Sunday, June 2, 2024

Rendering 17th-century Textiles / Garments

El Greco
Portrait of a Young Nobleman
ca. 1600-1605
oil on canvas
Museo del Prado, Madrid

Anonymous Artist after Isaac Oliver
Portrait of Henry, Prince of Wales
ca. 1612
oil on canvas
Dulwich Picture Gallery, London

Sisto Badalocchio
Christ and the Samaritan Woman at the Well
ca. 1609-1610
oil on canvas
Städel Museum, Frankfurt

Frans Hals
Merrymakers at Shrovetide
ca. 1616-17
oil on canvas
Metropolitan Museum of Art, New York

Hendrick ter Brugghen
Martyrdom of St Catherine of Alexandria
ca. 1618-20
oil on panel
Chrysler Museum of Art, Norfolk, Virginia

attributed to Salomon Mesdach
Portrait of Jacob Pergens
1619
oil on panel
Rijksmuseum, Amsterdam

Hendrick ter Brugghen
Lute Player
1624
oil on canvas
National Gallery, London

Thomas de Keyser
Portrait of a Gentleman
1627
oil on copper
National Gallery of Art, Washington DC

Anthony van Dyck
Portrait of Henrietta Maria, Queen of England
ca. 1635
oil on canvas
Gemäldegalerie, Dresden

attributed to Michel Dorigny
Virgin holding an Oak Branch
ca. 1640
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

Frans Hals
Portrait of a Man
ca. 1646-48
oil on canvas
National Gallery of Art, Washington DC

Govert Flinck
Portrait of a Man
1648
oil on canvas
Milwaukee Art Museum

Govert Flinck
Portrait of a Woman
1648
oil on canvas
Milwaukee Art Museum

Anonymous Spanish Artist
Portrait of a Young Man
ca. 1650
oil on canvas
National Gallery of Art, Washington DC

Gerard Soest
Portrait of Lady Borlase
ca. 1672-75
oil on canvas
National Gallery of Art, Washington DC

Nicolas de Largillière
The Artist in his Studio
ca. 1686
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

     "Clement was forced to pay an enormous war indemnity and it was necessary to melt precious pieces from the treasury. According to Cellini, "The pope and one of his servants, Cavalierino, brought me jeweled tiaras from the Apostolic Chamber. The pope commanded me to remove the jewels from their mountings, which I did. Each stone was wrapped in a piece of paper and sewn into the lining of the pope's clothing and Cavalierino's. The remaining gold, about 200 pounds, was left me with the order to melt it down." This was how the pope managed to pay the fantastic sum of 70,000 gold ducats required by the treaty of surrender of June 5. It was necessary to coin still more pieces of gold and silver to pay the colossal tribute required to get the troops to leave. The summer of 1527 saw the most unbelievable conditions – the city totally stripped, virtually without food, the inhabitants held by force and used as servants, the threat of plague hanging over them because the fountains had been destroyed – while the pope and high dignitaries desperately tried to borrow still more money in Naples or elsewhere, or to coin more.  . . .  The sack of Rome virtually wiped out the Church's treasure of gold and silver, which is why we know so little about the craft in central Italy."

– André Chastel, The Sack of Rome, 1527, translated by Beth Archer, 1983 (expanded from the A.W. Mellon Lectures in the Fine Arts, 1977, and published by Princeton University Press and the National Gallery of Art, Washington, D.C.)