ART “4”
“2”-DAY 29 December |
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Died on 29 December 1972: Joseph Cornell,
New York state maker of “constructions”, printmaker, film maker,
and writer, born on 24 December 1903. — He studied from 1917 to 1921 at Phillips Academy in Andover MA. After leaving the Academy he took a job as a textile salesman for the William Whitman Company in New York, which he retained until 1931. During this time his interest in the arts developed greatly. Through art reviews and exhibitions he became acquainted with late 19th-century and contemporary art; he particularly admired the work of Odilon Redon. He also saw the exhibitions of US art organized by Alfred Stieglitz and became interested in Japanese art, especially that of Ando Hiroshige and Katsushika Hokusai. Following what he believed was a “healing experience” in 1925 he became a convert to “Christian Science” {which is neither Christian nor science}. — Cornell had no formal training in art and his most characteristic works are his highly distinctive ‘boxes’. These are simple boxes, usually glass-fronted, in which he arranged surprising collections of photographs or Victorian bric-à-brac in a way that has been said to combine the formal austerity of Constructivism with the lively fantasy of Surrealism. Like Kurt Schwitters he could make uncritical critics and their gullible public believe that he created poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects, relying on the Surrealist technique of irrational juxtaposition and on the evocation of nostalgia for his appeal (he befriended several members of the Surrealist movement who settled in the US during the Second World War). Cornell also painted and he made Surrealist films. — LINKS — Untitled (How To Make a Rainbow) (1972 screenprint, 37x28cm; half-size _ ZOOM to full size) — Untitled (Hotel du Nord) (1972 screenprint, 38x29cm; 3/5 size) — Cassiopoia -- verso (594x890pix, 144kb) —Untitled (Bébé Marie) (1942 construction, 59x31x13cm) |
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Died on 29 December 1633: Cornelis
Claeszoon van Wieringen, born in 1580, Haarlem Dutch sailor and
navigator who became a draftsman, painter, and etcher specialized in seascapes.
— His name first appears in the Haarlem records in 1597. It is generally assumed that he was a student of Hendrick Vroom, whose work strongly influenced his own. Documentary sources confirm that he maintained close friendships with both Hendrick Goltzius, who made woodcuts after his drawings, and Cornelis Corneliszoon van Haarlem. Van Wieringen was more than once governor of the Haarlem Guild of Saint Luke, a position in which he was responsible for updating the guild’s outmoded organization. He specialized in seascapes and received commissions from the city of Haarlem, the Dutch Admiralty in Amsterdam and others. His interest lies primarily in his influence on Dutch marine painters of the 17th century. His son Claes Corneliszoon van Wieringen (fl 1636), also a painter, died young. — LINKS — The Explosion of the Spanish Flagship during the Battle of Gibraltar (1621) — Capture of Damiate (1625) _ Wieringen was probably the student of Hendrick Corneliszoon Vroom (the founder of European marine painting); he ranks as his best and closest follower. Wieringen's multicolored paintings are more ornamental, his waves and whitecaps more schematic than Vroom's, and his skies (apart from those in his graphics) are little more than decorative backdrops. The Capture of Damiate was commissioned by Haarlem's Saint Hadrian Civic Guard, and it was originally mounted as an overmantel in the company's headquarters (a few years afterwards officers of the company commissioned Frans Hals to paint their group portrait). The painting represent a pseudo-historical event. According to tradition late twelfth-century crusaders en route to the Holy Land tried to capture Damiate, a port city at the mouth of the Nile which had its harbour protected by a heavy chain stretched across it from two moles. The chain was cut, according to the legend, when a ship from Haarlem ingeniously fitted with a specially designed saw-toothed prow and keel sailed across it. After this feat and a fierce battle the port fell to the crusaders. The tale exemplified the audacity and courage of early Haarlemmers, and by association, redounded to the glory of citizens of the city. By the sixteenth century the fable had acquired a mythic dimension for Haarlem's patriots. The appetite for it was satisfied by later printmakers and painters. Vroom and other artists also made drawings to stain glass windows of the subject, and Wieringen designed a huge tapestry depicting the legendary event for Haarlem's Town Hall which is still mounted there. — Landscape with hermits (40x56cm) _ Wieringen is well-known as a marine painter. This is the only known landscape painting of this painter. He did make some drawings and etchings of landscapes. |
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Born on 29 December 1695: Jean-Baptiste
Joseph Pater, French
painter and draftsman who died on 25 July 1736. — He was the only student of Watteau (a fellow native of Valenciennes), with whom he had a somewhat touchy relationship. An unlikely legend has it that Watteau dismissed him from his studio (1713) because he was disturbed by the threat offered by his progress to his own pre-eminence; whatever the reason for their differences, they were reconciled soon before Watteau's death. Like Watteau's other imitator, Lancret, Pater repeated the master's type of 'fêtes galantes' in a fairly stereotyped fashion. He showed more originality in scenes of military life and groups of bathers (in which he gave freer rein to the suggestiveness often seen in his fêtes galantes). — Pater was taught in his native Valenciennes by Jean-Baptiste Guidé [–1711] and also by his father, Antoine Pater [1670–1747], a sculptor whose portrait (1716; 741x581pix, 36kb) was painted by Antoine Watteau, who was also a native of Valenciennes. Jean-Baptiste Pater probably followed Watteau to Paris after the short stay that the latter made in Valenciennes around 1710. Pater thus became a student of Watteau. Watteau’s difficult character led to Pater’s dismissal. He then spent a few hard years on his own in Paris, before returning to Valenciennes about 1715 or 1716. He tried to work independently of the local corporation of Saint Luc, of which he was not a member; a number of comical legal difficulties ensued, and Pater returned to Paris in 1718. There he must have been in contact with Watteau, since he worked for some of the latter’s clients, such as the dealers Pierre Sirois and Edmé-François Gersaint, and the collector Jean de Jullienne. In the spring of 1721 the dying Watteau called Pater to him at Nogent, near Paris, apparently full of remorse for his previous attitude and wishing to instruct him in the basic tenets of his painting, and perhaps also to enlist his help in completing commissions that his failing strength did not allow him to finish himself. Pater later claimed to have learnt everything he knew during those few weeks. — LINKS — The Offer of Flowers (Springtime) (41 x 55cm) — The Chinese Hunt (1736, 55x46cm; 980x823pix, 125kb) — Fête Champêtre (65x82cm; 864x1152pix, 186kb) — a different Fête Champêtre (15x20cm; 496x671pix, 74kb) — Concert Champêtre (800x1094pix, 178kb) _ Pater followed Watteau closely in the genre called fête galante, transposing his atmosphere to a more silvery one. — Relaxing in the Country (770x1081pix, 157kb) — The Fair at Bezons (1733) detail (700x630pix, 70kb) |
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Died on 29 December 1616 (01 Jan 1617?): Hendrik
Goltzius (or Goltz, Goltius), Dutch Baroque
draftsman, printmaker, print publisher, and painter, born in February 1558.
— Goltzius was of German descent, the outstanding line engraver of his time. He was the leader of a group of Mannerist artists who worked in Haarlem, where he founded some kind of 'academy' with Cornelis van Haarlem and Karel van Mander. In 1590-91 he visited Rome and on his return to Haarlem he abandoned his Mannerist style for a more classical one. Goltzius's right hand was crippled, but in spite of this handicap he was renowned for his technical virtuosity and his skill in imitating the work of other great engravers such as Dürer and Lucas van Leyden. In his early career much of his work was reproductive, but he also produced many original compositions, including a splendid series of Roman Heroes (1586). His miniature portrait drawings were also outstanding, and the landscape drawings he made after 1600 mark him as a forerunner of the great 17th century landscape artists. His paintings are less interesting than his drawings and much less advanced stylistically. — Goltzius was born in the German town Mülbracht (modern Bracht-am-Niederrhein). In 1577 he followed the humanist printer Dirck Volkertszoon Coornhert, with whom he was studying, to Haarlem. Together with other artists such as Karel van Mander I and Cornelis van Haarlem, he introduced the complex composition schemes and the exaggerated, contorted figures of Mannerism into the Northern Netherlands. Following a journey to Italy in the 1590s, Goltzius developed a more academic and classicist style. Goltzius's oeuvre provides an interesting reflection of the changes that were occurring in Dutch art in the late sixteenth and early seventeenth centuries. In his own lifetime Goltzius was famous for the technical virtuosity of his engravings. Goltzius died in Haarlem. — Goltzius was an important artist of the transitional period between the late 16th century and the early 17th, when the conception of art in the northern Netherlands was gradually changing. Goltzius was initially an exponent of Mannerism, with its strong idealization of subject and form. Together with the other two well-known Dutch Mannerists, Karel van Mander I and Cornelis Corneliszoon van Haarlem, he introduced the complex compositional schemes and exaggeratedly contorted figures of Bartholomäus Spranger to the northern Netherlands. These three artists are also supposed to have established an academy in Haarlem in the mid-1580s, but virtually nothing is known about this project. In 1590 Goltzius visited Italy, thereafter abandoning Spranger as a model and developing a late Renaissance style based on a broadly academic and classicizing approach. Later still, his art reflected the growing interest in naturalism that emerged in the northern Netherlands from about 1600. In fact, Goltzius’s ability to emulate the style and technique of different artists and to adapt to current trends earned him distinction as a Proteus of changing shapes. — Dolendo was an assistant of Goltzius. The students of Goltzius included Jacques de Gheyn II, Jan Saenredam, Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan Bray, de: (1) Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan Bray, de: (1) Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan Bray, de: (1) Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan Bray, de: (1) Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan Bray, de: (1) Salomon de Bray Delff, Willem Jacobsz. Gerbier, Balthazar Gheyn, de: (1) Jacques de Gheyn II Goudt, Hendrik Grebber, Pieter de Jode, de: (3) Pieter de Jode (i) Muller, Jan — LINKS — Self-Portrait (1592, 36x29cm; 379x300pix, 30kb) — Funeral procession of William of Orange (1584, 685x1600pix, 323kb) _ William of Orange, leader of the Dutch Revolt against Spain, was assassinated by Balthasar Gerardts in Delft on 10 July 1584. The Prince's funeral took place in Delft on 3 August. A stately procesion bore the 'Father of the Nation' to his tomb in the Nieuwe Kerk. Goltzius depicted the royal funeral procession in a series of twelve prints. Together they form a five-metre frieze. This panel, the ninth in the series, shows the pallbearers preceded by stewards, chamberlains and halberdiers. — Lot and his Daughters (1616, 140x204cm; 1094x1600pix) _ A seasoned but lusty old man is seated between two naked young women. In the background a city is burning. The man is Lot, seduced by his daughters following the destruction of the city of Sodom. Goltzius painted the work in 1616. He used the Bible story to show off his skill as a painter of nudes. The two women have wonderfully soft bodies with full, gentle curves. For an old man, Lot is still remarkably muscular. To accentuate the bodies the artist draped cloth over them in contrasting colors: blue, yellow and red. The poses of Lot and his daughters are perhaps rather artificial, but that was the style of art in the period, Mannerism. — Monkey on a chain, seated (1597, 30x41cm; 1600x1193pix, 375kb) _ A monkey sits hunched over in the corner of a vaguely described area. He is kept on a chain and plays with the lock with his left hand. Hendrick Goltzius's depiction of the monkey is highly moving; the hairs on his neck and forehead standing on end, the sharply formed ear, the pink nose and the bony limbs. From about 1580, Goltzius increasingly made large drawings of this kind in different colors of chalk. He was precise about his work and portrayed the anatomy of his animals with great realism. Following his stay in Italy (1590-1591) his drawing style became more relaxed. This masterful drawing was also created rather late; about 1597. The work clearly illustrates Goltzius's expertise in working with chalk. — The Giant Hercules (1589, 56x40cm; 1600x1151pix, 621kb) _ An extremely muscular man is standing proudly in a landscape with a lion skin draped around his shoulders. He is wearing the creature's head like a cap. The lion skin and the cudgel reveal the figure to be Hercules, a hero from Greek mythology who was given a series of almost impossible tasks. Some of his heroic deeds are depicted in the background. The print's Latin caption* praises Hercules' bravery. This spectacular print by Goltzius is a tour de force in terms of engraving. The fight with the river God Achelous (in the form of a bull) is depicted in the background (left). Further off in the background the naiads (nymphs) are filling the severed horn of the bull with fruit. On the right Hercules is fighting with the giant Antaeus. * Amphitrionade virtus terraq'3 mariq'3 / Quem latet? et tanti sæua nouerca mali? / Ille tot expositus monstris, Hydræq'3, tricorpor / Geryon atq'3 tibi, flammiuomoq'3 Caco . / Ille hìc Antæúm, et superat te Achelos bicornuum : / Naiades at truncum fruge ferace beant. — Portrait of Sculptor Giambologna (1591, 37x30cm) — Spring (1597) — Autumn (1597) — Job in Distress (1616) — Venus between Ceres and Bacchus (1590, 40x29cm) _ After training as a glass painter in his father's studio, Goltzius learned engraving from printer Dirck Volckertsz. Coornhert. From 1582 he began publishing prints and eighteen or so years later started painting. Following a journey to Italy (1590/91) he moderated his mannerist distortions and turned to portraying grand, idealized scenes, as in this masterly drawing. What strikes us is the emphasis on the physical and psychological interaction between Venus and Bacchus, depicted close to one another, whilst Ceres holds herself apart. This offered Goltzius an opportunity of portraying the female body from both front and back - in those days a very popular pose and representing the "nec plus ultra" of grace. The fact that Venus, Ceres and Bacchus look so lifelike is because Goltzius began at this time to use live models. The representation of Bacchus, the god of wine, in the company of Venus, the goddess of love and Ceres, the goddess of the harvest, is a reference to the old Greek saying: "Without Ceres and Bacchus, Venus freezes". This proverb, taken from Eunuchus, a comedy by Roman author Terence that was frequently staged in Goltzius' time, had become a popular maxim. As frequently happened in the 16th century, this classical theme took on a profane interpretation, which can be paraphrased as "Eating and drinking is part of the game of love". This composition is an extraordinary combination of different drawing techniques. The god's and goddess's naked bodies are contoured with strong brown ink brush strokes and sharp black chalk lines. These are then colored in with ink and body-color in grey, white, brown and pink tints, next to zones of stumped black and red chalk. The result is an attractive "pictorial tapestry", full of light and color nuances. The sketchy nature of certain items like the baldachino and the putti to the upper left relates to the purpose of the drawing. This is a composition sketch anticipating Goltzius' only known grisaille, dated 1599 and now conserved in London, done in grey and white oils on paper on top of a black chalk underdrawing. As with many of Goltzius' compositions, a print of this work was also published by the famous engraver Jan Saenredam. |
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Ceres and Bacchus, Venus would Freeze (1602) _ The Goltzius drawings
that his contemporaries admired above all were his highly finished pen and
inks drawings that simulate the swelling and tapering lines of engravings
- they were called 'penwerken' (pen works). There are several dazzling examples
of these virtuoso performances depicting Without Ceres and Bacchus, Venus
would Freeze. They illustrate the popular adage, taken from Eunuchus,
a comedy by Terence, that without food (Ceres, the Roman god of agriculture)
and wine (Bacchus), love (Venus) is left cold. Venus's need for the assistance
of food and drink for invigoration was one of Goltzius's favorite themes,
he represented the subject in various ways and media at least ten times.
His most stunning illustration of the proverb is now at Philadelphia. Drawn
with elaborate pen lines in ink that give the effect of an engraving, half-nude
Venus is seen close-up accompanied by an adoring young satyr bearing fruit
and a smiling old one with his hands full of luscious grapes, obvious representatives
of Ceres and Bacchus. Handsome Cupid who turns sympathetically to us, holds
a large flaming torch that warms as well as illuminates the figures. Unlike
most of Goltzius's penworks which are done on paper or parchment, this one
is on canvas with a grey-blue oil ground that is an integral part of the
scene's nocturnal effect. Unique is the conspicuous addition of flesh tones
in brush and oils that are literally and figuratively warmed by the vivid
red, orange, and yellow flames of Cupid's torch, also done in oil paint.
The mixed media makes the work hard to classify. Is it a pen work or a painting? — Cadmus Slays the Dragon (189x248cm) _ Based on a copper engraving by Francesco Primaticcio [1504–1570] it is an allegorical painting featuring motifs from Ovid’s Metamorphoses (Book III, 26–94). Cadmus has been driven out of his native land and is in search of a new place to settle down. The god Apollo has replied in an oracle, promising him that he will meet a heifer and that he should follow it. Wherever the heifer lies down is where Cadmus is to build his new home and found a city (Euboea). When the heifer lies down, Cadmus sends his servants to fetch water at a nearby spring. But the servants are attacked and killed by a terrible dragon with three rows of teeth and three tongues in its mouth. Cadmus sets off to fight the dragon, dressed in a lion’s skin, which protects him from the monster’s poison. He wounds the dragon in the side with his spear and thrusts his lance into its gaping jaws, pinning it to a large oak tree. The artist has improved on the story somewhat, supplying the dragon with three gigantic heads. The painting captures the moment when Cadmus thrusts his lance into the monster’s mouth and pins it to the tree. A number of candidates have been proposed over the years as the artist behind this colossal work — painters such as Reinhold Timm [–1639] from Denmark and Jacob Rappost [–<1621] from Holstein have been named. Most recently, Goltzius has been proposed. Goltzius produced paintings and drawings, engravings and etchings, and was one of the leading figures in the Mannerism movement. He was primarily known for his technically brilliant copper engravings featuring biblical and mythological subjects, which were based on his own models and those of other artists. A journey to Italy in 1590–1591 led to a change in style, and in about 1600 he turned away from engraving and toward painting. His style was now more naturalistic and classical. — Cadmus’ Servants are Attacked by the Dragon (55x90cm) _ B&W photo of a painting based on a copper engraving by Robert de Bardous (1615), which was based on a drawing by Hendrick Goltzius. In around 1580, Hendrick Goltzius made a number of drawings dealing with the Cadmus legend. Three of these drawings are now in the possession of the Hamburger Kunsthalle. In 1615 these drawings formed the basis for works by the copper engraver Robert de Bardous. Goltzius himself made a copper engraving of Cadmus’ struggle with the dragon, which was based on a painting by Cornelis Corneliszoon van Haarlem [1562–1638]. The large Goltzius painting, based on an engraving by Francesco Primaticcio [1504–1570], does not bear any close resemblance to Goltzius’ own drawings, but is nevertheless attributed to him on the basis of a study of painting techniques employed. |
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Born on 29 December 1759: Julius-Caesar
Ibbetson the elder, English painter, printmaker, and writer,
who died on 13 October 1817. — Ibbetson worked mainly in his native Yorkshire, but also for a time in London and the Lake District, and he visited Java (1789). He worked in watercolor as well as oil and also made etchings. In 1803 he published a treatise on painting. Like his friend Morland, Ibbetson is said to have been given to dissipation, but his work did not obviously suffer because of this as Morland's did. — Ibbetson specialized in fairly small landscapes and rural scenes with figures and animals, mainly of his native Yorkshire where he spent most of his life. He failed to develop a style of his own but was successful in imitating and even forging other artists. In the late 1770s he worked in London on copies and forgeries of Dutch 17th-century landscapists, which prompted Benjamin West to nickname him 'the Berchem of England'. He also produced copies after the leading contemporary English artists, such as Thomas Gainsborough and Richard Wilson. Ibbetson’s theatrical scenes for John Boydell’s Shakespeare Gallery in London were painted in the manner of Philippe-Jacques de Loutherbourg. In 1789 he visited Java and the landscapes produced there are a digression from his topographical views of Yorkshire and the Lake District, as are the various pictures he painted (a few being engraved) of high-spirited ‘jack tars’ causing mayhem ashore. Of these, Sailors carousing in the Long Room at Portsmouth (1802) is a fairly restrained example. Apart from oil, his media included watercolor and etching. In 1803 he published the treatise Painting in Oil. It demonstrates his masterly knowledge of painting techniques and is rich in insights into his own methods, one of which was modeling through ‘inner light’ achieved through application of thin glazes. There are anecdotal accounts concerning his Christian names (given to him following his Caesarean birth) and his drinking habits in the company of his friend, the artist-forger George Morland. Ibbetson's work did not obviously suffer because of this dissipation as Morland's did. — The son of a clothier, Ibbetson was apprenticed to John Fletcher, a ship painter in Hull; in 1775 Ibbetson became a scene-painter there. In 1777 he moved to London, where he worked as a scene-painter and picture restorer. He married about three years later. From 1785 he exhibited landscapes, genre scenes and portraits at the Royal Academy. In 1787–1788 Ibbetson was personal draftsman to Col. Charles Cathcart on the first British Mission to Beijing, a voyage that included visits to Madeira, the Cape of Good Hope and Java. His watercolor False Bay, Cape of Good Hope, made on this journey, shows a picturesque roughness of foliage and rustic staffage adapted from his English landscape style. Cathcart’s death forced Ibbetson to return to England; he exhibited an oil painting of The Burial of Col. Cathcart in Java at the Royal Academy in 1789; thereafter he lived by painting landscape oils and watercolors, the subjects culled from his frequent tours. He painted occasional portraits throughout his career (e.g. Young Man) and contributed to John Boydell’s Shakespeare Gallery (e.g. Scene from ‘The Taming of the Shrew’). In 1789 he stayed with John Stuart, 3rd Earl of Bute, at Cardiff Castle and visited the Isle of Wight in 1790. In 1792 he toured Wales and the surrounding area with the painter John ‘Warwick’ Smith and his companion Robert Fulke Greville, resulting in the publication of his book of engravings, A Picturesque Guide (1793). His oil painting of Aberglasyn: The Flash of Lightning evokes the sublimity of the mountainous Welsh terrain; the drama of the storm over Aberglasyn is conveyed by thick impasto and strong chiaroscuro, a way of handling paint that Ibbetson learnt from copying 17th-century Dutch masters while working for a London dealer named Clarke during the late 1770s and early 1780s. He was also an accomplished figure draughtsman and social observer: he showed four humorous paintings of sailors at the Royal Academy in 1800, a topical theme at the height of the Napoleonic Wars. In 1789 he illustrated Modern Times, a moralizing tract by John Trusler, and about 1790 painted pastoral scenes on plaster for the library ceiling at Kenwood House, London. From 1793 to 1800 he produced illustrations (engraved by J. Tookey) for John Church’s folio A Cabinet of Quadrupeds (1805). — LINKS — Sailors Carousing (Oct 1802, 43x58cm; 509x700pix, 54kb) _ A scene in an unspecified tavern at Portsmouth after one or more ships have been paid off. The painting may be a retrospective celebration of the Battle of the Glorious First of June 1794 since, although painted much later and after Ibbetson had moved to the north of England, it reuses elements of a watercolor by him showing a similar scene and dated 03 July 1794. The room is crowded with sailors and men and women carousing. The ceiling, floors and walls enclose the action and a single lamp hangs from the ceiling to the right. The outline of a carriage, with several revellers alighting or departing frames the door on the right. The opening to the left shows a seaman wearing a hat and chain, with a boatswain's whistle, borne aloft on a chair. Two bare-headed women are highlighted in the foreground: the one to the right has two men paying attention to her, and the woman on the left sits on a sailor's knee. Impropriety is implied in their conduct. Although sailor's pay was low and often in arrears, prize money provided welcome bonuses after victorious actions, but it was rarely saved. The narrative indicates a group of three seamen in the foreground to the left of centre both pretending to fry their watches or play 'conkers' with them. This refers back to a celebrated incident in 1762 when, after capturing a Spanish galleon, seamen of the Active and Favourite were so loaded with prize money that they were recorded as frying watches, as shown. One of the women in the foreground wears a watch around her waist. In the Dutch 17th-century tradition, the artist incorporates a still-life in the foreground, with a clay pipe, discarded playing cards showing each of the four suits, coins and bottles. Sailors, several with their arms around women, sit on low benches around a table to the right. This bears a china punch bowl and drinking mugs, with a sailor boy dancing on also dancing on it. To its left, a group are dancing to the music of the two fiddlers on the far left. Some of the dancers are in couples and others are groups of men carousing (including a sailor dancing with a Jewish peddler, a class well-known as purveyors of frippery to seamen). In the foreground on the right a woman attends to a sailor lying on the ground. An empty bottle to the right indicates that he has had too much to drink, and the young woman is attempting to revive him. The painting, which hovers at the interface of celebration, disorder, chaos, and disruption, was regarded as a fine example of Ibbetson's work in his own time. It was engraved as a mezzotint by William Ward RA in August 1807, with the title given here, and when sold at Christie's on 19 March 1808 fetched the highest price of the sale, an extraordinary £79. The catalogue on that occasion described it as Sailors Carousing, treated with infinite humour and spirit. The pencilling is delicate, and the colour clear and brilliant. It has sometimes been called Sailors carousing in the long room at Portsmouth, which is indeed likely, but this appears to be a later conflation from a different image, though one possibly influenced by it; George Cruikshank's caricature of Sailors carousing, or a peep in the Long Room (1825). Many inns had 'long rooms' - a phrase simply describing their largest public space, but those shown by both artists are not identifiable. — A Beached Collier Unloading into Carts (1790, 31x42cm; 509x700pix, 65kb) _ This narrative depicts a collier brig lying aground on a beach in shallow water, at low tide. Coal is being 'whipped' out of her hold in baskets, using the large iron pulley suspended from a jeer or whip footed on her deck, and tipped down a chute over her side into a cart waiting in the water below. A man mounted on a cart-horse in the central foreground carries a metal bucket of coal in his right hand and a long horse-whip over his shoulder (possibly a visual pun on the process being shown), from the ship towards the cart on shore to the right, which is waiting its turn to be loaded. The horses are all have colourful ruff-like padding of some sort behind their working collars, in blue yellow or red. The ridden horse also has a red cockade on the headband of its bridle. Other shipping has been depicted in the distance, the vessel to the right apparently being another brig, though over-scaled for the type. The scene shown is a frequent subject in coastal marine art of the late-18th and early 19th centuries, especially in watercolors and drawings. The north-eastern, cat-bark brigs employed in the coal trade were capacious, flat-bottomed and solidly built precisely for the purpose of 'taking the ground' to load and unload in this way, in places without deep-water quay installations. — George Biggins' Ascent in Lunardi' Balloon (1785, 50x61cm), 807x987pix, 104kb) _ In addition to an ironic and self-critical attitude of British painting to modern technology, there was an objective documentation of technical innovations in the second half of the 18th century, as in this painting. — Going to Market (1785) — Returning from Market (1785) |
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Died on 29 December 1743:
Hyacinthe-François-Honoré-Mathias-Pierre-André-Jean
Rigau y Ros “Rigaud”, French
baroque
era portrait
painter baptized (as an infant) on 18 July 1659. — Baptized in Perpignan; awarded the Prix de Rome 1682; a prolific and successful artist of the Baroque period specializing in portraits and historical scenes; he painted royal portraits in France and England; became director of l'Académie in 1733; Trained at Montpellier before moving to Lyon and eventually to Paris in 1681, where he devoted himself to portrait painting. By 1688, when he received his first royal commission, he had a reputation among the wealthier bourgeoisie of Paris. From 1690 onward, his work, mostly for the court, consisted almost entirely of portraits. Gained admission to the academy as a historical painter in January 1700. Excelled in the great formal portrait, as in his famous painting of Louis XIV in robes of state (1701). — Friend and rival of Largillière. He was born in Perpignan and after working in Montpellier he settled in Paris in 1681. His reputation was established in 1688 with a portrait (now lost) of Monsieur, Louis XIV's brother, and he became the outstanding court painter of the latter part of Louis's reign, retaining his popularity after the king's death. He was less interested in showing individual character than in depicting the rank and condition of the sitter by nobility of attitude and expressiveness of gesture. These qualities are seen most memorably in his celebrated state portrait of Louis XIV (1701), one of the classic images of royal majesty. Louis so admired this portrait that, although he had intended it as a present to Philip V of Spain, he kept it himself. Rigaud's unofficial portraits are much more informal and show a debt to Rembrandt (The Artist's Mother, 1695), several of whose works he owned. The output from Rigaud's studio was vast. — “Rigaud” (or “Rigault”) was, with Nicolas de Largillièrre, one of the foremost painters of the later years of the reign of Louis XIV. While Largillierre drew his sitters from the wealthy Parisian bourgeoisie, Rigaud’s clients were drawn largely from court circles. He developed to a high level of formal perfection the portrait d’apparat, or state portrait, bringing a greater formality to the understated elegance of the portrait tradition of Titian and Anthony van Dyck. The style that Rigaud established continued to be the dominant one for official portraits in France into the 18th century. His brother Gaspard Rigaud [1661–1705] was also a portrait painter. — Jean Ranc and Robert Tournières were assistants of Rigaud. The students of Rigaud included Hyacinthe Collin de Vermont, Jean Legros, Gustaf Lundberg. — LINKS — Self-Portrait (1692, 81x65cm) — Shakspeare - Henry IV~1.V.4 (engraving with hand coloring, 57x42cm; half-size. 256kb _ ZOOM to full size; 1046kb) — Portrait of Phillippe de Couraillon (1702, 162x150cm) _ Phillippe de Couraillon, Marquis de Dangeau, is represented in the costume of the Grand Maître des Ordres. — Portrait of Louis XIV (1694, 277x194cm) _ At the end of Louis XIV's reign the outstanding painter was Hyacinthe Rigaud. Although his activity continued well into the next century, the ethical quality of his figures and the aesthetic quality of his style are part of the spirit of the Louis XIV period. Guided by Le Brun, Rigaud created in painting, as Coysevox had done in sculpture, the portrait of the 'man of quality', whose value he conveyed by the nobility of the attitude, expressiveness of the gesture, and movement of the draperies - in short, by the passion of which he showed his generous temperament to be capable. The aim was less to depict and individual and a character, as Philippe de Champaigne had done in the preceding period, than to affirm the social rank and 'condition' of the sitter, who might be the King, a minister, a financier, or a soldier, but who was always of the Court. Rigaud thus started the Court portrait, which was to have a considerable importance in Europe during the next century. — a different Portrait of Louis XIV (1701, 279x190cm; 1400x981pix, 351kb) _ This famous portrait is regarded as the very epitome of the absolutist ruler portrait. Yet it represents more than just power, pomp and circumstance. The sumptuous red and gold drapery is not only a motif of dignity, but also creates a framework that echoes the drapes of the ornate, ermine-lined robe. The blue velvet brocade ornamented with the golden fleurs-delis of the house of Bourbon is repeated in the upholstery of the chair, the cushion and the cloth draped over the table below it: the king quite clearly "sets the tone". A monumental marble column on a high plinth is draped in such a way that it does not detract from the height of the figure. Louis is presented in an elegantly angled pose, situated well above the standpoint of the spectator to whom he seems to turn his attention graciously, but without reducing the stability of his stance. Rigaud's consummate mastery of portraiture is particularly evident in the way he depicts the king's facial expression: his distanced unapproachability are not founded in Neoclassicist idealization, but in the candour of an ageing, impenetrable physiognomy. The lips are closed decisively and with a hint of irony, the eyes have a harsh, dark sheen, while the narrow nose suggests intolerance. This is a ruler who is neither good nor evil, but beyond all moral categories. — Count Sinzendorf (1712, 166x132cm) _ Several artists, whose careers and styles form a transitional period between the seventeenth and eighteenth centuries, enjoyed enormous success under the patronage of Louis XIV. By far the best of them was Hyacinthe Rigaud. There is a strident quality of many of his best portraits which suggest a familiarity with Spanish painters like Zurbarán. Rigaud rigidly provided the court with exactly what it wanted - a splendid, opulent and yet tasteful glorification of its new-found power and wealth. — Double Portrait of the Artist's Mother shown in two poses facing each other (1695, 83 x 103 cm) — His mother was Marie Serre (died after 1715), wife of painter Mathias “Rigaud” (died 1699). — Marie Serre (1695; oval 1360x1072pix, 324kb) — The Presentation in the Temple (83x68cm) _ The scene depicted is taken from the Gospel of St. Luke (2, 22-28): "And when the days of her purification according to the law of Moses were accomplished, they brought him to Jerusalem, to present him to the Lord; (As it is written in the law of the Lord, Every male that openeth the womb shall be called holy to the Lord; ) And to offer a sacrifice according to that which is said in the law of the Lord, A pair of turtle-doves, or two young pigeons . And, behold, there was a man in Jerusalem, whose name was Simeon; and the same man was just and devout, waiting for the consolation of Israel: and the Holy Ghost was upon him. And it was revealed unto him by the Holy Ghost, that he should not see death, before he had seen the Lord's Christ. And he came by the Spirit into the temple: and when the parents brought in the child Jesus, to do for him after the custom of the law, Then took he him up in his arms..." — Portrait of a Scholar — Philippe V, roi d'Espagne [1683-1746] (80x62cm) — Jacques-Bénigne Bossuet [1627-1704] — Le Philosophe Bernard Le Bouyer de Fontenelle (1400x1120pix, 163kb) _ Bernard Le Bovier (or Bouyer), sieur de Fontenelle [11 Feb 1657 – 09 Jan 1757] was a French scientist and man of letters described by Voltaire as the most universal mind of the era of Louis XIV. His works set forth in embryonic form many of the characteristics ideas of the Enlightenment. His most famous book is Entretiens sur la pluralité des mondes (1686; 213kb _ at another site, 234kb), entertaining dialogues backing the Copernican system on the basis of the Cartesian theory of vortices which would be refuted by Newton's Philosophiae Naturalis Principia Mathematica (1687) of Isaac Newton [04 Jan 1643 = 25 Dec 1642 Julian – 31 Mar 1727 = 20 Mar 1727 Julian]. — Gaspard von Gueidan Playing the Bagpipe (1735; 1400x1102pix, 209kb) — Fürst Wenzel Liechtenstein (1740; 1400x1102pix, 226kb) — A Middle-Aged Man (1400x1090pix, 188kb) |
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Died on 29 December 1825: Jacques~Louis David,
French Neoclassical
painter and draftsman, specialized in Historical
Subjects, born on 30 August
1748. — David was the most prominent and influential painter of the Neo-classical movement in France. In the 1780s he created a style of austere and ethical painting that perfectly captured the moral climate of the last years of the ancien régime. Later, as an active revolutionary, he put his art at the service of the new French Republic and for a time was virtual dictator of the arts. He was imprisoned after the fall from power of Maximilien de Robespierre but on his release became captivated by the personality of Napoleon I and developed an Empire style in which warm Venetian colour played a major role. Following the restoration of the Bourbon monarchy in 1816, David went into exile in Brussels, where he continued to paint but was regarded as something of an anachronism. He had a huge number of pupils, and his influence was felt (both positively and negatively) by the majority of French 19th-century painters. He was a revolutionary artist in both a technical and a political sense. His compositional innovations effected a complete rupture with Rococo fantasy; he is considered the greatest single figure in European painting between the late Rococo and the Romantic era. — Born to a family of masons and building contractors, David studied under Joseph-Marie Vien, to whom he had been recommended by François Boucher, a relative by marriage. After receiving the Prix de Rome in 1774 on his fourth attempt, he spent five years at the French Academy in Italy. Immersion in the art of the ancients and the old masters had a reformative impact on his style, and he abandoned the colorism of his early rococo manner for a more monumental and somber approach. With The Grief of Andromache of 1783, he was elected to the Royal Academy of Painting and Sculpture, and his Serment des Horaces of 1784 became a manifesto for the new classicism. David played a major role in the French Revolution, serving on the Committee for Public Instruction, organizing political pageants, and working on such revolutionary images as The Death of Marat . After the fall of Robespierre, he was arrested and imprisoned for a short time. David rose to power again, however, through his support of Napoléon, for whom he painted numerous portraits and grand commemorative pictures such as Le Sacre de Napoléon et Joséphine (1806). With the Bourbon Restoration, David was forced into exile in Brussels, where he maintained a studio and attempted, in his late portraits and mythologies, a reconciliation. ^ — David - innovator of the Neoclassical Movement - was born in Paris to a wealthy Third Estate family. At the age of 9, David's father died in a duel, and his mother put him in the hands of his uncles' to bring him up. David went to many schools throughout his early life, but never did real well because he was always busy drawing during class. At sixteen Louis David went to "painting school" at the Académie Royale. He had a certain interest in painting historical paintings and portraits. However, in his early career he produced many paintings of Greek and Roman mythology. He had his first training from Boucher, a distant relative, but Boucher realized that their temperaments were opposed and sent David to Vien. In 1776 he went to Italy with the latter, Vien having been appointed director of the French Academy at Rome, David having won the Prix de Rome in 1774. While in Italy, David became influenced by classical art, which soon evolved in his own neoclassical style and came into contact with the initiators of the new Classical revival, including Gavin Hamilton. In 1780 he returned to Paris, and in the 1780s his position was firmly established as the embodiment of the social and moral reaction from the frivolity of the Rococo. After many failures in the Academy's competition, David finally developed his own style and originality and his newly created neoclassical style was also used to represent contemporary political issues. He joined the Primitives, a group of other neoclassicists in Europe, and his work became the model for the next twenty years, received with acclamation by critics and public alike. His uncompromising subordination of color to drawing and his economy of statement were in keeping with the new severity of taste. His themes gave expression to the new cult of the civic virtues of stoical self-sacrifice, devotion to duty, honesty, and austerity. Seldom have paintings so completely typified the sentiment of an age as David's The Oath of the Horatii (1784), Brutus and his Dead Sons (1789), and The Death of Socrates (1787). David was in active sympathy with the Revolution, becoming a Deputy and voting for the execution of Louis XVI. During the course of his involvement in the French Revolution (1789-1799), he reverted to a realistic style. He was an extremist and was a member of the Montagnards, the same group Robespierre, Marat, and Danton are associated with. Through his involvement in the Revolution and the Montagnards, Jacques-Louis David is remembered for many things other than his paintings, and not all of them are positive. He was one of the founders of France's museums, including the Louvre. He also a deputy to the National Convention and on the Committee of General Security and put more than 300 people to death. But his position was unchallenged as the painter of the Revolution. His three paintings of 'martyrs of the Revolution', though conceived as portraits, raised portraiture into the domain of universal tragedy, the most famous being The Death of Marat (1793) After the fall of Robespierre (1794), however, he was imprisoned, but was released on demand of the public, his students and on the plea of his wife, who had previously divorced him because of his Revolutionary sympathies (she was a royalist). They were remarried in 1796, and David's Intervention of the Sabine Women (1799), begun while he was in prison, is said to have been painted to honor her, its theme being one of love prevailing over conflict. It was also interpreted at the time, however, as a plea for conciliation in the civil strife that France suffered after the Revolution and it was the work that re-established David's fortunes and brought him to the attention of Napoléon. In 1797 David met Napoléon Bonaparte. Napoléon asked David to dinner, and David accepted. David asked to paint him, and Napoléon agreed, but David was allowed only one sitting with Napoléon and only got his face sketched. It was at this point that Napoléon Bonaparte became David's hero. In 1800, David became Napoléon's official painter and remained at that position until 1815 when Napoléon's Empire collapsed. David became an ardent supporter of Napoléon and retained under him the dominant social and artistic position which he had previously held. Between 1802 and 1807 he painted a series of pictures glorifying the exploits of the Emperor, among them the enormous Coronation of Napoléon (Louvre, 1805-07). These works show a change both in technique and in feeling from the earlier Republican works. The cold colors and severe compositions of the heroic paintings gave place to a new feeling for pageantry which had something in common with Romantic painting, although he always remained opposed to the Romantic school. After Napoléon’s downfall, David was exiled to Brussels, Belgium, and began painting mythological subjects again. His work weakened as the possibility of exerting a moral and social influence receded. (Until recently his late history paintings were generally scorned by critics, but their sensuous qualities are now winning them a more appreciative audience.) He continued to be an outstanding portraitist, but he never surpassed such earlier achievements as the great Napoléon Crossing the Alps (four versions) or the cooly erotic Madame Récamier (1800). David's work had a resounding influence on the development of French - and indeed European - painting, directly and through his many students. ^ — Jacques-Louis David was a supporter of the French Revolution and one of the leading figures of Neoclassicism. He was a distant relative of Boucher, who perhaps helped his early artistic progress as a student under Vien (1765). He won the Prix de Rome in 1774 and traveled with his master to Rome where he spent six years. It was during this period (1775-81), that he abandoned the grand manner of his early work, with its Baroque use of lighting and composition for a stark, highly finished and morally didactic style. This was influenced by the ideas then current in Rome and by artists such as Hamilton who were already experimenting with a Neoclassical idiom. In 1784 the change of style was confirmed by the Oath of the Horatii, probably the most famous and certainly the most severe of a series of works which extolled the antique virtues of stoicism, masculinity and patriotism. During the French Revolution, David played an active role both artistically he reorganized the Académie and produced numerous and spectacular propaganda exercises - and politically, as an avid supporter of Robespierre, who voted for the execution of the king. He also attempted to catalogue the new heroes of the age, abortively in the Oath of the Tennis Court, and successfully in his pieta-like portrayal of the Death of Marat (1793). He eventually lost out in the confused politics of the 1790s, was imprisoned under the moderate Directory and saved by the intervention of his estranged wife, symbolized in his Intervention of the Sabine Women (1799), a work which strained his Classicism in the search for Greek purity. In 1799 Napoléon gained power, and David gained a new hero. He recorded the general and later the Emperor in numerous propaganda pieces (e.g. Napoléon at Mont St Bernard, 1800; The Crowning of Joséphine) in which his sobriety was loosened by Napoléon's demand for grandeur. In professional terms, he failed to survive the fall of his master, and in 1815 retired in exile to Brussels, where he continued to work in a highly finished Classical vein, but resorted to myth for his subject-matter (e.g. The Disarming of Mars). Throughout his career he produced portraiture which not only catalogued the changing political spectrum, but also his own artistic developments (e.g. Antoine Lavoisier and his Wife, 1788). — Jacques-Louis David was born into a prosperous middle-class family in Paris. In 1757 his mother left him to be raised by his uncles after his father was killed. He was never a good student in school- in his own words, "I was always hiding behind the instructors chair, drawing for the duration of the class". When David was 16 he began studying art at the Académie Royale under the rococo painter J. M. Vien. After many unsuccessful attempts, he finally won the Prix de Rome in 1774, and on the ensuing trip to Italy he was strongly influenced by classical art and by the classically inspired work of the 17th-century painter Nicolas Poussin. David quickly evolved his own individual neoclassical style, drawing subject matter from ancient sources and basing form and gesture on Roman sculpture. His famous Oath of the Horatii was consciously intended as a proclamation of the new neoclassical style in which dramatic lighting, ideal forms, and gestural clarity are emphasized. Presenting a lofty moralistic (and by implication patriotic) theme, the work became the principal model for noble and heroic historical painting of the next two decades. It also launched his popularity and awarded him the right to take on his own students. After 1789, David adopted a realistic rather than neoclassical painting style in order to record scenes of the French Revolution (1789-1799). David was very active in the Revolution, being elected a deputy to the National Convention on 17 September 1792. He took his place with the extremists known as the Montagnards — along with Marat, Danton, and Robespierre. During this time he had produced deeds both positive and negative: On the positive side he proposed the establishment of an inventory of all national treasures- making him one of the founders of France's museums. In fact, he played an active role in the organization of the future Louvre, Paris. On the negative side, his radicalism during the Revolution bred within him a certain madness. He was appointed to the Comité de Salut Public in 1793 — which gave him the power to sign nearly 300 arrested individuals to be guillotined. After the end of the Revolution, imprisoned because of his actions during the Reign of Terror, he wrote a letter to a friend stating, "I believed, in accepting the post of legislator — an honorable post, but one very difficult to fulfill — that an upright heart would suffice, but I was lacking in the second quality, by which I mean insight." A delegation of his students demanded his release, and he was freed on 28 December 1794. Near the end of 1797 David met Napoléon Bonaparte. From 1799 to 1815 he was Napoléon's official painter, chronicling the reign of Napoléon I in huge works such as The Coronation of Napoléon and Joséphine. Following Napoléon's downfall in 1815, David was exiled to Brussels, where he returned to mythological subjects drawn from the Greek and Roman past. He stayed there until his death. David, throughout his career, was also a prolific portraitist. Smaller in scale and more intimately human than his larger works, his portraits, such as the famous Madame Récamier, show great technical mastery and understanding of character. Many modern critics consider them his best work, especially because they are free from the moralizing messages and sometimes stilted technique of his neoclassical works. — The assistants of David included François Gérard, Lorenzo Bartolini, Jean-Germain Drouais, Jean-Pierre Franque, Pierre Révoil. — David was a great teacher, although few of his students actually followed the severity of his style. Among his students were Anne-Louis Girodet de Roussy-Trioson, Jean-Auguste-Dominique Ingres, Antoine-Jean Gros, Jean-Baptiste Isabey, Louis-Léopold Robert, Jean Victor Schnetz, Alexandre Abel de Pujol [1785-1861], Jacques-Laurent Agasse, José Aparicio Inglada, Augustin Aubert, Gustave Ricard, John James Laforest Audubon, Pauline Auzou, Marie-Guillemine Benoist, Pierre-Nolasque Bergeret, René Théodore Berthon [1776 – 1859], Jean Broc, Antoni Stanislaw Brodowski, Louis-Charles-Auguste Couder, Jules-Hippolyte Delaroche, Michel-Martin Drolling, Jean-Germain Drouais, Claude-Marie Dubufe, Jean-Louis Ducis, Pierre Duval Le Camus, Christoffer Wilhelm Eckersberg, François-Xavier baron Fabre, Charles-Antoine Flageoulot (who would be a teacher of Courbet [10 Jun 1819 – 31 Dec 1877]), Alexandre-Evariste Fragonard, Sophie Frémiet, Jean-François Garneray, Pierre Gautherot, François-Simon-Alphonse Giroux, François-Marius Granet, Fulchran-Jean Harriet, Philippe-Auguste Hennequin, Marie-Antoine Hervier, Philipp Friedrich von Hetsch, Jean-Nicolas Huyot, Jean-Jacques Karpff, Johann Peter Krafft, Jan Adam Kruseman, Jean-Louis Laneuville, Édouard Liénard, prince Louis-Philippe d'Orléans (later King of the French 1830-1848), José de Madrazo y Agudo, Marie-Françoise-Constance Mayer, Achille Etna Michallon, François-Joseph Navez, Joseph-Denis Odevaere, Joseph Paelinck, Jacques-Nicolas Paillot de Montabert, Charles-François Phélippes, François-Édouard Picot, Édouard Henri Théophile Pingret, Johann Anton Ramboux, Juan Antonio Ribera y Fernández, Fleury-François Richard, Henri-François Riesener, Christian Friedrich Tieck, Johann Martin von Wagner [1777-1858], Johann Friedrich Maximilian graf von Waldeck, Jean-Baptiste-Joseph Wicar, Ludwig Wilhelm Wichmann. — Portrait of David (lithograph 23x15cm) by Aloys Senefelder [1771-1834] — LINKS — Self Portrait (1794, 80x64cm) — La Mort de Socrate (1787, 129x196cm; 712x1201pix, 84kb — ZOOM to 1903x2907pix, 531kb — or, for more fun than watching hemlock grow, but not as large a picture, try this 1400x2139pix, 780kb) — Le sacre de Napoléon I et de l'impératrice Joséphine dans la cathédrale Notre~Dame à Paris le 2 décembre 1804 (1807; main detail 892x1191pix, 195kb — ZOOM TO FULL PICTURE 1823x2953pix, 889kb — or, for more fun than watching paint dry, but not as large a picture, try this 1400x2268pix, 1158kb) — Laure-Emilie-Felicité David, La Baronne Meunier (1812, 74x60cm; 1/3 size _ ZOOM to 2/3 size) — La Bonne Aventure (1824, 62x75cm; 3/8 size _ ZOOM to 3/4 size) — Napoléon in His Study — Madame Seriziat with toddler (1795) — La Mort de Marat (1793, 162x125cm) — Le Serment du Jeu de Paume (1791) — Paris et Hélène (1788) — Monsieur et Madame Lavoisier (1788, 265x224cm) — Le Serment des Horaces (1784, 330x425cm) — Andromache Mourning Hector (1783) — Alphonse Leroy (1783) — The Lictors Bring to Brutus the Bodies of His Sons (1789; 1197x1550pix, 245kb) — Madame Récamier (1800; 1936x2722pix) — The Sabine Women Enforcing Peace by Running Between the Combatants (1799; 1188x1653pix, 333kb) — The Battle Between Mars and Minerva (1770) — Christ on the Cross (1782; 1759x1179; 229kb) — 33 images at Webshots |
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