domenica

:: Pintura de Gabriel Metsu...



O quadro "A criança doente" traz um bebê doente e abatido que se esvalece no colo de uma mulher. Do lado deles tem um armário, uma tigela com colher. Atrás, um mapa aberto e um quadro mostrando a cruxificação de Cristo. Possivelmente há mais a ser visto nesta imagem de Gabriel Metsu do que parece à primeira vista. Pode ser que a mulher represente a virtude de Cristo e o amor ao próximo. A obra está exposta no Rijksmuseum, museu nacional dos Países Baixos, localizado em Amsterdã.

Via Blog do Noblat
(Com colaboração de Catharina Mafra)
Veja mais Pintura de Gabriel Metsu em LO SPIRITO BAROQUE
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sabato

:: Tassaert, Octave...


TASSAERT, Octave
(b. 1800, Paris, d. 1874, Paris)

Biography
Painter and printmaker, part of a French family of artists of Flemish origin, son of Jean-Joseph-François Tassaert, who worked mainly in Paris, and grandson of Jean-Pierre-Antoine Tassaert, one of the leading portrait sculptors working in Berlin in the late 18th century.
As a child Octave worked with his brother Paul Tassaert (d. 1855), producing engravings, but he later turned to painting and from 1817 to 1825 studied at the Ecole des Beaux-Arts in Paris, first under Alexis-François Girard (1787-1870) and then Guillaume Lethiere. In 1823 and 1824 he tried unsuccessfully to win the Prix de Rome, an early failure that greatly disheartened him. For much of his career, until 1849, he continued to work in the graphic arts, as well as painting, producing lithographs and drawings on various subjects: historical scenes from the First Empire, portraits, and mythological and genre scenes. He also produced illustrations for the Romantic novels of Victor Hugo, Alexandre Dumas pere and François-René Chateaubriand.
Though he achieved moderate success at the Salon, it was the graphic work that provided his small income during this period. Later he achieved success as a genre painter, depicting the widespread poverty prevalent in 19th-century Paris.

Octave Tassaert
TASSAERT, Octave
Octave Tassaert 1800-1874
Octave Tassaert - Wikimedia
Octave Tassaert
Octave Tassaert
French Painting from the Musee
Nicolas Francois Octave Tassaert
Octave Tassaert
octave tassaert
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lunedì

:: Giordano, Luca...


























































GIORDANO, Luca
(b. 1632, Napoli, d. 1705, Napoli)

Biography
Neapolitan painter, the most important Italian decorative artist of the second half of the 17th century. He was nicknamed `Luca Fa Presto' (Luke work quickly) because of his prodigious speed of execution and huge output.
He began in the circle of Ribera, but his style became much more colorful under the influence of such great decorative painters as Veronese, whose works he saw on his extensive travels. Indeed, he absorbed a host of influences and was said to be able to imitate other artists' styles with ease. His work was varied also in subject-matter, although he was primarily a religious and mythological painter.
He worked mainly in Naples, but also extensively in Florence and Venice, and his work had great influence in Italy. After five years back in Naples, Giordano went to Florence again where he produced one of his most important works, the gallery frescoes in the Palazzo Medici-Riccardi (1682). These airy, luminous frescos provide a foretaste of eighteenth century art.
In 1692 he was called to Spain by Charles II and stayed there for 10 years, painting in Madrid, Toledo, and the Escorial. His last work when he returned to Naples was the ceiling of the Treasury Chapel of S. Martino. In his personal self-confidence and courtliness, and in the open, airy compositions and light luminous colors of his work, Giordano presages such great 18th-century painters as Tiepolo.


























































































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:: Luca Giordano - O Sonho de Salomão....

Os primeiros trabalhos do pintor italiano Luca Giordano mostram a influência de Giuseppe Rivera, pintor espanhol de Nápoles, com quem é provável que tenha estudado. Ganhou estilo próprio depois de viagens a Roma, Veneza e Florença.
De 1692 a 1702 foi pintor da corte de Carlos II, em Madrid.
A obra "O sonho de Salomão", ocorrido, segundo texto bíblico, em Gabaon, está exposta no Museu de Prado, em Madrid. No sonho, Deus disse a Salomão que pedisse o que quisesse.
Salomão pediu sabedoria para discernir entre o bem e o mal.
(Na verdade o que a maioria das pessoas necessita!!!)
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sabato

:: Lo Spirito Baroque...


Más Arte en LO SPIRITO BAROQUE
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domenica

:: Verkolje, Johannes...

















VERKOLJE, Johannes
(b. 1650, Amsterdam, d. 1693, Delft)

Biography
Dutch painter, member of a family of painters. He was the son of a locksmith, specialized in genre scenes set in richly furnished interiors, although he also painted mythological scenes and portraits. His two sons, Nicolaas Verkolje and Johannes Verkolje II (d 1760) were also painters and his followers.
According to Houbraken, he spent six months as the pupil of Jan Andrea Lievens (1644-80), where he completed unfinished mythological and genre pictures by Gerrit Pietersz. van Zijl (1619-65). Verkolje married Judith Voorheul in Delft in 1672 and in the following year joined the city's Guild of St Luke, serving as its dean between 1678 and 1688.
Verkolje's genre scenes, for example the Musical Company (1673; Amsterdam, Rijksmuseum), The Messenger (1674; The Hague, Mauritshuis) and the Elegant Couple (c. 1674; private collection), were influenced by Gabriel Metsu, Gerard Terborch and Caspar Netscher. Verkolje's portraits commanded high prices and were greatly valued for their outstanding finish, a style more polished than that of his predecessors. His work as a mezzotint engraver was equally appreciated and sought after. On the basis of a few mezzotints made between 1680 and 1684 after the work of English artists, it is generally supposed that Verkolje lived in London at that time, although this is unproven.
As a draughtsman, he made precise, small cabinet pieces usually employing pen and ink with brown wash or watercolour heightened with white chalk. Houbraken mentioned Albertus van der Burgh (b 1672), Joan van der Spriet (fl c. 1700) and Willem Verschuuring (1657-1715), among others, as Verkolje's pupils.
VERKOLJE, Johannes
(b. 1650, Amsterdam, d. 1693, Delft)

Biography
Dutch painter, member of a family of painters. He was the son of a locksmith, specialized in genre scenes set in richly furnished interiors, although he also painted mythological scenes and portraits. His two sons, Nicolaas Verkolje and Johannes Verkolje II (d 1760) were also painters and his followers.
According to Houbraken, he spent six months as the pupil of Jan Andrea Lievens (1644-80), where he completed unfinished mythological and genre pictures by Gerrit Pietersz. van Zijl (1619-65). Verkolje married Judith Voorheul in Delft in 1672 and in the following year joined the city's Guild of St Luke, serving as its dean between 1678 and 1688.
Verkolje's genre scenes, for example the Musical Company (1673; Amsterdam, Rijksmuseum), The Messenger (1674; The Hague, Mauritshuis) and the Elegant Couple (c. 1674; private collection), were influenced by Gabriel Metsu, Gerard Terborch and Caspar Netscher. Verkolje's portraits commanded high prices and were greatly valued for their outstanding finish, a style more polished than that of his predecessors. His work as a mezzotint engraver was equally appreciated and sought after. On the basis of a few mezzotints made between 1680 and 1684 after the work of English artists, it is generally supposed that Verkolje lived in London at that time, although this is unproven.
As a draughtsman, he made precise, small cabinet pieces usually employing pen and ink with brown wash or watercolour heightened with white chalk. Houbraken mentioned Albertus van der Burgh (b 1672), Joan van der Spriet (fl c. 1700) and Willem Verschuuring (1657-1715), among others, as Verkolje's pupils.




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:: Velde, Willem van de, the Younger...




VELDE, Willem van de, the Younger
(b. 1633, Leiden, d. 1707, London)

Biography
Velde, van de, family of Dutch marine painters and landscapists of the 17th century.
Willem van de Velde the Elder (circa 1611-93)
Dutch marine painter. He was the son of a naval captain, his brother was a skipper of merchant vessels, and he himself spent part of his youth as a sailor before devoting himself to the drawing and painting of ships. His pictures, which are frequently grisailles, contain faithful and detailed portraits of ships (of much value to naval historians) and for a time he was an official artist for the Dutch fleet. In 1672, when the Netherlands were at war with England, he went to London and entered the service of Charles II; why he left his country at a critical moment in its fortunes remains a mystery.
Willem van de Velde the Younger (1633-1707)
Willem's son, he is one of the most illustrious of all marine painters. He was the pupil of his father and Simon de Vlieger. Like his father, he gave very accurate portrayals of ships, but is distinguished from him by his feeling for atmosphere and majestic sense of composition. He left Amsterdam for England with his father in 1672 and in 1674 Charles II gave them a yearly retaining fee of 100 pounds each; the father received his "for taking and making draughts of seafights" and the son "for putting the said draughts into colours for our own particular use". They did not switch their allegiance to England completely; both subsequently painted pictures of naval battles for the Dutch as well as the English market. Willem the Younger's influence, however, was particularly great in England, where the whole tradition of marine painting stemmed from him.
Adriaen van de Velde (1636-72)
Brother of Willem the Younger, was a prolific artist in spite of his short life. His father and Jan Wijnants were his teachers. He painted various types of landscapes (most notably some fresh and atmospheric beach scenes) and also religious and mythological works, portraits, and animal pictures. He also did exceptionally fine etchings of landscapes with cattle and often painted the figures into the landscapes of other artists, notably Hobbema and Ruisdael.





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:: Naldini, Giovanni Battista...



NALDINI, Giovan Battista
(b. ca. 1537, Fiesole, d. 1591, Firenze)

Biography
Italian painter and draughtsman. He was the artistic heir of Jacopo Pontormo, with whom he trained from 1549 to 1556. While maintaining an allegiance to the ideals of Andrea del Sarto and Pontormo, he also worked in the vocabularies of Bronzino and Vasari. From these sources he forged an individual style of drawing indebted to del Sarto in its loose handling of chalk and reminiscent of Pontormo in its schematic figures defined by firm contours and modelled with loose hatching or spots of wash. There are an analogous stylization and an expressive freedom in his treatment of serpentine figures, which are sculptural in form but painterly in detail, arranged in compact compositions with concentrated lights revealing passages of warm yellows, reds and greens. Particularly characteristic is the Christ Carrying the Cross (1566; Florence, S Maria Assunta), which is distinguished in its colouring and expressive figures from the chill linearity and metallic forms of Bronzino, Vasari and Alessandro Allori.
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:: Suvée, Jooseph-Benoit...







SUVÉE, Joseph-Benoit
(b. 1743, Brugge, d. 1807, Roma)

Biography
Flemish painter from Bruges. He was always referred to by Jacques-Louis David as 'l'ignare Suvée', and was, like David, a pupil of Vien, and David's lifelong rival for the leadership of Neoclassicism in France. He came from Bruges to Paris and won the Prix de Rome against David in 1771, spending a year at the École des Élèves protégés, and then going to Rome 1772-78, after which he returned to Paris and became Agréé (1779) and Member of the Academy (1780) and Painter to the King. He returned to Rome as Director of the French Academy there, in 1792, but lost his job when David became dictator of the arts. He was imprisoned (like David) under the Terror. 1794-95, but was reappointed to Rome by Napoleon in 1801 and remained there until his death. His works are now largely forgotten, but there are several in Bruges and others in French provincial museums, including Besançon and Lille.
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:: Aachen, Hans von...





AACHEN, Hans von
(b. 1552, Köln, d. 1615, Praha)

Biography
German painter, born in Cologne (in spite of his name, which derives from his father's birthplace) and active in the Netherlands, Italy (1574-87), and most notably Prague, where he settled in 1596 as court painter to the emperor Rudolf II. On Rudolf's death (1612) he worked for the emperor Matthias.
His paintings, featuring elegant, elongated figures, are - like those of his colleague Bartholomeus Spranger - leading examples of the sophisticated Mannerist art then in vogue at the courts of Northern Europe, and he was particularly good with playfully erotic nudes (The Triumph of Truth, Alte Pinakothek, Munich, 1598). Engravings after his work gave his style wide infiuence and he ranks as one of the most important German artists of his time.
AACHEN, Hans von
(b. 1552, Köln, d. 1615, Praha)

Biography
German painter, born in Cologne (in spite of his name, which derives from his father's birthplace) and active in the Netherlands, Italy (1574-87), and most notably Prague, where he settled in 1596 as court painter to the emperor Rudolf II. On Rudolf's death (1612) he worked for the emperor Matthias.
His paintings, featuring elegant, elongated figures, are - like those of his colleague Bartholomeus Spranger - leading examples of the sophisticated Mannerist art then in vogue at the courts of Northern Europe, and he was particularly good with playfully erotic nudes (The Triumph of Truth, Alte Pinakothek, Munich, 1598). Engravings after his work gave his style wide infiuence and he ranks as one of the most important German artists of his time.
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martedì

:: Peter Paul Rubens...






















































































































































































































































































































































































































































































































































































































Peter Paul Rubens
1577 - 1640
A.k.a. Pieter Pauwel Rubens, South Netherlandish painter and draughtsman, famous during his life and thereafter.
At first Rubens paints mainly biblical and mythological tableaux, while his Antwerp period (1608-1618) is characterized by its abundance of portraits. After Rubens retires to his country estate 't Steen at Elewijt in 1635, he dedicates himself to landscape painting.
Between 1600 en 1608 Rubens travels through Spain and Italy, where he is influenced by the likes of Michelangelo and Raphael. Back in Antwerp in 1609 he marries Isabella Brandt. After her death in 1620 Rubens sets out on his travels once again, marrying Hélène Fourment in 1630.
Rubens is the embodiment of Flemish baroque. His temperament helps him break with the reigning, rigid style of his day. Characteristic of his work are the many voluptuous nudes, chubby to modern standards. Rubens draws more commissions than he can handle; in his workshop others do much of his work for him.
Rubens dies in 1640.
work by Peter Paul Rubens
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