A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910) (1909) (14763254872)
Zusammenfassung
Identifier: catalogueofpictu00nati (find matches)
Title: A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910)
Year: 1909 (1900s)
Authors: National Loan Exhibition (1909-1910 : London, England) Cook, Herbert Frederick, Sir, 1868-1939 Brockwell, Maurice Walter, 1869-1958 Grafton Galleries (London, England)
Subjects: Art
Publisher: London : W. Heinemann
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive
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he Collection of the Duke of Westminster, as Twoportraits of the first class, taken in full light, and therefore treated in thebrightest, clearest golden tone, at the same time executed with fascinating truthof nature, with a delicately blended execution. Upon his left hand is perched a hawk ; the right is extended, and thefinger points to some distant object.—Smiths Catalogue Raisonni, 1836, vol. vii.p. 107. On a rectangular Canvas, formerly arched at the top. 44 in. x 37^ in.(i.i 17 X 0.951). Signed below to the left on the arm of the chair, Rembrandt, f. 1643. Formerly in the Grandpre Collection, Paris, 1809. Vosmaer: Rembrandt: Sa l^ie et Ses CEuvres, iSj J, p. 2^6. Bode: CompleteWorks of Rembrandt, 1897-1906, vol. iv. p. 128, No. 268. Exhibited at the British Institution, 1815, No. 28 ; also at BurlingtonHouse, Old Masters, 1871, No. 126; 1895, No. 50; also at Amsterdam,Works of Rembrandt, 1899, No. 79. Lent by the Duke of Westminster.50 .*«»^«l.r ■; •r.-^—3T!—ssg:^:
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36FRANS HALS: 1580-84-1666 Dutch SchoolPORTRAIT OF A MAN HALF-LENGTH, turned three-quarters to the spectators right, andlooking out of the canvas. He wears a large broad-brimmedhat and a broad white collar. He is dressed in a black figured-velvet cloak ; his left hand is half-gloved. Fair curly hair hangingdown his back. Canvas. 27J in. x 33 in. (0.698 x 0.839). From the Collection of the late M. Maurice Kann. Signed : /ETA svyE 521664. In the background to the right is a shield with three bulls heads, thecoat of arms of his family; a similar coat is seen in the Portrait of YoungKoeijnianszoon van Alblass;rdani, by Hals, which was in the Rodolphc KannCollection, and is illustrated in the Catalogue of that Collection, 1907, vol. i.No. 40. In the background to the right is a shield of arms charged with threeox-heads. The person represented is probably Joseph Koeijmans, a portrait of whoseson, Johan Koeijmans (Koeijnianszoon van Alblasserdam), inscribed itTA svit26, 1645, and with the sa
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.