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'The express rape of the landscape' is one title hanging over Smart's paintings, referring to the freeways, street signs, trucks, oil drums, containers, buildings and concrete dividers that are the ever-present subjects of his work. At the same time his paintings – full of bold colours and perfect symmetry – are beautiful.
His works have an academicist invoice, but the choice of subjects is close to symbolism, as in The Beautiful Rosine (1847, Wiertz Museum, Brussels), where a naked young woman contemplates a skeleton on whose skull is visible an inscription with the title of the work, with the result that the beautiful was not the young woman, but the skeleton ...
One of this painting's defining features is the Madonna. She is the focus of the painting. [2] She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. [4] On the other side kneels John the Baptist holding one of the two religious symbols seen in the work.
Vanitas art is an allegorical art representing a higher ideal or containing hidden meanings. [5] Vanitas are very formulaic and they use literary and traditional symbols to convey mortality. Vanitas often have a message that is rooted in religion or the Christian Bible. [6] In the 17th century, the vanitas genre was popular among Dutch painters.
Mantegna's paintings for the Gonzaga also show family life but have a preponderance of highly realistic elements and skillfully utilise the real architecture of the room they decorate, the mantelpiece forming a plinth for the figures and the real ceiling pendentives being apparently supported on painted pilasters.
The Bob Ross art show. More than 75 Ross originals hang on Wesleyan’s campus, a tiny selection of the 30,000-plus paintings he finished before his death from cancer in 1995.