August 29, 2014
Gallery News on Flickr.

Gallery News on Flickr.

August 29, 2014
Gerard van Honthorst - Allegory of Painting [1648] on Flickr.In this painting, Van Honthorst conflates allegory and portraiture. The female sitter uses the tools of the trade, brushes, palette, and mahlstick, to finish the fictive canvas bearing a portrait. Though she is represented as Pictura, the personification of painting, she is at the same time a specific woman, perhaps a studio model. Cupid likewise balances allegory and the human realm. The painting he holds is thought to be Honthorst’s self-portrait.
[Crocker Art Museum, Sacramento - Oil on canvas, 138 x 113 cm]

Gerard van Honthorst - Allegory of Painting [1648] on Flickr.

In this painting, Van Honthorst conflates allegory and portraiture. The female sitter uses the tools of the trade, brushes, palette, and mahlstick, to finish the fictive canvas bearing a portrait. Though she is represented as Pictura, the personification of painting, she is at the same time a specific woman, perhaps a studio model. Cupid likewise balances allegory and the human realm. The painting he holds is thought to be Honthorst’s self-portrait.

[Crocker Art Museum, Sacramento - Oil on canvas, 138 x 113 cm]

August 29, 2014
Pieter Codde - Merry Company with Masked Dancers [1636] on Flickr.Pieter Codde was known for his skill at rendering interior subjects such as soldiers in guardrooms, merry companies, tavern scenes, and other subjects, Codde was a leading practitioner of such scenes in Amsterdam. He was also a fine portrait painter, but his genre subjects have brought him his greater fame. A lifelong resident of Amsterdam, Codde was chiefly influenced by Frans Hals, who was active in nearby Haarlem.
[Mauritshuis, The Hague - Oil on panel, 50 x 76.5 cm]

Pieter Codde - Merry Company with Masked Dancers [1636] on Flickr.

Pieter Codde was known for his skill at rendering interior subjects such as soldiers in guardrooms, merry companies, tavern scenes, and other subjects, Codde was a leading practitioner of such scenes in Amsterdam. He was also a fine portrait painter, but his genre subjects have brought him his greater fame. A lifelong resident of Amsterdam, Codde was chiefly influenced by Frans Hals, who was active in nearby Haarlem.

[Mauritshuis, The Hague - Oil on panel, 50 x 76.5 cm]

August 29, 2014
Pieter de Hooch - A Man Smoking and a Woman Drinking in a Courtyard [c.1658-60] on Flickr.[Mauritshuis, The Hague - Oil on canvas, 78 x 65 cm]

Pieter de Hooch - A Man Smoking and a Woman Drinking in a Courtyard [c.1658-60] on Flickr.

[Mauritshuis, The Hague - Oil on canvas, 78 x 65 cm]

August 28, 2014
Jan Lievens - The Young Draftsman [c.1630] on Flickr.The Young Draftsman is an early work by Jan Lievens. Until 1631, while they were both still living in Leiden, Lievens was the colleague and great rival of Rembrandt. The two served apprenticeships together under Pieter Lastman and then shared a studio. Lievens subsequently went his own artistic way before moving to Amsterdam in 1655, shortly before Rembrandt’s bankruptcy, where he eventually died like the latter in great poverty. This depiction of a young draftsman is simultaneously a genre painting and the description of a profession. As such, it shows Lievens at the peak of his early mastery. 
The intimate studio scene captivates with the warm tones of its brown, yellow, and beige palette and seems imbued with an inner golden light. The young artist sits in the foreground engrossed in his reading, while open in front of him is a large sketchbook revealing a study of the head of the statue standing before him. This figure is a plaster cast of the Infant Jesus from Michelangelo’s famous Madonna and Child that had stood in the Church of Our Lady in Bruges since 1506. Jesus looks down benevolently on the young draftsman and his work. On the right, another famous sculpture can be seen in the shadows: the bust of Emperor Vitellius.
[Musée du Louvre, Paris - Oil on wood, 124 x 100 cm]

Jan Lievens - The Young Draftsman [c.1630] on Flickr.

The Young Draftsman is an early work by Jan Lievens. Until 1631, while they were both still living in Leiden, Lievens was the colleague and great rival of Rembrandt. The two served apprenticeships together under Pieter Lastman and then shared a studio. Lievens subsequently went his own artistic way before moving to Amsterdam in 1655, shortly before Rembrandt’s bankruptcy, where he eventually died like the latter in great poverty. This depiction of a young draftsman is simultaneously a genre painting and the description of a profession. As such, it shows Lievens at the peak of his early mastery.

The intimate studio scene captivates with the warm tones of its brown, yellow, and beige palette and seems imbued with an inner golden light. The young artist sits in the foreground engrossed in his reading, while open in front of him is a large sketchbook revealing a study of the head of the statue standing before him. This figure is a plaster cast of the Infant Jesus from Michelangelo’s famous Madonna and Child that had stood in the Church of Our Lady in Bruges since 1506. Jesus looks down benevolently on the young draftsman and his work. On the right, another famous sculpture can be seen in the shadows: the bust of Emperor Vitellius.

[Musée du Louvre, Paris - Oil on wood, 124 x 100 cm]

August 28, 2014
Herbert James Draper - By Summer Seas [1912] on Flickr.Summer Seas is a typical and dramatic example of the artists work, which combined Draper’s technical skill as a draughtsman and colourist, with a sensual notion of mythology. Although the two female nudes appear to be generic bathers rather than his usual nymphs and sirens or the classical Andromeda or Aphrodite, the figures echo ancient precedents from the classicism of the Greeks and Romans. They resemble the type of elegant nudes painted by Sir Edward Poynter in the early Twentieth Century, such as the famous Cave of the Storm Nymphs (collection of Sir Andrew Lloyd Webber) of 1905 which Draper had greatly admired. 
[Bonhams, London - Oil on canvas, 127 x 76 cm]

Herbert James Draper - By Summer Seas [1912] on Flickr.

Summer Seas is a typical and dramatic example of the artists work, which combined Draper’s technical skill as a draughtsman and colourist, with a sensual notion of mythology. Although the two female nudes appear to be generic bathers rather than his usual nymphs and sirens or the classical Andromeda or Aphrodite, the figures echo ancient precedents from the classicism of the Greeks and Romans. They resemble the type of elegant nudes painted by Sir Edward Poynter in the early Twentieth Century, such as the famous Cave of the Storm Nymphs (collection of Sir Andrew Lloyd Webber) of 1905 which Draper had greatly admired.

[Bonhams, London - Oil on canvas, 127 x 76 cm]

August 28, 2014
Armand Schönberger - Self Portrait, with His Daughter Vera [1928] on Flickr.Armand Schönberger (Galgóc, 1885 - Budapest, 1974) was a Hungarian painter. The highlight of Schönberger artistry came in the late 1920s and early 1930s. This period was characterised not only by the creation of several masterpieces with an individual character, but also by many public appearances - Schönberger exhibited his work in several galleries in Hungary and abroad. In 1929, his work was exhibited in Nuremberg at an exhibition where contemporary Hungarian art was all the rage.
[Bukowski’s Modern Sale, Stockholm - Oil on canvas, 77.5 x 58 cm]

Armand Schönberger - Self Portrait, with His Daughter Vera [1928] on Flickr.

Armand Schönberger (Galgóc, 1885 - Budapest, 1974) was a Hungarian painter. The highlight of Schönberger artistry came in the late 1920s and early 1930s. This period was characterised not only by the creation of several masterpieces with an individual character, but also by many public appearances - Schönberger exhibited his work in several galleries in Hungary and abroad. In 1929, his work was exhibited in Nuremberg at an exhibition where contemporary Hungarian art was all the rage.

[Bukowski’s Modern Sale, Stockholm - Oil on canvas, 77.5 x 58 cm]

August 28, 2014
Arthur von Ferraris - Captive Audience, Cairo [1891] on Flickr.[Sold for £469,250 at Sotheby’s, London - Oil on canvas, 50.5 x 61 cm]

Arthur von Ferraris - Captive Audience, Cairo [1891] on Flickr.

[Sold for £469,250 at Sotheby’s, London - Oil on canvas, 50.5 x 61 cm]

August 27, 2014
Joke Frima - Simulacrum on Flickr.Joke Frima was born in The Hague in 1952 and currently lives and works in France. Although she attended two art schools in The Netherlands, Frima had to go to Florence to find the kind of training she was looking for. There she was under the tutelage of the elderly signora Simi, who taught drawing and painting just as her own father had taught her: by studying plaster feet, terracotta jugs, and living models. Frima trained six hours a day, six days a week. The result of this training is a keen eye for detail and a steady hand for form. Yet her paintings and drawings are not simply reflections of her retinal images. Although nature and vegetation play a strong role in her work, she chooses her subjects carefully and meticulously sets them in sometimes almost surreal compositions. The intense light and powerful concentration lends an other-worldly quality to her work.
See:  www.jokefrima.com/english/index.htm [Art Renewal Centre Salon - Oil on linen, 74.8 x 35.34 inches]

Joke Frima - Simulacrum on Flickr.

Joke Frima was born in The Hague in 1952 and currently lives and works in France. Although she attended two art schools in The Netherlands, Frima had to go to Florence to find the kind of training she was looking for. There she was under the tutelage of the elderly signora Simi, who taught drawing and painting just as her own father had taught her: by studying plaster feet, terracotta jugs, and living models. Frima trained six hours a day, six days a week. The result of this training is a keen eye for detail and a steady hand for form. Yet her paintings and drawings are not simply reflections of her retinal images. Although nature and vegetation play a strong role in her work, she chooses her subjects carefully and meticulously sets them in sometimes almost surreal compositions. The intense light and powerful concentration lends an other-worldly quality to her work.

See: www.jokefrima.com/english/index.htm [Art Renewal Centre Salon - Oil on linen, 74.8 x 35.34 inches]

August 27, 2014
Jean-Charles Tardieu - Scene du Marche des Innocents [1814] on Flickr.Jean-Charles Tardieu (Paris, September 3, 1765 - Paris, April 3, 1830) was a successful French painter. His work was primarily historical, but also included landscapes, portraits and religious subjects. A passionate artist with great skill in composition, Tardieu exhibited in various salons, and achieved considerable success. He took part in a number of exhibitions in the Louvre between 1806 and 1823. In 1808 he was granted a housing allowance. The great majority of his works were bought by the government or commissioned by the government.
[Musée du Louvre, Paris - Oil on canvas]

Jean-Charles Tardieu - Scene du Marche des Innocents [1814] on Flickr.

Jean-Charles Tardieu (Paris, September 3, 1765 - Paris, April 3, 1830) was a successful French painter. His work was primarily historical, but also included landscapes, portraits and religious subjects. A passionate artist with great skill in composition, Tardieu exhibited in various salons, and achieved considerable success. He took part in a number of exhibitions in the Louvre between 1806 and 1823. In 1808 he was granted a housing allowance. The great majority of his works were bought by the government or commissioned by the government.

[Musée du Louvre, Paris - Oil on canvas]

August 27, 2014
Pieter Claesz - Still Life with a Salt Shaker [1640] on Flickr.[Rijksmuseum, Amsterdam - Oil on panel, 52.8 x 44 cm]

Pieter Claesz - Still Life with a Salt Shaker [1640] on Flickr.

[Rijksmuseum, Amsterdam - Oil on panel, 52.8 x 44 cm]

August 26, 2014
Matthias Stom - Pilate Washing His Hands on Flickr.[Musée du Louvre, Paris - Oil on canvas]

Matthias Stom - Pilate Washing His Hands on Flickr.

[Musée du Louvre, Paris - Oil on canvas]

August 26, 2014
Édouard Leon Cortès - Place de la Madeleine on Flickr.Édouard Leon Cortès (Lagny-sur-Marne, April 26, 1882 - Lagny-sur-Marne, November 26, 1969) was a French post-impressionist painter,  He is known as”;Le Poete Parisien de la Peinture” or “the Parisian Poet of Painting” because of his diverse Paris cityscapes in a variety of weather and night settings.
[Sold for £11,250 at Sotheby’s, London - 24 x 33 cm]

Édouard Leon Cortès - Place de la Madeleine on Flickr.

Édouard Leon Cortès (Lagny-sur-Marne, April 26, 1882 - Lagny-sur-Marne, November 26, 1969) was a French post-impressionist painter, He is known as”;Le Poete Parisien de la Peinture” or “the Parisian Poet of Painting” because of his diverse Paris cityscapes in a variety of weather and night settings.

[Sold for £11,250 at Sotheby’s, London - 24 x 33 cm]

August 26, 2014
Joseph Wright of Derby - Penelope Unraveling Her Web [1783-1784] on Flickr.The potter Josiah Wedgwood commissioned this painting from Joseph Wright of Derby as a tribute to female loyalty and industry. In Homer’s Odyssey, Penelope, awaiting the return of her husband Odysseus from the Trojan War, was beset by suitors who claimed that Odysseus had been shipwrecked. She promised to marry one of them after she completed a shroud for her father-in-law. Steadfastly loyal to her absent husband, Penelope unraveled her weaving at the end of each day to avoid remarrying. 
Wright presented Penelope late at night, rewinding her thread into a ball. In the foreground, the backlit statue of Odysseus invokes his presence. Moonlight bathes the sleeping figure of their son Telemachus while Penelope looks on. The strong effect of light and dark contributes to the hushed atmosphere and increases the drama of Penelope’s plight. 
[Getty Centre, Los Angeles - Oil on canvas, 41.625 x 51.75 inches]

Joseph Wright of Derby - Penelope Unraveling Her Web [1783-1784] on Flickr.

The potter Josiah Wedgwood commissioned this painting from Joseph Wright of Derby as a tribute to female loyalty and industry. In Homer’s Odyssey, Penelope, awaiting the return of her husband Odysseus from the Trojan War, was beset by suitors who claimed that Odysseus had been shipwrecked. She promised to marry one of them after she completed a shroud for her father-in-law. Steadfastly loyal to her absent husband, Penelope unraveled her weaving at the end of each day to avoid remarrying.

Wright presented Penelope late at night, rewinding her thread into a ball. In the foreground, the backlit statue of Odysseus invokes his presence. Moonlight bathes the sleeping figure of their son Telemachus while Penelope looks on. The strong effect of light and dark contributes to the hushed atmosphere and increases the drama of Penelope’s plight.

[Getty Centre, Los Angeles - Oil on canvas, 41.625 x 51.75 inches]

August 25, 2014
Johannes Vermeer - A Lady Writing [c.1665-66] on Flickr.Above all, Johannes Vermeer was a painter of light. In this exquisite painting, diffused light softly illuminates the tabletop, the woman’s face, and her rich lemon-yellow morning jacket. Accents on the pearls decorating her jewellery box, her earrings, and her satin hair ribbons further enliven the image. The woman’s open gaze engages the viewer, which suggests that the painting may be a portrait instead of a generalised portrayal of a young woman at her writing table.
Johannes Vermeer became a master in the Saint Luke’s Guild of Delft on December 29, 1653. At that time he specialised in history painting, and his first works were large-scale mythological and religious paintings. Shortly thereafter he began to paint the genre scenes, landscapes, and allegories for which he has become so renowned. Even though Vermeer’s subject matter changed in the mid-1650s, he continued to imbue his later works with the quiet, intimate moods he had preferred in his early history paintings. His oeuvre is small: only thirty-five paintings are currently attributed to the master.
[National Gallery of Art, Washington - Oil on canvas, 45 x 40 cm]

Johannes Vermeer - A Lady Writing [c.1665-66] on Flickr.

Above all, Johannes Vermeer was a painter of light. In this exquisite painting, diffused light softly illuminates the tabletop, the woman’s face, and her rich lemon-yellow morning jacket. Accents on the pearls decorating her jewellery box, her earrings, and her satin hair ribbons further enliven the image. The woman’s open gaze engages the viewer, which suggests that the painting may be a portrait instead of a generalised portrayal of a young woman at her writing table.

Johannes Vermeer became a master in the Saint Luke’s Guild of Delft on December 29, 1653. At that time he specialised in history painting, and his first works were large-scale mythological and religious paintings. Shortly thereafter he began to paint the genre scenes, landscapes, and allegories for which he has become so renowned. Even though Vermeer’s subject matter changed in the mid-1650s, he continued to imbue his later works with the quiet, intimate moods he had preferred in his early history paintings. His oeuvre is small: only thirty-five paintings are currently attributed to the master.

[National Gallery of Art, Washington - Oil on canvas, 45 x 40 cm]

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