Carl Larsson - Part 5

May 10, 2014, 4:20 am

1906 Self-Portrait "Self-Recognition" oil on canvas 95.5 x 61.5 cm Polo Museum, Florence

Carl Larsson (1853 – 1919) was a Swedish artist representative of the Arts and Crafts movement. His many works include oils, watercolours and frescoes. He considered his finest work to be Midvinterblot (Midwinter Sacrifice), a large wall mural now displayed in the Swedish National Museum of Fine Arts.

For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 4 also. This is part 5 of a 7-part post on the works of Carl Larsson.

1905 Kersti in Black watercolour

1909 Kersti in Black etching 14.7 x 19.9 (plate) © Finnish National Gallery, Helsinki

1905 Kersti's Friend Visiting pencil and watercolour 33 x 22.5 cm

1905 My Yard pencil and watercolour

1905 On the Farm pencil and watercolour

1905 Pastor C.F. Petterson In Sundborn watercolour

1905 Potato Harvest pencil and watercolour

1905 The Antiquity Room pencil and watercolour

1905 The Evening Meal pencil and watercolour

1905 The Guardian Angel etching 15.2 x 19.7 cm (plate) Minneapolis Institute of Arts MN and others

1906 At the Scaffold Painter

1906 Author Carl Gustaf Lawrence etching 11.8 x 15.9 cm (plate) © Finnish National Gallery, Helsinki

1906 Azaleas pencil and watercolour Thiel Gallery, Stockholm

1906 Bo pencil and watercolour

1906 Children of the Carpenter Helberg watercolour

1906 Cowgirl in the Meadow pencil and watercolour

1906 Karin At The Linen Cupboard pencil and watercolour

1906 Karin pencil and watercolour

1906 Model Writing Postcards watercolour 68 x 100cm Thiel Gallery, Stockholm

1906 Oscar Levertin oil on canvas

1906 Oscar Levertin

1906 Red and Black pencil and watercolour

1906 Rose and Back pencil and watercolour

1906 The Cowshed pencil and watercolour

1906 The Future Diva pencil and watercolour

1906 The Manure Pile watercolour

1906 The Model on the Table

1906 Threshing pencil and watercolour

1906 Woodcutters in the Forest pencil and watercolour

1907 Girl Weaving Red Gold Ribbon pencil and watercolour

1907 Greta Arnbom pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden

1907 Kersti with Breadbasket

1907 Minni and Essi pencil and watercolour

1907 Now it's Christmas Again watercolour

1907-08 The Entry of King Gustav Vasa of Sweden into Stockholm, 1523 oil on canvas 700 x 1400 cm Nationalmuseum, Stockholm photo: Creative Commons Licence 2

1908 After the Dance pencil and watercolour

1908 Brita at the Piano pencil and watercolour

1908 In Mum's Bed pencil and watercolour

1908 Ingrid E. watercolour

1908 Karin on the Shore pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden

1908 Lisbeth and Peonies pencil and watercolour

1908 Lisbeth and the Lily pencil and watercolour

1908 Lisbeth in her Sundborn Dress pencil and watercolour

1908 Ludvig Looström

1908 Model in Front of the Stove etching 16.4 x 12 cm (plate) © Finnish National Gallery, Helsinki

1908 Omakuva etching 16.5 x 23.7 cm (plate) © Finnish National Gallery, Helsinki

1908 Rovasti C.F. Pettersson etching 17.9 x 12 cm (plate) © Finnish National Gallery, Helsinki

1908 Selma Lagerlöf oil on canvas Bonnierska Porträttsamlingen, Stockholm

1909 Dagmar Grill in the Garden pencil and watercolour 66 x 56 cm

1909 Friends from the Towm - Dining Room Scene watercolour

1909 Karin and Brita with Cactus pencil and watercolour

1909 Karin and Esbjörn pencil and watercolour

1909 Kersti's Birthday pencil and watercolour

1909 Lisbet Playing the Accordion

1909 Our Guardian Angel pencil and watercolour

1909 The Cottage in Snow pencil and watercolour

1909c The Falun Yard watercolour Private Collection

1910 Brita pencil and watercolour

1910 Esbjörn oil on canvas 70 x 100 cm

1910 Lisbeth's New Hat pencil and watercolour

1910 Self-Portrait in Landscape pencil and watercolour

1910 Suzanne as a Red Cross Nurse pencil and watercolour

1910 Suzanne on the Porch pencil and watercolour

1910c Schoolgirl in an Interior (Kersti) pencil and watercolour 50.8 x 71.8 cm Brooklyn Museum, New York

1911 Brother and Sister watercolour pencil and watercolour

1911 Girl on Skis pencil and watercolour 74 x 52.5 cm

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Carl Larsson - Part 6

May 13, 2014, 5:19 am

≫ Next: Carl Larsson - Part 7

≪ Previous: Carl Larsson - Part 5

1912 Self-Portrait in the Studio pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden

For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 5 also. This is part 6 of a 7-part post on the works of Carl Larsson.

1910 Lasst Licht Hinein (Let in More Light):

Frontispiece of "Lasst Licht Hinein"

1908 Bridesmaid (from "Lasst Licht Hinein" series) pencil and watercolour 52.3 x 75 cm © Finnish National Gallery, Helsinki

1908 Christmas Morning (from "Lasst Licht Hinein" series) pencil and watercolour

1908 Evening Light (from "Lasst Licht Hinein" series) pencil and watercolour

1908 Household Dining Room (from "Lasst Licht Hinein" series) pencil and watercolour

1908 Shelling Peas (from "Lasst Licht Hinein" series) pencil and watercolour

1908 Summer Morning (from "Lasst Licht Hinein" series) pencil and watercolour Private Collection

1908c Trousseau (from "Lasst Licht Hinein" series) pencil and watercolour

1909 Anna Arnbom (from "Lasst Licht Hinein" series) pencil and watercolour

1909 Christmas Holidays (from "Lasst Licht Hinein" series) pencil and watercolour

1909 Evening Before the Journey to England (from "Lasst Licht Hinein" series) pencil and watercolour

1909 Fishing (from "Lasst Licht Hinein") pencil and watercolour

1909 Lisbeth Prepares a Bath (from "Lasst Licht Hinein" series) pencil and watercolour

1909 My Friends, the Carpenter and the Painter (from "Lasst Licht Hinein" series) pencil and watercolour

1909 The Bedroom (from "Lasst Licht Hinein" series) pencil and watercolour

1909 The Reading Room (from "Lasst Licht Hinein" series) pencil and watercolour

1909 The Study Room (from "Lasst Licht Hinein" series) pencil and watercolour

1910 My Acid Workshop "Where I do my Etching" (from "Lasst Licht Hinein" series) pencil and watercolour

Workshop pencil and watercolour

From "Lasst Licht Hinein" pencil and watercolour 30 x 40 cm

* * *

1910-13 Breakfast in the Open:

1910 Esbjörn

1910 Lisbeth and the Birch Grove

1910 Lisbeth by a Birch

1910 Mother Kersti

1910 Breakfast in the Open

1913 Breakfast in the Open

* * *

1911 Hilda pencil and watercolour

1911 In the Back Yard watercolour

1911 Karin Peeling Rhubarb pencil and watercolour

1911 My Sundborn Studio pencil and watercolour

1911 Rosalind pencil and watercolour

1911 Seated Nude Woman etching 24.6 x 19.4 cm (plate) © Finnish National Gallery, Helsinki

1911 The Falun Home watercolour

1912 A Sunbeam Kersti

1912 Correspondence watercolour

1912 Esbjörn Doing His Homework pencil, watercolour and gouache 74.3 x 68.6 cm

1912 Esbjörn Reading during the Mumps etching

1912 Esbjörn in the Studying Corner pencil and watercolour

1912 For Grandma On Her Birthday watercolour

1912 Her Royal Highness, Big Sister pencil and watercolour

1912 Ingrid W. pencil and watercolour

1912 Like Bees Around Honey watercolour

1912 Lillanna and the Crocus watercolour

1912 Lillanna watercolour

1912 Little Matts Larsson pencil and watercolour

1912 Self-Portrait etching

1912 Son-In-Law Sings pencil and watercolour

1912 The Bridge at the Harbour pencil and watercolour Private Collection

1912 Three sharing a Book. Kersti, Esbjörn and Muff watercolour

1912 The Picture Book etching

1912 Under the Chestnut Tree pencil and watercolour Private Collection

1913 Anna-Johanna Grill pencil and watercolour 75 x 53 cm

1913 Carl Oscar Persson, Painter

1913 Gunlög with her Mother pencil and watercolour

1913 Hat Fitting pencil and watercolour

1913 Woman Lying on a Bench pencil and watercolour

1914 Barbro Laurin - 10 Years Old watercolour

1914 Interior with a Cactus watercolour

1914 Mme Jeanne Tramcourt pencil and watercolour

1914 Paul Petter Waldenström

1914 The Model pencil and watercolour

1915 Esbjörn as a Farmhand pencil and watercolour

1915 Hans Arnbom, Carpenter pencil and watercolour

1915 Karl-Otto Bonnier

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Carl Larsson - Part 7

May 16, 2014, 5:54 am

≫ Next: Apple Crate Labels - part 1

≪ Previous: Carl Larsson - Part 6

Carl Larsson in his studio c1900 photo: Public Domain

For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 6 also. This is part 7 of a 7-part post on the works of Carl Larsson.

1914-15 Midwinter Sacrifice:

1914-15 Midwinter's Sacrifice oil on canvas 640 x 1360 cm Nationalmuseum, Stockholm, Sweden

Study oil on canvas 202 x 341 cm Nationalmuseum, Stockholm, Sweden

Study coloured pencils and gouache, squared in pencil 44.5 x 78 cm Nationalmuseum, Stockholm, Sweden

Study oil on canvas 123 x 199 cm Nationalmuseum, Stockholm, Sweden

1914 Study for the Executioner black chalk and gouache 77.5 x 37 cm Nationalmuseum, Stockholm, Sweden

1914 Study oil on canvas 76.5 x 46 cm Nationalmuseum, Stockholm, Sweden

1914-15 Midwinter's Sacrifice oil on canvas 640 x 1360 cm Nationalmuseum, Stockholm, Sweden

* * *

1915 Kersti pencil and watercolour

1915 Mowing the Oats pencil and watercolour

1915 Oat Harvest watercolour

1915 Self-Portrait

1915 Tage Thiel pencil and watercolour

1916 Seamstress pencil and watercolour

1917 By the Cellar pencil and watercolour 74 x 52.5 cm Nationalmuseum, Stockholm

1917 Esbjörn Convalescing pencil and watercolour

1917 Girl with Ice Skates pencil and watercolour 75 x 52.5 cm

1917 Girl With Spinning Wheel pencil and watercolour

1917 Lars-Erik Lamm pencil and watercolour

1917 LillAnna is Playing Mozart pencil and watercolour

1917 Say Hello Nicely pencil and watercolour

1918 Erik Axel Karlfeldt

1918 Esbjörn Reading on the Veranda pencil and watercolour

1918 Lillanna Feeds the Heater watercolour

1918 Self Portrait

1995 My Backyard pencil and watercolour

Unfortunately I do not have dates for the remainder of the works in this series (some are dated but illegible), so they will not be any chronological order, but as there a number of works here I thought I should include them:

A Farmstead watercolour

A Miner's Home pencil and watercolour

Beehives and Roses pencil and watercolour

Birgitta the Saint pencil and watercolour

Bolla pencil and watercolour

Brita In The Flowerbed watercolour

Brita with a Cat and a Sandwich pencil and watercolour

Christmas Decoration pencil and watercolour

Christmas Tree Confetti watercolour

Cock-a-Doodle, Seven O'Clock watercolour

Daniels Mats pencil and watercolour

Day is Done pencil and watercolour

Erik Erikson, the Blacksmith pencil and watercolour

Evening Light at the Grand Piano pencil and watercolour

Father and Mother watercolour

Fertilising the Field watercolour

Flowers In The Meadow watercolour

Harrowing the Field watercolour

Idun's 25th Year Anniversary pencil and watercolour

In The Hawthorn Hedge pencil and watercolour

Jenny with a Flower Garland

Landscape at Marstrand watercolour

Martha Winslow as a Girl pencil and watercolour

Martina in Front of the Fire pencil and watercolour

My Wife watercolour

Our Courtyard pencil and watercolour

Period of The Thirty Years War pencil and watercolour

Ploughing watercolour

Rättvik Girl By Wooden Storehouse watercolour

Self-Portrait "Before the Mirror" watercolour

Sowing watercolour

Stone Age Woman pencil and watercolour

Summer Flowers watercolour

Sun and Flowers watercolour

Suzanne and Another pencil and watercolour

The Bridge

Viking Woman pencil and watercolour

Washerwoman

Winnowing The Grain watercolour

Winter Landscape pencil and watercolour

Woman with Bicycle pencil and watercolour

Young Seamstress watercolour

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Apple Crate Labels - part 1

May 20, 2014, 1:12 am

≫ Next: Apple Crate Labels - part 2

≪ Previous: Carl Larsson - Part 7

This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014).
This is part 1 of a 4-part post on Apple Crate Labels (1910s - 1930s) :

1910-20s Appleton Brand Apples

c1910s Golden West Brand California Apples

c1910s Pennant Brand Newtown Pippins Apples

1910s F.B. Brand Pajaro Valley Apples

1910s Good Stock Brand Newtown Pippins Apples

An example of an earlier artwork being re-drawn at a later date for a different brand (above and below):

1920s Lake View Brand Pajaro Valley Apples

1910s John Jacobs Company Apples

1910s Kentucky Cardinal Brand Apples

1910s Mountain Valley Apples Brand

1910s P.M. Brand Pajaro Valley Apples

1910s Peacock Brand California Apples

1910s Pride Brand Apples

1910s Solo Brand Pajaro Valley Apples

1911 Paonia Mountain Apples

1920s America's Delight Brand Northwest Apples

1920s Anchor Brand Northwest Apples

1920s Best Strike Brand Pajaro Valley Apples

c1920s Deep Blue Sea Brand Northwestern Apples

c1920s Delight Brand Apples

c1920s Pinal Ranch Brand Apples

1920s Camel Brand Apples

1920s Cleveland Brand Apples

1920s DB Brand Northwest Apples

1920s Depend-On Brand Washington Apples

1920s Diving Girl Brand California Apples

1920s Green Bluff BrandApples

1920s Indian Head Brand Yakima Apples

1920s Lucky Lad Brand Northwest Apples

1920s Mariposa Brand Fancy Northwestern Apples

A Mariposa Brand label fro the 1930s still employing the butterfly artwork:

1930s Mariposa Brand Apples

1920s Million Dollar Brand Apples

1920s Nightingale Brand Pajaro Valley Apples

1920s Oak Glen Mountain Apples

1920s Pacific Exporter Brand Apples

1920s Pic-O-Pete Brand Apples

1920s Rip Van Winkle Brand Apples

1920s Sno-Fed Brand Apples

1920s Spinner Fruit Corporation Apples

1920s Tennis Brand Apples

1920s Tiger Brand Apples

1920s Uncle Sam Brand Yakima Valley Apples

1920s Vanbo Brand Apples

1920s Wenatchee Valley Fruit Growers Association

1920s Williams Brand Apples

1930s Baby Brand Apples

1930s Buckaroo Brand Apples

1930s Buddy Brand Apples

1930s Buffalo Brand Pajaro Valley Apples

↧

Apple Crate Labels - part 2

May 23, 2014, 3:28 am

≫ Next: Apple Crate Labels - part 3

≪ Previous: Apple Crate Labels - part 1

A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 2 of a 4-part post on Apple Crate Labels (1930s - 1940s) See part 1 for earlier labels.

1930s Chalet Brand Apples

1930s Dainty Maid Brand Apples

1930s Far West Brand North Apples

1930s Glacier Brand Apples

1930s Governor Winthrop Brand Yakima Apples

1930s Grizzly Brand Apples

1930s Hula Brand Apples

1930s Indian Head Brand Washington Apples

1930s K-O Brand Apples

1930s Yakima Chief Brand Evaporate Apples

1930s Lady Apples Brand Tuolumne County Mountain Apples

1930s Lamb Brand Fancy Apples

1930s Lucky Trail Brand Fancy California Apples

1930s Maine Apples Brand

1930s Majorpak Brand Apples

1930s Ox Team Brand Apples

1930s Pelican Brand Washington Apples

1930s Red Winner Brand Okanogan Valley Apples

1930s Redman Brand Wenatchee District Apples

1930s Redskin Brand Northwest Apples

1930s Tulip Brand Apples

1930s Utah Mountain Apples

1930s Western Star Brand Yakima Valley Apples

1930s Wolf Brand Apples

1940s A-Plus Brand Apples

1940s Apple Kids Brand Washington Apples

1940s Aurora Brand Apples

1940s Beckwith Brand Washington Apples

1940s Benz Goodfruit Brand Washington Apples

1940s Best Bite Brand Apples

1940s Big Chief Brand Canadian Apples

1940s Black Bear Brand Canadian Apples

1940s Blue Grouse Brand Canadian Apples

1940s Blue Larkspur Brand Apples

1940s Blue Mountain Brand Apples

1940s Blue Ribbon Brand Yakima Apples

1940s Blue Seal Brand Apples

1940s Blue Winner Brand Okanogan Valley Apples

1940s Boy Blue Brand Wenatchee Apples

1940s Briskey Brand Apples

1940s Britevale Brand Okanogan Valley Apples

1940s Buffalo Brand Canadian Apples

c1940s Bite Size Brand Apples

c1940s Clasen Brand Apples

c1940s Golden Girl Brand Apples

c1940s Hy-Tone Brand Apples

c1940s Pacific Chief Brand Northwest Apples

c1940s Persian Brand Northwest Apples

c1940s Tyee Brand Washington Apples

↧

Apple Crate Labels - part 3

May 26, 2014, 4:22 am

≫ Next: Apple Crate Labels - part 4

≪ Previous: Apple Crate Labels - part 2

A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 3 of a 4-part post on Apple Crate Labels (1940s continued) See parts 1 - 2 for earlier labels.

1940s Chazy Orchards Brand Apples

1940s Chief Joseph Brand Apples

1940s Cliff Brand Apples

1940s Columbia Belle Brand Apples

1940s Don't Worry Brand Northwestern Apples

1940s Eatmor Brand Apples

1940s Ed. Kinze Brand Washington Apples

1940s Falls Brand Apples

1940s Fashion Plate Brand Northwest Apples

1940s Ferndale Brand Gravenstein Apples

1940s Frigid-Aps Brand Washington Apples

1940s Garsco Brand Apples

1940s Gloriosa Brand Apples

1940s Gold-Ridge Brand Gravenstein Apples

1940s Golden Falcon Brand Idaho Apples

1940s Golden Rod Brand Apples

1940s Gosling Brand Northwest Apples

1940s Great-Northwest Brand Washington Apples

1940s Happy Home Brand Yakima Valley Apples

1940s Hesperian Brand Apples

1940s Hy-Valley Brand Apples

1940s Iceberg Brand Washington Apples

1940s Jackie By Brand Apples

1940s Jade Brand Apples

1940s Jim Dandy Brand Apples

1940s Jim Hill Brand Apples

1940s Jo-Jo Brand Apples

1940s Kare-Ful-Pak Brand Yakima Apples

1940s Kile Brand Apples

1940s King of Color Brand Sebastopol Gravenstein Apples

1940s Kyte Brand Apples

1940s L-Z Brand Apples

1940s Lake Chelan Brand Washington Apples

1940s Laurie Brand Washington Apples

1940s Legal Tender Brand Apples

1940s Linse Brand Apples

1940s Morjon Brand Apples

1940s Mountain Brand Apples

1940s Mountain Edge Brand Apples

1940s Mountain Goat Brand Chelan Apples

1940s Nob Hill Brand Apples

1940s NSP Brand Apples

1940s Nuchief Brand Washington Apples (Loop Loop Brand Apples)

1940s Orchard Boy Brand Washington Apples

1940s Orchard Brand Canadian Apples

1940s Pacific Fruit & Produce Co. Apples

1940s Pacific Pride Brand Sonoma County Gravenstein Apples

1940s Penoka Brand Canadian Apples

1940s Peter Pan Brand Northwest Apples

↧

Apple Crate Labels - part 4

May 29, 2014, 5:46 am

≫ Next: Joseph Wright of Derby - part 1

≪ Previous: Apple Crate Labels - part 3

A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 4 of a 4-part post on Apple Crate Labels (1940s - 1950s) See parts 1 - 3 for earlier labels.

1940s Red Giant Brand Mountain Grown Apples

1940s Repetition Brand Apples

1940s Rodeo Brand Washington Apples

1940s See! See! Brand Washington Apples

1940s Senorita Brand Apples

1940s Skookum Brand Apples

1940s Snoboy Brand Apples

1940s Snomaid Brand Fancy Apples

1940s Tom Tit Brand Apples

1940s U Like Um Brand Apples

1940s Up North Brand Apples

1940s Wenatchee Chief Brand Apples

1940s Western Brand Washington Apples

1940s White Ribbon Brand Yakima Valley Apples

1940s Wilko Brand Apples

1940s Yum-Yum Brand Apples

1950s Band Box Brand Northwest Apples

1950s Blewett Pass Brand Washington Apples

1950s Carriage Trade Brand Apples

1950s Dynamo Brand Apples

1950s Eatum Brand Apples

1950s Eatum-Rite Brand Apples

1950s Empire Builder Brand Washington Apples

1950s Erickson Brand Canadian Apples

1950s Garbro Orchard Brand Gravenstein Apples

1950s Glacier Peak Brand Washington Apples

1950s Good Pickens Brand Washington Apples

1950s Gromore Brand Yakima Apples

1950s Headline Brand Washington Apples

1950s Hell's Canyon Brand Idaho Apples

1950s Hi Sea Brand Washington Apples

1950s Hi-Yu Brand Apples

1950s Hy-Land Kids Brand Washington Apples

1950s Jack's Brand Washington Apples

1950s Lake Wenatchee Brand Apples

1950s Lamb Brand Apples

1950s Mischief Brand Washington Apples

1950s Northern Line Brand Washington Apples

1950s Nuchief Brand Washington Apples

1950s O-fine-O Brand Washington Apples

1950s Plen Tee Color Brand Yakima Valley Apples

1950s Progress Brand Fancy Pajaro Valley Apples

1950s Pyramid Brand Extra Fancy Canadian Apples

1950s Sir Apple Brand

1950s Sky Ranch Brand Washington Apples

1950s Tell Brand Apples

1950s Tu-Rivers Brand Apples

1950s Wilshire's Oak Glen Mountain Apples

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Joseph Wright of Derby - part 1

June 1, 2014, 3:53 am

≫ Next: Joseph Wright of Derby - part 2

≪ Previous: Apple Crate Labels - part 4

1753-54c Self Portrait in Van Dyck Costume (aged about twenty) oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.

Joseph Wright (1734 – 1797) was born in Irongate, Derby in 1734. In 1751 Wright went to London and studied for two years under Thomas Hudson, the master of Joshua Reynolds. After painting portraits for a while in Derby, Wright again worked as an assistant to Hudson for fifteen months. In 1753 he returned and settled in Derby and varied his work in portraiture with subjects using strong chiaroscuro under artificial light, and by landscape painting. Wright spent a productive period between 1768 – 1771 painting portraits of prominent figures in Liverpool.

In 1773 Wright married Ann (aka Hannah) Swift, the daughter of a lead-miner. They had six children, three of whom died in infancy. In the same year Wright and his pregnant wife travelled by sea to Livorno in Italy, arriving in February 1774. He subsequently spent a great deal of time in Naples. On his return from Italy he established himself in the city of Bath in Somerset as a portrait painter, but meeting little encouragement he returned to Derby in 1777, where he spent the rest of his life.

Wright was a frequent contributor to the exhibitions of the Society of Artists, and to the Royal Academy, of which he was elected an associate in 1781, and a full member in 1784. However, he declined the latter honour on account of a slight he believed he had received, and severed his connection with the Academy, though he continued to exhibit from 1783 until 1794.

Wright had close contact with pioneering industrialists of the Midlands. Two of his most important patrons were Josiah Wedgwood, credited with the industrialization of pottery manufacture, and Richard Arkwright, regarded as the creator of the factory system in the cotton industry. Wright also had connections with Erasmus Darwin (grandfather of Charles Darwin), who lived in Derby, and other members of the Lunar Society, which brought together leading industrialists, scientists and philosophers, inspiring some of Wright’s works.

Wright became increasingly asthmatic and nervous about the house, and for these complaints he was treated by his friend Dr. Erasmus Darwin. Ann Wright died in 1790. Joseph Wright died in August 1797 at his new home at No. 28 Queen Street, Derby, where he had spent his final months with his two daughters.

This is part 1 of a 5 - part post on the works of Joseph Wright:

1750 Boy with Plumed Hat and Greyhound charcoal and stumping 33.6 x 23.5 cm Derby Museum and Art Gallery, Derby UK

1751-57c Study of an Unknown Man (attributed to) chalk on paper 45.6 x 28 cm Tate, London UK

1753c Richard Wright, Surgeon of Derby

Richard Wright, the sitter in this portrait, was the brother of Joseph Wright. At the time this was painted, Richard was 23 and Joseph was 19 years old.

1753c Richard Wright (1730–1814), Surgeon of Derby oil on canvas 76.8 x 63.1 cm Wellcome Library, London UK

1755 Anne Bateman, Later Mrs John Gisborne oil on canvas 77 x 65 cm Private Collection

1755-65 Portrait of a Gentleman oil on canvas 76.2 x 63.5 cm Museum of Fine Arts, Houston TX

1760 William Pigot (1729–1782) oil on canvas 127 x 102 cm Doncaster Museum and Art Gallery UK

1760 Elizabeth Pigot (1726–1766) oil on canvas 127 x 102 cm Doncaster Museum Service UK

1760 Lawrence Monck oil on canvas 126.9 x 102.5 cm Laing Art Gallery, Newcastle UK

1760 Mrs Lawrence Monck oil on canvas 127.5 x 101.7 cm Laing Art Gallery, Newcastle UK

1760 Portrait of Miss Jane Monck oil on canvas 125.7 x 101.3 cm Laing Art Gallery, Newcastle UK

1760c Portrait of a Girl (Jane Monck, d.1794) oil on canvas 40.6 x 33 cm Leeds Museums and Galleries UK

1760 William Brooke oil on canvas 127 x 101.6 cm Private Doncaster Museum and Art Gallery UK

1760-62c Girl Reading a Letter by Candlelight, With a Young Man Peering over her Shoulder oil on canvas 88.9 x 69.8 cm Private Collection

1760c Anne or Molly Cracroft oil on canvas 127 x 101.6 cm Private Collection

1760c Harvey Wilmot oil on canvas 50.8 x 40.6 cm Private Collection

1760c Simon Wilmot oil on canvas 50.8 x 40.6 cm Private Collection

1760c Portrait of a Gentleman oil on canvas 76.5 x 63.9 cm National Gallery of Art, Washington D.C.

1760c Portrait of a Lady oil on canvas 77.5 x 64.1 cm St Louis art Museum, St Louis MO

1760c Richard Lovett (attributed) oil on canvas 76 x 62.3 cm Museum of the History of Science, University of Oxford UK

early 1760s Millicent Mundy, Mrs. French oil on canvas 124.5 x 98 cm

1761-62c Mrs Andrew Lindington oil on canvas 76.2 x 62.8 cm Philadelphia Museum of Art, Philadelphia PA

1762-63 Anne Borrow oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1762-63c Edward Becher Leacroft oil on canvas 127 x 101.6 cm Stanford University Museum and Art Gallery, Stanford CA

1762-63c Francis Noel Clarke Mundy oil on canvas 127 x 101.6 cm Private Collection

1762-63c Harry Peckham oil on canvas 127 x 101.6 cm Private Collection

1762-63c Mr and Mrs William Chase oil on canvas 138.4 x 190.5 cm Private Collection

1762-63c Mrs Wilmot in Riding Dress oil on canvas 127 x 101.6 cm Private Collection

1762-63c Nicholas Heath oil on canvas 127 x 101.6 cm Private Collection

1762-63c Thomas Borrow (1709–1786) oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1762-64c Samuel Rastall oil on canvas 76.2 x 63.6 cm Private Collection

1762-64c William Rastall oil on canvas 76.2 x 63.6 cm Private Collection

1762-65 Thomas Bennett oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

1763c Portrait of Miss Frances Warren oil on canvas 124.5 x 99 cm Denver Art Museum, Denver CO

1764 James and Mary Shuttleworth with One of Their Daughters oil on canvas 142.2 x 182.9 cm Private Collection

1764 The Honourable Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion oil on canvas 74.9 x 62.2 cm The Fitzwilliam Museum, Cambridge UK

1764c The Honourable John Grey (1743–1802), as a Gentleman Commoner of Cambridge University oil on canvas 73.5 x 61 cm National Trust, Dunham Massey, Altrincham UK

1765 Peter Perez Burdett and His First Wife Hannah oil on canvas 145 x 205 cm Narodni Gallery, Prague, Czech Republic

1765 Three Persons Viewing The Gladiator by Candlelight oil on canvas 101.6 x 121.9 cm Private Collection

1769 William Paether after Joseph Wright "Three Persons Viewing The Gladiator by Candlelight" mezzotint on off-white laid paper 48.2 x 55.5 cm (plate) Art Institute of Chicago IL

1765c Mary Bold, Mrs Thomas Hunt III oil on canvas 76 x 63.5 cm The National Trust UK

1765c Self-Portrait black and white chalks on paper laid on canvas Derby Museum and Art Gallery, Derby UK

1766 Mrs Robert Gwillym oil on canvas 127 x 101.6 cm Saint Louis Art Museum, St. Louis MO

1766 Robert Vernon Atherton Gwillym oil on canvas 127 x 101.6 cm Saint Louis Art Museum, St. Louis MO

1766-68c Cornet Sir George Cooke oil on canvas 76.7 x 63.8 cm Nelson Gallery-Atkins Museum, Kansas City MO

1766c A Philosopher Lecturing on the Orrery

A Philosopher Lecturing on the Orrery (1766c) shows an early mechanism for demonstrating the movement of the planets around the sun. The Scottish scientist James Ferguson (1710 – 76) undertook a series of lectures in Derby in July 1762 based on his book “Lectures on Select Subjects in Mechanics, Hydrostatics, Pneumatics, Optics & c.” (1760). To illustrate his lectures, Ferguson used various machines, models and instruments. Wright possibly attended these talks, especially as tickets were available from John Whitehurst, Wright’s close neighbour, a clockmaker and a scientist.

1766c A Philosopher Lecturing on the Orrery oil on canvas 147 x 203 cm Derby Museum and Art Gallery, Derby UK

1768 William Pether "A Philosopher Lecturing on the Orrery" mezzotint 48.8 x 59.2 cm The Hermitage Museum, St Petersburg, Russia

1767-70c A Young Girl Reading a Letter, with an Old Man Reading over Her Shoulder oil on canvas 91.5 x 71.2 cm Private Collection

1767-70c Self-Portrait in a Black Feathered Hat charcoal heightened with white chalk on paper 53.3 x 36.8 cm Derby Museum and Art Gallery, Derby UK

1767-70c Two Boys Fighting over a Bladder oil on canvas 91.5 x 71.2 cm Private Collection

1767c Portrait of a Man, Known as the "Indian Captain" oil on canvas 229.2 x 138.4 cm Yale Centre for British Art, New Haven CT

1768 An Experiment on a Bird in an Air Pump

An Experiment on a Bird in the Air Pump (1768) shows people gathered round observing an early experiment into the nature of air and its ability to support life. A travelling scientist is shown demonstrating the formation of a vacuum by withdrawing air from a flask containing a white cockatoo, though common birds like sparrows would normally have been used. Air pumps were developed in the 17^th century and were relatively familiar by Wright’s day.

1768 An Experiment on a Bird in an Air Pump oil on canvas 183 x 244 cm The National Gallery, London UK

Detail: 1768 An Experiment on a Bird in an Air Pump

1769 Valentine Green after Joseph Wright "An Experiment on a Bird in an Air Pump" mezzotint 48.3 x 58.6 cm The Hermitage Museum, St Petersburg, Russia

1768 Richard Gildart oil on canvas 125 x 100 cm Walker Art Gallery, Liverpool UK

1768 Study of a Young Girl in a Turban and Frilled Collar black and white chalks and stump on paper 43.8 x 29.2 cm Private Collection

1768-70c Two Girls Dressing a Kitten by Candlelight oil on canvas 90.8 x 72.4 cm Private Collection

1781 Thomas Boswel Watson after Joseph Wright "Miss Kitty Dressing" mezzotint on ivory laid paper 43.8 x 33.3 cm (image) Five Colleges Museums Collections Database MA

1768c Portrait of a Man chalks on paper 36.8 x 28.6 cm Yale Centre for British Art, New Haven CT

1768c Study of a Young Girl with Feathers in Her Hair black and white chalks on paper laid on canvas 43.1 x 29.1 cm Private Collection

↧

Joseph Wright of Derby - part 2

June 4, 2014, 4:06 am

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1765-68 Self-Portrait in a Fur Cap monochrome pastel on blue-grey laid paper 42.5 x 29.5 cm Art Institute of Chicago IL

1769 An Academy by Lamplight oil on canvas 127 x 101.2 cm Yale Centre for British Art, New Haven CT

1772 William Pether after Joseph Wright "An Academy by Lamplight" mezzotint on paper 58.1 x 45.7 cm Five Colleges Museums Collections Database MA

1769 (exhibited) A Philosopher by Lamplight

The painting was described in the catalogue of the 1801 sale as a companion to “The Alchymist Discovering Phosphorous.” A philosopher is examining a collection of human bones in a lamp-lit cave. Two smaller men, or boys, dressed as pilgrims seem to be approaching him. These figures are a lot smaller than the main character.

Experts believe the painting was based on Salvator Rosa’s “Democritus in Meditation” (c1760). Wright’s friend John Hamilton Mortimer was a follower of Rosa’s, so it is possible that Wright could have seen Rosa’s work or an engraving of it. Democritus was a Greek philosopher remembered for making fun of the foolishness of mankind. Though the painting’s subtitle is “A Hermit Studying Anatomy,” his attitude toward the bones he is holding does not suggest serious scrutiny. He is surrounded by symbols of the ephemeral nature of the human condition, which include the skeleton, a lamp that will burn all its fuel, the moon which has to be reborn every four weeks, and an hourglass. The moon was also the symbol of the “Lunar Society” that Wright was strongly associated with, but never became a member of.

The preoccupation of the philosopher and the trepidation of the two pilgrims may be reflection on the concerns about the new scientific understanding and the age of enlightenment at the time Wright lived.

exhibited 1769 A Philosopher by Lamp Light oil on canvas 128.2 x 102 cm Derby Museum and Art Gallery, Derby UK

Salvator Rosa "Democritus in Meditation" c1760 oil on canvas 344 x 214 cm Statens Museum for Kunst, Copenhagen, Denmark

1769 Fleetwood Hesketh oil on canvas 127 x 102 cm Private Collection

1769 Mrs Frances Hesketh oil on canvas 127 x 101.5 cm Walker Art Gallery, Liverpool UK

1769 Mrs James Hardman of Rochdale and Allerton Hall oil on canvas 76.2 x 63.5 cm Lancashire County Museum Service, Preston UK

1769 Mrs Thomas Parke (1740–1827) oil on canvas 76.8 x 64 cm National Museums Liverpool UK

1769 Thomas Parke (1729–1819) oil on canvas 76 x 63.5 cm Walker Art Gallery, Liverpool UK

1769 Thomas Staniforth of Darnall, Co. York oil on canvas 93 x 77.5 cm Tate, London UK

1769 Valentine Green after Joseph Wright "The Bradshaw Children" mezzotint on paper 47.9 x 38.1 cm Five Colleges Museums Collections Database MA

1769-70c Sarah Carver and Her Daughter, Sarah oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1769-71c Mrs Catherine Swindell oil on canvas 71.4 x 55.7 cm Leicester Museums and Art Galleries, Leicester UK

1769-71c Mrs John Ashton oil on canvas 126.1 x 101 cm The Fitzwilliam Museum, Cambridge UK

1769c Charles Goore (1701–1783) oil on canvas 76 x 64 cm University of Liverpool UK

1769c Elizabeth, Mrs. John Bostock oil on canvas 127 x 101.6 cm The Berger Collection, Denver CO

1769c Mrs John Ashton oil on canvas 126.1 x 101 cm Fitzwilliam Museum, Cambridge UK

1769c Mrs. Sarah Clayton oil on canvas 127 x 01.6 cm Fitchburg Art Museum, Fitchburg MA

1769c Penelope Margaret Stafford oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

exhibited 1770 A Conversation of Girls (Two Girls with Their Black Servant) oil on canvas 127 x 101.6 cm Private Collection

1770 Thomas Day oil on canvas 121.9 x 97.8 cm © National Portrait Gallery, London UK

1770 Thomas Day (2nd version) oil on canvas 127 x 100.4 cm Manchester City Galleries UK

1770 William Pether after Joseph Wright "Master John Ashton" mezzotint on paper 65.2 x 15.9 cm Five Colleges Museums Collections Database MA

1770-72 Mr and Mrs Thomas Coltman

Thomas Coltman (1747 – 1826) of Hagnaby Priory, Licolnshire, is shown with his wife, Mary Barlow (1747 – 1786) whom he married in 1769. The house in the background is Gate Burton House, Lincolnshire.

Thomas Coltman was a friend of the painter. This portrait is recorded in Wright’s account book as “Mr & Mrs Coltman, a Converastion (£63)”. Conversation pieces, in which portraits were placed in an attractive landscape setting, or sometimes indoors, were popular in 18^th-century England. The National gallery

1770-72 Mr and Mrs Thomas Coltman oil on canvas 127 x 101.6 cm The National Gallery, London UK

1770-72 Portrait of a Woman, Her Head Turned to the Right, Wearing an Earring pastel on paper 40.3 x 28 cm Metropolitan Museum of Art, New York

1770-72c An Open Hearth with a Fire ink and wash on paper 27.9 x 30.4 cm Derby Museum and Art Gallery, Derby UK

1770-72c Study of the Interior of Glass-House pen and ink, grey wash heightened with white on paper 36.2 x 52.1 cm Derby Museum and Art Gallery, Derby UK

1770-73c Portrait of a Gentleman oil on canvas 128 x 102 cm National Gallery of Art, Washington D.C.

1770c Blot Drawing in a Manner of Alexander Cozens brush and ink on paper 25.4 x 38.7 cm Derby Museum and Art Gallery, Derby UK

1770c Landscape Study Development from a Blot graphite, brush and ink wash on paper 27 x 38.7 cm Derby Museum and Art Gallery, Derby UK

1770c Catherine Sophia Macauley oil on canvas 74.5 x 61 cm Brighton and Hove Museums and Art Galleries UK

1770c Erasmus Darwin oil on canvas 76 x 63.5 cm copy Darwin College, Cambridge UK

1770c Erasmus Darwin oil on canvas 76 x 63.5 cm Darwin College, Cambridge UK

1770c Portrait of a Lady with her Lacework oil on canvas 126.7 x 101.6 cm Metropolitan Museum of Art, New York

1770c Sir Brownlow Cust, 1st Baron Brownlow (attributed) oil on canvas 98 x 89 cm The National Trust, Belton House, Grantham UK

1770s Captain Edward Salmon oil on canvas The National Trust for Scotland UK

1771 A Blacksmith's Shop oil on canvas 125.7 x 99 cm Derby Museum and Art Gallery, Derby UK

1771 A Blacksmith's Shop (detail) oil on canvas 125.7 x 99 cm Derby Museum and Art Gallery, Derby UK

1771 Richard Earlom after Joseph Wright "A Blacksmith's Shop" mezzotint on white laid paper 61.2 x 43.4 cm (image) Art Institute of Chicago

1771 A Blacksmith's Shop (2nd version) oil on canvas 128.3 x 104 cm Yale Centre for British Art, New Haven CT

The Alchymist in Search of the Philosopher’s Stone (exhibited 1771, reworked and dated 1795) (Full title: The Alchymist, in Search of the Philosopher’s Stone, Discovers Phosphorous, and Prays for the Successful Conclusion of his Operation, as was the Custom of the Ancient Chymical Astrologers).

Traditionally, the chief pursuit of alchemists was the search for “The Philosopher’s Stone,” which would miraculously transform base metals into gold. The painting depicts the accidental discovery of the element phosphorous by German alchemist Hennig Brand in 1669. A flask in which a large quantity of urine has been boiled down is seen bursting into light as the phosphorous, which is abundant in urine, ignites spontaneously in air. Wright’s purpose was not to ridicule superstition, but to commemorate the birth of chemistry as a modern science, beginning with the discovery of phosphorus in 1676. Wright strove for accuracy in depicting the chemist’s apparatus, since many of friends and patrons were scientists and intellectuals who had stimulated the artist’s interest in scientific enquiry.

exhibited 1771-95 exhibited re-worked and dated 1795 The Alchymist, in Search of the Philosopher's Stone oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1771-95 The Alchymist (detail) oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

William Pether after Joseph Wright mezzotint Cleveland Museum of Art, Cleveland OH

1771-2 An Iron Forge

Many of Wright’s explorations of new inventions and technology were painted as “night-pieces” which he made between 1771 and 1773, taking as his subject the blacksmith’s shops and forges of Derbyshire. In this scene of a small iron forge at work, an iron-founder and his family are bathed in the warm light cast by a newly forged white-hot iron bar, which has been dragged out of the nearby furnace by an assistant. Wright adapted the scale for dramatic effect, compressing the scene to accommodate the machinery and the figures. In actuality, the heat and sparks would have made the proximity impossible.

1771-2 An Iron Forge oil on canvas 121.3 x 132 cm Tate, London UK

1773 Richard Earlom after Joseph Wright "An Iron Forge" mezzotint on paper 47.8 x 59 cm Art Institute of Chicago IL

exhibited1772 'Captain' Robert Shore Milnes oil on canvas 127 x 101.6 cm Private Collection

1772 Miravan Breaking Open the Tomb of His Ancestors oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1772 Valentine Green after Joseph Wright "Miravan" mezzotint on off-white laid paper 46 x 35.4 cm (image) Art Institute of Chicago IL

1772-73c Self-Portrait at the Age of About Forty oil on canvas 76.2 x 63.5 cm Private Collection

1772c Rocks with Waterfall oil on canvas 80.7 x 109.2 cm Private Collection

1773 An Iron Forge Viewed from Without oil on canvas 105 x 140 cm The Hermitage, St. Petersburg, Russia

1773 The Earth-stopper on the Banks of the Derwent oil on canvas 97 x 121 cm Derby Museum and Art Gallery, Derby UK

1773 The Old Man and Death oil on canvas 101 x 127 cm Wadsworth Atheneum, Harford CT

1775c The Old Man and Death oil on canvas 63.5 x 76.9 cm Walker Art Gallery, Liverpool UK

1774 A Cavern Evening oil on canvas 101.6 x 127 cm Five Colleges Museums Collections Database MA

1774 A Cavern, Evening oil on canvas 101.6 x 127 cm Smith College Museum of Art, Northampton MA

1774 A Cavern, Near Naples oil on canvas 101.6 x 127 cm Yale Centre for British Art, New Haven CT

1774 Reverend Basil Bury Beridge oil on canvas 127 x 101 cm Kunsthistorisches Museum. Vienna, Austria

1774 Study of the Terrain near Vesuvius graphite on paper 31.1 x 45 cm Derby Museum and Art Gallery, Derby UK

1774 The Captive, from Sterne oil on canvas 102 x 127.5 cm Vancouver Art Gallery, Vancouver, British Columbia Canada

1774 Vesuvius in Eruption gouache on paper 32.4 x 46.7 cm Derby Museum and Art Gallery, Derby UK

1774-75 Inside the Arcade of the Colosseum graphite, ink and watercolour 37.7 x 50.7 cm Tate, London UK

↧

Joseph Wright of Derby - part 3

June 7, 2014, 4:59 am

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1765-68c Self-Portrait oil on canvas 69.8 x 58 cm National Gallery of Victoria, Melbourne, Australia

Graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Roman Ruins Including an Arched Aqueduct and Tower grey ink and yellow wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Roman Ruins with Arched Alcoves ink and grey wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with Granary brush and ink, grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Graphite, ink and grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with Villas and a Church brush and ink and grey wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with a Curved Wall, Round Tower and Distant Villa pen and ink, brush and grey wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Roman Ruins pen and grey ink and wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Roman Ruins: Part of the Colosseum pen and grey ink, grey and yellow wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Landscape with Villa Surrounded by Trees graphite, brown wash, touches of pen and brown ink and blue wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with a Distant Buildings pen and ink, grey and yellow wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Landscape with Cedars and Buildings graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Landscape with Distant Buildings graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Landscape with Distant Buildings graphite, brown and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with a Two-Story Building on a Hill graphite, brown and grey wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Tile Roofed Building with an Arcade graphite, grey ink and wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

Landscape with a Towered Building and Domed Church pen and grey ink. and wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Roman Arch with Road Below and Trees Above graphite, pen and brown ink 23.4 x 17.1 cm
Metropolitan Museum of Art, New York

Church with a Tiled Roof and Tower graphite, pen and brown ink and wash17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Landscape with Trees and Distant Hills grey ink and wash 23.4 x 17.1 cm Metropolitan Museum of Art, New York

Landscape with Domed Church graphite, pen and black ink, grey and brown wash 17.1 x 23.4 cm
Metropolitan Museum of Art, New York

Trees, Bushes and Vegetation black and grey ink and wash 23.4 x 17.1 cm Metropolitan Museum of Art, New York

* * *

1774-75 Studies of a Classical Bust oil on paper mounted on canvas 51 x 42.9 cm Yale Centre for British Art, New Haven CT

1774-75c Part of the Colosseum Seen in Sunlight pen and ink and wash on paper 38.1 x 51.7 cm
Derby Museum and Art Gallery, Derby UK

1774-76 Richard Hurleston (attributed to) oil on canvas 67.3 x 56.5 cm
Yale Centre for British Art, New Haven CT

1774-76c An Eruption of Vesuvius, Seen from Portici oil on canvas 101.6 x 127 cm University of Wales, Aberystwyth UK

1776-80c Vesuvius in Eruption, with a View over the Islands in the Bay of Naples oil on canvas 122 x 176.4 cm
Tate, London UK

1777-80c Vesuvius in Eruption 124.4 x 180.3 cm Private Collection

1778 exhibited An Eruption of Mount Vesuvius, with the Procession of St. Januarius's Head oil on canvas 162 x 213.4 cm Pushkin Museum of Fine Art, Moscow, Russia

1774-78 Firework Display at Castel Sant'Angelo oil on canvas 42.5 x 70.5 cm Birmingham Museums Trust UK

exhibited 1776 The Annual Girandola, at the Castle of St. Angelo, Rome oil on canvas 137.5 c 173 cm Walker Art Gallery, Liverpool UK

1779 Firework Display at the Castel Sant' Angelo in Rome (La Girandola) oil on canvas 162.5 x 213 cm
Hermitage Museum, St. Petersburg, Russia

1775 Study of Melancholy Girl pen and ink on paper 55 x 41.3 cm British Museum, London UK

1775c Study for "The Old Man Grieving over His Ass" from Sterne pen and ink on paper 55.4 x 34.9 cm
Pierpont Morgan Library, New York

1775-77c "The Captive" from Sterne oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK

1775c A View of Catania with Mount Etna in the Distance oil on canvas 66 x 88.6 cm Tate, London UK

1776 John Milnes oil on canvas 127 x 101 cm The Louvre, Paris

1776 Portrait of Jane Darwin and her son William Brown Darwin oil on canvas 75 x 62 cm

1777 "Maria" from Sterne oil on canvas 100.3 x 125.7 cm Private Collection

1777 Richard Cheslyn oil on canvas 127 x 101.6 cm Private Collection

1777-78 Minstrel. Edwin, from Dr Beattie's oil on canvas 160 x 116.8 cm Private Collection

1778 John Raphael Smith after Joseph Wright "Edwin (Thomas Haden)" mezzotint on ivory laid paper 47.7 x 35.2 cm (image) Art Institute of Chicago IL

1781 Maria, from Sterne, a Companion to the Picture of Edwin oil on canvas 160 x 115.6 cm
Derby Museum and Art Gallery, Derby UK

1864 Francis Seymour Haden after Joseph Wright "Thomas Haden" etching and drypoint on paper 58 x 51 cm
Harvard Art Museums - Fogg Museum, Cambridge MA

1777-79c Thomas and Joseph Pickford as Children oil on canvas Private Collection

1777-80 Portrait of a Gentleman oil on canvas 75.5 x 63.2 cm Manchester City Galleries UK

1777-80c Matlock Tor by Moonlight oil on canvas 64.1 x 76.5 cm Detroit Institute of Arts MI

1778-80c Matlock Tor oil on canvas 73.1 x 100 cm Fitzwilliam Museum, Cambridge UK

1777-80c Rev. John Pickering oil on canvas 81 x 69.5 cm Private Collection

1779 Virgil's Tomb, with the Figure of Silius Italicus oil on canvas 101.6 x 127 cm Private Collection

1778 A Grotto by the Sea-Side in the Kingdom of Naples, with Banditti, a Sun-Set oil on canvas 122 x 172.7 cm
Museum of Fine Arts, Boston MA

exhibited 1780 A Grotto in the Gulf of Salernum, with the Figure of Julia, Banished from Rome oil on canvas
114.3 x 175.3 cm Private Collection

1780-90 Grotto in the Gulf of Salerno, Italy, Moonlight oil on canvas 101.6 x 127 cm
Derby Museum and Art Gallery, Derby UK

1780 Landscape oil on canvas 101.5 x 128.5 cm Civic Centre, Southampton, Hampshire UK

1780-82 A Lake by Moonlight oil on canvas 62.2 x 75.6 cm Yale Centre for British Art, New Haven CT

1780-85 Matlock Dale, looking toward Black Rock Escarpment oil on canvas 58.4 x 76.2 cm
Yale Centre for British Art, New Haven CT

1780-85 Reverend Thomas Seward, MA oil on canvas 76 x 61 cm English Heritage, Down House, Kent UK

1780-85c Caernarvon Castle by Moonlight oil on canvas 54 x 64.4 cm Manchester City Art Galleries UK

1780c Elizabeth Crompton oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

↧

Joseph Wright of Derby - part 4

June 10, 2014, 4:12 am

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1782-85c Joseph Wright (Self-Portrait) oil on canvas 62.2 x 52.7 cm © National Portrait Gallery, London UK

1780c Francis Hurt oil on canvas 127 x 101.6 cm Private Collection

1780c Joseph Wright (Self-Portrait) oil on canvas 73 x 61 cm Yale Centre for British Art, New Haven CT

1780c Mrs Francis Hurt oil on canvas 127 x 101.6 cm Private Collection

1780c Samuel Crompton oil on canvas 76.3 x 63.5 cm Derby Museum and Art Gallery, Derby UK

1780c Mrs Samuel Crompton oil on canvas 76.2 x 63.5 cm Private Collection

1780c Old John, Head Waiter at the King's Head in Derby oil on canvas 74 x 61.5 cm Private Collection

1780c Portrait of a Girl in a Tawny-Coloured Dress oil on canvas 122 x 99 cm Private Collection

1781 Christopher Heath oil on canvas 127 x 101.6 cm Private Collection

1781 Sir Brooke Boothby oil on canvas 148.6 x 207.6 cm Tate, London UK

1781 The Synnot children oil on canvas 152.4 x 125.8 cm National Gallery of Victoria, Melbourne, Australia

1781-82 John Whetham of Kirklington, Nottinghamshire oil on canvas 127 x 101.6 cm Private Collection

1781-82c The Rev. D'Ewes Coke, His Wife Hannah and Daniel Parker Coke
oil on canvas 152.4 x 177.8 cm Derby Museum and Art Gallery, Derby UK

1782 Ellen Goodwin (1740/1741–1823), Mrs Henry Case-Morewood
oil on canvas 127 x 101.5 cm National Trust UK

1782 The Reverend Henry Case (1746/1747–1825), Later The Reverend Henry Case-Morewood
oil on canvas 133.5 x 100.5 cm National Trust, Clandon Park, Guildford UK

1779 Virgil's Tomb by Moonlight, with Silius Italicus Declaiming
oil on canvas 101.6 x 127 cm Metropolitan Museum of Art, New York

1782 Virgil's Tomb by Moonlight oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK.

1785 Virgil's Tomb; Sun Breaking through a Cloud oil on canvas 47 x 65 cm Ulster Museum, Belfast UK

1782-83c Arkwright's Cotton Mills by Night oil on canvas 99.7 x 125.7 cm Private Collection

1782-83c John Whitehurst FRS oil on canvas 92.1 x 71.1 cm Private Collection

1782-83c Samuel Ward (1732–1820) oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

1882 -84 The Corinthian Maid

Josiah Wedgewood, the pioneer of pottery manufacturing, commissioned this mythological scene that illustrates the invention of the art of modeling bas-relief sculpture. Wedgwood’s own fired-clay vessels, decorated with low reliefs, would

have been seen by an eighteenth-century audience as the aesthetic descendants of this ancient Greek maiden’s attempt to preserve her beloved’s profile. The girl was the daughter of a potter in Corinth. Her boyfriend was about to embark on a perilous journey to foreign lands, taking only his spear and dog. As a memento, she traced her sleeping lover’s silhouette onto the wall. Her father then used the drawing to model a clay relief, which he fired in his kiln to create a ceramic keepsake.

In this painting Joseph Wright has concealed a hanging lamp behind a curtain, suggesting the source of the beams that cast the youth’s shadow. In contrast to the lam’s gentle glow, intense sparks and embers leap inside the potter’s fiery furnace.

Wright researched his topic for archeological accuracy. Wedgwood loaned antique vases from his own art collection so that Wright could copy their shapes, and the clothing derives from ancient sculptures. Classical symmetry pervades the design; the curtain and archway flank the focal action of the maiden’s stylus tracing the youth’s profile.

1782-84 The Corinthian Maid oil on canvas 106.3 x 130.8 cm The National Gallery of Art, Washington D.C.

1783-84 Penelope Unravelling her Web oil on canvas 105.7 x 128.9 cm The J. Paul Getty Museum, Los Angeles CA

1783-85 The Gulf of Salerno oil on canvas 41.6 x 59.4 cm Art Institute of Chicago IL

1783-85c Sir Richard Arkwright oil on canvas 126 x 102 cm © National Portrait Gallery, London UK

1784 John Coates Browne oil on canvas 156.8 x 110 cm

1785 Dovedale by Moonlight oil on canvas 62.5 x 77.8 cm Allen Memorial Art Museum, Oberlin OH

exhibited 1785 The Lady in Milton's Comus oil on canvas 101 x 127 cm Walker Art Gallery, Liverpool UK

1785 Imaginary Landscape with a Bridge in the Roman Campagna oil on canvas 76.2 x 96.5 cm © Tate, London

1785 The Widow of an Indian Chief Watching the Arms of Her Deceased Husband
oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK

1789 John Raphael Smith "The Widow of an Indian Chief Watching the Arms of Her Deceas'd Husband"
mezzotint on paper Harvard Art Museums - Fogg Museum, Cambridge MA

1785-89c Dr. Richard Wright oil on canvas 76.2 x 63.5 cm

1785-90c Sunset on the Coast near Naples oil on canvas 63.5 x 75.9 cm Private Collection

1785c Landscape with Dale Abbey and Church Rocks. oil on canvas 72.4 x 99 cm Sheffield City Art Galleries, Sheffield UK

1785c River Landscape oil on canvas 50.8 x 76.2 cm Towner Gallery, Eastbourne UK

1785c Portrait of General Giles oil on canvas 75.2 x 83.8 cm Smithsonian American Art Museum, Washington D.C.

1785c Reverend Basil Bury Beridge oil on canvas 127 x 101 cm Kunsthistorisches Museum, Vienna, Austria

1785c William and Margaret from Percy's 'Reliques of Ancient English Poetry'
oil on canvas 121.9 x 139.7 cm Yale Centre for British Art, New Haven CT

1786 Dovedale oil on canvas 64.5 x 84.5 cm Yale Centre for British Art, New Haven CT

1786 The Rev. and Mrs. Thomas Gisborne, of Yoxhall Lodge, Leicestershire
oil on canvas 185.4 x 152.4 cm Yale Centre for British Art, New Haven CT

1786 View in Dovedale oil on canvas 45.7 x 63.5 cm Private Collection

1786c The Convent of San Cosimato and Part of the Claudian Aqueduct near Vicovaro in the Roman Campagna
oil on canvas 76.2 x 63.5 cm Private Collection

1787 Lake with Castle on a Hill oil on canvas 145 x 205 cm

1787 Lower End of Windermere (attributed to) graphite and ink on paper 20.2 x 31.1 cm

1787 Moonlight with a Lake and Castellated Tower oil on canvas 58 x 76.2 cm Private Collection

1787-88 The Convent of San Cosimato oil on canvas 50.5 x 63.5 cm Walker Art Gallery, Liverpool UK

1787-90 The Prisoner oil on canvas 40.6 x 47 cm Yale Centre for British Art, New Haven CT

1785-93 Cottage on Fire at Night oil on canvas 56.5 x 80 cm Yale Centre for British Art, New Haven CT

1787c A Cottage on Fire oil on canvas 58 x 76.2 cm The Minneapolis Institute of Arts, Minneapolis MN

1793 Cottage on Fire oil on canvas 63.5 x 76.2 cm Derby Museum and Art Gallery, Derby UK

1788 Lady Wilmot and her Child oil on canvas 213.4 x 157.5 cm Private Collection

1788 Landgollen (attributed to) graphite and ink on paper 20.7 x 33.6 cm

1788-90c A view of Vesuvius from Posillipo, Naples
oil on canvas 54 x 77.5 cm Art Gallery of South Australia, Adelaide, Australia

1788c Vesuvius from Posillipo oil on panel 63.5 x 83.8 cm

1788c Sunset on the Coast near Naples oil on canvas 63.5 x 75.9 cm Private Collection

exhibited 1789 Moonlight with a Lighthouse, Coast of Tuscany oil on canvas 101.6 x 127.6 cm Tate, London UK

1789 The Children of Hugh and Sarah Wood of Swanwick, Derbyshire (Robert Wood, John Wood & Mary Wood)
oil on canvas 167.6 x 134.6 cm Derby Museum and Art Gallery, Derby UK

1789 The Cloister of San Cosimato oil on panel 61 x 81 cm Gemäldegalerie, Berlin, Germany

1789 The Colosseum, Rome, Italy, Daylight oil on canvas 104.1 x 129.5 cm Derby Museum and Art Gallery, Derby UK

1789-90c Susannah Hurt with Her Daughter Mary Anne oil on canvas 229.8 x 138.4 cm Private Collection

1789c Charles Hurt of Wirksworth oil on canvas 229.8 x 138.4 cm Private Collection

1789-90 Sir Richard Arkwright oil on canvas 241.3 x 152.4 cm Private Collection

1790 Sir Richard Arkwright (1732–1792) oil on canvas 74.5 x 62 cm Helmshore Mills Textile Museum, Helmshore UK

Note: The painting below is another version of the painting above, with subtle differences.

1790 Sir Richard Arkwright (1732–1792) oil on canvas 76.5 x 64.5 cm Science Museum, London UK

↧

Joseph Wright of Derby - part 5

June 13, 2014, 4:55 am

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≪ Previous: Joseph Wright of Derby - part 4

Portrait of Joseph Wright by William Tate (1747-1806), a student of Joseph Wright

1789c The Dead Soldier oil on canvas 101.6 x 127 cm

1790 Italian Landscape oil on canvas 103.5 x 130.4 cm The National Gallery of Art, Washington D.C.

1790 Portrait of Richard Arkwright Junior with his Wife Mary and Daughter Anne oil on canvas 244 x 158.5 cm

1790 Romeo and Juliet; The Tomb Scene oil on canvas 177.8 x 241.3 cm Derby Museum and Art Gallery, Derby UK

1790 The Lake of Albano oil on canvas 101.9 x 126.4 cm National Museum Wales, Cardiff UK

1790-02c Lake Albano oil on canvas 36.2 x 54.5 cm Yale Centre for British Art, New Haven CT

1790-92 Antigonus in the Storm (Act III, scene iii) from Shakespeare's "The Winter's Tale"
oil on canvas 153.9 x 221.3 cm Art Gallery of Ontario, Canada

1793 Samuel Middiman after Joseph Wright "Winter's Tale" engraving (Spooner Edition 1852)
49.5 x 63.5 cm Harvard Art Museums - Fogg Museum, Cambridge MA

1790-92c Samuel Oldknow oil on canvas 243.9 x 152.4 cm Temple Newsam House, Leeds Museums and Galleries UK

1790-93 Mrs. Francis Boott oil on canvas 77.2 x 64.1 cm Museum of Fine Arts, Boston MA

1790-93c Harriet Wright, the Artist's Daughter brown monochrome on canvas 24.4 x 21.3 cm
Derby Museum and Art Gallery, Derby UK

1790-95c Landscape near Bedgellert, North Wales oil on canvas 57.1 x 76.3 cm Private Collection

1790c A Cottage in Needwood Forest, Staffordshire oil on canvas 100.4 x 125.7 cm Derby Museum and Art Gallery, Derby UK

1790c Italian Landscape with Mountains and a River oil on canvas 52.1 x 77.5 cm Museum of Fine Arts, Houston TX

1790c Jedediah Strutt oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

1790c Lake Nemi at Sunset oil on canvas 100 x 128 cm Louvre, Paris

1790c Lake Nemi oil on canvas 36.2 x 54.5 cm Yale Centre for British Art, New Haven CT

1790c Lake Nemi, Sunset oil on wood panel 44.5 x 62.5 cm National Gallery of Victoria, Melbourne, Australia

1790c Landscape with Figures and a Tilted Cart; Matlock High Tor in the Distance oil on canvas 101.6 x 127 cm Southampton City Art Gallery, Southampton NY

1791 Bridge through a Cavern, Moonlight oil on canvas 63.5 x 76.2 cm Derby Museum and Art Gallery, Derby UK

1791 Three Children of Richard Arkwright with a Goat oil on canvas [190.5 x 149.9 cm]

1792 Lake Albano and Castel Gandolfo, Italy 36.9 x 43.4 cm Royal Albert Memorial Museum, Exeter UK

1793 Lake of Keswick and Skiddaw (attributed to) graphite and ink on paper 28.4 x 43.6 cm

1794 Landscape with a Rainbow oil on canvas 81.2 x 106.7 cm Derby Museum and Art Gallery, Derby UK

n.d. Landscape with Rainbow, View near Chesterfield watercolour 31.1 x 41 cm Yale Centre for British Art, New Haven CT

1795 Portrait of Sarah and Ann Haden oil on canvas mounted on panel Worcester Art Museum, Worcester MA

1795 Rydal Waterfall, Cumbria oil on canvas 57.2 x 76.2 cm Derby Museum and Art Gallery, Derby UK

1795-96 Derwent Water, with Skiddaw in the Distance oil on canvas 56.5 x 80 cm Yale Centre for British Art, New Haven CT

1795c Ullswater oil on canvas 44.4 x 52 cm Dove Cottage and The Wordsworth Museum, Grasmere UK

1983-86 Italian Landscape, a View near Tivoli oil on canvas 76.2 x 96.5 cm Derby Museum and Art Gallery, Derby UK

1992 Erasmus Darwin oil on canvas 76 x 63.5 cm Wolverhampton Arts and Heritage UK

Note: I couldn't find dates for the following works; they are either undated or not dated by the in the relevant collections. They will by default be out of date sequence:

n.d High Tor, Matlock, Derbyshire oil on canvas Leicester Arts and Museums Service UK

n.d. A Church in Italy watercolour 24.8 x 32.4 cm Yale Centre for British Art, New Haven CT

n.d. Anna Ashton (Later Mrs Thomas Case) oil on canvas 123.7 x 98.8 cm University of Liverpool UK

n.d. Dovedale by Derbyshire, Moonlight oil on canvas 68.5 x 90 cm Derby Museum and Art Gallery, Derby UK

n.d. Girl with a Dove oil on canvas 61 x 50.8 cm Private Collection

n.d. Ironworking (attributed) oil on board 17 x 24.1 cm Ironbridge Gorge Museum Trust UK

n.d. Italianate Lake Scene with Waterfall oil on canvas 52.5 x 89.5 cm The Ashmolean Museum of Art and Archaeology, Oxford UK

n.d. James Winthorpe Mortimer (attributed) oil on canvas 65 x 54.8 cm Derby Art Gallery, Derby UK

n.d. Landscape with Ruins graphite, black and white chalk, grey, brown and black wash on beige paper 40.6 x 46 cm Yale Centre for British Art, New Haven CT

n.d. Nice. A Tower on a Hill graphite and watercolour 24.2 x 34.8 cm Tate, London UK

n.d. Portrait of a Man Reading (attributed to) oil on canvas 72.4 x 57.8 cm Temple Newsam House, Leeds Museums and Galleries UK

n.d. Portrait of Mr. Anthony Greatorex oil on canvas 76.2 x 63.5 cm SCAD Museum of Art, Savannah GA

n.d. Portrait of Mrs. Anthony Greatorex oil on canvas 76.2 x 63.5 cm SCAD Museum of Art, Savannah GA

n.d. Portrait of Mrs Abney 125 x 100 cm Private Collection

n.d. Portrait of Susannah Leigh oil on canvas mounted on panel 74 x 63 cm Private Collection

n.d. Portrait of the Hon Mrs Boyle oil on canvas 76.2 x 63.5 cm Auckland Art Gallery, Auckland, New Zealand

n.d. Ravenhead Works, St Helens, Lancashire (attributed) oil on canvas 76 x 105 cm Pilkington Glass Collection UK

n.d. Robert Parker of Cuerden Hall oil on canvas 127 x 102 cm Astley Hall Museum and Art Gallery, Astley Park, Chorley, Lancashire UK

n.d. Rocky Landscape with Waterfalls graphite and wash on paper 38.1 x 54.3 cm Yale Centre for British Art, New Haven CT

n.d. Samuel Bristowe of Twyford and Beesthorpe (1736–1818) (attributed) oil on canvas 73.5 x 61.1 cm County House, Castle Meadow Road, Nottingham UK

n.d. Scene near Naples, Italy, Moonlight oil on canvas 59.1 x 74.3 cm Derby Museum and Art Gallery, Derby UK

n.d. Snowdon by Moonlight oil on canvas 88 x 123 cm Victoria Gallery and Museum, Liverpool UK

n.d. The Campagna graphite, grey and blue wash on cream laid paper 27.6 x 49.2 cm Yale Centre for British Art, New Haven CT

n.d. The Funeral Pyre oil on millboard 48.3 x 63.9 cm York Museums Trust UK

n.d. The Reverend Thomas Wilson (1703–1784) and Miss Catherine Macaulay (1731–1791) oil on canvas 127.6 x 101.6 cm Chawton House Library, Alton UK

n.d. Two Students Sketching (attributed) oil on canvas 115.6 x 135.9 cm Five Colleges Museums Collections Database MA

↧

Pauline Ellison - part 1

June 16, 2014, 4:14 am

≫ Next: Pauline Ellison - part 2

≪ Previous: Joseph Wright of Derby - part 5

Pauline Ellison working in the 1970s

Pauline Ellison was born in Keighley, Yorkshire in 1946. Educated at Bradford, Leicester and Cambridge Schools of Art. She has illustrated a large number of magazines and newspapers in both Europe and America, and books including “A Love of Flowers”, in collaboration with H.E. Bates (Michael Joseph 1971), “Dark Lord of Pengersick” by Richard Carlyon (G. Whizzard Publications 1975), “Grimm’s Fairy Tales” (Routledge & Kegan Paul 1981), “Master Maid” retold by Aaron Shepard (Dial Books New York 1997).

Pauline has also illustrated numerous newspaper and magazine articles, packaging, greetings cards, and many advertisements, including a “super-hoarding” in Central London for British Airways. She has exhibited original artworks in London, the USA, and in the Ashmolean Museum, Oxford. She has received two D&AD (Design & Art Directors) Silver Awards for her illustrations.

This is part 1 of a 2 - part post on the works of Pauline Ellison.

Grimm's Fairy Tales published 1981 by Routledge & Kegan Paul Ltd:

Front Cover "Hansel and Gretel"

Bearskin

Cinderella

Fitcher's Bird

Little Briar-Rose

Little Snow-White

Mother Holle

Rumpelstiltskin

The Blue Light

The Fisherman and his Wife

The Frog King, or Iron Henry

The Golden Bird

The Golden Goose

The Juniper Tree

The Moon

The Seven Ravens

The Six Swans

Thumbling

Heads and Tails Game:

Christmas Card:

"Air Mail"

Original artwork:

Cat in Madeira

↧

Pauline Ellison - part 2

June 19, 2014, 4:07 am

≫ Next: Rembrandt – part 1 Introduction

≪ Previous: Pauline Ellison - part 1

Pauline has also illustrated packaging, greetings cards, and many advertisements, including a “super-hoarding” in Central London for British Airways. She has exhibited original artworks in London, the USA, and in the Ashmolean Museum, Oxford. She has received two D&AD (Design & Art Directors) Silver Awards for her illustrations.

This is part 2 of a 2 - part post on the works of Pauline Ellison. For earlier works see part 1 also.

Master Maid 'A Tale of Norway' retold by Aaron Shepard published 1997 by Penguin Books USA (Dial Books for Young Readers):

Magical Toy Box series:

* * *

Night Playroom

Christmas Card "Santa's Balloon"

Christmas Card "Santa's Tugboat"

Carousel

Illustration for Playboy magazine "The Perfect Italian Feast"

"Toys' Fairground"

↧

Rembrandt – part 1 Introduction

June 22, 2014, 7:39 am

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≪ Previous: Pauline Ellison - part 2

Portrait of Rembrandt van Rijn by Jan Lievens 1629c oil on panel 57 x 44.7 cm Rijksmuseum, Amsterdam

Rembrandt Harmenszoon van Rijn (1606 – 1669) was born in 1606 in Leiden, Holland, the ninth child of a well-to-do family, son of a Miller and a Baker’s daughter. He attended elementary school from 1612 to 1616 and then attended the Latin School in Leiden, where he partook in biblical studies and lessons on the classics. It is unclear whether Rembrandt completed his studies at the Latin School, but one account claims that he was removed from school early and sent to be trained as a painter at his own request.

From 1620 to either 1645 or 1625, Rembrandt trained as an artist under two masters. His first was the painter Jacob van Swanenburgh (1571 – 1638), with whom he studied for about three years. Under van Swanenburgh, Rembrandt would have learned basic artistic skills. Van Swanenburgh specialized in scenes of hell and the underworld, and his ability to paint fire and the way its light reflects on surrounding objects was likely an influence on Rembrandt’s later work.

Jacob van Swanenburgh "Aeneas and Sibilla in the Underworld" c1625 National Museum, Gdansk

Rembrandt’s second teacher was Amsterdam’s Pieter Lastman (1583 – 1633), who was a well-known history painter and likely helped Rembrandt to master the genre, which included placing figures from biblical, historical and allegorical scenes in complex settings.

Pieter Lastman "Juno discovering Jupiter with Io" 1618 oil on wood The National Gallery, London

In 1625 Rembrandt settled back in Leiden, now a master in his own right, and over the next six years he laid the foundations for his life’s work. It was during this time that Lastman’s influence was most noticeable, as in several instances Rembrandt deconstructed his former master’s compostions and reassembled them into his own, a practice carried on by Rembrandt’s own pupils later on.

Rembrandt’s paintings created at this time were general small but rich in detail - religious and allegorical themes were prominent. He also worked on his first etchings in Leiden, and his eventual international fame would rely on the widespread dissemination of these works. Diverging from his contemporaries, Rembrandt endowed his etchings with a painterly quality achieved through suggestive handling of light and dark.

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

Rembrandt’s style soon took an innovative turn involving his use of light. His new style left large areas of his paintings obscured in shadow; through his interpretation, illumination grew rapidly weaker as it extended into the painting, creating spots of brightness and pockets of deep darkness. In this vein, in 1629 Rembrandt completed “Judas Repentant, Returning the Pieces of Silver,” among others – works that further evidence his handling of light.

1629 Judas Repentant, Returning the Thirty Pieces of Silver oil on panel 79 x 102.3 cm Private Collection

Another example is the 1628 work “Two Old Men Disputing” (Peter and Paul?), in which the painting’s lighted elements are clustered together and surrounded by darker tones, drawing the viewer’s eye to a general focal point before moving in to observe the details within.

1628 Two Old Men Disputing (Peter and Paul?) oil on oak panel 72.4 x 59.7 cm
National Gallery of Victoria, Melbourne, Australia

Starting in 1628, Rembrandt took on students, and over the years his fame attracted many young artists seeking to learn at his side. Only an estimate of the number of his pupils can be made, since official registers of trainees have been lost, but it is believed that over the course of his career he had fifty or so students.

In around 1631 Rembrandt moved to Amsterdam from Leiden and began to do business with Hendrick van Uylenburgh, an Amsterdam entrepreneur who had a workshop that created portraits and restored paintings, among other activities. Lodging in van Uylenburgh’s hous he met his landlord’s young cousin Saskia. They married in 1634. Numerous paintings of her suggest they were happily married. In 1636 Saskia gave birth to their first son Rumbartus, who died after only two weeks. Over the next four years two more children were born, but also within a couple of months.

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

Rembrandt began to paint dramatic, large-scale biblical and mythological scenes using his high-contrast method of light and dark, such as “The Blinding of Samson” (1636) and “Danaë” (1636).

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

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

In Amsterdam, Rembrandt also painted numerous commissioned portraits with the help of various assistants in Uylenburgh’s shop. He produced more energetic works than those created by the portrait artists so prevalent in Amsterdam at the time, and he received numerous commissions despite his questionable ability to capture the likeness of his subject. To this point, Constantijn Huygens, a Dutch diplomat, mocked a portrait Rembrandt had done of one of his friends for its lack of verisimilitude, and Rembrandt’s self-portraits contained noticeable physiognomic differences from one image to the next.

In 1641 a fourth child, Titus, was born – and lived. Saskia was unwell after the birth and Rembrandt made various drawings of her looking tired and drawn in bed. In 1642 Saskia made a will leaving Rembrandt and Titus her fortune, although most of Rembrandt’s share would be lost if he remarried. She died shortly after, still aged only 30, probably from plague or TB.

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

In the ten years following the unveiling of “The Night Watch (1642),” Rembrandt’s overall artistic output diminished drastically. Speculation about what happened after “The Night watch” has contributed to the “Rembrandt myth,” according to which the artist became largely misunderstood and was ignored. Often blamed for Rembrandt’s supposed downfall are the death of his wife and the supposed rejection of “The Night Watch” by those who commissioned it. But modern research has found no evidence that the painting was rejected or that Rembrandt experienced deep devastation on his wife’s death. There is also no evidence that he was ever “ignored,” although he was often the target of his contemporary critics’ barbs.

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

It has been put forth that Rembrandt’s crisis may have been an artistic one that had seen his methods stretched to their practical limits, and the variations in his few paintings from 1642 to 1652 – the period that marks the beginning of what is usually referred to as Rembrandt’s “late style” – might be seen as a sign that he was searching for a new way forward.

In the 1650s Amsterdam was hit by a massive economic depression. Rembrandt had not even completed half the payments on his house and his creditors began to chase him for money. In July 1656, he successfully applied for ‘cession bonorum’ – a respectable form of bankruptcy which avoided imprisonment. All his goods, including an impressive collection of paintings, were sold off for a pittance and he moved across town to a much poorer district. He had always used himself as a model, but in the last twenty years of his life he painted self-portraits with increasing frequency. He died in 1669.

[Biography adapted from Rembrandt Harmenszoon van Rijn. (2014). The Biography.com website and from The National Gallery, London]

Rembrandt's house in Amsterdam photo: Creative Commons Licence

This is part 1 of a 14 – part post on the works of Rembrandt. Other sites featuring Rembrandt's work mainly divide his works by category - oils, prints, and drawings. I'll be showing all his works together in chronological order (including the works shown here) to give a better sense of his working practice. Being a reasonably large post on Rembrandt I'll try to post every other day.

↧

Rembrandt – part 2

June 24, 2014, 5:02 am

≫ Next: Rembrandt – part 3

≪ Previous: Rembrandt – part 1 Introduction

1628-30c Self-Portrait oil on panel 38.2 x 31 cm Germanisches Nationalmuseum, Nuremberg

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 2 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction.

1624-25 The Operation (Touch) oil on panel 21.5 x 17.7 cm Private Collection

1624-25 The Operation
Rembrandt painted the picture at the age of about 17 years in his native city Leiden, the cradle of Dutch paintings in the 17th century.

The painting was originally part of a series of five small paintings with the theme of the Five Senses. Two of the three remaining preserved paintings “The Operation” (Touch) and “The Three Singers” (Hearing) are located in a private collection in New York. The third piece “The Spectacle-Pedlar” (Sight) is now maintained as a Dutch cultural heritage piece.

1624-25c The Three Singers (Hearing) oil on oak panel 21.6 x 17.8 cm Private Collection

1624-25 The Spectacle-Pedlar (Sight) oil on panel 21.5 x 19.5 cm Museum De Lakenhal, Leiden, Netherlands

1624-28 Circumcision etching on paper 21.3 x 16.7 cm

1624-28 Rest on the Flight into Egypt etching on paper 21.2 x 16.4 cm

1625 The Stoning of Saint Stephen oil on panel 89.5 x 123.6 cm Musée des Beaux-Arts de Lyon, France

1625-26c Oriental Ruler on Horseback 16 x 13.6 cm pen and bistre

1625-26c The Triumph of Mordecai 21 x 26.4 cm pen and brush in bistre, wash Kunsthalle, Bremen, Germany

1625-31 Bust of a Man with a Cap etching on paper 4.9 x 3.8 cm (plate)

1625-31 Self-Portrait with Fur Hat etching and engraving on paper 6 x 5.6 cm

1625-35 Grotesque Profile of Man with High Hat etching on paper 3.8 x 2.6 cm (plate)

1625-35 Man in Hat with Earflaps etching on paper 5 x 3.8 cm (plate)

1625-35 Self-Portrait with Hat and Dark Cloak etching on paper 6.6 x 6 cm (plate)

1625-36c A Woman and Child Descending a Staircase sketch 18.7 x 13.2 cm Pierpoint Morgan Library, New York

1625-50 Portrait of the Actor William Bartholsz Ruyter pen in brown, white body colour on light brown prepared paper 13.9 x 17.4 cm

1625c Bust of an Old Man with Turban oil on panel 26.5 x 20 cm Pinacothèque de Paris

1626 Balaam and his Ass oil on oak panel 63.2 x 46.5 cm Musée Cognacq-Jay, Paris

1626 Christ Driving the Money Changers from the Temple oil on oak panel 43.1 x 32 cm Pushkin Museum, Moscow

1626 History Painting oil on panel 90.1 x 121.3 cm Stedelijk Museum De Lakenhal, Leiden

1626 Musical Company oil on panel 63.5 x 48 cm Rijksmueum, Amsterdam

1626 The Baptism of the Eunuch oil on panel 63.5 x 48 cm Catharijne Convent, Utrecht

1626 Tobit and Anna with the Kid oil on panel 39.5 x 30 cm Rijksmueum, Amsterdam

1626 Two Studies of the Head of an Old Man pen and brown ink on paper 9 x 14.9 cm J. Paul Getty Museum, Los Angeles CA

1626-27 Bust of a Man in a Gorget and a Feathered Beret oil on oak panel 40 x 29.4 cm

1626-30 Beggar etching on paper 12.2 x 9.5 cm

1626-30 Self-Portrait Leaning Forward etching on paper 6.4 x 5 cm (plate)

1626-30 Self-Portrait with Wide Nose etching on paper 7.1 x 5.9 cm

1626-30 Self-Portrait, Listening, Leaning Forward etching on paper 6.5 x 5.2 cm

1626-32 Bearded Old Man with High Forehead etching on paper 8.7 x 7.3 cm

1626-35 Man with Beard and Hat etching on paper 5 c 4.1 cm (plate)

1627 David, Presenting the Head of Goliath to King Saul oil on panel 27.5 x 39.5 cm Kunstmuseum, Basel

1627 Parable of the Rich Man oil on oak 31.9 x 42.5 cm Staatliche Museen, Berlin

1627 St. Paul in Prison oil on panel 72.8 x 60.2 cm Staatsgalerie, Stuttgart

1627-28 Outskirts of a Town with Walls and a Doorway pen and indian ink and brown wash on paper 15.2 x 14.3 cm Fitzwilliam Museum, Cambridge UK

1627-28 Simeon in the Temple oil on Panel 55.4 x 43.7 cm Kunsthalle, Hamburg

1627-29c Soldier on Horseback Blowing a Trumpet pen and bistre and grey washes 28 x 22.8 cm Rijksprentenkabinet, Amsterdam

1627-31 Beggar with Deformed Hand, Leaning on a Stick etching 9 x 4.2 cm

1627-31 Kneeling Hieronymous etching on paper 38.9 x 33.2 cm

1627-31 Peter and John Healed a Lame Man at the Temple Gate etching on paper 22.1 x 16.9 cm

1627-31 Self-Portrait with Fur Hat etching on paper 6.2 x 5 cm

1627-31 The Blind Tobias etching on paper 7.8 x 5.5 cm

1627-31 The Small Lion Hunt etching on paper 15.8 x 11.8 cm

1627-32 Head of a Man with Fur Hat, Shouting etching on paper 3.5 x 2.8 cm

1627-35 Head of an Old Woman etching on paper 3.5 x 4.3 cm

1627c Man Pulling a Rope red chalk 27.3 x 17.6 cm Graphische Sammlung, Munich, Germany

1627c Self-Portrait oil on wood 24 x 17 cm Staatliche Museen, Kassel

1628 Self-Portrait oil on panel 22.6 x 18.7 cm Rijksmuseum, Amsterdam

1627c Study of an Archer red chalk heightened with white 27.7 x 17.7 cm Graphische Sammlung, Munich, Germany

1627c Study of an Archer red chalk heightened with white 30.6 x 16.2 cm Kupferstichkabinet, Dresden, Germany

1628 Blind Man Leaning on a Stick pen and bistre 13 x 11.5 cm

1628 Rembrandt's Mother etching on paper 6.3 x 6.4 cm

1628 Rembrandt's Mother etching retouched with black chalk on paper 6.5 x 5.8 cm

1628 Rembrandt's Mother etching on paper 6.5 x 6.3 cm

1628 Samson and Delilah oil on panel 59.5 x 49.5 cm Gemäldegalerie, Berlin

1628 The Artist in His Studio oil on panel 25.1 x 31.9 cm Museum of Fine Arts, Boston MA

1628 Two Old Men Disputing (Peter and Paul?) oil on oak panel 72.4 x 59.7 cm National Gallery of Victoria, Melbourne, Australia

1628-29 Self-Portrait sketch on paper 12.7 x 9.4 cm Rijksmuseum, Amsterdam

1628-29c A Scholar by Candlelight oil on copper 13.9 x 13.9 cm Collection of Isabel and Alfred Bader, Milwaukee

1628-29c Beggar Couple with a Dog pen and bistre 16.5 x 14.5 cm

1628-29c Beggar Woman Leaning on a Stick pen and brush 13.5 x 12 cm

1628-29c Man in a Flat Cap pen and bistre 14.4 x 10.8 cm Kupferstichkabinett, Dresden, Germany

1628-29c Oriental pen and brush in olive brown bistre 17.3 x 10.8 cm École des Beaux-Arts, Paris

1628-29c Rembrandt's Mother pen and brush 12 x 10.5 cm

1628-29c Standing Beggar Turned to the Right 29.2 x 17 cm Rijksprentenkabinet, Amsterdam

1628-29c Young Worker Leaning on a Spade pen and bistre 14.4 x 8.6 cm

1628-30 Head of an Old Man (in a Cap) oil on oak panel 24.3 x 20.3 cm Agnes Etherington Art Centre, Kingsto, Ontario, Canada

1628-31 Bust of a Bald Man with a Fur Coat etching on paper 6.6 x 5.8 cm

1628-31 Self-Portrait with Shaggy Hair etching on paper 6 x 5.6 cm

1628-32 Beggar in a High Cap, Standing and Leaning on a Stick etching on ivory laid paper 15.3 x 10.8 cm (sheet) Art Institute of Chicago IL

1628-32 Beggar Warming Hands at a Brazier etching on paper 7.7 x 4.6 cm

↧

Rembrandt – part 3

June 26, 2014, 4:31 am

≫ Next: Rembrandt – part 4

≪ Previous: Rembrandt – part 2

1628c Self-Portrait "Rembrandt Laughing" oil on copper 22.2 x 17.1 cm The Getty Centre, Los Angeles CA

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 3 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see part 2 also.

1628-32 Beggars Coming from Behind a Hill etching and drypoint on paper 9.7 x 6.7 cm

1628-32 Old Beggar with Gourd etching on paper 10.3 x 4.6 cm

1628-32 Old Man in a Long Robe, Sitting in an Armchair etching on paper 12.7 x 8.5 cm

1628-32 Self-Portrait, Scowling etching on paper 3.9 x 3.6 cm

1628-32 Self-Portrait with Curly Hair and White Collar etching retouched with pen and printing ink on paper 5.8 x 5.2 cm

1628-32 Standing Man with Long Coat and Fur Hat, Leaning Against a Hill etching on paper 11.3 x 7.9 cm

1628-32 Study Sheet of an Old Man etching on paper 10.5 x 8.5 cm

1628-32 The Circumcision etching and drypoint on ivory laid paper 9 x 6.3 cm (plate)

1628-33 Head of Old Man with Mouth Half Open etching on paper 3.6 x 2.8 cm

1628-33 Man with Moustache and Hat, Right Profile etching on paper 3.7 x 2.4 cm

1628-33 Man with Open Mouth etching on paper 3.9 x 3.4 cm

1628-33 Old Man in a Fur Coat and High Hat etching on paper 3.6 x 2.8 cm

1628-33 Old Man Seen from Behind in Profile to the Right etching and burin on paper 7.3 x 4.2 cm

1628-33 Old Man with Long White Beard etching on paper 7.1 x 6.4 cm

1628 - (1700) Beggar Warming Hands at a Brazier etching on paper 7.7 x 5.2 cm

1628c A Foot Operation pen and bistre in brown, brush and washes in grey Indian ink 31.7 x 26.6 cm Uffizi Gallery, Florence

1828c La Main Chaude
A painting in Dublin's National Gallery of Ireland collection that depicts a C17th "slap on the bottom" game was declared a genuine Rembrandt in 2001 by Dutch experts. Until then it was categorised by the Dublin Gallery as school of Rembrandt, meaning it could have been the work of a student or follower.

1628c La Main Chaude oil on panel 21 x 27 cm National Gallery of Ireland, Dublin

1628c Study of Petrus red and black chalk, heightened with white 29.5 x 21 cm Gemäldegalerie Staatliche Museum, Berlin, Germany

1629 An Old Man Asleep by a Fire oil on oak panel 51.9 x 40.8 cm Sabauda Gallery, Turin

1629 An Old Woman (The Artist's Mother) oil on panel 61.3 x 47.3 cm Royal Collection, Windsor UK

1629 Judas Repentant, Returning the Thirty Pieces of Silver oil on panel 79 x 102.3 cm Private Collection

1629 Self-Portrait oil on oak panel 15.6 x 12.7 cm Alte Pinakothek, Munich

1629-33 Rembrandt's Mother at the Table etching on paper 8 x 6.1 cm

1629-33 Rembrandt's Mother at the Table etching on paper 14.8 x 13 cm

1629-(1700) Rembrandt's Mother at the Table etching and engraving on paper 14.5 x 12.8 cm

1629 Self-Portrait, Bareheaded etching on paper 17.4 x 15.4 cm

1629 The Supper at Emmaus oil on panel 37.4 x 42.3 cm Musée Jacquemart-André, Paris

1629-30 A Young Scholar and his Tutor (workshop of Rembrandt) oil on canvas 102.9 x 88.3 cm J. Paul Getty Museum, Los Angeles CA

1629-30 Bust of an Old Woman at Prayer oil on copper 15.5 x 12.2 cm Residenzgalerie, Salzburg, Austria

1629-30 St. Paul at his Writing-Desk oil on panel 47 x 39 cm

1629-30 The Laughing Man oil on copper 15 x 12 cm Mauritshuis, The Hague

1629-30c Man in a High Cap pen and wash in indian ink 10.6 x 5.4 cm The Louvre, Paris

1629-33 An Old Man with Fur Hat and Long Beard, Looking Down etching on paper 6.2 x 5.3 cm

1629-33 Diana Bathing etching on paper 17.7 x 15.9 cm

1629-33 Jupiter and Antiope etching on paper 8.5 x 11.3 cm

1629-33 Naked Woman Sitting on a Rise etching on paper 17.7 x 16 cm

1629-33 Portrait of an Old Man with a Hat etching on paper 3.7 x 2.2 cm

1629-33 Self-Portrait with Cap Pulled Forward etching on paper 5 x 4.2 cm

1629-33 Self-Portrait with Long Matted Hair etching and burin on paper 6.4 x 6 cm

1629-33 Two Drifters, turned to the Right pen in black ink 9.4 x 5.9 cm

1629c David Playing the Harp to Saul oil on panel 61.8 x 50.2 cm Städelsches Kunstintitut, Frankfurt

1629c Old Beggar in a Long Cloak and High Cap black chalk 29.3 x 17 cm Rijksprentenkabinet, Amsterdam

1629c Oriental Leaning on a Stick pen and bistre 15 x 8.4 cm Kupferstichkabinet, Berlin, Germany

1629c Seated Man in a High Cap pen and bistre 12 x 9.2 cm Museum Boymans Van Beuningen, Rotterdam

1629c Self-Portrait oil on wood 44 x 34 cm Indianapolis Museum of Art IN

1629c Self-Portrait sketch 12.7 x 9.5 cm British Museum, London

1629c Sketch of a Rabbi pen and bistre 7.7 x 6.5 cm British Museum, London

1629c St. Paul red chalk and wash in indian ink, heightened with white body-colour 23.6 x 20.1 cm The Louvre, Paris

1629c Standing Beggar black chalk, brush and Indian ink 29.2 x 17 cm Rijksprentenkabinet, Amsterdam

1630 Bald Headed Man in Profile Right (Father of Rembrandt?) etching on paper 7 x 5.9 cm (plate)

1630 Bald-Headed Man Facing Left (Father of Rembrandt?) etching on paper 8.1 x 6.1 cm

1630 Bald-Headed Man Facing Right (Father of Rembrandt?) etching on paper 5.8 x 4.3 cm

1630 Bald-Headed Old Man Facing Right (Father of Rembrandt?) etching on paper 11.8 x 9.7 cm

1630 Beggar Man and Beggar Woman Conversing etching on ivory laid paper 7.8 x 6.7 cm (plate)

1630 Beggar Seated on a Bank etching on ivory laid paper 11.6 x 6.9 cm (plate)

1630 Bust of an Old Man with a Fur Cap oil on panel 21.5 x 17 cm Tyrolean State Museum, Innsbruck, Austria

1630 Christ and the Scribes etching retouched in brown pen on paper 10.8 x 7.8 cm

1630 Jeremiah Lamenting the Destruction of Jerusalem oil on panel 58 x 46 cm

1630 Old Man with a Long Beard etching on paper 9.8 x 8.1 cm

1630 Old man with a Long Beard, the Head Forward etching on paper 9.1 x 7.6 cm

1630 Seated Old Man red chalk 15.7 x 14.7 cm

1630 Man with High Cap (Father of Rembrandt?) etching on paper 10.6 x 8.9 cm

1630 Man with Skullcap, (Father of Rembrandt?) etching on paper 7.6 x 6 cm

1630 Old Soldier oil on wood 35 x 26 cm The Hermiatge St. Petersburg

1630 Portrait of the Artist's Father, Harmen Gerritsz. van Rijn black chalk and red chalk, brown wash on paper 18.9 x 24 cm Ashmolean Museum, Oxford UK

1630 Self-Portrait 15.5 x 12 cm Nationalmuseum, Stockholm, Sweden

1630 Self-Portrait with Fur Hat etching on paper 6.3 x 5.2 cm

1630 Self-Portrait with Open Mouth as if Shouting etching on paper 7.3 x 6.2 cm

1630 Self-Portrait, Frowning etching on paper 7.5 a 7.5 cm (plate)

1630 Smiling Self-Portrait with Hat etching on paper 4.9 x 4.3 cm

↧

Rembrandt – part 4

June 28, 2014, 5:45 am

≫ Next: Rembrandt – part 5

≪ Previous: Rembrandt – part 3

1630c Self-Portrait oil on panel 70 x 57 cm Walker Art Gallery, Liverpool 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 4 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 - 3 also.

1630 Smiling Self-Portrait with Hat etching on paper 5.4 x 4.9 cm

1630 The Good Samaritan sketch on paper 11.1 x 13.7 cm

1630 The Presentation in the Temple with the Angel etching on paper 10.2 x 7.8 cm

1630-31 An Old Man in Military Costume oil on panel 66 x 50.8 cm J. Paul Getty Museum, Los Angeles CA

1630-31 Self-Portrait in Cloak with Flat Collar etching, drypoint and burin on paper 6.4 x 5.4 cm

1630-31 The Raising of Lazarus oil on oak panel 96.4 x 81.3 cm Los Angeles County Museum of Art, Los Angeles CA

1630-31c Andromeda oil on panel 34.1 x 24.5 cm Mauritshuis, The Hague

1630-31c Diana at the Bath black chalk, washed with bistre 18.1 x 16.4 cm British Museum, London

1630-33c Susanna and the Elders sanguine on paper 23.5 x 36.4 cm Kupferstichkabinett, Berlin

1630-34 A Cavalry Battle etching on paper 10.6 x 8.1 cm

1630-34 A Pole Leaning on his Stick etching on canvas 8.2 x 4.3 cm

1630-34 Rider Seen from the Back etching on paper 8.2 x 5.8 cm

1630-34 Study Sheet (fragment) Self-Portrait etching on paper 5. x 5.5 cm

1630-34 Study Sheet with Self-Portrait etc. etching on paper 9.9 x 10.5 cm

1630-34 The Holy Family etching on paper 9.5 x 7.2 cm

1630-34 The Raising of Lazarus etching and burin retouched in black pen 36.6 x 25.8 cm

1630-34 The Small Lion Hunt, with Two Lions etching on paper 15.5 x 12.3 cm

1630-35 Self-Portrait oil on wood 22 x 17 cm Metropolitan Museum of Art, new York

1630-39 Bearded Old Man with a High Forehead etching on paper 7.4 x 6.5 cm

1630c An Artist in his Studio pen and brown ink on paper 21.9 x 17 cm The J. Paul Getty Museum, Los Angeles CA

1630c Beggar Leaning on a Stick, Facing Left etching on ivory laid paper 8.5 x 4.7 cm (plate)

1630c Beggar with a Wooden Leg etching on ivory laid paper 11.3 x 6.6 cm (plate)

1630c Bust of a Bearded Old Man red chalk, slightly touched with white chalk 11.4 x 91 cm The Louvre, Paris

1630c Bust of an Apostle red chalk 16.8 x 13.5 cm Hessisches Landesmuseum, Darmstadt, Germany

1630c Ragged Peasant with His Hands behind Him, Holding a Stick etching on ivory laid paper 9.3 x 6.7 cm (plate)

1630c Seated Old Man red chalk 14.4 x 14.6 cm Nationalmuseum, Stockholm

1630c The White Negress etching on paper 9.2 x 7.7 cm (plate)

mid 1630s Self-Portrait 12.3 x 13.7 cm Kupferstichkabinett, Berlin

1630s Study Head of an Old Man oil on wood 21 x 18 cm Metropolitan Museum of Art, New York

1631 An Old Woman Reading, Probably the Prophetess Hannah oil on panel 60 x 48 cm

1631 Bearded Man with Fur hat and Oriental Mantle (Father of Rembrandt?) etching and burin on paper 14.5 x 12.8 cm

1631 Bearded Old Man Seated in an Arm-Chair red chalk 25 x 17 cm

1631 Beggar Seated with his Dog etching and burin on paper 10.9 x 8.1 cm

1631 Beggar with Outstretched Left Arm etching on paper 6.3 x 4.1 cm

1631 Bust of a Beardless Man in a Fur Cloak and Cap etching on paper 7 x 5.8 cm

1631 Bust of a Young Man with a Cap etching on paper 6.4 x 5.8 cm

1631 Bust of an Old Man oil on panel 59.5 x 51.2 cm Private Collection UK

1631 Farmer Standing with Hands Behind Back etching and burin on paper 5.9 x 5 cm

1631 Man Peeing etching on paper 8.3 x 4.9 cm

1631 Old Man with a Gold Chain oil on panel 83.1 x 75.7 cm Art Institute of Chicago IL

1631 Old Man with a Long Beard etching on paper 6.8 x 6.6 cm

1631 Old Man with Beard with Downward Gaze etching retouched with brown pen on paper 12 x 11.8 cm

1631 Old Woman in a Fur-Trimmed Coat and Heavy Headdress etching on paper 5.8 x 5.3 cm

1631 Old Woman Sitting in a Hut with String of Onions on the Wall (The Onion Woman) etching on paper 12.7 x 8.5 cm

1631 Portrait of a Scholar oil on canvas 104.5 x 92 cm Hermitage Museum, St. Petersburg

1631 Portrait of Nicolaes Ruts
Born in Cologne, Nicolaes Ruts (1573-1638) was a merchant who traded with Russia, the source no doubt, of the rich furs in which he posed for this portrait. Rembrandt's likeness of him, perhaps the first portrait commission the artist received from someone outside of his own family, was painted presumably for Ruts' daughter Susanna. A 1636 inventory of her property listed the picture of her father as "the portrait of Nicolaes Ruts made be Rembrandt."

1631 Portrait of Nicolaes Ruts oil on mahogany panel 116.8 x 87.3 cm Frick Collection, New York

1631 Rembrandt's Mother Sitting, with Oriental Headdress etching on paper 14.5 x 12.9 cm

1631 Rembrandt's Mother with her Hand on her Chest etching on paper 9.4 x 6.7 cm

1631 Scholar Reading oil on panel 60 x 48 cm Nationalmuseum, Stockholm

1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 9.6 x 7.6 cm

1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 14.8 x 13.1 cm

1631 Self-Portrait with Thick Fur Hat etching on paper 6.3 x 5.7 cm

1631 St. Peter in Prison (The Apostle Peter Kneeling) oil on panel Israel Museum, Jerusalem

1631 The Blind Violinist etching and burin on paper 7.8 x 5.3 cm

1631 The Leper etching on paper 9.4 x 6.4 cm

1631 The Presentation of Jesus in the Temple oil on panel 60.9 x 47.8 cm Mauritshuis, The Hague, Netherlands

1631-33 Self-Portrait in Oriental Attire with Poodle oil on oak panel 66.5 x 52 cm Petit Palais, Paris

1631-35 Joseph's Coat is Shown to Jacob etching on paper 10.7 x 8.1 cm

1631-1700 Woman Peeing etching on paper 7.5 x 6.8 cm

1631c Bearded Old Man red chalk with slight touches of black chalk 13.7 x 13.8 cm National Gallery of Art, Washington D.C.

1631c Bust of Woman in High Headdress with Loose Chin Strap etching on paper 6.2 x 5.6 cm

1631c Minerva oil on oak panel 60.5 x 49 cm Gemäldegalerie, Berlin

1631c Old Man Seated in an Armchair, Full-Length 22.6 x 15.7 cm Kupferstichkabinett, Berlin

1631c Sheet of Studies pen and bistre 11.6 x 15.6 cm

1631c The Abduction of Proserpina oil on oak panel 84.8 x 79.7 cm Gemäldegalerie, Berlin

1631c The Reading pen and brush, washes in grey 18 x 20 cm

1632 Man in Oriental Costume oil on canvas 152.7 x 111.1 cm Metropolitan Museum of Art, New York

1632 Man Sharpening a Quill oil on canvas 102 x 82 cm Museumslandschaft Hessen Kassel, Germany

1632 Philosopher in Meditation 28 x 34 cm The Louvre, Paris

↧

Rembrandt – part 5

June 30, 2014, 6:00 am

≫ Next: Rembrandt – part 6

≪ Previous: Rembrandt – part 4

1632 Pieter van Bleeck "Portrait of Rembrandt Van Ryn" mezzotint 35.4 x 25.3 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 5 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 - 4 also.

1632 Portrait of a Girl Wearing a Gold-trimmed Cloak oil on panel 59 x 44 cm Private Collection

1632 Portrait of a Man oil on wood 75.6 x 52.1 cm Metropolitan Museum of Art, New York

1632 Portrait of a Man, probably a Member of the Van Beresteyn Family oil on canvas 111.8 x 88.9 cm Metropolitan Museum of Art, New York

1632 Portrait of a Woman, probably a Member of the Van Beresteyn Family oil on canvas 111.8 x 88.9 cm Metropolitan Museum of Art, New York

1632 Portrait of a Young Woman oil on panel 60 x 50 cm Pinacoteca di Brera, Milan

1632 Portrait of a Young Woman Seated oil on canvas 92 x 71 cm Akademie der Bildenden Künste, Gemäldegalerie, Vienna

1632 Portrait of a Young Woman with a Black Cap

This portrait of A Young Woman in a Black Cap was "bought" by the Nazi leader Hermann Goering during the war and, after a succession of owners, sold again at Sotheby's in 2009. Once thought to have been painted by a follower of Rembrandt, the Rembrandt Research Group now gives full authorship, after a recent cleaning, to the master himself.

1632 Portrait of a Young Woman with a Black Cap oil on canvas mounted on panel 68.7 x 53.5 cm

1632 Portrait of a Young Woman with a Black Cap (detail) oil on canvas mounted on panel 68.7 x 53.5 cm

1632 Portrait of Aeltje Pietersdr. Uylenburgh oil on panel 73.7 x 55.8 cm Mauritshuis, The Hague

1632 Portrait of Amalia van Solms oil on canvas 69.5 x 54.5 cm Musée Jacquemart-André, Paris

1632 Portrait of an Old Man oil on panel 66.9 x 50.7 cm Fogg Art Museum, Harvard University, Cambridge

1632 Portrait of Jacob de Gheyn (III) oil on oak panel 29.9 x 24.9 cm Dulwich Picture Gallery, London

1632 Portrait of Joris de Caulerij oil on canvas mounted on panel 102.4 x 84.3 cm Fine Arts Museums of San Francisco

1632 Portrait of Marten Looten oil on oak panel 92.8 x 74.9 cm Los Angeles County Museum od Art, Los Angeles

1632 Portrait of Maurits Huygens oil on oak panel 31.2 x 24.6 cm Kunsthalle Hamburg, Germany

1632 Self Portrait Wearing a Hat oil on panel 21.8 x 16.3 cm Private Collection

1632 Self-Portrait with Wide-Brimmed Hat oil on panel 64.4 x 47.6 cm Kelvingrove Art Gallery and Museum, Glasgow, Scotland

1632 St. Jerome Praying etching and drypoint on paper 10.9 x 8.1 cm (plate)

1632 Susanna van Collen, Wife of Jean Pellicorne with her daughter Anna oil on canvas 155.3 x 122.5 cm © The Wallace Collection, London

1632 The Abduction of Europa oil on oak panel 64.6 x 78.7 cm The J. Paul Getty Museum, Los Angeles CA

1632 The Abduction of Europa (detail)

1632 The Anatomy Lesson of Dr. Nicolaes Tulp oil on canvas 169.5 x 216.5 cm Mauritshuis, The Hague, Netherlands

1632 The Anatomy Lesson of Dr. Nicolaes Tulp (detail)

1632 The Press etching on paper 10.8 x 7.9 cm

1632 The Press etching on paper 12.3 x 8.8 cm

1632 View of Rhenen 21.2 x 32.6 cm Museum Bredius, The Hague

1632 Young Woman in Profile oil on canvas 72 x 55 cm Nationalmuseum, Stockholm, Sweden

1632-33 Christ in the House of Mary and Martha pen and brown ink on paper 15.8 x 19.4 cm Teylers Museum, Haarlem

1632-33 Eli and Elkanah pen and bistre 14.5 x 12 cm

1632-33c Scholar in a Barret pen and bistre 15.5 x 16.3 cm

1632-33c The Entombment of Christ pen and wash 19 x 26 cm

1632-36 Self-Portrait etching on buff laid paper 5.1 x 4.5 cm (plate)

1632-36 Two Tramps, a Man and a Woman 6.3 x 4.8 cm (plate)

1632-37 Street Musicians (Buskers) etching on paper 14.1 x 11.6 cm

1632-37 The Crucifixion etching on paper 9.5 x 6.7 cm

1632-37 The Treasure Medal (The Tribute Money) etching, drypoint and burin on paper 7.3 x 10.3 cm

1632-39 Man with Wide-Brimmed Hat ink on light brown paper 16 x 9.8 cm Musées Royaux des Beaux-Arts, Brussels

1632-46 Passion Cycle for Frederick Henry, Prince of Orange:

Seven paintings illustrating the life of Christ, commissioned by the Dutch Stadholder (chief magistrate) Frederik Hendrik, and painted by Rembrandt between 1632 and 1646.

1633c The Raising of the Cross black chalk and wash in indian ink 23.2 x 18.7 cm Albertina, Vienna

1633c The Raising of the Cross oil on canvas 95 7 x 72.2 cm Alte Pinakothek, Munich

1632-33 The Deposition oil on cedar panel 89.4 x 65.2 cm Alte Pinakothek, Munich

1633-35 The Entombment of Christ oil on panel (sketch) 32.3 x 40.5 cm Hunterian Museum, Glasgow UK

1635-39 The Entombment oil on canvas 92.6 x 68.9 cm

1636-39 The Ressurection oil on canvas mounted on panel 91.9 x 67 cm Alte Pinakothek, Munich

1636 The Ascension oil on canvas 93 x 68.7 cm Alte Pinakothek, Munich

1646 Adoration of the Shepherds oil on canvas 97 x 71.5 cm Alte Pinakothek, Munich

* * *

1632c Old Man with Beard, Fur Cap and Velvet Cloak etching on paper 15 x 13.1 cm (plate)

1632c Sheet of Studies with Self-Portrait etching on paper 9.9 x 103 cm

1632c Study of a Female Nude black chalk 16 x 12 cm

1632c Turbaned Soldier on Horseback etching on paper 8 x 5.6 cm

1633 A Young Woman at her Toilet 64 x 55 cm National Gallery of Canada, Ottawa

1633 Bald-Headed Old Man with a Short Beard etching on paper 5.6 x 3.8 cm cm

1633 Bellona oil on canvas 127 x 97.5 cm Metropolitan Museum of Art, New York

1633 Bust of a Man in Oriental Dress oil on oak panel 85.8 x 63.8 cm Alte Pinakothek, Munich

1633 Bust of a Young and Laughing Woman, possibly a Portrait of Saskia van Uylenburgh oil on oak panel 52.5 x 44 cm Gemäldegalerie Alte Meister, Dresden, Germany

1633 Christ in the Storm on the Sea of Galilee oil on canvas 160 x 127 cm (whereabouts unknown - stolen from) Isabella Stewart Gardner Museum, Boston MA

1633 Daniel and Cyrus before the Idol Bel oil on panel 23.4 x 30.1 cm The J. Paul Getty Museum, Los Angeles CA

1633 Jan Pietersz. Bruyningh, and His Wife Hillegont Pietersdr. Moutmaker oil on canvas 131 x 107 cm Isabella Stewart Gardner Museum, Boston

1633 Joseph Tells his Dreams to his Parents and his Brothers oil on paper 51 x 39 cm

1633 Joseph's Coat Brought to Jacob etching and drypoint on white laid paper 10.8 x 8 cm (plate)

1633 Portrait of a Bearded Man in a Red Doublet oil on panel 50.8 c 63.5 cm Private Collection

1633 Portrait of a Bearded Man in a Wide-Brimmed Hat oil on panel 69.9 x 54.6 cm Norton Simon Museum, Pasadena CA

1633 Portrait of a Man Rising from his Chair oil on canvas 48.9 x 38.7 cm Taft Museum of Art, Cincinnati OH

1633 Portrait of a Woman oil on wood 67.9 x 50.2 cm Metropolitan Museum of Art, New York

1633 Portrait of a Young Woman oil on wood 65.2 x 48.7 cm Museum of Fine arts, Houston TX

1633 Portrait of a Young Woman with a Fan. oil on canvas 125.7 x 101 cm Metropolitan Museum of Art, New York

1633 Portrait of Jan Harmensz Krul oil on canvas 128.5 x 100.5cm Gemäldegalerie Alte Meister, Kassel, Germany

1633 Portrait of Johannes Wtenbogaert oil on canvas 130 x 103 cm

1633 Portrait of Maertgen van Bilderbeecq il on oak panel 67.4 x 55.2 cm Städel Museum, Frankfurt, Germany

↧

Rembrandt – part 6

July 2, 2014, 4:45 am

≫ Next: Rembrandt – part 7

≪ Previous: Rembrandt – part 5

Rembrandt as a Shepherd by Govert Flinck c1636 oil on canvas 74.5 x 64 cm Amsterdam Museum

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 6 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 - 5 also.

1633 Rembrandt's Mother with a Headscarf, Eyes Downward etching on paper 4.2 x 4 cm

1633 Portrait of Saskia Uylenburgh metalpoint on prepared vellum 18.5 x 10.7 cm Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett, Berlin

1633 Self-Portrait oil on wood 70.4 x 54 cm The Louvre, Paris

1633 Self-portrait Wearing a Toque and a Gold Chain oil on oak panel 70.4 x 54 cm Louvre Museum, Paris

1633 Self-Portrait with Beret and Neckerchief, Face in Shadow etching on paper 13.2 x 10.3 cm

1633 Study for Lot Drunk black chalk, slightly touched with white chalk 25.1 x 18.9 cm Städelsches Kunstintitut, Frankfurt-am-Main

1633 The Descent from the Cross etching and burin on ivory laid paper 52 x 40.5 cm (plate)

1633 The Flight into Egypt etching on paper 8.9 x 6.2 cm

1633 The Good Samaritan etching, drypoint and burin on paper 25.6 x 20.3 cm

1633 The Minister Jan Cornelis Sylvius etching on paper 16.6 x 14 cm

1633-56 The Minister Jan Cornelis Sylvius etching on paper 21 x 14.2 cm

1633 The Ship of Fortune etching on paper 11.1 x 16.5 cm

1633 The Shipbuilder and his Wife: Jan Rijcksen (1560/2-1637) and his Wife, Griet Jans oil on canvas 113.3 x 169.4 cm Royal Collection Trust UK

1633 Young Woman in Fantasy Costume oil on panel 65 x 48 cm

1633-34 Self-Portrait (attributed to; possibly workshop) oil on panel 56 x 47.1 cm Gemäldegalerie, Berlin

1633-34c Ahasuerus in a High Turban Wearing a Pendant on a Gold Chain pen and bistre, wash in bistre and Indian ink 17.7 x 13 cm Rijksprentenkabinet, Amsterdam

1633-34c Group of Three Figures pen and bistre and wash

1633-34c Portrait of Saskia van Uylenburgh (1612-1642) oil on oak panel 99.5 x 78.8 cm Gemäldegalerie Alte Meister, Kassel, Germany

1633-34c Saskia Looking out of a Window 23.6 x 17.8 cm Boymans van Beuningen Museum, Rotterdam

1633-34c The Holy Family oil on canvas 183.5 x 123 cm Alte Pinakothek, Munich

1633-34c Young Woman Standing pen and bistre 9.9 x 6.2 cm Museum Boijmans-Van Beuningen, Rotterdam

1633-35 Ecce Homo (Behold the Man) oil on paper mounted on canvas 54.5 x 44.5 cm

1633-35c A Woman Seated in an Armchair with a Letter in her Left Hand 26.5 x 10 cm Kupferstichkabinet, Hamburger Kunsthalle, Hamburgh

1633-37 Bald-Headed Old Man with a Short Beard etching on paper 6.6 x 5.7 cm

1633-37 Bearded Old Man with High Fur Hat and Eyes Closed etching on paper 11.2 x 10.3 cm

1633-37 Cake Baker pen and brown ink 10.8 x 14.4 cm

1633-37 Man with a Barrel-Organ etching on paper 5.2 x 4.8 cm

1633-37 Seated Actor in the Role of Capitano sketch on paper 18.2 x 15.3 cm

1633-39 Old Woman Sleeping 7 x 5.3 cm (plate)

1633c Bust of an Oriental in a Turban pen and bistre, white body-colour 13.6 x 12.7 cm The Louvre, paris

1633c Esther Preparing for the Meeting with Ahasuerus oil on canvas 110 x 94 cm National Gallery of Canada, Ottawa

1634 Portrait of Maria Bockenolle oil on canvas 174.9 x 124.1 cm Museum of Fine Arts, Boston MA

1634 A Farmer Exclaiming "Tis Vinnich Kout"

1634 A Farmer Responding to "Das Not" etching on paper 11.2 x 3.8 cm

1634 A Scholar Seated at a Desk/ Scholar at his Study oil on canvas 141 x 135 cm National Gallery in Prague. Czech Republic

1634 Artemisia oil on canvas 143 x 154.7 cm Prado Museum, Madrid

1634 Christ and the Woman of Samaria Among Ruins etching on cream laid paper 12.2 x 10.6 cm (plate)

1634 Christ at Emmaus etching and drypoint on cream laid paper 10.2 x 7.2 cm (plate)

1634 Cupid with the Soap Bubble oil on canvas 75 x 93 cm Liechtenstein Museum, Vienna

1634 Diana Bathing with Her Nymphs oil on canvas 73.5 x 93.5 cm Museum Wasserburg, Anholt, Germany

1634 Doubting Thomas oil on panel 53 x 51 cm Pushkin Museum, Moscow

1634 Jerome Reading in the Wilderness etching on paper 10.8 x 8.9 cm

1634 Jesus and his Disciples black and red chalk, pen and brown ink and washes on paper 35.5 x 47.6 cm Teylers Museum, Haarlem

1634 John the Baptist Preaching oil on canvas 62 x 80 cm Gemäldegalerie, Berlin, Germany

1634 Joseph and Potipher's Wife etching on buff laid paper 9 x 11.4 cm (plate)

1634 Portrait of a Man in an Armchair Private Collection

1634 Portrait of Aechje Claesdr oil on panel 71.1 x 55.9 cm The National Gallery, London

1634 Portrait of Haesje Jacobsdr. van Cleyburg oil on panel 68.6 x 53.4 cm Rijksmuseum, Amsterdam

1634 Portrait of Johannes Elison (circa 1581-1639), Minister oil on canvas 174 x 124.5 cm Museum of Fine Arts, Boston MA

1634 Portrait of Maerten Soolmans oil on canvas 207 x 132.5 cm Private Collection

1634 Portrait of Oopjen Coppit oil on canvas 210 x 134 cm Rothschild Collection, Paris

1634 Saskia as Flora oil on canvas 125 x 101 cm Hermitage Museum, St. Petersburg

1634 Saskia with Pearls in Her Hair etching and drypoint on paper 8.6 x 6.6 cm (plate)

1634 Self Portrait with Helmet oil on panel 80.5 x 66 cm Staatliche Museen Kassel, Gemäldegalerie Alte Meister

1634 Self Portrait with Plumed Cap and Lowered Sabre etching on ivory laid paper 13 x 10.6 cm (plate)

1634 Self Portrait with Raised Sabre etching on ivory laid paper 12.4 x 10 cm (plate)

1634 Self-portrait in a Velvet Beret oil on oak panel 58.3 x 47.4 cm Gemäldegalerie, Berlin

1634c A Young Woman at her Toilet pen and brush and brown ink with brown and grey wash 12.4 x 18 cm Graphische Sammlung, Albertina, Vienna

1634 Self-Portrait with Shaded Eyes oil on panel 70.8 x 55.2 cm Private Collection

1634 Self-Portrait? with Plumed Cap, Hand Leaning on a Sword etching on paper 19.7 x 16.3 cm

1634 The Proclamation to the Shepherds etching, drypoint and burin on paper 26 x 21.8 cm

1634 Woman Reading etching on paper 12.3 x 10.1 cm

1634 Woman Wearing a Gold Chain oil Museum of Fine Arts, Boston MA

1634-40 Saskia van Uylenburgh, the Wife of the Artist oil on panel 60.5 x 49 cm National Gallery of Art, Washington D.C.

↧

Rembrandt’s second teacher was Amsterdam’s Pieter Lastman (1583 – 1633), who was a well-known history painter and likely helped Rembrandt to master the genre, which included placing figures from biblical, historical and allegorical scenes in complex settings.

Another example is the 1628 work “Two Old Men Disputing” (Peter and Paul?), in which the painting’s lighted elements are clustered together and surrounded by darker tones, drawing the viewer’s eye to a general focal point before moving in to observe the details within.

Rembrandt began to paint dramatic, large-scale biblical and mythological scenes using his high-contrast method of light and dark, such as “The Blinding of Samson” (1636) and “Danaë” (1636).

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

This is part 3 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see part 2 also.

This is part 4 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 - 3 also.

This is part 5 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 - 4 also.

This is part 6 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 - 5 also.

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