Allegory of the Flowering of the Dutch Fishing-industry after the Second Anglo-Dutch War

Виллем Эверсдейк
Description (auto translated): Allegory of the flowering of the Dutch fishing after the Second Anglo-Dutch War (1665-67). Group portrait of Dutch admirals standing on the shore of the sea. Some pick up a net with fish inside. Right few hunters with dogs in a grotto-like fountain with a statue of Neptune and seahorses. Presented are: David Vlugh, Aert van Nes, Hiddes Tjerk de Vries, I. Sweers, Adriaen Banckert, Engel de Ruyter, Michiel Adriaensz de Ruyter, Florisz Pieter Cornelis Tromp, Cornelis (?) (?) (?) (?) Evertsen the Younger, Jan Cornelisz Meppel, Aucke Stellingwerff, Egbert M. Cortenaer (?), Evertsen the Elder, Pieter de Bitter and Jacob Benckers (?). 1667 - 1671 medium: H 114 cm x W 162 cm

Night Banquet and Masquerade

Йос ван Винге
Description (auto translated): Interior in which a company holds a night banquet and a masquerade. Left, a group of masked comedians, right music made by a man with a lute, a woman with a songbook and a woman behind a clavichord. Against the back wall of the room is a long table laid, where eating and drinking. Some guests play backgammon, others dancing. Right at the door an old matchmaker with a young woman on the hand, beside a friendly couple. On the wall hung three paintings with depictions of Tobias with the fish, Lot and his daughters Venus and Adonis. Copy a picture of Sadeler to a design by Joos van Winghe, with a different background. 1580 - 1630 medium: h 117 cm w × 154.5 cm

Gammal kvinna (Swedish)

В стиле Монограммиста IS
Artist: Erik Sparre After Monogrammist IS (fl. 1633–1658) Alternative names: Monogrammist JS Dutch painter Work period: from 1633 until 1658 Work location: Northern Netherlands Title: (Swedish): Gammal kvinna Object type: Painting Description: (Swedish): Kopia Date: 1709 Medium: Oil on canvas Dimensions: Height: 49.5 cm (19.5 in). Width: 36 cm (14.2 in). Framed: Height: 59.5 cm (23.4 in). Width: 46.5 cm (18.3 in). Depth: 4.5 cm (1.8 in). Gripsholm Castle Inscriptions (Swedish): Signerad: Second Tableau que j'ay fait a l'huile pour servir de pedent avec le vieillard à gros ne. tous deux d'aprez Hollbein - celui cy fuit dans le preme 15ne de 9ne 1709 a Stockholm. E. Sparre

Shot Tower between the Bridges

Джозеф Пеннелл
Joseph Pennell American, 1857 - 1926 Shot Tower between the Bridges, 1910 etching [trial proof]

Pike Bearer Standing

Хендрик Голциус
Hendrik Goltzius Dutch, 1558 - 1617 Pike Bearer Standing, 1583 engraving

Kitchen Scene with the Parable of the Rich Man and Poor Lazarus

Питер Корнелис ван Рейк
Description (auto translated): Kitchen Interior with the parable of the rich man and Lazarus. In a kitchen Two cooks prepare a feast. Left combines a girl a piece of meat on the spit, the other girl has a copper pot in one hand and a dead cock in the other. On display are pieces of meat, vegetables (cabbages, turnips and carrots), poultry, fish and a dead hare. Between the food a dog barking at a cat. Right a table with pastries, cheeses, breads, are silver cups and goblets. Against the back wall hanging jars on a shelf, stand plates and candlesticks on the shelf. Right background, the rich man with his family to a banquet, at the door Lazarus sits on the floor. 1610 - 1620 medium: H 198 cm x W 272 cm

Au Café d'Aguesseau (2)

Оноре Домье
Honoré Daumier French, 1808 - 1879 Au Café d'Aguesseau, 1846 lithograph

St Paul the Hermit

Хосе де Рибера
Artist: Workshop of José de Ribera (1591–1652) Alternative names: Spagnoletto, Jusepe de Ribera Spanish painter Work location: Valencia, Naples, Rome Title: St Paul the Hermit Description: Paul of Thebaid was considered the first of the hermits of Egypt – men and women who, to escape persecution as Christians in the 3rd century, chose a life of solitude for the sake of contemplation and asceticism. According to tradition, Paul remained in the desert for almost ninety years, wearing only a garment of woven palm leaves and subsisting on fruit and bread. Edifying images of the hermits’ lives, expressing the value of penitence, were popular subjects in counter-reformation art. Ribera’s portrayal demonstrates a rare understanding of Caravaggio’s lesson. The depicted moment represents the story’s emotional climax, Paul’s ecstatic vision and mystic communion with God, symbolised by the light. The saint’s pose, with its reference to the crucified Christ, indicates his willingness to heed Christ’s call to follow him. His emaciated body is rendered with intransigent realism, every anatomical defect scrupulously transcribed. This stands in sharp contrast to the intense spirituality that radiates from his face. By working with a live model, the artist created an intensely human hero, a modern Saint Paul, and thus established an accessible role model for the faithful to emulate. Date: 1644 Medium: Oil on canvas Dimensions: Height: 208 cm (81.9 in). Width: 157 cm (61.8 in). Framed: Height: 232 cm (91.3 in). Width: 186 cm (73.2 in). Depth: 9 cm (3.5 in). Inscriptions (Swedish): Signerad: Jusepe de Ribera espanol F.A. 1644
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