Billowing clouds sweep across the sky in Jan van Goyen’s engaging portrayal of the lively waterways near Dordrecht. While sailboats and dinghies filled with men and women come and go, the most active elements of the painting are the shifting patterns of light and shade passing over this watery domain.
While Van Goyen clearly viewed Dordrecht from the banks of the river Merwede, the
The impressionist style developed as a method to render more accurately the appearance of the natural world, and was principally a technique for landscape painting. Corot, whose career began in the late 1820s when the academic tradition of landscape painting was being revived, was one of the most prolific and influential exponents of the genre.
The olive-colored water seems to have cut straight down over time, creating high banks
Jean Antoine Watteau came from a modest family in the Flemish city of Valenciennes, which had been annexed by France in 1678. He is said to have spent his formative years training under either the religious painter Jacques Albert Gérin (c.
class of patrons epitomized by Pierre Crozat (1665–1740), the immensely wealthy banker
the sky; the others, irises, calatheas, and arrowheads to mark the line of the banks
Hostilities between North American colonists and Britain were boiling over in the 1770s when Benjamin West painted this double portrait. The British wanted to ensure the loyalty of the Mohawk people, the easternmost tribe of the Haudenosaunee (Iroquois Confederacy), in case of war.
Sussex;[1] (Sotheby’s, London, 7 December 1927, no. 54, as a portrait of Sir Joseph Banks
Latin America, with its rich histories and cultures — as well as dense jungles, towering volcanoes, and mountain ranges — fascinated American artists in the mid-19th century. Frederic Edwin Church traveled in the tropics and used the sketches he made in different locations to create popular landscape paintings.
Densely packed trees, bushes, and plants create shadowed, thickly forested banks
Giovanni della Casa, who is in all likelihood the subject of this portrait, belonged to a wealthy Tuscan family and rose to prominence in the service of the church. As poet, humanist, and political theorist, he circulated at the highest levels of Italian intellectual life.
Raphael, Cellini & a Renaissance Banker: The Patronage of Bindo Altoviti.
An old hermit dressed in a Franciscan habit, his clasped hands resting on a well-thumbed page of the open Bible, kneels before a crucifix and contemplates the mysteries of Christ’s death and resurrection. Gerrit Dou was fascinated by the subject of the contemplative life and its virtue, and he produced at least eleven hermit scenes over the course of his career.
Raphael & the Beautiful Banker: the story of the Bindo Altoviti portrait.
The setting for this large and imposing game piece is an imaginary formal garden similar to those associated with patrician estates being built in the Netherlands in the latter part of the seventeenth century. Jan Weenix has used a large plinth decorated with a relief sculpture as the backdrop for an array of game and fruit.
Buist, At Spes Non Fracta: Hope & Co. 1770–1815: Merchant Bankers and Diplomats at
that draws the viewer’s eye, however slowly, into the distance along the canal banks
