July 24, 2014
Cornelis van Haarlem - A Fool with Two Women [1595] on Flickr.Van Thiel lists and reproduces two copies, both of whose whereabouts are unknown. Both these copies, like the present picture until a recent cleaning, have had the sausage painted out, presumably due to its overtly lewd connotations. In the first of the copies the sausage was turned into a cornucopia and in the second was painted out altogether and an owl added on the central figure’s raised hand. Van Thiel suggests that the large numbers of copies of this and other secular works from the 1590s attests to their popularity at the time. During the 1590s van Haarlem produced a number of paintings based around compositions comprised of three half-length figures. Numerous versions of his allegorical paintings on the choice between young and old illustrate his interest in exploring the dynamic between a trio of figures. 
[Sotheby’s, London - Oil on canvas, 72.5 x 90.5 cm]

Cornelis van Haarlem - A Fool with Two Women [1595] on Flickr.

Van Thiel lists and reproduces two copies, both of whose whereabouts are unknown. Both these copies, like the present picture until a recent cleaning, have had the sausage painted out, presumably due to its overtly lewd connotations. In the first of the copies the sausage was turned into a cornucopia and in the second was painted out altogether and an owl added on the central figure’s raised hand. Van Thiel suggests that the large numbers of copies of this and other secular works from the 1590s attests to their popularity at the time. During the 1590s van Haarlem produced a number of paintings based around compositions comprised of three half-length figures. Numerous versions of his allegorical paintings on the choice between young and old illustrate his interest in exploring the dynamic between a trio of figures.

[Sotheby’s, London - Oil on canvas, 72.5 x 90.5 cm]

July 24, 2014
Peter Paul Rubens - The Death of Adonis [c.1614] on Flickr.[Israel Museum, Jerusalem - Oil on canvas, 212 x 325 cm]

Peter Paul Rubens - The Death of Adonis [c.1614] on Flickr.

[Israel Museum, Jerusalem - Oil on canvas, 212 x 325 cm]

July 24, 2014
Jules-Adolphe-Aimé-Louis Breton - The Feast of Saint John [c.1875] on Flickr.Since ancient times, peasants have celebrated the longest days of summer with festivities. This dance around a fire marks the feast of Saint John the Baptist on June 24, an important occasion in France.
[Philadelphia Museum of Art - Oil on canvas, 34.3 x 61.3 cm]

Jules-Adolphe-Aimé-Louis Breton - The Feast of Saint John [c.1875] on Flickr.

Since ancient times, peasants have celebrated the longest days of summer with festivities. This dance around a fire marks the feast of Saint John the Baptist on June 24, an important occasion in France.

[Philadelphia Museum of Art - Oil on canvas, 34.3 x 61.3 cm]

July 23, 2014
Adriaen Isenbrant - Christ Crowned with Thorns (Ecce Homo), and the Mourning Virgin [c.1530-40] on Flickr.In this austere and haunting image, Christ is depicted in the form of an Ecce Homo - presented to the people of Jerusalem by Pilate, the Roman prefect of Jerusalem, prior to being led off to be crucified. He wears a crown of thorns and on his exposed torso bears the wounds from his flagellation. The hostile crowd, however, is omitted. Seen up close, in half-length and nearly life-size, Christ and his mother have been isolated for devotional contemplation. They are presented directly to the viewer, who becomes Christ’s judge as well as a participant in the Virgin’s grief.
[Metropolitan Museum of Art, New York - Oil on canvas, transferred from wood, 105.4 x 92.7 cm]

Adriaen Isenbrant - Christ Crowned with Thorns (Ecce Homo), and the Mourning Virgin [c.1530-40] on Flickr.

In this austere and haunting image, Christ is depicted in the form of an Ecce Homo - presented to the people of Jerusalem by Pilate, the Roman prefect of Jerusalem, prior to being led off to be crucified. He wears a crown of thorns and on his exposed torso bears the wounds from his flagellation. The hostile crowd, however, is omitted. Seen up close, in half-length and nearly life-size, Christ and his mother have been isolated for devotional contemplation. They are presented directly to the viewer, who becomes Christ’s judge as well as a participant in the Virgin’s grief.

[Metropolitan Museum of Art, New York - Oil on canvas, transferred from wood, 105.4 x 92.7 cm]

July 23, 2014
Paolo Sala - Oxford Street, London [c.1885] on Flickr.[Sotheby’s, London - Oil on panel, 22 x 27 cm]

Paolo Sala - Oxford Street, London [c.1885] on Flickr.

[Sotheby’s, London - Oil on panel, 22 x 27 cm]

July 23, 2014
Cornelis van Haarlem - The Wedding of Peleus and Thetis [c.1592-93] on Flickr.This painting was commissioned by the Haarlem magistrates for the Prinsenhof, Haarlem (1593) and acquired in exchange with four other paintings for the Haarlem Town Hall and placed in the Nationale Konst-Gallery, The Hague (1804). It was on long-term loan to the Frans Hals Museum, Haarlem, since 1913. This loan proceeded via the Netherlands Institute for Cultural Heritage until 2013.
[Mauritshuis, The Hague - Oil on canvas, 246 x 419 cm]

Cornelis van Haarlem - The Wedding of Peleus and Thetis [c.1592-93] on Flickr.

This painting was commissioned by the Haarlem magistrates for the Prinsenhof, Haarlem (1593) and acquired in exchange with four other paintings for the Haarlem Town Hall and placed in the Nationale Konst-Gallery, The Hague (1804). It was on long-term loan to the Frans Hals Museum, Haarlem, since 1913. This loan proceeded via the Netherlands Institute for Cultural Heritage until 2013.

[Mauritshuis, The Hague - Oil on canvas, 246 x 419 cm]

July 22, 2014
Jan Massys - Jovial Company on Flickr.Jan Massys was the son of painter Quentin Metsys. He left Antwerp in 1544 to travel to Italy and France, where he aligned himself with the School of Fontainebleau. When he returned to Antwerp, he popularised a style that emphasised the primacy of the figure set in complex poses, as well as discrepancies in scale between the figures their setting. His style is essentially subjective, based on an ideal of elegant artifice.
[Kunsthistorisches Museum, Vienna - Oil on canvas]

Jan Massys - Jovial Company on Flickr.

Jan Massys was the son of painter Quentin Metsys. He left Antwerp in 1544 to travel to Italy and France, where he aligned himself with the School of Fontainebleau. When he returned to Antwerp, he popularised a style that emphasised the primacy of the figure set in complex poses, as well as discrepancies in scale between the figures their setting. His style is essentially subjective, based on an ideal of elegant artifice.

[Kunsthistorisches Museum, Vienna - Oil on canvas]

July 22, 2014
Giorgio de Chirico - Furniture in the Valley [1928] on Flickr.Painted during de Chirico’s stay in Paris from 1925 until 1932, the present work is part of the artist’s Mobili nella valle (Furniture in the Valley) series. A chance encounter there inspired this series of eight paintings, each of which juxtapose everyday mundane objects within a barren landscape, populated by mysterious allusions to antiquity. Indeed, this concept of presenting everyday objects out of their habitual context would prove to be crucial in the development of Surrealism.
[Sotheby’s, New York - Oil on canvas, 81.6 x 100 cm]

Giorgio de Chirico - Furniture in the Valley [1928] on Flickr.

Painted during de Chirico’s stay in Paris from 1925 until 1932, the present work is part of the artist’s Mobili nella valle (Furniture in the Valley) series. A chance encounter there inspired this series of eight paintings, each of which juxtapose everyday mundane objects within a barren landscape, populated by mysterious allusions to antiquity. Indeed, this concept of presenting everyday objects out of their habitual context would prove to be crucial in the development of Surrealism.

[Sotheby’s, New York - Oil on canvas, 81.6 x 100 cm]

July 22, 2014
Follower of Giovanni Antonio Boltraffio - Narcissus [c.1500] on Flickr.In Greek mythology, Narcissus fell in love with his own reflection in a pool of water. It is unusual for him to be given modern dress and for the pool to be a raised basin. The painting may be a poetic portrait and the pool an afterthought. The type of effeminate male beauty, the loose curls and the distant lake are all derived from the work of Leonardo da Vinci. Giovanni Antonio Boltraffio was Leonardo’s main pupil in Milan.
[National Gallery, London - Oil on walnut, 23.2 x 26.5 cm]

Follower of Giovanni Antonio Boltraffio - Narcissus [c.1500] on Flickr.

In Greek mythology, Narcissus fell in love with his own reflection in a pool of water. It is unusual for him to be given modern dress and for the pool to be a raised basin. The painting may be a poetic portrait and the pool an afterthought. The type of effeminate male beauty, the loose curls and the distant lake are all derived from the work of Leonardo da Vinci. Giovanni Antonio Boltraffio was Leonardo’s main pupil in Milan.

[National Gallery, London - Oil on walnut, 23.2 x 26.5 cm]

July 21, 2014
Emile Vernon - Bass Viol, Score Sheet, and a Sword [1693] on Flickr.Emile Vernon was born in Blois, France in 1872 and studied painting under the French genre artist Auguste Joseph Trupheme (1836-1898). Vernon is listed in French Salon archives as exhibiting one painting at the Paris Salon of 1898. By 1904 Emile Vernon was living at 2 Upstall Street, Camberwell, London and in the same year exhibited a flower painting at the Royal Academy. He is best remembered for his scenes of pretty young girls with flowers.
[Musée du Louvre, Paris - Oil on canvas]

Emile Vernon - Bass Viol, Score Sheet, and a Sword [1693] on Flickr.

Emile Vernon was born in Blois, France in 1872 and studied painting under the French genre artist Auguste Joseph Trupheme (1836-1898). Vernon is listed in French Salon archives as exhibiting one painting at the Paris Salon of 1898. By 1904 Emile Vernon was living at 2 Upstall Street, Camberwell, London and in the same year exhibited a flower painting at the Royal Academy. He is best remembered for his scenes of pretty young girls with flowers.

[Musée du Louvre, Paris - Oil on canvas]

July 21, 2014
Jean Béraud - La Marseillaise [1880] on Flickr.[Sotheby’s, London - Oil on canvas, 37.5 x 55.8 cm]

Jean Béraud - La Marseillaise [1880] on Flickr.

[Sotheby’s, London - Oil on canvas, 37.5 x 55.8 cm]

July 21, 2014
Gonzales Coques - A Family Group [c.16640 on Flickr.The identity of the family has not been established. The youngest child is being pushed along in a loopstoel. The girl on the right plays an instrument which is probably a cittern. The older girl picks roses; because they are the flowers of Venus, the goddess of Love, this action may be a reference to her forthcoming marriage. The landscape and trees in this work are possibly by another artist. 
Gonzales Coques was born in Antwerp where he worked. His patrons included the House of Orange, the rulers of the Northern Netherlands. By 1671 he was in the service of the Count of Monterey and Fuentes, Governor General of the Netherlands. He died in Antwerp. He was a portrait and figure painter.
[National Gallery, London - Oil on canvas, 64.2 x 85.5 cm]

Gonzales Coques - A Family Group [c.16640 on Flickr.

The identity of the family has not been established. The youngest child is being pushed along in a loopstoel. The girl on the right plays an instrument which is probably a cittern. The older girl picks roses; because they are the flowers of Venus, the goddess of Love, this action may be a reference to her forthcoming marriage. The landscape and trees in this work are possibly by another artist.

Gonzales Coques was born in Antwerp where he worked. His patrons included the House of Orange, the rulers of the Northern Netherlands. By 1671 he was in the service of the Count of Monterey and Fuentes, Governor General of the Netherlands. He died in Antwerp. He was a portrait and figure painter.

[National Gallery, London - Oil on canvas, 64.2 x 85.5 cm]

July 20, 2014
David Teniers the Younger - The Alchemist [c.1640-50] on Flickr.[Mauritshuis, The Hague - Oil on panel, 26.6 x 37.5 cm]

David Teniers the Younger - The Alchemist [c.1640-50] on Flickr.

[Mauritshuis, The Hague - Oil on panel, 26.6 x 37.5 cm]

July 20, 2014
Paul Huet - Breakers at Granville Point [1853] on Flickr.Paul Huet (Paris, October 3, 1803 - Paris, January 8, 1869) was a French painter and printmaker. He exhibited in the Salon for the first time in 1827, when one of the eight paintings he submitted was accepted by the jury. Afterwards he showed at the Salon regularly, and won the support of many important critics. He was unusual among French landscape painters in his use of water-colour for sketching as well as for finished works, which were often so richly developed that they resemble oil paintings.
[Musée du Louvre, Paris - Oil on canvas, 68 x 103 cm]

Paul Huet - Breakers at Granville Point [1853] on Flickr.

Paul Huet (Paris, October 3, 1803 - Paris, January 8, 1869) was a French painter and printmaker. He exhibited in the Salon for the first time in 1827, when one of the eight paintings he submitted was accepted by the jury. Afterwards he showed at the Salon regularly, and won the support of many important critics. He was unusual among French landscape painters in his use of water-colour for sketching as well as for finished works, which were often so richly developed that they resemble oil paintings.

[Musée du Louvre, Paris - Oil on canvas, 68 x 103 cm]

July 20, 2014
Mosè Bianchi - A Boy in a Boat on a Canal on Flickr.Mosè Bianchi (1840 - 1904) was an Italian painter. The award of a grant in 1867 enabled him to visit Venice and then Paris in 1869. He took part with some success at the Brera exhibitions and the Vienna Exhibition of 1873. It was in this period that he began to paint genre scenes in 18th-century settings and numerous portraits, soon becoming one of the artists most in demand with the Milanese middle classes. He returned to Venice in 1879 and visited Chioggia for the first time. Both places were to be featured also in later years in a series of intense views exhibited at exhibitions in Milan and Venice alongside genre scenes, views of Milan and landscapes of the countryside around Gignese.
[Private Collection - Oil on panel]

Mosè Bianchi - A Boy in a Boat on a Canal on Flickr.

Mosè Bianchi (1840 - 1904) was an Italian painter. The award of a grant in 1867 enabled him to visit Venice and then Paris in 1869. He took part with some success at the Brera exhibitions and the Vienna Exhibition of 1873. It was in this period that he began to paint genre scenes in 18th-century settings and numerous portraits, soon becoming one of the artists most in demand with the Milanese middle classes. He returned to Venice in 1879 and visited Chioggia for the first time. Both places were to be featured also in later years in a series of intense views exhibited at exhibitions in Milan and Venice alongside genre scenes, views of Milan and landscapes of the countryside around Gignese.

[Private Collection - Oil on panel]

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