Joachim Patinir [PDF]

Total Page：16

File Type：pdf, Size：1020Kb

Joachim Patinir Oil Paintings Joachim Patinir [c.1480 - 1524] Baptism Of Christ Joachim Patenier 41836-Joachim Patinir-Baptism_Of_Christ.jpg Oil Painting ID: 41836 | Order the painting Landscape With St John The baptist Preaching Joachim Patenier 41837-Joachim Patinir-Landscape With St John The baptist Preaching.jpg Oil Painting ID: 41837 | Order the painting Rest During The Flight To Egypt Joachim Patenier 41838-Joachim Patinir-Rest_During_The_Flight_To_Egypt.jpg Oil Painting ID: 41838 | Order the painting Rocky Landscape With Saint Jerome Joachim Patenier 41839-Joachim Patinir-Rocky_Landscape_With_Saint_Jerome.jpg Oil Painting ID: 41839 | Order the painting St Jerome In A Rocky Landscape Joachim Patenier 41840-Joachim Patinir-St_Jerome_In_A_Rocky_Landscape.jpg Oil Painting ID: 41840 | Order the painting St Jerome In The Desert Joachim Patenier 41841-Joachim Patinir-St_Jerome_In_The_Desert.jpg Oil Painting ID: 41841 | Order the painting 1/2 Temptation Of St Anthony Joachim Patenier 41842-Joachim Patinir-Temptation_Of_St_Anthony.jpg Oil Painting ID: 41842 | Order the painting Total 1 page, [1] Joachim Patinir (Nationality : c.1480 - 1524) Joachim Patinir or Joachim Patenier, also called de Patiner (c. 1480 - October 5, 1524), was a Flemish Northern Renaissance history and landscape painter from the area of modern Wallonia. He was probably the uncle of Herri met de Bles, his follower in establishing a distinct style of panoramic northern Renaissance landscapes. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-713-1.html 2/2.

Copy Link

Recommended publications

Mars and Venus Surprised by Vulcan
Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Anne W. Lowenthal GETTY MUSEUM STUDIES ON ART Malibu, California Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Joachim Wtewael (Dutch, 1566-1638). Cynthia Newman Bohn, Editor Mars and Venus Surprised by Vulcan, Amy Armstrong, Production Coordinator circa 1606-1610 [detail]. Oil on copper, Jeffrey Cohen, Designer 20.25 x 15.5 cm (8 x 6/8 in.). Malibu, J. Paul Getty Museum (83.PC.274). © 1995 The J. Paul Getty Museum 17985 Pacific Coast Highway Frontispiece: Malibu, California 90265-5799 Joachim Wtewael. Self-Portrait, 1601. Oil on panel, 98 x 74 cm (38^ x 29 in.). Utrecht, Mailing address: Centraal Museum (2264). P.O. Box 2112 Santa Monica, California 90407-2112 All works of art are reproduced (and photographs provided) courtesy of the owners unless otherwise Library of Congress indicated. Cataloging-in-Publication Data Lowenthal, Anne W. Typography by G & S Typesetting, Inc., Joachim Wtewael : Mars and Venus Austin, Texas surprised by Vulcan / Anne W. Lowenthal. Printed by C & C Offset Printing Co., Ltd., p. cm. Hong Kong (Getty Museum studies on art) Includes bibliographical references and index. ISBN 0-89236-304-5 i. Wtewael, Joachim, 1566-1638. Mars and Venus surprised by Vulcan. 2. Wtewael, Joachim, 1566-1638 — Criticism and inter- pretation. 3. Mars (Roman deity)—Art. 4. Venus (Roman deity)—Art. 5. Vulcan (Roman deity)—Art. I. J. Paul Getty Museum. II. Title. III. Series. ND653. W77A72 1995 759-9492-DC20 94-17632 CIP CONTENTS Telling the Tale i The Historical Niche 26 Variations 47 Vicissitudes 66 Notes 74 Selected Bibliography 81 Acknowledgments 88 TELLING THE TALE The Sun's loves we will relate.
[Show full text]
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
[Show full text]
From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes.
[Show full text]
249 Boekbespreking/Book Review Reindert L. Falkenburg
249 Boekbespreking/Book review Reindert L. Falkenburg, Joachim Patinir. Landscape as an devotes almost half of his book. '1 here are no immediate Image of the Pilgrimage od Life, Translated from the Dutch by precedents for this subject in fifteenth-century art. Rather Michael Hoyle. (Oculi. Studies in the Arts of the Low it developed out of earlicr ?l ndachtshildet?,or devotional im- Countries, Volume 2). Amsterdam and Philadelphia, John ages, such as the Madonna of Humility, or the Madonna Benjamins Publishing Company, 1988. VII + 226 pp., 50 and Child in a hortus conclu.su,s,an enclosed garden whose black and white illustrations. many plants symbolize the virtues of the Madonna and the future Passion of Christ, It is the tradition of the Joachim Patinir is generally recognized as the founder of the clusu.s,furthermore, that accounts for the complex program Flemish school of landscape painting that flourished in the of botanical symbols that the author discerns in the land- sixteenth century. Ever since T,uclwi? von Baldass's pio- scape of the Prado Rest ott the Flight, among them the Tree of neering article of 191r 8 on Patinir and his followers, we have Knowledge and the Tree of Life. been told that it was Patinir who liberated landscape from Patinir, however, enriches the original iconic image of the the subordinate role it had occupied in earlier altarpieces Madonna and Child with subsidiary scenes of the Massacre and devotional panels. Under his the sacred stories of the Innocents, the Miracle of the iN."li<,a<it<.>ld;,and the became merely a pretext for depicting the natural world.
[Show full text]
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
[Show full text]
À L'origine De La Peinture De Paysage: Les Wallons Joachim Patinier Et Henri Blès
À l'origine de la peinture de paysage: les Wallons Joachim Patinier et Henri Blès À deux reprises au moins, une première fois JOACHIM PATINIER dans le contexte de la peinture flamande du XVIe siècle, une deuxième fois au profit de la Si l'on s'accorde à voir en ' Maître Joachim', peinture belge du XIXe, des artistes wallons comme l'appelait son ami Albert Dürer, un ont joué un rôle capital qui vaut d'être mis en artiste de tout premier rang, il reste bien des évidence. Ce ne serait point là chose excep choses à préciser sur sa personnalité et su.r son tionnelle s'il ne s'agissait à deux reprises de art. On a beaucoup discuté le nom même de paysagistes. Faut-il y voir un effet du hasard l'artiste, le lieu et la date de sa naissance, la ou, au contraire, l'expression d'une forme de localisation de son apprentissage, les activités sensibilité particulière qui s'épanouit dans un qui précédèrent son installation définitive à genre privilégié, le paysage? Anvers, alors métropole de l'art. Certaines divergences n'ont d'autre origine que des op tions différentes, faute de recours à des docu Les faits sont là: dès les premières années du ments précis. Cependant, les controverses re XVIe siècle, un artiste mosan, Joachim Pa ti vêtent un tout autre aspect lorsqu'elles visent nier, confère au paysage une autonomie telle à démontrer, contre toute évidence, que ce que cette nouvelle manière d'interpréter la grand peintre, initiateur du paysage flamand nature et l'importance accordée dans le ta du XVIe siècle, ne doit rien à son pays natal, la bleau au spectacle de l'univers en font un vallée de la Meuse.
[Show full text]
Flemish, Netherlandish and Dutch Painting in The
THEMATIC ROUTES Flemish, The Thyssen-Bornemisza Collection offers a step by step history of the evolution of painting in the Low Countries from the 15th to the 20th centuries, Netherlandish including an outstanding group of works from the 17th century, which is a and Dutch school of painting poorly represented in other Spanish collections. In order to pursue this subject, the present route will introduce the artists Painting in in question through fourteen selected paintings. It starts with works from the 15th century when the spread of the use of the oil technique offered the Thyssen- painters a new way of representing reality and one in which detail and Bornemisza precision were fundamental. This is evident in the works by Jan van Eyck, Collection Rogier van der Weyden, Hans Memling, Joachim Patinir and others. From the late 16th century and throughout the 17 th century a range of Almudena Rodríguez Guridi subjects began to be depicted by artists working in both the Southern Provinces (Flanders) and the Northern Provinces. The Thyssen-Bornemisza Collection has paintings by the leading Flemish artists of this period — Rubens, Van Dyck and Anthonis Mor — as well as a notably compre- hensive collection of paintings by Dutch artists — Frans Hals, Rembrandt, Nicolas Maes, Jacob van Ruisdael and Willem Kalf — who worked in genres such as portraiture, scenes of daily life, landscape and still life. These themes were all particularly popular with middle-class mercantile clients who were interested in decorating their houses with works of this type, resulting in a flourishing art market in Dutch cities.
[Show full text]
Job and His Comforters : a Comprehensive Report Based on Technical and Art Historical Analysis
1 JOB AND HIS COMFORTERS : A COMPREHENSIVE REPORT BASED ON TECHNICAL AND ART HISTORICAL ANALYSIS THE COURTAULD INSTITUTE OF ART RESEARCH FORUM : CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY PROJECT Harriet Pearson and Alexandra Thom 2 Abstract Harriet Pearson, MA Painting Conservation, and Alexandra Thom, MA History of Art, conducted the following study while employed by The Courtauld Institute of Art Research Forum from January to July 2011. Job and His Comforters , the painting undergoing consideration, entered the The Courtauld Gallery collection as part of the Lee Bequest, at which point the work was titled The Scorn of Job . It is currently in the painting store and has not been displayed since its acquisition. This report aims to contextualize Job and His Comforters , both through its material history and iconography, in mid 16 th century Netherlandish practice. At the outset, the authors will introduce the narrative of Job—as it was developed in the biblical Book of Job and in various secular sources—and its specific interpretation in the panel painting. We will then discuss the probable place and time of production, and how this particular historical and cultural context might have played a role in deciding the painting’s dramatic content, composition, style, and iconography. Finally, the authors will compare certain elements of the painting—its composition and content—with contemporary Netherlandish paintings in an effort to situate Job and His Comforters in a tradition of Northern European panel painting. This report is the product of a collaborative effort between The Courtauld Gallery, The Courtauld Institute of Art, and the Department of Conservation & Technology, and its findings reflect those accrued from both art historical examination and technical practice.
[Show full text]
Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(S): Dan Ewing Source: the Art Bulletin, Vol
Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(s): Dan Ewing Source: The Art Bulletin, Vol. 72, No. 4 (Dec., 1990), pp. 558-584 Published by: CAA Stable URL: https://www.jstor.org/stable/3045762 Accessed: 05-01-2019 07:20 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms CAA is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 35.176.47.6 on Sat, 05 Jan 2019 07:20:20 UTC All use subject to https://about.jstor.org/terms Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Dan Ewing The Pand market operated by the Church of Our Lady in Antwerp from 1460 to 1560, during the annual trade fairs, was the largest and most important public art market in Europe for most of the period. The financial history of Our Lady's Pand is well documented, since the church 's account books survive and record the income received from the Pand for the years 1468-1560. These accounts are analyzed, and the findings combined with information from other contemporary sources, to pro- vide a picture of the Pand's operation, scale, growth, and decline.
[Show full text]
Landscapes Play Such a Dominate Part in Painting T
SESSION 19 Landscapes 1400 - 2000 (Monday 6th April & Tuesday 3rd March) 1. Joachim Patinir 2.1 Landscape with the Flight into Egypt 1516 oil on panel, (17 × 21cm) Museum of Fine Arts Belgium 2. Albrecht Aldorfer 2.1. Landscape with a Footbridge 1518-20 Oil on vellum (41X35cm) National Gallery 2.2. Landscape of Danube near Regensburg, c 1528 (30.5 X 8.7cm) Alte PinaKotheK Munich 3. El Greco 3.1. View of Toledo 1598 Oil on canvas MMA, New YorK(121 X 108cm) 4. Pieter Breugel the Elder 4.1. The Harvesters 1565 Oil on wood(119 X 162 cm) MMA, New YorK 5. Aelbert Cuyp 5.1. Herdsmen with Cows 1645 Oil on canvas (39 X 57 cm) Dulwich Art Gallery 6. Jacob van Ruisdael 6.1. Wheat Fields c1670 Oil on canvas (100 X 130cm) Metropolitan Museum of Art 7. Claude Lorrain 7.1. Ascanius Shooting the Stag of Sylvia 1682 Oil on canvas Ashmolean Museum 8. Richard Wilson 8.1. Llyn-y-Cau, Cader Idrris 1774 Oil on canvas (511cm X73 cm) Tate Britain 9. Constable 9.1. View of the Stour near Dedham 1822 Oil on canvas (51 X 74in) Huntingdon Library CA 9.2. Wivenhoe Park, Essex, 1816, oil on canvas, (56 X101cm) NGA Washington 10. Turner 10.1. Valley of Aosta: Snowstorm, Avalanche and Thunderstorm 1836(92 X 123 cm) Chicago 11. Théodore Rousseau 11.1. The Descent of Cows from the High Plateaus of the Jura 11.2. Wooded Landscape with a Faggot Gatherer. Private collection 12. John Linnell 12.1.
[Show full text]
Jan De Beer's Lifetime Reputation and Posthumous Fate
Volume 7, Issue 2 (Summer 2015) Jan de Beer’s Lifetime Reputation and Posthumous Fate Dan Ewing [email protected] Recommended Citation: Dan Ewing, “Jan de Beer’s Lifetime Reputation and Posthumous Fate,” JHNA 7:2 (Summer 2015) DOI: 10.5092/jhna.2015.7.2.1 Available at https://jhna.org/articles/jan-de-beers-lifetime-reputation-posthumous-fate/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 JAN DE BEER’S LIFETIME REPUTATION AND POSTHUMOUS FATE Dan Ewing This article assembles the evidence for the lifetime reputation of the Antwerp painter Jan de Beer (ca. 1475–1527/28), rediscovered by Georges Hulin de Loo and Max J. Friedländer in the early twentieth century. At the time of their publications little was known about the artist’s life, but the evidence now available concerning his important reputation includes archival sources published since Friedländer’s day, an unpublished contract, early literary sources, and reevalu- ations of the artist’s work for the guild and church. The factors involved in his late sixteenth-century disappearance from the historical record are also analyzed. DOI: 10.5092/jhna.2015.7.2.1 1 n 1902, while examining early Netherlandish drawings in the British Museum, the Ghent scholar Georges Hulin de Loo recognized the inscription in the upper left corner of a sheet of head studies catalogued by the museum as a work of Joachim Patinir (fig.
[Show full text]
Karel Van Mander
B. Schmidt 'O fortunate land!' : Karel van Mander, 'A West Indies Landscape', and the Dutch discovery of America Looks at the presence of America in early Dutch visual paintings and prints, and the significant role in interpreting Americana played by Karel van Mander. Van Mander was a 16th-c. art historian, painter, poet, and translator. Van Mander's notes reveal a number of developments in Dutch perceptions of the New World and how pervasive incidental Americana had become by the late 16th c. In: New West Indian Guide/ Nieuwe West-Indische Gids 69 (1995), no: 1/2, Leiden, 5-44 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/08/2021 06:06:53AM via free access BENJAMIN SCHMIDT "O FORTUNATE LAND!" KAREL VAN MANDER, A WEST INDIES LANDSCAPE, AND THE DUTCH DISCOVERY OF AMERICA Contrary to accepted opinion, "America" occupied not inconsiderable space in the imagination of sixteenth-century Netherlanders.1 One burgher's "New World" did not always coincide with that of his neigh- bor, yet judging from the wide variety of literary genres which discuss the newly discovered lands - travel narratives, history chronicles, political pamphlets, epic poems, and cosmographies, only to mention the most obvious - it is apparent that "America" entered the discourse of the Low Countries in a dazzling array of contexts and certainly long before any discussion of the commercial West India Company (founded in 1621) took place. The presence of America in early Netherlandish visual records presents far less evidence, yet a number of provocative paintings and prints, and the significant role in interpreting various Americana played by the pre-eminent arbiter of the precocious Dutch world of art, Karel van Mander (1548-1606), merit closer attention.
[Show full text]