#Frans Francken I

[oldpaintings]

Allegory: The Ship of State by Frans Francken I (Flemish, 1542–1616)

[sexymonstersupercreep]

Nightmare Fuel Art Master-post, Vol. I

Regularly updated!

15th Century

Gerard David Hans Holbein Hans Memling Hieronymous Bosch Lucas Cranach the Elder Matthias Grunewald Titian

16th Century

Adriaen van de Venne Artemisia Gentileschi Filippo Napoletano Hans Baldung Grien Herri Met de Bles Jacopo Ligozzi Jan Mandijn Jan Massys Pieter Bruegel the Elder

17th Century

Caravaggio Francesco Furini Frans Francken II Juan de Valdes Leal Jusepe de Ribera Leonaert Bramer Peter Paul Rubens Salvator Rosa 18th Century

Edvard Munch Francisco de Goya Henry Fuseli J.M.W. Turner Karl Alexander Wilke Katsushika Hokusai Paolo Vincenzo Bonomini William Blake

19th Century

Amedee-Ernest Lynen Antoine Wiertz Armand Rassenfosse Arnold Bocklin Carlos Schwabe Edmond Louis Dupain Felicien Rops Francesco Scaramuzza Franz von Stuck Georges Rochegrosse George Frederic Watts Gustave Dore Gustave Moreau Henri Regnault Ilya Repin Jakub Schikaneder James Tissot Jean Francois Millet Jean Leon Gerome Jean Paul Laurens Jean Veber Jeno Gyarfas Jose Casado del Alisal Laszlo Mednyanszky Louis Gallait Maximilian Pirner Odilon Redon Paul Burck Theodore Gericault Theodor Kittelsen Theophile Schuler Tsukioka Yoshitoshi Wilhelm Kotarbinski William Holbrook Beard Witold Wojtkiewicz

“Turn of the Century” Alberto Martini Alfred Kubin Antonio Rizzi Egon Schiele Frantisek Kupka Fritz Gareis Georges Desvallieres Harry Clarke Heinrich Kley Henryk Weyssenhoff James Ensor Jaroslav Panuska Jean Delville Josef Mandl Julien Adolphe-Duvocelle Kathe Kollwitz Manuel Orazi Marian Wawrzeniecki Oscar Parviainen Piotr Stachiewicz Richard Tennant Cooper Sascha Schneider Sergius Hruby Wladyslaw Podkowinski Vasily Vereshchagin

[gold-saber]

Fang Fest 2024 - #15 - Temperance

For Temperance, I chose Martin Primrose. He is well over 200 years old, and has learned a great deal of patience in all his dealings over that time. He is also very adept at balancing when it's time for polite conversation, and when its time to have someone buried in the foundations of a building. (Uncropped under the cut. Painting on the wall is "Death with a Violin" by Frans Francken the Younger.)

[justforbooks]

Was famed Samson and Delilah really painted by Rubens? No, says AI

Long-held doubts about the authenticity of the National Gallery’s masterpiece, bought for £2.5m in 1980, are backed by pioneering technology

The National Gallery has always given pride of place to Peter Paul Rubens’s Samson and Delilah, listing it among the “highlights” of its collection, since it purchased the picture at Christie’s in 1980 for a then record price.

It depicts the Old Testament hero in the lap of the lover who betrayed him, having beguiled him into revealing that his God-given strength lay in his uncut hair. As Samson sleeps, Delilah’s accomplice cuts his locks, rendering him powerless, with soldiers ready at the door to capture him.

Critics have long suggested that the painting is not really by Rubens. And now a series of scientific tests employing groundbreaking AI technology have concluded that the 17th-century Flemish master could never have painted it.

“The results are quite astonishing,” Dr Carina Popovici, the scientist who carried out the study, told the Observer. “The algorithm has returned a 91% probability for the artwork not being authentic.”

In comparing Samson and Delilah with 148 uncontested Rubens paintings, the analysis produced one of the scientists’ highest-ever probabilities of the hundreds of pictures they have tested so far.

“I was so shocked,” said Popovici. “We repeated the experiments to be really sure that we were not making a mistake and the result was always the same. Every patch, every single square, came out as fake, with more than 90% probability.”

The AI analysis was carried out by Art Recognition, a Swiss company based near Zurich of which Popovici is co-founder. It has analysed 400 works with this technology, and has an ongoing collaboration with Tilburg University in Holland.

Its report concludes: “The AI System evaluates Samson and Delilah not to be an original artwork by Rubens with a probability of 91.78%.” In contrast, the scientists’ analysis of another National Gallery Rubens – A View of Het Steen in the Early Morning – came out with a probability of 98.76% in favour of the artist.

The National Gallery bought the picture for £2.5m, equivalent to £6.6m today, and some have suggested that it would now fetch far more as The Massacre of the Innocents sold for a record £49.5m in 2002.

Michael Daley, director of ArtWatch UK, who has researched the painting extensively, described the AI report as “exceedingly damning”. Daley is among those whose serious doubts about the painting’s attribution to Rubens have always been dismissed by the gallery and Rubens scholars.

Critics have long argued that it is only a copy of a Rubens original that is known to have been painted between 1608 and 1609 for his Antwerp patron Nicolaas Rockox which then disappeared after his death in 1640.

They argue that the National Gallery picture is a different painting, one that only surfaced in 1929, declared a Rubens by Ludwig Burchard, an expert who, after his death in 1960, was found to have misattributed paintings by giving out certificates of authenticity for commercial gain.

The picture’s critics dismiss its colours as uncharacteristic of Rubens’s palette and its composition as awkward. They question why, for example, it differs from two contemporary copies made from Rubens’s original. The toes of Samson’s outstretched right foot, for example, are cropped in the National Gallery version, while they are shown in an engraving by Jacob Matham and a painting that depicts the Samson and Delilah hanging in Rockox’s home by Frans Francken the Younger.

“For three decades, the National Gallery dismissed artistically, technically and historically informed challenges to the attribution. When a picture is wrong, everything is wrong,” Daley said.

The National Gallery has faced similar criticism in the past. It included the Salvator Mundi in its 2011 Leonardo exhibition, although it was an unknown work with doubts about its attribution, restoration and ownership. Its display would have boosted its market value and the painting sold at Christie’s, New York, in 2017 for $450 million. “Coming so soon after its ill-advised espousal of the now-rejected $450m Salvator Mundi, these Rubens findings are a calamity for the National Gallery,” Daley added.

Dr Katarzyna Krzyżagórska-Pisarek, an art historian, has long dismissed the Samson and Delilah as “highly problematic”, having identified more than 60 of Burchard’s Rubens attributions that have subsequently been demoted.

“The significance of this new AI method of authentication is potentially groundbreaking. Devoid of human subjectivity, emotion and commercial interests, the software is coldly objective and scientifically accurate. Many questionable works were attributed to Rubens at the beginning of the 20th century… There is today a distinct need for more reliable methods of connoisseurship,” she said.

The AI technology – “convolutional neural network” –analyses different features of an artist’s work, including brushstroke patterns. Popovici said that “everything that’s not by the hand of the assumed artist will come out with a negative probability” and that the technology can produce accurate results even for artists who significantly changed their style across their careers as every artist has a unique brushstroke.

She added: “Sometimes patches don’t come out with the same probability, if it’s not clear but, in this case, every single patch came out with more than 90% probability as a fake. This is very certain.”

A National Gallery spokesman said: “The Gallery always takes note of new research. We await its publication in full so that any evidence can be properly assessed. Until such time, it will not be possible to comment further.”

Daily inspiration. Discover more photos at Just for Books…?

[artandthebible]

Christ and the Woman Taken in Adultery

Artist: Frans Francken the Younger (Flemish, 1581-1642)

A Woman Caught in Adultery | John 8:1-11, New Living Translation

Jesus returned to the Mount of Olives, but early the next morning he was back again at the Temple. A crowd soon gathered, and he sat down and taught them. As he was speaking, the teachers of religious law and the Pharisees brought a woman who had been caught in the act of adultery. They put her in front of the crowd. “Teacher,” they said to Jesus, “this woman was caught in the act of adultery. The law of Moses says to stone her. What do you say?” They were trying to trap him into saying something they could use against him, but Jesus stooped down and wrote in the dust with his finger. They kept demanding an answer, so he stood up again and said, “All right, but let the one who has never sinned throw the first stone!” Then he stooped down again and wrote in the dust. When the accusers heard this, they slipped away one by one, beginning with the oldest, until only Jesus was left in the middle of the crowd with the woman. Then Jesus stood up again and said to the woman, “Where are your accusers? Didn’t even one of them condemn you?” “No, Lord,” she said. And Jesus said, “Neither do I. Go and sin no more.”

[stigmatam4rtyr]

Church Interior (17th century, oil on panel) | Frans Francken II, Pieter Neeffs I

[floorkoeleman]

I am so happy to see that more and more museums are making their collection images available online for free. Many thanks to the Royal Museum of Fine Arts in Antwerp (KMSKA) for this amazing detail of Frans Francken II's A Collector's Cabinet (1619): a painted drawing after "Soloni" (?) and Frans Floris I!

[didoofcarthage]

Pyramus and Thisbe in a Wooded Landscape, attributed to Frans Francken I

Flemish, 16th or 17th century

oil on panel

private collection

[elvthron]

Frans Francken II - The Witches' kitchen.

[bebemoon]

wish i could be this adorable winged serpent girl serving lobster in frans francken ii’s ‘allegorie op de troonsafstand van keizer karel v te brussel’ (1555)-

[artesplorando]

Frans I FRANCKEN, Jesus among the Doctors 1587 Oil on wood, 250 x 220 cm (centre panel), 250 x 97 cm (wings) O.-L. Vrouwekathedraal, Antwerp

[mysterious-secret-garden]

Jan Breughel (I), Frans Francken (I) - Perseus liberates Andromeda, between 1599 and 1613.

[lionofchaeronea]

"Bitter-sweet" -- George Herbert (1593-1633)

Ah my dear angry Lord, Since thou dost love, yet strike; Cast down, yet help afford; Sure I will do the like.

I will complain, yet praise; I will bewail, approve; And all my sour-sweet days I will lament, and love.

The Holy Trinity, Frans Francken the Elder (1542-1616)

[snacking-on-art-2022]

I posted 415 times in 2022

That's 415 more posts than 2021!

398 posts created (96%)

17 posts reblogged (4%)

Blogs I reblogged the most:

@classictell

@daughterofchaos

@thefugitivesaint

@artdetails

@somardani

I tagged 0 of my posts in 2022

My Top Posts in 2022:

#5

Sir John Lavery RA (1856 – 1941) 

Ariadna, c.  (1886) 

15 notes - Posted July 29, 2022

#4

Illustration for "Kindness Week"

Max Ernst, 1934 

15 notes - Posted September 20, 2022

#3

The Girl I Left Behind Me, 1872

Eastman Johnson (1824-1906)

17 notes - Posted November 5, 2022

#2

The Witches' Kitchen by Frans Francken the Younger, 1606

22 notes - Posted August 11, 2022

My #1 post of 2022

Fritz Schwimbeck (1889-1972) ~ Ghost on the Stairs

2,484 notes - Posted October 7, 2022

Get your Tumblr 2022 Year in Review →

[artist-rubens]

Frans Francken I (1542–1616), Peter Paul Rubens, European Paintings

The Friedsam Collection, Bequest of Michael Friedsam, 1931 Size: 25 1/4 x 19 1/8 in. (64.1 x 48.6 cm) Medium: Oil on wood

https://www.metmuseum.org/art/collection/search/437540

[simena]

Frans Francken I (detail)