#rinaldo and armida

[somethingwithmoles]

Sebastiano Conca (attributed to), Rinaldo and Armida, ca. 1725, oil on canvas, 99,1 x 135,9 cm, Saint Louis Art Museum, St. Louis

Source: Wikimedia Commons

[beautiful-belgium]

Anthony van Dyck - Rinaldo and Armida (1629)

[tragediambulante]

Rinaldo and Armida, Nicolas Poussin, 1628-30

[illustratus]

Renaud and Armide by François-André Vincent

[mythological-art]

Rinaldo and Armida

Artist: Angelica Kauffmann (Swiss, 1741–1807)

Date: 1771

Medium: Oil on Canvas

Collection: Yale Center for British Art, New Haven, CT, United States

Description

First exhibited at the Royal Academy in 1772, this depiction of the story of Rinaldo and Armida is taken from Torquato Tasso’s Gerusalemme Liberata (1580), a poetic account of the First Crusade. Rinaldo was a handsome prince, and Armida was a beautiful sorceress sent by the devil to disrupt the crusaders. Armida bewitches Rinaldo but falls in love with him instead, and the pair explore their amorous adventures. The couple is shown at the moment when Rinaldo’s fellow crusaders discover his whereabouts and prepare to rescue him from his enchantment and distractions of love.

[hercorrupterofwords]

I can't believe neil gaiman pulled a jerusalem delivered on this finale

[florencenesbit]

giovanni battista tiepolo. rinaldo and armida in her garden. 1742-1745.

details

[beatricecenci]

Karl Ferdinand Sohn (German, 1805-1867)

Rinaldo und Armida

[laclefdescoeurs]

Rinaldo and Armida, Francesco Curradi

[rococo-art-history]

Rinaldo and Armida by Giovanni Battista Tiepolo (1696 - 1770)

[mosertone]

Alfred Wickenburg (Austrian, 1885 - 1978) “Rinaldo and Armida”, 1923, Oil on canvas. Belvedere, Vienna. The subject of Alfred Wickenburg's painting is a scene from the 1574 Italian epic poem Jerusalem Delivered in which the Saracen sorceress Armida falls in love with the Christian knight Rinaldo.

[art-mirrors-art]

Silver and enamel mirror box with the scene from Rinaldo and Armida, after François Boucher (c.1920s)

[lesser-known-composers]

Josef Myslivecek (1737-1781) - detto IL Boemo [1737-1781]

00:02 - IL caro mio bene - Simona Saturová (Rinaldo) Opera: Armida, Milano, 1779

04:37 - Sperai vicino il lido - Philippe Jaroussky (Timante) Opera: IL Demofoonte, Napoli, 1775

10:23 - Non so se il mio peccato - Sophie Harmsen (Eva) Oratorio: Adamo ed Eva, Firenze, 1771

16:59 - Pria ch' io perda - Krystian Adam (Ariobate) Opera: IL Bellerofonte, Napoli, 1767

Collegium 1704 Václav Luks

[joseandrestabarnia]

Rinaldo impide el suicidio de Armida Cesare Dandini (Florencia 1596 – 1657) 1635 Pintura al óleo sobre lienzo 185x203 cm Inventario 1890 n. 3823

La obra pertenecía a un ciclo de diecinueve cuadros inspirados en los poemas de Ovidio, Ariosto y Tasso, encargados por el cardenal Carlo de' Medici y destinados a decorar su apartamento en el Casino di San Marco. El episodio representado está narrado en el último canto de Jerusalén liberata y se centra en la terrible batalla entre los cruzados y el ejército egipcio durante la cual Rinaldo y Armida se desafían a duelo. La hechicera, después de haber intentado en vano golpear al joven guerrero del que todavía está enamorada, decide suicidarse con la misma flecha utilizada en la pelea. Rinaldo la agarra del brazo y “por detrás la ataca/ quien ya derriba a la fiera hacia su pecho. Armida se volvió y de repente lo miró, porque no lo escuchó cuando llegó por primera vez: alzó sus gritos, quitó con desdén las luces de su amado rostro y se desmayó. La emoción dramática de los versos de Tasso encuentra una confirmación precisa en el cuadro de Dandini, en el que los personajes de tamaño natural se mueven en primer plano como evocando a los héroes de aquel melodrama que a principios de siglo dio sus primeros pasos en Florencia, en la ciudad culta y refinado de la Camerata de' Bardi. El tono dramático de las expresiones, la pose teatral de las figuras, la preciosidad del material pictórico, rico en efectos cromáticos y luminosos, y los refinados detalles ornamentales, reflejan las orientaciones del arte florentino de principios del siglo XVII, fuertemente inspirado en el armonías de “recitar cantando”. El lienzo llegó a las galerías florentinas en 1913, procedente de una colección privada.

Marco del siglo XX.

Información de la web de la Gallerie degli Uffizi, imagen de mi autoría.

[hercorrupterofwords]

almost spread misinformation to a uni colleague by saying that armida (jerusalem delivered) was a lesbian

[dutch-and-flemish-painters]

Jan de Herdt - Portrait of Franz Augustin von Waldstein as a Knight of Malta - 1660s

Jan de Herdt, in Italy also called Il fiammingo (Antwerp, c. 1620 – between 1686 and 1690) was a Flemish painter and draughtsman. After training in Antwerp, he spent his entire career abroad, first in Northern Italy and later in Vienna and other cities in central Europe. He was mainly a portrait artist but also painted genre scenes as well as religious, mythological and allegorical subjects. He was part of a network of Flemish and Dutch painters working for the court, aristocracy and ecclesiastical institutions of central Europe.

Jan de Herdt's brother had preceded him as he was working in Vienna as a goldsmith to the court and may have been instrumental in introducing Jan to the court in Vienna. While he is believed to have arrived in Vienna around 1660, Jan is first documented in Vienna on 8 January 1662. On that date he signed his name in the ecclesiastical registers of the Schottenkirche (Scottish church) in Vienna as he together with the Flemish engraver Franciscus van der Steen acted as a witnesses at the wedding of the Dutch artist Hans de Jode. Jan de Herdt later collaborated with van der Steen on a series of aristocratic portraits for the publication Historia di Lepoldo Cesare. Frans Geffels also contributed to this publication. In Vienna, de Herdt painted portraits of courtiers as well as history paintings for their chateaux and palaces. He appears in the business records of Forchondt, a family business of art dealers from Antwerp who served clients throughout Europe and had a branch in Vienna. The son of the founder of the family business trained as a goldsmith with Jan's brother in Vienna. The records of the Forchondt firm show that in 1671 Prince Schwarzenberg bought a painting on the subject of Armida and Rinaldo, which was likely the Rinaldo preventing Armida's suicide by de Herdt (now in the former Augustinian monastery in Brno).

Jan may have been active in Jaroměřice nad Rokytnou (now in the Czech Republic) from the beginning of 1666 to January 1667. From 1666 to 1668 de Herdt worked in Brno. He is recorded in Prague in 1680 where he had accompanied the court when it fled Vienna due to an outbreak of the plague.[8] He was in Třebíč from 1880 to 1881 and, in this last year, also in Znojmo. In 1684 he executed two works for patrons in Prague but these were possibly created elsewhere. The last report of his presence in Jaroměřice nad Rokytnou dates back to 1686. After 1686 there is no more news of the artist.

The exact time and place of his death are not known. There are no records about him after 1686. It is believed he died sometime between 1686 and 1690 in Central Europe.