Tag Archives: painting

Towers of Babel

Pieter Brueghel the Elder (1526/1530–1569), Construction of the Tower of Babel, oil on panel, Height: 1,140 mm (44.88 in). Width: 1,550 mm (61.02 in), 1563, Kunsthistorisches Museum, Vienna

Pieter Brueghel the Elder (1526/1530–1569), Construction of the Tower of Babel, oil on panel, Height: 1,140 mm (44.88 in). Width: 1,550 mm (61.02 in), 1563, Kunsthistorisches Museum, Vienna

Beginning with the most famous, here are just a few of the many depictions of the Tower of Babel painted in the sixteenth and seventeenth centuries.

 

 

 

 

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Isle of the Dead

Five versions of Isle of the Dead by Swiss symbolist painter, Arnold Böcklin (16 October 1827 – 16 January 1901):

 Oil on canvas, 111 x 155 cm, 1880, Öffentliche Kunstsammlung, Kunstmuseum, Basel.

Oil on canvas, 111 x 155 cm, 1880, Öffentliche Kunstsammlung, Kunstmuseum, Basel

Oil on board, 74 x 122 cm, 1880, The Metropolitan Museum of Art

Oil on board, 74 x 122 cm, 1880, The Metropolitan Museum of Art, New York

Oil on board, 80 x 150 cm, 1883, Alte Nationalgalerie, Staatliche Museen zu Berlin

Oil on board, 80 x 150 cm, 1883, Alte Nationalgalerie, Staatliche Museen zu Berlin

Oil on board, 80 x 150 cm, 1886, Museum der bildenden Künste, Leipzig

Oil on board, 80 x 150 cm, 1886, Museum der bildenden Künste, Leipzig

Oil on copper, 81 x 151 cm, 1884, destroyed in Berlin during World War II

Oil on copper, 81 x 151 cm, 1884, destroyed in Berlin during World War II

 

Arnold Böcklin, Self-portrait, oil on canvas, 75 × 61 cm (29.5 × 24 in), 1872, Alte Nationalgalerie

Arnold Böcklin, Self-portrait, oil on canvas, 75 × 61 cm (29.5 × 24 in), 1872, Alte Nationalgalerie

Read about symbolist art…

 

 

 

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Watteau’s Revolution

Antoine Watteau

Portrait of Antoine Watteau by Rosalba Carriera, pastel on paper, 55 × 43 cm (21.7 × 16.9 in), 1721, Museo Civico Luigi Bailo, Treviso

Jean-Antoine Watteau (1684 – 1721) was a rebellious and groundbreaking painter and one of the most important European artists of the eighteenth century. His scenes of idyllic life set in lush, fantastic landscapes are often tinged with melancholy and contain shadowy traces of the human condition. Many of his best known paintings drew their subjects from music, theater, eros, and dance, and demonstrate his ability to reveal the lightness of beauty and psychological depth at once.

Pierrot, called Gilles, oil on canvas, Height: 174.5 cm (68.7 in.), Width: 149.5 cm (58.86 in.), circa 1718, Musée du Louvre, Paris

Pierrot, called Gilles, oil on canvas, Height: 174.5 cm (68.7 in.), Width: 149.5 cm (58.86 in.), circa 1718, Musée du Louvre, Paris

Diana Bathing, oil on canvas, Height: 80 cm (31.5 in.), Width: 101 cm (39.76 in.), circa 1721, Musée du Louvre, Paris

Diana Bathing, oil on canvas, Height: 80 cm (31.5 in.), Width: 101 cm (39.76 in.), circa 1721, Musée du Louvre, Paris

 

 

 

 

 

 

 

 

In his great book, Rococo to Revolution, author Michael Levey says this of Watteau:

The importance of Watteau was twofold. He created, unwittingly, the concept of the individualistic artist loyal to himself, and alone… More important than any concept of the artist was the art he created. He invented in effect a new category of picture, the fête galante, which claimed complete freedom of subject-matter for the painter and which at the same time, while dispensing with overt ‘story’, treated human nature as psychologically as the novel was to do.

…Watteau should have been the great neglected genius of his age; but to its credit he was a great applauded genius… He was its poet, and he gave it an image in which it would have liked to believe.

Respite from War, Oil on copper, Height: 21.5 cm (8.46 in.), Width: 33 cm (12.99 in.), circa 1713, Hermitage Museum, St-Petersburg

Respite from War, oil on copper, Height: 21.5 cm (8.46 in.), Width: 33 cm (12.99 in.), circa 1713, Hermitage Museum, St. Petersburg

 

 

 

 

 

 

 

 

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A City on a Rock

Eugenio Lucas Velázquez, A City on a Rock, oil on canvas, 84 × 104 cm (33.1 × 40.9 in), 1850-1875?, Metropolitan Museum of Art, New York

Eugenio Lucas Velázquez, A City on a Rock, oil on canvas, 84 × 104 cm (33.1 × 40.9 in), 1850-1875?, Metropolitan Museum of Art, New York

This painting was originally attributed to Francisco de Goya (1746–1828), but since about 1970 has been thought to be a pastiche by Eugenio Lucas Velázquez (1817–1870), one of Goya’s followers.
 
 
 
Books about Spanish Painting…
 

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Caterina van Hemessen

Caterina van Hemessen, Self-portrait, tempera on oak panel, 32 × 25 cm (12.6 × 9.8 in), 1548, Kunstmuseum Basel

Caterina van Hemessen, Self-portrait, tempera on oak panel, 32 × 25 cm (12.6 × 9.8 in), 1548, Kunstmuseum Basel

Caterina van Hemessen (1528 – 1587 or later) was a Flemish Renaissance painter known for her small portraits of women completed in the mid sixteenth century. She was the daughter of and apprentice to Jan Sanders van Hemessen (c. 1500 – c. 1566). Besides being the earliest known female Flemish painter, she is also credited with creating the first self-portrait of an artist sitting at the easel.

Caterina van Hemessen, Portrait of a Woman, oil on panel, 33 x 25 cm (13 × 9.8 in), c. early 1540s, The Fitzwilliam Museum

Caterina van Hemessen, Portrait of a Woman, oil on panel, 33 x 25 cm (13 × 9.8 in), c. early 1540s, The Fitzwilliam Museum

 

 

 

 

 

 

There are no known works by Caterina van Hemessen dated after her marriage in 1554, and some scholars believe this may have marked the end of her career as an artist.

 

 

 

 

 

 

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