Materials: 88 x 105 cm. Inscriptions: signatuur en datum: JBosboom 39. Nr.: SK-A-4934. Source: www.rijksmuseum.nl/collectie/SK-A-4934/de-parijse-kade-in…
Gezicht op een waterpartij waarin een grote houten vlonder drijft. Erachter een kade met schepen. Op de achtergrond de gotische kathedraal van Rouen (http://www.rijksmuseum.nl/collectie/SK-A-4934/de-parijse-kade-in-rouen).
Materials: oil on canvas. Dimensions: 52 x 39.3 cm. Inscriptions: signatuur en datum: A.S. Pitloo Depinto dal vero 1826. Nr.: SK-A-4705. Source: http://www.rijksmuseum.nl/collectie/zoeken/asset.jsp?id=SK-A-4705&lang=nl
Materials: oil on canvas. Dimensions: 52.7 x 73.7 cm. Nr.:78.PB.198. Source: www.getty.edu/art/collections/images/enlarge/00075501.JPG
In Jan van Goyen’s world, the sky goes on forever, the land is broad and flat, and the air is almost palpable. The water, nearly glass-smooth, reflects clouds, castle and boats gliding across it. A coach-and-four with red-coated coachman and passengers skates across on a ferry, lobster fishermen draw up their net, and cows complacently drink in the tranquility. A restrained palette of blue, silvery gray, and pale green envelops the castle of Wijk, making it seem more a fairy-tale place than an actual building near Duurstede, a town southeast of Utrecht where the Rhine forks.
Van Goyen consistently showed skill in rendering nearly monochrome landscapes and recording the subtly shifting tonal effects of the moist Dutch air. This painting exemplifies a new phase of Dutch landscape painting established about 1630, which was distinguished by modest, domestic subject matter, a low vantage point, and a palette limited in color but richly varied in tone (http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=755).
Materials: oil on canvas. Dimensions: 130 x 102.5 cm. Inscriptions: signed and dated lower right. Put on sale by Koller Auctions in 2011 (Lot 3225). Source: http://image.artfact.com/housePhotos/Koller/65/301165/H0649-L21091531.jpg?h=BA02F1F572F1064E89142B5B40905DA5&cn=AFTOKEN-PROD
Gustave Caillebotte – The Art Institute of Chicago Charles H. and Mary F. S. Worcester Collection, 1964.336. Jour de pluie à Paris/Paris Street; Rainy Day (1877)
Materials: oil on canvas. Dimensions: 212.2 x 276.2 cm. Inscriptions: Inscribed at lower left: G. Caillebotte. 1877. Nr.: Charles H. and Mary F. S. Worcester Collection, 1964.336. Source: en.wikipedia.org/wiki/File:Gustave_Caillebotte_-_Jour_de_…
In his masterpiece, Paris Street; Rainy Day, Gustave Caillebotte brought an unusual monumentality and compositional control to a typical Impressionist subject, the new boulevards that were changing the Paris cityscape. The result is at once real and contrived, casual and choreographed. With its curiously detached figures, the canvas depicts the anonymity that the boulevards seemed to create. By the time it appeared in the third Impressionist exhibition, held in April 1877, the artist was 29 years old, a man of considerable wealth, and not only the youngest but also the most active member of the Impressionist group. He contributed six of his own canvases to the exhibition; played a leading part in its funding, organization, promotion, and installation… (http://www.artic.edu/aic/collections/artwork/20684).
Caspar van Wittel – Compton Verney Collection. Posillipo with the Palazzo Donn’Anna, Naples, Italy (1700)
Materials: oil on canvas. Dimensions: 72.7 x 170.3 cm. Acquisition date: 2001. Source: http://www.bbc.co.uk/arts/yourpaintings/paintings/posillipo-with-the-palazzo-donnanna-naples-italy-54736
Gaspar van Wittel, went to Naples in 1699 at the invitation of the Spanish Viceroy, Don Luis de la Cerda, 9th Duke of Medinaceli. The Duke commissioned over thirty view paintings from the artist, including this one of the Bay of Naples (http://www.bbc.co.uk/arts/yourpaintings/paintings/posillipo-with-the-palazzo-donnanna-naples-italy-54736).
Domenico Gargiulo – Fundación Casa Ducal de Medinaceli. La plaza del mercado de Nápoles/Piazza Mercato, Naples (c. 1654)
Materials: oil on canvas. DImensions: 76 x 141 cm. Source: www.museothyssen.org/microsites/prensa/2011/Arquitecturas…. P.S. I have changed the light, contrast and colors of the original photo.
Esta obra aparece con el número 86 en el inventario de bienes de Francisco de Benavides, IX Conde de Santisteban, en 1716, a la muerte de éste y reza así: “Dos perspectivas una de la plaza del mercado de Napoles de mano de Mico espattaro…”. Gargiulo representa la Piazza del Carmine donde se encuentra el mercado de Nápoles a finales del siglo XVII, centro de la vida popular y escenario de la violenta represión de la sublevación de Masaniello en 1648. La iglesia del Carmine está al fondo y la capilla del Rey Corradino en el ángulo meridional. Hay que destacar la variedad cromática y la intensa actividad y detallismo de la obra. La elección del tema de los bullicios de las plazas y mercados, ponen de relieve el protagonismo barroco de la vida urbana napolitana como un gran salón ciudadano. Teniendo en cuenta que el Conde de Ognate, virrey de Nápoles, hizo construir la fuente que se halla en el centro de la plaza en 1653, podemos aproximarnos a la fecha de realización del cuadro. Atribuido erróneamente en el pasado a Angelo María Costa por un monograma con la rúbrica “COS”, es, sin duda, obra de Domenico Gargiulo como indica su firma en el borde inferior derecho: “DG” (http://www.fundacionmedinaceli.org/coleccion/fichaobra.aspx?id=381).
Materials: oil on canvas. Dimensions: 74 x 171.8 cm. Nr.: CTB.1996.36. Source: www.museothyssen.org/en/thyssen/ficha_obra/1047.
The picture describes the military sector of the port of Naples, with the royal residence (Reggia) on the left (whose final spur corresponds to the so-called “casina spagnuola”), and Castelnuovo on the right, joined by the still existing arches over which the Charterhouse of San Marino looms in the distance
The. present work is one of a considerable number of renditions of this favourite theme of Van Wittel’s, a total of nineteen (of which Briganti, in 1966, listed only eight). The Dutch painter never represented this subject in a perfectly identical manner, nor consequently in an identical format
To. this key fact one must obviously add the (sometimes almost imperceptible) variety of perspectival viewpoints of the single views, quite apart from the lesser aspects such as the position and the number of ships or of figures standing on the quaysides. A number of these views of the harbour at Naples bear a date falling somewhere between that of the picture in the Carlo Genovese Collection in Naples, which has the inscriptions «Gasp. Van Wittel» and «1700» on the fountain and on sacks, respectively, and that 1718 corresponding to the picture that was with Sotheby’s in London on 19 April 1989
The. date of the first view -close to the date of Van Wittel’s first stay in Naples, according to Pascoli’s documents in which he states that the painter arrived in 1699 and stayed for two years and a few months- is, in any case, the year in which his famous architect son Luigi was born on 12 May. Van Wittel was invited to Naples by the Viceroy Don Luis de la Cerda, Duke of Medinaceli, who moved to the city in 1695 after having served as ambassador to the King of Spain in Rome. It is symptomatic that this same illustrious person should have been present at the baptism of the future Luigi Vanvitelli.
The view in the Genovese Collection is undoubtedly very close to the Thyssen one, which is seen from slightly closer in. Each has an identical ship moored on the left, seen from behind, with its lowered sail; each has a boat at a right angle to it, docked slightly further over, with a sail covering most of its deck. The boats on the right, however, are different: where the Thyssen canvas shows a ship moored to the pier, the Genovese picture has two smaller boats moored at a right angle to the pier. A perspective very similar to that painted in the Genovese and Thyssen views occurs again at least in the version of the Banca Popolare di Novara in Naples (1708), and in that in the Galleria Sabauda in Turin (1711), allowing for differences in the sizes and positions of the boats depicted
This. subject is a particularly important one in the career of Van Wittel not only because of the newly revealed frequency with which the artist returned to it, but also, and more importantly, because it was just one such view that the painter entered for his admission to the Roman Accademia di San Luca in October of 1711. This picture could be the view now in the Galleria Sabauda in Turin, which is dated 1711
The. group of views of the docks that conform to the Thyssen model was based on a drawing now in the Museo San Martino which lacks the boats and the figures on the wharf (Roberto Contini at http://www.museothyssen.org/en/thyssen/ficha_obra/1047)
Canaletto (studio of) – National Gallery (London) NG939. Venice: The Piazzetta from the Molo (c. 1740)
Materials: oil on canvas. Dimensions: 100.4 x 107.4 cm. Acquisition date: 1876. Nr.: NG939. Source: www.flickr.com/photos/gandalfsgallery/6122877087/sizes/o/…
The view shows the piazzetta, the area between the Piazza San Marco and the waterfront, known as the Molo. On the right is the Doge’s Palace and beyond it the basilica of San Marco. In the centre is the Torre dell’Orologio, the clock tower, and on the left the campanile of San Marco. The first building on the left is the Library. The column with the lion of St Mark which stands on the Molo has been omitted.
The painting is considered a weak work by a member of Canaletto’s studio, perhaps painted in about 1740. Numerous versions of the composition exist (http://www.nationalgallery.org.uk/paintings/studio-of-canaletto-venice-the-piazzetta-from-the-molo).
Materials: oil on canvas. Dimensions: 102 x 174.5 cm. Sold by Christie’s (New York). Sale 2415/lot 43 (Jan. 26, 2011). Source: http://www.theepochtimes.com/n2/images/stories/large/2011/01/12/lot43.jpg. P.S. I have changed the contrast and the colors of the original photo.