Ancient Large Size Painting from 1600

Total Page：16

File Type：pdf, Size：1020Kb

anticSwiss 02/10/2021 23:18:02 http://www.anticswiss.com ANCIENT LARGE SIZE PAINTING FROM 1600 SOLD ANTIQUE DEALER Period: 17° secolo -1600 Laboratorio la Mole Torino Style: James I ( 1603-1625 ) +39011 19 467 664 393357352986 Height:177cm Width:236cm Material:Olio su Tela Price:10300€ DETAILED DESCRIPTION: ANCIENT LARGE SIZE PAINTING FROM 1600 Luca Van Uden (attributed) (ANTWERP, 1595 - ANTWERP, 1673) PAINTING, LANDSCAPE OF THE BRABANT Oil on canvas Dimensions: 177x236 cm Lucas van Uden (Antwerp, 18 October 1595 - Antwerp, November 1672) is was a Flemish painter and printmaker specializing in landscapes. A pupil of his father Artur, Lucas van Uden joined the Corporation of Saint Luke in Antwerp in 1626-27. Although he had nothing to do with the school of Pieter Paul Rubens, the debt to the master of Baroque art is evident in his works; his technique also derives from other painters, such as Joos de Momper and Jan Brueghel the Elder. His paintings show majestic views, landscapes in which green stands out, in various shades; in them there are small human figures: shepherds, travelers or peasants. Many of the characters painted by van Uden are either inspired by or copied from works by Rubens and David Teniers the Younger. For Rubens paintings he made landscape wallpapers. His engravings are preserved in many museums. Works o Watermill, (Antwerp) o Landscape (Antwerp) o Landscape (Saint Petersburg, Hermitage) o Landscape with rocks and boats (Madrid, Prado Museum) https://www.anticswiss.com/en/fine-art-antiques/ancient-large-size-painting-from-1600-21946 1 / 2 anticSwiss 02/10/2021 23:18:02 http://www.anticswiss.com Gallery 2 / 2 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

Copy Link

Recommended publications

JAN BRUEGHEL the YOUNGER (1601 – Antwerp – 1678))
VP4750 JAN BRUEGHEL THE YOUNGER (1601 – Antwerp – 1678)) Noli me tangere On copper, 9 ¼ x 14 ¾ ins. (23.5 x 37.5 cm) PROVENANCE Private collection, France, until 2015 The eldest son of Jan Brueghel the Elder, Jan the Younger followed closely in his father’s footsteps. After training with his father in Antwerp, he travelled to Italy in 1622, but his trip was cut short following the unexpected death of his father in 1625. He returned to Antwerp and took over the running of the family studio. From that time until 1651 he kept a journal (Dagboek) i detailing his activities which included selling pictures left by his father and completing half-finished works. His journal also shows that he maintained close relationships with many of his father’s patrons and collaborators. Jan the Younger adopted a similarly refined manner to that of his father, as well as many of his father’s most successful compositions. In time, he developed a more personal style and a repertoire of his own subjects. The episode known as Noli me tangere (touch me not) is found only in the Gospel according to St. John (20:14-18). After the Resurrection, Christ appeared to Mary Magdelene as she stood weeping by the empty tomb. At first, she did not recognise him, but supposing him to be a gardener, asked if he was the one who had removed Jesus’s body. Jesus then called her by name, whereupon she recognised him, exclaiming “Rabboni!” (Master), but Jesus responded, saying “Touch me not; for I am not yet ascended to my father” and bade her go to the disciples with the message that he was now risen.
[Show full text]
Landscape with a Cart Crossing a River Oil on Panel 85.1 X 126.4 Cm (34½ X 49¾ In)
Lucas van Uden (Antwerp 1595 - Antwerp 1672) Landscape with a Cart Crossing a River oil on panel 85.1 x 126.4 cm (34½ x 49¾ in) In Landscape with a Cart Crossing a River, Lucas van Uden depicts a horse-drawn cart, laden with huge stones, as it struggles across the uneven ground, a man straining as he tries to help the horses cross the river. The painting is dominated by the craggy cliff, overgrown with gnarled trees it splits the painting in two, with a dark river to the left hand side, and the brightly lit countryside on the right. There is a distinct split in moods in van Uden’s work, with the left-hand side dark and forbidding, the river threatening the progress of the cart and two birds circling ominously overhead. Contrasted to this is the right hand side of the work where the pastoral landscape is bathed in a soft, warm light. Van Uden’s watercolours and etchings, for which he is most admired, display this same refined sense of light and mood. Van Uden’s painting is a close repetition of a composition by Peter Paul Rubens’ Landscape with Stone Carriers. The major difference between the two paintings is that van Uden has eliminated the rider of the near horse. Although it has long been thought that van Uden was a member of Rubens’ workshop and provided landscape backgrounds for some of the master’s compositions, there is no documentary evidence to support the assumption. Nonetheless, he clearly knew Rubens’ work very well, for he copied several other compositions, as well as borrowing specific motifs from the older artist.
[Show full text]
Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February,
[Show full text]
Landscape by a Riverside Town, Said to Be Treviso Oil on Oak Panel 47.4 X 77.9 Cm (18⅝ X 30¾ In)
Philippe de Momper (Antwerp 1598 - Antwerp 1634) Landscape by a Riverside Town, said to be Treviso oil on oak panel 47.4 x 77.9 cm (18⅝ x 30¾ in) In this charming work, Phillippe de Momper has captured the daily life of this riverside town, traditionally thought to be Treviso. The picture is dotted with figures hard at work, from the father and son trotting alongside their horses in the foreground, to the numerous fishermen fixing their boats or hauling in their catch. The left-hand side of the work is dominated by the river, underlying the central role it plays in the figures’ lives, and to the right is a sprawl of buildings gently rising atop a hill. On the right-hand side stands the remains of an ancient viaduct which over time has become engulfed by vegetation. The attribution to de Momper is based on the research of Dr Klaus Ertz. In his 1986 monograph on Philippe’s father Joos de Momper (1564-1635), Ertz ascribed to Philippe a cohesive group of paintings, mainly depicting Treviso and Rome, including the present example, which had traditionally been attributed to Joos and known as the Treviso group.¹ A comparison with another work from the group, View of a Village beside a River, illustrates how consistent the works are in terms of content and style. A broad expanse of water runs vertically through the picture planes, linking foreground to back. The water is populated in both cases by villagers working on their boats, and on the river banks we see a range of buildings, from grand civic structures to humble dwellings.
[Show full text]
Antwerp in 2 Days | the Rubens House
Antwerp in 2 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect Rubens was talented in many areas of life. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. On your way to Hendrik Conscienceplein, we would suggest you make a brief stop at another church: St James’s Church (St Jacobskerk) in Lange Nieuwstraat. This robust building dooms up rather unexpectedly among the houses, but its interior presents a perfect harmony between Gothic and Baroque: the elegant Middle Ages and the flamboyant style of the 17th century go hand-in-hand here.
[Show full text]
A Landscape with a Convoy on a Wooded Track Under Attack Oil on Panel 44 X 64 Cm (17⅜ X 25¼ In)
Sebastian Vrancx (Antwerp 1573 - Antwerp 1647) A Landscape with a Convoy on a Wooded Track under Attack oil on panel 44 x 64 cm (17⅜ x 25¼ in) Sebastian Vrancx was one of the first artists in the Netherlands to attempt battle scenes and A Landscape with Convoy on a Wooded Track under Attack offers an excellent example of his work. A wagon is under attack from bandits who have been hiding in the undergrowth on the right-hand side of the painting. The wagon has stopped as its driver flees for the safety of the bushes, whilst its occupants are left stranded inside. The wagon is guarded by three soldiers on horseback but in their startled state none have managed to engage their attackers. A line of bandits emerge from their hiding place and circle behind and around their victims, thus adding further to the confusion. Two figures remain in the bushes to provide covering fire and above them, perched in a tree, is one of their companions who has been keeping watch for the convoy and now helps to direct the attack. The scene is set in a softly coloured and brightly-lit landscape, which contrasts with the darker theme of the painting. Attack of Robbers, another scene of conflict, in the Hermitage, also possesses the decorative qualities and Vrancx’s typically poised figures, just as in A Landscape with a Convoy on a Wooded Track under Attack. A clear narrative, with travellers on horses attempting to ward off robbers, creates a personal and absorbing image. It once more reveals Vrancx’s delight in detailing his paintings with the dynamic qualities that make his compositions appealing on both an aesthetic and historical level.
[Show full text]
Fire, Smoke and Vapour. Jan Brueghel's 'Poetic Hells
FIRE, SMOKE AND VAPOUR. JAN BRUEGHEL’S ‘POETIC HELLS’: ‘GHESPOOCK’ IN EARLY MODERN EUROPEAN ART Christine Göttler Karel van Mander, in the ‘Life of Jeronimus Bos’ in his Schilder-Boeck of 1604, speaks of the ‘wondrous or strange fancies’ (wonderlijcke oft seldsaem versieringhen), which this artist ‘had in his head and expressed with his brush’ – the ‘phantoms and monsters of hell ( ghespoock en ghe- drochten der Hellen) which are usually not so much kindly as ghastly to look upon’.1 Taking one of Bosch’s depictions of the Descent of Christ into the Limbo of the Fathers as an example, van Mander further notes that ‘it’s a wonder what can be seen there of odd spooks (oubolligh ghespoock); also, how subtle and natural (aerdigh en natuerlijck) he was with ames, \ res, smoke and vapours’.2 In the Schilder-Boeck, van Mander frequently uses the word ‘aerdigh’ to describe the aesthetically pleasing quality of small works or small details;3 here, ‘aerdigh’ refers to the natural and lively depiction of res. As it has been observed, van Mander’s list of Bosch’s painterly expres- sions echoes Erasmus’s often-cited eulogy on Dürer in the Dialogus de recta Latini Graecique sermonis pronuntiatione (Dialogue About the Correct Pro- nunciation of Latin and Greek), published in Basel in 1528. According to 1 Mander K. van, The Lives of the Illustrious Netherlandish and German Painters, from the \ rst edition of the Schilder-boeck (1603–1604), ed. H. Miedema, 6 vols. (Davaco: 1994–99) I 124f. (f. 216v): ‘Wie sal verhalen al de wonderlijcke oft seldsaem versieringhen/die Ieronimus Bos in’t hooft heeft ghehadt/en met den Pinceel uytghedruckt/van ghe- spoock en ghedrochten der Hellen/dickwils niet alsoo vriendlijck als grouwlijck aen te sien.’ Here and in the following, my translation is largely based on the one given in Miedema’s edition of The Lives; I use, however, a more literal translation of van Mander’s expressions.
[Show full text]
Philippe De Momper
PHILIPPE DE MOMPER (Antwerp 1598 - Amsterdam 1675) Landscape with a Riverside Town, said to be Treviso oil on oak panel 47.4 x 77.9 cm (18⅝ x 30¾ in) Provenance: Anonymous sale, Amsterdam, Mak van Waay, 1946; with Galerie Robert Finck, Brussels, 1964; Possibly anonymous sale, Munich, Weinmüller, 20-21 May 1970, lot 13 (according to K. Ertz, under Literature); Anonymous sale, Munich, Neumeister, 20-21 May 1970, lot 602 (according to K. Ertz, op. cit.); Anonymous sale (‘The Property of a Gentleman’), London, Christie's, 26 November 1971, lot 52, as Joos de Momper. Italian Private Collection. Exhibitions: Brussels, Galerie Robert Finck, 26 September - 18 October 1964, no. 43, reproduced in the catalogue. Literature: K. Ertz, Josse de Momper the Younger, Freren 1986, p. 641, cat. no. A119, reproduced on p. 415, fig. 529 (as Philippe de Momper). N THIS CHARMING WORK, PHILLIPPE DE MOMPER HAS captured the daily life of this riverside town, traditionally thought to be Treviso. The picture is dotted with figures hard at work, from the father and son trotting alongside their horses in the foreground, to the numerous fishermen fixing their boats or hauling in their icatch. The left-hand side of the work is dominated by the river, underlying the central role it plays in the figures’ lives, and to the right is a sprawl of buildings gently rising atop a hill. On the right-hand side stands the remains of an ancient viaduct which over time has become engulfed by vegetation. The attribution to deM omper is based on the research of Dr Klaus Ertz.
[Show full text]
Nonsuch Palace
MARTIN BIDDLE who excavated Nonsuch ONSUCH, ‘this which no equal has and its Banqueting House while still an N in Art or Fame’, was built by Henry undergraduate at Pembroke College, * Palace Nonsuch * VIII to celebrate the birth in 1537 of Cambridge, is now Emeritus Professor of Prince Edward, the longed-for heir to the Medieval Archaeology at Oxford and an English throne. Nine hundred feet of the Emeritus Fellow of Hertford College. His external walls of the palace were excavations and other investigations, all NONSUCH PALACE decorated in stucco with scenes from with his wife, the Danish archaeologist classical mythology and history, the Birthe Kjølbye-Biddle, include Winchester Gods and Goddesses, the Labours of (1961–71), the Anglo-Saxon church and Hercules, the Arts and Virtues, the Viking winter camp at Repton in The Material Culture heads of many of the Roman emperors, Derbyshire (1974–93), St Albans Abbey and Henry VIII himself looking on with and Cathedral Church (1978, 1982–4, the young Edward by his side. The 1991, 1994–5), the Tomb of Christ in of a Noble Restoration Household largest scheme of political propaganda the Church of the Holy Sepulchre (since ever created for the English crown, the 1989), and the Church on the Point at stuccoes were a mirror to show Edward Qasr Ibrim in Nubia (1989 and later). He the virtues and duties of a prince. is a Fellow of the British Academy. Edward visited Nonsuch only once as king and Mary sold it to the Earl of Martin Biddle Arundel. Nonsuch returned to the crown in 1592 and remained a royal house until 1670 when Charles II gave the palace and its park to his former mistress, Barbara Palmer, Duchess of Cleveland.
[Show full text]
Children's Games, by Pieter Bruegel
Art Masterpiece: Children’s Games, by Pieter Bruegel (the Elder) Keywords: Pattern Grade(s): First – Second Grade Activity: Two options. Project #1:Making a Checker Board OR Project #2 Drawing a scene of children playing a game. About the Artist: • Pieter Bruegel (Pee-ter Broy-gull) is an artist from the Renaissance period. His actual birthdate is not known but believed to be around 1525. • Many of his paintings show his great interest in the poor people, or peasants, who lived, in the countryside. He would paint people doing common everyday things. • He received the nickname "Peasant Bruegel" or "Bruegel the Peasant" because he would dress up like a peasant in order to socialize at weddings and other celebrations. Making the life and manners of peasants the main focus of a work was rare in painting in Bruegel's time, and he was a pioneer of this style of “genre painting.” His earthy, unsentimental but vivid depiction of the rituals of village life. • Quite often his paintings are pictured from a high vantage-point to give the viewers a bird’s eye view of the scene. • There is usually a lot going on in a Bruegel painting. When people look at a Pieter Bruegel painting, they often think he used very few colors. At first glance, his pictures seem to be an overall brown, gray, or dark yellow. But if you look closely, you’ll be surprised to see he used some bright colors Chandler Unified School District Art Masterpiece Program, Chandler, Arizona, USA too. At the time, red pigment was made from scraping bricks and the most famous “reds” were from Antwerp, where Bruegel painted.
[Show full text]
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited Karen Serres with contributions by Dominique Allart, Ruth Bubb, Aviva Burnstock, Christina Currie and Alice Tate-Harte First published to accompany Bruegel in Black and White: Three Grisailles Reunited The Courtauld Gallery, London, 4 February – 8 May 2016 The Courtauld Gallery is supported by the Higher Education Funding Council for England (hefce) Copyright © 2016 Texts copyright © the authors All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. isbn 978 1 907372 94 0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Produced by Paul Holberton publishing 89 Borough High Street, London se1 1nl www.paul-holberton.net Designed by Laura Parker www.parkerinc.co.uk Printing by Gomer Press, Llandysul front cover and page 7: Christ and the Woman Taken in Adultery (cat. 3), detail frontispiece: Three Soldiers, 1568 (cat. 8), detail page 8: The Death of the Virgin, c. 1562–65 (cat. 1), detail contributors to the catalogue da Dominique Allart ab Aviva Burnstock rb Ruth Bubb cc Christina Currie ks Karen Serres at-h Alice Tate-Harte Foreword This focused exhibition brings together for the first At the National Trust, special thanks are due to David time Pieter Bruegel the Elder’s three surviving grisaille Taylor, Christine Sitwell, Fernanda Torrente and the staff paintings and considers them alongside closely related at Upton House.
[Show full text]
LARRY A. SILVER Curriculum Vitae Born
LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation
[Show full text]