Showing posts tagged 17th century.
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Ocular Canticle

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spanishbaroqueart:

Francisco Herrera the Elder
Apotheosis of Saint Hermenegild (c. 1620-24)
Museum of Fine Arts, Seville, Spain

spanishbaroqueart:

Francisco Herrera the Elder

Apotheosis of Saint Hermenegild (c. 1620-24)

Museum of Fine Arts, Seville, Spain

(via centuriespast)

— 1 year ago with 68 notes
#17th century  #religious art  #cherubs  #angels  #saint  #catholicism 
100artistsbook:

David Bearing the Head of Goliath, Jacob Van Oost The Elder. Flemish (1601- 1671)

100artistsbook:

David Bearing the Head of Goliath, Jacob Van Oost The Elder. Flemish (1601- 1671)

(Source: poboh, via malebeautyinart)

— 1 year ago with 301 notes
#biblical story  #religious art  #david  #goliath  #david and goliath  #christianity  #old testament  #jacob van oost  #flemish  #17th century 
centuriespast:

MIEREVELD, Michiel Jansz. van
(b. 1567, Delft, d. 1641, Delft)
Anatomy Lesson of Dr. Willem van der Meer1617Oil on canvas, 144 x 198 cmGemeente Musea, Delft

centuriespast:

MIEREVELD, Michiel Jansz. van

(b. 1567, Delft, d. 1641, Delft)

Anatomy Lesson of Dr. Willem van der Meer
1617
Oil on canvas, 144 x 198 cm
Gemeente Musea, Delft

— 2 years ago with 445 notes
#17th century  #anatomy  #michiel jansz van miereveld  #doctor  #health  #portrait 

Diego Velázquez, Las Meninas. 1656. Museo del Prado, Madrid.

Diego Velázquez, Las Meninas. 1656. Museo del Prado, Madrid.

(Source: cityofmirrors, via pureblog)

— 2 years ago with 15 notes
#1650s  #17th century  #diego velazquez  #painting  #portrait  #children 
nocturnaldeath:

Ambroise Frédeau, The Blessed Guillaume de Toulouse Tormented by Demons (Le bienheureux Guillaume de Toulouse tourmenté par les démons), 1657.

nocturnaldeath:

Ambroise Frédeau, The Blessed Guillaume de Toulouse Tormented by Demons (Le bienheureux Guillaume de Toulouse tourmenté par les démons), 1657.

(Source: antitacta, via monsterism)

— 2 years ago with 287 notes
#religious art  #painting  #demons  #suffering  #violence  #1650s  #17th century  #ambroise fredau 
crypte:

St. Mary of Egypt w/ hagiographical scenesAnonymous (Russian)17th century

crypte:

St. Mary of Egypt w/ hagiographical scenes
Anonymous (Russian)
17th century

(via noblebeasts)

— 2 years ago with 11 notes
#saints  #st. mary  #religious art  #17th century  #russian 
rhea137:

‘The Headless Horseman’ (via Kintzertorium)
Equestrian portrait known as ‘The Headless Horseman’: a man, whose face has been completely erased, in armour and sash, holding stick, with page standing on the right, and battle scene in the background, in an ornate frame.
Engraving made by Pierre Lombart after Anthony van Dyck, France, 1655.
► This print is celebrated for the number of transformations that it underwent over a period of many years. G.S.Layard wrote an entire book about it under the title ‘The Headless Horseman’, in 1922, in which he identified seven states. In the first the horseman is Cromwell; in the second there is no head; in the third and fourth he is transformed into Louis XIV; in the fifth he is Cromwell again; in the sixth he is Charles I, and in the seventh again Cromwell. The British Museum possesses impressions of each of Layard’s states except the first.
► In fact there is an even earlier state, of which a photograph was presented to the BM by Professor W.C.Abbott in 1932. The lettering reads: ‘Oliverius Magnae Britanniae Hiberniae et totius Anglici imperii Protector. Hanc summi et toto terrarum orbe celeberrimi herois effigiem Supremo suae celsitudinis Consilio DDD Petrus Lombardus.’ Under the horse’s hoof is ‘P.Lombart sculpsit’. It may be doubted whether even this really was the first state, for Cromwell’s head has certainly been re-engraved. The lettering makes it clear that it was Lombart who dedicated the print to the Council. Piper noted an entry in the State Papers for July 1655, when Lombart was paid £20 for ‘presenting several portraits of his Highness to the Council’. He linked this with the print of Cromwell with a page, but it fits better with this plate.
► It was Cromwell’s death and the subsequent collapse of the Commonwealth in 1660 that led to the subsequent transformations. The first of them seems to have been made by Lombard himself, who took the plate with him to France, but the later states are after his death and were made to cater to the curiosity of print collectors. The original copper plate found its way to the Stirling collection of Keir in Scotland, and now belongs to the same collector as has lent this impression.
► The design is cribbed by Lombart from an equestrian portrait of Charles I by van Dyck. The autograph is now in the Royal collection, but it is very likely that Lombart used the version that is now at Petworth. In the 1650s it was in Northumberland House in London, and an inventory shows that ‘the face was not finished’ at that time. Robert Walker, with whom Lombart was closely associated, did not hesitate to use van Dyck in the same way. When asked ‘why he did not make some of his own postures, says he, if I could get better I would not do Vandikes. He would not bend his mind to make any postures of his own’.
► Piper unfortunately omitted the engravings in his study of the portraits of Cromwell in the Walpole Society, and it is difficult to understand the sequence of their production. Some prints seem to have been lost completely. On 5 March 1657, William Gilbertson entered in the Stationers Register ‘The portrature of his highnesse, Oliver, Lord Protector of England, Scotland and Ireland in a knot, 1 large sheet’. This has not been identified.

rhea137:

‘The Headless Horseman’ (via Kintzertorium)

Equestrian portrait known as ‘The Headless Horseman’: a man, whose face has been completely erased, in armour and sash, holding stick, with page standing on the right, and battle scene in the background, in an ornate frame.

Engraving made by Pierre Lombart after Anthony van Dyck, France, 1655.

► This print is celebrated for the number of transformations that it underwent over a period of many years. G.S.Layard wrote an entire book about it under the title ‘The Headless Horseman’, in 1922, in which he identified seven states. In the first the horseman is Cromwell; in the second there is no head; in the third and fourth he is transformed into Louis XIV; in the fifth he is Cromwell again; in the sixth he is Charles I, and in the seventh again Cromwell. The British Museum possesses impressions of each of Layard’s states except the first.

► In fact there is an even earlier state, of which a photograph was presented to the BM by Professor W.C.Abbott in 1932. The lettering reads: ‘Oliverius Magnae Britanniae Hiberniae et totius Anglici imperii Protector. Hanc summi et toto terrarum orbe celeberrimi herois effigiem Supremo suae celsitudinis Consilio DDD Petrus Lombardus.’ Under the horse’s hoof is ‘P.Lombart sculpsit’. It may be doubted whether even this really was the first state, for Cromwell’s head has certainly been re-engraved.
The lettering makes it clear that it was Lombart who dedicated the print to the Council. Piper noted an entry in the State Papers for July 1655, when Lombart was paid £20 for ‘presenting several portraits of his Highness to the Council’. He linked this with the print of Cromwell with a page, but it fits better with this plate.

► It was Cromwell’s death and the subsequent collapse of the Commonwealth in 1660 that led to the subsequent transformations. The first of them seems to have been made by Lombard himself, who took the plate with him to France, but the later states are after his death and were made to cater to the curiosity of print collectors. The original copper plate found its way to the Stirling collection of Keir in Scotland, and now belongs to the same collector as has lent this impression.

► The design is cribbed by Lombart from an equestrian portrait of Charles I by van Dyck. The autograph is now in the Royal collection, but it is very likely that Lombart used the version that is now at Petworth. In the 1650s it was in Northumberland House in London, and an inventory shows that ‘the face was not finished’ at that time. Robert Walker, with whom Lombart was closely associated, did not hesitate to use van Dyck in the same way. When asked ‘why he did not make some of his own postures, says he, if I could get better I would not do Vandikes. He would not bend his mind to make any postures of his own’.

► Piper unfortunately omitted the engravings in his study of the portraits of Cromwell in the Walpole Society, and it is difficult to understand the sequence of their production. Some prints seem to have been lost completely. On 5 March 1657, William Gilbertson entered in the Stationers Register ‘The portrature of his highnesse, Oliver, Lord Protector of England, Scotland and Ireland in a knot, 1 large sheet’. This has not been identified.

— 2 years ago with 31 notes
#1650s  #17th century  #altered art  #anthony van dyck  #engraving  #faceless  #horse  #horseback  #pierre lombart  #military