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Gandalf's Gallery was founded as non-profit making, educational site dedicated to the exhibition of art. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately.

Joaquín Sorolla y Bastida - And They Still Say Fish Are Expensive! [1894]

Joaquín Sorolla y Bastida - And They Still Say Fish Are Expensive! [1894], a photo by Gandalf's Gallery on Flickr.

Inside a ship, two aged fisherman with serious, worried expressions tend to a younger one who lies on the deck after an accident. A protective medal hanging from the younger one's torso is supposed to ward off seagoing misfortunes like the one he has just suffered. Various fishing implements and even some fish are visible around the figures. This subject stems from the artist's deep social concerns. The suffering of maritime workers ties in with other paintings Sorolla made around 1890. Here it is directly inspired by the view of that subject offered by writer Vicente Blasco Ibáñez in his novel Flor de Mayo.

The drawing is rigorous and descriptive, but the tradition of Velasquez appears in the use of colour, where ochres predominate. The composition is unbalanced toward one side, giving it great depth. And some aspects, such as the warm lighting coming from the hatchway, foreshadow the importance light will have in this artist's later works.

[Museo Nacional del Prado, Madrid - Oil on canvas, 151.5 x 204 cm]

Joaquín Sorolla y Bastida - Boys on the Beach [1910]

Joaquín Sorolla y Bastida - Boys on the Beach [1910], a photo by Gandalf's Gallery on Flickr.

Three nude boys lie face-down on the beach, enjoying the tail end of the tranquil waves. In this work, Sorolla combines two subjects that were objects of his attention on numerous occasions: children and the beach. These light-filled scenes definitively marked the esthetic that made this artist so popular. Approached with an exquisite analysis, colour is another of the characteristics of his outdoor scenes. Here, the blond hair of the boy in the centre of the composition stands out, and its colour mixes with that of the warm sand. The long, juicy brushstrokes build the painting with touches of great expressivity.

[Museo Nacional del Prado, Madrid - Oil on canvas, 118 x 185 cm]

Camille Corot - The Ponds of Ville D’Avray

Camille Corot - The Ponds of Ville D’Avray, a photo by Gandalf's Gallery on Flickr.

[Portland Art Museum, Oregon - Oil on canvas, 52 x 81 cm]

Paul-Désiré Trouillebert - A Pond near Nangis [1880-95]

Paul-Désiré Trouillebert - A Pond near Nangis [1880-95], a photo by Gandalf's Gallery on Flickr.

Paul-Désiré Trouillebert was a famous French Barbizon School painter in the mid-nineteenth and the early twentieth centuries. He was born in Paris in 1829 and died there on June 28, 1900. He was also interested in the orientalism and produced paintings of nudes.

[Metropolitan Museum of Art, New York - Oil on canvas, 54.6 x 66 cm]

Ilkka Lammi - I Can See With Closed Eyes [2000]

Ilkka Lammi - I Can See With Closed Eyes [2000], a photo by Gandalf's Gallery on Flickr.

Ilkka Lammi Armas (February 9, 1976 - June 24, 2000) was a Finnish painter. 

[Bukowski’s Auctions - Oil on canvas, 114.5 x 180 cm]

Edwin Lord Weeks - The Taj Mahal [1883]

Edwin Lord Weeks - The Taj Mahal [1883], a photo by Gandalf's Gallery on Flickr.

Weeks (American, 1849 - 1903) was the most avid traveller among the American orientalists. He did not limit his journeys to the Near East, but also visited India in 1882 and again from 1892 through 1894. After returning to his studio in France, he specialised in Indian subjects, which were based on photographs and drawings made during his travels. In this painting, he depicts the famous tomb erected in 1630 by Shah Jahan for his wife.

[Walters Art Museum - Oil on composition board, 52 x 77 cm]

John William Godward - In the Tepidarium

John William Godward - In the Tepidarium, a photo by Gandalf's Gallery on Flickr.

John William Godward (Wimbledon, August 9, 1861 – London, December 13, 1922) was an English painter from the end of the Pre-Raphaelite / Neo-Classicist era. He was a protégé of Sir Lawrence Alma-Tadema but his style of painting fell out of favour with the arrival of painters like Picasso. He committed suicide at the age of 61 and is said to have written in his suicide note that "the world was not big enough" for him and a Picasso. His already estranged family, who had disapproved of him becoming an artist, were ashamed of his suicide and burned his papers. No photographs of Godward are known to survive.

[Private Collection - Oil on canvas, 98.5 x 48.5 cm]

Jonathan Ahn - The Gaze

Jonathan Ahn - The Gaze, a photo by Gandalf's Gallery on Flickr.

[Oil on canvas, 30 x 40 inches]

Matthijs Maris - Boat With Willow [1863]

Matthijs Maris - Boat With Willow [1863], a photo by Gandalf's Gallery on Flickr.

[Rijksmuseum, Amsterdam - Oil on wood, 23 x 30 cm]

John Constable - Boat Building Near Flatford Mill [c.1815]

John Constable - Boat Building Near Flatford Mill [c.1815], a photo by Gandalf's Gallery on Flickr.

The scene is a pleasant summer's day on the banks of the river Stour. A barge is being constructed in Constable's father's boat-yard by the mill to carry his flour down to Mistley in Essex on its way to London. The unfinished boat is shown with a degree of detail unusual for Constable, but it is not painted with any more care than the surrounding trees. The general effect is of a placid, tranquil and uneventful day.

[Victoria & Albert Museum, London - Oil on canvas, 50.8 x 61.6 cm]

Kenyon Cox - Augustus Saint-Gaudens [1887, replica 1908]

Kenyon Cox - Augustus Saint-Gaudens [1887, replica 1908], a photo by Gandalf's Gallery on Flickr.

[Metropolitan Museum of Art, New York - Oil on canvas, 85.1 x 119.7 cm]

Gillis Hafström - Behind the Scenes [1897]

Gillis Hafström - Behind the Scenes [1897], a photo by Gandalf's Gallery on Flickr.

Gillis Hafström (Gothenburg, January 3, 1841 - 1909) was a Swedish artist. 

[Bukowski’s Autumn Sale, Stockholm - Oil on canvas, 53 x 43 cm]

Nils von Dardel - The Return to the Playgrounds of Youth [1924]

Nils von Dardel - The Return to the Playgrounds of Youth [1924], a photo by Gandalf's Gallery on Flickr.

Nils von Dardel (Bettna, October 25, 1888 - New York City, May 25, 1943) was a Swedish post-impressionist painter. Von Dardel led a self-destructive, itinerant and hectic life. Many of his later paintings are portraits of people he met on his travels. Around the time of the outbreak of World War II, the Liljevalchs Konsthall in Stockholm mounted a retrospective of his work; this was his final popular breakthrough in his native country.

[Bukowski’s Auctions - Oil on relined canvas, 100 x 82 cm]

Teng Chuah Thean - Mothers and the Child

Teng Chuah Thean - Mothers and the Child, a photo by Gandalf's Gallery on Flickr.

Teng, as he is popularly known, was born in China in 1912, where he studied at the Amoy Art School. Although batik painting has been around for hundreds of years, it is remarkable that no one before Teng had ever thought of adapting this age-old craft as a medium of fine art. Teng first started in this medium in 1953 and therefore he can be considered the father of Batik Painting in Malaysia. He died in 2008.

[Bukowski’s Auctions - Batik, 92 x 60 cm]

Peter Paul Rubens - Daniel in the Lion’s Den [c.1614-16]

Peter Paul Rubens - Daniel in the Lion’s Den [c.1614-16], a photo by Gandalf's Gallery on Flickr.

The Old Testament prophet Daniel, as chief counselor to the Persian king Darius, aroused the envy of the other royal ministers. Conspiring against the young Hebrew, they forced the king into condemning Daniel to a den of lions. The following dawn Darius, anxious about his friend, had the stone that sealed the entrance rolled away to discover Daniel had been miraculously saved. Rubens depicted this deliverance when, as the beasts squint and yawn at the morning light streaming into their lair, Daniel gives thanks to his God.

The monumental size of the ten lions and their placement close to the viewer heighten the sense of immediacy. Within the asymmetrical, baroque design, Daniel is the focal point even though his position is off-center. Against the brown tones of animals and rocks, his pale flesh is accented by his red and white robes as well as by the blue sky and green vines overhead.

In 1618, Rubens traded Daniel along with eight other paintings and some cash for a collection of over a hundred ancient Roman busts and statues - the prize material of any art gallery in that era. During the transaction, Rubens described this canvas as: "Daniel among many lions, taken from life. Original, entirely by my hand."

[National Gallery of Art, Washington - Oil on canvas, 268 x 374.7 cm]

Thomas Cole - The Voyage of Life, Childhood [1842]

Thomas Cole - The Voyage of Life, Childhood [1842], a photo by Gandalf's Gallery on Flickr.

Cole's renowned four–part series traces the journey of an archetypal hero along the "River of Life." Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of "Youth" and its aspirations for glory and fame. As the traveller approaches his goal, the ever–more–turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature's fury, evil demons, and self–doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.

From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero's triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. Cole's intrepid voyager also may be read as a personification of America, itself at an adolescent stage of development. The artist may have been issuing a dire warning to those caught up in the feverish quest for Manifest Destiny: that unbridled westward expansion and industrialization would have tragic consequences for both man and nature.

[National Gallery of Art, Washington - Oil on canvas, 134.3 x 195.3 cm]

Matthias Stom - Old Woman Praying [late 1630s or early 1640s]

Matthias Stom - Old Woman Praying [late 1630s or early 1640s], a photo by Gandalf's Gallery on Flickr.

The earliest known reference to Stom (wrongly called Stomer in modern literature) dates from 1630, when he was living in the same house in Rome that the Utrecht painter Paulus Bor occupied about five years earlier. About 1632 Stom went to Naples, and in the 1640s he was active in Palermo and elsewhere in Sicily. Antonio Ruffo, the nobleman in Messina for whom Rembrandt painted Aristotle with a Bust of Homer in 1653, purchased three works by Stom between 1646 and 1649. Both the name Stom and the usual description of him as "fiamingo" indicate that he was Flemish, not Dutch. He specialised in exaggerated Caravaggesque effects of light and shadow, with leathery surfaces suited to his frequent representation of elderly characters.

[Metropolitan Museum of Art, New York - Oil on canvas, 77.8 x 63.8 cm]

Juan Dò - The Sense of Sight

Juan Dò - The Sense of Sight, a photo by Gandalf's Gallery on Flickr.

Juan Dò (1604? - 1656?) was a Spanish artist.

[Metropolitan Museum of Art, New York - Overall, with added strips, 75.9 x 63.2 cm]