just aren't avant-garde. That's a fake concept. One thing they do have is mastery of the academic tradition - the classical painters that modernism scorned have some true highlights. Scandinavian painting has been another revelation.
The breadth means no one figure dominates the selection. Looking at this stuff, we see that there are national tendencies. They aren't as pronounced as in the 1500s, but they are still pretty clear. The pattern is actually the same morphologically as Western culture itself. A larger common framework with internal distinctions. The result? See for yourself...
Rembrandt, The Rest on The Flight into Egypt, 1647
Chiaroscuro is strong contrast of light and shade. Rembrandt was one of the best.
Here his light brings the scene out of the darkness making it seem magical and intimate.
Adelsteen Normann, The Steamship, 19th century
Amazing painting of a Norwegian fjord where the water looks like glass.
Don’t know much about this artist, but he nails the human-scale life that’s psychically & spiritually healthiest.
William-Adolphe Bouguereau, Young Girl, 1886
Technical genius combines classical idealism & almost photographic realism.
Modernists hated him.Because he served beauty rather than ugliness and sexual perversion.
Carl Bloch, Rest on The Flight into Egypt, 19th cent.
Bloch’s Biblical paintings are powerful.
The innocent beauty of Mary & Jesus jumps out, but the way he captures Joseph as the father protecting his family is inspiring.
Jean-Léon Gérôme, The Duel After the Masquerade, 1859
The prevalence of gamma - pussification + consequence-free pseudo-reality + anonymity.
It’s always been there - we just used to have checks and balances.
Jean Béraud, After the Misdeed, 1885-1890
This isn’t American, but it is interesting.
Lawrence Alma-Tadema, The Education of the Children of Clovis, 1861
Good history painting gets the details, but tells it’s story in a way that stresses higher values or messages in that history.
Like family and the value of non-useless elites.
Adolph Tidemand, Bridal Procession on the Hardangerfjord, 1848
More history painting values. Homogeneous stable societies and strong families are symbiotic. And note the church at the village center.
Faith matters.
Carl Friedrich Wilhelm Trautschold, Snow Scene in the Black Forest, 19th century
Happy New Year!
Here’s a winter landscape with incredible lighting and texture.
Gustave Doré, The Triumph of Christianity Over Paganism, 1866
Posted this in other places, but it seems appropriate for a Sunday with clouds of gammas about.
Caspar David Friedrich, Winter Landscape with Church, 1811
Romantic pioneer & Christian who used the rhetoric of sublime landscape to capture the majesty of the faith.
Note the man praying at the woodland shrine, crutches cast aside.
Hans Dahl, Norsk fjordlandskap, ~ 1900
Norwegian Romanticist lays down a challenge for modern nationalists.
Mass-market globalist trash has been an cultural weapon. Replacing it is essential.
But what does that look like?
William-Adolphe Bouguereau, Regina Angelorum, 1900
The divinity of Jesus shows in the expression.
Fanny Churberg, Winter Landscape after Sunrise, 1880
Good morning SG!
A Finn trained at the Dusseldorf School like many Hudson River School painters. It shows.
The sky is dramatic & the golden light contrasts with the snowy landscape.
The sky is dramatic & the golden light contrasts with the snowy landscape.
Erik Bodom, Tranquillity after the Storm, 1871
Norwegian landscape that says a lot with limited color range. Up close, it captures how we see detail but grayscale in dim lighting.
The golden light lets us feel that the storm is passed.
Andreas Achenbach, Snowy Forest, 1835
More or less water gives endless shades of the same color.
Like this bright winter scene.
Gustave Doré, The Road to Jerusalem, 1877
Doré was a brilliant engraver who’s been ignored for his Western Christian perspective.
An angel guiding Crusaders asks us why globalist filth gets to define the meaning of Western history
Gustave Doré, Dante & Virgil in the Ninth Circle of Hell, 1861
The 9th circle was for treachery - to kin, country, guests, & lord.
When your eyes are finally open, the poets are like a metaphor for walking through the modern world.
Hans Gude, Fishing with a Harpoon, 1851
Norwegian painter skillfully using strong contrasting light.
The fire is intense & intimate, the moon broad & diffuse. Both reflect on the water appropriately.
It’s like you’re there.
Danish painter buried by the anti-human modernist narrative. Not coincidentally, his religious scenes are quite powerful.
Carl Heinrich Bloch, Christus Consolator, 1884
Some classical realism for a Sunday morning.
Danish painter buried by the anti-human modernist narrative. Not coincidentally, his religious scenes are quite powerful.
Alexandre Jacob, Early Morning, early 20th century
Good morning SG.
Watercolor with a dark figure and slightly abstract background to capture that unique calm of the early morning light on the water.
A still & subtle picture.
Carl Bloch, The Last Supper, late 19th century
Looking at paintings by Danish classical realist Carl Bloch and saw one of the best depictions of the archetypal gamma ever.
It’s clearer in the picture than in the Gospels.
Antonio Corradini, Veiled Lady (Puritas), 1722
How about sculpture?
Veiled sculpture is a test of technical mastery. The illusion of translucence in marble is as difficult as it looks.
You’re taking material away. No margin for error. It's worth another look
Giovanni Strazzi, Veiled Virgin, ~ 1850
Another veiled sculpture - this one supposedly in Newfoundland, Canada. Must be a story there.
The technical virtuosity contrasts sharply with the simple tranquility of the expression.
And another angle...
Giuseppe Sanmartino, Veiled Christ, 1753
Veiled sculpture wasn’t limited to busts - there are full figures too.
The illusionism starts with the mattress but its the translucent drapery on the body that is so mesmerizing.
This needs a couple of closer looks.
Contemporary
The Band is always coming across artists who are currently active or were active until recently and aren't wallowing in inversion and material lies. We sprinkle them in as they turn up. Here are the ones from the time frame covered by this post. Most are working artists that sell paintings or prints of their work. If you are interested in buying original pieces and like one of these, look them up. You won't see them in beast system media or venues, but they're out there, selling through private channels and on the internet.
Note the digital art. The Band is not anti-technology - just anti-satanic inversion. These artists support themselves by selling pictures, not huffing globalist grants and appointments. This means that the pressure is on them to provide quality. Like it always was.
Leonid Afremov, Amsterdam 1905, 2015
Afremov is a contemporary artist specializing in palette-knife paintings. There are similarities to Impressionism, but the thick smears of paint are more jewel-like.
His colors are very striking.
Something in a more uplifting vein. Leonid Afremov is a palette knife painter - little smears of paint with the knife instead of a brush. It’s incredible when done well.
Sort of like fatherhood.
George Gris, Requiem, 2019
And this is a work of digital art that captures the power of music.
Ron Lesser, The Marksman, 1970
Clean speech has been excellent. It disciplines and improves expression.
It doesn’t limit what you can say - you just have to be precise in your word choice.
Daniel F. Gerhartz, Drift Off To Dream, 2013
Better be a lot over. 9000 is selling her way short. [Note: don't remember what this means. It's a beautiful painting though.]
Geroge Grie, Derailment, 21st century
Socio-cultural assumptions are collapsing at increasing speed.
Not b.s. about “the planet” - that’s part of the collapse. That there are cultural norms at all.
Nature abhors a vacuum. A reboot is coming.
George Grie, Lost City of Atlantis, 2010s
Realizing almost EVERYTHING is lies & inversion has been the part of waking up that’s been hardest for the people around me.
This captures why it’s worth it - just see it as the future & not a past.
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