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How much technique one needs to be able to simplify something this way. Look closely, and these carefully dressed people almost disappear. Even the huge flag above them is painted with loose streaks of red and white, helping create the feeling of wind and movement. Claude Monet painted Hôtel... show more

Muse

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121,258 次观看 • 8 天前 •via X (Twitter)

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12 条评论

Jan 的头像

Jan8 天前

It's actually the other way around. Our minds do all the work, filling in people and faces where there are none, which is why we see a face in every cloud.

Jimbar99 的头像

Jimbar998 天前

They are using a technique called eye-limited resolution were the subject seems clear from far away but gets muddled as you get closer to it.

SwanShapedBird 的头像

SwanShapedBird8 天前

From a distance, the man's face looks like a horror skull face, where the jaw unhinges all the way from the back teeth. The woman also looks like she is still figuring out how to put a face on. Like one skinwalker greeting another.

Mejor llama a Daniel 的头像

Mejor llama a Daniel8 天前

Es el observador quien lo hace posible, nuestro cerebro nos pide que acomoletemos objetos/personas/elementos que ya conocemos. Claro, Monet lo aprovecha con una gran genialidad.

Fr. Timothy Matkin 的头像

Fr. Timothy Matkin8 天前

I love the impressionists. My favorite is Rich Little.

Codex 的头像

Codex8 天前

I have built up a playlist of videos like this that just show you the details of paintings ...

General Bison 的头像

General Bison8 天前

Bah, degenerate art.

🕯️ Tomasthanes 🚀 (toe-MOSS-thuh-knees) 🛰️ 的头像

🕯️ Tomasthanes 🚀 (toe-MOSS-thuh-knees) 🛰️8 天前

He used special brushes. Virtual brushes. At least, that's my first impression.

AndreasBVB 的头像

AndreasBVB8 天前

@ClevelandArt

Billie Jean 的头像

Billie Jean8 天前

Wow! Definitely more detail far away lol wild!!!

kurt meer 的头像

kurt meer8 天前

Look at Rembrandt. Bad eyesight plus technique. Squint eyes and back away. Standard technique.

Maxart 的头像

Maxart8 天前

Not easy! I tried doing it a few times and looked like a squashed fly.😢😢 Tried more times and got better results. Just try and try.

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HE DIDN’T EVEN HAVE TO SAY MUCH… THE LOOK SAID EVERYTHING. What makes this scene so interesting is how quickly attraction becomes the entire conversation. One character openly acknowledges what he’s feeling, while the other has to sit there and process just how direct that attention is. And that’s where the scene becomes more than just a romantic moment. There’s something almost uncomfortable about watching someone realize they’re being looked at in a completely different way. The line “Because I like it” is so simple, but it changes the energy of the entire exchange. That’s the kind of confidence that either makes a moment incredibly attractive… or incredibly awkward. The interesting question is: when does attraction stop feeling flattering and start feeling like pressure? Because this scene sits right on that line.

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In 2012, the people of Ireland were asked to choose their favorite painting in the world. They did not choose a Caravaggio, a Vermeer, or a Monet. They chose this: two lovers saying goodbye on a staircase... It is called Hellelil and Hildebrand, the Meeting on the Turret Stairs, painted in 1864 by Frederic William Burton. It is a watercolor, which makes its richness and depth almost impossible to believe, and it hangs today in the National Gallery of Ireland. The story comes from a medieval Danish ballad. Hellelil, a noblewoman, fell in love with Hildebrand, the prince who had been assigned to be her personal guard. Her father forbade it and ordered her seven brothers to kill him. When they attacked, Hildebrand killed six of them. At Hellelil's desperate cry, he spared the youngest, and that hesitation cost him his life. He died of his wounds. The surviving brother imprisoned her, and she did not live much longer... Burton could have painted the battle. He could have painted the deaths, the grief, the blood. Instead he chose the one intimate moment before all of it: the lovers passing on a turret staircase, stealing a final embrace, knowing what is coming. And every detail in the painting carries the weight of that knowledge. He does not seize her in passion. He bows his head and kisses her arm with a tenderness that is almost unbearable, because it is goodbye. She does not collapse into him. She turns to climb the stairs, her face hidden from him and from us, because to look back would make it impossible to leave. The Victorian novelist George Eliot saw the painting and described it perfectly. The face of the knight, she wrote, is "the face of a man to whom the kiss is a sacrament." And that is precisely why it has moved people to tears for more than a hundred and sixty years. It shows something that most of us have felt: not love at its beginning, when it is easy, but at the moment it must be given up, which is the moment that reveals everything it was worth. Burton understood that the most powerful thing he could paint was not the tragedy itself, but the last gentle second before it arrived, held forever in paint, so that the two of them never have to climb those stairs apart. Eliot, who was a friend of Burton's, captured it best: "It might have been made the most vulgar thing in the world, but the artist has raised it to the highest pitch of refined emotion." I started this newsletter because our predecessors left us extraordinary things, and almost no one teaches us about them anymore. Every week I try to. If that is something you would like to be part of, you can join here: And if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

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