#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

[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.

[mythological-art]

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.

[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

[matyas-ss]

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

[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.

[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

[oncanvas]

The Madonna of Humility, after Robert Campin, circa 1450–1470

Oil on panel 48.6 x 37.8 cm (19 ⅛ x 14 ⅞ in.) J. Paul Getty Museum, Los Angeles, CA, USA

[rabanusmaurus]

Leisure Time in an Elegant Setting, Pieter de Hooch

[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.

[historyofart-emus]

A Goldsmith in his Shop by Petrus Christus

Netherlandish, 1449.

After the death of Jan van Eyck, Petrus Christus modeled himself as the next van Eyck, who may have been his master when Christus was a student. He became the leading painter in Bruges and was active from 1444 until his death in 1475/76.

This piece is a bit of an enigmatic one as it's patron and intent isn't entirely clear. For a while, this painting was assumed to be a depiction of the patron saint of Goldsmiths, St. Eligius, and had a halo. However, further study revealed that this halo was a later addition and was removed. It's unclear when the halo was added, though the identification of the figure as St. Eligius might be traced back to a series of letters around the turn of the 19th century. It could be that this was a vocational portrait, one of the first portraits outside of an ecclesiastical setting in it's time, advertising a goldsmiths guild. It also may have been commissioned by Philip the Good as a gift to Mary of Guelders upon her marriage. If this is the case, the young couple may be intended as a portrait of the couple, shown buying rings and with a wedding girdle stretched upon the table before them. The painting celebrates the sanctity of marriage, and the cracked mirror in the foreground contrasts this sacrament with the figures in the street, who hold a falcon, a symbol of pride and greed, as a moral dichotomy. This mirror is also meant as a callback to van Eycks techniques of painting reflection, notably the similar convex mirror in his Arnolfini portrait.

Though this is not an ecclesiastical piece, it still holds potential hidden symbolism, such as the scales in the goldsmiths hands (a reference to St. Michael weighing souls), the coral in the background (a symbol of baby Jesus), and the chalice on the shelf (a symbol of the eucharist). Overall a piece with an interesting history.

[art1for2the3masses]

Pieter Hermanus Luitjes van der Meulen (1780-1858) - Gezicht op Haarlem vanuit Overveen