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 July, 2012

Ivan Shishkin – Kiev National Museum of Russian Art Ж-186. Среди долины ровныя …/In the Open Valley (1883)

Materials: oil on canvas. Dimensions: 136.5 x 203.5 cm. Inscriptions: signature and date. Nr.:Ж-186. Source: www.jivopis.bibliobraz.com/wp-content/uploads/ShIShKIN_Iv…


Gustave Caillebotte – private collection. The Park on the Caillebotte Property at Yerres (1875)

Materials: oil on canvas. Dimensions: 65 x 92 cm. Inscriptions: GCaillebotte 1875. Source: www.the-athenaeum.org/art/display_image.php?id=830.


John Atkinson Grimshaw – Philadelphia Museum of Art. Liverpool from Wapping (1885)

Materials: oil on canvas. Dimensions: 61 x 93 cm. Nr.:? Source: http://www.flickr.com/photos/theubersteve/7320707886. P.S. I was not able to find this painting on the site of the museum.


Leo von Klenze – Neue Pinakothek 9463. Ideale Ansicht der Akropolis und des Areopag in Athen (1846)

Materials: oil on canvas. Dimensions: 102.8 x 147.7. Acquisition date: 1852 (bought by king Ludwig I from the artist). Nr.: Inv. 9643. Source: upload.wikimedia.org/wikipedia/commons/c/c4/Akropolis_by_…. P.S. I have changed the light, contrast and colors of the original photo.


Martin Rico y Ortega – private collection? Santa Maria della Salute, Venice (1900)

Materials: oil on canvas. Dimensions: 65.5 x 101 cm. Inscriptions: signed ‘RICO’ (lower left). Sold by Christie’s (London) on November 21, 2011 (Sale 8039). Source: www.paintingsalley.com/data/media/965/Ortega_Martin_Rico_…. P.S. I have changed the light, contrast and colors of the original photo.


Christen Købke – Ny Carlsberg Glyptotek. Efterårsmorgen ved Sortedamssøen/Autumn Morning on Lake Sortedam (1838)

Materials: oil on canvas. Dimensions: 33 x 45 cm. Nr.:? Source: http://litteraturensveje.systime.dk/fileadmin/indhold/ISBNXXXXXXXXXXXXX/Kapitel_6/christen_koebke.jpg


Jean-Baptiste-Camille Corot – Cleveland Museum of Art 1963.91. La Cervara, the Roman Campagna (c. 1830-1831)

Materials: oil on canvas. Dimensions: 97.6 x 135.8 cm. Nr.: 1963.91. Source: pds10.egloos.com/pds/200901/10/12/a0100212_49684a358575b.jpg.

Corot recorded form and tonal qualities in outdoor drawings and oil sketches, then executed his paintings in the studio. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting’s highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot’s early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin (http://www.clevelandart.org/collections/collection%20online.aspx?type=refresh&sliderpos=2&searchoption=1).


Childe Hassam – Dallas Museum of Art 1951.40. Along the Seine, Winter (1887)

Materials: oil on wood. Dimensions: 20.3 x 27.9 cm. Nr.: 1951.40. Source: 3.bp.blogspot.com/_ShSCuaESlVk/TVIs4d_d88I/AAAAAAAAAkY/gG…. P.S. I have changed the contrast of the original photo.

By 1886, Childe Hassam was enjoying artistic success with his atmospheric paintings of Boston street scenes. That same year he left the United States for three years of study in Paris, where he received a disciplined training at the Academie Julian, and at the same time came under the influence of the Impressionists. “Along the Seine, Winter” shares its subject matter with Hassam’s earlier works, but shows very clearly the first changes in his style toward the mature Impressionism of his works of the 1880s and early 1900s. The dark clear colors of the Boston paintings are tempered by the pearlescent light of Paris, which Hassam conveys with a much looser, more fluid brush. The softness of color and touch echoes the mellow winter ambience of the City of Lights (http://dallasmuseumofart.org:9090/emuseum/view/objects/asitem/search$0040/6/title-desc?t:state:flow=3eda45ec-ffa5-40c1-a628-554dfdc828bb).


Jacob van Ruisdael – Museo de Bellas Artes de Bilbao 92/118. A Marsh in a Forest at Dusk (c. 1660)

Materials: oil on canvas. Dimensions: 77.7 x 92.2 cm. Inscriptions: VRuisdael (bottom right hand side, with the initials intertwined). Nr.: 92/118. Source: img709.imageshack.us/img709/2685/pantanoenunbosquealanoc.jpg. P.S. I have changed the contrast of the original photo.


Francesco Guardi – The Metropolitan Museum of Art 71.119. The Grand Canal above the Rialto (1760s)

Materials: oil on canvas. Dimensions: 53.3 x 85.7 cm. Nr.: 71.119 (accession number). Inscriptions: Signed (lower left): Franco / De’ Guardi; inscribed (reverse, upper left, in a later hand): Vuduta del Sante di Rialto / in Venezia / del Guardi (view of the Rialto [Bridge] in Venice by Guardi). Acquisition date: 1871. Source: images.metmuseum.org/CRDImages/ep/original/DP124053.jpg. P.S. I have changed the contrast of the original photo.

Here Guardi shows the bridge of the Rialto with the Palazzo dei Camerlenghi and the vegetable market on the right. He has created an effect of snapshot-like immediacy by arbitrarily cropping the buildings at the left. The canvas dates to the 1760s and is a pendant of the view of “Santa Maria della Salute” (71.120) (http://www.metmuseum.org/collections/search-the-collections/110001042#fullscreen).


Meindert Hobbema – Glasgow Museums Resource Centre 30. River Landscape with Fishermen (c. 1659-1660)

Materials: oil on panel. Dimensions: 46.7 x 67.3 cm. Nr.: Accession No:
30. Source: ichef.bbci.co.uk/arts/yourpaintings/images/paintings/gm/l…. P.S. I have changed the light, contrast and colors of the original photo.

Although this painting entered the collection as a Hobbema, by the beginning of the 20th century it had been attributed to school of Ruisdael, Hobbema’s master, and to the landscapist Jan van Kessel.

By the 1930s it was once more attributed to Hobbema and, since 1964 when an examination revealed the signature to be genuine, it has been accepted without question as a Hobbema. Doubts about the painting were due to the fact that it is an early work, dating from the late 1650s. It is close in composition to a painting attributed to Ruisdael and may well have been painted while Hobbema was a pupil in his studio. Almost all Hobbema’s river scenes are early works, inspired by Ruisdael’s landscapes.

Throughout his career Hobbema loved to include trees in his paintings and in this work the strong clump of trees perfectly balances the broad sweep of the river which leads the eye to the distance. The figures are an equally important part of the scene, establishing the scale of the landscape (http://collections.glasgowmuseums.com/starobject.html?oid=166304).


Jan van der Heyden, Adriaen van de Velde – Rijksmuseum SK-A-152. De stenen brug (1660-1672)

Materials: oil on panel. Dimensions: 37 x 44.5 cm. Nr.: SK-A-152. Source: www.rijksmuseum.nl/collectie/SK-A-152/de-stenen-brug. P.S. I have changed the light, contrast and colors of the original photo.


Canaletto – The Ashmolean Museum of Art and Archaeology A146. A View of Dolo on the Brenta Canal (before 1732)

Materials: oil on canvas. Dimensions: 63 x 96 cm. Nr.: A146. Source: ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ashm…. P.S. I have changed the light, contrast and colors of the original photo. A very similar painting of Canaletto is in the Staatsgalerie Stuttgart (http://www.staatsgalerie.de/malereiundplastik/ita_rundg.php?id=14)


Ivan Shishkin – V.P.Sukachev Irkutsk Regional Art Museum. Перелесок (Полдень)/Coppice (Noon) (1872)

Materials: oil on canvas. Dimensions: 121 x 207 cm. Nr.:? Source: www.wikipaintings.org/en/ivan-shishkin/coppice-noon-1872.


Johannes Warnardus Bilders – Rijksmuseum SK-A-1008. De heide bij Wolfheze (1866)

Materials: oil on canvas. Dimensions: 102.5 x 152.5. Nr.: SK-A-1008. Source: www.rijksmuseum.nl/assetimage2.jsp?id=SK-A-1008. P.S. I have changed the light, contrast and colors of the original photo.


Hans Fredrik Gude. Fra Hardanger (1847)

I was unable to find additional information about this painting. Source: http://qohelet.altervista.org/pagine/Sogno_Hauge/Fra_Hardanger_Gude1.jpg


Giacomo Balla – Galleria Nazionale d’Arte Moderna e Contemporanea. La fila per l’agnello (1942)

Materials: oil on panel. Dimensions: 91 x 67 cm. Nr.? Source: 25.media.tumblr.com/tumblr_luitjoQwbt1qzd7qpo1_1280.jpg


John Atkinson Grimshaw – Leeds Art Gallery LMG99612. Reflections on the Thames, Westminster (1880)

Materials: oil on canvas. Dimensions: 76.2 x 127 cm. Nr.: LMG99612. Source: www.culturevoyage.co.uk/wp-content/uploads/2009/10/Reflec…


Leo von Klenze – Niedersächsische Landesgalerie (not on their site). Der Domplatz von Amalfi (1859)

Materials: oil on canvas. Dimensions: 84.5 x 114 cm. Nr.:? Source: images.zeno.org/Kunstwerke/I/big/73a185a.jpg. P.S. I have changed the light, contrast and colors of the original photo.


Martin Rico y Ortega – private collection. Venetian Lagoon near the Church of Santa Maria della Salute (date ?)

Materials: oil on canvas. Dimensions: 67.3 x 52. Inscriptions: Rico (lower left). Sold by Sotheby’s USA on April 20, 2005. Source: storage.canalblog.com/89/38/535483/44439114.jpg. P.S. I have changed the contrast of the original photo.


Hans Frederik Gude – Nationalmuseum, Stockholm NM 1343. The Fjord at Sandviken (1879)

Materials: oil on canvas. Dimensions: 54.5 x 81.5 cm. Nr.: NM 1343. Source: ostholstein.mediaquell.com/files/2009/09/gude.jpg. P.S. I have changed the light, contrast and colors of the original photo.

Gude himself singled out this as one of his major works, and it was acquired by the Nationalmuseum in Stockholm the very year Gude painted it. It is among his most outstanding representations of fjord scenery in south-eastern Norway. The view across the water at Sandviken, with the smoke of Høvik Glassworks visible on the distant shore, has been rearranged to a certain extent. And yet this painting, produced though it was without the artist having the subject before him, radiates immediacy.

Gude had made the sketches he used for this composition six years previously, while he was staying at Snarøen in the summer of 1873. “That summer I could, to my heart’s delight, paint the scenery that, when all is said and done, was closest to my heart, the landscape of my real home.” Gude’s wording here, written down a couple of decades later, has perhaps been influenced in the mean time by Erik Werenskiold’s statement made in the 1880s, that if the Realists were to create anything of value they would have to keep to familiar, local subjects “because they cannot possibly understand what is foreign, and therefore cannot be as attached to it as to something that is theirs.” (http://www.artsmia.org/mirror-of-nature/nordic-art-detail.cfm?nor_art_cat=24&lng=0)


Albert Bierstadt – North Carolina Museum of Art 87.9. Bridal Veil Falls, Yosemite (c. 1871-1873)

Materials: oil on canvas. Dimensions: 91.8 x 67 cm. Nr.: 87.9.. Source: www.topart168.com/pic/Reproduction_Painting%5CUnited%20St…


Childe Hassam – Toledo Museum of Art 1956.53. Rainy Day, Boston (1885)

Materials: oil on canvas. Dimensions: 66.3 x 122 cm. Nr.: 1956.53. Source: www.oceansbridge.com/paintings/artists/h/Frederick-Childe…

Painted at a time when urban landscapes were still a novel subject in the United States, Rainy Day, Boston depicts the intersection of Columbus Avenue and Appleton Street in Boston’s South End. When Childe Hassam painted this picture, he and his wife lived at 282 Columbus Avenue. According to the artist, “The street was all paved in asphalt, and I used to think it very pretty when it was wet and shining, and caught the reflections of passing people and vehicles.” In this view seen through the atmospheric filter of rain, Hassam accentuated the pictorial effects produced by the light and the weather conditions. Rain causes the broad expanse of pavement to glisten with reflections and casts a soft rosy tone over the damp red bricks. The overcast sky and pearly light produce a misty atmosphere that enshrouds buildings and pedestrians alike, and—combined with the muted palette of dull pinks, grays, and blacks—unifies the composition.
Rainy Day, Boston also celebrates Boston’s fashionable, clean, and spacious cityscape. Hassam had been to Europe in 1883 and had seen the new appearance of Paris with its wide boulevards created by Baron Haussmann for Napoleon III. This painting’s wide angle of vision, uncluttered setting, and deep perspective recall Haussmann’s municipal improvements, which had inspired Boston’s own concurrent developments in the 1860s and 1870s. They also suggest the influence of photography, still relatively new. Hassam’s interest in showing the effects of weather and the subject of city life with its to-and-fro bustle indicate that here, in his first major oil painting, he was trying out for an American audience the modern urban theme so embraced by the French Impressionists that he had encountered in Paris (http://classes.toledomuseum.org:8080/emuseum/view/objects/asitem/search$0040/2/invno-asc?t:state:flow=c2993ae1-2e9a-439f-aec4-14c7a12920a8).


Barend Cornelis Koekkoek – B.C. Koekkoek-Huis. De grote beukeboom voor kasteel Moyland/Die große Buche vor Schloß Moyland (1840)

Materials:? Dimensions:? Nr.? Source: http://weblogs.nrc.nl/cultuurblog/files/2010/05/BCK-Die-gro%C3%9Fe-Buche-vor-Schlo%C3%9F-Moyland-1840_RGB.jpg. P.S. I have changed the light, contrast and colors of the original photo.