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side-by-side-art.bsky.social
Side-by-Side
@side-by-side-art.bsky.social
12 followers 8 following 58 posts
Two art objects, connected in some way
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side-by-side-art.bsky.social
Nikos Ghika, Hydra landscape (c.1950s) + John Craxton, Landscape, Hydra (1961)

In the 1950s, Craxton often stayed at Ghika’s house on the Greek island of Hydra.

#SideBySide #Art #ArtHistory #JohnCraxton #NikosGhika #Hydra
This image features two abstract, Cubist-inspired landscape paintings placed side by side. The painting on the left presents a stylized village scene with geometric, mosaic-like structures in soft pastel hues—pinks, yellows, blues, and greens—interspersed with simplified trees and angular fields, creating a rhythmic, puzzle-like composition. The terrain is fragmented into patterned planes and bold lines that guide the viewer’s eye across the canvas. On the right, the painting depicts a similarly abstracted coastal village with white and terracotta-roofed buildings nestled among organic, flowing forms resembling hills and trees, all framed by a calm blue sea and distant mountains. This composition uses earthy tones and intricate linework to convey a layered, dreamlike environment. Both works emphasize structure and surface texture, merging natural and architectural elements into complex, almost tapestry-like visual forms.
October 4, 2025 at 4:02 PM
side-by-side-art.bsky.social
Edvard Munch, Starry Night (1893) + Van Gogh, Starry Night (1889)

Munch attended—and was greatly influenced by—the Van Gogh retrospective held in Brussels in 1881

#SideBySide #Art #ArtHistory #EdwardMunch #VanGogh #Landscape #StarryNight
This image displays two iconic night-themed paintings side by side. On the left is Edvard Munch's Starry Night (1893), a moody and atmospheric scene depicting a dark, rocky shoreline under a starry sky, painted in deep blues, purples, and greens with a looming cliff or mountain dominating the landscape. The brushstrokes are soft and misty, evoking a sense of melancholy and isolation. On the right is Vincent van Gogh’s The Starry Night (1889), known for its vibrant swirling sky filled with exaggerated, radiant stars and a glowing crescent moon above a quiet village with a tall cypress tree in the foreground. The composition is dynamic, full of motion and texture, using thick, expressive brushstrokes and bold, contrasting colors.
October 3, 2025 at 4:05 PM
side-by-side-art.bsky.social
Caspar David Friedrich, The Tree of Crows (1882) + Johan Christian Dahl, Megalithic Tomb in Winter (1824–25)

The Norwegian painter (Dahl) moved to Dresden where he became friends and housemates with Friedrich.

#SideBySide #Art #ArtHistory #JohanChristianDahl #CasparDavidFriedrich #Landscape
This image presents two Romantic-era landscape paintings featuring gnarled, leafless trees set against expansive skies, each evoking a contemplative atmosphere. On the left, a twisted oak stands atop a slope with tangled roots and broken branches, silhouetted against a pale sunset sky filled with birds in flight—suggesting themes of decay, transition, and the passage of time. On the right, a cluster of ancient trees rises from a snow-covered field, surrounded by large boulders and a frozen landscape bathed in soft, wintry light; the pale pink and blue sky enhances the stillness and quiet isolation of the scene. Both compositions reflect the sublime and melancholic qualities central to Romantic landscape painting.
October 2, 2025 at 4:06 PM
side-by-side-art.bsky.social
John Singer Sargent, White Mule (1905) + Alberto Falchetti, White Mule (1905)

The two artists travelled together in Palestine where, under Sargent’s influence, Falchetti started to paint in a more Impressionistic style.

#SideBySide #Art #ArtHistory #JohnSingerSargent #AlbertoFalchetti #Mule
This image features two watercolor paintings side by side, each depicting the rear view of a saddled white mule standing against a softly rendered wall. Both compositions focus on the horse’s hindquarters, with loose, fluid brushstrokes and a warm, earthy palette that blends ochres, browns, and muted purples. The left painting has a slightly sketchier, more impressionistic style with the horse’s head partially turned to the right, while the right painting presents a more refined form, with the horse facing the wall and its tail subtly flicking to the side.
October 1, 2025 at 4:08 PM
side-by-side-art.bsky.social
Ingres, Portrait of Monsieur Bertin (1832) + Picasso, Gertrude Stein (1905–06) + Vallotton, Gertrude Stein (1907)

Both portraits of Gertrude Stein have been (somewhat rudely) compared to Ingres’ picture

#SideBySide #Art #ArtHistory #GertrudeStein #Picasso #Vallotton #Ingres
This image presents three portraits spanning distinct artistic styles and time periods, each depicting a seated figure with a strong, grounded presence. On the left is Jean-Auguste-Dominique Ingres’ Portrait of Monsieur Bertin (1832), a neoclassical rendering of a stern, white-haired man seated confidently in a wooden chair, his direct gaze and posture radiating authority. In the center is Pablo Picasso’s Portrait of Gertrude Stein (1905–06), painted in his early modernist style with simplified shapes and a mask-like face, portraying the writer seated with hands resting on her lap, exuding thoughtfulness and poise. On the right is Félix Vallotton’s Portrait of Gertrude Stein (1907), showing Stein in a voluminous brown garment and a long beaded necklace, sitting against a plain, angular backdrop; her steady gaze and solid form reflect Vallotton’s characteristic simplicity and psychological depth.
September 30, 2025 at 4:07 PM
side-by-side-art.bsky.social
Caravaggio, Seven Acts of Mercy (1606) + Joseph Wright of Derby, An Experiment on a Bird in the Air Pump (1768)

Tenebrism (dramatic illumination) was invented by Caravaggio and re-employed by Wright.

#SideBySide #Art #ArtHistory #Caravaggio #WrightOfDerby #Chiaroscuro #Tenebrism
This image juxtaposes two dramatic scenes illuminated by intense, theatrical lighting. On the left is Caravaggio’s Seven Works of Mercy, a densely packed Baroque composition depicting multiple acts of compassion—such as feeding the hungry and sheltering the homeless—within a dark urban setting, all unified by a striking beam of divine light and the presence of angels above, exemplifying Caravaggio’s signature chiaroscuro and emotional realism. On the right is Joseph Wright of Derby’s An Experiment on a Bird in the Air Pump, an Enlightenment-era painting showing a scientist demonstrating a vacuum experiment to a captivated group of onlookers lit by a single glowing lamp; their varied reactions—curiosity, horror, wonder—highlight the tension between scientific discovery and emotional sensitivity.
September 29, 2025 at 4:02 PM
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Piet Mondrian, Broadway Boogie Woogie (1942–43) + Edward Hopper, Nighthawks (1942)

Two very different takes on New York, though painted in the same year.

#SideBySide #Art #ArtHistory #Mondrian #Hopper #NewYork
On the left is Piet Mondrian’s Broadway Boogie Woogie, an abstract composition of intersecting yellow, red, blue, and white rectangles and squares, inspired by New York’s city grid and the rhythm of jazz; the piece pulses with energy and order through its geometric precision and primary colors. On the right is Edward Hopper’s Nighthawks, a realist painting depicting a late-night diner on a quiet city corner, its brightly lit interior sharply contrasting the dark, empty street outside. Inside, four figures sit in silent detachment, evoking themes of isolation, urban loneliness, and postwar alienation within a cinematic frame.
September 28, 2025 at 4:02 PM
side-by-side-art.bsky.social
John Piper, Coventry Cathedral Ruins (1940) + Caspar David Friedrich, Abbey in the Oakwood (1809–10)

Two ruins: Piper’s cathedral destroyed in during World War 2, Friedrich’s abbey during the Thirty Years War

#SideBySide #Art #ArtHistory #JohnPiper #CasparDavidFriedrich #Ruins
This image presents two evocative portrayals of Gothic ruins, each with a distinct artistic style and emotional tone. On the left is John Piper’s modernist depiction of a cathedral window, likely Coventry Cathedral, rendered in bold, expressive strokes with abstract textures and dramatic contrasts of light and shadow—an impressionistic response to war-torn architecture. On the right is Caspar David Friedrich’s The Abbey in the Oakwood, a Romantic painting showing a ruined Gothic abbey silhouetted against a dusky sky, surrounded by barren trees and mourners in a graveyard. The somber atmosphere, skeletal trees, and faint crescent moon evoke themes of death, transcendence, and the sublime power of nature and decay.
September 27, 2025 at 4:02 PM
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Hokusai, The Great Wave off Kanagawa (1831) + Van Gogh, The Starry Night (1889)

Both paintings feature Prussian blue, a synthetic colour first available in the 18th century.

#SideBySide #Art #ArtHistory #VanGogh #Hokusai #PrussianBlue #Blue
This image places two iconic works of art side by side, showcasing distinct styles and cultural origins. On the left is The Great Wave off Kanagawa by Katsushika Hokusai, a Japanese woodblock print depicting an enormous, frothing wave towering over three small boats, with the distant peak of Mount Fuji calmly framed in the background—its curved forms and limited color palette emphasizing nature’s overwhelming power. On the right is Vincent van Gogh’s The Starry Night, a swirling, expressive oil painting of a night sky filled with glowing stars and a crescent moon above a quiet village and rolling hills, dominated by a dark, flame-like cypress tree that reaches upward, contrasting the turbulent energy of the heavens with the stillness below.
September 26, 2025 at 4:03 PM
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Dante Gabriel Rossetti, Beata Beatrix (1864-70) + John Everett Millais, Ophelia (1851–52)

The model for both paintings was Elizabeth Siddal

#SideBySide #Art #ArtHistory #Millais #Rossetti #ElizabethSiddal
This image features two iconic 19th-century Pre-Raphaelite paintings side by side. On the left is Dante Gabriel Rossetti’s Beata Beatrix, depicting a serene, red-haired woman in a green robe with her eyes closed in spiritual ecstasy, surrounded by warm golden light and symbolic elements like a sundial and a red dove bearing a poppy. Figures in the hazy background enhance the mystical atmosphere. On the right is John Everett Millais’s Ophelia, showing a lifeless young woman floating in a lush stream, her pale face tilted upward and hands open as she drifts amid water plants and vibrant wildflowers, framed by dense green foliage and a leaning tree—an evocative, tragic scene from Shakespeare’s Hamlet.
September 25, 2025 at 4:01 PM
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Crivelli, Saint Catherine of Alexandria (c.1491-4) + Crivelli, Madonna and Child (c.1480)

A sign of an artist’s skill since Giotto, both works feature a trompe l’œil fly—painted out of scale—that appears to have landed on the paintings

#SideBySide #Art #ArtHistory #Crivelli #TrompeLOeil #fly
Two Renaissance religious paintings side by side. On the left is a depiction of the Virgin Mary with the Christ Child: Mary, dressed in an ornate blue-and-gold patterned robe with a white veil, cradles the infant Jesus on her lap. Behind her, a halo and hanging fruits, including a cucumber and peaches, frame her figure, while a serene landscape stretches into the background. On the right is a painting of Saint Catherine of Alexandria, standing gracefully in a stone niche. She wears a regal gown of red, green, and gold with a crown on her head, holding a palm branch in one hand and resting her other hand on a large spiked wheel, her traditional attribute symbolizing her martyrdom. Close up of two painted flies from Renaissance artworks. On the left, a small, dark fly perches realistically on the edge of a white stone ledge against a patterned background of fabric and drapery, casting a delicate shadow that enhances the illusion of its presence. On the right, another fly appears on a pale wall surface, rendered with careful attention to its wings, legs, and shadow, creating a trompe-l'œil effect as though it has landed directly on the painting’s surface.
September 24, 2025 at 4:07 PM
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Van Dyke, George Villiers and Lord Francis Villiers (1635) + Gainsborough, The Blue Boy (c.1770)

Dressing up in in ‘Van Dyke masquerade'—fashions long since past—was common in Gainsborough’s Britain

#SideBySide #Art #ArtHistory #VanDyke #Gainsborough
This image juxtaposes two sets of portraits of young boys dressed in lavish costumes that reflect aristocratic fashion and artistic ideals. On the left is a famous work by Anthony van Dyck, showing two children in rich satin garments—one in vibrant red and the other in golden yellow—both with lace collars and poised, serious expressions, emphasizing their status and upbringing. On the right is Thomas Gainsborough’s famous painting The Blue Boy, depicting a young boy in a striking blue satin outfit, confidently standing with one hand on his hip and the other holding a hat, set against a moody, romanticized landscape.
September 23, 2025 at 4:02 PM
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Holbein, The Ambassadors (1533) + Kerry James Marshall, School of Beauty, School of Culture (2012)

Both works feature anamorphic projection — a skull in Holbein’s picture and a blond woman in Marshall’s

#SideBySide #Art #ArtHistory #Holbein #KerryJamesMarshall #Anamorphic
September 22, 2025 at 3:42 PM
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Pieter Bruegel, The Tower of Babel (1563) + Endre Rozsda, The Tower of Babel (1958-61)

Two—very different—interpretations of the Babel story

#SideBySide #Art #ArtHistory #Bruegel #Rozsda #TowerOfBabel
This image juxtaposes two radically different visual interpretations of complexity, structure, and human ambition. On the left is a detailed, narrative-driven painting of a massive tower spiraling into the sky, set against a wide panoramic landscape. The architecture is rendered with precision, and the foreground teems with tiny figures laboring over the tower’s construction—an allegorical scene rich in historical and mythological reference. In contrast, the right side features a densely layered abstract composition filled with jagged lines, overlapping shards, and rhythmic bursts of color.
September 21, 2025 at 4:01 PM
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Manet, Le Déjeuner sur l'herbe (1863) + Monet, Le Déjeuner sur l'herbe (1865-66)

Monet’s painting is a response to Manet’s. Zola, in his novel L’Oeuvre, described it as a “storm in a cream jug”.

#Manet #Monet #Impressionism #Picnic #Lunch
This image features two large-scale paintings depicting groups of people enjoying leisure time in forested outdoor settings, each offering a different approach to light, composition, and social atmosphere. On the left, a provocative scene shows a nude woman seated casually alongside two clothed men in dark suits, all situated on the grass in a dappled, wooded area. A second woman in the background bathes in a stream, partially clothed, adding to the ambiguous narrative. The foreground is scattered with a picnic of fruits and garments. On the right, a brighter and more convivial image presents a well-dressed group reclining on a large white picnic cloth under leafy trees. Plates, wine, and fruit are neatly arranged, and the figures appear mid-conversation or movement, suggesting a more naturalistic and socially conventional gathering.
September 20, 2025 at 4:01 PM
side-by-side-art.bsky.social
Bronzino, Eleanor of Toledo with Her Son Giovanni (1544–45) + Alessandro Allori, Grand Duchess Bianca Capello de Medici (c.1580–1614)

Bronzino taught and later adopted Allori. After Bronzino died, Allori often referred to himself as Bronzino

#SideBySide #Art #ArtHistory #Bronzino #Allori #Portrait
This image shows two formal Renaissance portraits of aristocratic women posed with children, emphasizing status, lineage, and wealth through elaborate dress and composed expressions. On the left, a woman with a serene gaze wears a sumptuous gown adorned with an intricate black, white, and gold brocade pattern. She sits beside a small boy dressed in rich blue, his hand resting on her arm, both figures set against a deep blue background that enhances the richness of their attire. On the right, a similarly poised woman stands before an architectural backdrop in an ornate gold gown with detailed embroidery and puffed sleeves, her hand extended toward a young boy who kneels and gently holds her arm. Both compositions highlight the elegance, authority, and maternal dignity of the women while signaling the importance of dynastic continuity.
September 19, 2025 at 4:07 PM
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Manet, La Parisienne (1874) + Degas, The Absinthe Drinker (1875-76)

Both paintings feature the same model, Ellen Andrée who can also be spotted in Renoir’s famous ‘Luncheon of the Boating Party’

#SideBySide #Art #ArtHistory #Manet #Degas #ElenAndree #Model
This side-by-side pairing features two late 19th-century scenes that explore contrasting moments of urban life and emotion. On the left is a full-length portrait of a woman dressed entirely in black, standing with confidence against a neutral background. Her attire—a voluminous gown, gloves, and a fashionable hat—emphasizes both elegance and austerity, suggesting mourning or formality, while her direct gaze and upright posture convey self-possession. On the right, a more intimate and somber scene unfolds in a café, where a woman in a pale dress and hat sits slouched beside a man, each staring blankly in different directions. A glass of absinthe and other drinks rest on the tables before them, and the washed-out light filtering through the café curtains adds to the sense of weariness and quiet isolation. Together, these works capture the emotional range of modern life—from composed dignity to silent desolation.
September 18, 2025 at 4:06 PM
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John Singer Sargent, Portrait of Madame X (1884) + Gustave Courtois, Madame Gautreau (1891) + Antonio de La Gándara, Madame Pierre Gautreau (1898)

3 portraits of Mme Gautreau made (in)famous by Sargent

#SideBySide #Art #ArtHistory #Portrait #SingerSargent #MmeGautreau
This triptych features three elegant portraits of the same woman in formal evening gowns, each rendered with a focus on grace, poise, and luxurious fabric. The left image shows her in a black satin dress with jeweled straps, standing beside a table with one hand resting on its edge, her body turned in profile against a muted brown backdrop. The central portrait presents her in a soft, blush-toned gown with sheer, flowing fabric gathered at the waist, her profile sharply defined against a dark background, emphasizing her pale skin and red hair. In the rightmost painting, she is depicted from behind in a gleaming champagne-colored gown, turning slightly as she holds a smoking incense stick or cigar, the smoke drifting into the dark air. Across the three images, the woman is consistently shown in profile, exuding an air of aristocratic elegance and quiet defiance.
September 17, 2025 at 4:05 PM
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Picasso, The Glass of Beer (Portrait of the Poet Sabartes) (1901–02) + Michael Ayrton, Portrait of John Minton (1941)

Ayrton (and his subject, the artist John Minton) were influenced by Picasso’s ‘blue period’

#SideBySide #Art #ArtHistory #Portrait #Picasso #MichaelAyrton #JohnMinton #Blue
This image presents a side-by-side comparison of two expressionistic portraits, both conveying deep introspection and melancholy. On the left is Pablo Picasso’s “Portrait of Jaime Sabartés” from his Blue Period, depicting a man with a downcast expression, resting his head on his hand while holding a large, textured beer stein; the blue and green palette enhances the somber, reflective mood. On the right is Portrait of John Minton by Michael Ayrton, depicting the artist John Minton seated at a table. It shows a gaunt, pale young man with exaggerated, almost mask-like features, leaning forward on a red surface with his arms crossed and eyes downcast. The muted, cold hues evoke a sense of isolation and emotional withdrawal, echoing the contemplative tone seen in Picasso’s earlier work.
September 16, 2025 at 4:04 PM
side-by-side-art.bsky.social
Jacob Epstein, Iris Beerbohn Tree (1915) + Vanessa Bell, Iris Tree (1915) + Augustus John, Miss Iris Tree (1920)

Three portraits of the same woman: Iris Tree—poet, muse and actor

#SideBySide #Art #ArtHistory #VanessaBell #AugustusJohn #JacobEpstein #Model #Portrait #IrisTree
Three distinct artistic portrayals of the same woman across different mediums and styles. On the left is a bronze sculpture bust featuring a smooth, stylized face wearing a gleaming, polished golden helmet, evoking a modern yet classical sensibility. The central panel is a painting with bold, expressive brushstrokes and a vivid red background, depicting her seated on a patterned couch, wearing a deep black dress with a round brooch at the chest, her hands gently clasped in her lap. The rightmost panel is a more realistic oil painting, presenting the woman in a confident stance with her hand on her hip, dressed in a crisp white blouse, green cardigan, and brown skirt, her expression calm yet assertive against a muted backdrop. Together, the three works highlight different interpretations of the subject’s personality and presence through sculpture and painting.
September 15, 2025 at 4:09 PM
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Sir Frederic Leighton, Flaming June (1895) + Edgar Degas, After the Bath, Woman Drying Herself (1890–95)

Both paintings were—despite radically different styles—completed in the same year.

#SideBySide #Art #ArtHistory #FredericLeighton #FlamingJune #Degas #1895
This image shows a side-by-side comparison of two paintings that both depict women in moments of solitude and introspection. On the left is Frederic Leighton’s Flaming June, a highly detailed and luminous oil painting of a woman in a flowing, bright orange dress, curled up asleep on a cushioned bench by the sea, surrounded by classical architecture and vibrant flowers. The composition emphasizes her serene beauty and the rich textures of her clothing and surroundings. On the right is Edgar Degas’ After the Bath, Woman Drying Herself, a pastel drawing in softer, muted tones depicting a nude woman drying herself with a towel, her back turned to the viewer, conveying a more intimate and raw moment. The contrast in style—Leighton’s neoclassical precision versus Degas’ impressionistic spontaneity—highlights differing artistic approaches to the female form and private moments.
September 14, 2025 at 4:02 PM
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Joshua Reynolds, Jane, Countess of Harrington (1778) + John Singer Sargent, Daisy Leiter (1898)

2 ‘swagger’ portraits—display and social aspirations. Sargent's American heiress performs as a British aristocrat (which she became)

#SideBySide #Art #ArtHistory #Portrait #SingerSargent #JoshuaReyolds
This image juxtaposes two full-length portraits of elegantly dressed women, each embodying the aesthetic ideals of their respective eras. On the left is a portrait by Sir Joshua Reynolds depicting a woman in a classical pose and a flowing coral-pink gown with grey accents, set against a dramatic landscape and architectural backdrop, evoking the grandeur and theatricality of 18th-century portraiture. On the right is a John Singer Sargent portrait, showcasing a woman in a shimmering white gown with voluminous, translucent ribbons, standing confidently with a subtle, enigmatic smile; the soft yet dynamic brushwork and the diffused background exemplify late 19th-century sophistication.
September 13, 2025 at 4:02 PM
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Flora Yukhnovich, Oil on linen (2022) + Giovanni Battista Tiepolo, Ca' Rezzonico ceiling (1758)

British artist Yukhnovich creates abstract responses to Tiepolo and other 18th century rococo painters

#SideBySide #Art #ArtHistory #Tiepolo #FloraYukhnovich #Yukhnovich #Venice #CaRezzonico
This side-by-side image compares a classical Baroque ceiling fresco with a contemporary abstract reinterpretation of the same visual language. On the left is a work by Giovanni Battista Tiepolo, a grand ceiling fresco showing the sun god Apollo in a chariot drawn by white horses, ascending among swirling clouds and mythological figures, rendered with dramatic foreshortening and vibrant pastel hues. On the right is a modern abstract painting inspired by Baroque ceiling frescoes, featuring energetic brushstrokes and a vivid, swirling palette of pinks, golds, and blues that evoke the dynamic chaos of divine ascension, but without clearly defined forms. Together, these works illustrate how classical themes and compositions can be transformed through abstraction while preserving the sense of movement, light, and celestial grandeur.
September 12, 2025 at 4:06 PM
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Hans Memling, Triptych of the Resurrection (c.1490) + Hans Süss von Kulmbach, Ascension (1513)

2 ‘disappearing Christ’ images—a motif originating in 10th century English manuscripts, in which only Jesus' feet and lower legs are showing

#SideBySide #Art #ArtHistory #HansMemling #Memling #Ascension
This image presents two depictions of the Ascension of Christ, each showing a group of apostles and followers gazing upward as Jesus rises into heaven, with only his feet visible at the top of the frame. In the left painting, Christ’s feet are protruding from a dark cloud as the disciples, huddled closely, look upward in astonishment and awe. The right painting portrays a more refined and vivid composition, with richly coloured robes and expressive faces capturing a similar scene of wonder, as Christ’s feet ascend into the clouds above.
September 11, 2025 at 4:06 PM
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John Singer Sargent, The Daughters of Edward Darley Boit (1882) + Velazquez, Las Meninas (1656)

Critics—including Henry James—wrote of Sargent's debt to Velázquez. The two paintings were exhibited side-by-side at the Prado in 2010

#SideBySide #Art #ArtHistory #SingerSargent #Velazquez “LasMeninas
This side-by-side image compares two interior group portraits that play with spatial depth, mirrors, and the gaze. On the left is The Daughters of Edward Darley Boit by John Singer Sargent, showing four young girls in a dimly lit room flanked by two large vases, with some girls retreating into shadowy corners and others nearer to the viewer, creating a mysterious, almost psychological atmosphere. On the right is Diego Velázquez’s Las Meninas, a masterwork of Spanish Baroque art, depicting the young Infanta Margarita surrounded by her entourage in a royal studio, with Velázquez himself painting at a large canvas, and a mirror at the back reflecting the king and queen—blurring the boundary between viewer and subject.
September 10, 2025 at 4:04 PM