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 December, 2011

Jan Beerstraten – Rijksmuseum SK-A-4134. Gezicht op de kerk te Sloten in de winter (1640-1666)

Materials: oil on canvas. Dimensions: 90 x 128 cm. Inscriptions: signatuur: J. Beerstra…. Nr.: SK-A-4134. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-4134&lang=nl

Gezicht op de kerk van Sloten in de winter, met op het ijs schaatsers en kolfspelers. Rechts gaat langs enige woningen en over twee bruggen de Osdorperweg, die bij de kerk uitkomt op de Sloterweg (http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-4134&lang=nl).

Advertisements

Bernardo Bellotto – Hermitage Museum. View of Pirna from the Sonnenstein Castle (1750s)

Materials: oil on canvas. Dimensions: 136 x 237 cm. Nr.:? Source: http://commons.wikimedia.org/wiki/File:Bernardo_Bellotto,_il_Canaletto_-_View_of_Pirna_from_the_Sonnenstein_Castle_-_WGA01837.jpg. P.S. I have changed the light of the original photo.


Canaletto – Galleria degli Uffizi. View of the Grand Canal (1726-1728)

Materials: oil on canvas. Dimensions: 45 x 73 cm. Present in the gallery since 1798. Nr.:? Source: http://commons.wikimedia.org/wiki/File:Canaletto_-_Veduta_del_Canal_Grande_-_Google_Art_Project.jpg


Canaletto – Goodwood Art Collection (not on their site). The Thames and the City of London from Richmond House (1747)

Materials: oil on canvas. Dimensions: 105 x 117.5 cm. Nr.:? Source: http://en.wikipedia.org/wiki/File:Canaletto_london.jpg

The majestic sweep of the river, leading to a skyline dominated by St Paul’s Cathedral, forms the focus of this canvas, which was made as a companion picture for The Whitehall and the Privy Garden from Richmond House. Canaletto has succeeded in creating an extraordinary sense of spaciousness: with the combination of calm water, bright clear morning light and an untroubled sky, he has brought to the London scene some of that clarity of vision, and pleasure in celebrating the attractions of a great city that he had earlier applied to Venice.

The terraces in the foreground belong to Richmond House and, at the left, Montagu House. The figures on them parade, converse, and in a leisurely manner watch the spectacle of the river in the sunshine. While a number of smaller boats skull about on it, two larger decorated barges belonging to the City of London, make their way upstream. A related drawing of the scene shows a broader view, with far more traffic on the Thames.

The vertical emphases of the church spires, chimneys at the left, and mooring posts in the foreground, all carefully anchor and balance the composition, which is principally ordered by the horizon and gentle diagonals of the river bank (http://www.wga.hu/index1.html).


Canaletto – Goodwood Art Collection. London: Whitehall and the Privy Garden from Richmond House (1747)

Materials: oil on canvas. Dimensions: 106.7 x 116.8 cm. Nr.:? Source: http://upload.wikimedia.org/wikipedia/commons/8/89/Giovanni_Antonio_Canal%2C_il_Canaletto_-_London_-_Whitehall_and_the_Privy_Garden_from_Richmond_House_-_WGA03943.jpg

This work and its companion picture (The Thames and the City of London from Richmond House), have become the most widely admired paintings executed by Canaletto during his stay in England. They were painted for the Duke of Richmond, and probably based upon sketches made from views from the upper windows of his London home, Richmond House. The Duke himself is depicted with a servant in the courtyard at the lower right.

Whitehall is shown as an open space surrounded by small buildings, unfamiliar to modern Londoners accustomed to vast government offices covering the area. The Tudor Treasury Gate at the left was demolished in 1759 to ease the flow of traffic, but the Banqueting House, left of centre in the middle-distance, and church of St Martin-in-the-Fields beyond and to the right of it, remain.

A sense of order has been imposed on the urban sprall; the main buildings lie parallel to the picture plane, and the perspective is conveniently established by the walls and pathways which run towards the centre of the composition. Everything – from the chickens in the foreground to the houses half a mile away – is observed with a crispness of equal insistence, so creating a vivid record of this unexpected view of the capital during the reign of George II.

Canaletto later reinterpreted the scene from a lower viewpoint, and produced an even wider panorama (one of his most spectacular), which includes a view of the Thames at the left (http://www.wga.hu/html_m/c/canalett/7/canal704.html).


Christen Købke – Statens Museum for Kunst KMS844. Parti af Østerbro i morgenbelysning (1836)

Materials: oil on canvas. Dimensions: 106.5 x 161.5 cm. Acquisition date: 1866. Nr.: KMS844. Source: http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=8243


Bernardo Bellotto – Staatliche Kunstsammlungen Dresden (?, not on the site of the museum). Pirna Seen from the Harbour Town (1753-1755)

Materials: oil on canvas. Dimensions: 136 x 237. Source: http://www.wikipaintings.org/en/bernardo-bellotto/pirna-seen-from-the-harbour-town#close

After the large vedute of Dresden, the royal capital, Bellotto turned his attention to the smaller town of Pirna, further up the Elbe, with the royal castle of Sonnenstein rising magnificently above it. The artist’s eleven views of Pirna, taken from greatly differing angles (but always showing Sonnenstein Castle), number among his most beautiful works.

The foreground of this veduta shows the small harbour at Pirna, which opens onto the Elbe. The pool was only used to store river-barges in winter; ships loaded with goods would moor downriver, beyond the customs house, on the corner to the far right, which stands to this day. The veduta shows few of the town’s better-known buildings: the castle rises sublimely above it, and the small guardhouses can clearly be seen on the tips of the bastions.

The main fascination of this view, however, lies in the row of small, simple buildings set parallel to the picture plane, some half-timbered, some in plain masonry, but all shown fairly close up with their sheds and outhouses, washing and stacked wood. Bellotto performs a daring artistic feat by casting these shabby buildings, so central to the composition, totally in shadow. Dutch painting of the seventeenth century frequently used such effects.

Indeed, Bellotto underlines here the ‘Dutch’ character of his Pirna vedute by adding elements typical of genre painting: laundry is being hung out to dry in the foreground, using a gnarled willow behind a hut as a clothes-pole. Further to the right, a boat is landing, and the boatman is in the process of casting a rope to some men ashore. To the far left, however, where the veduta brings the castle, church and wooden shacks tightly together, a herdsman has driven his cattle to drink in the shallow waters (http://www.wga.hu/html_m/b/bellotto/2/bello210.html).


Ivan Shishkin – Museum of the Academy of Fine Arts (Sankt Petersburg). Oaks in Old Peterhof/ Дубы в Старом Петергофе (1891)

Materials: oil on canvas. Dimensions: ? Nr.:? Source: http://www.wikipaintings.org/en/ivan-shishkin/oaks-in-old-peterhof-1891#close


Christen Købke – Staatens Museum for Kunst KMS3148. Frederiksborg Slot. Parti ved Møntbroen (1836)

Materials: oil on canvas. Dimensions: 58 x 64 cm. Inscriptions: C. Købke 2/1836 (verso). Aquisition date: 1912. Nr.: KMS3148. Source: http://soeg.smk.dk/Vark.asp?Type=Udvidet&ObjectId=8256


Jacob van Ruisdael – Metropolitan Museum of Art 32.100.14. Grainfields (mid- or late 1660s)

Materials: oil on canvas. Dimensions: 47 x 57.2 cm. Inscriptions: Signed (lower right): JvRuisdael [initials in monogram]. Acquisition: The Friedsam Collection, Bequest of Michael Friedsam, 1931. Nr.: 32.100.14. Source: http://www.metmuseum.org/Collections/search-the-collections/110002000?rpp=20&pg=1&ft=ruisdael%2c+jacob+van&pos=5#fullscreen

This canvas of the mid- to late 1660s depicts a road through grainfields and, in the distance, a village church. Contemporary viewers would have understood immediately the relationships between the rainclouds, the fields, and the mill. The finely detailed painting was owned by the English painter Sir Joshua Reynolds between 1756 and his death in 1792 (http://www.metmuseum.org/Collections/search-the-collections/110002000?rpp=20&pg=1&ft=ruisdael%2c+jacob+van&pos=5).