anneyhall: Tamara de Lempicka (Polish, 1898-1980): “La...
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‘The Kiss’, by Odd Nerdrum. interesting article on...
‘The Kiss’, by Odd Nerdrum.
interesting article on “kitsch” on the site….
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imperiousrex: Oleg Korolev Paintings | Best Bookmarks
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poboh: “At Last” Glenn Miller & His Orchestra
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poboh: “At Last” Glenn Miller & His Orchestra
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Yevonde Cumbers Middleton (January 5, 1893 – December 22, 1975)...
Yevonde Cumbers Middleton (January 5, 1893 – December 22, 1975) was an English photographer, who pioneered the use of colour in portrait photography. She used the professional name Madame Yevonde
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Plato, Pythagoras and Solon. Fresco in St. George’s church...
Plato, Pythagoras and Solon. Fresco in St. George’s church (UNESCO World Heritage List, 1993). Photo: G. Dagli Orti
Location :Church of St. George, Suceava, RomaniaPhoto Credit : © DeA Picture Library / Art Resource, NY
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you have the best tumblr ever, probably
you are the greatest “exaggerator ever” probably, for which I am deeply grateful….
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1879. Endymion on Mount Latmos John Atkinson Grimshaw (6...
1879. Endymion on Mount Latmos
John Atkinson Grimshaw (6 September 1836 – 13 October 1893) was a Victorian-era artist, a “remarkable and imaginative painter”[1] known for his city night-scenes and landscapes
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Angelo Caroselli (1585 – Rome – 1652) Allegory of Love The...
Angelo Caroselli (1585 – Rome – 1652)
Allegory of Love
The following text is cited from the Caravaggio’s Friends and Foes exhibition catalogue, Whitfield Fine Art, 2010. Caroselli was one of the young painters in Rome who was swept off his feet by the example of Caravaggio, and took to the profession in “totale imitatione” (Baldinucci) of the master, and without any apprenticeship to a studio. Although he had paid his dues to the Accademia di San Luca in 1604, doubtless he was one of those who was excluded from the voting roster under the statues that raised the age limit to 30 introduced after Paul V’s election in 1605. It was the participation of self-taught artists like Caroselli that the conservative majority fought against. Caroselli, like Caravaggio himself, had started among the ranks of copyists and restorers, and had a reputation for producing imitations that he passed off as real. He had more than a certain reputation for his ability to counterfeit the works he copied; Baldinucci refers to the deception he was able to achieve with works that seemed to be by Titian and Caravaggio. Nicolas Poussin could not distinguish a Madonna that Caroselli had painted after Raphael from the original. The example of Caravaggio’s success was inspirational rather than a teaching model, but Caroselli soon had a considerable activity, and he was employed at the Chiesa Nuova to paint the wall paintings in the Vittrice Chapel for which Carvaggio had provided the Entombment, now in the Pinacoteca Vaticana. Like Caravaggio himself, he did not work in fresco, and these panels of two Prophets and the Pietà were executed in oil paint on plaster, like Caravaggio’s ceiling of the Casino Del Monte of the Elements. Caroselli was fascinated with the naturalistic effects that Caravaggio had achieved, and with the direct observation that he focused on, so much so that he contributed in no small way to the expansion of Caravaggesque iconography. If Caravaggio’s Fortune Teller represents the essence (and sum) of his observation of street life in Rome, it prompted a whole range of picturesque subjects that were illustrated by artists suddenly struck by the visual possibilities that surrounded them in the Italian capital. This established the vocabulary for a whole generation. Caroselli collaborated with Giovanni Francesco Guerrieri when he was in Rome between 1615 to 1618, providing decorations still very much in the Caravaggesque idiom for Palazzo Borghese in Campomarzio: he then shared a studio with Pietro Paolini after the latter came to Rome from Lucca in 1619, and was a formative influence on his whole career. The subject of the present work would have appealed to the Dutch painters who came to Rome, like Honthorst and ter Brugghen, for instance the Violinist and Girl with a Glass in the Kaiser Wilhelm Museum, Krefield (1624, Slatkes & Franits, Paintings of Hendrick ter Brugghen, 2007, A 66). The gesture of the coins in the girl’s hand is a reference akin to that of the Procuress in Vermeer’s painting in Dresden, and typical of the kind of subject that proved so popular among the Northern Caravaggisti around Baburen in the second decade of the century. This was undoubtedly also part of the literary phenomenon of the picaresque novel, which had great popularity from the late sixteenth century onwards, with subject matter that revolved around colorful characters and soldiers of fortune. This was a journey into a fantasy world, with rich costumes and suggestive postures: Caroselli enjoyed virtuoso gestures, and the voice that seems to sing, the instrument that plays, a colorful echo from a lively imagination. Caroselli was also engaged in the exploration of optical effects, as in the panel of a witch (perhaps the same model as in this tondo) with a concave mirror, wherein the image reflected includes apparitions as well as the artist himself at his easel.1 There are many speculative elements in his work, prompted as much by the reputation of Caravaggio’s association with the occult through the alchemy of his patron Del Monte.
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Rembrandt’s Portrait of a Man dated 1658 is one of the last...
Rembrandt’s Portrait of a Man dated 1658 is one of the last works from his late career left in private hands and also one of the master’s least known paintings. A boldly conceived work painted in his most assured and painterly later manner, it depicts the sitter frontally and three quarter length with arms akimbo. The unidentified sitter meets the viewer’s gaze with a steady and confident expression, bordering on defiance. A young man in his prime, apparently in his thirties, he has broad chest, full form and wide face, featuring a short black beard. He wears a brown doublet with yellow and gold highlights, upturned collar, small buttons and a clasp at the chest, over a white chemise. On his head is a large black beret, sometimes called a notched bonnet. The fingers of his right hand are splayed across his hip and his thumb is tucked into the sash that encircles his waist. A strong light falls from the upper left illuminating his face and catching highlights on his right shoulder and the sleeve of his left arm, expertly turning the figure in space and impressing on the viewer the sitter’s substance and authority. The broad strokes of paint that model the figure are applied with great confidence, mostly in layers, often slashed and dragged over painted substrata , or hatched with a lively staccato stroke, brilliantly conveying the richness of his striated garment and its glinting fabric. The effect is of a rich abundance of textures, despite a limited palette of only a few colors. The painting was executed in one of the most innovative but also the most difficult moments of Rembrandt’s career. The artist had enjoyed remarkable professional success in the first decade following his arrival in Amsterdam in 1631/32, but over the course of the 1640s he received (or perhaps only accepted) fewer requests for lucrative portraits. By the mid 1650s his expansive lifestyle and the mismanagement of his finances had created a precarious life. In 1656 he was forced to declare bankruptcy. His art collections and possessions were gradually auctioned off between 1656 and 1658 and in the latter year he was forced to sell his elegant house on the Sint Anthoniebreestraat and move across town to a more modest home in the Jordaan. He was required by the insolvency courts to enter into an agreement whereby he worked as an employee for his son, Titus, and common law wife, Hendrijkje, to protect him from his creditors. Works like the ravishing Portrait of Nicolaes Bruynigh of 1652 (Gemäldegalerie, Kassel) and the noble Portrait of Jan Six (Six Foundation, Amsterdam) and the Floris Soop (Metropolitan Museum of Art, New York) of 1654 prove that Rembrandt had tried in the early 1650s to revive his career as a portraitist to Amsterdam’s wealthy investors and businessmen and had provided excellent service. But in the late 1650s there are very few works that would attest to regular commissions; indeed the only image aside from the present work that was dated between 1657 and 1659 is the Portrait of Catharina Hooghsaet (Penryn Castle), which shares passages of brilliance with the present work but which is a much more conventionalized portrait . And indeed there are only two other works dated 1658 in Rembrandt’s entire oeuvre: the incomparably magisterial Self Portrait (fig. 1, Frick Collection, New York) and the sadly abraded but dramatically conceived little Philomen and Baucis (National Gallery of Art, Washington). Not only is the subject of the present work unknown but it is even uncertain that it is a portrait at all and not simply an image of a picturesque individual in an historicized costume with vaguely exotic associations. Certainly the person depicted has individualized features but he is not readily a figure from Rembrandt’s world; the head of the Rembrandt Research Committee, Ernst van de Wetering, has speculated that he might have been a visitor to Amsterdam, possibly from the Mediterranean. The costume specialist, Marieke de Winkel, has noted that the figure’s outfit has little to do with contemporary, e.g. seventeenth century costume, but notes that fanciful, antique elements, such as the notched bonnet/beret appear in self portraits by Rembrandt that are derived from earlier sixteenth century haberdashery.
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centuriespast: Luna Print made by Jacobus HarrewynPublished by...
Luna
Print made by Jacobus Harrewyn
Published by Wilhelm Koningh
Published in Amsterdam
1698British Museum
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journalofanobody: Francis Bacon, Two Figures At A Window,...
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Felix Vallotton. The Waltz
Felix Vallotton. The Waltz
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Chinese people smoking opium. (1873)
Chinese people smoking opium. (1873)
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demedici: Agnolo Bronzino, Garcia de Medici, 1555-1565 Uffizi...
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Frontispiece from John Dryden, et al., The Satires of Decimus...
Frontispiece from John Dryden, et al., The Satires of Decimus Junius Juvenalis: And of Aulus Persius Flaccus, 4th ed. (London, 1711).
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Anaximandr at Nuremberg Chronicle.
Anaximandr at Nuremberg Chronicle.
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poboh: Laure Albin-Guillot. French, (1892 -1962)
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Heracles rock relief at Behistun According to its Greek...
Heracles rock relief at Behistun According to its Greek inscription, the rock relief representing Heracles at Behistun was carved in 148 BCE , being dedicated to a local Seleucid governor. After the collapse of the first Persian Empire following the Macedonian invasion, following the death of Alexander the Great, the Greek dynasty of the Seleucids (from Seleukos, former general of Alexander) were the main rulers of the western part of the Iranian plate. The Seleucids were dominating the cities and the main commercial roads, but failed to impose their power in the rural lands. However, their artistic influence began to penetrate the Iranian plate and will remain for centuries, through the Parthian then the sasanian dynasties. The presence of a statue showing Heracles there testify of such artistic influence, as for the often seen Greek inscriptions or representations of Nike in the later carved rock relieves all over the country. A religious syncretism occurred in Iran soon after the beginning of the Seleucid dynasty, seen Heracles assimilated with the old Iranian divinity of power Verethragna. In this relief, Heracles is shown in a languorous attitude, laying naked on the skin of a lion (probably the Nemean lion he killed in his 12 labours) , holding a bowl, under the shadow of an Olive tree. His traditional wood bludgeon and elbow lay near him. If the topic is typically Greek, either The fashion and carving technique reveal the relief was carved by some Iranian artist, unfamiliar with the greek iconography. The main reason was probably because it was not a royal relief but one of a local person. Taken in Behistun, Province of Kermanshah, Iran, may 2009
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