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Probably painted for Henry VIII
Embarkation of Henry VIII (1491-1547) on Board the Henry Grace a Dieu in 1520
oil on canvas)
Wolsey Room 1, Hampton Court Palace
One of the most celebrated and spectacular events of the reign of Henry VIII was his meeting with the French king Francis I within the pale of Calais in 1520. The meeting had been arranged ostensibly to increase the bond of friendship between the two kings following the Anglo-French treaty of 1518. In reality, the festivities and pageantry produced nothing of substance: understanding did not improve, and two years later the countries were at war. More
Probably painted for Henry VIII
Embarkation of Henry VIII (1491-1547) on Board the Henry Grace a Dieu in 1520
Detail
This bright painting shows Henry VIII and his fleet setting sail from Dover to Calais on 31 May 1520 on the way to meet Francis I at The Field of Cloth of Gold. Henry VIII is shown standing on one of the vessel with golden sails in the background. The lack of artistic proprtion in depicting the size of the ships may be an intentional device to convey the impressive nature of this journey and the overwhelming magnificence of the English court.
Each king tried to outshine the other, with dazzling tents and clothes, huge feasts, music, jousting and games. The tents and the costumes displayed so much cloth of gold, an expensive fabric woven with silk and gold thread, that the site of the meeting was named after it. More
Probably painted for Henry VIII
Embarkation of Henry VIII (1491-1547) on Board the Henry Grace a Dieu in 1520
Detail
Dover castle is depicted in the upper left-hand corner, and two round gun towers in the foreground fire salutes. The painting is not recorded in the 1542 and 1547 inventories, possibly because it was set into the walls of Whitehall Palace. More
Claude-Joseph Vernet, AVIGNON 1714 - 1789 PARIS
MEDITERRANEAN HARBOR
signed and dated, lower left: j. vernet / F. 1788
oil on canvas
34 1/4 by 43 3/4 in.; 87 by 113.6 cm.
This serene harbor scene was commissioned by Claude-Joseph Vernet’s venerated patron and friend, Mr. Pope, and completed in 1788, along with its pendant, The Storm with a Shipwrecked Boat (the location of which is currently unknown). Vernet included a portrait of himself and his family in the painting, promenading on the quay and watching the fishermen as they pull in their boats at sunset (see detail). A Parisian textile dealer, Mr. Pope (or Paupe) was a keen collector of Flemish, Dutch and French pictures. The two met around 1778 and Pope soon became a great admirer of Vernet’s work, acquiring some twenty paintings by the artist in the following decade. More
Claude-joseph Vernet, see below
Christoffer Wilhelm Eckersberg (1783–1853)
The Russian Ship of the Line "Asow" and a Frigate at Anchor in the Roads of Elsinore, c. 1828
Oil on canvas
Height: 630 mm (24.8 in). Width: 510 mm (20.08 in).
Museum for Kunst
Christoffer Wilhelm Eckersberg (2 January 1783 – 22 July 1853) was a Danish painter. He was born in Blåkrog in the Duchy of Schleswig (now in Aabenraa Municipality, in the southern part of Jutland in Denmark), to Henrik Vilhelm Eckersberg, painter and carpenter, and Ingeborg Nielsdatter. He went on to lay the foundation for the period of art known as the Golden Age of Danish Painting, and is referred to as the Father of Danish painting. More
Christoffer Wilhelm Eckersberg (1783–1853)
The Russian Ship of the Line "Asow" and a Frigate at Anchor in the Roads of Elsinore, c. 1828
Detail, Left
Christoffer Wilhelm Eckersberg (1783–1853)
The Russian Ship of the Line "Asow" and a Frigate at Anchor in the Roads of Elsinore, c. 1828
Detail, Lower Left
Christoffer Wilhelm Eckersberg (1783–1853)
The corvette Najaden under sail, c. 1835
Oil on canvas
49 × 71.3 cm (19.3 × 28.1 in)
Hirschsprung Collection
Christoffer Wilhelm Eckersberg (1783–1853)
The corvette Najaden under sail, c. 1835
Detail
Claude-joseph Vernet
Interieur du port de Marseille, c. 1754
Oil on canvas
165 x 263 cm (65 x 103.5 in)
Musée de la Marine
The view is taken from the top of the Pavilion Clock, dominating the quai des Belges. The view stretches out to the old harbor basin, closed on the right by the tower of Fort Saint-Jean. Sailboats crowd the dock and aging conceals most facades. Vernet has however been careful to identify that the City Hall, the triangular pediments and carved medallion by Pierre Puget (1620-1694). On the other side of the pass, forty meters wide, stands the mound of the "More head" at the site of the current Pharo Park. More
Claude-joseph Vernet
Interieur du port de Marseille, c. 1754
Detail, Right
Claude-Joseph Vernet (14 August 1714 – 3 December
1789) was a French painter, born in Avignon. At fourteen years of age he
aided his father, Antoine Vernet (1689–1753), a skilled decorative painter, in
his work. The panels of sedan chairs, however, could not satisfy his ambition,
and Vernet started for Rome. The sight of the whales at Marseilles and his
voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea)
made a deep impression on him, and immediately after his arrival he entered the
studio of a whale painter, Bernardino Fergioni.
Claude-joseph Vernet
Interieur du port de Marseille, c. 1754
Detail, Center
In 1734, Vernet left for Rome to study landscape designers and maritime painters, like Claude Gellee, where we find the styles and subjects of Vernet's paintings.
Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome.
Claude-joseph Vernet
Interieur du port de Marseille, c. 1754
Detail, Left
Claude-joseph Vernet
Interieur du port de Marseille, c. 1754
Detail, Bottom
Jean-François Hue (1751-1823)
Vue de l'intérieur du port de Brest prise de l'ancienne cale de l'intendance, c. 1795
Musée de la Marine, Paris
Claude-Joseph Vernet (14 August 1714 – 3 December
1789) was a French painter, born in Avignon. At fourteen years of age he
aided his father, Antoine Vernet (1689–1753), a skilled decorative painter, in
his work. The panels of sedan chairs, however, could not satisfy his ambition,
and Vernet started for Rome. The sight of the whales at Marseilles and his
voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea)
made a deep impression on him, and immediately after his arrival he entered the
studio of a whale painter, Bernardino Fergioni.
In
1734, Vernet left for Rome to study landscape designers and maritime painters,
like Claude Gellee, where we find the styles and subjects of Vernet's
paintings.
Jean-François Hue (1751-1823)
Vue de l'intérieur du port de Brest prise de l'ancienne cale de l'intendance, c. 1795
Detail, Center
Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome.
Jean-François Hue (1751-1823)
Vue de l'intérieur du port de Brest prise de l'ancienne cale de l'intendance, c. 1795
Detail, Left
For twenty years Vernet lived in Rome, producing views of seaports, storms, calms, moonlights, and large whales, becoming especially popular with English aristocrats, many of whom were on the Grand Tour. In 1745 he married an Englishwoman whom he met in the city. In 1753 he was recalled to Paris: there, by royal command, he executed the series of the seaports of France (now in the Louvre and the Musée national de la Marine) by which he is best known.
Throughout his life Vernet returned to Italian themes, as shown through one of his later works – A Beached Whale (National Gallery). On his return from Rome he became a member of the academy, but he had previously contributed to the exhibitions of 1746 and following years, and he continued to exhibit, with rare exceptions, down to the date of his death, which took place in his lodgings in the Louvre on the 3rd of December 1789. More
Jean-François Hue (1751-1823)
Vue de l'intérieur du port de Brest prise de l'ancienne cale de l'intendance, c. 1795
Detail, Right
Jean-François Hue (1751-1823)
Vue de l'intérieur du port de Brest prise de l'ancienne cale de l'intendance, c. 1795
Detail, Lower Right
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