Showing posts with label nature. Show all posts
Showing posts with label nature. Show all posts

Wednesday, September 1, 2021

Jan van Kessel the Elder (Antwerp Precision)

Jan van Kessel the Elder
Festons, Masques et Rosettes de Coquillages
before 1679
oil on copper
Fondation Custodia, Paris

Jan van Kessel the Elder
Concert of Birds
ca. 1660-70
oil on copper
National Gallery of Art, Washington DC

Jan van Kessel the Elder
Owl besieged by Songbirds
before 1679
oil on copper
private collection

Jan van Kessel the Elder
Ecce Panis Angelorum
1668
oil on copper
Speed Art Museum, Louisville, Kentucky

Jan van Kessel the Elder
Praying Madonna in Garland
1648
oil on panel
Museu Nacional de Arte Antiga, Lisbon

Jan van Kessel the Elder
River Landscape
before 1679
oil on copper
private collection

Jan van Kessel the Elder
Harbor Scene with Fish
1660
oil on copper
private collection

Jan van Kessel the Elder
Vanitas Still Life
ca. 1665-70
oil on copper
National Gallery of Art, Washington DC

Jan van Kessel the Elder
Still Life
before 1679
oil on panel
Musée de Sens, France

Jan van Kessel the Elder (ornamental surround) and David Teniers the Younger
Submission of the Sicilian Rebels to Antonio de Moncada in 1411
1663
oil on copper
Museo Thyssen-Bornemisza, Madrid

Jan van Kessel the Elder (ornamental surround) and David Teniers the Younger
The Soap Bubble
ca. 1660-70
oil on canvas
Musée du Louvre

Jan van Kessel the Elder
Insects around a Sprig of Forget-Me-Not
1653
oil on copper
private collection

Jan van Kessel the Elder
Insects around Sprigs of White Currant and Red Currant
1653
oil on copper
private collection

Jan van Kessel the Elder
Insects around a Sprig of Red Currant
1657
oil on copper
private collection

Jan van Kessel the Elder
Spiders with Snakes and Caterpillars
contorted to spell the Artist's Name

1657
oil on copper
private collection

"Jan van Kessel, born in 1626 in Antwerp, was the sone of Hieronymus van Kessel the Younger, a successful portrait and figure painter, and Paschasia Brueghel, daughter of Jan Brueghel the Elder.  In 1634/1635 he registered in the Antwerp Saint Luke's Guild as a pupil of the history painter Simon de Vos, becoming a master in his own right in 1644.  He was apparently also instructed by his uncle Jan Brueghel the Younger, who, in 1646, had Van Kessel make copies of his paintings.  On 11 June 1647 Van Kessel married Maria van Apshoven, at which time Van Kessel's uncle, David Teniers the Younger, served as a witness.  . . .  The couple had thirteen children, two of whom became painters: Ferdinand (1648-1696), who continued to paint in his father's style, and Jan the Younger (1654-1708), who became a portrait painter for King Charles II in Spain.  Although Van Kessel had a productive career and, as a captain in the Civic Guard, was a citizen of some importance in Antwerp, he had numerous debts when he died in 1679."

"Throughout his career Van Kessel painted within the artistic tradition of his grandfather Jan Brueghel the Elder, although he was also inspired by the scientific naturalism of Joris Hoefnagel.  His small-scale, brightly colored, and minutely detailed paintings on panel or copper were highly regarded by connoisseurs and princely collectors.  Van Kessel is most renowned for his depictions of flowers, insects, and animals, both living and dead, but he also painted shells, armor, and still lifes of fruit, bouquets, and garlands.  He frequently collaborated with figure painters, among them Erasmus Quellinus and David Teniers the Younger." 

– from the biography published in the Systematic Catalogue of the National Gallery of Art, Washington DC

Saturday, September 26, 2020

Green Surfaces (Paint)

Josef Albers
Study for Homage to the Square
1964
oil on board
Tate Gallery

John Golding
Phaestos – Green
1965-66
acrylic on canvas
Southbank Centre, London

Elizabeth Blackadder
Princess Street Gardens, Edinburgh
ca. 1966
oil on canvas
City Art Centre, Edinburgh

John Hoyland
5.2.67
1967
oil on canvas
Yale Center for British Art

Derek Jarman
Landscape with Blue Pool
1967
oil on canvas
Southbank Centre, London

Mark Lancaster
Zapruder
1967
acrylic on canvas
British Council Collection, London

Richard Smith
Amazon 1-5
ca. 1969
acrylic on canvas
Leeds Art Gallery, Yorkshire

He seems to me equal to gods that man
whoever he is who opposite you
sits and listens close
            to your sweet speaking

and lovely laughing – oh it
puts the heart in my chest on wings
for when I look at you, even a moment, no speaking
            is left in me

no: tongue breaks and thin
fire is racing under skin
and in eyes no sight and drumming
            fills ears

and cold sweat holds me and shaking
grips me all, greener than grass
I am and dead – or almost
            I seem to me.

– from If Not, Winter: Fragments of Sappho, translated by Anne Carson (2002)

Patrick Heron
Rumbold Vertical Four:
Green in Green with Blue and Red:
September 1970

1970
oil on canvas
Aberdeen Art Gallery, Scotland

Taylor Earnshaw
Mersey Estuary
ca. 1973
oil on panel
Atkinson Art Gallery, Southport, Merseyside

Victor Pasmore
The Green Earth
1979-80
oil on canvas, mounted on panel
Tate Gallery

Estelle Thompson
Splitting and Stroking
1993
oil on linen
University of Warwick, Coventry

Clare Neasham
Drop
1993
oil on panel
Middlesbrough Institute
of Modern Art

Maria Lalić
History Painting 8 Egyptian. Orpiment
1995
oil on canvas
Tate Gallery

Blaise Drummond
Untitled – Green with Cricketers
1999
oil on canvas
The Royal Hospitals, Belfast

Neil Dallas Brown
Glissando Shimmer
(Coast)

2000
oil on canvas
Glasgow School of Art

Wednesday, March 25, 2020

Literalist Topography (Paint)

Philips Koninck
Extensive Landscape
ca. 1650
oil on canvas
Southampton City Art Gallery

Gaspard Dughet
Landscape
ca. 1650
oil on canvas
National Museum Cardiff, Wales

Jacob van Ruisdael
Rocky Landscape
ca. 1650-60
oil on canvas
Wallace Collection, London

Claude Lorrain
Landscape with Apollo and Mercury
1660
oil on canvas
Wallace Collection, London

Joseph Wright of Derby
Virgil's Tomb, Sun breaking through a Cloud
1785
oil on canvas
Ulster Museum, Belfast

John Linnell
Woody Landscape
1824
oil on panel
Brighton and Hove Museums and Art Galleries

Robert Collinson
Stray Rabbits
1857
oil on panel
Victoria & Albert Museum, London

Poem

I watched an armory combing its bronze bricks
and in the sky there were glistening rails of milk.
Where had the swan gone, the one with the lame back?

                              Now mounting the steps
                              I enter my new home full
                              of grey radiators and glass
                              ashtrays full of wool.

Against the winter I must get a samovar
embroidered with basil leaves and Ukranian mottos
to the distant sound of wings, painfully anti-wind,

                              a little bit of the blue
                              summer air will come back
                              as the steam chuckles in
                              the monster's steamy attack

and I'll be happy here and happy there, full
of tea and tears. I don't suppose I'll ever get
to Italy, but I have the terrible tundra at least.

                              My new home will be full
                              of wood, roots and the like,
                              while I pace in a turtleneck
                              sweater, repairing my bike.

I watched the palisades shivering in the snow
of my face, which had grown preternaturally pure.
Once I destroyed a man's idea of himself to have him.

                              If I'd had a samovar then
                              I'd have made him tea
                              and as hyacinths grow from
                              a pot he would love me

and my charming room of tea cosies full of dirt
which is why I must travel, to collect the leaves.
O my enormous piano, you are not like being outdoors

                              though it is cold and you
                              are made of fire and wood!
                              I lift your lid and mountains
                              return, that I am good.

The stars blink like a hairnet that was dropped
on a seat and now it is lying in the alley behind
the theater where my play is echoed by dying voices.

                              I am really a woodcarver
                              and my words are love
                              which willfully parades in
                              its room, refusing to move.

– Frank O'Hara (1954)

William Dyce
Scene in Arran
ca. 1858-59
oil on panel
Aberdeen Art Gallery

Henry Brittan Willis
Sunny Lane in Sussex
ca. 1860
oil on panel
Dover Collections, Kent

William Bell Scott
Ailsa Craig
1860
oil on canvas
Yale Center for British Art

Fredrik Marinus Kruseman
Summer Landscape
1863
oil on panel
National Trust, Nunnington Hall, Yorkshire

Benjamin Williams Leader
An English Hayfield
1878
oil on canvas
Birmingham Museum and Art Gallery, West Midlands

Charles Wyatt Warren
Snowdon
ca. 1970
oil on canvas
Government Art Collection, London

Cherryl Fountain
The Spanish Garden, Mount Stewart, County Down
ca. 1989-90
acrylic on canvas
National Trust, Mount Stewart House, County Down

Andrew Hope
Flower's Barrow, Dorset
2008
acrylic on canvas
Poole Hospital, Dorset

Tuesday, March 24, 2020

Impressionistic Topography (Paint)

David Cox
Rhyl Sands
ca. 1854
oil on canvas
Tate Britain

Henry Herbert La Thangue
Farm near Horsey, Norfolk
1885
oil on board
Canterbury Museums and Galleries, Kent

James Paterson
Moonrise, Moniaive
1886
oil on canvas
Lillie Art Gallery, Glasgow

Paul Signac
La route Pontoise (L'embranchement de Bois Colombes)
1886
oil on canvas
Leeds Art Gallery, Yorkshire

Charles Conder
Yport, Normandy
1892
oil on canvas
York City Art Gallery

Alfred Sisley
Storr Rock, Lady’s Cove, Le Soir
1897
oil on canvas
National Museum Cardiff, Wales

John Lavery
The Bridge at Grès
1901
oil on canvas
Ulster Museum, Belfast

Pierre Bonnard
Landscape
1902
oil on panel
Fitzwilliam Museum, Cambridge

George Clausen
The Village at Night
1903
oil on canvas
Lotherton Hall, Leeds, Yorkshire

Young Men of Sidon  (A.D. 400)

The actor they had brought to entertain them
also recited several choice epigrams.

The drawing room opened out on the garden
and it had a light fragrance of flowers
that mingled with the fragrance
of the five perfumed young Sidonians.

They read Meleager, and Crinagoras, and Rhianos.
But when the actor had recited,
"Here lies the Athenian Aeschylus son of Euphorion" –
(stressing perhaps more than necessary
the words "famous for his valor," the "sacred Marathonian grove"),
a spirited young man, a fanatic of letters,
leaped up at once and shouted,

"Oh, that quatrain does not please me.
Somehow such phrases seem to betray cowardice.
Give – I say – all your strength to your work,
all your care, and again – remember your work
in your time of trial, or when your hour is near.
This is what I expect and demand of you.
And not to dismiss entirely from your mind
the brilliant Word of Tragedy –
that Agamemnon, that remarkable Prometheus,
those presentations of Orestes, Cassandra,
The Seven Against Thebes – and as a reminder,
only note that in the ranks of soldiers,
among the masses, you too fought Datis and Artaphernes."

– C.P. Cavafy (1920), translated by Rae Dalven (1961)

Maximilien Luce
Spring, Trees in a Landscape
1905
oil on board
National Trust, Brodie Castle, Moray, Scotland

Thomas Corsan Morton
Sunny Woodlands
ca. 1910
oil on canvas
Kirkcaldy Galleries, Fife, Scotland

Mark Gertler
The Pond
1917
oil on canvas
Government Art Collection, London

Arthur Hacker
Daisies at Burnham
ca. 1918
oil on board
Brighton and Hove Museums and Art Galleries

Thomas Cooper Gotch
The Orchard
1920
oil on canvas
Alfred East Art Gallery, Kettering, Northamptonshire

Ambrose McEvoy
The Thames from the Artist's House in Grosvenor Road
ca. 1920
oil on canvas
Cartwright Hall Art Gallery, Bradford, Yorkshire