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Rembrandt – part 7

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Portrait of Rembrandt possibly by Dinon after "Self-Portrait" 1639 etching on China paper 11.2 x 9.1 cm Yale University Art Gallery, New Haven CT

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 7 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 6 also.


1635 A Study for 'The Great Jewish Bride' pen and brush and brown ink with wash 24 x 19 cm Nationalmuseum, Stockholm

1635 The Great Jewish Bride etching, drypoint and burin on paper 21.9 x 16.7 cm

1635 The Great Jewish Bride etching, drypoint and engraving on paper 21.9 x 16.8 cm

1635-(1680) The Great Jewish Bride
1635 Christ Driving the Money Changers from the Temple etching on ivory laid paper 13.6 x 16.8 cm (plate)

1635 Jan Wtenbogaert, Preacher of the Remonstrants etching and drypoint on paper 22.5 x 18.7 cm

1635 Jerome Kneeling in Prayer, Gazing Downward etching on paper 11.4 x 8 cm

1635 Man in Oriental Dress oil on panel 72 x 54.5 cm

1635 Portrait of Philips Lucasz. oil on oak panel 79.5 x 58.9 cm The National Gallery, London

1635 Rape of Ganymede oil on canvas 177 x 129 cm Gemäldegalerie Alte Meister, Dresden, Germany

1635c Study for "Rape of Ganymede" 18.3 x 16 cm Kuperstich-Kabinett der Staatlichen, Dresden


1635 Samsom Threatening his Father-in-law oil on canvas 158.5 x 130.5 cm Gemäldegalerie, Berlin

1635 Saskia van Uylenburgh in Arcadian Costume as Flora oil on canvas 123.5 x 97.5 cm National Gallery, London

1635c The First Oriental Head (1 of 4) etching on paper 15.1 x 12.5 cm

1635c Second Oriental Head (2 of 4) etching on paper 15.1 x 12.5 cm

1635 Third Oriental Head (3 of 4) etching on paper 15.6 x 13.4 cm

1635c The Fourth Oriental Head (4 of 4) etching on paper 15.8 x 13.5 cm

1635 The Pancake Woman etching on ivory laid paper 10.8 x 7.8 cm

1635 The Quacksalver etching on paper 7.4 x 3.8 cm

1635 The Stoning of St. Stephen etching on ivory laid paper 9.5 x 8.5 cm

1635-36 Studies of grieving Mary sketch on paper 20.1 x 14.3 cm

1635-36c A Woman Sitting Up in Bed sketch 14 x 14.6 cm Courtauld Institute Gallery, London

1635-36c Study of a Man Talking to a Woman Seated on the Left pen and brown ink on paper 10 x 10 cm The J. Paul Getty Museum, Los Angeles CA

1635-38 Belshazzar's Feast oil on canvas 167.6 x 209.2 cm The National Gallery, London

1635-38c Saskia Lying in Bed, a Woman Sitting at her Feet sketch 22.8 x 16.5 cm Staatliche Graphische Sammlung, Munich

1635-39 Female Head etching on paper 12.7 x 10.3 cm

1635-39 Three Female Heads etching retouched in grey brush 12.6 x 10.3 cm


1635-39 Jacob Caresses Benjamin-Abraham Caresses Isaac etching on paper 11.6 x 8.9 cm

1635-39 One of the Three Kings Worship Mary and the Child sketch on paper 17.7 x 15.9 cm

1635-39 The Actor Willem Ruyter as Oriental Monarch pen and brush in brown on light brown prepared paper 17.7 x 13.1 cm

1635-39c Study of Saskia(?) brown ink, brown wash and white gouache on light tan antique laid paper 7 x 6.3 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1635-40c St. Paul Preaching in Athens pen and brown ink, brush and brown and reddish washes, lead white heightening, touched with red chalk 18 x 20.7 cm The British Museum, London

1635-41 Running Boy with a Stick pen and brush in brown and white paint on light brown prepared paper 14 x 10.7 cm

1635-41 The Concord of the State oil on oak panel 74.6 x 101cm Museum Boijmans Van Beuningen, Rotterdam

1635-51 Standing Man with Right Arm Outstretched pen in brown on light brown prepared paper 11.2 x 5.4 cm

1635-60 Sleeping Boy sketch on paper 13 x 17.5 cm

1635c A Nurse and an Eating Child 16.5 x 13 cm Albertina, Graphische Sammlung, Vienna

1635c A Woman Sitting Up in Bed sketch 14.8 x 19.1 cm

1635c A Woman with a Small Child on her Lap 16 x 13.6 cm The Louvre, Paris

1635c Bearded Man in High Cap pen and bistre, wash, slight washes of white 16.9 x 12.5 cm The British Museum, London

1635c Curly Headed Man with a Wry Mouth etching on paper 6.5 x 6.2 cm

1635c Joseph Expounding the Prisoners' Dreams pen and bistre and wash 15.5 x 18 cm

1635c Rembrandt and Saskia in the Parable of the Prodigal Son oil on canvas 161 x 131 cm Gemäldegalerie Alte Meister, Dresden, Germany

1635c Saskia Asleep in Bed, Reclining pen and bistre 9.9 x 9.5 cm Musée des Beaux-Arts, Brussels

1635c Soldier and Rearing Horse pen and bistre 12.9 x 8.5 cm Museum of Fine Arts of the University, Moscow

1635c Study for Jacob Lamenting pen and bistre and wash 17.2 x 15.5 cm Kupferstichkabinett, Berlin


1635c Study of a High Priest pen and bistre 8.6 x 7.8 cm Graphische Sammlung, Munich

1635c The Annunciation pen and Bistre 14.4 x 12.4 cm Musée Communal, Besançon, France

1635c The Lamentation over the Dead Christ oil on paper mounted on oak panel 31.9 x 26.7 cm The National Gallery, London

1635c The Strolling Musicians etching on paper 13.9 x 11.6 cm

1635c The Virgin and Child Seated near a Window pen and bistre and wash 15.5 x 13.7 cm The British Museum, London

1635c Two Studies of a Baby with a Bottle 10.1 x 12.4 cm Staatliche Graphische Sammlung, Munich

1635c Zacharias (?) and the Angel brown ink on off-white antique laid paper 10.9 x 11.5 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1636 A Woman with a Child Frightened by a Dog sketch 18.4 x 14.6 cm Szépmüvészeti Múzeum, Budapest

1636c A Woman Comforting a Child Frightened by a Dog sketch 10.3 x 10.2 cm Collection Frits Lugt, Institut Néerlandais, Paris


1636 Abraham's Sacrifice oil on canvas 195 x 132.3 cm Alte Pinakothek, Munich

1636? Abraham's Sacrifice red and black chalk, wash in indian ink, heightened with white 19.4 x 14.6 cm British Museum, London


1636 Christ Before Pilate etching on paper 55.1 x 44.6 cm

1636 Samuel Menasseh ben Israel etching on paper 14.9 x 10.3 cm

1636 Self-Portrait with Saskia etching on paper 10.4 x 9.5 cm

1636 Studies of the Head of Saskia and other Women etching on white laid paper 15.4 x 12.7 cm

1636 Susanna at the Bath oil on oak panel 47.2 x 38.6 cm Mauritshuis, The Hague, Netherlands

1636 The Blinding of Samson oil on canvas 276 x 206 cm The Städel, Frankfurt am Main, Germany

1636 The Return of the Prodigal Son etching on ivory laid paper 15.7 x 13.7 cm

1636 Tobit is Healed by his Son oil on panel 47 x 39 cm Staatsgalerie, Stuttgart

1636-37c Boaz and Ruth pen and bistre 11.9 x 11.9 cm Kupferstichkabinett, Berlin

1636-38c Self-Portrait oil on panel 63.2 x 50.5 cm Norton Simon Museum, Pasadena CA

1636-40 Young woman (Saskia?) Sitting by a Window pen and brush in brown and white paint on light brown prepared paper 17.5 x 13.4 cm

1636-43 Danaë oil on canvas 185 x 202.5 cm Hermitage Museum, St. Petersburg

1636c Lot and His Daughters pen and bistre 15.2 x 19.1 cm Goethe Nationalmuseum, Weimar, Germany

1636c Study of Heads and Figures sketch Barber Institute of the Arts, Birmingham University, England

1636c The Departure of Tobias pen and bistre and wash 16.5 x 9 cm The Louvre, Paris

1636c The Investiture of St. Augustine pen and bistre, wash, covered with white 20.9 x 16.5 cm Herzog Anton Ulrich Museum, Braunschweig, Germany


Rembrandt – part 8

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Rembrandt Holding a Falcon (School of Rembrandt) etching 12.1 x 9.7 cm  Museum of Fine Arts, Boston MA

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 8 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 7 also.


1637 A Polish Nobleman oil on panel 96.8 x 66 cm National Gallery of Art, Washington D.C.

1637 Abraham Casting out Hagar and Ishmael etching on paper 12.7 x 9.6 cm

1637 An Elephant 23.3 x 35.4 cm Albertina, Vienna

1637 An Elephant charcoal on paper 17.9 x 25.6 cm Albertina, Vienna, Austria

1637 Three Studies of an Elephant sketch 23.9 x 35.4 cm Graphische Sammlung Albertina, Vienna

1637 An Old Lady with a Book oil on canvas 109.7 x 91.5 cm National Gallery of Art, Washington D.C.

1637 Bearded Man in Velvet Cap with Jewel Clasp etching on paper 9.5 x 8.3 cm

1637 Portrait of Eleazer Swalmius oil on canvas 132 x 109 cm Royal Museum of Fine Arts Antwerp

1637 Self-Portrait in a Black Cap oil on oak panel 63 x 50.7 cm © The Wallace Collection, London

1637 The Archangel Leaving the Family of Tobias oil on wood 68 x 52 cm The Louvre, Paris

1637 Three Female Heads etching on paper 14.1 x 9.6 cm

1637 Young Man in a Velvet Cap (Ferdinand Bol) etching on paper 9.6 x 8.2 cm

1637-41 Old Man Shading his Eyes with his Hand etching and drypoint on paper 13.5 x 11.2 cm

1637-41 Old Man Shading his Eyes with his Hand etching on off-white laid paper 13.7 x 11.3 cm

1637-41 Old Man Shading his Eyes with his Hand etching on off-white paper 13.7 x 11.5 cm

1637-41 The Presentation in the Temple - The Canticle of Simeon etching and drypoint on paper 21.3 x 29 cm

1637-41 The Strider etching and drypoint on paper 6.1 x 5.9 cm

1637c Different Listeners pen and brown ink, touched with brush and brown wash, with some lead white 19 x 12.5 cm Kupferstichkabinett, Berlin

1637c Head of an Oriental in a Turban, and a Dead Bird of Paradise pen and wash in bistre, white body-colour 17.9 x 16.9 cm The Louvre, Paris

1637c Matthias and the Officers of Antiochus at Modin pen and bistre and wash 17 x 21.5 cm The British Museum, London

1637c Naked Woman with a Snake red chalk heightened with white body-colour on paper 24.6 x 13.8 cm The J. Paul Getty Museum, Los Angeles CA

1637c Seated Woman, Naked to the Waist sketch 19.9 x 15.3 cm Boijmans van Beuningen Museum, Rotterdam

1637c Studies for Groups and Figures pen and bistre 16.7 x 19.6 cm Kupferstichkabinett, Berlin

1637c The Departure of Rebekah from her Parents' Home pen and bistre 18.5 x 30.6 cm

1637c Two Horses at a Stage Halt sketch on paper 17.3 x 27.3 cm

1637c Two Studies of Birds of Paradis 18.1 x 15.4 cm The Louvre, Paris

1637c Young Solomon Proclaimed King, Riding on the Mule pen and wash in bistre 20.3 x 32.3 cm The Louvre, Paris

1638 Adam and Eve etching on ivory laid paper 16.2 x 11.6 cm

1638 Christ and St Mary Magdalen at the Tomb oil on panel The Royal Collection UK

1638 Joseph Telling His Dreams etching on white wove paper 11 x 8.2 cm

1638 Landscape with the Good Samaritan oil on oak panel 46.1 x 65.5 cm Czartoryski Museum,Kraków, Poland

1638 Man with Wide-Brimmed Hat etching on paper 7.9 x 6.5 cm

1638 Self Portrait in a Velvet Cap with Plume etching on buff laid paper 12.3 x 10.5 cm

1638 Stormy Landscape oil on wood 52 x 72 cm Herzog Anton Ulrich-Museum, Braunschweig

1638 The Little Jewish Bride (Saskia as St. Catherine) etching on paper 10.8 x 7.8 cm

1638 The Wedding of Samson oil on canvas 126.5 x 175.5 cm Gemäldegalerie Alte Meister, Dresden, Germany

1638 Woman (Saskia?) Sitting in a Four-poster Bed pen and brush in brown and white paint on light brown prepared paper 17.7 x 24.1 cm

1638-39c A Priest Giving the Blessing pen and bistre and wash 16.8 x 18.4 cm Graphische Sammlung, Munich

1638-39c Lot and His Family Leaving Sodom Guided by an Angel pen and brown ink, brush and brown wash 22.6 x 23.5 cm Albertina, Vienna

1638-39c Ruth and Naomi on Their Way to Bethlehem pen and brown ink on light brown prepared paper 16.5 x 11.2 cm Museum Boijmans-Van Beuningen, Rotterdam

1638-42 A Cow in the Stall pen and brush in brown and white paint on light brown prepared paper 15.3 x 18.2 cm

1638-42 Sleeping Dog etching and drypoint on paper 3.9 c 8.1 cm

1638-42 Small Grey Landscape, a House and Trees by Water etching on paper 3.8 x 8.2 cm

1638-42 View of Amsterdam from the Northwest etching on buff laid paper 11.3 x 15.4 cm

1638c A Standing Old Man brown ink on antique laid paper probably toned with light rose-brown wash 18 x 10.2 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1638c A Woman Seated by a Window pen and brush and brown ink, touched with white 17.5 x 13.4 cm Rijksmueum, Amsterdam

1638c Boaz and Ruth pen and bistre 17.8 x 16.9 cm Kupferstichkabinett, Berlin

1638c Landscape with a Stone Bridge oil on panel 29.5 x 42.5 cm

1638c Putting a Bishop's Costume on the Actor Willem Ruyter pen and brown ink and white heightening on light brown prepared paper 21.2 x 18 cm Kupferstichkabinett, Dresden, Germany

1638c Study of Saskia Lying in Bed pen and bistre and wash 12.5 x 18 cm

1638c The Actor Willem Ruyter as St. Augustine pen and bistre 18.3 x 15 cm

1638c The Adoration of the Magi pen and bistre 17.4 x 22.8 cm Kupferstichkabinett, Berlin

1639 "Self-Portrait" with a Bittern oil on wood 120.7 x 88.3 cm Gemäldegalerie, Dresden

1639 Death and the Newlyweds etching on paper 10.9 x 7.9 cm

1639 Farmer Standing Wearing a High Hat, Leaning on a Stick etching on paper 8.1 x 4.5 cm

1639 Jan Wtenbogaert, Receiver-General ("The Goldweighter") etching on Japanese paper 24.9 x 20.2 cm

1639 Portrait of a Man Holding a Hat oil on panel 81.4 x 71.4 cm Hammer Museum, Los Angeles CA

1639 Portrait of a Woman, Possibly Maria Trip oil on panel 107 x 82 cm

1639 Portrait of Aletta Adriaensdr. oil on oak panel 64.7 x 55.3 cm Museum Boijmans Van Beuningen, Rotterdam

1639 Portrait of Andries de Graeff oil on canvas 200 x 124.2 cm Gemäldegalerie Alte Meister, Kassel, Germany

1639 Portrait of Titia van Uylenburg

1639 Self-Portrait with Forearm Leaning on a Stone Sill etching on paper 20.5 x 16.4 cm

1639 The Deathbed of Mary etching and drypoint on paper 40.9 x 31.1 cm

1639-40c Blind Old Man Guided by a Woman pen and bistre 12.2 x 9.8 cm The Louvre, Paris

1639-40c Study for a Group of the Sick pen and bistre, wash, white body-colour 14.4 x 18.5 cm Kupferstichkabinett, Berlin

1639-43 Christ Crucified Between Two Thieves etching and drypoint on paper 13.5 x 10.1 cm (oval)

1639-43 Jacob and his Sons sketch on paper 17.6 x 23 cm

1639-43 Man Drawing fron a Plaster Model etching on paper 9.3 x 6.4 cm

1639-43 The Triumph of Mordecai etching and drypoint on paper 17.4 x 21.4 cm

1639-44 Study Sheet (cut down) etching on paper 5.7 x 6.5 cm

1639-44 Study Sheet etching on paper 13.7 x 15.2 cm

1639-44 Unwell Woman with Big Headscarf etching and drypoint retouched with grey brush on paper 6.2 x 5.1 cm

1639c 'Tronie' of a Young Man with Gorget and Beret (previously regarded as a self portrait) oil on canvas 62.5 x 54 cm

Rembrandt – part 9

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1639c Self-Portrait oil on wood 80.5 x 62.8 cm The Louvre, Paris

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 9 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 8 also.


1639c Christ on the Road to Emmaus pen and brush, gallnut ink on paper 11.6 x 16.1 cm National Gallery of Scotland, Edinburgh

1639c Joseph in Prison Interpreting the Dreams of Pharoah's Baker and Butler pen and brown ink on buff prepared paper 20 x 18.7 cm The J. Paul Getty Museum, Los Angeles CA

1639c Man in Oriental Costume oil on panel 102.8 x 78.8 cm Chatsworth House, Derbyshire UK

1639c Manoah's Offering pen and brown ink 17.5 x 19 cm Kupferstichkabinett, Berlin

1639c Still Life with Peacocks oil on canvas 145 x 135.5 cm

1639c The Entombment oil on board 32 x 40 cm Hunterian Museum, Glasgow UK photo © The Hunterian Museum and Art Gallery

1640 City Gate sketch on paper 13.8 x 19.6 cm

1640 Old Man with a Divided Fur Cap etching on ivory laid paper 15.1 x 14 cm

1640 Self-Portrait oil on canvas 93 x 80 cm The National Gallery, London

1640 The Beheading of John the Baptist etching and drypoint on paper 12.7 x 10.2 cm

1640 The Departure of Tobias and the Angel sketch on paper 19.2 x 17.1 cm

1640 The Holy Family oil on wood 41 x 34 cm The Louvre, Paris

1640 The Visitation oil on cedar panel 56.5 c 47.9 cm Detroit Institute of Arts MI

1640-41 Man Helping a Rider on Horseback sketch on paper 14.2 x 14.9 cm

1640-41c Cottages with a Cart pen and bistre and wash 14.1 x 23.7 cm The Louvre, Paris

1640-41c Supper at Emmaus pen, india ink, brown ink, and wash on paper, heightened with chalk The Fitzwilliam Museum, Cambridge UK

1640-41c Three Cottages pen and bistre, wash, some white body-colour 18 x 24.1 cm Nationalmuseum, Stockholm

1640-41The Entombment of a Hangman sketch on paper 15.6 x 20.1 cm

1640-42 Interior with Saskia in Bed pen and brown ink with brown and grey wash and some additions in red and black chalk The Frick Collection, New York

1640-42c A Woman with Folded Hands pen and bistre 18.4 x 14.7 cm The British Museum, London

1640-42c Landscape with a Castle oil on panel 44 x 60 cm The Louvre, Paris

1640-44 Girl with a Basket etching on paper 8.8 x 6 cm

1640-44 Self-Portrait with Beret and Decorated Mantle etching on paper 9.3 x 6.2 cm

1640-44 The Spanish Gypsy Preciosa etching on paper 13.2 x 11.4 cm

1640-45 Student at a Table by Candlelight etching on paper 14.5 x 13.3 cm

1640-45c The Healing of Tobit 21 x 17.7 cm Mme. Pierre Goujon Collection, Paris

1640-49 Foot Washing sketch on paper 15.7 x 22.1 cm

1640-49 Portrait of Old Man with a Beard etching 12.2 x 8.8 cm

1640c Portrait of Baertje Martens oil on panel 76 x 56 cm The Hermitage, St. Petersburg

1640c Portrait of Herman Doomer oil on panel 75.2 x 55.2 cm Metropolitan Museum of Art, New York

1640c Stormy Landscape oil on oak panel 52 x 72 cm Herzog Anton Ulrich Museum, Braunschweig, Germany

1640c The Concord of the State oil on panel 74.6 x 101 cm Museum Boijmans-van beuningen, Rotterdam

1640c Two Thatched Cottages with Figures at a Window pen and brown ink, corrections in white gouache on paper 13.3 x 20.2 cm The J. Paul Getty Museum, Los Angeles CA

1640c Two Women Teaching a Child to walk sketch 10.3 x 12.8 cm British Museum, London

1640s Young Woman with a Red Necklace oil on wood 21 x 18 cm Metropolitan Museum of Art, New York

1641 Agatha Bas oil on canvas 105.5 x 83.9 cm The Royal Collection UK

1641 Cornelis Claesz Anslo, Preacher etching and drypoint on cream laid paper 18.7 x 15.7 cm

1644-70 The Preacher Cornelis Claesz etching and engraving on paper 25.2 x 17.9 cm

1641 Landscape with a Cottage and a Large Tree etching on ivory laid paper 12.5 x 32 cm

1641 Landscape with Cottage and Haybarn etching on off-white laid paper 13 x 32.2 cm

1641 Man at a Desk Wearing a Cross and Chain etching on paper 12.9 x 10.3 cm

1641 Portrait of a Boy, Right Profile etching and drypoint on paper 9.3 x 6.6 cm

1641 Portrait of Anna Wijmer oil on panel 99.5 x 81.5 cm Collection Six, Amsterdam

1641 Portrait of Nicolaas van Bambeeck oil on canvas 105.5 x 84 cm Royal Museums of Fine Arts of Belgium, Brussels

1641 Saskia van Uylenburgh as Flora oil on oak panel 98.5 x 82.5 cm Gemäldegalerie Alte Meister, Dresden, Germany

1641 The Angel Leaves the Family of Tobias etching and drypoint on paper 10.4 x 15.3 cm

1641 The Baptism of the Eunuch etching on buff laid paper 18.2 x 21.3 cm

1641 The Card Player etching on paper 9.1 x 8.3 cm

1641 The Great Lion Hunt etching and drypoint on paper 22.5 x 30.1 cm

1641 The Madonna in the Clouds etching and drypoint on paper 15.2 x 10.5 cm

1641 The Mennonite Preacher Anslo and his Wife oil on canvas 173.7 x 207.6 cm Gemäldegalerie, Berlin

1641 The Mennonite Preacher Anslo and his Wife (detail)

1641 The Windmill etching on ivory laid paper 14.4 x 20.8 cm

1641 Three Oriental Figures etching on paper 14.3 x 11.1 cm

1641 Two Men in Discussion, One in Oriental Dress Courtauld Gallery, London

1641 Virgin and Child in the Clouds etching on cream laid paper 16.6 x 10.5 cm

1641 Woman in a Doorway, Talking to a Man (the Schoolmaster) and Children etching on paper 9.3 x 6.2 cm

1641-(1700) Old Man with Fur Hat and Long Beard, Looking Down etching on paper 6.5 x 5.3 cm

1641-42 Sheet of Studies etching on white laid paper 13.9 x 15.2 cm

1641-42c Christ Awakening the Apostles on the Mount of Olives pen, brown ink, and wash on paper 16.8 x 20.8c cm Collection E.W.K., Bern, Switzerland

1641-42c Men in Oriental Apparel and Two Half-Length Studies of a Beggar pen, brush, brown ink, and wash on paper 14.3 x 18.6 cm The Print Room, University of Warsaw Library

1641-43 Portrait of a Man Seated in an Armchair oil on canvas 108 x 83 cm Metropolitan Museum of Art, New York

1641-45c brown ink, brown and grey wash, white gouache and touches of red and black chalk on cream antique laid paper 19.3 x 23.7 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1641c An Artist Drawing from a Cast etching on ivory laid paper 9.5 x 6.4 cm

1641c Cottages Before a Stormy Sky 18.2 x 24.5 cm Albertina, Vienna

1641c Farm-House Amidst Trees pen and bistre 18.3 x 32.6 cm Kupferstichkabinett, Dresden

1641c Pastures with a Windmill pen and wash 14.2 x 28.8 cm Musée Condé, Chantilly, France

1641c Self-Portrait 62.5 x 50 cm Norton Simon Art Foundation, Pasadena CA

1642 A Cottage with White Paling etching on ivory laid paper 13 x 16 cm

1642 David and Jonathan oil on wood 73 x 61.5 cm The Hermitage, St. Petersburg

1642 Jerome on a Dark Study etching on paper 15 x 17 cm

Rembrandt – part 10

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1642 Self-Portrait in a Flat cap oil on panel 69.9 x 58.4 cm The Royal Collection UK 

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 10 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 9 also.


1642 Man in an Arbour etching on paper 7.2 x 5.6 cm


1642 Night Watch

“Militia Comapany of District II under the Command of Captain Frans Banninck Cocq,” also known as “The Shooting Company of Frans Banning Cocq and Wullem van Ruytenburch,” but is commonly referred to as “The Night Watch,” as it was commonly referred to in the C18th. It is prominently displayed in the Rijksmuseum in Amsterdam, as the best-known painting in its collection.


1642 The Company of Frans Banning Cocq and Willem van Ruytenburch, known as the ‘Night Watch’ oil on canvas 379.5 x 453.5 cm Rijksmuseum, Amsterdam

1642 The Company of Frans Banning Cocq and Willem van Ruytenburch, known as the ‘Night Watch’ detail

1642 The Company of Frans Banning Cocq and Willem van Ruytenburch, known as the ‘Night Watch’ detail

1642 The Descent from the Cross: A Sketch etching and drypoint on white laid paper 15 x 11.7 cm

1642 The Flute Player etching and drypoint on paper 11.7 x 14.4 cm

1642 The Raising of Lazarus etching on paper 15 x 11.3 cm

1642-43c Study of a Pig pen and bistre 10.2 x 14.2 cm The British Museum, London

1642-46 Rest on the Flight into Egypt: Nocturne etching and drypoint on paper 9.2 x 5.9 cm

1642-46 The Sleeping Shepherd etching and burin on paper 7.7 x 5.7 cm

1642c Saskia in Pompous Dress oil on wood 99.5 x 78.8 cm Staatliche Museen, Kassel, Germany

1642c Self-portrait wearing a Hat and two Chains oil on oak panel 72 x 54.8 cm Thyssen-Bornemisza Museum, Madrid

1642c Sheet of Studies with a Tree and Partial Head of Rembrandt in a Velvet Cap (sideways) etching on cream laid paper 7.8 x 6.7 cm

1642c Woman Wearing a Costume of Northern Holland, Seen From the Back 22 x 15 cm Teyler Museum, Haarlem

1643 Farm and Stables with a Seated Artist etching on paper 13 x 20.8 cm

1643 Saskia, the Artist's Wife oil on mahogany 75 x 60 cm Staatliche Museen, Berlin

1643 The Sow etching and drypoint on paper 14.6 x 18.5 cm

1643 The Three Trees etching and drypoint on ivory laid paper 20.9 x 28.1 cm

1643 The Toilet of Bathsheba oil on wood 57.2 x 76.2 cm Metropolitan Museum of Art, New York

1643-47 Boaz and Ruth sketch on paper 12.6 x 14.3 cm

1643-47 Christ appears to Mary Magdalene as a Gardener sketch on paper 15.4 x 14.6 cm

1643-47 Christ Carried to his Grave etching and drypoint on paper 13 x 10.8 cm

1643-47 Cottage Beside a Canal etching on cream laid paper 13.7 x 20.7 cm

1643-47 Three Orientals in Conversation sketch on paper 17.2 x 15.2 cm

1643-47 Three Women and a Child in a Doorway pen and brown ink 23.3 x 17.8 cm

1643c Christ Preaching pen and brown ink on paper 18.9 x 23 cm The Louvre, Paris

1644 The Shepherd and his Family etching and drypoint on paper 9.5 x 6.7 cm

1644 The Woman taken in Adultery oil on oak panel 83.8 x 65.4 cm The National Gallery, London

1644-48 Nude Man Seated and Another Standing, with a Woman and Baby in the Background etching on ivory laid paper 19.6 x 12.9 cm

1644-48 The Monk in the Cornfield etching and drypoint on ivory laid paper 5.1 x 6.9 cm

1644c A Woman Waiting in Bed oil on canvas 81.3 x 68 cm The National Gallery of Scotland, Edinburgh

1644c Study of a Woman Crying oil on panel 21.3 x 16.8 cm The Detroit Institute of Arts MI

1645 A Girl at a Window oil on canvas 81.8 x 66.2 cm Dulwich Picture Gallery, London

1645 Study for "A Girl at a Window" black chalk touched with white Courtauld Institute Gallery, London

1645 Abraham and Isaac etching and drypoint on paper 15.7 x 13 cm

1645 Bridge Outside Minor Kostverloren-Six's Bridge etching on paper 12.5 x 22.3 cm

1645 Joseph's Dream oil on mahogany panel 20 x 27 cm Staatliche Museen, Berlin

1645 Self-Portrait oil on oak panel 68.5 x 56.5 cm Staatliche Kunsthalle Karlsruhe, Germany

1645 The Boathouse etching and drypoint on paper 12.7 x 13.4 cm

1645 The Holy Family Sleeping, with Angels pen and brown ink on paper 17.3 x 21.2 cm Fitzwilliam Museum, Cambridge UK

1645 The Holy Family with Angels oil on canvas 117 x 91 cm The Hermitage Museum, St. Petersburg

1645 The Omval etching and drypoint on white laid paper 18.7 x 22.7 cm

1645 The Repentance of Peter etching on paper 13.1 x 11.7 cm

1645 The Rest on the Flight: Lightly Etched etching with drypoint on buff paper 13.5 x 11.7 cm

1645 Tobit and Anna with the Kid Goat oil on mahogany panel 20.8 x 28 cm Gemäldegalerie, Berlin

1645-47 Portrait of a man, presumably Dr. Ephraim Bueno oil on panel 19 x 15 cm

1645-48 House with Wooden Fence between Trees sketch on paper 17.1 x 25.5 cm

1645-48 The Mill oil on canvas 87.6 x 105.6 cm National Gallery of Art, Washington D.C.

1645-49 Jan Asselyn, Painter etching and drypoint on paper 21.6 x 16.9 cm

1645-49 Portrait of a Man with a Breastplate and Plumed Hat oil on canvas 121 x 98 cm Metropolitan Museum of Art, New York

1645-49 Portrait of a Woman oil on canvas 121 x 98 cm Metropolitan Museum of Art, New York

1645-50 Man with a Steel Gorget oil on canvas 94 x 78 cm Metropolitan Museum of Art, New York

1645c Self-Portrait 68.5 x 56.5 cm Staatliche Kusthalle, Karlstruhe

1646 A Beggar Leaning on a Stick, Facing Right etching and drypoint on paper 8 x 6.3 cm

1646 Abraham and the Three Angels oil on panel 16 x 21 cm 

1646 Jan Cornelius Sylvius, Preacher etching on ivory laid paper 27.7 x 18.8 cm

1646 Nude Man Seated before a Curtain etching on ivory laid paper 16.5 x 9.5 cm

1646 Nude Man Seated on the Ground with One Leg Extended etching on ivory laid paper 9.7 x 16.8 cm

1646 The Bedstead etching, drypoint and burin on paper 12.5 x 22.3 cm

1646 The Holy Family with a Curtain oil on panel 46.5 x 69 cm Gemäldegalerie Alte Meister, Kassel, Germany

1646 Winter Landscape oil on oak panel 17 x 23 cm Gemäldegalerie Alte Meister, Kassel, Germany

1646c A Sketch of Two Women, Each with a Baby pen and brush and brown ink with wash 16.5 x 16.7 cm Nationalmuseum, Stockholm

1647 Ephraim Bonus, Jewish Physician etching and drypoint on ivory laid paper 24 x 17.1 cm

1647 Jan Six etching and drypoint on paper 24.5 x 19.2 cm

1647 Portrait of the Painter Jan Asselyn etching and engraving on paper 19.5 x 17 cm The Hermitage, st. Petersburg

1647 Susanna and the Elders oil on mahogany panel 76.6 x 92.8 cm Gemäldegalerie, Berlin

1647 The Rest on The Flight into Egypt oil on panel 34 x 48 cm National Gallery of Ireland, Dublin

1647-(1700) Bust of Man with Skullcap (Father of Rembrandt?) etching on paper 8.3 x 7.3 cm

Rembrandt – part 11

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1648 Self Portrait Drawing at a Window etching, drypoint and engraving on buff laid paper 15.4 x 12.9 cm

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 11 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 10 also.


1647-48c The Singel in Amersfoort pen and bistre and wash 15.3 x 27.7 cm The Louvre, Paris

1647-48c The Western gate pen and bistre and wash 16.5 x 22.6 cm Teylers Museum, Haarlem

1647-49 The River Amstel Viewed from Blauwbrug reed pen and brush in brown parchment 13.2 x 23.1 cm

1647c A Seated Female Nude as Susanna 20.3 x 16.4 cm Kupperstichkabinett, Staatliche Museen, Preussischer Kulturbesitz, Berlin

1647c Farm-Buildings at the Dijk pen and bistre, washes in bistre and Indian ink 14.3 x 24.2 cm The British Museum, London

1647c Jan Six with a Dog, Standing by an Open Window 22 x 17.5 cm Six Collection, Amsterdam

1648 Beggars Receiving Alms at the Door of a House etching and drypoint on ivory laid paper 17  x 12.7 cm

1648 Medea: or the Marriage of Jason and Creusa etching and drypoint on paper 24 x 17.7 cm

1648 Portrait of a Man Holding Gloves oil on wood 80.6 x 67.3 cm Metropolitan Museum of Art, New York.

1648 St. Jerome Beside a Pollard Willow etching and drypoint on ivory laid paper 18 x 13.3 cm

1648 The Pharisees in the Temple etching and drypoint on paper 7.1 x 12.9 cm

1648 The Supper at Emmaus oil on panel 68 x 65 cm The Louvre, Paris

1648-52 Abraham sends Hagar and Ishmael Away sketch on paper 17.1 x 22.4 cm

1648-52 David Receiving the News of Uriah’s Death sketch on paper 19.5 x 29.3 cm

1648-52 Landscape with a Drinking Cow etching and drypoint on Oriental paper 10.3 x 12.8 cm

1648-52 Landscape with a Milkman etching and drypoint on Oriental paper 6.4 x 17.5 cm

1648-52 Landscape with Obelisk etching and drypoint on paper 8.3 x 16.1 cm

1648-52 The Angel Appears to Joseph in a Dream sketch on paper 18.7 x 18.8 cm

1648-52 The Proclamation to the Shepherds sketch on paper 21.9 x 18 cm

1648-52 Winter Scene with a Canal, Houses and Two Boats sketch on paper 10.4 x 18 cm

1648-55c The Agony in the Garden pen and brown ink and brown wash on paper 19.6 x 19 cm Fitzwilliam Museum, Cambridge UK

1648-56c Head of Christ oil on panel 25.5 x 20.1 cm Private Collection

1648c Portrait of a Man Reading oil on canvas 66.5 x 58 cm The Sterling and Francine Clark Art Institute, Williamstown MA

1649 Bust of Bald-Headed Man in a Fur Coat etching on paper 7 x 6 cm

1649 The Hundred Guilder Print

1646-50c Studies for the Sick Woman on the Hundred Guilder Print work on paper 10.1 x 12.2 cm

1649 The Hundred Guilder Print etching and drypoint on tan Japanese paper 27.9 x 39.3 cm

1649-50 Fragment cut from the plate of "The Hundred Guilder" print etching, drypoint and burin on paper 14.1 x 7.5 cm

1649-50 Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 5.4 x 7.4 cm

1649-50 Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 19 x 12.2 cm

1649-50c Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 27.7 x 18.9 cm cm
*      *      *

1649-50c Tobias, Frightened by the Fish pen and bistre 20.6 x 28.9 cm Kobberstiksamling, Copenhagen

1649-53 Epiphany: a Night Piece etching and drypoint on paper 9.4 x 14.2 cm

1649-53 View of Some Houses with Trees and a Tower etching and drypoint on paper 12.2 x 32 cm

1650 Canal with a Large Boat and Bridge etching and drypoint on ivory laid paper 8.3 x 10.9 cm

1650 Landscape with a Square Tower etching and drypoint on off-white laid paper 8.8 x 15.6 cm

1650 Portrait of a Man in Military Costume (attributed to) oil on panel 128 x 103.8 cm Fitzwilliam Museum, Cambridge UK

1650 The Shell


Collecting exotic shells was a popular hobby in the 17th century, and it excited Rembrandt’s interest too. He had a small natural history collection of his own, including this marbled cone shell; it is similar in shape to the Conus Cervus, a ‘Deer’ cone. He rendered the form and markings of the shell with meticulous care on the copperplate. Note that the shell appears in mirror image.


1650 The Shell (Conus Marmoreus) etching, drypoint and burin on paper 9.7 x 12.9 cm

1650 Water with Fishermen and Two Swans- The Angler etching and drypoint on paper 8.2 x 10.8 cm

1650-52 (Hostel) in the Bend of a River pen in black and brown and brush in grey on light brown paper 14.1 x 20 cm

1650-52 Daniel in the Lion's Den sketch on paper 22.2 x 18.4 cm

1650-52 Joseph in Prison Explains the Dreams of the Butler and the Baker sketch on paper 15.7 x 18.9 cm

1650-52 Susanna and the Elders pen in brown ink on white (oxidized) and subsequent brush in grey 20.1 x 18.8 cm

1650-52 The Bullock etching on paper 7.6 x 10.5 cm

1650-52 Tobias and the Angel say Goodbye to Raquel sketch on paper 19.4 x 27.3 cm

1650-52c A Farm on the Amsteldijk brown ink, brown wash and white gouache on cream antique laid paper 10.9 x 22.1 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1650-52c Head of Christ oil on wood 25 x 21.5 cm Staatliche Museen, Berlin

1650-52c Lion Resting, Turned to the Left 13.8 x 20.4 cm The Louvre, Paris

1650-59 Lying Lion sketch on paper 14.1 x 20.4 cm

1650-53c Cottage Beside a Canal pen and brown ink with touches of brush and brown wash on cream laid paper 14.9 x 24.8 cm Art Institute of Chicago IL

1650-54 Christ Preaching ("La Petite Tombe") etching, burin and drypoint on ivory laid paper 15.5 x 20.7 cm

1650-54 Landscape with a Road beside a Ditch drypoint on Oriental paper 7.8 x 20.9 cm

1650-54 Peasant Family on the Tramp etching on ivory laid paper 11.4 x 9.3 cm

1650-54 The Adoration of the Shepherds: A Night Piece etching on paper 14.9 x 19.5 cm

1650-55 Christ Heals a Leper sketch on paper 14.7 x 17.7 cm

1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret  (1654-56 Portrait of Hendrickje Stoffels), (1656c Portrait of Hendrickje Stoffels)


Hendrickje Stoffels entered Rembrandt's household as a housekeeper and dry nurse to his son Titus in 1649, seven years after the death of his wife Saskia. Hendrickje became Rembrandt's mistress, and in 1654 she gave birth to their daughter Cornelia. Hendrickje died in 1663.
There is no documented portrait of Hendrickje Stoffels, and the identification of the sitter in this painting is largely based on the knowledge of the sitter's relationship with the artist, and the informality and affection with which she is represented. Her hair is decorated with jewels and she is shown wearing a fur wrap, with pearl earrings and a chain around her neck.
The free brushwork, particularly in Hendrickje's wrap, has led to suggestions that the painting is unfinished. Yet given that the painting is signed, it is likely that Rembrandt himself considered it finished. The meticulous execution of the subject's face, giving it greater emphasis, is a technique found in many of Rembrandt's portraits.


1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret oil on canvas 74 x 61 cm The Louvre, Paris

1650-55 The Dream of St Joseph oil on canvas105 x 83 cm Szépmûvészeti Múzeum, Budapest

1650-55 The Tower Swijgh Utrecht to Amsterdam sketch on paper 16.6 x 23.5 cm

1650-55c The Mocking of Christ pen and brown ink on paper 18.1 x 24.6 cm The J. Paul Getty Museum, Los Angeles CA

1650-66 Self-Portrait in Cloak with Flat Collar etching and engraving on paper 8.5 x 7.1 cm

1650c A Haystack near a Farm 12.8 x 20 cm Chatsworth, Derbyshire UK

1650c A Sailing Boat on a Wide Expanse of Water pen and brown ink and brown wash on tinted paper 8.9 x 18.3 cm The J. Paul Getty Museum, Los Angeles CA

1650c A Wooded Road pen and brown ink and brown  wash on paper 15.9 x 20.2 cm The J. Paul Getty Museum, Los Angeles CA

1650c Christ and the Canaanite Woman pen and brown ink and brown wash, corrections in white gouache on paper 20 x 27.9 cm The J. Paul Getty Museum, Los Angeles CA

1650c Farmhouse Beneath Trees, with a Footbridge reed pen and brown ink, grey wash and white highlighting on paper 15.7 x 18.1 cm Fitzwilliam Museum, Cambridge UK

1650c Landscape with a Cow Drinking etching and drypoint on ivory laid paper 10.2 x 12.9 cm

1650c Landscape with Three Gabled Cottages beside a Road etching and drypoint on off-white laid paper

1650c Man in a Golden Helmet oil on canvas 67.5 x 50.7 cm Staatliche Museen, Berlin

1650c The Mill oil on canvas 87.5 x 105.5 cm National Gallery of Art, Washington D.C.

1650c View of Houtewaal 12.5 x 18.2 cm Chatsworth, Derbyshire UK

1650s Drawing from the Nude Model in Rembrandt's Studio pen and brush in a brown wash over a chalk drawing 18 x 26.6 cm Hessisches Landesmuseum, Darmstadt, Germany

Rembrandt – part 12

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1652 Self-Portrait oil on canvas 112 x 81.5 cm Kunsthistorisches Museum, Vienna

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 12 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 11 also.


1650s Man in a Red Cloak oil on wood 38 x 31 cm Metropolitan Museum of Art, New York

1650s Man in Armour oil on canvas 102 x 91 cm Metropolitan Museum of Art, New York

1650s mid Portrait of Hendrickje Stoffels oil on canvas 78.4 x 68.9 cm The Metropolitan Museum of Art, New York

1651 Bathers etching on Oriental paper 10.9 x 13.5 cm

1651 Noli me Tangere oil on canvas 65 x 79 cm Herzog Anton Ulrich-Museum, Braunschweig, Germany

1651 Portrait of an Old Man oil on canvas 79 x 76 cm Chatsworth House, Derbyshire UK

1651 Study Sheet with Self-Portrait etching on paper 11.2 x 9.2 cm

1651 The Blindness of Tobit etching and drypoint on ivory laid paper 16 x 12.9 cm

1651 The Goldweigher's Field etching and drypoint on ivory Japanese paper 11.9 x 32.1 cm

1651 The Kitchen Maid oil on canvas 78 x 64 cm Nationalmuseum, Stockholm

1651 The Print Vendor Clement de Jonghe etching on paper 20.7 x 16.1 cm

1651-55 Landscape with Shepherd and Dog etching and drypoint on paper 12.9 x 15.7 cm

1651-55 St. Jerome Reading in an Italian Landscape etching, drypoint and burin on paper 26 x 20.9 cm

1651-55 The Flight into Egypt etching, burin, and drypoint on ivory laid paper 21.3 x 28.5 cm

1651c Landscape with the House with the Little Tower pen and brown ink and brown wash on paper 9.7 x 21.5 cm The J. Paul Getty Museum, Los Angeles CA

1651c The Spanish Gypsy 'Preciosa' etching on off-white laid paper 13.5 x 11.4 cm

1652 Christ Disputing with the Doctors etching and drypoint on cream laid paper 12.1 x 21.5 cm

1652 Christ Disputing with the Doctors etching and drypoint on cream laid paper 12.1 x 21.5 cm

1652 David in Prayer etching and drypoint on paper 14.3 x 9.5 cm

1652 Home Nestled Among Trees drypoint on paper 12.4 x 21 cm

1652 Landscape with Hay barn and Flock of Sheep etching and drypoint on ivory paper 8.3 x 17.4 cm

1652 Portrait of a Man oil on canvas 94 x 74.9 cm Faringdon Collection, Oxfordshire UK

1652 Portrait of Nicolaes Bruyningh oil on canvas 107.5 x 91.5 cm Staatliche Museen, Kassel, Germany

1652-54 Portrait of an Old Man in Red oil on canvas 108 x 86 cm The Hermitage, St. Petersburg

1652-56 The Adoration of the Shepherds etching and drypoint on paper 10.5 x 13 cm

1652-56 The Entombment etching, drypoint and burin on paper 21.1 x 16.1 cm

1652-56 The Presentation in the Temple etching and drypoint on paper 20.9 x 16 cm

1652-57 Kostverloren Castle in Decay pen and brown ink, with brush and wash on cream laid paper 10.9 x 17.5 cm

1652c Faust etching, drypoint and engraving on ivory Japanese paper 20.9 x 16.1 cm

1652c Portrait of a Man brown ink, brown wash, black chalk, white gouache, and scratchwork on off-white antique laid paper 18.6 x 15.8 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1652c St. Jerome Reading in a Landscape 25 x 20.7 cm Kunsthalle, Hamburg

1653 Aristotle with a Bust of Homer oil on canvas 143.5 x 136.5 cm Metropolitan Museum of Art, New York

1653 Christ Crucified between Two Thieves (The Three Crosses) drypoint and burin on ivory laid paper 38.5 x 45.4 cm

1653-55c Titus oil on canvas 77 x 63 cm Museum Boijmans Van Beuningen, Rotterdam

1653-57 The Proclamation to the Shepherds sketch on paper 18.9 x 28 cm

1653-57 Thomas Haringh/ Old Haringh etching, drypoint and burin on paper 19.6 x 14.8 cm

1653-57c Jacob shown the Bloodstained Coat of Joseph pen and brown ink and brown wash on paper 16.4 x 22.1 cm Fitzwilliam Museum, Cambridge UK

1654 A Woman Bathing oil on oak panel 61.8 x 47 cm The National Gallery, London

1654 Bathsheba with David’s Letter oil on canvas 142 x 142 cm The Louvre, Paris

1654 Christ at Emmaus etching on paper 20.8 x 15.9 cm

1654 Christ Returning from the Temple with Joseph and Mary etching and drypoint on ivory laid paper 9.4 x 14.4 cm

1654 Christ Seated Disputing with the Doctors etching on paper 9.4 x 14.5 cm

1654 Portrait of an Old Jew oil on canvas 109 x 85 cm The Hermitage Museum, St. Petersburg

1654 Portrait of an Old Woman oil on canvas 109 x 84 cm The Hermitage, St. Petersburg

1654 Portrait of Jan Six oil on canvas 112 x 102 cm Six-Foundation, Amsterdam

1654 Self-Portrait oil on canvas 72 x 58.5 cm Staaliche Kunstsammlungen Kassel

1654 The Circumcision in the Stable etching on ivory laid paper 9.6 x 14.5 cm

1654 The Descent from the Cross by Torchlight etching and drypoint on off-white laid paper 20.8 x 16.1 cm

1654 The Flight into Egypt; Crossing a Brook etching and drypoint on ivory laid paper 9.4 x 14.4 cm

1654 The Golf Player etching on ivory laid paper 9.5 x 14.3 cm

1654 The Standard Bearer (Floris Soop) oil on canvas 140.3 x 114.9 cm Metropolitan Museum of Art, New York

1654 The Virgin and Child with the Cat and Snake etching on cream Japanese paper 9.1 x 14.2 cm

1654 Young Woman Trying Earrings oil on panel 39.5 x 32.5 cm The Hermitage Museum, St. Petersburg

1654-56 Nude Woman Seated on a Stool pen and brown ink and brown wash on ivory laid paper 21.2 x 17.4 cm

1654-56 Portrait of Hendrickje Stoffels oil on canvas 101.9 x 83.7 cm The National Gallery, London

1654-56c Shah Jahan and Dara Shikoh pen and brown ink and brown wash, heightened with white gouache on Japanese paper 21.3 x 17.8 cm The J. Paul Getty Museum, Los Angeles CA

1654-58 Portrait of Arnold Tholinx


Arnold Tholinx, a well-known physician in Amsterdam, was a brother-in-law of Jan Six, a friend of Rembrandt’s. That is perhaps how the artist came to be commissioned to make this portrait. It is executed with a confident, yet meticulous hand as an etching with drypoint, and it emphasises Tholinx’s scholarship: he is seated at a table, looking up from his books, still holding his reading glasses.


1654-58 Portrait of Arnold Tholinx etching, drypoint and burin on paper 19.7 x 14.8 cm

1654-60c A Young Woman Seated in an Armchair 16.3 x 14.3 cm The British Museum, London

1654c Flora oil on canvas 100 x 91.8 cm Metropolitan Museum of Art, New York

1654c Rembrandt's Studio with a Model pen and wash on paper 20.6 x 19.1 cm Ashmolean Museum, Oxford UK

1654c The Presentation in the Temple in the Dark Manner etching and drypoint with burin on ivory laid paper 20.9 x 16.2 cm

1655 Abraham's Sacrifice etching and drypoint on white laid paper 15.4 x 13.1 cm

1655 Christ Presented to the People (Ecce Homo) drypoint on paper Bibliothèque Nationale de France, Paris

1655 Christ Presented to the People drypoint on paper 36 x 45.5 cm

1655 Daniel's Vision of the Four Beasts etching, drypoint and burin on paper 13.4 x 8.2 cm

1655 David and Goliath etching, drypoint and burin on paper 12 x 7.6 cm

1655 Jacob's Ladder etching, drypoint and burin on paper 11 x 7.2 cm

1655 Joseph Accused by Potiphar's Wife oil on canvas 113 x 90 cm Staatliche Museen, Berlin

1655 Man in Armour oil on canvas 137.5 x 104.5 cm Kelvingrove Art Gallery and Museum, Glasgow, Scotland

1655 Pieter Haringh etching, drypoint and burin on paper 11.7 x 10.5 cm

Rembrandt – part 13

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1655c Self-Portrait with Beret oil on panel 48 x 40.6 cm Kunsthistorisches Museum, Vienna, Austria

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 13 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 12 also.


1655 Portrait of an Old Woman Reading oil on canvas Drumlanrig Castle, Thornhill, Dumfries & Galloway, Scotland

1655 Self-Portrait oil on wood 66 x 53 cm Kunsthistorixches Museum, Vienna

1655 The Goldsmith etching and drypoint on paper 7.6 x 5.6 cm

1655 The Image of the Dream of Nebuchadnezzar etching, drypoint and burin on paper 10.9 x 6.9 cm

1655 The Slaughtered Ox oil on beech panel 94 x 69 cm The Louvre, Paris

1655 Titus at his Desk (Portrait of Titus van Rijn, Rembrandt's Son) oil on canvas 77 x 63 cm Museum Boijmans Van Beuningen, Rotterdam

1655-59 Christ in the Garden of Gethsemane etching and drypoint on paper 11 x 8.4 cm

1655-59 The Apothecary Abraham Francen etching, drypoint and burin on Oriental paper 15.8 x 20.5 cm

1655-59 Walking Man with High Hat sketch on paper 14.7 x 6.2 cm

1655-60 Man in a Fur-lined Coat oil on canvas 114.9 x 88.3 cm Toledo Museum of Art OH

1655-60 Portrait of a Boy oil on canvas 64.8 x 55.9 cm The Norton Simon Foundation, Pasadena CA

1655-60 Portrait of a Man (The Auctioneer) oil on canvas 109 x 86 cm Metropolitan Museum of Art, New York

1655-60 Saul and David oil on canvas 131 x 164 cn Mauritshuis, The Hague

1655-60c Portrait of a Man oil on canvas 83.5 x 64.5 cm Metropolitan Museum of Art, New York.

1655c A Franciscan Friar oil on canvas 89 x 66.5 cm The National Gallery, London

1655c Christ and the Woman of Samaria oil on wood 64 x 49 cm Metropolitan Museum of Art, New York

1655c Christ Washing the Feet of his Disciples 15.7 x 22.1 cm Rijksmuseum, Amsterdam

1655c Self-Portrait in Studio Attire 20.3 x 13.4 cm Rembrandt Huis, Amsterdam

1655c The Polish Rider oil on canvas 116.8 x 134.9 cm The Frick Collection, New York

1655c Woman at a Window 16.5 x 12.5 cm National Museum, Stockholm

1656 Abraham Welcomes the Angels etching and drypoint on paper 15.9 x 13.1 cm

1656 Christ Appearing to the Apostles etching on paper 16.2 x 21.1 cm

1656 Jacob Blessing Ephraim and Manasseh oil on canvas 173 x 209 cm Gemäldegalerie Alte Meister, Kassel, germany

1656 The Anatomy Lesson of Dr. Jan Deijman (fragment) oil on canvas 113 x 135 cm Amsterdam Museum

1656 The Anatomy Lesson of Dr. Jan Deijman pen in grey and black 11 x 13.3 cm Amsterdam Museum

1656 The Goldsmith Jan Lutma etching, drypoint and burin on paper 19.7 x 14.8 cm

1656-57 Titus van Rijn, the Artist's Son, Reading oil on canvas 70.5 x 64 cm Kunsthistorisches Museum, Vienna

1656-58 Indian Archer pen and brush in brown ink, brush and grey-brown, light brown on Japanese paper 18.8 x 13.1 cm

1656-58 Shah Jahan and his Son pen and brush in brown on light brown Japanese paper 9.4 x 8.6 cm

1656-58 The Great Mogul Jahangir pen in brown, brush in brown, pink and light grey on Japanese paper 18.3 x 12 cm

1656-58c Study of a Youth Pulling a Rope 29 x 17.8 cm Rijksprentenkabinet, Amsterdam

1656-60 The Writer Lieven Willemsz van Coppenol etching, drypoint and burin on paper 23.2 x 19 cm

1656c Portrait of Hendrickje Stoffels oil on canvas 88.5 x 67 cm Gemäldegalerie, Berlin

1657 A Bearded Man in a Cap oil on canvas 78 x 66.7 cm The National Gallery, London

1657 Portrait of Catrina Hooghsaet oil on canvas 126 x 98 cm Penrhyn Castle, Bangor, Wales UK

1657 St. Bartholomew oil on canvas 122.7 x 99.7 cm Timken Museum of Art, San Diego CA

1657 St. Francis Kneeling in Prayer Beneath a Tree drypoint on paper 18 x 24.1 cm

1657 St. Francis Kneeling in Prayer Beneath a Tree etching and drypoint on paper 17.9 x 24.4 cm

1657-59 Jael killing Sisera sketch on paper 19.2 x 17.4 cm

1657-61c Christ with Arms Folded oil on canvas 109.2 x 90.2 cm The Hyde Collection, Glen Falls NY

1657c The Agony in the Garden etching and drypoint on cream Japanese paper 11.1 x 8.2 cm

1657c Titus, the Artist's Son oil on canvas 68.5 x 57.3 cm © The Wallace Collection, London

1658 Christ and the Woman of Samaria: An Arched Print etching and drypoint on ivory laid paper 12.5 x 15.9 cm

1658 Lieven Willemsz van Coppenol etching, drypoint and burin on paper 34.2 x 29 cm

1658c Lieven Willemsz van Coppenol oil on wood 37 x 29 cm Metropolitan Museum of Art, New York

1658 Lying Negress etching, drypoint and burin on Oriental paper 8.2 x 15.8 cm

1658 Nude Woman with a Hat Beside Her etching and drypoint on Oriental paper 15.5 x 12.8 cm

1658 Philemon and Baucis oil on panel 54.5 x 68 cm National Gallery of Art, Washington D.C.

1658 Self-Portrait oil on canvas 133.7 x 103.8 cm Frick Collection, New York NY

1658 The Phoenix and the Toppled Statue etching and drypoint on paper 18 x 18.3 cm

1658 Woman Bathing Her Feet etching on buff paper 15.9 x 7.9 cm

1658 Woman with Naked Torso by a Stove etching, drypoint and burin on Oriental paper 22.7 x 18.7 cm

1658-60 Portrait of a Gentleman with a Tall Hat and Gloves oil on canvas 99.5 x 82.5 cm National Gallery of Art, Washington D.C.

1658-60 Portrait of a Lady with an Ostrich-Feather Fan oil on canvas 99.5 x 83 cm  National Gallery of Art, Washington D.C.

1659 Christ and the Woman of Samaria oil on oak 48 x 41 cm Staatliche Museen, Berlin

1659 Jupiter and Antiope etching, drypoint, and burin on off-white paper 14 x 20.6 cm

1659 Moses Smashing the Tablets of the Law oil on canvas 168.5 x 136.5 cm Gemäldegalerie, Berlin

1659 Peter and John Healing the Cripple at the Gate of the Temple etching, burin, and drypoint on ivory laid paper 18.1 x 21.8 cm

1659 Self-Portrait with Beret and Turned-Up Collar oil on canvas 84.5 x 66 cm National Gallery of Art, Washington D.C.

1659 Study of an Old Man with a Beard oil on panel 38.1 x 26.8 cm Collection Daniel and Linda Bader, Milwaukee

1659 Tobit and his Wife (attributed to) oil on panel 40.3 x 54 cm Museum Boijmans Van Beuningen, Rotterdam

1659c Jacob Wrestling with the Angel oil on canvas 137 x 116 cm Gemäldegalerie, Berlin

1659c Self-Portrait (attributed to) oil on canvas 68 x 56.5 cm Staatsgalerie, Stuttgart

1659c Self-Portrait oil on panel 30.7 x 24.3 cm Musée Granet, Aix-en-Provence

1659c Self-Portrait with Beret and Turned-up Collar oil on canvas 52.7 x 42.7 cm Scottish National Gallery, Edinburgh

1660 Ahasuerus and Haman at the Feast of Esther oil on canvas 73 x 94 cm Pushkin Museum of Fine Arts, Moscow

1660 Noah's Ark reed pen and brown ink, brush and brown wash on buff laid paper 19.9 x 24.4 cm Art Institute of Chicago IL

1660 Rembrandt's Son Titus as a Monk oil on canvas 79.5 x 67.7 cm Rijksmuseum, Amsterdam

1660 Self Portrait oil on canvas 80.3 x 67.3 cm Metropolitan Museum of Art, New York

1660 Self-Portrait at the Easel oil on canvas 111 x 85 cm Louvre Museum, Paris


Rembrandt – part 14

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1661 Self-Portrait as the Apostle St. Paul oil on canvas 91 x 77 cm Rijksmuseum, Amsterdam

Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 14 (final part) of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 13 also.


1660 The Denial of St Peter oil on canvas 154 x 169 cm

1660-62 Pilate Washing His Hands oil on canvas 130 x 167 cm Metropolitan Museum of art, New York

1660-64 The Amstelveense Road Outside Amsterdam pen and brush in brown on light brown cartridge paper 13.5 x 20.4 cm

1660-64c Lion Resting pen in brown on brown paper 12.2 x 21.2 cm

1660-70 The Good Samaritan pen and brown ink with brush and brown wash on paper 19.2 x 24.2 cm Art Institute of Chicago IL

1660c Portrait of a Young Man Seated at a Table oil on canvas 109.9 x 89.5 cm National Gallery of Art, Washington D.C.

1660c Seated Female Nude 21.1 x 17.4 cm Art Institute of Chicago IL

early 1660s Man with a Magnifying Glass oil on canvas 91.4 x 74.3 cm Metropolitan Museum of Art, New York

early 1660s Woman with a Pink oil on canvas 92.1 x 74.6 cm Metropolitan Museum of Art, New York

1661 Christ Resurrected oil on canvas 78.5 x 63 cm Alte Pinakothek, Munich

1661 Christ with a Pilgrim's Staff oil on canvas 95.3 x 82.6 cm The Metropolitan Museum of Art, New York

1661 Man with a Falcon on his Wrist oil on canvas 138 x 119 cm Gothenburg Museum of Art, Sweden

1661 Monk Reading oil on canvas 82 x 66 cm Finnish National Gallery, Helsinki

1661 Naked Woman Sitting on a Bed with a Curtain Cord in her Hand etching, drypoint and burin on paper 20.3 x 12.3 cm

1661 Portrait of a Bearded Man oil on canvas 71 x 61 cm The Hermitage, St. Petersburg

1661 Portrait of Jacob Trip oil on canvas 130.5 x 97 cm The National gallery, London

1661 Saint James the Greater oil on canvas 91.1 x 74.9 cm

1661 St. Bartholomew oil on canvas 86.7 x 75.6 cm The J. Paul Getty Museum, Los Angeles CA

1661 The Apostle Simon oil on canvas 98.3 x 79 cm Kunsthaus Zürich

1661 The Conspiracy of Julius Civilis 19.6 x 18 cm Staaliche Graphihische Sammlung, Munich

1661 The Evangelist Matthew and the Angel oil on canvas 96 x 81 cm Louvre-Lens, Pas-de-Calais, France

1661 The Virgin of Sorrows oil on canvas 107 x 81 cm Musée Départemental d'art Ancien et Contemporain, Epinal, France

1661 Two Young Africans oil on canvas 77.8 x 64.4 cm Mauritshuis, The Hague, Netherlands

1661-58 Naked Woman Lying on a Pillow sketch on paper 13.6 x 28.3 cm Rijksmuseum, Amsterdam

1661-62 Seated Female Nude pen and brush in brown, black chalk and white paint on ledger paper 29.2 x 17.5 cm

1661-62 Seated Steel Master Jacob van Loon pen and brush in brown and white paint on ledger paper 19.5 x 16 cm

1661-62 The Conspiracy of the Batavians under Claudius Civilis


One of the painters commissioned to make a ‘Batavian’ painting for the new Amsterdam town hall, Rembrandt chose the moment of the oath of the Batavians in the sacred grove, as described by Tacitus, Histories IV, 14. Civilis, with crown and sword, is the main protagonist of the composition. Unlike his fellow painters, Rembrandt decided to depict Civilis with one blind eye, as some of the sources had described his appearance. In 1662 it was reportedly on display at the town hall, but shortly afterwards, it was removed from the building. The painting, originally measuring more than 5 by 5 metres, was reduced to about 2 by 3 metres, which incidentally makes Civilis’s blind eye more clearly visible.


1661-62 The Conspiracy of the Batavians under Claudius Civilis oil on canvas 196 x 309 cm Nationalmuseum, Stockholm

1661c Portrait of Margaretha de Geer oil on canvas 130.5 x 97 cm The National Gallery, London

1662 The Wardens of the Amsterdam Drapers’ Guild, Known as ‘The Syndics’ oil on canvas 1915 x 279 cm

1662-64c Self-Portrait as Zeuxis Laughing oil on canvas 82.5 x 65 cm Wallraf-Richartz-Museum, Cologne

1662-65 Juno oil on canvas 127 x 107.5 cm Hammer Museum, Los Angeles CA

1662c Portrait of a Woman with a Lapdog oil on canvas 81 x 64 cm Art Gallery of Ontario, Toronto

1663 A Young Man

Fragments of a signature and date were found during cleaning in 1949-53, but such possible traces as have since been discovered (lower left) do not seem convincing. The traditional attribution to Rembrandt was rejected by Richter in 1880, but reinstated by Valentiner and has now been widely, though not universally, accepted. Doubts have recently been expressed by Tümpel. The identification of the sitter as Rembrandt's son, Titus (proposed by Valentiner in 1909) is not generally accepted.


1663 A Young Man (attributed to) oil on canvas 73 x 60 cm Dulwich Picture Gallery, London

1663 Bust of a Young Jew oil on canvas 65.8 x 57.5 cm Kimbell Art Museum, Fort Worth TX

1663 Homer


The only surviving painting from a series of seven by Rembrandt, Guercino, Matia Preti, Salvator Rosa, and Giacinto Brandi. Parts were removed from all four sides as a result of fire damage, following an earthquake that struck Antonio Ruffo's palace in Messina in 1783. Only two fingers remained of the pupils that were present in the complete painting.


1663 Homer oil on canvas 107 x 82 cm Mauritshuis, The Hague, Netherlands

1663 Portrait of Frederick Rihel on Horseback oil on canvas 294.5 x 241 cm The National Gallery, London

1663c Portrait of a Man, Seated oil on canvas 121.3 x 94 cm National Gallery of Art, Washinton D.C.

1664 Lucretia oil on canvas 120 x 101 cm National Gallery of Art, Washington D.C.

1664-65 Pallas Athena or, Armoured Figure (attributed to) oil on canvas 118 x 91 cm Museu Calouste Gulbenkian, Lisbon, Portugal

1665 David and Uriah oil on canvas 127 x 117 cm The Hermitage, St. Petersburg

1665 Jan Antonides van der Linden etching, drypoint and burin on paper 17.3 x 10.5 cm

1665 Portrait of an Old Man oil on canvas 104 x 86 cm Uffizi Gallery, Florence

1665 Portrait of Gérard de Lairesse oil on canvas 112.7 x 87.6 cm Metropolitan Museum of Art, New York

1665-69 Self-Portrait with Two Circles oil on canvas 114.3 x 94 cm Kenwood House, London

1665c Portrait of a Lady with a Lap Dog oil on canvas 81.3 x 64.1 cm Art Gallery of Ontario, Toronto

1665c The Jewish Bride oil on canvas 121.5 x 166.5 cm Rijksmuseum, Amsterdam

1665c The Jewish Bride (detail)

1666 Lucretia oil on canvas 110.2 x 92.3 cm Minneapolis Institute of Arts MN

1666 Portrait of Jeremias de Decker oil on panel 71 x 56 cm The Hermitage, St. Petersburg

1666 Young Man in a Black Beret oil on canvas 81.6 x 64.4 cm Nelson-Atkins Museum of Art, Kansas City MO

1666-69 The Return of the Prodigal Son oil on canvas 262 x 205 cm The Hermitage, St. Petersburg

1667 Portrait of a White-Haired Man oil on canvas 108.9 x 92.7 cm National Gallery of Victoria, Australia

1667 Portrait of an Elderly Man oil on canvas 81.9 x 67.7 cm Mauritshuis, The Hague, Netherlands

1668c Family Portrait oil on canvas 126 x 167 cm Herzog Anton Ulrich Museum, Braunschweig, Germany

1668c Portrait of a Young Woman (Magdalena van Loo?) oil on canvas 56.3 x 48 cm Montreal Museum of Fine Arts, Canada

1669 Self Portrait oil on canvas 86 x 70.5 cm National Gallery, London

1669 Self-Portrait oil on canvas 65.4 x 60.2 cm The Mauritshuis, The Hague, Netherlands

1669 Self-Portrait oil on canvas 85 x 61 cm Gallerie degli Uffizi, Florence

1669 Simeon with the Infant Jesus in the Temple oil on canvas 98 x 79 cm Nationalmuseum, Stockholm

1675-(1725) The Press etching on paper 9.8 x 7 cm

1677-90 The Rat Poison Seller etching and engraving on paper 14.2 x 12.3 cm

n.d Old Man Seated in an Armchair Teylers Museum, Haarlem

n.d. Man Crying Out, Three-Quarters Left etching on paper 4 x 3.4 cm

n.d. The Adoration of the Shepherds pen and brown ink on paper 10 x 8.4 cm Fitzwilliam Museum, Cambridge UK

n.d. The Star of Kings. The British Museum, London

n.d. Three Studies of a Child and One of an Old Woman brown ink, brown wash and white gouache on white antique laid paper 21.5 x 16.1 cm Harvard Art Museums - Fogg Museum, Cambridge MA


Jaarbeurs – Dutch Posters

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The Jaarbeurs (Yearly Fair) is an exhibition and convention centre in Utrecht, the Netherlands. The first Dutch Annual Exhibition (Nederlandse Jaarbeurs) was organised by the Utrecht branch of the Vereeniging Nederlandsch Fabrikaat in 1917. This first trade fair attracted over 150,000 visitors, which was a huge number at the time. It now attracts 2.65 million visitors a year.



The posters I have selected are from between 1917 and 1956, and represent the fashions and styles of the day in graphic design and typography. There are one or two from other locations.


1917 Utrecht Fair

1918 Second Dutch Utrecht Fair

1918 Second Dutch Utrecht Fair

1922 Visit the Fair in Utrecht

1922 Visit the sixth Dutch Utrecht International Fair

1922 Utrecht Fair

1923 Utrecht Fair - Trade and Industry

1924 The 10th Utrecht Fair

c1925-30 Utrecht Fair

1927 Utrecht Fair

1929 Utrecht Spring Fair

1929 Utrecht Fair

1930 Utrecht Fair. Poster by Henri Pieck

1930 Utrecht Fair. Poster by Henri Pieck

1932 Utrecht Fair. Poster by Agnaes Canta

1932 Utrecht Fair. Poster by Henri Pieck

1932 Utrecht Fair. Poster by Henri Pieck

1932 Utrecht Fair

1933 Utrecht Fair

1934 Utrecht Fair. Poster by Henri Pieck

1934 Utrecht Fair

1936 Utrecht Agricultural Fair. Poster by Henri Pieck

1936 Utrecht Fair

1936 Utrecht Fair. Poster by Agnes Canta

1936 Utrecht Fair. Poster by Henri Pieck

1937 Utrecht Fair. Poster by Agnes Canta

1938 Utrecht Fair

1939 Utrecht Fair. Poster by G. Scheepstra

1939 Utrecht Fair. Poster by Henk Nieuwenhuijs

1939 Utrecht Fair. Poster by Steen

1941 Utrecht Fair. Poster by Agnes Canta

1941 Utrecht Fair

1946 Utrecht Fair

1946 Utrecht Fair

1947 Flanders Fair

1947 Utrecht Fair

1947 Utrecht Agricultural Fair

1948 Brussels International Fair

1948 Utrecht Agricultural Department Fair

1951 Utrecht Fair

1951 56th Utrecht International Fair

1951-52 Utrecht Agricultural Department Fair

1953 Utrecht Industrial Fair

1953 Utrecht Fair for Furniture and Home Textiles

1953 60th Utrecht International Fair

1956 (40 Years 1916 - 1956) Utrecht Fair

Blog

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Having issues with Blogger software today. Can't post without corrupting files. Will try again later.

Thank You

Poul

River Thames paintings 1650-1995 part 1

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Note: I have had technical  issues posting Part 1 of this series of posts. No less than seventeen images are missing each time I replace them or try to post. So this is a curtailed and reduced Part 1. I can't get to the bottom of the problem. 
I don't know what will happen in subsequent parts yet. Apologies.

Researching this blog over the years I realised that paintings of the River Thames in London crop up on a fairly frequent basis; I have included them in my posts on André Derain, James Abbott McNeill Whistler for instance, and Claude Monet, who painted the Thames over and again, so I will only include a few representative ones by Monet here. There are more paintings of the River Thames than I ever imagined, but as one goes through the inventory of works it becomes obvious why it's such an attractive subject. 

What has been interesting to note whilst researching these, is the changing face of the Thames - parts that are now considered central London are quite rural in the early works. You can also note certain features like the York Buildings water tower, a wooden structure that was a dominant feature of the C18th London skyline, with echoes of 'The Shard' today. The tower was 21 metres high, with an octagonal cross-section. It was erected in the late C17th on a site at the end of Villiers Street, now part of the Victoria Embankment Gardens. Another feature is Fowler's 'Horizontal' Windmill on the banks at Battersea. It was a working mill until 1825, when it was dismantled, leaving the substructure, which was used for milling as late as 1882. 

Another interesting aspect of the works is the record of London bridges - their construction, repair and renewal are widely featured. On the other hand the Tower of London and St. Paul's Cathedral sit unchanged in numerous paintings from one end of the time scale to the other.

This is part 1 of a 6 – part post on River Thames paintings:


1650 Claude de Jongh "View of Old London Bridge from the West" oil on oak panel 71 x 126 cm Victoria and Albert Museum, London

1684 Abraham Danielsz. Hondius "A Frost Fair on the Thames at Temple Stairs" oil on panel © Museum of London UK

1739 Jan Griffier "The Thames during the Great Frost of 1739" oil on canvas 47 x 65 cm Guildhall Art Gallery, London

1740 Joseph Nicholls "View of Westminster Bridge" oil on canvas 61.5 x 100.3 cm University of Greenwich, London

1742 Thomas Priest "Chelsea" oil on canvas 34.5 x 64 cm Chelsea Library, London

1743-44 Samuel Scott "View on the Thames with Westminster Bridge" oil on canvas 63.5 x 76.2 cm Yale Centre for British Art, New Haven, CT

1744 Richard Wilson "Westminster Bridge under Construction" oil on canvas 72.5 x 146 cm Tate, London

1746 Canaletto "The Thames and the City of London from Richmond House" oil on canvas 103 x 114 cm Private Collection

1746 Canaletto "The Thames with St. Paul's Cathedral" oil on canvas 118 x 238 cm Private Collection

1746 Canaletto "Westminster Bridge from the north on Lord Mayor's Day" oil on canvas

1746 Samuel Scott "The Thames at Westminster Bridge with Barges" oil on canvas 100 x 190 cm Private Collection

1746c Canaletto "The River Thames with St. Paul's Cathedral on Lord Mayor's Day" oil on canvas 26.8 x 37.6 cm The Lobkowicz Collections, Prague Castle, Czech Republic

1747 Canaletto "London seen through an arch of Westminster Bridge" oil on canvas 57 x 95 cm Syon House, Middlesex UK

1749 Canaletto "Westminster Bridge under Repair" ink on paper 27.1 x 37.2 cm Royal Collection, Windsor UK

1750-52c Canaletto "A View of Greenwich from the River" oil on canvas 59.1 x 94 cm Tate, London

1750-65c Samuel Scott (attributed to) "The Thames with the York Buildings Water Tower" oil on canvas 76.5 x 127 cm Walker Art Gallery, Liverpool UK

1750c Samuel Scott "An Arch of Old Westminster Bridge" oil on canvas 27 x 39.7 cm Tate, London

1750c Samuel Scott "An Arch of Westminster Bridge" oil on canvas 135.7 x 163.8 cm Tate, London

1751 Canaletto "Chelsea from the Thames at Battersea Reach" oil on canvas 85 x 105.5 cm National Trust, Blickling Hall, Norfolk UK

1752c Canaletto "Greenwich Hospital from the North Bank of the Thames" oil on canvas 68.6 x 106.7 cm National Maritime Museum, London

1753 Samuel Scott "Old London Bridge" oil on canvas 98.5 x 186.5 cm National Trust, Blickling Hall, Norfolk UK

1753c Canaletto "Greenwich Hospital from the North Bank of the Thames" oil on canvas 30.3 x 43.8 cm National Maritime Museum, London

1758c Samuel Scott "A View of Westminster Bridge and Parts Adjacent" oil on canvas 29.8 x 54 cm Tate, London

1760-70c After Samuel Scott "A View of the Thames with the York Buildings Water Tower" oil on canvas 60.3 x 109.5 cm Tate, London

1760c Samuel Scott "The Thames at Twickenham" oil on canvas 45.7 x 92.7 cm Yale Center for British Art, New Haven CT

1762 William Marlow "Blackfriars Bridge and St Paul's, London" oil on canvas 104 x 168 cm Guildhall art Gallery, London

1765-90? Style of Samuel Scott "The Thames with Westminster Bridge" oil on canvas 76.5 x 127 cm Walker Art Gallery, Liverpool UK

1769 Samuel Scott "The Pool of London" oil on canvas 47 x 60 cm Guildhall Art Gallery, London

1771 Samuel Scott "The Thames and the Tower of London" oil on canvas 101 x 193 cm Yale Centre for British Art, New Haven CT

before 1772 Samuel Scott "The Thames by the Tower of London" oil on canvas 98 x 186.5 cm National Trust, Felbrigg Hall, Norfolk UK

before 1772 Samuel Scott "View on the River Thames near the Tower of London" oil on canvas 49.6 x 90.4 cm Approx. Sir John Soane's Museum, London

1772 before Samuel Scott "The Thames; The Strand Shore and Westminster Bridge" oil on canvas Victoria and Albert Museum, London

1774c William Marlow "Blackfriars Bridge and St Paul's, London" oil on canvas 99 x 122 cm Guildhall Art Gallery, London

1775c William Marlow "View on the Thames" oil on canvas 49.2 x 78.7 cm Tate, London

1780-84c Francis Holman "A Dockyard at Wapping" oil on canvas 78.7 x 127 cm Tate, London

1780c William Marlow "The Thames at Richmond" oil on canvas 61 x 102 cm Government Art Collection

1785-90 (British School) "The Thames at Millbank" oil on canvas 55.6 x 85.6 cm Museum of London UK

before 1788 Herbert Pugh "London Bridge from The Old Swan" oil on canvas 98 x 123 cm Bank of England Museum, London

1790c Daniel Turner "View of St Paul’s from the Thames" oil on canvas 59.1 x 74.9 cm Tate, London

1791-1810 Daniel Turner "The Tower of London from the River" oil on panel 29.4 x 40.9 cm Museum of London UK

1794c J.M.W. Turner "Old London Bridge" graphite and watercolour on paper Tate, London

1795-1802 John William Edge "St Paul's Cathedral across the Thames, London" oil on wood 17.4 x 32.4 cm Museum of London UK

1796c J.M.W. Turner "Westminster Bridge and Abbey from the North East" graphite and watercolour on paper 13.2 x 20.6 cm Tate, London

1800 Daniel Turner "Westminster Bridge and Abbey" oil on canvas 34 x 48.5 cm Government Art Collection UK

1800c Daniel Turner "Southwark Bridge" oil 36.8 x 54 cm The National Trust for Scotland, Hill of Tarvit Mansionhouse & Garden UK

1801-10 Daniel Turner "Blackfriars Bridge and St Paul's from the Bridge" oil on panel 15.8 x 23 cm Museum of London UK

1805 J.M.W. Turner The River Thames and Kew Bridge graphite and watercolour 25.6 x 36.4 cm Tate, London

River Thames paintings 1650-1995 part 2

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This is part 2 of a 6 – part post on River Thames paintings from 1650 to 1995. For a little background information to the series, and for earlier works, see part 1 also.

Note: Again 16 images have refused to upload on this post, and have had to be deleted, so this again, a diminished part 2.


1806 Daniel Turner "The Adelphi and St Paul's" oil on panel Museum of London UK

1807 Daniel Turner "Nelson's Funeral Procession on the Thames, 9 January 1806" oil on canvas 58.4 x 106.6 cm National Maritime Museum, London

1812 Robert Burford "View of Chelsea Hospital from the South Bank at Battersea" 52 x 76.5 cm Government Art Collection UK

before 1813 William Marlow "A View of Westminster Abbey and Old Westminster Bridge from the Surrey Shore" oil on panel 70 x 91.5 cm National Trust, Dorneywood UK

before 1816 James M. Burnet "Old Chelsea Bridge" oil on panel Aberdeen Art Gallery & Museums, Scotland UK

exhibited 1816 James Burnet "View on the Thames" oil on mahogany 37 x 50.7 cm Tate, London

before 1817 Daniel Turner "The Thames at London Bridge" oil on canvas 55 x 100 cm Bank of England Museum, London

1820c John Constable "Waterloo Bridge from the Left Bank of the Thames" oil on paper on canvas 22.3 x 32.7 cm Royal Academy of Arts, London

1820s William Anderson "Shipping on the Thames off Deptford" oil on panel 31.8 x 43.2 cm National Maritime Museum, London

1822 after William Anderson "The Return of George IV to Greenwich from Scotland" oil on canvas 76 x 106.7 cm National Maritime Museum, London

before 1825 John Thomas Serres "The Pool of London by Night" oil on canvas 43.5 x 58.5 cm National Trust, Anglesey Abbey, Cambs. UK

before 1825 John Thomas Serres "View on the Thames at Deptford Dockyard" oil on canvas 79 x x 134 cm Government Art Collection UK

1825 John Thomas Serres "The Thames with St Paul's Cathedral, London" oil on canvas 44 x 58.5 cm National Trust, Anglesey Abbey, Cambs. UK

1827 William Westall "Westminster Bridge" lithograph Government Art Collection UK

1828 William Westall "Waterloo Bridge" coloured aquatint by Richard Gilson Reeve Government Art Collection UK

1828 William Westall "Westminster Bridge" coloured aquatint by Richard Gilson Reeve 21.5 x 19.5 cm Government Art Collection UK

1828c Daniel Turner "Hammersmith Bridge" oil on canvas 19 x 24.2 cm Hammersmith and Fulham Archives and Local History Centre.London


1830-35c J.M.W. Turner "The Thames above Waterloo Bridge" oil on canvas 90.5 x 121 cm Tate, London

1831 Thomas Creswick "View of Putney Bridge" oil on canvas 46 x 68 cm National Trust, Tyntesfield, Bristol UK

1834 Thomas Creswick "View of the Thames at Battersea" oil on canvas 31.8 x 55.3 cm Birmingham Museums Trust UK

1835c (British School) "Shipping on the Thames by Greenwich Hospital" oil on slate 48.5 x 63.5 cm National Maritime Museum, London

before 1837 William Anderson "Merchant ships and Indiamen lying off the Isle of Dogs with smaller vessels in the river and Greenwich Hospital on the Opposite Bank" oil on canvas 50 x 73 cm Private Collection

before 1837 William Anderson "View on the Thames at Greenwich" oil on canvas 85.5 x 112.5 cm Government Art Collection UK

before 1837 William Anderson oil on canvas 35 x 47 cm Museum of London UK

before 1840 George Chambers (attributed to) "On the Thames at Greenwich" oil on canvas 76.2 x 124.5 cm Fylde Borough Council, The Public Offices UK

before 1844 Daniel Turner "London Bridge and St Paul's Cathedral, London" oil on panel 11 x 14 cm National Trust, Anglesey Abbey, Cambridgeshire UK

before 1844 Daniel Turner "London Bridge during the Frost of 1795–1796" oil on panel 23 x 33 cm Guildhall Art Gallery, London

before 1844 Daniel Turner "The Adelphi and St Paul's" oil on panel 14.5 x 23.5 cm Government Art Collection UK

before 1844 Daniel Turner "Westminster Bridge" oil on canvas 84 x 130 cm Government Art Collection UK

before 1844 Daniel Turner "Westminster Bridge" oil on wood 20.3 x 30.5 cm Tate, London


before 1844 Sebastian Pether "The Thames at Greenwich" oil on canvas 94 x 167 cm Sunderland Museum & Winter Gardens, Tyne and Wear UK

1844c George Chambers "The Houses of Parliament" oil on canvas 21 x 41 cm Wisbech and Fenland Museum, Cambs. UK

1845 James Holland "Opening of Old Hungerford Bridge" oil on canvas 50 x 80 cm City of Westminster Archives Centre, London

1845-62 Henry Pether "Westminster in the Moonlight" oil on canvas 62.2 x 91.5 cm Harris Museum and Art Gallery UK

1850c Henry Pether "Chelsea by Moonlight" oil on canvas 33 x 48 cm Kensington Town Hall, Mayor's Parlour, London

1852 Henry Dawson "View on the Thames Looking towards St Paul's, London" oil on canvas 120 x 181 cm Museums Sheffield UK

1852 Henry Pether "Lambeth Palace by Moonlight" oil on canvas 69 x 89.5 cm

1852 Henry Pether "Westminster from the Horse-Ferry Quay by Moonlight" oil on canvas 59.5 x 90 cm National Trust, Dorneywood UK

1854-65c Henry Pether "The Thames and Greenwich Hospital by Moonlight" oil on canvas 61 x 91.5 cm National Maritime Museum, London

1855 Joshua Taylor "The Frozen Thames Taken from the Site of Siemens Factory" oil on canvas 40.6 x 50.8 cm

1857 Henry Dawson "The New Palace of Westminster" oil on canvas 180.4 x 271.8 cm Palace of Westminster

1857c Henry Pether "Westminster" oil on canvas 82 x 112.5 cm Palace of Westminster, London

1858 Samuel Bough "The Thames at Westminster" oil on canvas 86 x 148.3 cm St Hilda's College, University of Oxford UK

1859 James Abbott McNeill Whistler "Brown and Silver - Old Battersea Bridge" oil on canvas 76.2 x 63.5 cm

1859 James Abbott McNeill Whistler "Old Hungerford Bridge" etching19.7 x 20.3 cm

1859 James Francis Danby "View of Westminster Bridge and the Houses of Parliament with a Hay Barge" oil on canvas Palace of Westminster, London

1860 James Abbott McNeill Whistler "Rotherhithe" etching 19.9 x 27.5 cm Freer Gallery of Art, Washington D.C.

1860 James Abbott McNeill Whistler "The Thames in Ice" oil on canvas 55.3 x 74.6 cm

River Thames paintings 1650-1995 part 3

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Apologies, the misery of getting this post published goes on, another 14 images refusing to upload. More drop off each time I update it. There may still be some blank spaces here.

This is part 3 of a 6 – part post on River Thames paintings from 1650 to 1995. For a little background information to the series see part 1 also. For earlier works see part 1 and 2.


1860 John Anderson "The Building of Westminster Bridge" oil on canvas 78.7 x 58.4 cm Palace of Westminster, London

1860-64 James Abbott McNeill Whistler "Wapping" oil on canvas 71.1 x 101.6 cm © National Gallery of Art, Washington D.C.

1860c David Roberts "Greenwich Hospital from the Thames" oil on canvas 28 x 60.9 cm National Maritime Museum, London

1862 David Roberts "Houses of Parliament"

1862 Henry Pether "Westminster from Lambeth" oil on canvas 63.5 x 114 cm Government Art Collection UK

1862 James Abbott McNeill Whistler "The Last of Old Westminster" oil on canvas 61 x 78.1 cm Museum of Fine Arts, Boston MA

1862? Walter Greaves "Hammersmith Bridge on Boat-race Day"

The most famous of Greaves’ paintings, a naïve masterpiece that he claimed to have painted when he was aged sixteen in 1862. However, since he was unreliable over dates, its history has never been settled.


1862? Walter Greaves "Hammersmith Bridge on Boat-race Day" oil on canvas 91.4 x 139.7 cm Tate, London

1862c Henry Pether "Westminster Bridge by Moonlight" oil on canvas 60 x 90 cm Government Art Collection UK

1863 James Abbott McNeill Whistler "Grey and Silver - Old Battersea Reach" oil on canvas 50.8 x 68.6 cm Art Institute of Chicago, IL

1863-65 James Abbott McNeill Whistler "Brown and Silver; Old Battersea Bridge" oil on canvas mounted on masonite 63.8 x 76 cm Addison Gallery of American Art, Andover MA

before 1930 (probably 1860s) Walter Greaves "An Old London Bridge" oil on canvas 65 x 80 cm Alfred East Art Gallery UK

1863 John Wilson Carmichael "Shipping on the Thames" oil on canvas 61.8 x 99.5 cm Manchester City Galleries UK

1863 Sir Francis Seymour Haden "Battersea Reach" etching on paper 12.7 x 22.9 cm Tate, London

1863-68 Walter Greaves "Chelsea Regatta" oil on canvas 91.8 x 191.7 cm Manchester City Galleries UK

1863c James Abbott McNeill Whistler "Battersea Reach from Lindsey Houses" oil on canvas 76.2 x 50.8 cm

1863c James Abbott McNeill Whistler "Battersea Reach" oil on canvas 76.2 x 50.8 cm

1864 James Abbott McNeill Whistler "Chelsea in Ice" oil on canvas 18 x 24 cm Smithsonian Freer and Sackler Galleries, Washington D.C.

1864 James Francis Danby "The Houses of Parliament from the River" oil on canvas 44.4 x 74.9 cm Victoria and Albert Museum, London

1864-68c James Abbott McNeill Whistler "Chelsea Wharf: Grey and Silver" oil on canvas 45.8 x 61.5 cm National Gallery of Art, Washington D.C.

1866c Edwin Edwards "The Thames from a Wharf at Waterloo Bridge" oil on canvas 65.4 x 144.8 cm Tate, London

1866c George Price Boyce "Night Sketch of the Thames near Hungerford Bridge" watercolour on paper 22.2 x 33.7 cm Tate, London


1869 Thomas Creswick "The Thames and the Shot Tower" oil on board 5 x 10 cm Wolverhampton Art Gallery UK
The Shot Tower at the Lambeth Lead Works was a shot tower that stood on the South Bank of the Thames between Waterloo and Hungerford Bridges. It was a prominent landmark on the river and featured in a number of paintings. It was built in 1826. In 1950 the gallery chamber at the top of the tower was removed and a steel-framed superstructure was added instead, providing a radio beacon for the 1951 Festival of Britain. It was the only building to be retained on the site for the Festival. It was demolished in 1967 to make way for the Queen Elizabeth Hall.


before 1869 Thomas Creswick "The Thames and the Shot Tower" oil on board 5 x 10 cm Wolverhampton Art Gallery UK

The Shot Tower, next to the Royal Festival Hall in 1959 photo: Wikipedia

1869 James Francis Danby "The Thames at Sunset" oil on canvas 74.4 x 121.6 cm University of Oxford

Walter Greaves 
The son of Charles William Greaves, a Chelsea boat-builder and waterman, Greaves was born in 1846 at Cheyne Walk, Chelsea. His father had been J.M.W. Turner’s boatman. Greaves had initially trained as a shipwright and boatman. Greaves and one of his brothers, Henry Greaves, met Whistler in 1863, introducing him to the sight of the river Thames, and becoming his studio assistants, pupils, and close friends for over twenty years.


The American painter later used these Thames expeditions for inspiration when painting his ‘nocturne’ views of the river at night. “He taught us to paint,” Walter Greaves said, “and we taught him the waterman’s jerk.”


1870s? Walter Greaves "Old Battersea Bridge by Night" (Study) oil on board 23 x 23 cm Chelsea Library, London

1870s? Walter Greaves "Old Battersea Bridge" oil on canvas 89.5 x 59.7 cm Chelsea Library, London

1872-75c James Abbott McNeill Whistler "Nocturne: Blue and Gold - Old Battersea Bridge" oil on canvas 68.3 x 51.2 cm Tate, London

Note: I do not have dates for the following works by Walter Greaves. Greaves died in 1930, but these works are likely to date from from the 1800s:

Walter Greaves "Greaves' Landing Stage" oil on canvas 50.8 x 61 cm Chelsea Library, London

Walter Greaves "Nocturne in Blue and Gold" oil on canvas 28.3 x 46.5 cm New Walk Museum & Art Gallery, Leicester Arts and Museums Service UK

1930 before Walter Greaves "Nocturne" oil on canvas 24.5 x 33.4 cm Hunterian Art Gallery, University of Glasgow

Walter Greaves "Thames" oil on canvas 71.2 x 45.6 cm Southampton City Art Gallery, Hampshire UK

Walter Greaves "The Frozen Thames" oil on canvas 63.6 x 76.2 cm Leeds Art Gallery, Yorkshire UK

Walter Greaves "The Old Swan" (Chelsea) oil on board 55 x 79 cm Chelsea Library, London

1930 before Walter Greaves "The Pool of London" oil on canvas 61 x 102 cm Guildhall Art Gallery, London

Walter Greaves "The Thames" oil on canvas 57 x 90 cm Government Art Collection UK

1870-1900 Walter Greaves (attributed to) "Symphony in Silver and Grey"

It has recently been suggested that  this work, formerly attributed to Whistler, is by his studio assistant and imitator, Walter Greaves, perhaps reworking one of many unfinished canvases sold after Whistler’s bankruptcy in 1879. In the background is Battersea power station which Whistler included in several of his views of the Thames.


Walter Greaves (attributed to) "Symphony in Silver and Grey" oil on canvas 61 x 45 cm The Ashmolean Museum of Art and Archaeology, Oxford UK
*      *      *

1871 Claude Monet "The Thames at London" oil on canvas 48.5 x 74.5 National Museum of Wales, Cardiff UK

1871 Claude Monet "The Thames at Westminster" oil on canvas 47 x 72.5 cm National Gallery, London

1871 James Abbott McNeill Whistler "Nocturne; Blue and Silver - Chelsea" oil on wood 50.2 x 60.8 cm Tate, London

1871 James Abbott McNeill Whistler "Variations in Pink and Grey: Chelsea" oil on canvas 40.5 x 62.7 cm

1871c James Abbott McNeill Whistler "Symphony in Grey: Early Morning, Thames" oil on canvas 67.5 x 45.7 cm

1872 James Abbott McNeill Whistler "Nocturne: Blue and Silver - Cremorne Lights" oil on canvas 50.2 x 74.3 cm tate, London

1872-73c James Abbott McNeill Whistler "Nocturne; Battersea Bridge" pastel on brown paper18.1 x 27.94 cm Freer Gallery of Art, Washington D.C.

1872c Frederic Almore Winkfield "Old Fulham Bridge (?)" oil on canvas 40.2 x 61.2 cm Hammersmith and Fulham Archives and Local History Centre, London

1874 Walter Greaves "Old Battersea Bridge" oil on canvas 58.4 x 76.2 cm Tate, London

1874 Walter Greaves "Whistler on the Thames" oil on canvas 88.3 x 71.5 cm Ferens Art Gallery, Kingston upon Hull UK

1875 Henry Dawson "The New Houses of Parliament and the Thames" oil on canvas 78 x 123.5 cm National Trust, Tyntesfield UK

River Thames paintings 1650-1995 part 4

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Another decimated posting. 26 images missing form Part 4 due to ongoing technical issues.

This is part 4 of a 6 – part post on River Thames paintings from 1650 to 1995. For a little background information to the series see part 1 also. For earlier works see part 1 - 3 also.


1876 James Tissot "On the Thames" oil on canvas 72.5 x 118 cm Hepworth Wakefield Art Gallery, Wakefield, UK

1877 Henry Dawson "St Paul's from the River Thames" oil on canvas 104.5 x 165 cm Birmingham Museums Trust UK

1877 Henry Dawson "The Thames from Deptford" oil on canvas 76.8 x 108.5 cm Walker Art Gallery, Liverpool UK

before 1878 Samuel Bough "Shipping on the Thames" oil on canvas 82.5 x 121.9 cm The Fleming Collection UK

1879 James Abbott McNeill Whistler "Old Battersea Bridge" etching and drypoint in brown on laid paper 20.3 x 29.5 cm

1879 James Abbott McNeill Whistler "Old Putney Bridge" etching and drypoint black ink on cream laid paper 20.3 x 29.9 cm

1879 James Abbott McNeill Whistler "Under Old Battersea Bridge" etching and drypoint 21.3 x 13.8 cm

before 1880 Henry Pether "A View of the Thames" oil on canvas 59.6 x 90.3 cm Museums Sheffield UK

before 1880 Henry Pether "Houses of Parliament from the Thames by Moonlight" oil on canvas 74 x 110.5 cm Government Art Collection UK

before 1880 Henry Pether "Scene on the Thames" oil on canvas Harris Museum and Art Gallery UK

before 1880 Henry Pether "The Custom House and Pool of London by Moonlight" oil on canvas 58 x 91 cm Guildhall art Gallery, London

1880 John Atkinson Grimshaw "Nightfall on the Thames" 38.7 x 61.6 cm Leeds Art Gallery, Yorkshire UK

1880 John Atkinson Grimshaw "Reflections on the Thames" oil on canvas 76.2 x 127 cm Leeds Museums and Art Galleries UK

1880 John Atkinson Grimshaw "Themes Moonlight" oil on canvas The Stanley & Audrey Burton Gallery, University of Leeds, Yorkshire UK

1881 Winslow Homer "The Houses of Parliament" watercolour on paper 32.3 x 50.1 cm Hirschhorn Museum and Sculpture Garden, Washington D.C.

1882 Charles Napier Hemy "Old Putney Bridge" oil on canvas 126 x 171.8 cm Manchester City Galleries UK

1885 John Atkinson Grimshaw "Battersea Bridge" 46 x 81 cm Maas Gallery, London

1885-90c Paul Maitland "Chelsea Embankment" oil on canvas 42.5 x 54.5 cm Government Art Collection UK

1885-1909c Paul Maitland "Battersea Reach" oil on canvas 43.2 x 61 cm Walker Art Gallery, Liverpool UK

1886 Frank Brangwyn "Shipping on the Thames" oil on canvas 47.5 x 58 cm National Museum Cardiff, Wales UK

1886 John Robertson Reid "The Thames" oil on canvas 41 x 59 cm Victoria and Albert Museum, London

1886 Paul Maitland "Surrey Side of the River - Grey Day" oil on wood 10.7 x 20.8 cm Tate, London

1886c Paul Maitland "Factories Bordering the River" oil on canvas 25.7 x 37 cm Tate, London

1887 Frank Brangwyn "The Lower Reaches of the Thames" oil on canvas 49.5 x 75 cm Beecroft Art Gallery, Essex UK

1888 Thomas Robert Way "The Thames by Night" oil on canvas 56 x 40.7 cm Hunterian Art Gallery, University of Glasgow

1888c Paul Maitland "Battersea Boat Houses" oil on wood 16.5 x 13 cm Tate, London

1890 Camille Pissarro Charing Cross Bridge oil on canvas 60.5 x 93.5 cm National Gallery of Art, Washington D.C.

1891 Charles William Wyllie "Barges on the Thames" oil on canvas 125.5 x 100.3 cm Russell-Cotes Art Gallery & Museum, Bournemouth UK

1896c James Abbott McNeill Whistler "Grey and Silver; The Thames" oil on canvas 61.3 x 46.1 cm Hunterian Art Gallery, University of Glasgow

1898c Henry Muhrman "Kew Bridge" oil on canvas 61 x 92.7 cm Tate, London

1899-1901 Harold Gilman "The Thames at Chelsea" oil on canvas 27 x 36 cm National Trust, Mottisfont Abbey, Hampshire UK

1900 Albert Goodwin "Westminster Sunset" oil on canvas31 x 47.5 cm East Riding Museums, Yorkshire UK

1900c John Everett "Greenwich and the Thames" oil on cardboard 32.8 x 40.4 cm National Maritime Museum, London

1900c Paul Maitland "Boats on the Thames at Chelsea" oil on canvas 22.9 x 32.7 cm National Museum Cardiff UK

1902 Claude Monet "Charing Cross Bridge in the Fog" oil on canvas 73 x 92 cm Art Gallery Of Toronto, Canada


1902 Claude Monet "Charing Cross Bridge" oil on canvas 65.4 x 81.3 cm National Museum Wales, National Museum Cardiff UK

1903 Claude Monet "Charing Cross Bridge" oil on canvas 73 x 100 cm Saint Louis Art Museum, Saint Louis MO




River Thames paintings 1650-1995 part 5

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Again, 19 images missing due to ongoing technical issues.

This is part 5 of a 6 – part post on River Thames paintings from 1650 to 1995. For a little background information to the series see part 1 also. For earlier works see part 1 - 4 also.


1903 William Shackleton " Putney Bridge" oil on canvas 55.7 x 125 cm Laing Art Gallery, Newcastle upon Tyne UK

1904 Charles Napier Hemy "London River" oil on canvas 120.6 x 182.9 cm Tate, London

1905 André Derain "Westminster" oil on canvas Musée de l'Annonciade, Saint-Tropez, France

1905-06 André Derain "Charing Cross Bridge"

1906 André Derain "Blackfriars Bridge" oil on canvas 80.7 x 99.5 cm Kelvingrove Art Gallery and Museum, Glasgow

1906 André Derain "Charing Cross Bridge" oil on canvas 80.3 x 100.3 cm National Gallery of Art, Washington D.C.

1906c André Derain "Charing Cross Bridge" oil on canvas 81 x 100 cm Musée d'Orsay, Paris

1907 Harold Gilman "The Thames at Battersea" oil on canvas 60 x 90.5 cm Kirkcaldy Museum & Art Gallery, Scotland UK

before 1909 Paul Maitland "Chelsea Embankment from the River" oil on canvas 43.5 x 56.5 cm The Hepworth, Wakefield UK

before 1909 Paul Maitland "At Low Tide" oil on canvas Chelsea Library, London

before 1909 Paul Maitland "Barges Anchored off Battersea Bridge" oil on panel 16.5 x 25.6 cm Hunterian Art Gallery, University of Glasgow UK

before 1909 Paul Maitland "Boats Moored on the Thames" oil on wood 17.1 x 30.5 cm York Museums Trust UK

before 1909 Paul Maitland "The Thames Above Battersea Bridge" oil on canvas Worthing Museum and Art Gallery UK

1912 Ambrose McEvoy "The Thames from the Artist's House" oil on canvas 63.5 x 76.2 cm Hunterian Art Gallery, University of Glasgow

1912c Ambrose McEvoy "The Thames from the Artist's House in Grosvenor Road" oil on canvas 71 x 81 cm Cartwright Hall Art Gallery, Bradford UK

1914-15 Pierre Paulus "The Thames" oil on canvas 76.1 x 63.4 cm National Museum Wales, National Museum Cardiff UK


1915 Léon de Smet "Waterloo Bridge" oil on canvas 51 x 66.2 cm National Museum Wales, National Museum Cardiff, Wales UK

1915 Sir David Murray "London Bridge from Bankside" oil on canvas Guildhall Art Gallery, London

before 1916 Henry Muhrmann "The Thames" oil on canvas 61 x 92.7 cm The Burrell Collection, Glasgow

before 1917 Charles Napier Hemy "Old Chelsea Bridge" oil on canvas 60.5 x 90.6 cm William Morris Gallery, London

1917 David Muirhead "Battersea Reach" oil on canvas 71.1 x 92.1 cm Tate, London

1918c Charles Pears "River Plate Pageant"


A large rowing boat that appears to be carrying the King and Queen, passes under London Bridge during a ceremonial pageant. There are further boats on the river Thames in the background and Tower Bridge can also be seen through on of London Bridge’s arches. A large crowd has gathered on the bridge itself.


1918c Charles Pears "River Plate Pageant" oil on canvas 41.9 x 64.7 cm Imperial War Museum, London

before 1921 James Stevens Hill "The Thames at Southwark" oil on canvas 93.3 x 140.2 cm Manchester City Galleries UK

1922-46 Edna Ginesi "The Thames at Hammersmith" oil on canvas 51 x 61 cm Manchester City Galleries UK

before1923 Charles William Wyllie "The Thames below Greenwich" oil on canvas 45 x 81 cm Government Art Collection UK

1923 David Muirhead "Estuary of the Thames" oil on canvas 40.5 x 61 cm Bury Art Museum UK

1925 Philip Wilson Steer "The Thames from Cheyne Walk" oil on canvas 76.5 x 137.5 cm Walker Art Gallery, Liverpool UK

1925 Sine MacKinnon "Waterloo Bridge" oil on canvas 55.5 x 75.5 cm The Hepworth, Wakefield UK

1926 before Norman Garstin "Battersea Bridge" oil on wood York Museums Trust UK

1930 Christopher Nevinson "View on the Thames (Tower Bridge from the Pool of London)" oil on board 40 x 50 cm The Royal Institute of British Architects, London

1930 David Murray Smith "The Thames at Hammersmith" oil on canvas 63.5 x 76 cm Wednesbury Museum & Art Gallery, West Midlands UK

1930 Sir Henry Rushbury "St. Paul's" graphite, ink and watercolour on paper 33 x 49.2 cm Tate, London

before 1931 William Lionel Wyllie "The Pool of London" oil on canvas 100.5 x 151 cm Gallery Oldham, Lancs. UK

before 1931 William Lionel Wyllie "The Rebuilding of Blackfriars Bridge" oil on canvas 83 x 145.5 cm Government Art Collection

1932 Alexander Stuart-Hill "The Thames at Charing Cross Bridge" oil on board 76.2 x 101.1 cm Perth & Kinross Council, Scotland UK

before 1933 Charles Ernest Butler "The River Thames  from Wandsworth Bridge" oil on canvas 77 x 102.5 cm Government Art Collection

1934 Jesse Dale Cast "Hollick's Wharf on the Blackwall Reach of the Thames, Greenwich" oil on canvas 51 x 76.6 cm National Maritime Museum, London

1938c Jesse Dale Cast "A Jetty at Greenwich" oil on canvas 33.2 x 62.4 cm National Maritime Museum, London *notes

1938c Jesse Dale Cast "Study for A Jetty at Greenwich" oil on canvas 16 x 30.5 cm National Maritime Museum, London

1938c Jesse Dale Cast "Study for A Jetty at Greenwich" oil on canvas 30 x 44.5 cm National Maritime Museum, London

1938c Jesse Dale Cast "Study for A Jetty at Greenwich" oil on canvas 30.5 x 44cm National Maritime Museum, London

1938c Jesse Dale Cast "Study for A Jetty at Greenwich" oil on canvas on board 30.5 x 40.5 cm National Maritime Museum, London

1938c Jesse Dale Cast "Study for A Jetty at Greenwich" oil on canvas on cardboard 21.5 x 31.5 cm National Maritime Museum, London


River Thames paintings 1650-1995 part 6

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Ironically, in this last of the series around half of the images (25 in all) appear as blank spaces with captions when I upload the post. I then have to delete them. I can't get to the bottom of the technical issue. If it turns out to be an ongoing problem I will have to give the blog a break unless I can fine a solution. Apologies.

This is part 6 of a 6 – part post on River Thames paintings from 1650 to 1995. For a little background information to the series see part 1 also. For earlier works see part 1 - 5 also.

1940 Charles Alfred Mozley "The Thames Embankment" oil on canvas 50.5 x 76 cm Imperial War Museum, London

before 1940c Ronald Ossory Dunlop "Woolwich Ferry" oil on canvas 41 x 50.8 cm Greenwich Heritage Centre, London

1942 John Edgar Platt "Wartime Traffic on the River Thames; River Police at Waterloo Bridge during the Battle of Britain" oil on panel 19 x 22.8 cm Imperial War Museum, London

1943-44 Victor Pasmore "The Quiet River; The Thames at Chiswick" oil on canvas 76.2 x 101.6 cm © Tate, London

before 1945 Fairlie Harmar "Ships on the Thames" oil on canvas 66 x 86.5 cm Wolverhampton Art Gallery UK

before 1946 Christopher Nevinson "Barges on the Thames" oil on canvas 76.2 x 46.1 cm Manchester City Art Galleries

before 1946 John Minton "The Thames at Chelsea 69.5 x 90 cm Government Art Collection UK

1946 Frank Henry Mason "London Pride" oil on canvas 77 x 122.4 cm National Railway Museum, Yorkshire UK

1946 John Minton "Bridge from Cannon Street Station" oil on canvas 49 x 60 cm Pembroke College Oxford JCR Art Collection Uk © Royal College of Art

1949 Bertram Nicholls "Lambeth Bridge" oil on canvas 40.8 x 61.3 cm Government Art Collection UK

1949c Stephen Bone "St Paul's and Blackfriars" oil on board 24.2 x 34.8 cm Bristol Museum and Art Gallery UK

1952 Adrian Maurice Daintrey "The Thames at Lambeth" oil on canvas 63.5 x 76.5 cm Government Art Collection

1952 before Robin Wallace "The Thames at Bankside" oil on board 39.4 x 29.2 cm Southwark Art Collection, London

1953-54 Dimitrie Berea "Dusk on the Thames at Westminster" oil on panel 154 x 128 cm National Trust, Chartwell, Kent UK

1953-54c Eric Atkinson "Tower Bridge" oil on board 90.5 x 73.5 cm Government Art Collection UK

before 1954 Theodore Garman "Winter  Sunset on the Thames" oil on canvas 51 x 61 cm The New Art Gallery, Walsall UK

1954 Julian Trevelyan "High Tide (The Thames)" oil on canvas 63.5 x 76 cm Morley College UK

1954 Robert Medley "In the Thames Estuary" oil on canvas 127 x 106 cm Government Art Collection UK

before 1956 Frank Brangwyn "Battersea Bridge" oil on canvas 28 x 48 cm Chelsea Library, London

before1958 Philip Connard "London Bridge" oil on canvas 26 x 35.5 cm  Atkinson Art Gallery Collection UK

before 1958 Philip Connard "The Thames" oil on canvas board 17.5 x 25.3 cm National Galleries of Scotland, Scottish National Gallery of Modern Art UK

1962 Julian Trevelayan "The Thames at Chiswick" oil on canvas 76 x 91.5 cm Government Art Collection UK © the artist's estate

1962 Mary Fedden "The Thames" oil on canvas 49.3 x 59.5 cm Swindon Art Gallery Uk © the estate of Mary Fedden

1966 Peter Reading "The Thames at Low Water" oil on canvas 75.7 x 91.7 cm Derbyshire & Derby School Library Service UK

before 1969 Eve Kirk "The Thames at Wapping" oil on canvas Bristol Museum and Art Gallery UK

1971 Gordon Close "Old London Bridge Makes Way for the New" oil on canvas 61 x 102 cm Guildhall Art Gallery, London

before 1973 Ronald Ossory Dunlop "St Paul's, Blackfriars Bridge, London" po; on canvas 64 x 77 cm Russell-Cotes Art Gallery & Museum, Bournemouth UK

before 1973 Ronald Ossory Dunlop "Tugboats on the Thames" oil on canvas 63.2 x 76.1 cm Worcester City Museums UK

1973 Noel Gibson "The Thames from Shadwell" oil on board 91 x 122 cm Tower Hamlets Local History Library and Archives, London

before 1975 Harold Workman "Chaos on London Bridge" oil on canvas Guildhall Art Gallery, London

1981 Julian Trevelyan "The Thames at Richmond" oil on canvas 58 x 48 cm Approx. Durham University Uk © the artist's estate

1982 Lucy Jones "London Bridges" oil on canvas 172.3 x 227.5 cm © Royal College of Art, London

before 1992 Kathleen Sylvester Le Clerc Fowle "The Thames from Shell Mex House" oil on canvas 50 x 60 cm Royal West of England Academy, Bristo UK

1995 Renny Tait "Buildings on the Thames" oil on canvas 53 x 76 cm Government Art Collection © Renny Tait

Film Posters 1930s

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Having intended to post periodic features on film posters, I started with "Film Posters 1913 - 1929 (see index), but that was back in July 2011, so it's not before time that I featured "Part 2" on film posters of the 1930s.

From the 1910s through to the 1940s film studios developed their own artwork styles for their movie posters and used well-known artists and illustrators, Even when the films were black and white, the studios recognised the attraction of colour in the publicity.

Originally the posters were produced for the exclusive use by the theatres exhibiting the film the poster was created for, and the copies of the posters were required to be returned to the distributor after the film left the theatre. Very few posters from this period survive because the paper was recycled during the depression years and WW2.


1930 The Bat Whispers

1931 Dracula

1931 Dracula

1932 A Farewell to Arms

1932 Blonde Venus

1932 Dance Team

1932 Island of Lost Souls

1932 The 7th Commandment

1932 The Monster Walks

1932 The Secrets of Wu Sin

1932 The Silent Witness

1933 Blood Money

1933 Daring Daughters

1933 Employees' Entrance

1933 I Love That Man

1933 King Kong

1933 King Kong

1933 King Kong

1933 Penthouse

1933 She Done Him Wrong

1933 State Fair

1933 Tarzan the Fearless

1933 The Big Brain

1933 The Ghoul

1933 The Last Trail

1933 The Sphinx

1933 The Song of Songs

1933 The Vampire Bat

1933 The Whispering Shadow

1933 Tugboat Annie

1933 West of Singapore

1934 Born to be Bad 

1934 Charlie Chan in London

1934 Gay Love

1934 Men in White

1934 Moulin Rouge

1934 The Girl from Missouri

1934 The Living Dead

1934 The Living Dead

1934 The Night Club Queen

1934 The Silver Streak

1935 Condemned to Live

1935 Murder by Television

1935 The 39 Steps

1935 The Bride of Frankenstein

1935 The Devil Is a Woman

1935 The Devil Is a Woman

1935 Top Hat

1935 Werewolf of London

1936 Charlie Chan at the Circus

1936 Charlie Chan at the Race Track

1936 Gambling with Souls

1936 Juggernaut

1936 Juggernaut

1936 Shadow of Chinatown

1936 Shadow of Chinatown

1936 She Devil Island

1937 The Gold Racket

1938 Mr. Wong, Detective

1938 Sky Giant

1938 The Old Barn Dance

1939 Twelve Crowded Hours

Grant Wood – Part 1

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Grant Wood 1941 image: Figge Art Museum, Davenport, Iowa
Grant DeVolson Wood (1891 – 1942) was born in 1891 near Anamosa, Iowa. He is best known for his paintings depicting the rural American Midwest. His 1930 painting “American Gothic” has become an iconic image of C20th art.



The family moved to Cedar Rapids, Iowa after the death of his father in 1901. After graduating from High School, Wood enrolled in an art school in Minneapolis in 1910. In 1913 he enrolled at the School of the Art Institute of Chicago. Between 1920 and 1828 he made four trips to Europe, where he studied many styles of painting, especially Impressionist and Post-Impressionist works.



But it was the work of the C15th Flemish artist Jan van Eyck that influenced him to take on the clarity of van Eck’s technique and incorporate it in his new works. Between 1924 and 1935 Wood lived in the loft of a carriage house thet he turned into his personal studio that became “5 Turner Alley.”



In 1932 Wood helped to found the Stone City Art Colony near his home-town to help artists get through the Great Depression. He became a proponent of regionalism in the arts, lecturing throughout the country on the subject.



He was married to Sara Sherman Maxon from 1935 to 1938. He taught painting at the University of Iowa’s School of Art from 1934 to 1941. During that time he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University’s cultural community.



Wood died relatively young of pancreatic cancer, one day before his 51st birthday in 1942. His estate went to his sister Nan Wood Graham, the model for the female in “American Gothic.” When she died in 1990, her estate, along with Grant Wood’s personal effects and various works of art, became the property of the Figge Art Museum in davenport, Iowa.



Biographical notes adapted from a Wikipedia entry.



Note: This post updates and replaces an earlier post on Grant Wood in August 2010.




This is part 1 of a 2 – part post on the works of Grant Wood.




1907 Currants watercolour 29.2 x 11.6 cm Figge Art Museum, Davenport, Iowa

1917 Quivering Aspen oil on composition board 35.6 x 27.9 cm Figge Art Museum, Davenport, Iowa

Note: I couldn't find titles or details for a number of the following works, despite having a book of Grant Wood's works. I have used descriptive titles (in brackets) to denote these works.


1917-18 (Carriage Business)

1919 (Autumn Landscape)

1919 (Old Stone Barn)

1919c Old Sexton's Place oil on composition board 38.1 x 46 cm Cedar Rapids Museum of Art, Iowa

1920 (A Church in Paris)

1920 (A Foggy Day in Paris)

1920 (Café in Paris)

1920 (Osier)

1920 (Paris Street)

1920 (Statue in Paris)

1920 (The Gate within the City Walls)

1920 Fountain of Voltaire, Chatenay oil on composition board 33 x 38.1 cm Cedar Rapids Museum of Art, Iowa

1921-22 Adoration of the Home oil on canvas mounted on panel (intended for use as a billboard for a local real estate agency) 57.8 x 206.7 cm Cedar Rapids Museum of Art, Iowa

1923 Untitled from suite "Savage Iowa" (Buffalo Stampede) pencil and wash on paper 30.5 x 80 cm Smithsonian American art Museum, Washington D.C.

1923 Untitled from suite "Savage Iowa" (Clothes Line) pencil and wash on paper 33 x 80 cm American art Museum, Washington D.C.

1923 Untitled from suite "Savage Iowa" (Cowboy and Indian) pencil and was on paper 25.4 x 68.6 cm Smithsonian American Art Museum, Washington D.C.

1924 (Courtyard in Italy)

1924 (Urns)


1924 The Runners, Luxembourg Gardens, Paris oil on composition board 39.7 x 31.7 cm Cedar Rapids Museum of Art, Iowa

1924 The Spotted Man oil on canvas 81.3 x 50.8 cm Figge Art Museum, Davenport, Iowa

1924 Truck Garden, Moret oil on composition board 32.4 x 40 cm Figge Art Museum, Davenport, Iowa

1924 Yellow Doorway, St. Emilion oil on composition board 41.9 x 33 cm Cedar Rapids Museum of Art, Iowa

1925 Helix Welder oil on canvas 46 x 59 cm

1925 The Shop Inspector oil on canvas 61 x 45.7 cm Cedar Rapids Museum of Art, Iowa

1926 (At the Gate)

1926 (Parisian Scene)

1926 Grandma Wood's House oil on composition board 55.9 x 68.6 cm Figge Art Museum, Davenport, Iowa

1926 Old Shoes oil on composition board 24.8 x 25.4 cm Cedar Rapids Museum of Art, Iowa

1926 The Little Chapel Chancelade. Figge Art Museum, Davenport, Iowa

1928-30 Portrait of John B. Turner oil on canvas 76.8 x 64.8 cm Cedar Rapids Museum of Art, Iowa

1929 Portrait of Frances Fiske Marshall oil on canvas 102.9 x 72.4 cm Cedar Rapids Museum of Art, Iowa

1929 Woman with Plants oil on upsom board 52.1 x 45.4 cm Cedar Rapids Museum of Art, Iowa

1930 American Gothic

This familiar image was exhibited publicly for the first time at the Art Institute of Chicago, winning a three-hundred-dollar prize and instant fame for Grant Wood. The impetus for the painting came while Wood was visiting the small town of Eldon in his native Iowa. There he spotted a little wooden farmhouse with a single oversized window, made in a style called Carpenter Gothic.
"I imagined American Gothic people with their faces stretched out long, to go with this American Gothic house," he said. He used his sister and his dentist as models for a farmer and his daughter, dressing them as if they were "tintypes from my old family album."
The highly detailed, polished style and the rigid frontality of the two figures were inspired by Flemish Renaissance art, which Wood studied during his travels to Europe between 1920 and 1926.
After returning to settle in Iowa, he became increasingly appreciative of mid-western traditions and culture, which he celebrated in works such as this. American Gothic, often understood as a satirical comment on the mid-western character, quickly became one of America's most famous paintings and is now firmly entrenched in the nation's popular culture. Yet Wood intended it to be a positive statement about rural American values, an image of reassurance at a time of great dislocation and disillusionment. The man and woman, in their solid and well-crafted world, with all their strengths and weaknesses, represent survivors.

Notes from Art Institute of Chicago, Essential Guide 2013.


1930 American Gothic

The house in Eldon

1930 Study for American Gothic oil on paperboard 32.1 x 37.2 cm Smithsonian American art Museum, Washington D.C.

Wood's sister Nan and his dentist with American Gothic

Huge American Gothic statue in Chicago

1930 Arnold Comes of Age (Portrait of Arnold Pyle) oil on board 67.9 x 58.4 cm Sheldon Museum of Art, Nebraska Art Association Collection

1930 Over-mantle Decoration oil on upsom board 104.8 x 162 cm Cedar Rapids Museum of Art, Iowa

1930 Stone City, Iowa oil on composition board 76.8 x 101.6 cm Joslyn Art Museum, Omaha NE

1930 Study for Stone City

1931 Appraisal oil on composition board 74.9 x 89.5 cm Dubuque Museum of Art, Iowa

1931 Fall Plowing oil on canvas 76.2 x 103.5 cm The John Deere Collection, Moline, Illinois

1931 Study for "Fall Plowing" Figge Art Museum, Davenport, Iowa


1931 Plaid Sweater oil on composition board 74.9 x 61.3 cm University of Iowa Museum of Art

1931 The Birthplace of Herbert Hoover, West Branch, Iowa oil on composition board 75.2 x 101 cm The Minneapolis Institute of arts, Minnesota

1931 The Midnight Ride of Paul Revere oil on masonite 76.2 x 101.6 cm Metropolitan Museum of Art, New York © 1982 The Metropolitan Museum of Art

1931 Victorian Survival oil on composition board 82.5 x 66.7 cm Dubuque Museum of Art, Iowa


1931 Victorian Survival (Matilda Peet tintype 8.9 x 5.4 cm Davenport Art Gallery)

1931 Young Corn oil on masonite 61 x 75.9 cm Cedar Rapids Museum of Art, Iowa

1932 (Spring Oaks)

1932 Arbor Day oil on masonite board 61 x 76.2 cm Museum of Fine Arts, Boston MA

Grant Wood with "Arbor Day"


1932 Daughters of the Revolution oil on masonite board 50.8 x 101.4 cm The Cincinnati Art Museum, Ohio


1932 Boy Milking Cow oil on canvas 181 x 160.6 cm Coe College, Cedar Rapids, Iowa

1932 Farmer with Pigs oil on canvas 181 x 72.4 cm Coe College, Cedar Rapids, Iowa

1932 Farmer's Daughter oil on canvas 15.6 x 98.4 cm Coe College, Cedar Rapids, Iowa

1932 Farmer's Wife with Chickens oil on canvas 181 x 124.5 cm Coe College, Cedar Rapids, Iowa

Grant Wood – Part 2

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John Steuart Curry and Grant Wood at the Stone City Art Colony 1933 photo by John Barry. Cedar Rapids Museum of Art, Iowa
Grant DeVolson Wood (1891 – 1942) was born in 1891 near Anamosa, Iowa. He is best known for his paintings depicting the rural American Midwest. His 1930 painting “American Gothic” has become an iconic image of C20th art.

This is part 2 of a 2 – part post on the works of Grant Wood. For full biographical notes, and for earlier works, see part 1 also.


1932 Spring Plowing

1932 Study for 'Self-Portrait' pencil, charcoal and pastel on paper 36.8 x 30.5 cm Cedar Rapids Museum of Art, Iowa


1932-41 Self-Portrait oil on masonite board 37.5 x 31.4 cm Figge Art Museum, Davenport, Iowa

1933 Adolescence

1940 Adolescence oil on masonite board 51 x 29.8 cm Abbott Laboratories IL


1933 Near Sundown oil on hardboard 38.1 x 67.3 cm Spencer Museum of Art, Lawrence, Kansas

1933 Portrait of Nan
When Grant Wood used his sister as the female model for 'American Gothic', he could not have foreseen how deeply her likeness would resonate. His rendering of a plain, stern-faced Iowa woman has a timeless, enigmatic quality that led some viewers to call her the "American Mona Lisa."

Yet the image also stirred up some meanness. "When 'American Gothic' was first shown in 1930, there were critics who said that she looked like the missing link, that her face would turn milk sour," says Wood biographer R. Tripp Evans. As a sort of apology Wood painted 'Portrait of Nan. "He adored Nan. And it's a painting that he felt very close to as well, one of the few of his mature paintings that he kept for himself."

1933 Portrait of Nan oil on masonite board 101.6 x 76.2 cm Elvehjem Art Museum, University of Wisconsin, Madison *notes


1934 Dinner for Threshers oil on hardboard 50.8 x 203.2 cm Fine arts Museums of San Francisco CA

1934 Dinner for Threshers detail

1934 Dinner for Threshers detail

1934 Dinner for Threshers detail
1933 Dinner for Threshers graphite, opaque watercolour and coloured pencil on paper 58.7 x 82.9 cm Whitney Museum of American Art, New York

1933 Dinner for Threshers graphite, opaque watercolour and coloured pencil on paper 61.3 x 83.8 cm Whitney Museum of American Art, New York

1935 Death on the Ridge Road oil on masonite 81.3 x 99.1 cm Figge Art Museum, Davenport, Iowa

1935 "Farm on the Hill" cover illustration

1935 "Farm on the Hill" Grandma Mending crayon, gouache and coloured pencil on paper 66.7 x 49.5 cm The Warner Collection of Gulf States Paper Corporation, Tuscaloosa, Alabama

1935 "Farm on the Hill" Animals

1935 "Farm on the Hill" endpaper

1935 "Farm on the Hill" endpaper

1935 O, Chautauqua (Drawing for Book Jacket) pencil and coloured crayon on paper 39.4 x 36.8 cm Private Collection

1935 Return from Bohemia crayon, pencil and gouache on paper 59.7 x 50.8 cm Figge Art Museum, Davenport, Iowa

1935 Breaking the Prairie Sod
Iowa State College President Raymond Hughes commissioned the triptych mural, which depicts the beginnings of tillage and the founding of the State by pioneers in the 1840s.
Themes portrayed in the mural include the advancement of agricultural technology through the introduction of new ploughs in the 1870s, the founding of Iowa State College, and the uncertain future that was ahead ahead of Iowa and the nation in the late 1930s (World war II, the Dust Bowl, the Great Depression) as depicted by ominous clouds on the skyscape.
Wood incorporated three Abraham Lincoln type figures, portrayed in youth, middle age and maturity. The inclusion of Lincoln illustrated the former President's importance to the nation anf to Iowa.


1935-39 Breaking the Prairie Sod. Iowa State triptych oil on canvas; centre panel 335.3 x 701 cm University, Ames, Iowa

1935-39 Study for Breaking the Prairie Sod coloured pencil, chalk and graphite on paper 57.8 x 203.8 cm Whitney Museum of American Art, New York


1936 Breaking Ground oil 60 x 75 cm

1936 Spring Turning oil on masonite 46.4 x 101.9 cm Reynolds House Museum of American Art, Winston-Salem NC

1936 The Perfectionist graphite, black and white crayon, watercolour, black in and opaque white on brown wove paper 65 x 50.7 cm Fine arts Museums of San Francisco CA

1936-37 Booster charcoal, pencil and chalk on paper 50 x 40.6 cm Private Collection

1936-37 Main Street Mansion charcoal, pencil and chalk on paper 50 x 40.6 cm Hirschl and Adler Galleries, New York

1936-37 Sentimental Yearner crayon, pencil and gouache on paper 52 x 40.6 cm The Minneapolis Institute of Arts, Minnesota

1936-37 The Radical charcoal, pencil and chalk on paper 50 x 40.6 cm Private Collection

1937 Honorary Degree lithograph 30.2 x 17.7 cm Museum of Art Ball State University, Mincie IN

1937 Seed Time and Harvest lithograph 19 x 30.7 cm

1937 Tree Planting lithograph 21.3 x 27.6 cm National Gallery of Art, Washington D.C.

1937 Village Slums charcoal, pencil and chalk on paperboard 53.6 x 40.6 cm Smithsonian American Art Museum, Washington D.C.

1938 January lithograph 30.5 x 40.7 cm (image) Cleveland Museum of Art, Cleveland OH

1938 July Fifteenth lithograph on cream wove paper 30.5 x 40.6 cm

1938 Plowing on Sunday (Drawing for book jacket) conté crayon, ink and gouache on paper 58.4 x 53.3 cm RISD Museum, Providence RI

1938 Tame Flowers hand coloured lithograph 16.6 x 25.2 cm

1938 Vegetables hand coloured lithograph 22.8 x 30.4 cm

1938 Wild Flowers hand coloured lithograph 16.6 x 24.5 cm

1939 Fruits hand-coloured lithograph 18.8 x 24.8 cm


1939 Fertility lithograph on ivory wove paper 22.8 x 30.2 cm (image)

1939 Haying oil on canvas 32.8 x 37.7 cm National Gallery of Art, Washington D.C.

1939 In the Spring lithograph 30.5 x 40.4 cm

1939 March lithograph 22.9 x 30.2 cm

1939 Midnight Alarm lithograph on wove paper 30.3 x 17.7 cm Art Institute of Chicago IL

1939 New Road oil on canvas on paperboard mounted on hardboard 33 x 37.9 cm National Gallery of Art, Washington D.C.

1939 Parson Weem's Fable oil on canvas 97.5 x 127.3 cm Amon Carter Museum of American Art, Fort Worth, TX

1939 Shrine Quartet lithograph 30.2 x 20.3 cm National Gallery of Art, Washington D.C.

1939 Sultry Night 23.2 x 28.8 cm (image)

1940 Approaching Storm lithograph 44.5 x 31.8 cm Figge Art Museum, Davenport, Iowa

1940 Family Doctor lithograph on off-white wove paper 25.3 x 30.1 cm Art Institute of Chicago IL

1940 February lithograph 22.6 x 30 cm (image) Cleveland Museum of Art, Cleveland OH

1940-41 January oil on masonite 45.7 x 60.1 cm Cleveland Museum of Art, Cleveland OH

1941 December Afternoon lithograph 22.9 x 30.2 cm (image)

1941 Iowa Cornfield study

1941 Iowa Landscape study

1941 Spring in the Country oil on masonite 58.4 x  54.6 cm Cedar Rapids Museum of Art, Iowa

1942 Spring in Town


Grant Wood's last painting was published on the cover of Saturday Evening Post April 18 1942.


1942 Spring in Town "Saturday Evening Post"

1942 Spring in Town oil on masonite 66 x 54.6 cm Sheldon Swope Gallery, Terre Haute, Indiana *notes


George Richmond - part 1

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1830s Self-Portrait oil on canvas 39.1 x 31.4 cm Yale Centre for British Art, New Haven CT

George Richmond (1809 - 1896) was an English painter. In his youth he was a member of "The Ancients," a group of followers of William Blake. Later in life he established a career as a portrait painter. He was the son of Thomas Richmond, a miniature-painter, and was the father of painter William Blake Richmond.

When Richmond was sixteen he met William Blake at the house of John Linnell in Highgate, London. The same night Richmond walked across the fields to Fountain Court with the poet and painter, who left a profound impression on Richmond, "... as though he had been walking with the prophet Isaiah." From this time until Blake's death, Richmond followed his guidance and inspiration in art. Traces of Blake's influence are seen in all of Richmond's early works, and especially in "Abel the Shepherd" (1825) and in "Christ and the Woman of Samaria" (1828).


1825 Abel the Shepherd tempera on oak 22.9 x 30.5 cm Tate, London

1828 Christ and the Woman of Samaria tempera and shell gold on mahogany 41 x 49.8 cm Tate, London


1827-28 Study for 'Christ and the Woman of Samaria' ink on paper 10.8 x 14 cm Tate, London

In 1827 he was present at Blake's death. Along with Samuel Palmer, Edward Calvert, Frederick Tatham and others he formed the Blake-influenced group knwon as "The Ancients." This influence faded in later life, when he produced relatively conventional portraits. In 1828 Richmond went to paris to study art and anatomy, the expenses of the journey being met by painting miniatures in England before leaving, and in France during his stay.

On his return to England he spent time at the White Lodge, Richmond Park, with Lord Sidmouth, who gave him valuable advice and whose portrait by him in watercolour is now in the National Portrait gallery, London. In 1830 he showed two poetical subjects at the Royal Academy, "On the Eve of Separation" and "The Witch." In 1931 he exhibited "The Pilgrim."


1830 On the Eve of Separation oil and watercolour on panel 49 x 36 cm The Ashmolean Museum of Art and Archaeology, Oxford UK

At this time Richmond had formed a deep attachment to Julia Tatham, daughter of the architect Charles Heathcote Tatham. When her father revoked his consent to marry the couple ran away and married in Gretna Green, Scotland. This act proved a turning point in Richmond's career, and determined him to adopt portraiture as the readiest means of earning a living. He was befriended by Sir Robert Harry Inglis, a Conservative politician, and it was at his instance the the portrait of William Wilberforce, later engraved by Samuel Cousins, was painted by Richmond, a painting and engraving that achieved world-wide success.

1833 William Wilberforce watercolour 43.8 x 33 cm © National Portrait Gallery, London


1833 published 1834 William Wilberforce by Samuel Cousins, after George Richmond mezzotint 54.2 x 37.7 cm (sheet) © National Portrait Gallery, London

There followed immediately many successful watercolour portraits, such as those of Lord Teignmouth, the Frys, the Gurneys, the Buxtons, the Upchers, and the Thorntons, all traceable to Inglis's introductions. In 1837 Richmond was forced to take a rest for the sake of his health, which had broken down through overwork and the loss of three children within a short time. He went to Rome with his wife and surviving child Thomas, accompanied by Samuel Palmer and his bride Hannah Linnell, daughter of the landscape artist John Linnell.

During a stay in Italy, which lasted about two years, he made studies and copies of subjects in the Sistine Chapel, having scaffolding erected so as to reach the vault. He also visited Naples, Pompeii, and Tuscany. In southern Italy, Richmond painted three portraits that would establish his reputation as the pre-eminent portrait painter of his generation, including "An Old Calabrian Shepherd" :


1838 An Old Calabrian Shepherd. Private Collection

He returned to England in 1839 and resumed his practice as a portrait painter. A staunch churchman, he was intimate for years with all the leaders of the Tractarian movement. He received honorary degrees from the universities of Oxford and Cambridge, was a fellow of the Society of Antiquaries, and honorary fellow of University College, London, and of the Royal Institute of British Architects, and a member of the Company of painters-Stainers of the City of London.

In 1846 Richmond was nominated by Gladstone to succeed Sir Augustus Wall Callcott on the Council of the Government Schools of Design, a post he held for three years. Ten years later he was appointed a member of the Royal Commission to determine the site of the National Gallery, when he was alone in voting for its removal from Trafalgar Square to South Kensington.

He died in 1896 at his home in Portman Square, London, where he had lived and worked for fifty-four years.

Biographical notes on George Richmond adapted from Wikipedia

This is part 1 of a 5 - part post on the works of George Richmond. Note: The majority of these images are the engravings 'after George Richmond' from the National Portrait Gallery, London.



after 1815 Vice Chancellor Ward by Francis Holl, after George Richmond engraving © National Portrait Gallery, London

1824-25 Elijah and the Angel ink and watercolour on paper 14 x 14 cm Tate, London

1825-35c Two Portrait Sketches of Samuel Palmer. The New Art Gallery Walsall, West Midlands UK

1825-50 Sir George Cornewall Lewis, 2nd Bt black and white chalk 58.4 x 43.2 cm © National Portrait Gallery, London

1825-50c Frank Bostock by Richard James Lane, after George Richmond lithograph 38.5 x 29.7 cm (sheet) © National Portrait Gallery, London

1825-50c William Ewart Gladstone by Frederick Christian Lewis Sr, after George Richmond stipple engraving 44.8 x 33.2 cm © National Portrait Gallery, London

1825c Fettered Nude Figure Reclining by a Rock (attributed to) ink and watercolour on paper 23.5 x 34.3 cm Tate, London

1826 The Creation of Light tempera, gold and silver on mahogany 48 x 41.7 cm Tate, London

1827 or 1829 A Figure Weeping Over a Grave pen and brown ink 8 x 12.7 cm Metropolitan Museum of Art, New York

1827 The Fatal Bellman (The Robber) line engraving on paper 7 x 4.8 cm Art Institute of Chicago IL

1827 The Shepherd line engraving on paper 17.8 x 11.4 cm Tate, London

1828 A Portrait of Welby Sherman Asleep in a Chair graphite with touches of watercolour on vellum 16 x 13.20 cm The Cleveland Museum of Art OH

1828 Portrait of Samuel Palmer, February 5, 1828 graphite touched with black ink on textured, cream wove paper 20.6 x 14.9 cm Yale Centre for British Art, New Haven CT

1829 Portrait of Henry Walter graphite, gouache and watercolour on paper 17.8 x 12.4 cm Tate, London

1829 Samuel Palmer watercolour and body-colour on ivory 8.3 x 7 cm © National Portrait Gallery, London

1829-33 Hagar and Ishmael in the Wilderness graphite, pen and black ink, brush and black wash, with white gouache on paper 44.5 x 32.6 cm Metropolitan Museum of Art, New York

1829c Samuel Palmer pencil, pen and ink 23.8 x 20.3 cm © National Portrait Gallery, London

1829c Two Male Figures pen and brown ink 14.9 x 16 cm The Cleveland Museum of Art OH

1830 George Richmond gouache on ivory 8.9 x 6.8 cm © National Portrait Gallery, London

1830 Portrait of a Man watercolour and gouache on ivory (miniature) 10.2 x 7.6 cm The Fitzwiliam Museum, Cambridge UK

1830 Portrait of Samuel Palmer, Head and Shoulders pen and brown ink on cream wove paper 18.1 x 11.4 cm Yale Centre for British Art, New Haven CT

1830 Samuel Plamer graphite on beige, textured, wove paper 35.2 x 25.7 cm Yale Centre for British Art, New Haven CT

1830-35c Portrait of a Woman graphite and watercolour heightened with white 27.8 x 21.6 cm The Cleveland Museum of Art OH

1830c "Jocund Day Stands Tip Toe on the Misty Mountain Tops" (Shakespeare, “Romeo and Juliet,” Act III, Scene V) graphite 42.4 x 27.7 cm Metropolitan Museum of Art, New York

1830s Charles Girdlestone by Richard James Lane, after George Richmond lithograph 11.7 x 9.3 cm (sheet) © National Portrait Gallery, London

1830s Sir John Gurney by James Posselwhite, after George Richmond stipple engraving 68.7 x 45 cm (sheet) © National Portrait Gallery, London

1830s-50s Greville Howard by Frederick Christian Lewis Sr, after George Richmond stipple engraving 42.5 x 29.5 cm © National Portrait Gallery, London

1831 Henry Kater black and red wash 25.6 x 21.1 cm © National Portrait Gallery, London


1832 John Shore, 1st Baron Teignmouth watercolour 36.2 x 26.4 cm © National Portrait Gallery, London

1843 John Shore, 1st Baron Teignmouth by William Walker, published by John Hatchard, after George Richmond stipple and line engraving 23 x 13.3 cm (sheet) © National Portrait Gallery, London


1833 Henry Addington, 1st Viscount Sidmouth watercolour 59.7 x 38.7 cm © National Portrait Gallery, London

1833 William Wilberforce, MP oil on canvas 140.9 x 110.5 cm Palace of Westminster, London
The above portrait of William Wilberforce clearly owes something to this study of 1828 by Sir Thomas Lawrence:

1828 William Wilberforce by Sir Thomas Lawrence 96.5 x 109.2 cm © National Portrait Gallery, London

1834 Rowland Hill, 1st Viscount Hill pencil and watercolour 20.3 x 15.9 cm © National Portrait Gallery, London

1836 Joseph John Gurney by Charles Edward Wagstaff, after George Richmond mezzotint 49 x 36.9 cm (sheet) © National Portrait Gallery, London

1836 published Sir James Emerson Tennent, 1st Bt by Richard Austin Artlett, after George Richmond stipple engraving © National Portrait Gallery, London

1836 Study of Thomas Knyvett Richmond Aged Three oil on board 33 x 31.8 cm

1837 Portrait of Two Children watercolour and gouache with touches of gum and gold, on yellow paper 58.1 x 42.2 cm Metropolitan Museum of Art, New York

1837 Robert Grosvenor, 1st Baron Ebury by Frederick Christian Lewis Sr, after George Richmond stipple engraving 27.7 x 22.6 cm (plate) © National Portrait Gallery, London

1839 Dr Sweatman by Richard James Lane, after George Richmond lithograph 36.5 x 27.4 cm (sheet) © National Portrait Gallery, London

1839 Portrait of E.M. Ward, RA chalk and watercolour on paper 27.6 x 21.5 cm Tate, London

1839 The Archimedes Group from 'The School of Athens' oil on canvas 69 x 61 cm The Ashmolean Museum of Art and Archaeology, Oxford UK

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