Showing posts with label fountains. Show all posts
Showing posts with label fountains. Show all posts

Sunday, July 26, 2026

Eaux

Jacques-Laurent Agasse
La Fontaine Personnifiée
1837
oil on canvas
Musées d'Art et d'Histoire, Genève

Emile Burdet
Pyramids of Cheops and Khafre reflected in Flood Water
ca. 1885
albumen print
Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève

Jeroen Krabbe
Suriname River at Danpaati II
2006
oil on canvas
Museum de Fundatie, Zwolle, Netherlands

Agricol-Louis Montagné
Fountain at Nîmes
ca. 1910
oil on canvas
Musée des Beaux-Arts de Nîmes

Gaetano Gandolfi
Design for Fountain
ca. 1785-95
drawing
Graphische Sammlung Albertina, Vienna

Jørgen Roed
Fountain in Gardens of Villa Borghese, Rome
ca. 1839
oil on canvas
Nivaagaard Museum, Denmark

Hubert Robert
Wall Fountain
1767
drawing
Musée du Louvre

Susanne Maria von Sandrart after Jean Le Pautre
Fountain Design with Salmacis and Hermaphroditus
1678
etching
Herzog Anton Ulrich Museum, Braunschweig

Franz Sigrist the Elder
Fountain with Nymphs
ca. 1760
etching
Museum für Angewandte Kunst, Vienna

Abraham van Diepenbeeck
The Deluge
ca. 1636-39
drawing
(print study for illustration to Ovid)
Städel Museum, Frankfurt

Julius Schnorr von Carolsfeld
The Deluge
1826
drawing
(print study for Bible illustration)
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Friedrich Reclam
Staircase with Cascade in a Park
ca. 1760
drawing
Graphische Sammlung Albertina, Vienna

Thomas Ender
Ladder Falls near Heiligenblut
1845
watercolor on paper
Graphische Sammlung Albertina, Vienna

Franz Kobell 
Landscape with Waterfall and Temple Ruins
before 1822
drawing
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Adrian Zingg
River Keppbach near Dresden
ca. 1780-90
drawing
Kupferstichkabinett,
Staatliche Kunstsammlungen,Dresden

Lucas van Valckenborch
Mountain Landscape with Waterfall
1595
oil on panel
Liechtenstein Museum, Vienna

And yet Leonardo, if anyone, knew that the artist's desire to create, to bring forth a second reality, finds its inexorable limits in the restrictions of his medium.  I feel we catch an echo of the disillusionment with having created only a picture that we found in Lucien [sic] Freud when we read in Leonardo's notes: "Painters often fall into despair . . . when they see that their paintings lack the roundness and the liveliness which we find in objects seen in the mirror . . . but it is impossible for a painting to look as rounded as a mirror image . . . except if you look at both with only one eye."

Perhaps the passage betrays the ultimate reason for Leonardo's deep dissatisfaction with his art, his reluctance to reach the fatal moment of completion: all the artist's knowledge and imagination are of no avail, it is only a picture that he has been painting, and it will look flat.  Small wonder that contemporaries describe him in his later years as most impatient of the brush and engrossed in mathematics.  Mathematics was to help him to be the true maker.  Today we read of Leonardo's project to build a "flying machine," but if we look into Leonardo's notes we will not find such an expression.  What he wants to make is a bird that will fly, and once more there is an exultant tone in the master's famous prophecy that the bird would fly.  It did not.  And shortly afterward we find Leonardo lodging in the Vatican – at the same time when Michelangelo and Raphael were there creating their most renowned works – quarreling with a German mirror maker and fixing wings and a beard to a tame lizard in order to fighten his visitors.  He made a dragon, but it was only a whimsical footnote to a Promethean life.  The claim to be a creator, a maker of things, passed from the painter to the engineer – leaving to the artist only the small consolation of being a maker of dreams. 

– E.H. Gombrich, Art and Illusion: a Study in the Psychology of Pictorial Representation (Princeton University Press, 1960).

Saturday, April 25, 2026

Scraps (Paris)

Charles Marville
Parc Monceau, Paris
ca. 1850
albumen silver print
Los Angeles County Museum of Art


Jean-Baptiste Armand Guillaumin
View of the Seine, Paris
1871
oil on canvas
Museum of Fine Arts, Houston

Charles Marville
Entrée Principale, École des Beaux Arts, Paris
(with cast of the Belvedere Torso)
ca. 1875
albumen print
Clark Art Institute, Williamstown, Massachusetts

Riccardo Nobili
Atelier for Women at the Académie Julian, Paris
1880
drawing
Cooper Hewitt, Smithsonian Design Museum

Eugène Atget
Entrance to the Ancient Charnel House, Paris
1903
albumen silver print
Chrysler Museum of Art, Norfolk, Virginia

Williams, Brown & Earle (Philadelphia)
Fontaine de l'Observatoire, Luxembourg Gardens, Paris
ca. 1905
hand-colored lantern slide
Archives of American Gardens, Washington DC

Eugène Atget
8 rue Barbette, Paris
1907
albumen silver print
National Museum of American History, Washington DC

Eugène Atget
5 rue du Grenier Saint-Lazare, Paris
1908
albumen silver print
National Museum of American History, Washington DC

Eugène Atget
Coin de la rue du Maure, Paris
(vue prise de la rue Beaubourg)
1908
albumen silver print
National Museum of American History, Washington DC

Eugène Atget
Hôtel de Montmorency, Paris
1908
albumen silver print
National Museum of American History, Washington DC

Marc Chagall
Paris through the Window
1913
oil on canvas
Guggenheim Museum, New York

Dorothea Tanning
Aux Environs de Paris
1962
oil on linen
Whitney Museum of American Art, New York

Leonard Freed
Portrait Exhibition in the Industrial Design Center, Paris
1977
gelatin silver print
Art Institute of Chicago

William Eggleston
Untitled
(bolts of printed fabric, Paris)
2006
inkjet print
Whitney Museum of American Art, New York

Thaddeus Holownia
72 avenue Victor Hugo 16e, Paris
2007
gelatin silver print
Beaverbrook Art Gallery, Fredericton, New Brunswick

Thaddeus Holownia
Famille Ponsat, Cimetière du Père Lachaise, Paris
2007
gelatin silver print
Beaverbrook Art Gallery, Fredericton, New Brunswick

Thaddeus Holownia
Angel, Cimitière du Père Lachaise, Paris
2007
gelatin silver print
Beaverbrook Art Gallery, Fredericton, New Brunswick

from Auguries of Innocence

Each outcry of the hunted Hare
A fibre from the Brain does tear.


A Skylark wounded in the wing,
A Cherubim does cease to sing.


The wanton Boy that kills the Fly
Shall feel the Spider's enmity.


The Caterpiller on the Leaf
Repeats to thee thy Mother's grief.


The Strongest Poison ever known
Came from Caesar's Laurel Crown.

– William Blake (ca. 1800-1803)

Monday, February 9, 2026

Italian Sojourns - IV

Johan Christian Dahl
Casa del Portinaio (gate house) at Villa Borghese, Rome
1821
oil on canvas
KODE (Art Museums Complex), Bergen

Christoffer Wilhelm Eckersberg
Casa del Portinaio (gate house) at Villa Borghese, Rome
1816
oil on canvas
Hamburger Kunsthalle

Christoffer Wilhelm Eckersberg
View of the Cloaca Maxima, Rome
1814
oil on canvas
National Gallery of Art, Washington DC

Georg Pauli
Trevi Fountain, Rome
1924
oil on canvas
Prins Eugens Waldemarsudde, Stockholm

Isaac Israëls
Trevi Fountain, Rome
ca. 1923
watercolor and gouache on paper
Kröller-Müller Museum, Otterlo, Netherlands

Isaac de Moucheron
View of Rome with Castel Sant'Angelo
1742
drawing
Morgan Library, New York

Herman van Swanevelt
Ruins on the Palatine Hill, Rome
ca. 1630
etching
Graphische Sammlung, ETH Zürich

Willem van Nieulandt the Younger
View of Rome with the Colosseum
ca. 1603
drawing
Morgan Library, New York

Anonymous French Artist
Interior of the Colosseum
19th century
oil on paper
Morgan Library, New York

Jan Frans van Bloemen
Landscape with the Vatican Belvedere in the Distance
1740
oil on canvas
Musée Magnin, Dijon

Paul Bril
View of the Roman Forum
1600
oil on copper
Gemäldegalerie Alte Meister, Dresden

Marquand Fidel Dominikus Wocher
The Arcus Argentariorum, Rome
1777
watercolor on paper
Städel Museum, Frankfurt

Rudolf von Alt
The Pantheon and Piazza della Rotunda, Rome
1835
watercolor on paper
Graphische Sammlung Albertina, Vienna

Nicolaes Berchem after Jan Asselijn
Italian Landscape with Ruined Aqueduct
1675
oil on canvas
Kunsthistorisches Museum, Vienna

Jean-François Sablet
Landscape with Fountain on the Road from Genzano di Roma
1804
oil on canvas
Musée Fabre, Montpellier

Ludwig Johann Passini
Artists from Northern Europe gathered at Caffè Greco, Rome 
1856
watercolor on paper
Hamburger Kunsthalle

This is the tomb of Achilles the man-breaker, which the Achaeans built to be a terror to the Trojans even in after generations, and it slopes to the beach, that the son of Thetis the sea goddess may be saluted by the moan of the waves. 

Here sit I, miserable Virtue, by this tomb of Ajax, with shorn hair, smitten with heavy sorrow that cunning Fraud hath more power with the Greeks than I.

By the tomb of Ajax on the Rhoetean shore, I, Virtue, sit and mourn, heavy at heart, with shorn locks, in soiled raiment, because that in the judgment court of the Greeks not Virtue but Fraud triumphed. Achilles' arms would fain cry, "We want no crooked words, but manly valour."

Alone in defence of the routed host, with extended shield didst thou, Ajax, await the Trojan host that threatened the ships. Neither the crashing stones moved thee, nor the cloud of arrows, nor the clash of spears and swords; but even so, like some crag, standing out and firmly planted thou didst face the hurricane of the foes. If Hellas did not give thee the arms of Achilles to wear, a worthy reward of thy valour, it was by the counsel of the Fates that she erred, in order that thou shouldst meet with doom from no foe, but at thine own hand. 

Ajax lieth in Troy after a thousand vaunted deeds of prowess, blaming not his foes but his friends.

Hector gave his sword to Ajax and Ajax his girdle to Hector, and the gifts of both are alike instruments of death.

Bitter favours did Hector and Ajax of the great shield give each other after the fight, in memory of their friendship. For Hector received a girdle, and gave a sword in return, and they proved in death the favour that was in the gifts. The sword slew Ajax in his madness, and the girdle dragged Hector behind the chariot. Thus the adversaries gave each other the self-destroying gifts, which held death in them under pretence of kindness. 

– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)

Tuesday, December 23, 2025

Likenesses

Peter Birmann
Mule Train on Devil's Bridge, Schöllenen Gorge
ca. 1795-1805
drawing
Graphische Sammlung Albertina, Vienna

Christian Wilhelm Ernst Dietrich
Footbridge over Waterfalls
1763
drawing
Graphische Sammlung Albertina, Vienna

Alvin Langdon Coburn
Trafalgar Square, London
1909
photogravure
Moderna Museet, Stockholm

Georges Gaudion
La place du Griffoul à Gaillac
1913
oil on canvas
Musée des Beaux-Arts de Gaillac

attributed to Hendrik van Cleve
Tower of Babel
ca. 1565-70
oil on panel
Hamburger Kunsthalle

Anonymous Flemish Artist
Tower of Babel under Construction
ca. 1620
oil on copper
Musée d'Art et d'Histoire de Genève

Domenico Campagnola
Apocalyptic Scene with Fallen Buildings
ca. 1545-50
drawing
Morgan Library, New York

Jan van Bronchorst after Cornelis van Poelenburgh
Roman Ruins
before 1661
etching
Graphische Sammlung, ETH Zürich

Charles Camoin
Landscape - Pont de Vernon
(ruinous 17th-century bridge on the Seine supporting a house)
ca. 1910
oil on canvas
Carnegie Museum of Art, Pittsburgh

Bello Brivio
Seashore with Ruin and Shrine
1849
oil on canvas
Belvedere Museum, Vienna

Ludwig Neuhoff
Last Light
ca. 1905
oil on canvas
Von der Heydt Museum, Wuppertal

Ernst Fries
Monastery of San Francesco at Amalfi
1828
oil on panel
Lenbachhaus, Munich

Anonymous Printmaker after Andrea Palladio
Volute and Elevation of Base - Ionian Order
1581
woodcut and letterpress
(illustration from Quattro Libri dell'Architettura)
Hamburger Kunsthalle

Master of 1515
Studies from Antiquity
ca. 1515-20
drypoint
Graphische Sammlung Albertina, Vienna

Giovanni di Paolo
St Jerome appearing to St Augustine
ca. 1465
tempera on panel
Gemäldegalerie, Staatliche Museen zu Berlin

Albert Girard
Femme dans un intérieur à Alger
ca. 1880
oil on canvas
Musée d'Art et d'Histoire de Narbonne

Eteocles:  O my family driven mad and greatly hated by the gods, my family so full of tears, the house of Oedipus!  Ah me, my father's curse is truly now fulfilled!  But it is not proper to cry or lament, lest that give birth to grief even harder to bear.  For this man so well named – Polynices, I mean – we shall soon know where that blazon will end up, whether those letters worked in gold, blathering insanely on his shield, are really going to bring him home.  If Justice, the virgin daughter of Zeus, were actually present in his actions and his mind, that might possibly have been the case.  But in fact, neither when he escaped the darkness of the womb, nor when he was growing, nor when he reached adolescence, nor when his chin was gathering hair, did Justice ever set eyes on him or hold him in any honour; nor now, surely, when he does harm to his own fatherland, is she standing close by him, I imagine.  Truly Justice would be utterly false to her name if she consorted with a man with so utterly audacious a mind.  Trusting to this, I will go and stand against him myself; who else has a better right to?  I will stand as ruler against ruler, brother against brother, enemy against enemy.  [To one of his attendants] Give me my greaves at once, to protect me against spear and shaft. 

[During the following exchanges Eteocles, with the help of his attendants, is putting on his armour.]

Chorus of Theban Maidens:  No, dearest of men, son of Oedipus, do not let your passions make you like that utterer of evil words!  There are enough Cadmean men to go to battle with the Argives: such blood purifies itself.*  But the death of two men of the same blood killing each other – that pollution can never grow old. 

Eteocles:  If one must suffer evil, let it not be shameful; that is the only profit the dead can gain.  You can never speak of a good reputation arising from a disaster which is also a disgrace.  

Chorus:  Why this mad passion, child?  You must not let yourself be carried away by this spear-mad delusion that fills your heart.  Cast out the root of this evil desire!

Eteocles:  Since the god is plainly hastening things to their conclusion, let it run before the wind, the whole house of Laius, hated by Phoebus and consigned to the waves of Cocytus.  

– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)

*normally anyone who shed another's blood, intentionally or not, became ritually polluted, but this did not apply to the killing of an enemy in war