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 November, 2011

Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS1310.Parti i Villa Borgheses have (1814)

Title: Parti i Villa Borgheses have. Date: 1814. Materials: oil on canvas. Dimensions: 28 x 32.5 cm. Acquisition date: 1888. Nr.: KMS1310. Source: http://soeg.smk.dk/Vark.asp?Objectid=4905


Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS3123. Udsigt gennem tre buer i Colosseums tredje stokværk (1815)

KMS3123

Materials: oil on canvas. Dimensions: 32 x 49.5 cm. Acquisition date: 1911. Nr.: KMS3123. Source: http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=4938. P.S. I have changed the light, contrast and colors of the original photo.

Eckersberg udførte ifølge notitser i sine breve og sin dagbog en række malerier i Colosseum i 1815-16. Maleriet er formodentlig udført i 1815 i umiddelbar forlængelse af kompositionstegningen (KKS2001-1), der efter al sandsynlighed er udført dette år.

Relaterede værker: Udsigt gennem tre af de nordvestlige buer i Colosseums tredje stokværk
Note til motiv og relaterede værker: Eckersberg har givet en indgående beskrivelse af motivet og omtalt de enkelte bygninger i kataloget til Kunstforeningens udstilling i 1828 (kat.nr. 157; citeret i ‘Dansk Guldalder’ 1994). Maleren har stykket baggrundens udsigt sammen af tre udsigter: Når han stod foran den midterste bue, kunne han kun se bagrundsmotivet i den midterste bue. For at se de andre udsigter, måtte han gå henholdsvis to skridt til venstre og fem til højre (jf. Kasper Monrad, “Udsigt gennem tre buer” i udstillingskataloget ‘Under samme himmel’, Thorvaldsens Museum, København 2000, s. 13).
Andre relaterede værker: Kompositionstegning, 32 x 49 cm, Bruun Rasmussens auktion nr. 688, 4. dec. 2000, kat.nr. 1438 (afb. i farver); efter auktionen erhvervet af KKS (KKS2001-1)
Topografisk motiv: Italien Roma

Erhvervelse
Proveniens: Solgt 1854 på Eckersbergs auktion til Professor Bagge (kat.nr.17). Hr. Etatsraad Bagges dødsbo (1895). Solgt 1911 af O. Bagge til Statens Museum for Kunst(http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=4938).


Jan Ekels (I) – Rijksmuseum SK-A-689. Gezicht op de Dam te Amsterdam (1750-1781)

Materials: oil on panel. Dimensions: 48 x 62.5 cm. Inscriptions: signatuur: I. Ekels. Nr.: SK-A-689. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-689&lang=nl. P.S. I have changed the light and contrast of the original photo.

Links het Stadhuis, daarachter de Nieuwe Kerk, rechts de Waag (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-689&lang=nl).


Jacob van Ruisdael – National Gallery (London) NG2567. Vessels in a Fresh Breeze (probably c. 1660-1665)

Materials: oil on canvas. Dimensions: 44.5 x 54.6 cm. Inscriptions: signed. Acquisition: Salting bequest, 1910. Nr.: NG2567. Source: http://www.bbc.co.uk/arts/yourpaintings/paintings/vessels-in-a-fresh-breeze-116161.

Jacob van Ruisdael was primarily a landscape painter but he did paint a handful of seascapes. In this painting he has chosen a high viewpoint, with more than half the canvas being devoted to a dramatic cloudscape.

None of Ruisdael’s seascapes are dated and they are, therefore, difficult to place in his career. There is a group of seascapes influenced by Jan Porcellis (about 1584 – 632), which are presumably early works. This belongs to the group of more mature seascapes and probably dates from the early 1660s (http://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-vessels-in-a-fresh-breeze).


Ivan Shishkin – Russian Museum. View near Dusseldorf/Вид в окрестностях Дюссельдорфа (1865)

Materials: oil on canvas. Dimensions:? Nr.:? Not on the site of the Russian Museum. Source: http://www.wikipaintings.org/en/ivan-shishkin/view-near-dusseldorf-1865


Ivan Shishkin – Russian Museum. The Teutoburg Forest/Тевтобургский лес (1865)

Materials: oil on canvas. Dimensions: ? No information on the site of the Russian Museum. Source: http://uploads0.wikipaintings.org/images/ivan-shishkin/the-teutoburg-forest-1865.jpg.


Canaletto – Birmingham Museums and Art Gallery 1978p173. Warwick Castle, East Front from the Outer Court (1752)

Materials: oil on canvas. Dimensions: 73 x 120 cm. Acquisition date: 1978. Nr.: accession number: 1978p173. Source: http://www.cab.u-szeged.hu/cgfa/canaletto/canaletto14.jpg

Canaletto arrived in England at the end of May 1746 and soon afterwards must have been introduced to the young Francis Greville, Lord Brooke (later Earl of Warwick). A series of four payments in Lord Brooke’s account from 1748-52 indicates that Canaletto made at least two visits to Warwick. The view is over the lawn within the court of Warwick Castle and encompasses left to right, Guy’s Tower, the Clock Tower and an entrance gate, Caesar’s Tower. Through the gate, the spire of the church of St Nicholas can be seen. In this, Canaletto has made some pictorial adjustments in that the spire cannot actually be seen from this point. The two newly planted fir trees to the right of the gate are probably early evidence of ‘Capability’ Brown’s landscaping for the courtyard (http://vads.ahds.ac.uk/large.php?uid=91613).


Ivan Shishkin – National Gallery of Armenia. Herd in the forest/Стадо в лесу (1864)

Materials: oil on canvas. Dimensions: 140 x 105 cm. Nr.:? Source: http://www.wikipaintings.org/en/ivan-shishkin/herd-in-the-forest-1864


Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS2093. View of the Tiber near Ponte Rotto. In the background Aventin with the Churches S. Sabina and S. Maria del Priorato (1813-1816)

Materials: oil on canvas. Dimensions: 44 x 28 cm. Aquisition date: 1909. Nr.: KMS2093. Source: http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=4936


Ivan Shishkin – Russian Museum. Beech Forest in Switzerland/Буковый лес в Швейцарии (1863)

Materials:? Dimensions:? Nr:? Museum site infested. Source: http://www.wikipaintings.org/en/ivan-shishkin/beech-forest-in-switzerland-1863-1


Jacob van Ruisdael – National Gallery (London) NG1390. The Shore at Egmond-aan-Zee (c. 1675)

Egmond-aan-Zee, on the north sea coast to the west of Alkmaar, can be identified by its church (on the right of the picture), which survived until 1743, when it was engulfed by the sea. The painting is primarily a study of the natural forces of sea and sky, water and waves contrasted with the grey and white cloud formations. The figures, which are more prominent than is usual in van Ruisdael’s work, may be by the Amsterdam painter, Gerard van Battem (1636 – 1684).

Though mainly a specialist in landscapes, van Ruisdael also painted a number of seascapes and beach scenes. This painting is a late example, probably of the mid-1670s (http://www.nationalgallery.org.uk/paintings/jacob-van-ruisdael-the-shore-at-egmond-aan-zee).


Salomon van Ruysdael – Mauritshuis 738. Riviergezicht met kerk en veerpont (1649)

Materials: oil on panel. Dimensions: 75 x 106.5 cm. Nr. 738. Source: http://www.geheugenvannederland.nl/?/en/items/MAU01:0738/

Alsof we als kijker zelf in een bootje zitten – vanuit dat gezichtspunt heeft Ruysdael de rivier weergegeven. Het water neemt de hele voorgrond in beslag. Ruysdael heeft maar één oever geschilderd en de horizon heel laag gehouden.
Met een eenvoudige, diagonale opbouw suggereert Ruysdael een wieds vergezicht. De oever gaat in drie ‘stappen’ de diepte in: van de boerderij en de grote boom linksvoor, via de kerk op het middenplan naar het kasteel in de verte. Met de figuurtjes heeft Ruysdael iets vergelijkbaars gedaan. Op de voorgrond vaart een pontje, vol met vee en mensen. Via de koeien aan de waterkant wordt het oog naar de grote zeilboot geleid en vandaar verder naar de einder.

Het water weerspiegelt alles. Niet alleen de bootjes en de bomen, maar ook de typisch Hollandse lucht met verwaaide wolken, die zo bepalend zijn voor de helder frisse sfeer die het schilderij uitstraalt (http://www.mauritshuis.nl/index.aspx?FilterId=974&ChapterId=1163&ContentId=15548).


Jacob van Ruisdael – private collection. Winter landscape (c. 1675)

Materials: oil on canvas. Dimensions: 39 x 42 cm. Source: http://www.artrenewal.org/pages/artwork.php?artworkid=16266


Meindert Hobbema – National Gallery (London) NG685. A Woody Landscape (1665)

Materials: oil on oak. Dimensions: 60.4 x 84.3 cm. Inscriptions: signed. Acquisition: bought 1862. Nr.: NG685. Source: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-woody-landscape-114227


Christoffer Wilhelm Eckersberg – Statens Museum for Kunst KMS1621. Marmortrappen, som fører op til kirken Santa Maria in Aracoeli i Rom (Date: 1814/1816)

Materials: oil on canvas. Dimensions: 32.5 x 36.5 cm. Nr.: KMS1621. Aquisition date: 1898. Source: http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=4912

Maleriet er udført efter, at Eckersberg i 1814 begyndte at male ude i det frie (se Hornung & Monrad, C. W. Eckersberg. Kbh 2005).

Proveniens: Til salg 1854 på Eckersbergs auktion (kat.nr.11), men ikke solgt. Senere erhveret af Kunstforeningen. Bortloddet 4 februar 1858 til maleren C.F. Aagaard i Kunstforeningen. Købt af denne af Eckersbergs arvinger. Købt 1898 til Statens Museum af Kunsthandler Foltmar (http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=4912).


Bernardo Bellotto – National Gallery of Art 1993.8.1. The Fortress of Königstein (1756-1758)

Materials: oil on canvas. Dimensions: 133 x 235.7 cm. Nr.: 1993.8.1. Source: http://en.wikipedia.org/wiki/File:Festung_K%C3%B6nigstein_1756-1758_Canaletto.jpg

The painting is one of five large views of an ancient fortress near Dresden commissioned from Bellotto by Augustus III, King of Poland and Elector of Saxony. The panorama encompasses a broad expanse of the picturesque, craggy landscape known as “Saxonian Switzerland,” which Bellotto invested with a monumental quality rarely seen in eighteenth-century Italian painting. The great castle sits atop a mountain that rises precipitously from the Elbe River Valley, hundreds of feet below. In the distance on the left is the Lilienstein, one of the prominent sandstone formations scattered across the countryside.

Bellotto began working at Königstein in the spring of 1756. He was commissioned to paint five views of the interior and exterior of the fortress that were intended to complete the twenty-five views of Dresden and Pirna he previously painted for the royal collection. His work was interrupted when Frederick II of Prussia opened hostilities in the Seven Years War by invading Saxony in August 1756. It is thought that Bellotto completed the canvases by 1758, but none were delivered to the court and all five paintings were recorded later in the century in England where two remain in a private collection and two in the City Art Gallery, Manchester (http://www.nga.gov/fcgi-bin/tinfo_f?object=80924).


Pieter Rudoph Kleijn – Rijksmuseum SK-A-646. De ingang van het park van St Cloud te Parijs (1809)

Materials: oil on canvas. Dimensions: 100 x 130 cm. Inscriptions: signatuur en datum: PRKleyn 1809;
inscriptie: Tableau de Mr P.R.Kleyn representant l’entrée du Parc de St. Cloud. Faict pour le Roi d’Hollande selon le règlement des pensionnaires le 2 Octobre 1809. Nr.: SK-A-646. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-646&lang=en


Aert van der Neer – National Gallery NG2283. A Landscape with a River at Evening (c. 1650)

Materials: oil on canvas. Dimensions: 79 x 65.1 cm. Inscriptions: signed. Acquisition: Bequeathed by Martin H. Colnaghi, 1908. Source: http://allart.biz/up/photos/album/collection/lng/aertvanderneer-alandscapewithariveratevening.jpg

The sun appears to be setting beyond a river and its last rays are reflected on the figures and cattle in the foreground. The painting was probably executed in the late 1640s or early 1650s (http://www.nationalgallery.org.uk/paintings/aert-van-der-neer-a-landscape-with-a-river-at-evening).


Nicolaes Berchem – Rijksmuseum SK-A-2317. Italiaans landschap (1650-1683)

Materials: oil on canvas. Dimensions: 65 x 81 cm. Inscriptions: Berchem. Nr.: SK-A-2317. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-2317&lang=en


Meindert Hobbema – National Gallery (London) NG833. A Stream by a Wood (c. 1663)

Materials: oil on oak. Dimensions: 31.4 x 40.1 cm. Acquisition date: 1871. Nr. NG833. Source: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-stream-by-a-wood-114164

This is a study for a composition elaborated in a larger picture by Hobbema (Rotterdam, Museum Boijmans Van Beuningen), which follows this design fairly closely but also includes a road with figures and a horizon on the left. The landscape is similar in technique and composition to paintings by the artist dated 1663 (Russborough, Beit Collection; Washington, National Gallery of Art). Both this picture and the Rotterdam version can probably be dated to about the same time: about 1663 (http://www.nationalgallery.org.uk/paintings/meindert-hobbema-a-stream-by-a-wood).


Jacob van Ruisdael – Rijksmuseum SK-A-350. Bosgezicht (1653)

Materials: oil on panel. Dimensions: 42 x 49 cm. Inscriptions: signatuur en datum: JVRuisdael 1653. Nr.: SK-A-350. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-350&lang=en


Allaert van Everdingen – Rijksmuseum SK-A-691. Zweeds landschap met een watermolen (1655)

Materials: oil on canvas. Dimensions: 66 x 60 cm. Inscriptions: signatuur en datum: AV. Everdingen 1655. Acquisition date: 1880. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-691&lang=en. P.S. I have changed the light and contrast of the original foto.


Canaletto – Museum of Fine Arts (Boston) 39.290. Bacino di San Marco, Venice (c. 1738)

Materials: oil on canvas. Dimensions: 124.5 x 204.5 cm. Acquisition date: 1939. Nr.: accession number: 39.290. Source: http://www.mfa.org/collections/object/bacino-di-san-marco-venice-32679

Affluent eighteenth-century visitors to the enchanting city of Venice delighted in taking home painted topographical views known as vedute. Canaletto, one of the foremost vedute painters, here animates the entrance to Venice with cargo boats and gondolas that lead the eye back to precisely rendered buildings along the shore. Clearly identifiable are the gothic intricacies of the Doge’s palace at left and the church of San Giorgio Maggiore at right. Light from the cloudy sky, dappling the water with shadow, gives the view grandeur and unity.

PROVENANCE
Please note: The history of ownership is not definitive or comprehensive, as it is under constant review and revision by MFA curators and researchers.

About 1738/1739, possibly Henry Howard (b. 1694 – d. 1758), 4th Earl of Carlisle, Castle Howard, North Yorkshire, England (original commission), or in 1768, acquired in Italy by Frederick Howard (b. 1748 – d. 1825), 5th Earl of Carlisle [see note 1]; by descent within the family to the Hon. Geoffrey William Algernon Howard (b. 1877 – d. 1935), Castle Howard [see note 2]; 1939, sold by the Trustees of the late Hon. Geoffrey Howard through Spink and Son, Ltd., London, to the MFA for $11,731.25. (Accession Date: September 8, 1939) (http://www.mfa.org/collections/object/bacino-di-san-marco-venice-32679)


Jacob van Ruisdael – Rijksmuseum SK-C-212. Rotsachtig landschap/Rocky landscape (1650-1682)

Materials: oil on canvas. Dimensions: 108.5 x 135 cm. Inscriptions: signatuur rechtsonder: JVR
Aquisition date: 1885. Nr.: SK-C-212. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-C-212&lang=en