Saturday, May 19, 2018

Painted Fantasies and Painted Portraits (18th century)

Anonymous Italian artist after Giovanni da Udine
Battle of Sea Deities and Sea Monsters
ca. 1780
oil on canvas
Fitzwilliam Museum, Cambridge

Anonymous Italian artist after Giovanni da Udine
Battle of Sea Deities and Sea Monsters
ca. 1780
oil on canvas
Fitzwilliam Museum, Cambridge

Alessandro Magnasco
Carthusian monks in a landscape
before 1749
oil on canvas
Rijksmuseum, Amsterdam

Genie

He is affection and the present since he opened the house to foaming winter and the hum of summer, he who purified drink and food, he who is the charm of fleeting places and the superhuman deliciousness of staying still. He is affection and the future, strength and love that we, standing amid rage and troubles, see passing in the storm-rent sky and on banners of ecstasy.
     He is love, perfect and reinvented measurement, wonderful and unforeseen reason, and eternity: machine beloved for its fatal qualities. We have all experienced the terror of his yielding and of our own: O enjoyment of our health, surge of our faculties, egoistic affection and passion for him, he who loves us for his infinite life.
     And we remember him and he travels. . . And if the Adoration goes away, resounds, its promise resounds: "Away with those superstitions, those old bodies, those couples and those ages. It's this age that has sunk!"
     He won't go away, nor descend from a heaven again, he won't accomplish the redemption of women's anger and the gaiety of men and of all that sin: for it is now accomplished, with him being, and being loved.
     O his breaths, his heads, his racing; the terrible swiftness of the perfection of forms and of action.
     O fecundity of the spirit and immensity of the universe!
     His body! The dreamed-of release, the shattering of grace crossed with new violence!
     The sight, the sight of him! all the ancient kneeling and suffering lifted in his wake.
     His day! the abolition of all resonant and surging suffering in more intense music.
     His footstep! migrations more vast than ancient invasions.
     O him and us! pride more benevolent than wasted charities.
     O world! and the clear song of new misfortune!
     He has known us all and loved us all. Let us, on this winter night, from cape to cape, from the tumultuous pole to the castle, from the crowd to the beach, from glance to glance, our strengths and feelings numb, learn to hail him and see him, and send him back, and under the tides and at the summit of snowy deserts, follow his seeing, his breathing, his body, his day.

– Arthur Rimbaud, from Les Illuminations (1886), translated by John Ashbery (2011)

Francesco Guardi
Forte S Andrea del Lido, Venice
ca. 1760-70
oil on canvas
Fitzwilliam Museum, Cambridge

Jean-Antoine Watteau
The Robber of the Sparrow's Nest
ca. 1712
oil on paper, mounted on canvas, mounted on panel
National Galleries of Scotland

François Boucher
Assumption of the Virgin
ca. 1765
oil on canvas
National Galleries of Scotland

Hubert Robert
Wooded River Landscape
ca. 1798
oil on canvas
Fitzwilliam Museum, Cambridge

Jean-Baptiste Siméon Chardin
Still-life - The Kitchen Table
ca. 1733-34
oil on canvas
National Galleries of Scotland

Nicolaas Verkolje
Two Vestal Virgins
before 1746
oil on panel
National Galleries of Scotland

Thomas Gainsborough
Landscape with a view of a distant village
ca. 1745-55
oil on canvas
National Galleries of Scotland

Arthur Devis
Portrait of Sir John van Hatten
1753
oil on canvas
Fitzwilliam Museum, Cambridge

George Knapton
Portrait of Edward Morrison
before 1778
oil on canvas
Fitzwilliam Museum, Cambridge

James Millar
Portrait of a young man in red
1769
oil on canvas
Fitzwilliam Museum, Cambridge

Anonymous English artist
Memorial to Thomas and John Fitzwilliam, died 1513 at Flodden Field against the Scots
ca. 1730
oil on canvas
Fitzwilliam Museum, Cambridge