Showing posts with label oil paint. Show all posts
Showing posts with label oil paint. Show all posts

Thursday, February 26, 2015

Gratuitous Bertie Dog Picture: Guerrilla My Dreams





"Let's just wait until he departs and we'll see if this guerrilla left any bananas behind."







Original Painting:

The Guerrilla's Departure

Creator: Sir David Wilkie (1785-1841) (artist)
Creation Date: 
Signed and dated 1828
Materials and techniques: 
Oil on canvas
Acquirer: George IV, King of the United Kingdom (1762-1830)
Provenance: 
Purchased by George IV

Crown Copyright
The Royal Collection
via The Royal Collection Trust

Image courtesy of Her Majesty Queen Elizabeth II.

To learn more about this painting by Sir David Wilkie, visit its official entry in the Royal Collection.  







You, too, could have a cup of tea with Bertie. Or, you could wear his picture proudly. Visit our online store to see our range of Gratuitous Bertie Dog products.

Monday, February 2, 2015

Painting of the Day: War and Victory: Model for a Title Page, 1645-1635

War and Victory
Rubens, 1634-1635
The Victoria & Albert Museum




This handsome work is a model for a title page  for a book which was published in Antwerp by Jan Cnobbaert in 1635.  The painting is from the masterful hand of Rubens (1577-1640).

This piece is one of only three known oil sketches in grisaille (monochrome painting) that Rubens designed for use as title pages. Rubens' work represents the finest hallmarks of  the Italian High Renaissance.  He wedded these ideals, with which he became acquainted during an extended visit to Italy, with northern realism. 

The oil sketch depicts, on the right, a male allegorical figure who is carrying the trophies of war, and, on the left, a winged female allegorical figure.  She offers upward a laurel wreath to a rather busy eagle who holds serpent in its talons.  At the top two Genii crown a coat of arms adorned with wreaths.  A blank cartouche anchors the bottom of the composition.


Wednesday, July 23, 2014

Painting of the Day: The Misers, 1548-1551



The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.




Thursday, June 12, 2014

Painting of the Day: “Silence!” By Jean-Baptist Greuz, 1759




Silence!
Jean-Baptist Greuz, 1759
Acquired by King George IV, 1817\
Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty
Queen Elizabeth II

This French painting was acquired by King George IV in 1817. It was a peculiar purchase for the King who wasn’t prone to picking domestic genre scenes. He was, however, enchanted by all things French, and perhaps this intimate painting with its frank depiction of raising children, put him in mind of French attitudes toward life.


This handsome piece comes from the hand of Jean-Baptist Greuz who achieved considerable fame with his paintings of Eighteenth-Century, French domestic life. This work from 1759 who created, along with a companion piece for one of Greuz’s most loyal patrons who allowed the works to be displayed that year at the Paris Salon.

The following was displayed on a card alongside the painting:

A Painting representing Rest, characterized by a Woman who obliges her son to be silent by pointing to her other sleeping children.
The rather disheveled little boy has been up to considerable mischief. We can see that he’s been irritating his mother by making noise on his toy trumpet. We can assume that he’s responsible for the broken drum which hangs from the back of the chair of the slumbering child. His mother urges him, “Silence,” by pointing at the other little boy who is fast asleep.

The companion painting to this work showed the same mother with the disheveled boy. That painting, entitled “The Spoilt Child,” depicted a scene of paternal indulgence as the mother watches her son feed his dinner to a happy dog.


Saturday, May 24, 2014

Painting of the Day: A Basket of Fruit for the Empire Marketing Board, 1931



Click image to enlarge
Still-Life of Exotic Fruit
Mark Gertler
The Empire Marketing Board, 1931
The Victoria & Albert Museum


Painted in 1931 by Mark Gertler (1891-1939), this still-life of a basket holding pineapple, apples, bananas and pears on a cloth-draped table, was commissioned by the Empire Marketing Board.

The Marketing Board had been established in 1926 in order to promote trade with the Colonies and Dominions of the British Empire.  This original painting was one of several lush designs which, through using brilliant, enticing imagery, were commissioned to encourage British people to support these growing industries.  

Posters printed with these paintings, many of which were the work of Gertler in a similarly appealing style, were emblazoned with effective slogans such as "Buy Empire Every Day" and "Follow the Flag in all your Purchases."




Wednesday, April 16, 2014

Unusual Artifacts: Samuel Hayward's Sketchbook, 1800



Sketchbook of Samuel Hayward
Drawn in France, 1800
The Victoria & Albert Museum




This portable sketchbook, once owned by artist John Samuel Hayward (1778-1822) (he preferred to be called “Samuel”), contains studies of landscapes, towns and figures, notes on the artist’s travels in France and on the manufacture of the floor-cloth which was Hayward's primary business. Hayward used this sketchbook to sketch rapidly from nature. It seems that Hayward, rather abstractly for his time, did not feel bound by artistic conventions in his compositions, but, instead, worked freely from observing life, using the paper as a palette to test his colors.

Hayward was the son of a floor-cloth manufacturer and later took on his father's business despite the fact that he would have preferred to become a fulltime artist. He was a friend of the celebrated watercolorist Joshua Cristall (1768-1847), who Hayward met when Cristall first worked at the calico printing works at Old Ford in London. The two young men collaborated on painting a panorama of Constantinople when Cristall (typing this name correctly is killing me since I keep, naturally, omitting the “t” and adding an “i” to the end) came to London to establish himself as a professional artist.

Though Hayward remained an amateur, he managed to be exhibited at the Royal Academy from 1798 to 1816 and was Secretary of The Sketching Society, to which he was elected in 1803. He famously made sketching trips around Britain and to France and Italy.  One of the most prolific amateur artists of his day, Hayward promoted the growing enthusiasm for working directly from nature.  This sketchbook, showing scenes of France, demonstrates that passion.





Thursday, March 6, 2014

Object of the Day, Museum Edition: The Black Brunswicker, 1860


The Black Brunswicker
Sir John Everett Millais, 1860
The Lady Lever Art Gallery
Liverpool

Sir John Everett Millais was known for his emotionally-charged, theatrical and highly detailed paintings. He preferred to paint scenes which featured figures which would tempt the viewer to touch them because of the highly tactile nature of their clothing and radiant skin. This painting is no exception.


In the composition, we see a young lady being embraced by a soldier in a historical scene. The soldier represents a member of the special troop of highly-trained German soldiers of 1809 known as The Black Brunswickers whose motto “Glory or Death” became widely known. The Black Brunswickers wore death’s heads on their helmets to reinforce their grisly anthem. This regiment suffered tragic losses at the 1815 Battle of Waterloo.

For his subjects, Millais used Charles Dickens’ daughter, Kate, as the model for the girl, and a private in the Life Guards as the model for the soldier. At no point were the two ever in the same room. Each posed with a mannequin for preliminary studies.

Notice the folds of the woman’s dress. They invite the viewer to reach out and touch it to see if it is, in fact, real. Millais has included a figure of a dog to reinforce the humanity of the scene and has placed a reproduction of an engraving of Napoleon Crossing the Alps by J.L. David as a reminder of Waterloo.





Monday, March 3, 2014

Painting of the Day: Prince Arthur, 1852




Prince Arthur
Franz Xaver Winterhalter, 1852
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Franz Xaver Winterhalter (1805-1873) was a favorite of Prince Albert and Queen Victoria who often commissioned the artist to produce family scenes which included the Royal children and pets—specialties of the painter.

The German-born Winterhalter had been brought to Queen Victoria’s attention by the Queen of the Belgians in 1842. He worked for the Royal Court until his death.

This handsome portrait by Winterhalter was completed in 1852. It depicts Prince Arthur (1850–1942), the third son and seventh of the nine children of Queen Victoria and the Prince Consort. Prince Arthur depicted seated, holding a soldier doll. A copy of the portrait was made by Winterhalter by command of Queen Victoria who presented it to Prince Arthur’s godfather, the Duke of Wellington on the occasion of the Prince’s birthday.

We should remember that in the mid-Nineteenth Century, little boys were still being attired in what is essentially a dress.



Saturday, January 25, 2014

Painting of the Day: Portrait of a Baby, possibly Prince Edward (1767-1820), later Duke of Kent



Portrait of a Baby, Possibly Prince Edward
c. 1769
Francis Cotes
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II




Painted by Francis Cotes (1726-70), circa 1768-1769, this work of oil on canvas was first recorded in the Royal Collection during the reign of Queen Victoria.  

The identity of the infant sitter has long been something of a mystery, however, most believe that the child is Prince Edward since his 1767 birth coincides with the creation of the painting.  Furthermore, Eighteenth Century inventories of the palaces at Kensington and Kew refer to portraits of Prince Edward by "Coates."

Regardless of his identity, the baby is a cheeky boy, impersonating Cupid--complete with faux wings, a quiver of arrows and a theatrical floral garland.  During this period, artists such as Reynolds were employing this sort of "mock-mythology" in portraits of young ladies, but, if the attributed date of the painting is to be trusted, we can see that Cotes was among the first to adopt the idea in the representation of infants. 

Tuesday, January 7, 2014

Painting of the Day: "Simplicity" by Hermann Winterhalter, 1843

Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II




This painting, acquired by Queen Victoria for Prince Albert in 1843 is one of a set of four by Hermann Winterhalter, the brother of Franz Xaver Winterhalter--one of the most beloved painters of Victoria's court.  The set depicts the "Virtues."  This one shows "Simplicity."  The other three are "La Naïveté" "L’Innocence" and "La Pudeur"  

By all accounts, Her Majesty was pleased withe with the work of Hermann Winterhalter, even describing this particular work in her journal as being a, "very pretty painting."



Tuesday, November 12, 2013

Object of the Day, Museum Edition: Alfred, Duke of Edinburgh, with his Family, 1884



Another dreadful bore awaits me. The Queen has sent over her new court painter, Herr Sohn, who must produce a family group of the Duke, myself, and our two eldest children! This is an aggravation of sorrow that fell upon me like a shell. I am simply furious: besides hating the long sittings, I dislike still more having my pig-like face reproduced on canvas and handed over to posterity. When I was a nice, lively, thin and fresh young lady, I did not mind it so much, but now! His first sketch of me is monstrous as he was provided by the Queen with the most atrocious photographs that were ever made of me. I was so horrified that I could not conceal it and the poor man does not quite know what he is to think about the whole business.

So wrote the Duchess of Edinburgh in an 1884 letter.  The result of the sitting of which she complained so bitterly is below, a portrait which is the work of Carl Rudolph Sohn (1845-1908), the son of Carl Ferdinand Sohn (1805-1867).  Queen Victoria was familiar with the work of both father and son Sohn and had dispatched the younger Sohn to paint the portrait of Alfred, Duke of Edinburgh (1844-1900) and his family.

The Family of Alfred, Duke of Edinburgh
Carl Sohn, 1884
Crown Copyright
The Royal Collection
Via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II


Alfred was Queen Victoria’s and Prince Albert's fourth child. His Majesty is depicted here with his wife, the admittedly porcine Duchess Marie, and their two children, who were also called Alfred and Marie. The Duke is in the morning dress uniform of a Vice-Admiral and wearing the badges of St Patrick, St Michael and St George, the Star of India and St Vladimir of Russia. Well, aren't we fancy?

As evidenced by the above quote, the Duchess wasn't too thrilled about having her portrait painted.  She was rather sensitive about her looks after giving birth to two sturdy Royal children, it seems.  That, and her twisted tail.



Thursday, October 24, 2013

Object of the Day, Museum Edition: The Misers, 1548-1551



The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.


Tuesday, August 27, 2013

Painting of the Day: The Marriage of the Queen of Portugal

The Marriage of the Queen of Portugal
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II




Sometimes, an exceptional and unusual painting is made all the more historically important because of the artist.  Very often, this is because it was the work of a well known painter, or, sometimes, because the painter was not a celebrated artist, but rather, an influential personality.  This is the case with this canvas, the work of The Empress Friedrich (1840-1901).

The unsually fluid work depicts the marriage of Stephanie, Queen of Portugal, to Pedro V. The veiled bride can  just be seen to left.




Tuesday, August 20, 2013

Painting of the Day: Jonah Under his Gourd, 1561



Jonah Under His Gourd
Marten van Hemmskerck, 1561
Crown Copyright
The Royal Collection
This Image and the detail below are
 Courtesy of Her Majesty Queen Elizabeth II




Marten van Heemskerck (1498-1574) created this work of oil on panel in around 1561. The biblical-themed piece was purchased by King Charles II from William Frizell in 1662 for 250 florins.

The painting depicts a moment from the story of Jonah (of Whale fame). The story recounts a time when Jonah was doing prophet-y stuff and warned the filthy, dirty, sinful citizens of Nineveh about an impending punishment because of their dirty, filthy, sinful ways. Well, the people got their act together and God said, “Eh, it’s okay. I won’t smite you today.” Well, good for Nineveh, but not so good for Jonah who just looked a fool and was very embarrassed about the whole thing. After all, he said there’d be smiting and no smiting occurred. And, so, it goes something like this:

‘And the Lord God prepared a gourd,’ the story continues, ‘and made it to come up over Jonah, that it might be a shadow over his head, to deliver him from his grief...But God prepared a worm when the morning rose the next day and it smote the gourd that it withered. And it came to pass, when the sun did arise, that God prepared a vehement east wind; and the sun beat upon the head of Jonah, that he fainted, and wished in himself to die’. (Jonah 4: 6-8)

And, so, you see. When the gourd tree was taken away or eaten by big bible worms or whatever the hell, Jonah realized it had value. So, shouldn’t he also see the value of the citizens of the city? Well, yes. So, Jonah learned that he was wrong to wish the city destroyed just so he wouldn’t be embarrassed. 





Van Heemskerck shows us the very moment “when the morning rose the next day.” He’s done a fine job of showing the time of day. The scene has a nifty misty quality to it—a characteristic of an early morning which will die to a hot, day. The artist sets a scene, however, of Sixteenth Century Rome as opposed to ancient Nineveh. This, however, was not uncommon for Renaissance artists who found that putting Biblical tales in contemporary settings helped communicate the story more clearly to those whose only encounters with these themes came from viewing such pieces of art.



Tuesday, August 6, 2013

Painting of the Day: Leonide Massine Waiting For His Cue to Go on Stage in 'On With the Dance,' 1925

Leonide Massine Waiting for His Cue to Go On Stage in "On With the Dance."
Gluck, 1925
The Victoria & Albert Museum



This behind-the scenes theatrical painting is at once intimate and distancing.  A rare look at backstage emotions, the composition also keeps the viewer at arm's length by presenting all of the figures from the back.  Here, we see the famed danseur Leonide Massine as he awaits his entrance cue in Cochran's revue, "On With the Dance," as performed at the London Pavillion in 1925. Massine's entrance marked the start of Scene Seven of the revue which had been entirely choreographed by Massine as an adaptation of Hogarth's series of paintings "A Rake's Progress."

The enchanting canvas was painted by "Gluck" (1895-1978), an artist well-known in the 1920s and 1930s for her portraits and floral paintings.  Gluck's full name was Hannah Gluckstein, however, she insisted on being known only as Gluck in order that she might distance herself from her society family.  Gluck's upper-class kin were frequently scandalized by Hannah's "bohemian" behavior.  She exclusively wore male attire, but more so they disapproved of her lesbian relationships.  

Accustomed to a sense of isolation, Gluck identified with no one artistic school or movement, and preferred to exhibit her works only in solo exhibitions, where they were displayed in a special frame she invented and patented.  This invention, known as the "Gluck frame" extended from the wall in three sections or tiers which were painted or papered to match the wall on which it hung, thus allowing the paintings to became part of the architecture of the room. 

This painting is in a white-painted Gluck frame not visible in the image.




Wednesday, July 24, 2013

Masterpiece of the Week: Portrait of a Baby, possibly Prince Edward (1767-1820), later Duke of Kent

Portrait of a Baby, Possibly Prince Edward
c. 1769
Francis Cotes
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II




Painted by Francis Cotes (1726-70), circa 1768-1769, this work of oil on canvas was first recorded in the Royal Collection during the reign of Queen Victoria.  

The identity of the infant sitter has long been something of a mystery, however, most believe that the child is Prince Edward since his 1767 birth coincides with the creation of the painting.  Furthermore, Eighteenth Century inventories of the palaces at Kensington and Kew refer to portraits of Prince Edward by "Coates."

Regardless of his identity, the baby is a cheeky boy, impersonating Cupid--complete with faux wings, a quiver of arrows and a theatrical floral garland.  During this period, artists such as Reynolds were employing this sort of "mock-mythology" in portraits of young ladies, but, if the attributed date of the painting is to be trusted, we can see that Cotes was among the first to adopt the idea in the representation of infants.

Tuesday, July 2, 2013

Painting of the Day: A German Farmer in his Cornfield, c. 1873



A Gentleman Farmer Surveying His Corn
FH Pfeiffer, c. 1873
Crown Copyright
The Royal Collection Image Courtesy of Her Majesty Queen Elizabeth II





I’m tickled that the Royal Collection identifies the subject of this painting as a “corpulent farmer.” I just like the word “corpulent.” And, it’s a good description for this fellow.

The painting is the work of FH Pfeiffer (presumably he was born and died, but we don’t quite know when—only that he was active around 1873). It’s one of those combination genre paintings and landscapes which were popular in the 1870s, a period during which artists liked the idea of depicting the “noble poor” as well as images of aristocrats engaged in common activities.

This “corpulent” farmer is attired in a red waistcoat and yellow breeches. He’s a bit overdressed for his work as he surveys his corn crop. He’s joined by his faithful dog who is clearly bored with the whole thing. I guess he doesn’t like being a…corn dog.

Oddly enough, this is the only photo of the piece—cropped strangely as it is.

Monday, May 13, 2013

Painting of the Day: Portrait of a Baby, 1690-1730



The Victoria & Albert Museum


While portraits of babies were decidedly more common during the Victorian era when children were more openly cherished, portraits of infants from the Seventeenth and Eighteenth Century are considerably rarer. Infant mortality was a fact of life, and while, children were loved, parents were more realistic about their survival. So, it’s rather odd to see a portrait of a baby dating between 1690 and 1730. I should point out here that portraits of infants painted during this period—though rare—almost always were memorial portraits of a deceased child in burial clothes.

Here, the robust health and life of the child are very much the focus in this portrait of a baby, in oil color on canvas, of portrait proportions. The child sits, propped against white pillows between curtains of dark blue satin—probably on a bed. He or she wears a high-necked white garment with long full sleeves gathered into a frill at the wrist, and a close-fitting cap of white fabric which has been trimmed with lace and a band of pale pink ribbon.

The painting is attributed to Mary Beale, or possibly, one of her students. Some speculate that the subject is Beale’s own child.



Tuesday, April 30, 2013

Painting of the Day: A Basket of Fruit for the Empire Marketing Board, 1931

Click image to enlarge
Still-Life of Exotic Fruit
Mark Gertler
The Empire Marketing Board, 1931
The Victoria & Albert Museum


Painted in 1931 by Mark Gertler (1891-1939), this still-life of a basket holding pineapple, apples, bananas and pears on a cloth-draped table, was commissioned by the Empire Marketing Board.

The Marketing Board had been established in 1926 in order to promote trade with the Colonies and Dominions of the British Empire.  This original painting was one of several lush designs which, through using brilliant, enticing imagery, were commissioned to encourage British people to support these growing industries.  

Posters printed with these paintings, many of which were the work of Gertler in a similarly appealing style, were emblazoned with effective slogans such as "Buy Empire Every Day" and "Follow the Flag in all your Purchases."






Thursday, March 14, 2013

Painting of the Day: Prince Arthur, 1852



Prince Arthur
Franz Xaver Winterhalter, 1852
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II
Franz Xaver Winterhalter (1805-1873) was a favorite of Prince Albert and Queen Victoria who often commissioned the artist to produce family scenes which included the Royal children and pets—specialties of the painter.

The German-born Winterhalter had been brought to Queen Victoria’s attention by the Queen of the Belgians in 1842. He worked for the Royal Court until his death.

This handsome portrait by Winterhalter was completed in 1852. It depicts Prince Arthur (1850–1942), the third son and seventh of the nine children of Queen Victoria and the Prince Consort. Prince Arthur depicted seated, holding a soldier doll. A copy of the portrait was made by Winterhalter by command of Queen Victoria who presented it to Prince Arthur’s godfather, the Duke of Wellington on the occasion of the Prince’s birthday.

We should remember that in the mid-Nineteenth Century, little boys were still being attired in what is essentially a dress.