#Netherlandish

[artthatgivesmefeelings]

Rogier van der Weyden or Roger de la Pasture (Netherlandish, c.1399-1464) Triptych: The Crucifixion, St. Mary Magdalene, detail, ca.1443-45 Kunsthistorisches Museum Wien

[artschoolglasses]

Pendant with the Coronation of the Virgin, elephant ivory behind rock crystal, North French or Netherlandish, early 15th Century

From the Met Museum

[allegorypaintings]

Incostanza, An Allegory of Fickleness

Artist: Abraham Janssens I (Flemish, 1575–1632)

Genre: Allegory

Date: c. 1617

Medium: Oil on canvas

Collection: National Gallery of Denmark, Copenhagen, Denmark

Description

The present painting shows “fickleness” in keeping with the era’s code books of symbols in art, where the semi-clad woman, the ever-changing moon, and crustaceans - capable of walking sideways - serve as markers for those of a mercurial temperament.

The artist, moved by a visual desire that we would now term voyeurism or fetishism, focuses intently on her breasts, which shine with a brightness even greater than that of the crescent-moon face she holds in her hand.

The breasts are associated with other feminine characteristics: with bodily matters, impulsivity, and the subconscious as well as with fertility and pregnancy.

The woman may be attractive, but she is also potentially dangerous. In contrast to the moon, the sun was typically a symbol of maleness and masculinity, i.e. of intelligence, will, exaltedness, and divinity.

[theancientwayoflife]

~ Aquamanile in the Form of a Lion.

Artist/Culture: German or Netherlandish

Date: late 13th or early 14th century

Period: Late Medieval

Medium: Brass

▪︎This unusual example bears a Hebrew inscription on one side that reads: (On the side and rear hip of the lion): ברוך אתה ה אלהינו מלך העולם אשר קדשנו במצוותיו וצוונו על נטילת ידים ; [Translation] Blessed be God, King of the Universe, who blessed us and instructed us to wash our hands (Baruch ata adonai alokhenu meleh Ha-olam asher Ridshanu bemitsvotsar vetsivanu al netilas yadayim).

[nancydrewwouldnever]

Jan van Eyck, Annunciation, ca. 1434/1436, oil/panel transferred to canvas (National Gallery of Art, Washington D.C.)

Have always loved the rainbow wings on the angel.

[artandthebible]

Christ Giving His Blessing

Artist: Hans Memling (Netherlandish, c.1430/40-1494)

Date: 1748

Medium: Oil on oak panel

Collection: Norton Simon Museum, Pasadena, CA, United States

Description

Hans Memling was the leading painter in Bruges during the last quarter of the fifteenth century. His Christ Giving His Blessing recalls an iconographic type found in early Christian and Byzantine sacred icons, but echoes the later compositional types of Rogier van der Weyden, in whose workshop Memling presumably worked before settling in Bruges. Unlike the work of his predecessors, however, Memling's portrait of Christ is neither severe nor characterized by tragic pathos. In form and feeling, it presages Italian portraiture from the following decade: the search for clarity and order, the monumental effect achieved by filling the frame with Christ's head and shoulders, and the close-up view of the delicately modeled face against a neutral background. The gentle spirit and grace of the Redeemer, presented in fully human terms in this compelling devotional image, marks Memling’s debt to Rogier, but also his status as someone who transformed religious and portrait imagery throughout Europe from that point forward.

[royalty-nobility]

Portrait of Prince Willem II (1626-1650

Artist: Workshop of Gerard van Honthorst (Dutch, 1592–1656)

Date: After 1647

Medium: Oil on canvas

Collection: Mauritshuis, The Hague, Netherlands

William II, Prince of Orange

William II (27 May 1626 – 6 November 1650) was sovereign Prince of Orange and Stadtholder of Holland, Zeeland, Utrecht, Guelders, Overijssel and Groningen in the United Provinces of the Netherlands from 14 March 1647 until his death three years later on 6 November 1650. His death marked the beginning of the First Stadtholderless Period, leading to the rise of Johan De Witt, who stayed in power for the next 22 years.

[hanssloane]

Chalice of Saint John the Evangelist [reverse], c. 1470/1475

Hans Memling

A gold chalice holding a thin, green serpent sits in an arched niche in this vertical painting. Light falls across the chalice from our right so it casts a shadow in the shallow gray stone niche. The chalice has a flaring, six-lobed foot, and a knob on the stem is set with red and green, diamond-shaped stones. The slender green snake drapes inside the cup’s round bowl. The serpent’s mouth is open and tongue flicks out to our right, and the tail hangs out of the chalice to our left.

National Gallery of Art, Washington, USA

[matyas-ss]

The Garden of Earthly Delights, Hieronymus Bosch (c.1500) Museo del Prado in Madrid

[phantasiy]

Pieter Aertsen (Netherlandish, b. 1508)

A Meat Stall with the Holy Family Giving Alms, 1551

Oil on panel

[artthatgivesmefeelings]

Quentin Matsys (Flemish, 1466-1530) The Virgin of the Rosary, n.d. Museo Lázaro Galdiano, Madrid

[artschoolglasses]

Courtiers in a Rose Garden: A Lady and Two Gentlemen, South Netherlandish, 1440-50

From the Met Museum

[mythologypaintings]

Hercules, Deianira and the Centaur Nessus

Artist: Bartholomeus Spranger (Flemish, 1546–1611)

Date: between 1580 and 1585

Medium: Oil on Canvas

Collection: Kunsthistorisches Museum, Vienna, Austria

Description

The picture is part of a mythological cycle with love stories by Homer and Ovid on which Spranger had been working since the 1580’s as part of the decoration of the imperial rooms in Prague Castle. The Centaur Nessus has abducted Deianeira, the wife of Hercules. Hercules frees Deianeira by killing the centaur with an arrow. The complicated composition is evidence of Spranger’s profound knowledge of Giambologna’s sculptures.

[galleryofart]

Laughing Fool

Artist: Possibly Jacob Cornelisz van Oostsanen (Netherlandish, 1477–1533)

Genre: Genre Art

Date: c. 1500

Medium: Oil on panel

Collection: Davis Museum and Cultural Center, Wellesley, Massachusetts, United States

"Laughing Fool" is a painting by Jacob Cornelisz van Oostsanen, a Dutch Renaissance artist who was active in the early 16th century. The painting depicts a jester or fool, dressed in brightly colored clothing and a hat with bells, who is laughing and playing a musical instrument. The fool is often interpreted as a symbol of the transience of life and the ultimate futility of worldly pursuits. The figure's laughter is often seen as a reminder of the thin line between happiness and sadness, and the fleeting nature of human joy and pleasure. The painting is a fine example of the Northern Renaissance style, characterized by its use of bright, vivid colors and its attention to detail and realism. "Laughing Fool" is considered to be one of Van Oostsanen's most important works, and is widely regarded as a masterpiece of Dutch Renaissance art.

[artandthebible]

God the Father and the Holy Ghost

Artist: Domenico Antonio Vaccaro (Italian, 1678-1745)

Date: 1801-1809

Place of Creation: The Hague

Medium: OIl on Canvas

Collection: The Mauritshuis, The Hague, Netherlands

[royalty-nobility]

Portrait of William I, King of the Netherlands

Artist: Joseph Paelinck (Belgian, 1781–1839)

Date: 1819

Medium: Oil on Canvas

Collection: Rijksmuseum, Amsterdam, Netherlands

Description

After the Battle of Waterloo, William Frederick, prince of Orange-Nassau and son of Stadholder William V, was inaugurated as King William I in 1815. Here he wears the full-dress uniform of a general, with the royal ermine cloak over it. He points to a map of Java in what was then the Dutch East Indies, where the portrait came to hang in the governor’s palace in 1821.