#rinaldo and armida

[artemlegere]

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

The story of Rinaldo and Armida is taken from Torquato Tasso's epic poem Gerusalemme Liberata (1580), an account of the First Crusade and the capture in 1099 of the holy city of Jerusalem. The poem was known in England within a few years of its publication but enjoyed renewed popularity in the mid-eighteenth century. Rinaldo is a handsome prince and Armida a beautiful sorceress sent by the devil to disrupt the Crusade. She bewitches Rinaldo but, despite her evil intent, falls in love and brings him to her enchanted palace on the Fortunate Isle. The lovers are finally discovered by some of Rinaldo's companions in arms, who recall him to his Christian duty.

[classic-art-favourites]

Rinaldo and Armida by Louis-Jean-Francois Lagrenee, 1767.

Context: depicts characters from Jerusalem Delivered by Torquato Tasso.

[mythologypaintings]

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.

[tragediambulante]

Rinaldo and Armida, Nicolas Poussin, 1628-30

[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)

[hildegardavon]

Alfred von Wickenburg, 1885-1978

Rinaldo and Armida, 1923, oil on canvas, 110.5×159.5 cm

Vienna, Österreichische Galerie Belvedere

[artemlegere]

Rinaldo and Armida

Artist: Antonio Zucchi, RA (Italian, 1726-1796)

Date: 1773

Medium: Oil on canvas

Collection: National Trust Collections, United Kingdom

Description

A classical scene from Tasso, II Canto 17 – 20, with lovers under a tree and two soldiers behind them, the reflective mirror has been casted aside. In the background are the two Danish Knights, who are about to persuade Rinaldo to quit Armida. One of a set of six over-door paintings by Antonio Zucchi, previously, erroneously, attributed to Angelica Kauffman.

A scene from Torquato Tasso's epic poem, Gerusalemme liberata (1581) and inspired by Ariosto's Orlando Furioso. The sorceress Armida has been sent to stop the Christians and is about to murder the First Crusade soldier, Rinaldo, but instead she falls in love. She creates an enchanted garden where she holds him a lovesick prisoner. Eventually two of his fellow Crusaders find him and hold a shield to his face, so he can see his image and remember who he is.

[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