Mostly landscape and cityscape paintings. For a tag cloud of the painters see bottom of the page. Because the tag cloud allows only 45 names, all the painters are are included in the category list at bottom of the page.

Archive for September, 2011

Abraham Teerlink – Rijksmuseum SK-A-1145. De waterval van Tivoli (1824)

Materials: oil on canvas. Dimensions: 101 x 141 cm. Inscriptions: signatuur en datum: Teerlink F. Romae 1824. Nr.: SK-A-1145. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-1145&lang=en.

Italiaans landschap met een gezicht op de watervallen van Tivoli. Het dorp en de tempel van Vesta zijn zichtbaar bovenop de heuvel, links op de voorgrond is een groep boeren bezig met het plukken van druiven. Pendant van SK-A-1144 (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-1145&lang=en).

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Thomas Jones – National Gallery (London) NG6544. A Wall in Naples (c. 1782)

Materials: Oil on paper laid on canvas. Dimensions: 11.4 x 16 cm. Acquisition date: 1993. Nr: NG6544. Source: http://www.spamula.net/blog/i07/jones4.jpg

The subject is a wall, pitted with scaffolding holes and apparently stained with the passage of water to the left of the balcony.

It is one of a series of remarkable and original plein-air oil sketches on paper, produced by Jones while living in Naples. Like his other views, it has the appearance of an image observed and recorded from the window or roof of his lodgings. Although the French artist Claude-Joseph Vernet advocated making direct compositional sketches in the open air, for an 18th-century artist to entirely dispense with the usual compositional props of the conventional classical landscape was highly unusual. In doing so, Jones introduced new possibilities for landscape depiction, which would be thoroughly explored and developed in the following century (http://www.nationalgallery.org.uk/paintings/thomas-jones-a-wall-in-naples).


Meindert Hobbema – Musée du Louvre 1342. La Forêt de chênes/Oak Forest (c. 1660)

Materials: ? Dimensions: 60 x 80 cm. Nr.: Inv. 1342. Acquis sur le marché de l’art anglais (Nieuwenhuis), Londres, 1850. Source: http://www.flickr.com/photos/havala/4080171097/


Jan van Goyen – Mauritshuis 838. Gezicht over de Rijn naar de Eltense berg (1653)

Materials: oil on canvas. Dimensions: 81 x 152 cm. Nr.: 838. Source: http://www.geheugenvannederland.nl/?/en/items/MAU01:0838


Josephus Augustus Knip – Rijksmuseum SK-A-1058. De golf van Napels met op de achtergrond het eiland Ischia (1818)

Materials: oil on canvas. Dimensions: 90 x 109 cm. Inscriptions: signatuur en datum: J.A. Knip 1818. Nr.: SK-A-1058. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-1058&lang=en

Italiaans landschap bij Napels, op de achtergrond de Golf van Napels en het eiland Ischia met de vulkaan Epomeo. Op de voorgrond de ruïnes van een Romeins aquaduct. Rechts een weg geplaveid met grote stenen, op de achtergrond een klooster op een heuveltop. Op de weg staat een priester bij een man met twee honden (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-1058&lang=en).


Meindert Hobbema – National Gallery (London) NG2571. A Road winding past Cottages (c. 1667-1668)

Materials: oil on oak. Dimensions: 61.3 x 84.5 cm. Acquisition: Salting Bequest, 1910. Nr.: NG2751. Source: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-road-winding-past-cottages-114125

The composition of this picture is characteristic of Hobbema’s landscapes: a forest scene with a view towards a clearing in the middle distance illuminated by strong sunlight, a picturesque farm building and prominent figures. It was probably painted at about the same time as Hobbema’s ‘Woody Landscape with a Lady and a Gentleman on Horseback’ of 1667 (Cambridge, Fitzwilliam Museum) and ‘Woody Landscape with Travellers and Beggars’ of 1668 (London, Royal Collection) (http://www.nationalgallery.org.uk/paintings/meindert-hobbema-a-road-winding-past-cottages).


Christoffer Wilhelm Eckersberg – Thorvaldsens Museum B405. Det indre af Colosseum i Rom (1813-1816)

Materials: oil on canvas. Dimensions: 32 x 25.5 cm. Source: http://www.koldinghus.dk/Files/Billeder/Udstillinger/2008/Ruiner/EckersbergColosseum1813-17.jpg

Som mange europæiske kunstnere igennem tiderne rejste den danske maler C. W. Eckersberg i 1813 til Rom for at studere byens berømte kunstværker og bygninger. Ligesom mange i dag valfarter til Rom for at opleve bygningsværker som Colosseum, var det antikke amfiteater også et populært motiv på Eckersbergs tid. I romertiden blev her opført gladiatorkampe og kampe med vilde dyr.

Flere kristne elementer i maleriet, såsom et kristent kors, to altre samt en knælende, bedende person, viser Colosseums senere funktion. Den katolsk-kristne pave havde i 1744 fredet Colosseum og indviet det til minde om de tidlige kristne, der havde lidt døden under kampene i amfiteateret.

Eckersbergs maleri viser Colosseum på en utraditionel måde. Frem for at skildre Colosseums ydre i sin storhed og helhed, som kunstnere i tidligere tider ville have gjort det, har han kun malet et udsnit af bygningens indre. Den danske maler skildrede flere af Roms bygninger fra utraditionelle vinkler. Det er med til at give hans malerier et mere virkelighedsnært udtryk.

Det virkelighedsnære udtryk skyldes også, at Eckersberg i Rom fulgte en international trend. Som så mange andre kunstnere begyndte han her at male sine billeder i det fri og direkte foran motivet. Han både påbegyndte og afsluttede sine malerier på stedet frem for at male dem færdige hjemme i atelieret, som han havde lært på kunstakademiet.

Maleriet bærer netop præg af, at Eckersberg har malet det direkte foran motivet og har iagttaget stedet meget nøjagtigt. Alt er malet med stor præcision i farver, former og linjer. Han har særligt gjort noget ud af at fange det karakteristiske sydlandske lys og skyggeeffekterne på den støvede jord.

Metoden med at male i det fri og i en virkelighedstro stil med klare farver og naturligt lys introducerede Eckersberg senere i det danske guldaldermaleri . Han blev professor og underviser på Det Kgl. Danske Kunstakademi i København og fik derfor en stor indflydelse på en yngre generation af danske malere (http://tilbygningen.dk/arkivet/artikel/238).


Allaert van Everdingen – Mauritshuis 953. Gezicht op kasteel Montjardin (c. 1660-1670)

Materials: oil on canvas. Dimensions: 73 x 95.5 cm. Nr.: 953. Source: http://www.geheugenvannederland.nl/?/en/items/MAU01:0953


Claude-Joseph Vernet – National Gallery (London). A Landscape at Sunset (1773)

Materials: oil on canvas. Dimensions: 114.5 x 163.5 cm. Inscriptions: signed, dated. Acquisition: Acquired with a donation from the American Friends of the National Gallery, London, made possible by a gift from David H. Koch, 2004. Nr.: NG6600. Source: https://picasaweb.google.com/108283180998527459555/120NationalGalleryOfLondonSet2#553565189388217

‘A Landscape at Sunset’ shows a port bathed in glowing evening sunshine. The mood is one of serenity, yet the painting is full of details of activities and the effects of light are rendered with breathtaking delicacy.

Vernet was renowned for pairs of paintings showing contrasting states of nature and his works were especially sought-after by British collectors in the 18th-century. This painting and its pendant, ‘A Shipwreck in Stormy Seas’ are now the only such pair to be found in a British public collection. The pair originally belonged to the celebrated Englishman Clive of India, who bought them from Vernet in 1773. They are acknowledged as being two of Vernet’s greatest marine pictures (http://www.nationalgallery.org.uk/paintings/claude-joseph-vernet-a-landscape-at-sunset).


Andreas Schelfhout – Rademakers collection RC01:RC038 (paneel). Duits landschap met ruïne/German landscape with ruin (1844)

Materials: oil on panel. Dimensions: 50 x 40 cm. Nr.: RC01:RC038 (paneel). Source: http://www.geheugenvannederland.nl/?/en/items/RC01:RC038