This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
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Portrait of a lady, said to be the Marquise de Chamillard (1810). Firmin Massot (Swiss, 1766–1849). Oil on canvas. Massot's work and career reflect well the strong connections between Geneva and...
In this article, Mary Harrell-Sesniak searches old newspapers to find memorable epitaphs from the 18th century.
This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
Serbian 18th and 19th century painting is, with the medieval art, the most important and the most interesting to see in the National Museum.
A View of Bolsward with the Townhall in the Distance by Cornelis Springer is a 100% hand-painted oil painting reproduction on canvas painted by one of our professional artists. We utilize only the finest oil paints and high quality artist-grade canvas to ensure the most vivid color. Our artists start with a blank canvas and paint each and every brushstroke by hand to re-create all the beauty and details found in the original work of art. If you select one of our handcrafted frames for your oil painting, it will arrive to your door, ready to hang with all hanging accessories included.
Wistful Thoughts (1878). Gustave Jean Jacquet (French, 1846-1909). Oil on canvas. During the 19th century, particularly in France, people developed a vivid fascination with the past and paintings of...
This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
This period was a watershed in the development of History Painting. By the end, due to the dull prescriptions of the academies and the semantic confusion between istoria and history, the genre became
James Achilles Kirkpatrick (at 16), by Nathaniel Hone the Elder, 1780. Marc Chagall, by Yuri (Yehuda) Pen, 1914. Unknown, circa mid-nineteenth century. Grand Duke Konstantin Konstantinovich, by Osip Braz, 1912. The Boy with the Arrow, by Douglas Volk, 1903. Agasse with a bulldog, by Firmin Massot and Jacques-Laurent Agasse, circa 1795. Prince Kazimierz Nestor Sapieha, by Józef Pitschmann, 1787. Robert S. Day as Rex, King of Carnival, unknown photographer, 1892. Detail of below. Segismundo Moret y Quintana, by Federico de Madrazo y Kuntz, 1855. Jaime Girona, later first conde de Eleta, by Federico de Madrazo y Kuntz, 1856. Unknown, circa second half of the nineteenth century. (Courtesy Ralf de Jonge.) Portrait of a Young Nobleman, by Jacob Ferdinand Voet (?), circa 1670s-80s. Joven sentado con libro, Gerardo Sacristán Torralba, 1930. Self-portrait, by Louis Meijer, 1838. Rudolph Valentino with his Irish wolfhound Centaur Pendragon, Chicago, circa 1925. Detail of below. Patrick Heatly, by Johan Zoffany, circa 1783-87. Giacomo Meyerbeer (composer, born Jacob Liebmann Beer), by Friedrich Georg Weitsch, 1802. Eustaquio Marín Ramos (painter), by José Villegas Cordero, 1900. Unknown, circa first half of twentieth century. Herthier de Boislambert, by Wojciech Kossak, 1924. Head of a Young Man, also known as Portrait of a Sailor, by John Singer Sargent, 1878. Self-portrait, by Nikolai Alexandrovich Yaroshenko, 1894. "Souvenir de Charles de Pape à ses chers cousins de Bruxelles, 22 08 1904." (Courtesy Ralf de Jonge.) William Burlton Bennet en chasseur (in hunting costume), by Henri-Pierre Danloux, 1802. Autoportret z paletą, by Teodor Axentowicz, 1898. John Barrymore, 1897. Peotr Lachinov, by Henri-François Riesener, circa 1820-22. Unknown, circa early twentieth century. (?) Thomas Hooke Pearson, by George Chinnery, circa 1824. Unknown man, formerly known as James Scott Duke of Monmouth and Buccleuch, unknown artist, circa 1640s. Self-portrait in Pink, by Domenico Baccarini, 1903. William Henry Betty as Young Norval in "Douglas" by James Heath, by John Opie, 1804.
18th century Oil painting Cuzco school St Felipe with a beautiful 17th century frame, the painting has been recanvassed.
Oil painting depicting William Hobson of Markfield, by Sir Henry Raeburn R.A. Great Britain, ca. 1772-1823.
The Book of Negroes is an extraordinary historical resource, a meticulous list drawn up by the British authorities between May and November 1783, in which they recorded the personal details of some 3,000 African Americans evacuated from New York.
Dirck Munter (1648-1701) Dirck Munter was the son of Joan Munter (1611-1685) and Margaretha Geelvinck (1612-1672). Born into a family of successful merchants that were actively involved in the politics of 17th century Amsterdam he was a Commissioner (1674), Alderman (1677), Councillor (1692) and a Mayor of Amsterdam twice in 1698 and 1700, very much following his father who was seven times Mayor. He married Catharina Laurentius (1654-1727) in 1674 and lived in the fashionable Herengracht. This striking three-quarter length portrait reflects the later refined and sophisticated style of Michiel van Musscher (1645-1705) deemed by Swedish architect Nicodemus Tessin, visiting Amsterdam in 1687, to be the city's best painter for small portraits. Born in Rotterdam, Michiel van Musscher received an eclectic training: initially with the history painter Martin Zaagmolen in 1660; then with Abraham van den Tempel from 1661; Gabriel Metsu in 1 665; and Adriaen van Ostade, in whose studio he spent three months in 1667. He was back in Rotterdam by 1668 but later moved to Amsterdam, where he officially became a citizen in 1688. It is perhaps not surprising that the portraits and genre pieces painted in the 1660s display a variety of influences, not just of those artists under whom he studied but also of other exponents of the genre including Frans van Mieris and Nicolaes Maes. Indeed, Maes was to paint Dirck Munter's brother, Cornelius in 1679 when he became town clerk (Amsterdam Historisch Museum). By the 1680s van Musscher had turned almost exclusively to elegant portraits of wealthy merchants, judges, and members of Amsterdam's ruling families. Such was his popularity and fame other Amsterdam based painters happily adopted a similar approach to his composition and style, as is clear with the portrait presented here. As intended, power, wealth and influence exude, from the expensive curled wig and grey silk coat to the lace cuffs and shirt front so prominently exposed; the luxury of the setting is enhanced by the red cloak that falls from Munter's right shoulder and the brown heavy drape to the left that acts almost like a theatrical curtain revealing the scene. Leaning on an ornamental stone plinth and gesturing forward to us, we are invited in to admire him and the elegant parkland setting - maybe a family country estate perhaps of idealized form - rolling out behind: Munter's distinguished social status clearly emphasized. I am grateful to Dr Robert E. Gerhardt, who is compiling the catalogue of van Musscher's works - to include this portrait - for his views on this painting and suggesting an artist likely to be working in the painter's circle. Previously, Dr. Marjorie Wieseman, curator of Dutch Pictures, National Gallery, London suggested van Musscher as a possible attribution based on photographs. Provenance: Prof. Dr. Franz Rinecker, Rieneck Castle, Germany circa 1860; J. L. Laverge Collection, Amsterdam circa 1920; D. A. Hoogeendijk & Co., art dealers, Amsterdam circa 1950; Private Collection, England.
