LadyKflo

Stationary Figure represents Philip Guston's most macabre self portrait. He painted himself plenty, and many of his works explored dark topics. In fact, Guston portrayed the KKK in many of his works. This painting enjoins that morbidity level with self portraiture in a sublime synergy. We see these elements thanks to the specific details Guston includes. But viewers can also learn from what the painter chose to eliminate.

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Joan Miro's Bleu II punctuates the middle of a three part series. This one sits at center for good reason. It grounds the blue triptych with solid strength. Red slashes one side of the blue canvas, yet this masterpiece seems balanced. My favorite thing about Miro is the way his imagery shifts between recognition and intrigue. We see that with this Zen garden masterpiece on a bed of brilliant cobalt.

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The Metropolitan Museum of Art calls The Harvesters "the first modern landscape". Pieter Bruegel also shifted the Renaissance paradigm with this masterpiece. He transported the art world from biblical and classical subjects into everyday people. That's why Bruegel the Elder became the "peasant painter".

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Arrangement in Grey and Black No. 1. portrays an iconic mother and a Victorian Mona Lisa. These are only two of the many takes on this ultra famous painting. It's more well known by the colloquial name Whistler's Mother. That's because he did this portrait of his mother, Anna McNeill Whistler.

Though many say Anna looks much older in this portrayal, she was only 67 when he painted this. Though, many say Anna looks much older in this portrayal. At the time she was living with her son and adjusting to his bohemian lifestyle. Anna called it "flamboyant" and made a weak attempt to tolerate it. We can see how adept she was at tolerance from the look on her strident face.

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Picasso shifted his point of view while working on Les Demoiselles d'Avignon. This perspective change shows in the painting. In fact, he fragmented the figures into ambiguous planes. This gives viewers a sense of looking at them from several angles. We get a combination of views within a single scene.

For instance, the woman at the bottom right squats. Her legs face away from us. But this same woman's head looks straight at us. This serves as the most extreme example of ambiguity.

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An audacious inspiration, Luncheon on the Grass launched the salon of the rejected. In France, called Salon des Refusés, this formed in 1863. That was the year the venerable Paris Salon rejected more the five thousand artworks.

Many of these rejects later earned the title "masterpiece". Le Déjeuner sur l'herbe (the french title) sets a perfect example. It was a shocker. The unidealized and central nude figure among clothed compatriots stunned viewers as did Manet's iconoclastic technique.

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I love Yellow-Red-Blue from 1925 because it's such a joyful Kandinsky. The colors explode across each side of the canvas. In fact, it almost feels like two paintings. There's a brilliant box of sunshine to our left. While a bountiful trumpet of pinks, purples and blues blows into the sky on our right.

When he painted this, Kandinsky was also teaching painting and color theory. He combined these subjects with elements of form psychology. That means he composed emotional orchestrations out of colorful shapes.

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Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site.

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Why was Monet's painting, The Magpie controversial when it was introduced?

• Shadows in color
• Shifting emotions traverse a snowscape
• Observing the scene from a magpie's perch

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Why is Van Gogh's Cafe Terrace at Night an important painting?

• Van Gogh's favorite hot spot
• Yellow light at night
• Forecast calls for more starry nights

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What inspired Salvador Dali to paint The Elephants in 1948?

• An Egyptian obelisk and Italian elephant
• The nature and limits of power
• Freudian dreams in oil paint

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