Available! 17th century.
Johannes Leemans (The Hague, 1633 - 1688) trompe l'oeil still life with birdcage and hunting equipment (signed and dated upper left) H 92 cm x W 82 cm Year 1667.
Leemans was an artist of the Golden Age. He produced vanitas and hunting still lifes, with a trompe-l'oeil effect, in large format. His name is often mentioned as a skilled painter of hunting scenes and equipment. Apart from a short stay in Amsterdam, Johannes Leemans worked his entire life in The Hague, where he was buried on July 19, 1688.
I also added a fourth photo as a comparison from a museum
My Friday and Saturday evening gig for my musician friends at Urban&4 was that of a projectionist (calling myself a VJ would be quite a stretch). I prepared a set of 25 images consisting mostly of old masters' paintings hanging on an old wallpapered wall, thus creating an illusion of a theatre stage or a more private interior. The projected paintings were associated with the songs the band performed in an interpretative rather than literal way. I was quite happy with the result, and both concerts were great.
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Photos by Vedran Metelko, https://ravnododna.com/urban-4-u-tvornici-kulture-u-kozi-ove-scene-zauvijek/
@damir.urban @tvornicakulture @ravnododnacom #vedranmetelko#urbanandfour#urbanand4#damirurban#artrock#oldmasterpainting#vj#tomislavtorjanac#torjanac#projectionist#live#concert#theatrical#zagreb
Pompeo BATONI (1708-1787), L'Evangelista Marco (1742-43), olio su tela, 100x82 cm, Roma, Palazzo del Quirinale, Casino del Giardino (Caffeaus).
The Quirinal was the preferred residence of Benedict XIV (1675-1758) and from the beginning of his pontificate he embellished the palace. Among other improvements, he commissioned Ferdinando Fuga (1699-1782) to construct a 'palazzino di ritiro', a pavillon consisting of three rooms, in the gardens to serve as a place of both intimate retreat removed from the strictures of court protocol and for private audiences. The Pope commissioned Batoni to depict the four evangelists into the corners of the right-hand 'saletta'. Saint Mark here appears with an extraordinary modern head movement with the wind in the hair like a screen grab.
David Vinckboons painting aptly titled A hurdy-gurdy player surrounded by village children sold in yesterday’s Important Old Master Paintings from The Eric Albada Jelgersma Collection: Evening Sale for a whopping £296,750! Images of the indigent strolling through villages and towns playing instruments, typically bagpipes or hurdy-gurdies, were extremely popular in the seventh century 🎺 #oldmasterpainting#sold#privatecollection#artoftheday#auction#wishlist#cosy#fireplace
Winter in Holland, 400 years ago.
Detail from a painting by Esaias van de Velde (1587-1630). Some of the figures engage in a game of kolf, a predecessor of the modern game of golf.
Kolf originated in the Middle Ages and involved the use of a club to knock a ball towards a target. The sport grew so popular in the urbanised Dutch environment and its players so rowdy from too much drink that the resulting damage to personal property induced a number of city councils to pass laws restricting its play to the countryside.
@christiesinc @londonartweek_ #christiesinc#londonartweek#winter#holland#oldmasters#oldmasterpainting
Here at Arius we believe that every piece of art that has crossed our path is unique in its entirety. Every fiber of data that we collect is unique.⠀
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And the last pillar being, restoration of artwork. When a piece of art comes to us that is no longer in its original condition, we are able to partner with conservators to map out digital models that aim to virtually restore a painting without even touching the surface. ⠀
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Pompeo BATONI (1708-1787), Il Sacrificio di Ifigenia (1740-1742), olio su tela, 153x190,6 cm (dettaglio centrale). Collezione privata.
Here, Iphigenia, resigned to her fate and supported by two attendants, has almost reached the altar. She kisses the hand of her grifen-stricken father. With his costumary attention to narrative detail, Batoni hints at the heroine's imminent rescue a praying female figure behind Iphigenia's attendant looks up at the clouds, when the stag sent by goodness ti replace the human victim is about to appear.
Pieter Mulier (Haarlem, c. 1600 - Amsterdam, 1659), was a Dutch painter and draftsman in the Golden Age.
Mulier mainly painted sea and beach views, mostly ships on a stormy sea. He was influenced by Jan Porcellis (especially in his early work), Jan van Goyen, Simon de Vlieger, Willem van Diest and Abraham van Beijeren. He often signed his work with PML or PMLIER.
The works by Mulier can be seen in the Teylers Museum in Haarlem, the Rijksmuseum in Amsterdam, the Mauritshuis in The Hague and the National Maritime Museum in London.
He was possibly apprenticed to Simon de Vlieger or Salomon van Ruysdael. Both his son Pieter Mulier de Jonge and Frans de Hulst were apprenticed to him. Pieter Mulier de Jonge was nicknamed Il Cavalier Tempesta in Italy because, like his father, he often painted ships on a stormy sea.
Mulier was born in Haarlem somewhere between 1590 and 1615. His parents were Pieter Joostenz. Mulier (a Mennonite who had fled from Flanders to the Netherlands) and Baertken de la Mote. In 1635 he married in Haarlem, and in 1638 he became a member of the Haarlem Saint Luke Guild. From 1647 he was working in Amsterdam.
After his death in Amsterdam in 1659, he was buried on 26 May of that year in the Grote or Sint-Bavokerk in his hometown of Haarlem
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Last picture is to
Compare from the museum.
Back to Petrus Christus, with this Portrait of a rather confident Carthusian Lay Brother from 1446 – the earliest recorded portrait of a cleric in which the sitter is not shown praying (watch out for the fly resting on the frame)