#Historical painters

[rvstyartstar]

more Van Gogh art for the night⁠☆

[bebs-art-gallery]

Judith Beheading Holofernes

— by Artemisia Gentileschi

[whereishermes]

Angelica Kauffman | Shedding Light to Women in Art

[escapismsworld]

Under The Moonbeams

John Atkinson Grimshaw ( British, 1836–1893)

[edwardian-girl-next-door]

~ Franz Ebyl, Woman in a Pink Dress (1850) (detail)

via belvedere museum vienna

[solcattus]

The bridal jewelry. Venetian women in the 16th century, 1872

By Cesare Dell'acqua

[marejadilla]

Francis Bernard Dicksee, “The Two Crowns” & detail, 1900, oil on canvas. (1853 - 1928), English Victorian painter and illustrator known for his paintings of dramatic and historical literature, legends, and women portraits.

[heritagebrowser]

Details of architectural elements of late 15th and early 16th century flemish paintings (that were on display in museum Hof van Busleyden in Mechelen, Belgium)

The fantastical architecture blending flemish, brabantine and some northern italian features. A place where the late medieval flemish traditions and italian renaissance features meet.

As typical for flemish art; the details and backgrounds are as interesting as the subjects on the foreground.

[bebs-art-gallery]

The Temptation of Saint Anthony (circa 1645)

— by Salvator Rosa

[edwardian-girl-next-door]

~ Wilbur Dean Hamilton, Portrait of a Lady in Pink (1916)

via invaluable.com

[galleryofart]

The Black Brunswicker

Artist: John Everett Millais (British, 1829–1896)

Date: 1860

Genre: Genre Art

Medium: OIl on canvas

Collection: Lady Lever Art Gallery, Merseyside, England, United Kingdom

Description

The theme of ‘The Black Brunswickers’ is an imaginative incident depicting a historical moment. The Black Brunswickers were a special troop raised by Frederick William, Duke of Brunswick (1771 - 1815) in 1809. The regiment consisted of the best German gentlemen and was known as the ‘Death or Glory’, a name which derived from their distinctive death’s head hat badge and their apparent devotion to duty. The troops suffered severe losses at the battle of Quatre Bras at Waterloo in 1815. In a letter to his wife Effie, Millais described his idea and his enthusiasm for the subject:

"My subject appears to me, too, most fortunate, and Russell (the war correspondent of The Times) thinks it first-rate… I have it all in my mind’s eye and feel confident that it will be a prodigious success. The costume and incident are so powerful that I am astonished it has never been touched upon before. Russell was quite struck with it, and he is the best man for knowing the public taste. Nothing could be kinder than his interest, and he is to set about getting all the information that is required."

Millais spent three months painting ‘The Black Brunswickers’. Studies for the work exist both in the Lady Lever Art Gallery’s archives as well as in Tate Britain. Millais used Charles Dickens’s daughter, Kate, as the model for the girl and a private in the Life Guards for the soldier. Each had to model separately using a lay figure to lean against.

Millais wished to be historically accurate in making the girl’s dress look quite antique (it is actually a compromise between the fashions of 1809 and 1815 when waists were still kept high). The intensity of emotions is well conveyed in the close encounter of the couple, the girl’s body attempting to obstruct the soldier from his task and prevent his destiny.

The dark and enclosed space enhances the tragedy of the scene, and the work appeals both to viewers’ patriotism and sentimentality. The only distraction is perhaps the brilliant shine of the girl’s dress. The dog at the soldier’s feet also draws attention to the humanity of the subject. On the wall of the room is an engraving of a painting by JL David (1748 - 1825), which depicts Napoleon crossing the Alps. It serves as a reminder of Waterloo while also alluding to current events in 1860, when Napoleon III entered a war in Northern Italy in an attempt to expel the Austrians.

[yesterdaysprint]

Swedish sculptor and painter, Sven Erixson, laughing in the rain, Paris, 1949

[floracreativa]

Grief- Oskar zwintscher

1898

Painting by German artist Zwintscher during the Jugendstil movement in the late 19th century to early 20th century. The Jugendstil movement is considered the German counterpart to Frances' Art Nouveau movement. Oil on canvas.

[thepaintedroom]

Léon Frédéric (Belgian, 1856-1940) • La dentellière flamande (The Flemish Lace Maker) • 1907

[edwardian-girl-next-door]

~ Oscar Björck, Elsie Laurin (1904) (detail)

via retalesuy

[art-portraits]

Portrait of John Keats

Artist: Joseph Severn (British, 1793–1879)

Date: 1821-1823

Medium: Oil on Canvas

Collection: National Portrait Gallery, London

John Keats

John Keats (31 October 1795 – 23 February 1821) was an English poet of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley. His poems had been in publication for less than four years when he died of tuberculosis at the age of 25. They were indifferently received in his lifetime, but his fame grew rapidly after his death. By the end of the century, he was placed in the canon of English literature, strongly influencing many writers of the Pre-Raphaelite Brotherhood; the Encyclopædia Britannica of 1888 called one ode "one of the final masterpieces".

Keats had a style "heavily loaded with sensualities", notably in the series of odes. Typically of the Romantics, he accentuated extreme emotion through natural imagery. Today his poems and letters remain among the most popular and analysed in English literature – in particular "Ode to a Nightingale", "Ode on a Grecian Urn", "Sleep and Poetry" and the sonnet "On First Looking into Chapman's Homer". Jorge Luis Borges named his first time reading Keats an experience he felt all his life.

This portrait Severn, who had nursed his friend in Rome, described the circumstances recreated in this posthumous portrait: 'This was the time he first fell ill & had written the Ode to the Nightingale on the morning of my visit to Hampstead. I found him sitting with the two chairs as I have painted him & was struck with the first real symptoms of sadness in Keats so finely expressed in that poem.'