Friday, November 10, 2017

05 Paintings, PORTRAIT OF A LADY, of the 17th & 19th C., with Footnotes. #17

Rembrandt Harmenszoon van Rijn,  (1606–1669)
Portrait of a Young Woman (Magdalena van Loo?), 1665
Oil on canvas
Montreal Museum of Fine Arts

Titus van Rijn was born in Amsterdam on September 22, 1641, the fourth child of the famed artist Rembrandt van Rijn and his wife Saskia van Uylenburgh.

In 1668, Titus married Magdalena van Loo (1641-1669). The couple lived at Magdalena's mother's house on the Singel. They had one daughter. Titus van Rijn died in 1668 and was buried in the Westerkerk in Amsterdam. His wife, mother-in-law, and father all died a year later. More on Titus van Rijn

By the end of his long and productive career. This portrait, executed in the last years of the artist's life, provides an example of his masterful economy. Restricted to a rich range of blacks, loosely applied flesh tones and rough strokes of white, the light is carefully manipulated in the undefined strokes of white. The painting has been reduced in scale at an earlier period in its history, and probably was closer to a half-length portrait with a pendant of the sitter's husband: a possible candidate that has been proposed by scholars is the portrait of Titus, Rembrandt's son, at the Louvre. In that case, the woman portrayed in our painting is Magdalena van Loo, and the painting should be dated to 1668, when they married, which is consistent with the style of this fine late portrait by the master. More on this painting

Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.
Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.
In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization. More on Rembrandt

Jan Frederik Pieter Portielje, (1829-1895) 
Oil on panel
60 X 48cm (23 5/8 x 18 7/8 IN.)
Private collection

Jan Frederik Pieter Portielje (Amsterdam, 1829 - 1908) was a Dutch-Belgian painter. He was the tenth child by Gerrit Portielje, bookseller and publisher in Amsterdam, and Jacoba Zeegers. He studied at the Academy of Amsterdam from 1842 to 1849 with, among others, Valentine Bing and Jan von Braet Uberfeldt. Between 1851 and 1853 he stayed several times for extended periods of time in Paris, possibly during the summer months when the Academy was closed due to holidays. He also worked as a portraitist and as such had a growing clientele in Brussels and Antwerp.

His oeuvre includes portraits, scenes of elegant ladies in gardens, parks, or luxurious interiors. The interiors are either heavy or elegant neo-Baroque Napoleon III. He painted Western and Southern or Oriental women, often adorned with jewels. His painting are realistic, with an eye for detail and texture, intended as an elegant genre painting without much depth.

On some paintings he collaborated with another artist. There are paintings known, together with Frans Lebret (1820-1909) and Eugène Remy Maes (1849-1931).

After his studies Portielje remained in Antwerp. He married there in 1853. More on Jan Frederik Pieter Portielje

William-Adolphe Bouguereau, (1825–1905)
Berceuse (Le coucher), c. 1873
oil on canvas
112 x 86.5 cm
Private collection

Starting in 1865, Bouguereau became enamored with the theme of mothers and children and began a series of paintings dedicated to this subject matter. 

Berceuse (Le coucher) was painted in the artist's Paris studio in 1873. In the present painting, a young Roman mother holds a naked infant and is gently moving him into his cradle. The central group is framed by the draped cradle to the left of the composition and the large stone fireplace that dominates the background. The figures, clearly a secularized interpretation of a Virgin and Child. More on this painting

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

Roberto Manetta, Italy
Mother nature
39.4 H x 27.6 W x 15.7 in
Private collection

Mother Nature (sometimes known as Mother Earth or the Earth-Mother) is a common personification of nature that focuses on the life-giving and nurturing aspects of nature by embodying it, in the form of the mother.

The earliest written usage is in Mycenaean Greek, "Mother Gaia",  (13th or 12th century BC). The various myths of nature goddesses such as Inanna/Ishtar show that the personification of the creative and nurturing sides of nature as female deities. Later medieval Christian thinkers did not see nature as inclusive of everything, but thought that she had been created by God; her place lay on earth, below the unchanging heavens and moon. Nature lay somewhere in the center, with agents above her (angels), and below her (demons and hell). For the medieval mind she was only a personification, not a goddess. More on Mother nature

Roberto Manetta is a traveling freelance photographer, Film and digital photography, since 1999. "No digital manipulation,only photography My passion comes from nature, adventure stories, fantasy films that have contributed phenomenally to my project ideas and the major part of my photographs. I am always very attentive, in all of my movements, in everything surrounding me. I often dream about adventures, fairy tales and mythological women. I look around at the objects surrounding me, with attention, searching for a link between a nude body more than a face. Geometric lines and original compositions are always at the centre of my attention when I launch upon a new project. I don’t really like the classic approach to nude photography. During the years I tried to maintain in all my productions a quality that re-conducted to classical photography, the one which is created without the need of much digital elaboration" More on Roberto Manetta

Eugène Delacroix,  (1798–1863)
Mademoiselle Rose, c. 1817-1824
Oil on canvas
81 × 65 cm (31.9 × 25.6 in)
Louvre Museum

Mademoiselle Rose, an artists' model who according to Delacroix's biographer, posed several times for him and for Richard Parkes Bonington, and who perhaps distributed her favours impartially between the two artists.

The upward trend of his work, clearly seen in this painting, brings its date to the period 1820-1822, but cannot be fixed precisely. However, the nude has not only a pictorial interest: Delacroix brings to the painting an emotion which is firmly rooted in Romanticism. Moreover, the slight timidity of the attitude, the somewhat anxious expression of the face, give to this life-class painting a quality of humanity that is purely French Romantic. More on Mademoiselle Rose

Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school.

As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.

Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.

However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." MoreFerdinand Victor Eugène Delacroix

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