The bridge itself was built during the reign of Henri IV, who inaugurated it in and whose statue can be seen at the centre. He was also one the founders of the Nederlandse Handels Hogeschool, predecessor of the Erasmus University of Rotterdam3. La Haye, RKD; archives photographiques, image no.
Voir W. Croll, Een tak van de familie Van Stolk honderd jaar in de graanhandel, , Rotterdam When opened, the object presents itself as a lovely small cabinet, a sort of paint-box in which a painter could easily organise all of his materials in the six drawers and twelve compartments and transport them without being overburdened.
Nicolas Poussin Les Andelys — Rome planned to travel to Italy in but stopped along the way in Lyon in order to honour some debts. He only departed for Rome, where he achieved success, in In the meantime, he made a brief return to Paris to execute two paintings for the Jesuit convent celebrating their patron saints, St Francis Xavier and St Ignatius Loyola, both of which have since been destroyed. These frequent moves made it necessary for him to be able to easily transport his materials.
Given that at the time he was not yet raking in vast sums, and that the object, although restrained, is rather pretty, it is imaginable that the casket may have been a gift from his Lyonnais patron, Silvio I Reynon circa .
However, two canvases newly attributed to him date from this very period. From then onwards, at the date indicated on the box , Poussin was already active as a painter. Is it an inscription intended to remind him of his origins? Or is it instead an indication of the origins. To this date, it seems imprudent to make a definitive pronouncement on this question. The box has been made from several different materials: walnut for the exterior, pine for the veneered areas and oak for the internal structure. None of these contradicts the theory that this paint box was made in the seventeenth century.
Moreover, some of the drawers are lined with paper used during this period. One can well imagine the artist storing in one of them his metal stylus with which he placed his sketch on an imprimatura, such as the one seen in his self-portrait in Berlin.
This object seems to offer a moving testimony as a probable possession of Nicolas Poussin, one of the leading French artists of the seventeenth century, an eminent figure of classicism. We are grateful to M. Bruno Saunier for having confirmed the authenticity of this work. References to paintings on copper appear in old inventories, but the present work is the earliest one known.
It is undoubtedly contemporary with the painting in the Eglise des Carmes Carmelite church in Le Puy, signed and dated to We have noted some variations between that work and the present one. It is one of his first works realised in Le Puy following his return from Italy in His style is very close to that of Carlo Saraceni, which whom his work has often been confused. Nous remercions M. Elle sera The painting has a certificate from the specialist of the artist Mr.
Sylvain Kerspern dated 12 June Jacques Stella, an artist of Flemish origin who worked for prestigious patrons in France and Italy, is today appreciated in his own right, having been long overshadowed by the successful career of his contemporary, Nicolas Poussin. Having initially trained in Lyon, Stella lived in Florence from , where he encountered the engraver Jacques Callot. It was in the Eternal City that he came under the influence of classicism and, more specifically, of the art of Poussin. In , he returned to Lyon, travelling to Paris a year later.
In front of a solid, dark background, the Virgin suckles the Child according to the traditional iconographical model of the Virgo lactans, but here transposed into a secular and familial 17th-century setting. Jesus is swaddled and the Virgin is dressed in a complex tangle of pink and blue, on a white cloth. On her shoulders she. The latter, his fingers on his lips, exchanges a troubled look with His serene-looking Mother.
Stella treated this subject several times but, as far as we are aware, only in France. It is possible that the inspiration for these scenes of motherhood came from watching his infant nephews and nieces during the fairly frequent visits he was able to make to Lyon in the first years following his return from Rome.
What is striking in this instance is the bareness of the setting. Jacques Stella, who willingly provided the most traditional Virgin and Child paintings with curtains, fruits, flowers and birds, gradually came to execute this episode as a simple representation of maternity.
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In any case, it is in our version of the subject that the artist went furthest in his appropriation of the antique, reconstituted in a familiar and contemporary world. Jacques Stella , cat. Jacques Stella, Vierge donnant la bouillie, , huile sur toile, diam. La copie du portrait de Le Brun faite par Pierre Rabon fig. Later gaining the patronage of Cardinal Richelieu, Turenne commenced his rapid ascent up the ranks of the French army.
At only 37 years of age, under the service of Louis XIV, his tactical prowess secured in the signing of the Treaty of Westphalia, marking the end of the 30 Years war. Leading the defeat of the Spanish in the legendary Battle of the Dunes, , Turenne paved the way for the signing of the Treaty of the Pyrenees, and thus the end of the Franco-Spanish war. His final two campaigns against the German allies of the Dutch from cemented his posthumous fame.
This included one of the most famous marches in military history, saving Alsace and forcing the German retreat across the Rhine in December, Testament to his enduring glory, in , Napoleon instructed the transfer of his body to Les Invalides. The high degree of realism invested in the study suggests that it was sketched from life during a sitting with Turenne, providing a model for both the tapestry and future large-scale portraits such as this2.
The skilfully executed skirmish in the background of the equestrian portrait was painted by the renowned French battle painter Joseph Parrocel. The detail and dynamism portrayed in these scenes parallels the chaos of war depicted in the distance behind Turenne.
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As the tradition of equestrian portraiture developed, the boundaries between genres of history painting and portraiture were dissolved in the works of Van der Meulen and Houasse6. Both artists sought to historicise the qualities of the king, departing from narrative and allegory, instead creating a timeless image of generalised military prowess that are also embodied in this portrait of Turenne7. Three miniature versions of this present composition are known, all likely derivations after this portrait.
A miniature by Pierre Sevin, c. Jerome Delaplanche for having confirmed the attribution of the battle scene to Joseph Parrocel on the basis of photographs. This portrait of Turenne is a prime example of the tradition of equestrian portraiture that was developed and refined during the reign of Louis XIV, creating the foundation for later equestrian monuments. Christoph Voghterr for his help in the writing of this catalogue note. In the first chapter of the Book of Ezekiel, the prophet recounts his vision of the heavenly chariot pulled by the tetramorph, which has been interpreted in the Christian tradition as a prefiguration of the four Evangelists.
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On the recommendation of Le Brun, the decorative scheme for the ceiling of the marriage chapel of the church of Saint-Eustache in Paris was entrusted to the artist upon his return from Italy. In accordance with the commission, he. Although it was destroyed, the work is known to us through replicas, some of which are autograph .
The relationship between them and the destroyed painting seems clear if we accept that the Evangelists were in the end replaced by their symbols.
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If the tondo version seems to be the preparatory sketch for the final ceiling, the other versions, all rectangular in format, may be variants, on account of their reduced size, either autograph or workshop pieces. Christoph Voghterr has kindly confirmed the attribution on the basis of photographs. The artist himself confessed how indebted he was to Watteau, whose apprentice he was for only a few weeks, during which, however, he learned nearly everything he knew about the art of painting.
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It is only after the death of Watteau, at a young age, in , that the demand for his paintings increased considerably. In the present landscape, built up in bold contrasts, young elegant people, probably aristocrats, more or less undressed, are preparing to board a small boat for a pleasure outing on the water. On the deck is a tent decorated for the occasion with flowers. An autograph variant of this charming composition exists, although with reduced dimensions It has not resurfaced on the market for more than a century; it is mentioned as having been in London in , in the collection of Alfred de Rothschild, and was exhibited at the Royal Academy in no.
Voir notamment : F. Oil on canvas Nous remercions M. Alastair Laing for his help cataloguing this lot. Complete notes and references on www. Oil on canvas, oval. New York University, , p.