As the Tate writes, Thomas Benjamin Kennington “was well known for his compelling pictures of the urban poor.”
Kennington painted Homeless in 1890.
He takes a bit of a risk in composing such a deliberately moving scene—he expects to buy with a captured moment what Dickens, for example, purchases with whole chapters of exposition—but to me, Kennington just manages to pull it off.
You might take the woman in black to be the child’s mother, but her mourning clothes are too elegant, her hair too presentable.
She is, for all we can tell, a perfect stranger, who has dropped her bundle of laundry and herself to the wet pavement in order to lift this boy from the pavement—his hat remaining where his head lay moments before.
His weak but arresting gaze is the only sign of life left in him.
We discovered some Museum visitors that look an awful lot alike the artworks they are looking at. Coincidence? Which artwork at the Museum best suits your style?
“The Ballet Class,” c. 1880, Hilaire-Germain-Edgar Degas
“White and Black,” 1955, Ellsworth Kelly, Collection of the artist © Ellsworth Kelly
“A Wheatfield on a Summer’s Afternoon,” 1942, Marc Chagall © Artists Rights Society (ARS), New York / ADAGP, Paris
“Untitled XXI,” 1982, Willem de Kooning © The Willem de Kooning Foundation / Artists Rights Society (ARS), New York
“Red,” 1955-56, Sam Francis © Samuel L. Francis Foundation, California / Artists Rights Society (ARS), New York
“Umpferstedt II,” 1914, Lyonel Feininger © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
"Art and love are the same thing: It’s the process of seeing yourself in things that are not you."
The Google trend for the search query “quadratic formula”.
It repeats in the same pattern every year. Down in summer, up in September, down again in December and up again in spring time before going down again in the summer. And so it goes on forever.