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12 Cards in this Set
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Rubens, Peter Paul (Flanders) Elevation of the Cross, 1610 Oil on wood Antwerp Cathedral, Flanders (Belgium) Recently returned from Italy, shows influence of Michelangelo and Caravaggio: twisting, sculpted figures; foreshortening, heroic action, emotional and physical tension, tenebrism. "The human body in action, draped or undraped, male or female, remained the focus of his art." (p. 586) |
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Rubens, Peter Paul (Flanders) Arrival of Marie de' Medici at Marseilles, 1622-25 Oil on canvass, 13' x 10' Musee de Louvre, Paris, France One of 21 historical-allegorical paintings for the queen's new palace, the Luxembourg, in Paris. Marie de' Medici (yes, those Medici's) was the wife/widow of Henry IV, first Bourbon king of France. "The sea and sky rejoice at the queen's safe arrival in France." |
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Van Dyck, Anthony (Flanders/English) Charles I Dismounted, 1635 Oil on canvass, 9'x7' Musee de Louvre, Paris, France Left Antwerp for London to escape the fame of Rubens. Specialized in portraits. "Developed a courtly manner of great elegance." Influenced portrait painting into the 1800's. Regal pose, absolute authority, back turned to his servants/subjects, isolated in his domain, off-centre, outward, direct glance |
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Leyster, Judith (Dutch) Self Portrait, 1630, 2.5' x 2.5' Oil on canvass Leyster was a student of Frans Hals. Specialty was comic image as seen on the easel. Her dress reveals her as a member of a well-to-do family. Relaxed pose, smile, turning to greet the viewer reveal her self-assurance.
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Van Rijn, Rembrandt (Dutch) Anatomy Lesson of Dr. Tulp, 1632, 5' x 7' Oil on canvass Commissioned by the surgeons guild. Masses figures in a triangle placed off-centre. Each face is individually composed. Corpse is angled and foreshortened. An early painting. |
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Van Rijn, Rembrandt (Dutch) Night Watch / The Company of Captain Frans Banning Cocq, 1642, 12' x 14' (Painting has been trimmed.) Oil on canvass (The covering varnish has darkened over time and gives an erroneous impression that Rembrandt intended to portray a night scene.) One of 6 paintings commissioned for the new Musketeers Hall. Rembrandt composes the picture of the civic guard group as assembling for parade - thus giving the picture a sense of energy and movement - men of action and orderly resolve! We see their weapons in various stages of use and readiness. |
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Cuyp, Aelert, (Dutch) Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, 1640s, 5' x 6' Oil on canvass Dutch land was reclaimed and owned in small parcels - unlike the rest of feudal Europe. Most Dutch families owned and worked their own farms. Consequently, realistic, non-idealized landscapes were popular in Dutch art in the 1600s. Cuyp was a landscape specialist. This work shows his skill in presenting a warm, affecting representation of an actual location, way of life, and a cornerstone economic activity. |
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Van Ruisdael, Jacob (Dutch) View of Haarlem from the Dunes at Overeen, 1670, 2' x 2' Oil on canvass A Dutch landscape specialist, this painting differs in that the sky fills almost 3/4s of the frame. The resulting miniaturizing of the detailed landscape combined with the patches of golden light from the sun breaking through clouds "(imbue) the work with a quiet serenity that is almost spiritual." (p. 598) |
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Vermeer, Jan (Dutch) Woman Holding a Balance, 1664, 1' x 1' Oil on canvass Vermeer made his reputation as a painter of interior scenes. "These painting provide the viewer (and owners) glimpses into the private lives of prosperous, responsible and cultured citizens of the United Provinces. ... his paintings are highly idealized depictions of the social values of Dutch burghers. ... Vermeer was a Catholic convert in the Protestant Dutch Republic." (p. 599) The painting of The Last Judgement on the wall behind the woman's head suggests this painting has a background religious meaning - the importance of leading a balanced life in order to be approved in the "balance" of final judgement. Vermeer's paintings reveal an advanced understanding of optical facts and colour science. It is speculated that he used the camera obscura and mirrors to see and replicate these effects in his paintings. |
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Kalf, Willem (Dutch) Still Life with Late Ming Ginger Jar, 1669, 2.5' x 2' Oil on canvass A leading still life painter. The objects demonstrate the wealth of Dutch trading: Ming jar from China, carpet from India, Venetian glassware, imported fruit - peach and lemon. Inclusion of the watch and the peeled lemon hint at this being a vanitas still life. |
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Ruysch, Rachel (Dutch) Flower Still Life, after 1700, 2.5' x 2' Oil on canvass Specialized in floral still lifes. |
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Poussin, Nicolas, (French Classicism) Et in Arcadia Ego, 1655, 3' x 4' Oil on canvass Poussin preceded and yet represents Louis XIV's embracing of classic, "grand manner" painting which followed Raphael and not the Baroque style that was current in Italy. The subject matter is grand/classical - death in Paradise. The figures are drawn from classical statuary, the lighting is even, the figures are static. |
