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 April, 2012

Canaletto – Dulwich Picture Gallery DPG600. A View of Walton Bridge (1854)

Materials: oil on canvas. Dimensions: 48.8 x 76.7 cm. Acquistion date: 1917 (gift of Miss E. Murray Smith). Nr.: DPG600. Source:…

The bridge over the river Thames at Walton had been constructed four years before this painting, to a daringly high-tech design. A coach crosses it; a boat lowers its mast to pass underneath the span. Thomas Hollis, the Whig MP who ordered the painting, has himself included in the foreground, along with a friend, a servant and a dog. This is a portrait of a specific person and a specific place; Canaletto even inserts himself as the artist on the stool, faithfully recording what is in front of him. But Canaletto finds more in England than an efficient infrastructure. The dark green of the ground, the complex grey cloud-mass with evening light breaking across it; these subtly-observed effects convey exactly the smell of damp grass in the air during a changeable English summer. The atmosphere is heavy, but the touch is light and decorative, the paint forming tiny blobs and trails like Murano glass. The wooden bridge was built in 1750 by Samuel Dicker MP whose house is one of those on the opposite bank; it was replaced with a brick and stone bridge in 1780. According to an inscription on the reverse of the original canvas, DPG600 was painted in London in 1754 for Thomas Hollis, one of Canaletto’s last major English patrons. An early catalogue of the Hollis collection describes the foreground figures as Hollis himself, his friend Thomas Brand, his Italian servant, and his dog ‘Malta’. The subject was repeated in a painting and drawing (both at the Yale Center for British Art, New Haven); these show a long, raised causeway leading to the bridge, which is omitted in DPG600 (

Ivan Shishkin – The Rybinsk State Museum of Architectural History and Art. Сосна на песке/Pine on Sand (1884)

Materials: oil on canvas. Dimensions: 69 x 105 cm. Nr.:? Inscriptions: signed with initials and dated. Source:…

Cornelis Springer, Kasparus Karsen – Rijksmuseum SK-A-4870. Gezicht op Den Haag, vanaf de Delftse vaart in de 17e eeuw (1852)

Materials: oil on canvas. Dimensions: 200 x 340 cm. Inscriptions: signatuur en datum: C. Springer 1852; signatuur: K Karsen. Nr.: SK-A-4870. Source:…

Gezicht op Den Haag, vanaf de Delftse vaart in de zeventiende eeuw. Links loopt een weg langs het water waar een molen staat en enkele wandelaars lopen, op een brug staat een man met een hengel. Rechts op het water een trekschuit. Vervaardigd ter opluistering van de feesten gehouden op 27 mei 1852 bij de gelegenheid van de onthulling van het standbeeld van Rembrandt (

Martín Rico y Ortega – Museo del Prado D07417. Title: A orillas del Guadaíra. Date: 1871.

Materials: watercolors on paper. Dimensions: 30 x 46 cm. Acquisition date: 1904 (Legado Ramón de Errazu). Nr.: D07417. Source: P.S. I have changed the contrast of the original photo.

Gerard van Nijmegen – Rijksmuseum Twenthe 4430. Landschap in de storm (1804)

Materials: oil on panel. Dimensions: 75 x 92 cm. Inscriptions: gemerkt rechts op rotsblok: ‘ G. van Nijmegen ‘. Nr.: inv. 4430. Source:…

Barend Cornelis Koekkoek – private collection? Unloading the barge in an undulating landscape (1831)

Materials: oil on canvas. Dimensions: 57 x 72.5 cm. Inscriptions: signed and dated ‘B.C. Koekkoek.ft.1831.’ (lower centre). Sold by Christie’s, lot 449, sale 2812, Amsterdam 2008. Source:…

Thomas Jones – The Berger Collection, hosted at the Denver Art Museum. A View of Certosa di San Martino with the Castel Sant’ Elmo, Naples (1782-1783)

Materials: oil on canvas. Dimensions: 44.5 x 85.7 cm. Acquistion date: 1997 (U.S.; Sotheby’s, New York, January 30, 1997, lot 167). Source:

Thomas Jones traveled to Italy in 1776, remaining for seven years, mainly dividing his time between Naples and Rome. He loved Naples in particular and painted its distinctive skyline repeatedly. He was especially interested in capturing the effect of sunlight on the lastricia, or flat roofs, of the city’s buildings. Jones sought out lodgings with a good view over the city. In May 1782, he finally found a small room: “in a little convent adjoining, called the Capella Vecchia, situated in the Borgo of the Chaja & very near Sr W’m Hamilton’s palace….The only window it had, looked into a small garden, and over a part of the suburbs, particularly the Capella Nuova, another convent the Porta di Chaja, Palace of villa Franca and part of the Hill of Pusillipo, with the Castle of St. Elmo & convent of St. Martino &c. all of which objects, I did not omit making finished studies of in oil upon primed paper.”

Jones’s description of the view from his room in the convent is close to that seen here. He probably painted this picture from an oil-on-paper sketch he had executed from the Capella Vecchia window (

Jacob van Ruisdael – The Fitzwilliam Museum 84. Landscape with a Blasted Tree near a House (c.1648)

Materials: oil on panel. Dimensions: 52.7 x 67.6 cm. signature (lower right; v Ruisdael (the v and R forming a monogram))date (lower right; 16… (the date has been read both 1647 and 1648, and 1649 has also been suggested as probable, but 1648 seems most likely to be correct, as a companion piece to the present picture is signed and dated in this year)). Acquistion date: 1864. Nr.: 84. Source:

Francesco Guardi – The Art Institute of Chicago 1991.112. The Garden of Palazzo Contarini dal Zaffo (late 1770s)

Materials: oil on canvas. Dimensions: 48 x 78 cm. Nr.: 1991.112. Source: P.S. I have changed the contrast of the original photo.

Meindert Hobbema – National Gallery (London) NG831. The Ruins of Brederode Castle (1671)

Materials: oil on canvas. Dimensions: 82 x 106 cm. Inscriptions: signed, dated. Nr.: NG831. Source:

Brederode Castle in Santpoort is about three miles north of Haarlem. It was built in the 13th century and finally destroyed in 1573. The view is largely unchanged since Hobbema painted it; the ruins and moat still exist in much the same state, though restored. The figures, especially those in the left foreground, and the ducks, are by another artist, possibly Dirck Wijntrack (before 1625 – 1678) (

Jan van der Heyden – Cannon Hall Museum (not on the site of the museum). View in Amsterdam (1665-1675)

Materials: oil on panel. Dimensions: 36.2 x 50.5 cm. Source:

Francesco Guardi – The J. Paul Getty Museum 2005.41. The Grand Canal, Venice, with the Palazzo Bembo (c. 1768)

Materials: oil on canvas. Dimensions: 47 x 76.5 cm. Nr.: 2005.41. Source: P.S. I have changed the contrast of the original photo.

A luminous morning haze bathes Venice’s Grand Canal. Guided by oarsmen, gondolas and cargo boats glide through the placid water; their hulls traverse the gentle reflections cast by the surrounding buildings. Masts and vertical pilings punctuate the pale, overcast sky. Buildings of varying shapes and scale–but all sharing a muted palette–extend from edge to edge and deep into the distance. On the right, a few early-risers mill about on the banks of the canal.

Francesco Guardi often painted vedute, or views, of Venice’s principal waterway. Many of the buildings in this view were palaces of important Venetian families. The most prominent among them is the two-toned Palazzo Bembo on the canal’s left bank. Its owners, and Guardi’s likely patrons, even appear on the palace’s upper balcony.

Guardi appreciated Venice as a city of constant change rather than as a static tourist destination. On the right side, behind the tiny figures on shore, he depicted the Church of San Geremia in the midst of its renovation. The two-toned facade of the Palazzo Bembo draws attention to a recent addition to this Renaissance palace. Amid this urban transformation, Guardi reveals the transitory effects of weather and water on his life-long home of Venice (

Caspar van Wittel – collezione Bufacchi. Veduta di Castel Sant’Angelo dai Prati di Castello (c. 1710)

Materials: oil on canvas. Dimensions: 42.7 x 67 cm. Source: P.S. I have changed the light, contrast and colors of the original photo.

Meindert Hobbema, Abraham Storck – The J. Paul Getty Museum 2002.17. A Wooded Landscape with Travelers on a Path through a Hamlet (ca. 1665).

Materials: oil on canvas. Dimensions: 97.5 x 130.8 cm. Inscriptions: m hobbema (lower left). Nr.: 2002.17. Source: P.S. I have changed the light and contrast of the original photo.

Bernado Bellotto – Kunsthistorisches Museum 1669. Das kaiserliche Lustschloß Schönbrunn, Gartenseite (1758-1761)

Materials: oil on canvas. Dimensions: 134 x 238 cm. Nr.: 1669. Source:

Die verblüffende topographische Exaktheit und kühne perspektivische Konstruktion erzielte Bellotto durch die Verwendung der camera obscura als technisches Hilfsmittel. Die dabei gewonnenen Vorzeichnungen wurden vom Maler in den Gemälden zu einem kunstvoll veränderten und bewußt komponierten Bild gestaltet. Dabei nahm Bellotto zugunsten der bildwirksamen Geschlossenheit und dramatischen Steigerung des Bildaufbaus bewußt Veränderungen der Wirklichkeit vor. Besonderen Reiz erhalten die Bilder durch effektvoll in Szene gesetzten Beleuchtungssituationen mit schräg einfallendem scharfen Licht, das einmal lange Schlagschatten wirft und freie Plätze in farbig wechselnde helle und dunkle Farbzonen gliedert, zum anderen die Plastizität von Hausfassaden hart hervortreten läßt. Dabei erscheinen die Bilder nie leblos, sondern sind geben durch Staffagefiguren und Straßenszenen einen lebendigen Eindruck vom Aussehen Wiens zur Zeit Maria Theresias.

Bellotto hat zwei Ansichten von Schloß Schönbrunn, der bevorzugten Sommerresidenz der Kaiserin , gemalt, einmal von der Ehrenhofseite aus, einmal von der Gartenseite. Die Ansicht auf das Schloß ist hier so gewählt, daß die einfache Silhouette des nördlich von Schönbrunn gelegenen Höhenrückens gerade über den Dächern erscheint, wodurch die klaren Linien der Komposition stärker betont werden. Bellotto konzipierte das Bild vom Hang des Schönbrunner Berges unterhalb der Gloriette aus. Das Bild zeigt das Schloß nach den Umbauten, die Maria Theresia 1744-49 durch Nicolaus Pacassi vornehmen ließ, wobei ein Zwischengeschoß oberhalb des Hauptgeschosses einschoben wurde. Von der ursprünglichen, von Jean Trehet 1699 vollendeten Gartenanlage sind nur mehr die beiden Streifen mit den dekorativ geformten Rasenflächen zu sehen. Jedoch erscheint der Garten noch vor der Neugestaltung durch die Gartenarchitekten Steckhoven und Hohenberg, die seit 1765 durchgeführt wurde und im wesentlichen bis heute seine Form bestimmt. Karl Schütz (

Canaletto – The Royal Collection 400532. Venice: S. Geremia and the Entrance to the Cannaregio (c. 1726-1727)

Materials: oil on canvas. Dimensions: 78.5 x 47.4. Acquired by King George III. Nr. RCIN 400532. Source:

At the centre of the composition is the mouth of the canal of Cannaregio, heading north-west from the Grand Canal towards the lagoon, and at that time the principal route from central Venice to the mainland. The canal is spanned by the sixteenth-century Ponte delle Guglie (‘of the obelisks’), painted excessively large to hold the centre of the composition. To the left is the rear of the church of San Geremia with its thirteenth-century belltower, more slender than in reality. The belltower survives, but the church was rebuilt in 1753-60 by Carlo Corbellini and its clumsy mass now dominates the waterfront. Abutting the belltower is Palazzo Labia, built over several decades from the mid-seventeenth century. The buildings on the right are ‘opened out’, as if from a point on the Riva di Biasio to the left of the principal view.

The composition corresponds in most details with a drawing of the same view, dated 16 July 1734, which is however not a study for this painting but a later derivation. The most significant difference is the building second from the right: here it is a humble two-storey brick building; in the drawing it has been transformed into the modern three-storey, five-bay Palazzo Emo.

The painting was altered in later years by Canaletto, who added the balustrade on the waterfront, with a statue of St John of Nepomuk by Giovanni Marchiori (1696-1778) at the corner. According to an inscription on the base of the extant statue, it was erected in 1742; Visentini’s engraving was similarly reworked for the second edition of the Prospectus, published in the same year, and it is thus likely that Canaletto’s alteration to the painting was carried out almost as soon as the balustrade and statue were erected. Why he or Smith should have been so keen to make this alteration is unknown, as they evidently felt no need to ‘update’ Palazzo Emo. The only comparable instance is the transformation of the façade of Smith’s own palazzo, and perhaps Smith had some involvement in the commissioning of Marchiori’s statue.

Catalogue entry adapted from Canaletto in Venice, London, 2005 (

Julius Sergius von Klever – private collection. Дама, идущая по дороге к усадьбе (1887)

Materials: ? Dimensions:? Source:

Jan van Goyen – Rijksmuseum SK-A-123. Landschap met twee eiken (1641)

Materials: oil on canvas. Dimensions: 86.5 x 108.7 cm. Inscriptions: signatuur en datum: VG 1641. Nr.: SK-A-123. Source:

Jacob van Ruisdael – The J. Paul Getty Museum 82.PA.18. Two Watermills and an Open Sluice (1653)

Materials: oil on canvas. Dimensions: 66 x 84.5 cm. Nr.: 82.PA.18. Source: P.S. I have changed the colors, light and contrast of the original photo.

Bernardo Bellotto – Museum Kunstpalast (not on the site of the museum). Il Tevere con il porto di Ripetta a Roma (1743)

Materials: oil on canvas. Dimensions: 86.5 x 146 cm. Acquisition date: 1963. Source: P.S. I have changed the colors, light and contrast of the original photo.

Materials: oil on canvas. Dimensions: 89.6 x 76.7 cm. Inscriptions: Signature: ‘JVRuisdael’, the ‘JVR’ in monogram. Nr.: P247. Source:… P.S. I have changed the light, contrast and colors of the original photo.

Jean-Baptiste-Camille Corot – Musée du Louvre RF 1352. Le chemin de Sèvres. Vue sur Paris (c. 1855)

Materials: oil on canvas. Dimensions: 34 x 49 cm. Inscriptions: signé. Nr.: RF 1352. Source:…. P.S. The painting was stolen on May 3, 1998.

Michele Marieschi – The Fitzwilliam Museum 190(522). The Grand Canal, Venice, above the Rialto bridge (1740?)

Materials: oil on canvas. Dimensions: 62 x 96.4 cm. Acquisition date: 1878. Nr.: 190(522). Source:

Francesco Guardi – Museo Thyssen-Bornemisza CTB.1995.1. View of the Giudecca Canal and Le Zattere, the Churches of San Biagio and Santa Marta, the Island of San Giorgio in Alga and, in the Distance, the Euganeian Hills (c. 1757-1758)

Materials: oil on canvas. Dimensions: 71.3 x 119 cm. Nr.: CTB.1995.1. Source:

This canvas is a good example of a genre that became very popular in the eighteenth century, particularly among Venetian artists: the veduta, or view. Paintings of this sort were commissioned or purchased by English travellers or art-lovers. Francesco Guardi, who was strongly influenced by Canaletto’s idealised views of the city, generally made preparatory drawings for his paintings; the Museo Correr in Venice holds a large collection of his sketches and notes. Here, Guardi provides a view of the Giudecca Canal, the waterfront promenade of Zattere, the churches of San Biagio and Santa Marta, and the Euganean Hills rising up in the distant background, behind the island of San Giorgio in Alga. The use of light and colour are characteristic of eighteenth-century Venetian painting. EA (