Canaletto – Yale Center for British Art (Paul Mellon Collection) B1976.7.95. St. Paul’s Cathedral (c. 1754)
Materials: oil on canvas. Dimensions: 52.1 x 61.6 cm. No inscription. Nr.: B1976.7.95. Source: collections.britishart.yale.edu/vufind/Record/1666638
Materials: oil on canvas. Dimensions: 209 x 161 cm. Source: http://uploads7.wikipaintings.org/images/ivan-shishkin/backwoods-1872.jpg
Hendrik Keun – Rijksmuseum SK-A-2247. Gezicht op de Herengracht bij de Leidsestraat te Amsterdam (1774)
Materials: oil on panel. Dimensions: 54 x 72.5 cm. Inscriptions: H Keun 1774. Acquisition date: 1904. Nr.: SK-A-2247. Source: http://www.rijksmuseum.nl/assetimage2.jsp?id=SK-A-2247. P.S. I have changed the light, contrast and colors of the original photo.
Christen Købke – Statens Museum for Kunst KMS 359. A View from Dosseringen near the Sortedam Lake Looking towards the Suburb Nørrebro outside Copenhagen (1838)
Materials: oil on canvas. Dimensions: 71 x 53 cm. Nr.: KMS 359. Source: http://www.smk.dk/en/explore-the-art/the-royal-collections/free-download-of-art-works.
On the brink of the Sortedam Lake near his home just outside Copenhagen, which was much smaller then, Købke has depicted a quiet summer’s evening shortly before sunset.
The painting is infused with a highly Romantic atmosphere, but the study for the painting shows that he actually observed the motif in the middle of the day. He has, then, radically changed the light of the scene.
Købke made numerous additions to the motif, such as the woman on the bridge and the boat on the water. He imbued the image with a narrative – a wordless story about departures and separation. In fact the party in the boat could not have travelled far on the tiny lake, but within the painting’s universe this is unimportant. By adding the Danish flag to the scene Købke accentuates the Danish nature of the scene (http://www.smk.dk/en/explore-the-art/the-royal-collections/danish-and-nordic-art-1750-1900/highlights/christen-koebke-a-view-from-dosseringen-near-the-sortedam-lake/).
Materials: oil on canvas. Dimensions: 42 x 72 cm. Acquisition date: 1904. Source: www.museodelprado.es/typo3temp/pics/b7810619ef.jpg
Martín Rico sucumbió ante la belleza de las vistas de Venecia desde su primera visita a la ciudad. Desde entonces, Rico no dejó de pasar en la ciudad lacustre -salvo en contadas ocasiones- los meses hábiles para pintar al aire libre. Sus primeras obras realizadas en Venecia son fechables en el verano de 1873, entre las que se encuentra esta vista de la riva degli Schiavoni. Según Beruete, Rico pintaba en muchas ocasiones desde una góndola anclada en el canal y en efecto, la impresión que produce esta obra es que está tomada desde una posición muy cercana al agua. Esto lo corrobora también el hecho de que, de estar tomada desde San Giorgio Maggiore, el enfoque se alejaría bastante, por lo que tanta proximidad a la Riva sólo es posible desde una embarcación.Con su técnica de pinceladas cortas y toques rápidos consigue una impresión de frescura y vitalidad inigualables, que induce sin embargo a extasiarse ante la precisión de los detalles.Elige el artista como motivo de esta obra una de las zonas más representativas de Venecia, aunque sin caer en el tópico, al eliminar del campo de visión el campanille de San Marcos y la práctica totalidad del Palacio Ducal, que sólo muestra su extremo a la izquierda, truncado en un enfoque de una modernidad fotográfica. Dentro de esa creatividad, sigue el ejemplo de los vedutisti italianos del siglo XVIII, que le lleva a recrearse en ciertos detalles y por el contrario, a modificar o incluso a eliminar algunos elementos arquitectónicos, con plena libertad expresiva.La presente obra fue presentada en la Exposición Universal de París de 1878, junto a otras vistas venecianas, que por su calidad y por la labor organizativa de la sección española en la Exposición sirvieron a Rico para conseguir una tercera medalla y la cruz de la Legión de Honor francesa (http://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/la-riva-degli-schiavoni-en-venecia/).
Andreas Achenbach – Rijksmuseum Twenthe inv. br. 1365 (on loan from Dordrechts Museum). Heuvelachtig landschap (1852)
Materials: oil on canvas. Dimensions: 55 x 66 cm. Inscriptions: A. Achenbach / 1852. Nr.: inv. br. 1365. Source: http://www.rijksmuseumtwenthe.nl/ventura/rijksmuseum_collectie/fotos/BR1365.jpg. P.S. I have changed the light, contrast and colors of the original photo.
Jacob van Ruisdael – National Galleries of Scotland NGL 033.84 (on loan from The University of Edinburgh Fine Art Collection). The Banks of a River (1649)
Materials: oil on canvas. Dimensions: 134 x 193 cm. Nr.: NGL 033.84. Source: www.pubhist.com/works/04/large/4697.jpg
This is an imaginative panoramic river scene based on studies made from nature. The large expanse of sky, and the contrast between the wooded hillside and the open view of the river and its opposite bank contribute to the scene’s spacious grandeur. The distant town, inspired by Ruisdael’s drawings of the town of Rhenen, on the Rhine, includes the distinctive tower of the church of St Cunera and the twin towers of the watergate. The figures were probably painted by his friend Nicolaes Berchem or by Philips Wouwerman. Collaboration between Dutch artists with different specialities was not uncommon (http://www.nationalgalleries.org/collection/artists-a-z/R/4768/artistName/Jacob%20van%20Ruisdael/recordId/8679#.T-Uo3hdo2Bw).
Materials: oil on canvas. Dimensions: 72.4 x 119.1 cm. Inscriptions: signed. Acquisition date: 1846. Nr: NG210. Source: http://www.flickr.com/photos/gandalfsgallery/7031512557/
The painting is one of the earliest of Guardi’s works as a view painter, probably dating from about 1760. It shows the most famous of Venetian squares, the Piazza San Marco, with the medieval cathedral and its bell tower in the background and the 16th-century public offices, the Procuratie Vecchie, left, and the Procuratie Nuove, right, with shops and cafés to each side.
In Guardi’s painting figures and architecture are more freely handled than was customary with Canaletto, and the crowd that idles in the Piazza is given greater prominence (http://www.nationalgallery.org.uk/paintings/francesco-guardi-venice-piazza-san-marco).
Materials: oil on canvas. Dimensions: 113 x 145.7 cm. Inscriptions: Signed and dated ‘J. Vernet / f. 1770’. Nr.: 2002.9.2. Source: www.getty.edu/art/collections/images/enlarge/14472201.JPG. P.S. I have changed the light, contrast and colors of the original photo.
Materials: oil on canvas. DImensions: 96.3 x 122.9 cm. Inscriptions: signature; lower foreground, on the path
date; lower foreground, on the path; 1665. Acquisition date: 1970. Nr.: PD.1-1970. Source: ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ccf/…
Materials: oil on canvas. Dimensions: 71 x 137 cm. Source: www.robilantvoena.com/inventory/view?item=170. P.S. I have changed the light, colors and contrast of the original photo.
Bernardo Bellotto – Niedersächsisches Landesmuseum Hannover L 029. Venezianisches Capriccio mit Ansicht von Santa Maria dei Miracoli (c. 1740)
Materials: oil on canvas. Dimensions: 41 x 66 cm. Nr. : L 029. Source: kulturerbe.niedersachsen.de/viewer/piresolver?id=isil_DE-…. P.S. I have changed the loght of the original photo.
Materials: oil on canvas. Dimensions: 144 x 207 cm. Nr.:? Source: www.flickr.com/photos/28433765@N07/5204808282/sizes/o/in/…. P.S. I have changed the light, contrast and colors of the original photo.
Materials: oil on canvas. Dimensions: 70 x 105.5 cm. Nr.:? Source: Source: ru.wikipedia.org/wiki/Файл:Берёзовый лес.jpg
Materials: oil on canvas. Dimensions: 74 x 85 cm. Inscriptions: C.F.Roos f. 1840. Nr. SK-A-1826. Source: http://www.rijksmuseum.nl/collectie/SK-A-1826/gezicht-in-het-harzgebergte. P.S. I have changed the light, contrast and colors of the original photo.
Christen Købke – The J. Paul Getty Museum 85.PA.43. The Forum, Pompeii, with Vesuvius in the Distance (1841)
Materials: oil on canvas. Dimensions: 70.8 x 87.9 cm. Inscriptions: Signed and dated lower right: .C.Kobke 1841. Nr.: 85.PA.43. Source: www.getty.edu/art/collections/images/enlarge/00087601.JPG. P.S. I have changed the light, contrast and colors of the originial photo.
Barend Cornelis Koekkoek – Rijksmuseum Twenthe br. 356. Landschap met watermolen en veedrijvende boeren (1852)
Materials: oil on panel. Dimensions: 59.9 x 72 cm. Inscriptions: l.o. op het hek: B.C. Koekkoek [ft?] 1852. Source: www.rijksmuseumtwenthe.nl/ventura/rijksmuseum_collectie/f…
Caspar van Wittel – National Maritime Museum BHC1900. The Darsena delle Galere and Castello Nuovo at Naples (1703)
Materials: oil on panel. Dimensions: 75.5 x 141 cm. Nr.: BHC1900. Source: collections.rmg.co.uk/mediaLib/380/media-380929/large.jpg.
This painting depicts a highly detailed panoramic view of the arsenal, or dockyard, at Naples in 1703. An expanse of water in a basin, lies horizontally across the painting, surrounded by quays, jetties and the buildings of the waterfront. On the far left a building with a climbing plant is not a répoussoir but, instead, forms part of the church of San Vincenzo. The arsenal, which was used by the Neopolitans to store their supply of arms, is visible behind this building. Above the roof of the arsenal lies the Palazzo Reale. Whilst the light-coloured building, on the opposite side of the basin, housed the officials and officers of the galleys. The large fortified building, on the right, is the medieval Castello Nuovo, built on the small island of Megaride, and once the royal palace of Charles I of Anjou and Alfonso of Aragon. In the seventeenth century, it was converted into a prison. A salute is being fired from the outer gate to welcome the galley which enters from the bay on the right. The thick plume of smoke, which rises above the towers and the city buildings, draws the attention of the viewer to the fortifications of the arsenal. In the right foreground is the Bocca della Darsena, the mouth of the arsenal, which connects the water in front of the Molo Grande – the great quay – with the Darsena delle Galere. In the hills, in the distance, the San Martino monastery and the Sant’ Elmo castle can be seen above the city. Sant’ Elmo was one of the city’s fortifications from sea-borne invasion. The buildings, also, contained the Church of Sant’ Elmo and the Chapel of Santa Maria del Pilar. Around the arsenal there is much commotion. Two lateen-rigged galleys, covered with striped awnings, are moored at the quay on the left. To the left the prow of a French ship is just visible. The vessel is decorated with an ornately carved figurehead of a man and flies a commander’s pennant from her mast. Lying at an angle, to the right of centre, a Genoese merchantman is being careened for repair and undergoing repair to the stern frame. Careening took place in order to repair leaking seams, replace rotten planking and otherwise treat the underwater hull. It was a process which maritime artists often included in their paintings and, here, the ship is having its bottom cleaned. This usually included a process known as breaming. Breaming involved a controlled use of fire in order to burn off old pitch, weed or shellfish. No trace of careening tackle is visible. On the quay, in the foreground, various merchants, sailors and travellers are standing and a tree in a pot is carefully observed. The artist has combined Dutch genre with an innovative approach to depicting topography. Equipment associated with shipbuilding, coils of rope, piles of wood, tools, barrels, small boats, blocks of wood, piles of gravel and carts line the jetty. The vividness of the blue sky and sea indicates that this is a Mediterranean scene. The painting anticipates the work of Canaletto, the middle of the eighteenth century. According to Lione Pascoli, the eighteenth century Italian biographer, Caspar van Wittel stayed in Naples for two years and a few months from 1699. In 2002, thanks to the discovery of a ‘View of the Darsena delle Galere’, it was confirmed that van Wittel was indeed in Naples in 1699. The painting, which was signed by the artist ‘Gasp. Van Wittel 1699’, had been unknown until 2002. In total, there are eleven known paintings of the ‘Darsena delle galere’ (the arsenal of the galleys) by van Wittel. The present work belongs to this group of paintings which were created between 1699 and 1722. Van Wittel based this painting on an impressive drawing that he probably composed from sketches made from the Torre di San Vincenzo. This work, which van Wittel provided with a square grid, is in the collection of the Museo di San Martino in Naples. Thanks to annotated drawings by Francesco Cassiano de Silva, created between 1703 and 1707 and preserved in the Biblioteca Nazionale in Naples, the buildings in the Greenwich painting can be identified accurately. Although van Wittel observed the scene carefully, he added his staffage, consisting of ships, figures and goods, at a later stage from memory and fantasy. It is precisely on this level that his views of the arsenal and the Castello Nuovo differ. It is, also, worth mentioning, here, that van Wittel rather idealized his depictions. In none of his eleven paintings did he depict the scene as it would have been in reality; that is, with countless ships busily thronging the Neapolitan waterfront (http://collections.rmg.co.uk/collections/objects/13378.html).
Source: http://www.geheugenvannederland.nl/?/nl/items/RIJK01:SK-A-1546. P.S. I have changed the light, contrast and colors of the original photo.
Materials: oil on canvas. Dimensions: 70 x 65.6 cm. Acquisition date: 1964. Nr.: 1/1964. Source: ichef.bbci.co.uk/arts/yourpaintings/images/paintings/scag…
This unassuming yet evocative landscape is typical of Ruisdael’s best work. Grass, foliage and trees are all realistically depicted and set against an expanse of stormy sky. The work also has symbolic aspects. Nature is used to show the brevity and fragility of human existence. The figures were perhaps painted by another hand, possibly the prolific Haarlem painter Phillips Wouwerman (1619-68), a common practice at the time (http://www.southampton.gov.uk/s-leisure/artsheritage/sotonartgallery/search/view-artwork.asp?acc_num=1/1964&show_page=interpretation).
Materials: oil on canvas. Dimensions: 33 x 51.5 cm. Source: www.pubhist.com/work/5346/francesco-guardi/san-giorgio-ma…. P.S. I have changed the colors of the original photo.
Jan van der Heyden – Ulster Museum U644. A View of the Palace of the Dukes of Brabant, Brussels (possibly the 1660s)
Materials: oil on panel. Dimensions: 45.7 x 56.6 cm. Acquisition date: 1998. Nr.: U644. Source: ichef.bbci.co.uk/arts/yourpaintings/images/paintings/nmni…
This townscape was probably painted during the 1660s. The palace, seat of government and chief residence of the Dukes of Burgundy, was largely destroyed by fire in 1731 (http://www.nmni.com/um/Collections/Art-(1)/Dutch-Paintings/Jan-van-der-Heyden-(1637-1712)).
Claude-Joseph Vernet – The J. Paul Getty Museum 2002.9.1. Title: A Storm on a Mediterranean Coast. Date: 1767. Materials: oil on canvas. Dimensions: 113 x 145.7 cm. Inscriptions: J. Vernet f 1767 (lower right). Nr.: 2002.9.1. Source: www.getty.edu/art/collections/images/enlarge/14472101.JPG
Materials: oil on canvas. Dimensions: 174 x 75 cm. Nr.:? Source: www.atlantedellarteitaliana.it/immagine/00013/8553OP1124A…. P.S. I have changed the light, contrast and colors of the original photo.