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 March, 2012

Canaletto – The J. Paul Getty Museum 70.PA.52. View of the Arch of Constantine with the Colosseum (1742-1745)

Materials: oil on canvas. Dimensions: 101.9 x 141.8 cm. Nr.: 70.PA.52. Inscriptions: at left on stone, “Ant° Canaleto fe[t]”. Source: P.S. I have changed the light, colors and contrast of the original photo.

Bernardo Bellotto – Petworth House. The Capitol with Santa Maria d’Aracoeli (c. 1742)

Materials: oil on canvas. Dimensions: 126 x 187.5 cm. Acquired in 1957 by H.M. Treasury and then transfered to the National Trust. Source:

Jacob van Ruisdael – Kimbell Art Museum AP 1989.01. Rough Sea at a Jetty (1650s)

Materials: oil on canvas. Dimensions: 98.5 x 131.4 cm. Nr.: AP 1989.01. Source:

Among his most highly valued works, Ruisdael’s rare marine paintings reveal the scope of his genius, as they convey the transitory and changeable face of nature. Rough Sea at a Jetty represents the approach of a violent storm. The scene is taken from a jetty that extends a considerable distance into the sea. At the end is a rustic beacon to guide distressed ships into harbor. Two men with long poles stand, ready to come to the aid of a vessel striving to make port through the tempestuous winds and waves that threaten its approach. The beacon appears in Dutch emblem books as a symbol of salvation in time of peril (

Bernardo Bellotto – Pinacoteca di Brera. Gazzada – Il Villaggio a sud (1744)

Materials: oil on canvas. Dimensions: 65 x 100 cm. Nr.:? Source: P.S. I have changed the light of the original photo.

Canaletto – Museo Thyssen-Bornemisza 78 (1978.13). The South Façade of Warwick Castle (1748)

Materials: oil on canvas. Dimensions: 75 x 120.5 cm. Nr.: Nr. 78 (1978.13). Source: P.S. I have changed the light and the contrast of the original photo.

The present canvas was commissioned by Greville together with four more canvases, while also related to this commission are three drawings of Warwick Castle and two of the city of that name. The group, which is one of the most extensive by the artist devoted to a building in England , depicts the castle from different angles with the intention of reproducing the interior courtyard and the exterior façade. The present canvas may have been painted in Canaletto’s studio in London in Silver Street. From there it entered the collection of Francis Greville, who subsequently became the 1st Earl of Warwick. The canvas passed down by inheritance through the family until it was acquired for the Thyssen-Bornemisza collection in 1978. The South Façade of Warwick Castle belonged to the descendents of Francis Greville, including George and Henry Greville, and was displayed in various rooms in the castle, including the billiard room in 1853 and the breakfast room in 1893.
The principal element in the composition is the great mound of the castle depicted from the south side with its façade arranged on a slight diagonal that crosses the picture surface and is emphasized by the line of the river Avon and its bank that run parallel to the building. Seen from a hill, the far left of the painting features a garden while on the far right is the city of Warwick with its bridge. Canaletto used the foreground to locate figures engaged in leisure activities whose size provides a sense of scale for the monumental building behind them. Within this pleasant foreground scene is a gondola on the river, recalling the artist’s Venetian works. This detail, which might seem rather incongruous, can be related to an annotation in Francis Greville’s inventories that records the presence of a pleasure boat. The date of the painting has been established in relation to the date of Canaletto’s arrival in Britain as well as various alterations made to the castle in order to modernize it following Greville’s marriage to Elizabeth Hamilton in 1742. Mar Borobia (

Alexej Savrasov – The Tretyakov Gallery. Rooks have Returned/Грачи прилетели (1871)

Materials: oil on canvas. Dimensions: 62 x 48.5 cm. Source:

The painting was done on the basis of etudes made in the settlement of Molvitino (now Susanino) in Kostroma Province. The work, which was presented at the first Itinerant (Peredvizhniki) art fair in 1871, marked the beginning of the development of the Russian landscape school and birth of the lyrical landscape. Savrasov used this work to affirm the idea that the simplest and most modest manifestation in nature, when inspired by the personal attention of the artist, can carry a full aesthetic content. The landscape appears as an open, unrestricted space, a small part of the universe where ordinary, clear and simple life goes on. The world of the painting is harmonious in its commonplace way, warmed by the heat of humanity – smoke from the chimney creates a touching atmosphere of comfort. N.N. Kramskoi described his impressions of the exhibition, saying that all the landscapes there consisted of “water, trees, even air, whereas a soul could be found only in Rooks”(

Canaletto – Rijksmuseum SK-A-3385. Het Canal Grande met de Ponte Rialto en de Fondaco dei Tedeschi (1707-1750)

Materials: oil on canvas. Dimensions: 62 x 83 cm. Acquisition date: 1941. Nr.: SK-A-3385. Source:…

Francesco Guardi – The Fitzwilliam Museum 185. Forte S. Andrea Del Lido, Venice (c. 1760-1770)

Materials: oil on canvas. Dimensions: 31.7 x 52.7 cm. Acquisition date: 1878. Source:

Meindert Hobbema – National Gallery (London) NG2570. Cottages in a Wood (c. 1660)

Materials: oil on wood. Dimensions: 52.1 x 68 cm. Inscriptions: signed. Nr.: NG2570. Acquistion date: 1910. Source: P.S.: I have changed the colors and light of the original photo.

Willem Koekkoek – National Gallery NG6472. View of Oudewater (c 1867)

Materials: oil on canvas. Dimensions: 64.8 x 84.4 cm. Inscriptions: signed. Acquisition date: 1982. Source: P.S.: I have changed the colors and the light of the original photo.

The small town of Oudewater is on the River Ijssel between Gouda and Utrecht. The clock tower to the left of centre in the distance is that of the Grote Kerk (church of St Michael). Much of the rest of the scene is probably intended to be picturesque rather than topographically accurate. This picture has been dated by comparison with other works by the artist (

Bernardo Bellotto – The J. Paul Getty Museum 91.PA.73. View of the Grand Canal and the Dogana (c. 1740)

Materials: oil on canvas. Dimensions: 135.3 x 231 cm. Source: P.S. I have changed the colors and the light of the original photo.

In this architectural record of Venice and the Grand Canal, Bellotto presented a cross-section of Venetian society going about business on a sunny morning. Light from the east falls upon the Palazzo Pisani-Gritti with its arched windows and painted façade. A Venetian devotional box housing various types of religious icons hangs below the arched windows of the building at the left. Such boxes were usually placed on a building right next to the canal so that passers-by could pause for a moment of prayer upon leaving or arriving.

Its image reflected in the canal, the Baroque church of Santa Maria della Salute dominates the right bank. Next to it, behind a shadowy row of houses, stands the Gothic façade of the Abbey of San Gregorio. On the far right is the Dogana or customs building. Gondolas and ferries, modes of transportation still in use today, traverse the water between the two banks. The mouth of the canal, where seafaring vessels leave or enter the city, is visible in the distance (

Caspar van Wittel – Robilant+Voena. La vecchia cascata dell’Aniene, Tivoli (c. 1700-1710)

Materials: oil on canvas. DImensions: 50 x 100 cm. Source:

Questo dipinto è il pendant di una veduta di Porta Galliera a Bologna. Fra le migliori della serie e di bellissima qualità, è databile nel primo decennio del Settecento.
L’incantevole sito naturale e gli antichi monumenti di Tivoli avevano offerto ampia materia d’ispirazione a paesaggisti, disegnatori e incisori per tutto il corso del Seicento. Anche van Wittel non si sottrasse al fascino che esercitavano la città e le sue pittoresche rovine e ne ritrasse alcuni aspetti affidandosi al consueto istinto realistico e con l’attenta precisione descrittiva che caratterizza tutta la sua opera di vedutista.
Sussistono otto diverse vedute di Tivoli, alcune delle quali note in più redazioni, che egli dipinse a
partire dall’ultimo decennio del Seicento. Tra le vedute di Gaspar van Wittel di soggetto non romano, quella raffigurante la cascata dell’Aniene fu senza dubbio tra le più richieste dai collezionisti e dai viaggiatori del primo Settecento: catalogata in dodici esemplari – solo due dei quali datati, rispettivamente del 1691 e del 1723 – che probabilmente non ne esauriscono la produzione, è seconda infatti solo a quella che raffigura la Darsena di Napoli. Ne possedeva una versione anche il duca di Medinaceli, apparentemente poco interessato alle vedute dei dintorni di Roma; due sono ricordate nell’inventario del cardinale Girolamo Colonna e una, tuttora a Palazzo Colonna, in quello di Filippo II. Un’altra probabilmente eseguita per il cardinale Albani, si conserva ancor oggi nella collezione Torlonia; oltre al dipinto passato nel 1895 nelle raccolte della Galleria Nazionale d’Arte Antica, l’inventario di Livio Odescalchi ne ricordava altre due, descritte però come copie da van Wittel. Due tempere circolari raffiguranti due vedute diverse della cascata erano infine ricordate nel testamento e nell’inventario (1722 e 1724) di Michel-Ange de la Chausse, console della nazione francese a Roma nel primo quarto del Settecento.
La veduta è presa dalla riva sinistra dell’Aniene e ne raffigura la cascata così come si presentava
prima che, a seguito di un’inondazione del 1826, il corso del fiume venisse deviato nel 1834. Protagonista ne è la cascata; alla sinistra della composizione si intravede il vecchio ponte di San Martino che conduceva all’omonima chiesetta e il campanile di Santa Maria del Ponte. Sempre sulla riva destra del fiume, poco prima della cascata, i resti della prima arcata di un ponte più antico, definitivamente travolti dalla piena del fiume nel 1725. Sulla sponda sinistra dell’Aniene, a destra del dipinto, si nota il canale del lavatoio che finiva sotto il Tempio di Vesta, con figurine di donne intente al bucato e sullo sfondo si scorge il paese di Tivoli (

Jacob van Ruisdael – Museum of Fine Arts (Boston) 57.4. Rough Sea (c. 1670)

Materials: oil on canvas. Dimensions: 107 x 125.8 cm. Inscriptions: Ruisdael (lower left). Acquisition date: 1957. Nr.: 57.4. Source:

The exhilarating expanse of space in Ruisdael’s view of the estuary of the river Ij, near Amsterdam, is dominated by a towering sky. Clouds, white-capped waves, and the almost palpable presence of the wind are captured with compelling realism and an eloquent appreciation of the grandeur of nature (

Bernardo Bellotto – Galleria dell’Accademia (Venezia). Rio dei Mendicanti and the Scuola di San Marco (1738)

Materials: oil on canvas. Dimensions: 41 x 59. Nr.:? Source: P.S. I have changed the light and the colors of the original photo.

Canaletto – Toledo Museum of Art 1951.404. View of the Riva degli Schiavoni, Venice (late 1730s)

Materials: oil on canvas. Dimensions: 47.1 x 63.3 cm. Nr.1951.404.Source:

Rafail Levitsky – Stavropol Museum of Fine Arts. Bridge in the Woods (1885-1886)

Materials:? Dimensions:? Nr.:? Source:

Jan van Goyen – Rijksmuseum SK-A-122. Het Valkhof in Nijmegen (1641)

Materials: oil on cavnas. Dimensions: 91.5 x 130 cm. Inscriptions: signatuur en datum: V Goyen 1641. Nr.: SK-A-122. Source:…

Meindert Hobbema – Dulwich Picture Gallery. Wooded Landscape with Water Mill (c. 1660)

Materials: oil on panel. Dimensions: 86 x 62 cm. Source:

Domenichino (Domenico Zampieri) – Fitzwilliam Museum 2774. Landscape with St John baptising (Date: c. 1610-1620)

Materials: oil on canvas. Dimensions: 112.3 x 156.2 cm. Acquisition date: 1946 (from the trustees of the Cook family collection. Nr.: 2774 (Paintings, Drawings and Prints). Source: P.S. I have changed the colors of the original photo.

Jacob van Ruisdael – The J. Paul Getty Museum 83.PA.278. Landscape with a Wheatfield (late 1650s – early 1660s)

Materials: oil on canvas. Dimensions: 40 x 45.7 cm. Inscriptions: Signed lower right, “JVRuisdael” (JVR in monogram). Nr.: 83.PA.278. Source:

Caspar van Wittel – Accademia nazionale di San Luca 312. Porto di Ripa Grande (c. 1711)

Materials: oil on canvas. Dimensions: 48 x 98 cm. Nr. 312. Source:

Bernardo Bellotto – private collection. The Campo Santa Maria Formosa (c. 1742)

Materials: oil on canvas. Dimensions: 92 x 150.5 cm. Source: P.S. I have changed the colors and contrast of the original photo.

Jacob van Ruisdael – Philadelphia Museum of Art Cat. 563. Dunes (early 1650s)

Materials: oil on panel. Dimensions: 33.5 x 49.2 cm. Nr.: Cat. 563. John G. Johnson Collection, 1917. Source:

This small panel painting is a rare pure dune landscape. These tall dunes around Haarlem were a sandy and rolling terrain that was unusually varied for Holland. A traveler in a red jacket appears in many of the artist’s paintings but forms an unusually central accent here, caught in dramatic light and emphasizing the difficulty of the terrain. As in the drawings in his 1646 sketchbook, Ruisdael here explores the Haarlem-area topography in the same way locals were encouraged to do by publications and prints (

Alexej Savrasov – private collection. Sea of Mud/Распутица (1894)

Materials: oil on canvas. Dimensions: 69 x 80 cm. Source: