Pierre Bonnard - Auguste et Jean Renoir (ca 1916) [some say “attributed” to P. Bonnard, other confirm the autorship] Jean, son of Auguste Renoir, is shown here in army uniform for the war (1914-18); he will make his anti-war famous movie, La grande Illusion, in 1937.This photo also shows how handicapped Auguste Renoir was in his last years; he will paint until his death (in 1919), his paintbrushes tied to his hand.
View Separately

Pierre Bonnard - Auguste et Jean Renoir (ca 1916) [some say “attributed” to P. Bonnard, other confirm the autorship]

Jean, son of Auguste Renoir, is shown here in army uniform for the war (1914-18); he will make his anti-war famous movie, La grande Illusion, in 1937.
This photo also shows how handicapped Auguste Renoir was in his last years; he will paint until his death (in 1919), his paintbrushes tied to his hand.

(via wine-loving-vagabond)

Source: chagalov

Claude Monet - Charing Cross Bridge (1899) On a late winter afternoon, London’s frenzied activity seems to have drawn to a halt. Only a few barges move slowly under Charing Cross Bridge, with the hazy silhouette of the Houses of Parliament barely visible in the background. This painting is one of a series of views of the Thames produced by Monet between 1899 and 1901 from the Savoy Hotel, overlooking the gardens of the Victoria Embankment. Though varying in subject-matter, these paintings share a common aim: to capture the light filtering through the winter fog. Of the thirty-seven views comprising the series, only twelve were finished on site, most being completed in Monet’s studio at Giverny, where he showed less interest in topographical accuracy than in the treatment of light as a whole.
Pop-upView Separately

Claude Monet - Charing Cross Bridge (1899)

On a late winter afternoon, London’s frenzied activity seems to have drawn to a halt. Only a few barges move slowly under Charing Cross Bridge, with the hazy silhouette of the Houses of Parliament barely visible in the background. This painting is one of a series of views of the Thames produced by Monet between 1899 and 1901 from the Savoy Hotel, overlooking the gardens of the Victoria Embankment. Though varying in subject-matter, these paintings share a common aim: to capture the light filtering through the winter fog. Of the thirty-seven views comprising the series, only twelve were finished on site, most being completed in Monet’s studio at Giverny, where he showed less interest in topographical accuracy than in the treatment of light as a whole.