Depths

Herri met de Bles
Landscape with Forge
ca. 1535
oil on panel
Liechtenstein Museum, Vienna

Philip Galle after Maarten van Heemskerck
Colossus of Rhodes
1572
hand-colored engraving
Rijksmuseum, Amsterdam

Jan de Bisschop
View of The Hague from the Northwest
ca. 1660-65
ink and watercolor on paper 
Graphische Sammlung Albertina, Vienna

Georg Balthasar
Outskirts of Amsterdam
ca. 1775
hand-colored engraving (peep-show scene)
Cooper Hewitt, Smithsonian Design Museum

Antonio Carnicero
Ascent of a Balloon in the Presence of the Court of Charles IV of Spain
ca. 1783
oil on canvas
Museo de Bellas Artes de Bilbao, Spain

John Sell Cotman
Mousehold Heath, Norwich
1810
watercolor on paper
British Museum

Edward Lear
View of Monaco
ca. 1864
watercolor and gouache on paper
British Museum

Jean-Léon Gérôme
Prayer in the Mosque
1871
oil on canvas
Metropolitan Museum of Art, New York

Vincent van Gogh
Landscape with Snow
1888
oil on canvas
Guggenheim Museum, New York

Willem Roelofs
Landscape near Gouda
before 1897
drawing
British Museum

Williams, Brown & Earle (Philadelphia)
La Grande Charmille, Château de Voisins
1936
hand-colored lantern-slide
Archives of American Gardens, Washington DC

Sali Herman
McElhone Stairs
1944
oil on canvas
National Gallery of Australia, Canberra

Christo (Christo Javacheff)
Running Fence, Project for Sonoma and Marin Counties
1976
collage and mixed media on paper
Hirshhorn Museum, Washington DC

Geoffrey James
Giardino Storico di Valsanzibio, Villa Barbarigo
1984
gelatin silver print
National Gallery of Canada, Ottawa

Eric Meola
California
1991
C-print
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Andreas Gursky
Atlanta
1996
C-print
Buffalo AKG Art Museum, New York

Mitch Epstein
Century Wind Project - Blairsburg, Iowa
2008
C-print
Smithsonian American Art Museum, Washington DC

Madrigal

Like the Idalian queen,

Her hair about her eyne, 

With neck and breasts ripe apples to be seen,

At first glance of the morn

In Cyprus garden gathering those fair flowers

Which of her blood were born,

I saw, but fainting saw, my paramours.

The Graces naked danced about the place,

The winds and trees amazed

With silence on her gazed;

The flowers did smile, like those upon her face,

And as their aspen stalks those fingers band,

That she might read my case,

A hyacinth I wished me in her hand.

– William Drummond of Hawthornden (ca. 1614)

Panoramic - III

Herri met de Bles
Landscape with St Jerome
ca. 1540
oil on panel
Galleria Borghese, Rome

Giovanni Battista Viola
Landscape
1613
oil on canvas
Galleria Borghese, Rome

Joos de Momper the Younger
Mountain Landscape
ca. 1620-30
oil on canvas
Kunsthistorisches Museum, Vienna

Johann Jacob Besserer
The Road to Emmaus
1654
watercolor and gouache on vellum
Kupferstichkabinett, Kunstmuseum Basel

Jacob van Ruisdael
Landscape with View of Haarlem
ca. 1670
oil on canvas
Gemäldegalerie, Staatliche Museen zu Berlin

Richard van Orley
Arcadian Landscape
1702
gouache on vellum
Kupferstichkabinett, Kunstmuseum Basel

Benedict Anton Berger
View of Dortmund from the South
1804
oil on canvas
Museum für Kunst und Kulturgeschichte, Dortmund

Carl Friedrich Lessing
Figures in Landscape with Crags
1827
drawing
Cincinnati Art Museum, Ohio

Karl Blechen
Storm on the Roman Campagna
1829
oil on cardboard
Alte Nationalgalerie, Staatliche Museen zu Berlin

P.C. Skovgaard
View from Frederiksborg Castle
1842
oil on canvas
Ordrupgaard Art Museum, Copenhagen

Edward Lear
Mount Parnassus
ca. 1849
watercolor on paper
Courtauld Gallery, London

Thomas Charles Farrer
Buckwheat Field on Thomas Cole's Farm
1863
oil on canvas
Museum of Fine Arts, Boston

Camille Pissarro
June Morning, Pontoise
1873
oil on canvas
Staatliche Kunsthalle Karlsruhe

Eugène Boudin
View of Antibes
1893
oil on canvas
Detroit Institute of Arts

Hans Thoma
Cornfield
1902
oil on canvas
Von der Heydt Museum, Wuppertal

Max Slevogt
The Annweilertal near Landau, Palatinate
ca. 1918
oil on canvas
Von der Heydt Museum, Wuppertal

In this passion she went on, till she came to the foote of a great rocke, shee thinking of nothing lesse then ease, sought how she might ascend it; hoping there to passe away her time more peaceably with lonelinesse, though not to find least respit from her sorrow, which so deerely she did value, as by no meanes she would impart it to any.  The way was hard, though by some windings making the ascent pleasing.  Having attained the top, she saw under some hollow trees the entrie into the rocke: she fearing nothing but the continuance of her ignorance, went in, where she found a pretty roome, as if that stonie place had yet in pitie, given leave for such perfections to come into the heart as chiefest, and most beloved place, because most loving.  The place was not unlike the ancient (or the descriptions of ancient) Hermitages, instead of hangings, covered and lined with Ivie, disdaining ought els should come there, that being in such perfection.  This richnesse in Natures plentie made her stay to behold it, and almost grudge the pleasant fulnes of content that place might have, if sensible, while she must know the taste of torments.

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)

Panoramic - II

Pieter Brueghel the Elder
Battle in the Port of Naples
ca. 1551-53
oil on panel
(painted in Italy)
Palazzo Doria-Pamphilj, Rome

Anton Mirou
Landscape with the Flight into Egypt
ca. 1600-1620
oil on copper
private collection

Sebastian Vrancx
A Skirmish
ca. 1610-20
oil on panel
National Museum, Warsaw

Roelant Savery
Paradise
1628
oil on copper
Kunsthistorisches Museum, Vienna

Anton Stevens
St Anthony Abbot and St Paul of Thebes in a Landscape
1641
oil on copper
National Museum, Warsaw

Adam Frans van der Meulen
Le Château-Neuf de Saint-Germain-en-Laye
ca. 1664-65
oil on canvas
Musée Carnavalet, Paris

Jean-Baptiste Tuby
Apollo in his Chariot
(Bassin d'Apollon)
1668-70
lead and gilt-bronze
Château de Versailles

Pierre-Denis Martin the Younger
View of the Bassin d'Apollon, Versailles
1713
oil on canvas
Château de Versailles

Michele Marieschi
Palazzo Ducale, Venice
ca. 1735
oil on canvas
National Museum, Warsaw

Francesco Guardi
Fondamenta della Zattere, Venice
ca. 1770-80
oil on canvas
Harvard Art Museums

Pierre-Henri de Valenciennes
Cicero discovering the Tomb of Archimedes
1787
oil on canvas
Musée des Augustins de Toulouse

Gottlob Friedrich Steinkopf
Return from the Lion Hunt
1812
oil on canvas
Von der Heydt Museum, Wuppertal

Karl Friedrich Schinkel
Medieval City on a River
1815
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

Lawrence Alma-Tadema
Offering to Bacchus
1889
oil on canvas
Hamburger Kunsthalle

Panos Aravadinos
Venetian Scene
(stage design for Offenbach's Tales of Hoffmann)
1923
pastel on paper
National Gallery, Athens

Oddleiv Apneseth
Double Birthday, Sunde
2008
inkjet print
Sogn og Fjordane Kunstmuseum, Norway

By this were others come into that Meade with their flocks: but shee esteeming her sorrowing thoughts her best, and choycest companie, left that place, taking a little path which brought her to the further side of the plaine, to the foote of the rocks, speaking as she went these lines, her eies fixt upon the ground, her very soule turn'd into mourning.

Unseene, unknowne, I here alone complaine

     To Rocks, to Hills, to Meadowes, and to Springs,

Which can no helpe returne to ease my paine,
     But back my sorrowes the sad Eccho brings.
Thus still encreasing are my woes to me,

     Doubly resounded by that monefull voice,
Which seemes to second me in miserie,
     And answere gives like friend of mine owne choice.
Thus onely she doth my companion prove,

     The others silently doe offer ease:

But those that grieve, a grieving note doe love;

     Pleasures to dying eies bring but disease:

And such am I, who daily ending live,

Wayling a state which can no comfort give.

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)

Panoramic - I

workshop of Apollonio di Giovanni
The Assassination and Funeral of Julius Caesar
ca. 1455-60
tempera on panel, transferred to canvas
Art Institute of Chicago

Dosso Dossi
Aeneas at the Entrance to the Elysian Fields
ca. 1520
oil on canvas
National Gallery of Canada, Ottawa

attributed to Hans Krell
The Battle of Orsha
1525
tempera on panel
National Museum, Warsaw

Lambert Sustris
Baptism of Christ
ca. 1550
oil on canvas
Musée des Beaux-Arts de Caen

Lucas van Valckenborch
Autumn Landscape
1585
oil on canvas
Kunsthistorisches Museum, Vienna

Hans Bol
Park Landscape with Castle
1589
watercolor on vellum
Gemäldegalerie, Staatliche Museen zu Berlin

Adriaen van Stalbemt
Allegorical Composition with Burnt Offering
ca. 1610-20
oil on panel
National Museum, Warsaw

Jacob de Wit
Moses choosing the Seventy Elders
1736-37
oil on panel
Rijksmuseum, Amsterdam

Johann Michael Wittmer
Scene at Constantinople
1837
oil on canvas
Neue Pinakothek, Munich

Lawrence Alma-Tadema
Vintage Festival
1871
oil on canvas
Hamburger Kunsthalle

Jan Matejko
The Battle of Grunwald
1878
oil on canvas
National Museum, Warsaw

Léon Frédéric
All Things Die but All will be Resurrected through God's Love
(panels 1-3)
1893-1918
oil on canvas
Ohara Museum of Art, Kurashiki, Japan

Léon Frédéric
All Things Die but All will be Resurrected through God's Love
(panel 4)
1893-1918
oil on canvas
Ohara Museum of Art, Kurashiki, Japan

Léon Frédéric
All Things Die but All will be Resurrected through God's Love
(panels 5-7)
1893-1918
oil on canvas
Ohara Museum of Art, Kurashiki, Japan

Oddleiv Apneseth
Funeral of Olav Aahaug, Ålhus
2008
inkjet print
Sogn og Fjordane Kunstmuseum, Norway

AES+F (art collective)
The Feast of Trimalchio - Panorama #8
2010
C-print
Nordnorsk Kunstmuseum, Tromsø

When the Spring began to appeare like the welcome messenger of Summer, one sweet (and in that more sweet) morning, after Aurora had called all carefull eyes to attend the day, forth came the faire Shepherdesse Urania, (faire indeed; yet that farre too meane a title for her, who for beautie deserv'd the highest stile could be given by best knowing Judgments).  Into the Meade she came, where usually shee drave her flocks to feede, whose leaping and wantonnesse shewed they were proud of such a Guide: But she, whose sad thoughts led her to another manner of spending her time, made her soone leave them, and follow her late begun custome; which was (while they delighted themselves) to sit under some shade, bewailing her misfortune; while they fed, to feed upon her owne sorrow and teares, which at this time she began againe to summon, sitting downe under the shade of a well-spread Beech; the ground (then blest) and the tree with full, and fine leaved branches, growing proud to beare, and shadow such perfections.  But she regarding nothing, in comparison of her woe, thus proceeded in her grief:

"Alas Urania," said she, "(the true servant to misfortune); of any miserie that can befall woman, is not this the most and greatest which thou art falne into?  Can there be any neare the unhappinesse of being ignorant, and that in the highest kind, not being certaine of mine owne estate or birth?  Why was I not stil continued in the beleefe I was, as I appeare, a Shepherdes, and Daughter to a Shepherd?  My ambition then went no higher then this estate, now flies it to a knowledge; then was I contented, now perplexed.  O ignorance, can thy dulnesse yet procure so sharpe a paine? and that such a thought as makes me now aspire unto knowledge?  How did I joy in this poore life being quiet? blest in the love of those I tooke for parents, but now by them I know the contrary, and by that knowledge, not to know my selfe.  Miserable Urania, worse art thou now then these thy Lambs; for they know their dams, while thou doest live unknowne of any."

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)