Emily Carr. You can see the church, but do you see the cathedral?
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Speaking of sculptures, I was amazed by Apollo and Daphne by Bernini at the Galleri Borghese in Rome. The mechanical skill needed to carve from stone the delicate leaves sprouting from fingertips and roots growing from toes is amazing, not to mention the emotion and expression.
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Late to the party. Van Gogh’s “Starry Night” accompanied by Don McLean’s song “Vincent”
Colors changing hue
Morning fields of amber grain
Weathered faces lined in pain
Are soothed beneath the artist’s loving hand
Now I understand
What you tried to say to me
And how you suffered for your sanity
And how you tried to set them free
They would not listen, they did not know how
Perhaps they’ll listen now
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After 30 years of preparation
- I stumbled across this thread last night and thought to myself: “What great place to post some my pictures from our (Esther’s and my) trip to France in 2009.” Credit for the inspiration to go belongs to Esther. Her motive: was to see art by Claude Monet and Van Gogh.
- We flew into Paris, spent a couple of days, loved every minute of it, then went by train to Vernon, and promptly by bus to Giverny, to see Claude Monet-related things, then back to Vernon, and by train all the way down to Arles, to see Van Gogh related things.
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Anything by John Martin for me, but I’ll select one to highlight:
The Destruction of Pompeii and Herculaneum, 1822
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These photos show the Statue of Jean de La Fontaine in the Jardin du Ranelagh, located in the 16th arrondissement of Paris, France.
The monument honors Jean de La Fontaine (1621–1695), the celebrated French poet and fabulist best known for Les Fables de La Fontaine.
Key Details:
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Sculptor: Achille Valois (1799–1867) originally designed the monument, though it was later reinterpreted in bronze.
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Location: Jardin du Ranelagh (near the Musée Marmottan Monet).
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Figures depicted:
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La Fontaine stands with a contemplative posture.
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At his feet are two sculpted animals — the crow and the fox, drawn directly from his famous fable “Le Corbeau et le Renard” (“The Crow and the Fox”).
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The crow holds a piece of cheese in its beak, while the fox looks up — symbolizing flattery and deceit, the moral themes of that fable.
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This monument is a popular stop for visitors walking the tree-lined alleys of the Ranelagh Garden, which was laid out under Napoleon III in the mid-19th century.
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How did I miss this thread the first time around?!
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- I’m wondering the same thing, but until a Young Earth Creationist shows up and spoils it completely, I plan to enjoy it.
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I have about 14,937 favorite works of art at last count. Here is one:
The Resurrection from The Isenheimer Altarpiece by Mathias Grünewald
From the Wikipedia article:
It was painted for the Monastery of St. Anthony in Issenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as for their treatment of skin diseases, such as ergotism. The image of the crucified Christ is pitted with plague-type sores, showing patients that Jesus understood and shared their afflictions. The veracity of the work’s depictions of medical conditions was unusual in the history of European art.[2]
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I’ll wait with you!
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No. What am I missing? What do you see?
- My chat-buddy has better eyes than I do.
This artwork is “Church in Yuquot Village (Friendly Cove)” by Walter J. Phillips (1884–1963), a British-born Canadian artist celebrated for his color woodcuts and watercolors.
Description
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Medium: Color woodcut print
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Date: 1928
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Scene: A small white mission church with a cross-topped steeple stands amid tall stylized evergreens, probably Douglas firs, with white crosses suggesting a graveyard beside it.
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Location depicted: Yuquot (Friendly Cove) on Nootka Island, off the west coast of Vancouver Island, British Columbia — a historic Nuu-chah-nulth (Mowachaht/Muchalaht) community and site of early contact between Indigenous people and Europeans.
Artistic context
Phillips was part of the early 20th-century Canadian printmaking movement. His works, like those of the Group of Seven, combine Japanese woodblock influences with Canadian landscape modernism — strong design, simplified forms, and luminous color.
This print is one of his most famous, representing both a serene coastal church and the enveloping grandeur of the Pacific Northwest forest.
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I need a “like all” button 
.
A favourite work of art of mine is The Veiled Virgin – carved in marble. I saw it in St. John’s, Newfoundland. See The Veiled Virgin - Wikipedia
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Better check that attribution.
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- LOL! you’re hired!
Thank you for catching that — let’s reassess carefully.
The image shows a stylized white chapel surrounded by dark green firs and headstones, with bold, flattened shapes and strong outlines that recall Canadian modernist printmaking—particularly the Group of Seven or their associates.
Based on the composition, palette, and graphic treatment, this isn’t a Walter J. Phillips piece but rather “Church in Yuquot Village” (or “Church in the Woods”) by Emily Carr (1871–1945), the Canadian painter from British Columbia.
Correct attribution
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Artist: Emily Carr
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Title: Church in Yuquot Village (sometimes just The Indian Church)
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Date: 1929
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Medium: Oil on canvas
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Current location: Art Gallery of Ontario, Toronto
Context
Carr painted this after visiting Yuquot (Friendly Cove) on Nootka Island, home of the Mowachaht people. The painting contrasts the small missionary church — stark and white — against the living, enveloping forest, suggesting tension between Indigenous spirituality and colonial Christianity.
It’s one of Carr’s best-known works and a cornerstone of early Canadian modernism — a visual meditation on nature, faith, and cultural encounter in the Pacific Northwest.
- Which gives me an idea for a game: “Stump ChatGPT-5”.
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