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 (