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    1883 Self-Portrait
    oil on canvas 34.5 x 29.7 cm
    Aberdeen Art Gallery and Museums, UK

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 8 also.

    This is part 9 of a 10-part post on the works of Millais:



    1882 For the Squire
    oil on canvas 85 x 63 cm
    Fine Art Society, London

    1882 George du Maurier
    oil on canvas 34.5 x 29.7 cm
    Aberdeen Art Gallery and Museum, UK

    George du Maurier 

    George Louis Palmella Busson du Maurier was a Franco-British cartoonist and author, known for his cartoons in Punch and for his novel Trilby.



    1882 Lucy Stern
    oil on canvas 126 x 85 cm

    1882 Pomona
    oil on canvas 103.5 x 74.5 cm
     Private Collection

    1882 Princess Marie of Edinburgh ( later Queen of Romania )
    oil on canvas 91.4 x 63.4 cm
    Royal Collection Trust, Buckingham Palace, London

    1882 The Captive
    oil on canvas 143.6 x 106.1 cm
    Art Gallery of New South Wales, Sydney

    1882-89 Forbidden Fruit
    etching 50.3 x 35 cm
    © Birmingham Museums and Art Gallery, UK

    1883 Dropped from the Nest
    oil on canvas 104.1 x 69.8 cm

    1883 Miss Margaret Millais
    oil on canvas

    1883 Robert Gascoyne-Cecil, 3rd Marquess of Salisbury
    oil on canvas 127.3 x 93.3 cm
    © National Portrait Gallery, London

    1884 An Idyll of 1745
    oil on canvas 140 x 191 cm
    Lady Lever Art Gallery, Wirral, UK

    1884 Lady Campbell, née Nina Lehmann
    oil on canvas 129.5 x 86 cm

    1884 Message from the Sea
    oil on canvas 134.6 x 99.1 cm
    Private Collection, USA

    1884c Sir Henry Irving by Harry M. Allen after Millais
    ( a faithful copy of the original )
    oil on canvas 111.5 x 81.4 cm
    National Portrait Gallery, London

    1885 Sir Henry Irving
    aquatint and etching by Thomas Oldham Barlow after Millais 57.5 x 41.9 cm
    © Victoria and Albert Museum, London


    1885 Lilacs
    oil on canvas 102.9 x 72.4 cm
    Hugh Lane Gallery, Dublin

    1885 The Ornithologist
    oil on canvas 160.7 x 215.9 cm
    Kelvingrove Art Gallery and Museum, Glasgow

    1885 William Ewart Gladstone
    oil on canvas 91.4 x 69.9 cm
    Christ Church, Oxford University, UK

    William Ewart Gladstone
    British Prime Minister 1868-94

    1886 Archibald Philip Primrose, 5th Earl of Roseberry
    oil on canvas
    Archibald Philip Primrose
    British Prime MInister 1894-95

    1886 Bubbles
    oil on canvas
    Lady Lever Art Gallery, Wirral, UK

    1888-89c Bubbles poster for Pears Soap
    chromolithograph on paper 16.5 x 11.6 cm

    1886 Mercy: St Bartholomew's Day, 1572
    oil on canvas 184.1 x 130.8 cm
    Tate, London

    1886 Mrs Isabella Elder
    oil on canvas 127.6 x 84.5 cm
    Glasgow Museums Resource Centre, UK

    1886 Portia
    oil on canvas 125.1 x 83.8 cm
    The Metropolitan Museum of Art, New York

    1887 Clarissa
    oil on canvas 146 x 94 cm
    Private Collection

    1887 The Nest
    oil on canvas  128.5 x 99 cm
    Lady Lever Art Gallery, Wirral, UK

    1888 Forlorn, or I am Never Merry when I hear Sweet Music
    oil on canvas 107.5 x 92.5 cm

    1888 Sir Arthur Seymour Sullivan
    oil on canvas 115 x 87 cm
    National Portrait Gallery, London

    Sir Arthur Seymour Sullivan

    Sullivan was a prodigy, composing his first anthem aged eight. He achieved early success as a composer of serious music; wrote Cox and Box, a comic operetta, 1866, and in 1872 first collaborated with W. S. Gilbert on Thespis. With Gilbert as librettist, Sullivan composed a series of triumphantly successful comic operas, performed after 1881 at the Savoy Theatre, built for them by Richard D'Oyly Carte.



    1888 The Grey Lady
    oil on canvas 140 x 94.5 cm

    1889 Afternoon Tea
    oil on canvas 104.5 x 133.3 cm
    Winnipeg Art Gallery, Canada

    1889 Ducklings
    oil on canvas 121.7 x 76 cm
    The National Museum of Western Art, Tokyo

    1889 Robert Rankin
    oil on canvas 132 x 80.8 cm
    Leighton House Museum, London

    1889-90 Dew-Drenched Furze
    oil on canvas 173.2 x 123 cm
    Tate, London

    1890 Lingering Autumn
    oil on canvas 124.7 x 195.5 cm
    Lady Lever Art Gallery, Wirral, UK

    1890 ‘The Moon is Up, and Yet it is not Night’
    oil on canvas 104.1 x 168.9 cm
    Tate, London

    1891 Mrs Joseph Chamberlain
    oil on canvas 134.1 x 102.4 cm
    Birmingham Museums and Art Gallery, UK

    Mary Endicott, Mrs Joseph Chamberlain


    Joseph Chamberlain was a British politician and statesman, who was first a radical Liberal then, after opposing Home Rule for Ireland, a Liberal Unionist, eventually serving as a leading imperialist in coalition with the Conservatives.


    1891 Glen Birman
    oil on canvas 145.2 x 101.1 cm
    Manchester Art Gallery, UK


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    Sir John Everett Millais

    John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

    For full biographical notes see part1, and for earlier works, see parts 1 - 9 also.

    This is part 10 of a 10-part post on the works of Millais:



    1891 Lear and Cordelia
    oil on panel 27 x 23 cm
     Private Collection

    1892 Blow, Blow Thou Winter Wind
    oil on canvas 108 x 155 cm
    Auckland Art Gallery, New Zealand

    1892 Little Speedwell's Darling Blue
    oil on canvas 98 x 73 cm
    Lady Lever Art Gallery, Wirral, UK

    1892 Sweet Emma Morland
    oil on canvas 121.3 x 90.8 cm
    Private Collection

    1893 Merry
     oil on canvas 91.8 x 71.4 cm
    Private Collection

    1893 Pensive
    oil on canvas 96 x 75.5 cm

    1895 A Disciple
    oil on canvas 125 x 89.5 cm
     Tate, London

    1895 Saint Stephen
    oil on canvas 152.4 x 114.3 cm
    Tate, London

    1895 Speak! Speak!
    oil on canvas 167.6 x 210.8 cm
     Tate, London

    exhibited 1896 Margaret Fuller Maitland
    oil on canvas 47 x 38.1 cm
    Private Collection

    1896 Sir Richard Quain
    oil on canvas 127 x 78.7 cm
    Royal College of Physicians, London
    Sir Richard Quain

    Sir Richard Quain (1816-98) 1st Baronet, was an Irish physician.



    1896 Sir Robert Pullar, MP for Tayside
    oil on canvas 127 x 79.3 cm
    Perth and Kinross Council, UK

    1896 The Honourable John Nevile Manners
    oil on canvas 127 x 81 cm
    Private Collection

    n.d. A Girl and a Bird
    oil on panel 16 x 11 cm
    Private Collection

    n.d. After the Battle
    brush drawing in brown wash over graphite on paper 22 x 28.8 cm
    The British Museum, London

    attributed to: n.d. Portrait of a Young Girl
    oil on canvas 36 x 31 cm
    The Ashmolean Museum of Art and Archaeology, Oxford, UK

    attributed to: n.d. Portrait of a Girl
    graphite 19.7 x 17.1 cm
    The Huntington Library Art Collections, Dan Marino, CA

    n.d. Boys Rabbiting
    oil on canvas 81.5 x 74.7 cm
     Gallery Oldham, UK

    n.d. c1859 Lost Love
    watercolour on paper 10.4 x 8.5 cm
    The British Museum, London

    n.d. Caller Herrin'
    oil on canvas 110.5 x 78.7 cm
     Private Collection

    n.d. Christmas Eve
    oil on canvas 157.5 x 134 cm
    Private Collection

    n.d. Early Days
    oil on canvas 113.7 x 94.6 cm

    n.d. Escape of the Heretic, 1559
    oil on canvas 25.5 x 19 cm
    Museo de Arte de Ponce, Puerto Rico

    n.d. Girl with a Doll
    oil on canvas

    n.d. Male Nude in Riding Stance
    pen and ink over pencil on paper 31.8 x 21.9 cm
    © Victoria and Albert Museum, London

    n.d. Miss Anne Ryan
    oil on canvas 55.9 x 45.1 cm
    Tate, London

    n.d. Non angli sed angeli
    oil on canvas 106.8 x 133.3 cm
    Brighton and Hove Museums and Art Galleries, UK

    n.d. Portrait of a Dead Child
    graphite and black chalk on buff paper 20.9 x 15.5 cm
    The British Museum, London

    n.d. Portrait of a Girl
    oil on panel 19.5 x 17 cm
    Museums Sheffield, UK

    n.d. St. Agnes of Intercession
    etching on wove paper 18.7 x 26 cm
    Yale Centre for British Art, New Haven, CT

    n.d. Stained Glass Study, Water Plant with Grasshopper, Fish and Newt
    graphite on moderately thick, slightly textured, cream wove paper 14.3 x 6.3 cm
    Yale Centre fir British Art, New Haven, CT

    n.d. The Bridge of Sighs
    etching on paper 17.5 x 12.5 cm ( plate )
    © Victoria and Albert Museum, London

    n.d. The Baby House ( Dolls House )
    etching on chine applique 14.5 x 18.5 cm ( plate )
    National Gallery of Art, Washington, DC

    n.d. The Farmer's Daughter
    oil on canvas 45.4 x 35 cm

    n.d. The New Ride, Kensington Gardens
    ink on paper 20.3 x 32.1 cm
    Tate, London

    n.d. The Proposal
    oil on canvas 44.3 x 34.3 cm
    Museums Sheffield, UK

    n.d. Thomas Oldham Barlow
    oil on canvas 100.5 x 117 cm
    Gallery Oldham, UK

    n.d. William Carr Standish
    oil on canvas 86 x 71 cm
    Astley Hall Museum and Art Gallery, Chorley, UK


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  • 07/10/17--08:40: Harry Clarke - part 1

  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition.

    After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). 


    Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s  “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s“Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia.


    Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett.  


    Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928.


    During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques).


    Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin


    Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day.


    Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist.


    This is part 1 of a 7-part series on the works of Harry Clarke:

    1913 "The Dream"
    from The Rape of Lock by Pope

    1913 "The Silver Apples of the Moon, The Golden Apples of the Sun"
    The Irish Review July 1913

    1913 De Profundis ( Oscar Wilde )
    watercolour and gouache 57.5 x 25.7 cm

    1913 Rime of the Ancient Mariner:

    1913 The Rime of the Ancient Mariner

    1913 The Rime of the Ancient Mariner
    Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung

    1913 The Rime of the Ancient Mariner
    The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow!

    1914 Hibernia
    calendar design for an insurance company

    1914 Mephisto
    pencil, pen and black ink and watercolour on paper 19 x 15.9 cm

    1916 Hans Andersen's Fairy Tales:















































































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  • 07/12/17--06:35: Harry Clarke - part 2
  • Self-Portrait

    Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes, and for earlier works by Clarke, see part 1 also.

    This is part 2 of a 7-part series on the works of Harry Clarke:

    1919-1923 Tales of Mystery and Imagination by Edgar Allan Poe:








    "He shrieked once, once only."


    The Man in the Crowd
    "It was the most noisome quarter of London"


    The Fall of the House of Usher.
    "Say, rather, the rending of her coffin"


    The Murders in the Rue Morgue
    "In death we have both learned the propensity of man to define the indefinable"




    Ligeia
    "And now slowly opened the eyes of the figure which stood before me"


    Metzengerstein
    "An attachment which seemed to attain new strength"




    Berenice
    "It was a fearful page in the record of my existence"


    Morella
    "The earth grew dark, and its figures passed by me ... and among them all I beheld only Morella"




















    The Murders in the Rue Morgue
    "Gnashing its teeth and flashing fire from its eyes, it flew upon the body of the girl"








    The Pit and the Pendulum
    "They swarmed upon me in ever-accumulating heaps"


    The Tell-Tale Heart
    "But, for many minutes, the heart beat on with a muffled sound"




    The Black Cat
    "I had walled the monster up within the tomb!"




    The Cask of Amontillado
    "Yes," I said, "for the love of God!"

    Landor's Cottage
    "Landor's Cottage"

    Ligeia
     "I would call aloud upon her name"








    1936 edition - Tales of Mystery and Imagination:




    1917 Cover for the fifth exhibition of the Arts and Crafts Society




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  • 07/10/17--08:38: Harry Clarke - part 3
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 and 2 also.

    This is part 3 of a 7-part series on the works of Harry Clarke:

    1920 The Years At The Spring:


    The Year's at the Spring dust jacket

    Title illustration

    Frontispiece
    "And I shall have some peace there, for peace comes dropping slow"

    Title page

    Introduction page illustration

    Front matter

    Acknowledgement page illustration

    Acknowledgement end page illustration

    Contents page illustration

    List of Illustrations page

    List of Illustrations end page

    “April, April, laugh thy girlish laughter!”

    The Fiddler of Dooney
    "When we come at the end of time, to Peter sitting in state"

    Page decoration

    “I bring for you, aglint with dew, a little lovely dream”

    The Donkey
    "With monstrous head and sickening cry and ears like errant wings"

    Page decoration

    Sea Fever
    "All I ask is a windy day with the white clouds flying"

    Page decoration

    Page decoration

    A Ballad of the Captains
     “… drumming up the channel, haling prizes in their wake”

    A Ballad of the Captains
    “With a dead Hidalgo’s daughter as a dower for the day”

    Arabia
    “Demi-silked dark-haired musicians”

    Page decoration

    Page decoration

    The Song of the Mad Prince
    “All time’s delight hath she for narrow bed”

    The Shepperdess
    "She walks - the lady of my delight-a shepperdess of sheep"

    The Dead
    “Honour has come back, as a king, to earth”

    The Great Lover
     "Out on the wind of time, shining and streaming"

    The Great Lover
    "Moist black earthen mould;... and high places: footprints in the dew"

    Page decoration

    If I had a Broomstick
     “If I had a broomstick… over the tops of the chimneys I’d guide it”

    The Dying Patriot
    "And the dead robed in red and sea-lilies overhead sway when the long winds blow"

    The Dying Patriot
     "I saw them march from Dover, long ago"

    Star-Talk
     “How is your trade, Aquarius, this frosty night?”

    Page decoration

    Page decoration

    Overheard on a Saltmarsh
    "Give me your beads. I desire them. No."

    Page decoration

    The Coming Spring
    "With magic Key…unlocking buds that keep the roses"

    Alms in Autumn
     "They'll set the realms of fairyland all dancing with delight"

    Very Nearly!
    “All alone, those rocks amid–one night I very nearly did!”

    All is Spirit and Part of Me
    “I am born of a thousand storms, and grey with the rushing rains”

    Black and White
     “Midst of all was a cold white face”


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  • 07/19/17--06:09: Harry Clarke - part 4
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 3 also.

    This is part 4 of a 7-part series on the works of Harry Clarke:


    1922 The Fairy Tales of Perrault:


    Front cover

    Title page

    Frontispiece
    "Cinderella"

    List of illustrations















































































    *          *          *          *          *

    1922 "The Last Hour of the Night"
    frontispiece to "Dublin of the Future: The New Town Plan" planning report

    1923 Christmas Card

    1923 Cover illustration for "The White Blackbird" by Lennox Robinson

    1924 The Devil's Wife and her Eldest

    1925 Ophelia lying among sea creatures.
    Drawing based on a print by Hokusai
    ink on parchment 13.3 x 22 cm
    National Library of Ireland, Dublin

    1925 The Dublin Drama League

    1925 Elixir of Life:

    Elixir of Life
    title page

    Elixir of Life
    "Doctors are recommending it"

    Elixir of Life
    "The two distilleries on the same hill"

    Elixir of Life


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  • 07/21/17--05:47: Harry Clarke - part 5
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 4 also.

    This is part 5 of a 7-part series on the works of Harry Clarke:


    1927 Faust:


    Title page

    Margaret
     "Dearest and best, with my whole heart I love thee"

    Mephistopheles
    "Is there anything in my poor power to serve you?"

    Siebel
     "Clustering grapes invite the hand"

    Faust
    "Methinks, a million fools in choir are raving and will never tire"

    Margaret
     "Drest thus, I seem a different creature!"

    Weathercock
     "I'll fly from this place, with one bound, to hell, or anywhere, to leave 'em"

    Mephistopheles
     "Forward! forward! faster! faster!"

    Mephistopheles
     "Come - she is judged!"

    Tailpiece

    Faust
     "Modest she seems and good and mild, though something pert was her reply"

    Faust
     "I wish you had something else to do than thus torment me when I'm quiet"

    Margaret
     "And who my wound can heal, and who the pain can feel?"

    Mephistopheles
     "Already is the cry of murder raised." 

    Mephistopheles
     "Firmly seize the old projections of the ribbed rock"

    Wizards and Warlocks
     "On a road like this men droop and drivel, while woman goes fearless and fast to the devil"

    Margaret "Does not death lurk without?"

    Contents page
    spot illustration

    Dedication page




















































































    Endpaper

    Endpaper


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  • 07/24/17--05:41: Harry Clarke - part 6
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 5 also.

    This is part 6 of a 7-part series on the works of Harry Clarke.


    1928 Selected Poems of Algernon Charles Swinburne:


    Front cover
    Selected Poems of Algernon Charles Swinburne

    Spine

    Title page

    "Felise"

    "The Leper"

    "St. Dorothy"

    "Hymn to Proserpine"

    "Hesperia"



    Stained Glass:

    During the 1910s, 1920s and 1930 Clarke directed much of his attention to stained glass designs, producing more than 160 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. They undertook religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist.

    The remainder of posts in this series on Harry Clarke is devoted to his stained glass designs.


    1914 The Saint Gobnait window in Honan Chapel, Cork, Ireland

    1914 Clarke's design drawing for the Saint Gobnait window in Honan Chapel, Cork, Ireland

    1921 Saint Elizabeth of Hungary, St. Mary's Church, Sturminster Newton, Dorset

    1921 Saint Elizabeth of Hungary, St. Mary's Church, Sturminster Newton, Dorset

    1924 Agony in the Garden now in Díseart Institute of Education and Celtic Culture, Dingle:


    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    Agony in the Garden
    Díseart Institute of Education and Celtic Culture, Dingle

    1924 The Eve of St Agnes:


    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane

    1924 The Eve of St Agnes
    Dublin City Gallery, The Hugh Lane


    1925 St. Michael's Church, Ballinasloe depicting St. Patrick

    1927-28 Detail from The Apparition of the Sacred Heart, Phibsborough Church, Dublin

    1930 The Geneva Window:
    In June 1925 a representative of the Irish Department of Industry and Commerce asked Clarke if he would be interested in designing a window for the International Labour Court in Geneva. By May 1927 Clarke had submitted his proposal and subjects to the Minister. In March 1929 his health deteriorated and he was forced to travel to a Swiss sanatorium. He left two of the studio staff to complete the final processes on the Geneva Window.


    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1928 Design for panel, Geneva Window, based on Yeats'"Countess Cathleen"

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930 The Geneva Window
    Wolfsonian Museum, Miami, Florida

    1930-37 St Oswald and St Edmund's, Ashton-in-Makerfield:

    Ambulatory behind the high altar - apsidal chapel originally built to house the the Holy Hand of St Edmund Arrowsmith

    Chapel of Our Lady and the English Martyrs - St Ambrose Barlow

    St Joseph's Chapel - St Columba

    St. Catherine of Sienna

    St. Clare

    St. Ita

    St. Juliana Falconieri

    St. Pashal Baylon

    St. Tarcisius


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  • 07/26/17--05:44: Harry Clarke - part 7
  • Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration.
    He was a children's book illustrator and a well-known designer of stained glass.

    For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 - 6 also.

    This is part 7 of a 7-part series on the works of Harry Clarke.


    Continuing and concluding with more stained glass designs by the Harry Clarke studio:


    Adoration of the Magi
    St Barrahane Church, Castlehaven, County Cork, Ireland

    All Saints Church, Bedworth, Warwickshire, England:


    All Saints Church, Bedworth, Warwickshire, England
    All Saints Church, Bedworth, Warwickshire, England
    St. John

    All Saints Church, Bedworth, Warwickshire, England
    St. John detail

    All Saints Church, Bedworth, Warwickshire, England
    All Saints Church, Bedworth, Warwickshire, England
    Conversion of St. Paul

    All Saints Church, Bedworth, Warwickshire, England
    St. Peter's Denial

    St Colman's College, Violet Hill, Newry, Co. Down, Ireland:


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland


    St Colman's College, Violet Hill, Newry, Co. Down, Ireland

    St. Joseph's, Carrickmacross, County Monaghan, Ireland:


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland


    St. Joseph's, Carrickmacross, County Monaghan, Ireland

    St Finnbarr window in the Honan Chapel, UCC, Cork:


    St Finnbarr window in the Honan Chapel, UCC, Cork

    Miscellaneous stained glass:











































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    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen. In the village north Bremen she also met her future husband, the painter Otto Modersohn (1865-1943).
    In addition to numerous paintings, impressionistic studies of the Worpswede moorland and birch tree landscape emerged during this period. These studies already show Modersohn-Becker’s preference for a strictly reduced picture composition and its departure from deep-illusion.

    After a few years in the narrow circle of Worpswede painters, she travelled to Paris for the first time in 1900. There she encountered the works of the French avant-garde, who confirmed her in her search for new forms of expression. By 1907, three more stays in Paris followed. From 1903, she increasingly served the still-life to clarify formal questions – the influence of Paul Cézanne’s sill-lifes becomes apparent.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    Only after she died at an early age, her extensive work was seen and she was recognised as being among the pioneers of the modern style and the first woman to paint a full-length nude self-portrait.


    This is part 1 of a 5-part post on the works of Paula Modersohn-Becker:

    1896 Self-Portrait Semi-nude with Amber Necklace II
    oil on canvas 61.1 x 50 cm
    KunstmuseumBasel

    1896 Self-Portrait Semi-nude with Amber Necklace
    photo study

    1897 Girl with Tiger Lilies
    oil on cardboard 39.3 x 48 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897 Portrait of a Girl in Landscape
    oil on cardboard 44.5 x 49 cm
    Private Collection

    1897 Self-Portrait
    gouache 24.5 x 26.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897 Self-Portrait
    gouache 42 x 32 cm
    Paula Modersohn-Becker Museum, Bremen, Germany


    1897 Self-Portrait
    pastel 45.8 x 30.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1897-98 Portrait of an Old Woman in Profile
    oil on cardboard 66 x 45 cm
    Paula Modersohn-Becker Museum, Bremen

    1898 Peasant Woman with Child at Breast
    charcoal and red chalk 80 x 46 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1898 Portrait of a Woman
    charcoal and graphite on wove paper 34.4 x 49.1 cm
    National Gallery of Art, Washington, DC

    1898 Self-Portrait
    tempera? on paper 28.2 x 23 cm
    Kunsthalle Bremen, Germany

    1899-1902c Seated Old Woman
    etching on green paper 19 x 14.5 cm
    de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

    1898 Study for "Seated Old Woman"
    40.3 x 26 cm
    1898-99 Peasant Woman with Fork
    indian ink, pastel and graphite 44.5 x 74.5 cm
    Private Collection

    1898-99 Portrait of a Peasant Woman
    charcoal on cream wove paper 46.7 x 65.4 cm
    Art Institute of Chicago, IL

    1898c Portrait of an Old Woman
    oil on cardboard 67.9 x 48.6 cm
    Paula Modersohn-Becker Museum, Bremen

    1898c Portrait of a Woman with Poppies
    oil on cardboard 57 x 46 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Birch Tree in a Landscape
    oil on composite board 55.4 x 42.1 cm
    Harvard Art Museums
    © 2017 President and Fellows of Harvard College

    1899 Chalet
    etching and aquatint in green-black on wove paper 14.3 x 11.2 cm ( plate )
    National Gallery of Art, Washington, DC

    1899 Landscape with Marsh Channel
    oil on cardboard 46 x 73.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Sand Dune in Weyerberg
    oil on cardboard 55 x 74 cm
    Neue Pinakothek - Bayerische Staatgemäldsammlungen, Munich, Germany

    1899 Seated Female Nude
    charcoal 103 x 68 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Standing Female Nude to the Right
    charcoal 169 x 80 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899 Standing Male Nude to the Left
    charcoal 189.5 x 84.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1899-1902c Seated Old Woman
    etching on green paper 19 x 14.5 cm
    de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

    1899-1902c Two Farmer's Girls
    etching with drypoint and roulette on cream wove paper 14 x 10 cm

    1899c Old Blind Woman Sitting
    charcoal 45.8 x 36.5 cm
    Kunsthandel Wolfgang Werner, Bremen-Berlin, Germany

    1899c Old Blind Woman Sitting
    pastel 73.5 x 47 cm
    Arp Museum Bahnhof Rolandseck, Germany

    1899c Seated Female Nude
    charcoal with stumping 62.2 x 33.9 cm ( sheet )
    The Ceveland Museum of Art, Ohio

    1899c Standing Nude Girl, Arms Crossed Behind the Head
    charcoal 124.5 x 41.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Apple Tree against a Bright Sky
    oil on pencil sketch on thin brown cardboard 42 x 54.9 cm

    1900 Birch Trees in front of a Barn
    oil on card 55.5 x 41.7 cm
    Private Collection

    1900 Don Quixote
    oil on cardboard 53 x 39 cm
    Paula Modersohn-Becker Museum, Bremen

    1900 Marsh Channel with Peat Barges
    tempera on cardboard 36 x 51 cm
    Private Collection

    1900 Portrait of a Young Lady in Red Hat
    oil on cardboard 68 x 45 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Sand Pit
    oil on cardboard 41 x 54 cm
     Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Standing Female Nude, Against a Dark Wall
    charcoal and brown chalk 59.5 x 42 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900 Still Life with Blue and White Porcelain and Kettle
    oil on cardboard 50 x 58 cm
    Niedersächsisches Landesmuseum, Hanover, Germany

    1900 Worpsweder Landscape with Red House
    Lower Saxony State Museum, Hanover, Germany

    1900-02 Fruit Tree in Bloom
    charcoal on blue laid paper 26.3 x 31.6 cm
    National Gallery of Art, Washington, DC

    1900-02 Sitting Child
    drypoint on vellum 8.5 x 12 cm

    1900-02 The Goose Girl
    etching and aquatint printed in brown on japan paper 25.5 x 20.5 cm

    1900-02 The Moor
    tempera on cardboard 54.1 x 33 cm
    Private Collection


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    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker, and for earlier works, see part 1 also.

    This is part 2 of a 5-part post on the works of Paula Modersohn-Becker:



    1900c Birch Trunk in Front of Landscape with House

    1900c Evening Landscape with Tracks
    oil on cardboard 41 x 55 cm
    Niedersächsisches Landesmuseum, Germany

    1900c Moonlit Landscape
    oil on cardboard 42 x 55 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1900c Twilight Landscape with House and Forked Branch
    oil on cardboard 42.5 x 55.7 cm
    Kunsthalle Bremen, Germany

    1900c Two Boys at the Moor Canal
    oil on cardboard 60.5 x 44.5 cm
    Wilhelm-Hack-Museum, Ludwigshafen on the Rhine, Germany

    1900c Two Peasant Girls
    etching, drypoint and roulette on heavy wove paper 14 x 9.8 cm ( plate )
    National Gallery of Art, Washington, DC

    1900c Worpswede Landscape
    oil on cardboard 61.5 x 68 cm
    Museum Ludwig, Cologne, Germany

    1901 Head of a Blonde Girl in front of a Landscape
    oil on cardboard 32.9 x 36 cm

    1901 Landscape with Pine
    oil on cardboard 50.6 x 31.5 cm
    Private Collection

    1901 Sand Dune
    oil on cardboard 46.6 x 64.8 cm
    Paula Modersohn-Becker, Bremen, Germany

    1901 Sleeping Beauty
    oil on cardboard 46.5 x 52 cm
    Germanisches Nationalmuseum, Nuremberg, Germany 

    1901 The Fairy Tale Drude II
    oil on canvas 48.5 x 69.5 cm
    Private Collection

    1901 Young Girl
    oil on oak panel
    Hamburger Kusthalle, Germany

    1901-02 Girl in the Garden near the Crystal Ball
    tempera on cardboard 35.7 x 35.7 cm
    Private Collection

    1901c Avenue of Birch Trees in Autumn
     tempera on cardboard 45.7 x 58.5 cm
    Private Collection

    1901c Birch Trees in front of a Landscape
    oil on cardboard 73.6 x 46.2 cm
    Paula Modersohn-Becker Museum, Bremen, Gemany

    1901c Birch Trunks against a Red Farm
    oil on cardboard 53 x 39.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1901c Cowshed
    tempera on cardboard 29.5 x 39.5 cm

    1901c Landscape with Birches
    oil on cardboard 73 x 37.2 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1901c Two Children Sitting in a Meadow
    tempera on cardboard 46.5 x 41 cm

    1902 Elsbeth
    oil on canvas 89 x 71 cm
    Private Collection

    1902 Girl with Child
     oil on cardboard 45.3 x 50.5 cm
    Gemeentemuseum, The Hague, Netherlands

    1902 Girl with Straw Hat and Flower in Raised Hand
    oil on canvas 40 x 37.5 cm

    1902 Mieke Vogeler with Pearl Necklace
     oil on cardboard 60.5 x 32 cm
    Heinrich Vogeler Collection, Worpsweder Kunsthalle, Worpswede, Germany

    1902 Old Farmer with a Goat
    oil on cardboard 51 x 71.5 cm
    Saarland Museum, Saarbrücken, Germany

    1902 Portrait of a Woman with a Carafe
    charcoal on blue paper 25.6 x 16 cm
    Kunsthalle Bremen, Germany

    1902 Portrait of Clara Rilke-Westhoff
     charcoal on blue paper 26 x 32 cm
     Kunsthalle Bremen, Germany

    1902 The Woman with the Goose
    engraving and aquatint 12.3 x 17.3 cm ( plate )

    1902-03 Child Sitting in an Armchair
    charcoal 29.2 x 19.7 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902-03 Girl Sitting in the Countryside, facing right
    charcoal 31.5 x 28 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902-03 Girl with Floral Headband
     oil on canvas 48 x 33.5 cm
    Staatliche Museen zu Berlin, Germany

    1902-03 Infant in the Chair
    charcoal and pencil 28.5 x 28.5 cm
    Kunsthalle Bremen, Germany

    1902c Child with Doll Sitting on a Birch Trunk
    oil on canvas 39.5 x 54.3 cm
    Private Collection

    1902c Elsbeth
     tempera on cardboard 27 x 31.4 cm
    Private Collection

    1902c Elsbeth with Goats
    tempera on cardboard 39.8 x 55.1 cm
    Private Collection

    1902c Elsbeth with Hens under an Apple Tree
    oil on cardboard laid down on canvas 48.9 x 38.1 cm
    Private Collection

    1902c Girl with a Goat
    Private Collection

    1902c Girl's Head against Green Foliage
    oil on paper 31.3 x 29.7 cm
    Private Collection

    1902c Landscape with Trees
    drypoint, etching and roulette on wove paper 9.8 x 13.9 cm ( plate )
    National Gallery of Art, Washington, DC

    1902c Procession of Wailing Women
    oil on cardboard 56 x 91 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1902c Self-Portrait
    tempera on paper 33 x 45.5 cm
    Museum am Ostwall, Dortmund

    1902c Still Life with Green Vase
    oil on brown wood pulp board, varnished 37.7 x 29.1 cm
    Art Institute of Chicago, IL

    1902c Two Girls and a Birch Trunk
    oil on cardboard
     Paula Modersohn-Becker Museum, Bremen, Germany

    1902c Two Naked Boys Crouching on the Shore
    oil on cardboard 54.6 x 37.8 cm
    Paula Modersohn-Becker Gallery, Bremen, Germany

    1902c Young Man Lying in Grass next to Birch
    oil on card 44.6 x 45.5 cm


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    Paula Modersohn-Becker c1905

    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker see part 1. For earlier works by Modersohn-Becker, see parts 1-2 also.

    This is part 3 of a 5-part post on the works of Paula Modersohn-Becker:



    1903 Five Children Sitting on the Edge of a Meadow
    chalk 19.5 x 29.7 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903 Girl in a Birch Forest
    oil on cardboard 54.2 x 39.8 cm
    Museum of FIne Arts, Ghent, Belgium

    1903 Girl Resting on Birch Trunk

    1903 Girl with Blue and White Chain in her Hair
    oil on cardboard 48 x 42 cm
    Von Der Heydt Museum, Wuppertal, Germany

    1903 Head of an Old Woman with Black Scarf
    oil on cardboard 39 x 37.5 cm
    Kunsthandel Wolfgang Werner, Bremen, Germany

    1903 Old Peasant Woman
    oil on canvas
    Kunsthalle Hamburg, Germany

    1903 Portrait of Hedwig Hagemann
    charcoal 23.5 x 34.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903 Seated Peasant Woman with Child on Her Lap
    oil on cardboard 61 x 49.5 cm

    1903 Self-Portrait
    charcoal and pastel 43.7 x 27 cm
    Private Collection

    1903 Woman with Straw Hat between Birches
    oil on cardboard 74 x 52.5 cm
    Kunstmuseum Gelsenkirchen, Germany

    1903-04 Portrait of a Peasant Woman with a Hood
    charcoal 19.7 x 19.7 cm

    1903-04 Sitting Woman
    charcoal 37.8 x 24.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903c Birch Trunks with Swinging Child
    tempera on paper laid down on board 54.8 x 42 cm
     Private Collection

    1903c Boy with Cat
    oil on canvas 70.4 x 45.2 cm
    Kunstmuseum Basel

    1903c Child in a Cradle
    oil on cardboard 38 x 49.2 cm
    Kunsthalle Bremen, Germany

    1903c Children in the Sun
    oil on cardboard 37 x 33 cm
    Sammlung Rauert, Hamburg, Germany

    1903c Head of a Peasant Woman in Profile
    oil on cardboard 34 x 26 cm
    Kunsthalle Bremen, Germany

    1903c Head of a Peasant Woman
    oil on cardboard 27 x 24.8 cm
    Sammlung Sander, Berlin, Germany

    1903c Infant with Mother's Hand
    oil on canvas 31.3 x 26.7 cm
    Kunsthalle, Bremen, Germany

    1903c Old Woman with Handkerchief
    oil on cardboard 69 x 55 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1903c Peasant Woman with Child at Breast in front of Landscape
    oil on canvas 69 x 58 cm
    Hamburger Kunsthalle, Germany

    1903c Seated Girl with Black Hat and Flower in her Hand
    oil on canvas 69.8 x 44.8 cm

    1903c Seated Old Peasant Woman
    oil on canvas 81.8 x 65.5 cm
    Kunstmuseum Basel

    1903c Self-Portrait with Necklace
    paper 38.5 x 25.5 cm
    Kunsthalle, Bremen, Germany

    1903c Still LIfe with Lemon, Orange and Tomato
    watercolour 17.3 x 26.5 cm
    Private Collection

    1904 Farm-woman with Child, Rider in the Background
    oil on cardboard laid down on panel 69.6 x 55.6 cm
    Private Collection

    1904 Girl in a Birch Wood with a Cat
    canvas 96 x 81.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1904 Sitting Nude Girl
    oil on cardboard 32 x 26.5 cm
    Private Collection

    1904-05 Peasant Girl with Pink Apron
    tempera on canvas 69 x 55 cm
    Private Collection

    1904-05 Worpsweder Peasant on a Chair
    tempera on canvas 90 x 61 cm
    Kunsthalle Bremen, Germany

    1904-05c Two Girls Sitting in a Birch Forest
    tempera on canvas 31.6 x 45.8 cm
    Private Collection

    1904c Portrait of a Girl in Profile next to a Birch Trunk
    oil on cardboard 36.8 x 37.2 cm
    Ahlers Collection, Germany

    1904c Three Children with Goat in Birch Forest
     tempera on wood 57 x 46 cm
    Galerie Cohrs-Zirus, Worpswede, Germany

    1904c Two Peasant Girls with Trumpets
    charcoal 41.2 x 28 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1905 Clara Rilke-Westhoff
    52 x 36.8 cm
    Hamburger Kunsthalle, Germany

    1905 Clara Rilke-Westhoff
    charcoal study 27.3 x 18.7 cm
    Kunsthalle Bremen, Germany

    1905 Girl with Rabbit
    oil on cardboard 61 x 55.5 cm
    Von Der Heydt Museum, Wuppertal, Germany

    1905 Seated Old Woman
    etching and aquatint
    The Cleveland Museum of Art, Ohio

    1905 Still LIfe with Milk Pudding ( Breakfast )
    tempera on Cardboard 55 x 71.8 cm
    Sammlung Ludwig Roselius, Bremen, Germany

    1905-06 Reclining Female Nude
    oil on canvas 71.5 x 113 cm

    1905-06c Still LIfe, Leaf Plant and Egg Cup
    tempera on canvas 31 x 37.2 cm
    Kunsthalle Bremen, Germany

    1905c Girl at the Duck Pond
    oil on cardboard 41.9 x 34.8
    Paula Modersohn-Becker Museum, Bremen, Germany

    1905c Girl in a Red Dress by a Tree Trunk
    oil on canvas 56 x 58 cm
    Sammlung Sander, Berlin, Germany

    1905c Girl in a Red Dress emulsion ( probably oil, tempera and wax ) on composite board
    Harvard Art Museums
    © 2017 President and Fellows of Harvard College


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    Paula Modersohn-Becker with daughter Elspeth

    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker see part 1. For earlier works by Modersohn-Becker, see parts 1-3 also.

    This is part 4 of a 5-part post on the works of Paula Modersohn-Becker:



    1905c Head of a Girl Sitting on a Chair
    oil on board 26 x 21.2 cm

    1905c Head of a Girl with Striped Hat
    oil on canvas 24.4 x 21.6 cm
    Kusthalle Bremen, Germany

    1905c Little Boy and Girl in Flowered Hat
    oil on cardboard 52.4 x 38 cm
    Sammlung Sander, Berlin, Germany

    1905c Mother with Baby at her Breast and Child in Landscape

    1905c Old Peasant Woman with Hand on Forehead
    oil on cardboard 53.6 x 38 cm
    Pinakothek der Moderne, Munich, Germany

    1905c Portrait of a Girl
    oil on canvas 41 x 33 cm
    Von Der Hetdt Museum, Wuppertal, Germany

    1905c Red House with Birch Tree
    gouache on cardboard 26.7 x 38.2 cm
    Lower Saxony State Museum, Hanover, Germany

    1905c Self-Portrait
    oil on canvas 34.5 x 27.3 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1905c Sitting Female Nude to the Left
    charcoal on brown paper 31.3 x 23.5 cm

    1905c Standing Female Nude
    oil on cardboard 72.3 x 31 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1905c Standing Female Nude, Arms Folded against her Breast
    oil on canvas 81 x 45.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1905c Still Life with Gas Lamp
    oil on canvas 70.5 x 58 cm
    Lower Saxony State Museum, Hanover, Germany

    1905c Still Life with Pumpkin
    oil on canvas 75 x 95 cm
    Von der Heydt-Museum, Wuppertal, Germany

    1905c Still LIfe with Yellow Jug
    oil on canvas 59.5 x 71.3 cm
    Lower Saxony State Museum, Hanover, Germany

    1905c Still-life with Sugar Bowl and Hyacinth in a Glass
    oil on cardboard 35.5 x 51.5 cm
    Kunsthalle Bremen, Germany

    1905c The Blind LIttle Sister
    oil on cardboard 32.2 x 33.5 cm
    Museum Ludwig, Cologne, Germany

    1905c Two Women in the Garden with a Fountain study
    chalk on blue paper 31.4 x 26.6 cm
    Private Collection

    1906 Head of a Girl
    21 x 25 cm
    Städelsches Kunstinstitut und Städtische Galerie, Frankfurt

    1906 Kneeling and Standing Girls Nude, Poppies in the Background II
    oil on canvas 106 x 56 cm

    1906 Kneeling Mother with Child
    oil-tempera on canvas 113 x 74 cm
    Staatliche Museen zu Berlin, Germany

    1906 Kneeling Woman with a Bird
    pastel 68.5 x 52.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Lying Mother with Child
    charcoal 21.5 x 31.3 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Lying Mother with Child
    charcoal 23 x 31.3 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Nude Child with Stork
    tempera on canvas 73 x 59 cm
     Lower Saxony State Museum, Hanover, Germany

    1906 Otto Modersohn, Sleeping
    oil on canvas
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Portrait of Lee Hoetger with Flower
    oil on canvas 55.3 x 33.2 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Portrait of a Twelve-Year Old Italian Girl

    1906 Portrait of an Italian Girl in a Red Dress
    oil on board 34 x 30.3 cm

    1906 Portrait of Martha Vogeler in front of a Winter Landscape
    tempera on cardboard 54 x 47.3 cm
    Private Collection

    1906 Portrait of Rainer Maria Rilke
    tempera on cardboard laid down on wood 32.3 x 25.4 cm
     Paula Modersohn-Becker Museum, Bremen

    1906 Portrait of Sisiter Herma with Artichoke Flower in her Raised Hand
    oil on canvas 56.5 x 51 cm
    Private Collection

    1906 Reclining Mother with Child
    oil on canvas 82.5 x 124.7 cm

    1906 Reclining Mother with Child study
    charcoal 23 x 31.3 cm
    Kunsthalle Bremen, Germany

    1906 Seated Mother with Child on her Lap
    105.5 x 75 cm
    Von Der Heydt Museum, Wuppetal, Gemany

    1906 Self-Portrait
    oil on cardboard 45.7 x 29.7 cm
    Museum Ludwig, Cologne, Germany

    1906 Self-Portrait on the Sixth Wedding Anniversary
    tempera on cardboard laid down on plywood 101.8 x 70.2 cm
     Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Self-Portrait
    tempera on cardboard 62.2 x 48.2 cm
    Ludwig Roselius Museum, Bremen

    The above portrait appears to be based on this photograph of Modersohn-Becker:





    1906 Self-Portrait Turned to the left with Her Hand at Her Chin
    paper laid down on cardboard 29 x 19.5 cm

    1906 Sitting Girl in White Shirt and Standing Nude Girl
    oil on cardboard 95.5 x 63.6 cm
    Paula Modersohn-Becker MUseum, Bremen, Germany

    1906 Standing Nude Girl
    oil on canvas 135.6 x 50.8 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Standing Nude Girl study
    charcoal on paper 30.9 x 17.5 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Still LIfe with Apples and green Glass
    tempera on cardboard laid down on plywood 33.2 x 43 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1906 Still Life with Goldfish Bowl
    oil on canvas 50.5 x 74 cm
    Von der Heydt Museum, Wuppertal, Germany

    1906 Still-Life with Yellow Bowl and Earthenware Pitcher
    oil on canvas 65.4 x 82.5 cm

    1906 Two Girls in White and Blue Dresses
    oil on board 53.3 x 35.6 cm
    Milwaukee Art Mueum, Wisconsin


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    Paula Modersohn-Becker with Elspeth c1903

    Paula Modersohn-Becker (1876-1907) spent most of her childhood in Bremen, Germany, and decided to become a painter at a young age. After her education at a private painting and drawing school in Berlin, she continued her studies from 1898 at the artist’s colony Worpswede with Fritz Mackensen.

    The human form is very much at the centre of Modersohn-Becker’s work; children, old women, and Worpsweder peasants inspired her to undertake portraiture.

    For more information on Paula Modersohn-Becker see part 1. For earlier works by Modersohn-Becker, see parts 1-4 also.

    This is part 5 of a 5-part post on the works of Paula Modersohn-Becker:



    1906 Two Girls in White and Blue Dresses
    oil on cardboard 58.5 x 40 cm
    Kunsthalle Hamburg, Germany

    1906-07 Girl with Goldfish
    tempera on canvas 105.5 x 54.5 cm
    Museum of Modern Art, Munich

    1906-07 Lee Hoetger and Her Sister
    gouache on paper 36.5 x 46.5 cm
    Museum Ostwall, Dortmund, Germany

    1906-07 Self-Portrait
    tempera on paper 26.5 x 18.5 cm
    Private Collection

    1906-07 Self-Portrait with Hat and Veil
    oil on canvas 89.6 x 79.8 cm
    Gemeentemuseum Den Haag, The Netherlands

    1906-07 Self-Portrait with Red Flowers and Necklace
    Lower Saxony State Museum, Hanover, Germany

    1906-07 Sitting Nude Girl with Flower Vases
    tempera on canvas 89 x 109 cm
    Von der Heydt-Museum, Wuppertal, Germany

    1906-07c Old Peasant Woman
    oil on canvas 75.6 x 57.8 cm
    Detroit Institute of the Arts, MI

    1906c Girl with a Cat
    Private Collection

    1907 Adoration of the Magi
    oil on cardboard 24.3 x 32.4 cm
    Kunsthalle Bremen, Germany

    1907 Adoration of the Magi

    1907 Mother and Child
    80 x 59 cm
    Museum Ostwall, Dortmund, Germany

    1907 Old Woman from the Poorhouse in the Garden with Glass Globe and Poppies
    oil and tempera on canvas 95 x 78 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1907 Self-Portrait
    tempera? on panel 62 x 31 cm
    Museum Folkwang, Essen

    1907 Self-Portrait with Two Flowers in Raised Left Hand
    canvas 55 x 25 cm Private Collection

    1907 Still LIfe with Blue Box
    oil on canvas 27.3 x 35.7 cm
    Paula Modersohn-Becker Museum, Bremen, Germany

    1907 Still LIfe with Pottery Jug
    oil on canvas 38 x 47 cm
    Private Collection

    1907 Still Life with Ringlet in front of Landscape
    oil on canvas 25 x 28.5 cm
    Private Collection

    1907 The Good Samaritan
    tempera on cardboard laid down on wood 31.3 x 37 cm
    Sammlung Ludwig Roselius, Bremen, Germany

    1908c Child's Head with White Cloth
    tempera on Cardboard 45.3 x 66.2 cm
    Private Collection

    Female Half Nude
    oil on canvas 82.6 x 55 cm
    Private Collection

    Female Nude

    Kneeling  Breast-Feeding Mother

    Landscape with Shrubs and Red Houses
    oil on card 39.7 x 52 cm

    Landscape with Windblown Trees
    oil on board

    n.d. Armenian Woman Sitting in the Garden
    oil on cardboard 32.5 xx 43.7 cm

    n.d. Blind Woman in the Woods
    etching, aquatint and roulette on yellow vellum 29.2 x 24.9 cm

    n.d. Breast Feeding Mother
    Musée d'art Moderne de la Ville de Paris

    n.d. Child Sitting by a Birch ( Child with Fruit )
     oil on cardboard 64.1 x 47.3 cm

    n.d. Child's Head study
     chalk on paper 14 x 14.9 cm
    Museum Ludwig, Cologne, Germany

    n.d. Female Nude lying in the Grass

    n.d. Landscape under Trees
    etching and roulette on yellowish vellum 25 x 36.5 cm

    n.d. Men, Women and Children Between Trees
    charcoal on hand-made paper 21.8 x 29.7 cm

    n.d. Moorland with Reflected trees
    oil on cardboard 43.6 x 45.9 cm

    n.d. Self-Portrait
    oil on cardboard 45.7 x 29.7 cm
    Museum Ludwig, Cologne, Germany

    n.d. Self-Portrait, Half-Length, Facing Left, Holding a Bowl and a Glass
    oil on cardboard 67.3 x 47 cm
    Sammlung Sander, Berlin, Germany

    n.d. Standing Boy with Angled Right Arm
    charcoal on ivory-coloured paper 58.8 x 28.7 cm

    n.d. Still Life with Flowers
    tempera on canvas 90 x 65 cm
    Kunsthalle, Bremen, Germany

    n.d. Study of a Hand
    charcoal on ivory-coloured vellum 16.8 x 12.9 cm

    n.d. Woman Sitting on a Podium to the Left
    charcoal on delicate grey-tinted Japanese paper 31.8 x 23.4 cm


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  • 08/09/17--05:26: Wenceslaus Hollar - part 1
  • Self-Portrait 1647
    etching on ivory laid paper 13.5 x 9.7 cm
    Art Institute of Chicago, IL

    Wenceslaus Hollar (1607 Prague – 1677 London) was one of the premier etchers and draftsmen of the 17thcentury, known for his landscapes, architectural and topographical views, still-lifes, and women’s fashions. A prolific artist with 2,525 prints attributed to him.

    Hollar left Prague for Germany in 1627, working first in Stuttgart and Strasbourg, and then in 1631 in Frankfurt where he was apprenticed to the engraver Matthaeus Merian. He moved to Cologne in 1632. During trips up the Rhine to Mainz in 1632 and to Amsterdam and other Dutch cities in 1634, Hollar made drawings that led to 24 landscape etchings, published in 1635.


    In 1636 Hollar joined the service of Thomas Howard, Earl of Arundel, with whom he travelled along the Rhine to Prague. In December 1636 he arrived in London with Arundel. In 1644 he went to Antwerp after selling a number of plates to Peter Stent; returning to London in 1652, and concentrated thereafter on book illustration and cartography.



    In 1666 he was named “Scenographus Regius” by the King, but the Great Fire of London that year brought an end to Hollar’s projected view of the entire city. In 1668-69 he joined Lord Henry Howard on his expedition to Tangiers, but most of his late work consisted of routine illustrations for book publishers. Hollar died in London in severely reduced circumstances.


    This is part 1 of a 9-part series on the works of Wenceslas Hollar:


    1628c April
    etching 9.1 x 13 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1628c August
    etching 9.3 x 12.6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1630-63 Women - full length:

    1630-39c Woman in Full Dress
    pen and brown ink with brush and grey wash, on ivory laid paper, laid down on ivory laid paper 15.3 x 9.1 cm
    Art Institute of Chicago, IL

    1638 Lady with Cap and Muff
    etching 13.6 x 7.3 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1640c Lady with a White Handkerchief
    etching 13.5 x 6.9 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1642 Bohemian Woman of Good Quality
    etching on grey Asian paper 94 x 62 cm
    Art Institute of Chicago, IL

    1642 English Gentle Woman
    etching 9.6 x 6.4 cm
    Rijksmuseum, Amsterdam

    1642 Gentlewoman from Vienna
    etching 9 x 5.7 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1642-50 Noble Woman of England
    etching 9.7 x 6.4 cm
    Rijksmuseum, Amsterdam

    1643 A Danish Woman
    etching 9.3 x 6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 A Lady of Cologne
    etching 9.4 x 6.2 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 A Woman from Antwerp
    etching 9.4 x 6.1 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 A Woman of Cologne in her Best Attire
    etching 9.1 x 6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 Citizen's Daughter of Cologne
    etching 9.1 x 6.2 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 Cologne Maid
    etching 9.4 x 6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 English Country Woman
    etching 7.5 x 6.1 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 English Lady
    etching 9.3 x 6.2 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 English Noblewoman
    etching 9.5 x 6.3 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 English Noblewoman in Winter Clothing
    etching on grey Asian paper 87 x 59 cm
    Art Institute of Chicago, IL

    1643 Frankfurt Merchant's Wife
    etching 9.1 x 6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 French Lady
    etching 9.2 x 5.6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 French Noblewoman
    etching 9.3 x 5.9 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 Labourer's Wife from Paris
    etching 9.2 x 5.9 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1643 Lady of the Court of England
    etching 9.3 x 6.1 cm
    Rijksmuseum, Amsterdam

    1643 Merchant's Daughter
    etching 9.3 x 6.2 cm
    Rijksmuseum, Amsterdam

    1643 Woman of Franconia
    etching 9.3 x 6.2
    Rijksmuseum, Amsetrdam

    1643 Peasant Woman from Bohemia
    etching on grey Asian paper
    Art Institute of Chicago, IL

    1643 Prague Girl
     etching on grey Asian paper 92 x 58 cm 91 x 60 cm
    Art Institute of Chicago, IL

    1643 Woman from Prague
    etching on grey Asian paper 93 x 60 cm
    Art Institute of Chicago, IL

    1643 Woman of Westphalia
    etching on grey Asian paper 90 x 62 cm
    Art Institute of Chicago, IL

    1644 Basel Woman
    etching on grey Asian paper 91 x 59 cm
    Art Institute of Chicago, IL

    1644 English Gentlewoman
    etching in grey Asian paper 89 x 61 cm
    Art Institute of Chicago, IL

    1644 English Lady
    etching 7.7 x 6 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1644 English Noblewoman
    etching 8.8 x 5.4 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1644 English Noblewoman
    etching 8.8 x 5.8 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1644 Merchant's Wife of Holland
    etching 9.4 x 6 cm
    Dallas Museum of Art, Texas

    1644 Woman of Basel
    etching on grey Asian paper 90 x 60 cm
    Art Institute of Chicago, IL

    1644 Woman of Basel
    etching on grey Asian paper 94 x 60 cm
    Art Institute of Chicago, IL

    1644-50 Burgher's Wife of Bern
    etching on grey Asian paper 91 x 58 cm
    Art Institute of Chicago, IL

    1644-50 Dutch Sailor's Wife
    etching on grey Asian paper 92 x 57 cm
    Art Institute of Chicago, IL

    1644-50 Strasbourg Woman
    etching on grey Asian paper 91 x 57 cm
    Art Institute of Chicago, IL

    1644-50 Strasbourg Woman
    etching on grey Asian paper 92 x 57 cm
    Art Institute of Chicago, IL

    1644-50 Strasbourg Woman
    etching on grey Asian paper 92 x 58 cm
    Art Institute of Chicago, IL

    1644-50 Strasbourg Woman in Wedding Dress
    etching on grey Asian paper 91 x 59 cm
    Art Institute of Chicago, IL

    1644-50 Woman of Calabria
    etching on grey China paper 93 x 59 cm
    Art Institute of Chicago, IL


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  • 08/11/17--05:40: Wenceslaus Hollar - part 2
  • Wenceslaus Hollar in his Workshop
    etching 16.3 x 11.6 cm
    Museum of FIne Arts, Boston, MA

    Wenceslaus Hollar (1607 Prague – 1677 London) was one of the premier etchers and draftsmen of the 17th century, known for his landscapes, architectural and topographical views, still-lifes, and women’s fashions. A prolific artist with 2,525 prints attributed to him.

    For further biographical notes and for earlier works by Hollar, see part 1 also. 

    This is part 2 of a 9-part series on the works of Wenceslas Hollar:


    1630-63 Women full length (continued from part 1):


    1648 Antwerp Woman
    etching on grey Asian paper 92 x 57 cm
    Art Institute of Chicago, IL

    1648 Hungarian Woman
    etching 9.3 x 5.8 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1649 Bohemian Noblewoman
    etching on grey Asian paper 92 x 58 cm
     Art Institute of Chicago, IL

    1649 Spanish Noblewoman
    etching on grey Asian paper 91 x 57 cm
    Art Institute of Chicago, IL

    1649 Viennese Woman
    etching on grey Asian paper 90 x 58 cm
    Art Institute of Chicago, IL

    1649 Wife of the London Mayor
    etching on grey Asian paper 90 x 58 cm
    Art Institute of Chicago, IL

    1649 Woman of Bern
    etching on grey China paper 93 x 57 cm
    Art Institute of Chicago, IL

    1649 Young Zurich Woman
    etching on grey Asian paper 92 x 57 cm
    Art Institute of Chicago, IL

    1649 Zürich Woman in Wedding Dress
    etching on grey Asian paper 91 x 57 cm
    Art Institute of Chicago, IL

    1650 Antwerp Wife
    etching on grey Asian paper 91 x 59 cm
    Art Institute of Chicago, IL

    1663 A Lay Sister of the Order of St. Clare
    etching 9.5 x 5.4 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    *          *          *          *          *

    1635 A Man's Head, after Screta
    etching 8 x 7 cm
    Thomas Fisher Rare Book Library, University of Toronto

    1639 Infant Hercules Asleep
    etching 15.2 x 13.8 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1639 Kneeling King Richard II accompanied by John the Baptist, King Edmund and Edward the Confessor
    etching 25.1 x 13.9 cm
    Rijksmuseum, Amsterdam

    1639 Virgin and Child Surrounded by Angels
    etching 24.6 x 13.3 cm
    Rijksmuseum, Amsterdam

    1640 Arthur Lake, Bishop of Bath and Wells
    etching 15.1 x 10.7 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1640 Ornatus Muliebris Anglicanus 
    (The Clothing of English Women):

    1638 Court Lady in Low-necked Dress, Necklace over Collar
    etching 14 x 8 cm
    Museum of FIne Arts, Boston, MA

    1638 Woman in black bonnet, fur muff, lace collar
    etching 14.3 x 8.2 cm
    Museum of FIne Arts, Boston, MA

    1639 Court Lady in slashed dress, with lace collar, fur muff
    etching 14 x 7.9 cm
    Museum of FIne Arts, Boston, MA

    1639 Woman in low-cut gown
    etching 14.1 x 8.1 cm
    Museum of FIne Arts, Boston, MA

    1639 Woman muffled in cape, mask and hood, with muff
    etching 14.1 x 7.8 cm
    Museum of FIne Arts, Boston, MA

    1639 Woman turned away, with fan and lace collar
    etching 13.8 x 7.7 cm
    Museum of FIne Arts, Boston, MA

    1639 Woman with a Handkerchief
    etching
    The Cleveland Museum of Art, Ohio

    1639 Woman with fan, jewelled collar
    etching 14.1 x 8 cm
    Museum of FIne Arts, Boston, MA

    1639 Woman with fur muff standing on two steps
    etching 13.6 x 7.6 cm ( plate )
    Dallas Museum of Art, Texas

    1640 Court Lady with brooch, jewelled belt, sleeves, lace-cuffed gloves
    etching 13.9 x 8 cm
    Museum of FIne Arts, Boston, MA

    1640 Court Lady with lace and jewelled collar, gloves
    etching 14.5 x 8.1 cm
    Museum of FIne Arts, Boston, MA

    1640 Woman seen from behind, raising overskirt
    etching 14.2 x 7.8 cm
     Museum of FIne Arts, Boston, MA

    1640 Woman from back, wearing wide-brimmed hat, raising overskirt
    etching 14.2 x 7.8 cm
    Museum of FIne Arts, Boston, MA

    1640 Woman in apron, bonnet, large collar, holding gloves
    etching 14.2 x 8.1 cm
    Museum of Fine Arts, Boston, MA

    1640 Woman in bonnet, apron, white cape collar and gloves
    etching 14.1 x 8 cm
    Museum of Fine Arts, Boston, MA

    1640 Woman in coif, wearing pattens, carrying basket
    etching 14.3 x 8 cm
    Museum of Fine Arts, Boston, MA

    1640 Woman in profile, wearing hat, apron, holding skirt train
    etching 14.1 x 7.9 cm
    Museum of FIne Arts, Boston, MA

    1640 Woman in ruff, apron, wide-brimmed hat
    etching 14.2 x 7.9 cm
     Museum of Fine Arts, Boston, MA

    1640 Woman in white coif, gloves, scissors on chatelaine
    etching 14.2 x 8 cm
    Museum of Fine Arts, Boston, MA

    1640 Woman in wide-brimmed hat, large ruff, fur muff
    etching 14 x 7.8 cm
    Museum of FIne Arts, Boston, MA

    1640 Woman with a feather fan
    etching 14.2 x 7.8 cm
    Museum of Fine Arts, Boston, MA

    1640 Woman with feather in hair, chatelaine-locket
    etching 14 x 7.7 cm
    Museum of FIne Arts, Boston, MA

    1640 Woman with mask and muff
    etching 13.4 x 7 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1640 Woman with veil, gloves, feather fan
    etching 14.2 x 8.1 cm
    Museum of FIne Arts, Boston, MA

    1640c Woman in white coif, wide-brimmed hat, muff
     etching 14.1 x 7.9 cm
     Museum of Fine Arts, Boston, MA

    *          *          *          *          *


    1641 Charles I of England
    etching 14.p x 9.7 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1641 Henrietta Maria of England
    etching 10.3 x 10.2 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1641 Henrietta Maria of England
    etching 15.6 x 11.8 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1641 Spring state 2
    etching 25 x 18 cm
    Thomas Fisher Rare Book Library, University of Toronto


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  • 08/14/17--05:24: Wenceslaus Hollar - part 3
  • Wenceslaus Hollar (1607 Prague – 1677 London) was one of the premier etchers and draftsmen of the 17th century, known for his landscapes, architectural and topographical views, still-lifes, and women’s fashions. A prolific artist with 2,525 prints attributed to him.

    For further biographical notes on Hollar, see part 1.
    For more works, see parts 1 and 2 also. 

    This is part 3 of a 9-part series on the works of Wenceslas Hollar: