#flemish art

MWW Artwork of the Day (3/31/1)
Pieter Pauwel Rubens (Flemish, 1577-1640)
The Artist w/ his wife Isabella Brant in the Honeysuckle Bower (c. 1609) 
Oil on canvas, 178 x 136.5 cm.
Alte Pinakothek, Munich

Directly after his return from Italy, the 32-year-old Rubens married the 18-year-old Isabella Brant. This double portrait, which broke new ground in portrait painting, was purportedly done shortly thereafter. Rubens did not however give up using traditional symbolism: Honeysuckle was a well known symbol for faithfulness and hands laid over one another (“dextrarum iunctio”) have symbolized matrimony since ancient times. However these references are integrated into this snapshot-like scene in which middle-class contentedness, substantial affluence and strong affection are expressed.

Rubens is one of the featured artists in the MWW gallery:
* Going for Baroque: Flemish Painting in the 17th c.

Narcissus and Echo
Frans de Neve (Flemish; 1606–after 1688), attributed to
17th century
Oil on canvas
Sotheby’s, New York

Narcissus and Echo
Frans de Neve (Flemish; 1606–after 1688)
17th century
Etching
The Metropolitan Museum of Art, New York

Published by Giovanni Giacomo De Rossi (Italian; 1627–1691)

Saint Mary Magdalene in the Wilderness
Frans de Neve (Flemish; 1606–after 1688)
Oil on canvas
Christie’s, London

The Holy Family with Saints Elizabeth and John the Baptist
Peter Paul Rubens (Flemish; 1577–1640)
ca. 1610–20
Oil on panel
Art Institute of Chicago, Chicago, Illinois

Peter Paul Rubens, Fall of the Rebel Angels, 1620.

The Holy Family with Saints Elizabeth and John the Baptist, Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp), 1610-20

Oil on panel

114.5 × 91.5 cm

Peter Paul Rubens (1577-1640)

A Flemish Baroque painter, who is best known for his epic history paintings of myth and patriotic glory, such as his famed ceiling paintings at Inigo Jone’s unique Banquet House, which unashamedly reinforces the devine right of Kings. In my mind however when I think of Rubens I think of his delicately vivid palette and fleshy sensuous depiction of the female body. 

This style is particularly indicative of his later works which feel more liberated, less academic and restrained. Perhaps these physical developments were encouraged by his second marriage to Hélène Fourment four years after the death of his first wife, when Rubens was well into his 50s and she was a tender sixteen years of age. As made clear from this intimate revealing portrait of Fourment, he took great inspiration from her curvaceous form, and had elevated her to the status of muse. 

Madonna from the Ghent Altarpiece by Jan van Eyck, 1432.

Madonna vomGenter Altar von Jan van Eyck, 1432.

Peter Paul Rubens - The Fall of Phaeton

1604

oil on canvas

National Gallery of Art, Washington, D.C.

Pieter Bruegel the Elder - Two chained monkeys

1562

oil on oak

Gemäldegalerie, Berlin

Hendrick Avercamp - Skaters playing kolf

1625

oil on canvas

Houston Museum of Fine Arts, Texas

Hendrik ter Brugghen -  Bagpipe Player

1624

oil on canvas

Wallraf-Richartz Museum, Cologne

Marten Boelema de Stomme - Still-Life with Nautilus Cup

17th century

oil on panel

Hallwyl Museum, Stockholm

Rogier van der Weyden - Portrait of Antony of Burgundy

Circa 1460

oil on panel

Royal Museums of Fine Arts of Belgium, Brussels

Abel Grimmer - Church interior

circa 1590-1620

oil on panel

private collection

monkeysinarthistory:

Joachim Beuckelaer: Seller of Exotic Animals, c. 1566, Museo di Capodimonte, Naples

Rembrandt - Belshazzar’s Feast

circa 1635-1638

oil on canvas

National Gallery, London

Jan Davidsz. de Heem - Fruit bowl with flowers

first half of 17^thcentury

oil on panel

National Museum, Poznań

Egbert van Heemskerck - An Alchemist in His Study

17^thcentury

oil on canvas

Chemical Heritage Foundation, Philadelphia

beautiful-belgium:

Pieter Bruegel the Elder - The Magpie on the Gallows (1568)

“Bruegel’s painting was created the year after Fernando Álvarez de Toledo, 3rd Duke of Alba, arrived in the Netherlands, sent by the Spanish king, Philip II to suppress the Dutch Revolt. The gallows may represent the threat of execution of those preaching the new Protestant doctrine, and the painting may allude to several Netherlandish proverbs. There is a direct allusion to the Netherlandish proverbs of dancing or shitting on the gallows, meaning a mocking of the state. It also alludes to the belief that magpies are gossips, and that gossip leads to hangings. And that the way to the gallows leads through pleasant meadows. It is not known why or for whom the picture was painted. Its date of 1568 makes this painting one of Bruegel’s last works before his death in 1569; indeed, perhaps his final work. Bruegel asked his wife to burn some of his pictures on his death, but told her to keep the Magpie on the Gallows for herself.”

Source

lisewine:

oldpaintings:

Dolls’ House of Petronella Oortman, c.1710 by Jacob Appel (I) (Dutch, 1680–1751)

@airshippirateandmouse;)

art-nimals:

Frans Snyders (1579 - 1657), A Concert of Birds

Jan van der Heyden - An Architectural Fantasy with a Triumphal Arch

17th century

oil on panel

The National Gallery, London

Hubert van Ravesteyn - Walnuts, a Tobacco Packet, and a White Jug on a Table

1671

oil on canvas

Art Gallery of Ontario, Toronto

Rembrandt - A Young Woman Sleeping

c. 1654

Brush and brown wash, some white mixed into some parts of the wash

British museum, London

Jan Steen - Portrait of Bernardina van Raesfelt

1660

Oil on canvas

Mauritshuis, The Hague