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 June, 2012

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


van Shishkin – The Russian Museum (not on their site). Backwoods/Лесная глушь (1872)

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/).


Martin Rico y Ortega – Museo del Prado P02625. La riva degli Schiavoni en Venecia (1873)

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).


Francesco Guardi – National Gallery NG210. Venice: Piazza San Marco (c. 1760)

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).


Claude-Joseph Vernet – The J. Paul Getty Museum 2002.9.2. A Calm at a Mediterranean Port (1770)

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.


Meindert Hobbema – The Fitzwilliam Museum PD.1-1970. A Wooded Landscape with Cottages (1665)

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/…