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43 artworks by or after Annibale Carracci at the Art UK site |
Annibale Carracci artistic context, technique and artworks |
Annibale Carracci at the WikiGallery.org Archived 2012-02-23 at the Wayback Machine |
Annibale Carracci, Christ Healing the Sick, 16th century, etching, Bryn Mawr College Art and Artifact Collections |
Jusepe de Ribera, 1591–1652, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Carracci (see index) |
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Carracci (see index) |
Anthonie Palamedesz., also Antonie Palamedesz, birth name Antonius Stevens (1602 in Leith, Scotland – 27 November 1673 in Amsterdam), was a Dutch portrait and genre painter. He is in particular known for his merry company paintings depicting elegant figures engaged in play, music and conversation as well as guardroom scenes showing soldiers in guardrooms. Like many Dutch painters of his time, he painted portraits and still lifes, including vanitas still lifes. He further painted the staffage in a few views of the interior of churches. He played a major role in the development of genre painting in Delft in the mid 17th century. |
Life |
He was born in Leith, Scotland as the son of Palamedes Willemsz. Stevens and Marie Arsene (in Dutch, called Maeijken van Naerssen) and was baptized on 9 November 1602 in South Leith. His father was a sculptor, stone cutter and court artist who was likely Flemish. His father carved semi-precious stones such as jasper, porphyry, and agate into vases and practised other decorative arts. His father was in the service of the Scottish King James VI and possibly traveled with the King to London when he was crowned King of England as James I of England. |
His father had married Maeijken van Naerssen in Leith on 6 June 1601. The couple had three children: Guilliaem (1601-1688), who became a tailor, Anthonie and Palamedes I (1605-1638) who also became a painter. After Anthonie's youngest brother Palamedes was born, the family left Scotland and established themselves in Delft in the Dutch Republic where the boys grew up. Anthonie was taught by the leading portrait painter Michiel Jansz. van Mierevelt and the history and genre painter Hans Jordaens. He entered the Delft Guild of St. Luke in 1621 or 1636 and was hoofdman (deacon) of the Guild in 1635, 1658, 1663 and 1672. When Anthonie and his brother Palamedes were registered with the Guild, they received the discounted entry fee reserved for residents of the city, which suggests that their father had lived in Delft before leaving for Scotland, possibly as a Protestant fugitive from the Spanish Inquisition in his native Flanders. |
Anthonie married Anna Joosten van Hoorndijck (died 1651) on 16 March 1630 in Delft. The couple had six children of whom a son called Palamedes Palamedesz. II. The son was traditionally believed to have been a painter, but the current view is that this was likely not the case. After the death of his first wife, he married again on 29 December 1658 to Agata Woodward (in Dutch called Aechgen Woedewart), born in Delft as the daughter of an Englishman who did business with Dutch printers. |
His pupils included his younger brother Palamedes, who died young in 1638 and was mainly a battle painter, and the painter Ludolf de Jongh. |
While Anthonie enjoyed considerable financial success in his early years and was able to purchase an expensive house in Delft, his financial situation had declined considerably by 1668 when he received an exceptional subsidy from the Delft city counsel. He moved to Amsterdam to live with his eldest son at Oudeschans. There he died on 27 November 1673 and was buried on 1 December 1673 in the Oude Kerk |
Work |
General |
Palamedesz. primarily painted genre works and portraits including individual and group portraits. He was known for his merry company paintings showing elegant figures engaging in play, music and conversation and his guardroom scenes of military life, which were highly appreciated by his upper middle class patrons. |
Guard room scenes |
He was one of the primary practitioners of the genre of the guardroom scene, which shows soldiers in guardrooms who are engaged in recreational activities. This genre was particularly popular in the Dutch Republic although it was also practised in Flanders by artists such as David Teniers the Younger. The principal exponents in this genre were Pieter Codde, Willem Duyster and Simon Kick in Amsterdam, Jacob Duck in Utrecht and Anthonie Palamedesz. and Jacob van Velsen in Delft. Often referred to in the Dutch language as 'cortegaerdje', guardroom scenes showed interiors with soldiers at rest. The genre became popular after 1621 when the Twelve Years' Truce with Spain ended. Stationed throughout the Dutch Republic, soldiers would often have long periods during which there was no military action. They used this leisure time to interact with the local population or entertain themselves. |
In the early phase of the genre, guardroom scenes showed resting soldiers seated, in conversation while they relax and tend to their uniforms, arguing over loot, carousing with prostitutes, playing cards, smoking a pipe or engaging in other morally questionable behaviour. In a second phase, starting roughly around 1645, the behaviour of the soldiers became more refined, thus reflecting the growing civility in Dutch society. In this later phase guardroom scenes were devoid of booty and other signs of war and showed middle-class people interacting with the soldiers. |
In his guardroom scenes which he painted well into the 1660s, Palamedes typically depicts a large hall of a ruin or a castle, which is open at the rear and usually has a large fireplace. The centre of the scene is almost always taken up by an officer, who is chubby and wearing a tall hat and a small moustache. In many of his guardroom scenes, Palamedesz. achieves the elegance and monumentality seen in the schutterij (civic guard) group portraits so popular in 17th-century Dutch painting. His guardroom scenes are unique, in that he includes women in their role as mothers and not their more conventional role of courtesans. Palamedesz.' guardroom scenes thus represent the masculine outdoors that has been pacified and tamed by feminine domestic motherhood. In other words, the apparently virile guard room scenes are in fact an embodiment of masculinity pacified, reflecting a broader process in 17th-century Dutch society of growing femininity and civility. |
Merry companies |
Palamedesz. painted many merry company paintings, which show elegantly dressed merrymakers in fairly summarily painted interiors. Typically, the figures are partaking in the pleasures of alcohol, tobacco, games, courtship and music. He painted his most accomplished paintings in this genre early in his career. While some of his contemporaries included strong moral meanings in their merry companies, in particular by warning against the dangers of excess and erotic love, Palamedesz. does not appear to have been particularly interested in this motive. He more likely painted these scenes solely for the enjoyment of his patrons who would have engaged in similar behaviour in their spare time. |
The interiors of these scenes are usually lit by a strong light entering from the left from two unknown sources. The figures are often typically crowded on one side of the picture. These scenes are reminiscent of works of contemporary artists in Northern Holland such as Dirck Hals, Willem Duyster, Pieter Codde and Hendrik Pot whose works Palamedesz. must have known. He shows originality in his treatment of light and tone in his pictures. |
Portraits |
Palamedesz. was a sought after portrait painter known for his portraits of individuals, married couples and families with dead game, hunting implements and hounds. His Family Portrait of 1635 (Royal Museum of Fine Arts Antwerp) recalls the Portrait of Anthonie Reyniers and His Family (Philadelphia Museum of Art) painted in 1631 by the Antwerp artist Cornelis de Vos. It is possible that his more dynamic treatment of family groups was due to his experience painting genre scenes which made him more aware of new ways of posing figures and arranging groups. This may explain the animated and lively character of the Family Portrait of 1635. |
In some later portraits such as the Portrait of a Gentleman (private collection) he was able to cast off of the stiffness and sober demeanor typical of the sitters in his early works and make his sitters look suave. In his portraits from the 1650s he shows he was aware of developments in portraiture such as the fashionable and sophisticated imagery of Amsterdam portraitists like Bartholomeus van der Helst. An example is his Portrait of a richly dressed young man, half-length. |
In the Family portrait of 1665 (Museum Boijmans Van Beuningen, Rotterdam) he depicts a family group of eight among various animals and dead game on the rolling terrain of a country estate not dissimilar to paintings of the Flemish artist Gonzales Coques. |
Other works |
He also painted still lifes, including vanitas still lifes and kitchen pieces. He further possibly painted the staffage in a few views of church and palace interiors by Dirck van Delen and Anthonie de Lorme and in the Great Assembly of the States General in 1651 by Bartholomeus van Bassen. |
References |
External links |
Media related to Anthonie Palamedesz. at Wikimedia Commons |
Antonello da Messina (Italian pronunciation: [antoˈnɛllo da (m)mesˈsiːna]; c. 1425–1430 – February 1479), properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Italian Early Renaissance. |
His work shows strong influences from Early Netherlandish painting, although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy, although this is now regarded as wrong. Unusually for a southern Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice. |
Biography |
Early life and training |
Antonello was born at Messina around 1429–1431, to Garita (Margherita) and Giovanni de Antonio Mazonus, a sculptor who trained him early on. He and his family resided in the Sicofanti district of the city. |
Antonello is thought to have apprenticed in Rome before going to Naples, where Netherlandish painting was then fashionable. According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte, in about 1450 Antonello was a pupil of the painter Niccolò Colantonio in Naples. This account of his training is accepted by most art historians. |
Early career |
Antonello returned to Messina from Naples during the 1450s. In around 1455, he painted the so-called Sibiu Crucifixion, inspired by Flemish treatments of the subject, which is now in the Muzeul de Artă in Bucharest. A Crucifixion in the Royal Museum of Antwerp dates from the same period. These early works shows a marked Flemish influence, which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon. |
In his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Van Eyck (the Lomellini Tryptych) belonging to King Alfonso V of Aragon at Naples and consequently introduced oil painting to Italy. Recent evidence indicates that an "Antonello di Sicilia" (di Sicilia meaning 'from Sicily') was in contact with Van Eyck's most accomplished follower, Petrus Christus, in Milan in early 1456. It appears likely that this was in fact Antonello da Messina as this would explain why he was one of the first Italians to master Eyckian oil painting, and why Petrus Christus was the first Netherlandish painter to learn Italian linear perspective. Antonello's paintings after that date show an observation of almost microscopic detail and of minute gradations of light on reflecting or light absorbent objects that is very close to the style of the Netherlandish masters, suggesting that Antonello was personally instructed by Christus. Also, the calmer expressions on human faces and calmness in the overall composition of Antonello's works appear to be owing to a Netherlandish influence. He is believed to have shared Van Eyck's techniques with Gentile and Giovanni Bellini. |
Between the years of 1456 and 1457, Antonello proved himself to be a master painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria. The artist's earliest documented commission, in 1457, was for a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria, where he set up a workshop for the production of such banners and devotional images. At this date, he was already married, and his son Jacobello had been born. |
In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures, probably indicating a knowledge of works by Piero della Francesca. Also from around 1460 are two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonello's younger brother Giordano entered his workshop, signing a three-year contract. In that year Antonello painted a Madonna with Child, now lost, for the Messinese nobleman Giovanni Mirulla. |
Historians believe that Antonello painted his first portraits in the late 1460s. They follow a Netherlandish model, the subject being shown bust-length, against a dark background, full face or in three-quarter view, while most previous Italian painters had adopted the medal-style profile pose for individual portraits. John Pope-Hennessy described Antonello as "the first Italian painter for whom the individual portrait was an art form in its own right". |
Although Antonello is mentioned in many documents between 1460 and 1465, establishing his presence in Messina in those years, a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study also dates from around this time. |
Venice |
Antonello went to Venice in 1475 and remained there until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, indicating the influence of Piero della Francesca and Giovanni Bellini. His most famous pictures from this period include the Condottiero (Louvre), the San Cassiano Altarpiece and the St. Sebastian. The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of a much larger original). It is also likely that Antonello passed on both the techniques of using oil paints and the principles of calmness on subjects' faces and in the composition of paintings to Giovanni Bellini and other Venetian painters during that visit. While in Venice he was offered, but did not accept, the opportunity to become the court portrait painter to the Duke of Milan. |
Return to Messina and death |
Antonello had returned to Sicily by September 1476. Works from near the end of his life include the famous Virgin Annunciate, now in the Palazzo Abatellis in Palermo, and the San Gregorio Polyptych. |
He died at Messina in 1479. His testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello. |
Style and legacy |
Antonello's style is remarkable for its union of Italian simplicity with Flemish concern for detail. He exercised an enormous influence on Italian painting, not only by the introduction of the Flemish invention, but also by the transmission of Flemish tendencies. However, no school of painting formed after his death, with the exception of the Sicilian Marco Costanzo. |
Selected works |
Sibiu Crucifixion (1455) - Brukenthal National Museum, Sibiu |
Abraham Served by the Angels - Museo della Magna Grecia, Reggio Calabria |
Portrait of a Man (1460s) - Oil on wood, Civic Museums, Pavia |
Ecce Homo (c. 1470) - Tempera and oil on panel, 42.5 x 30.5 cm, Metropolitan Museum of Art, New York City |
Ecce Homo (1470) - Tempera and oil on panel, 40 x 33 cm, Galleria Nazionale di Palazzo Spinola, Genoa |
St. Jerome Penitent - Various techniques on wood, 40.2 x 30.2 cm, Museo della Magna Grecia, Reggio Calabria |
San Gregorio Polyptych (1473) - Tempera on panel, 194 x 202 cm, Regional Museum, Messina |
Ecce Homo (c. 1473) - Tempera on panel, 19.5 x 14.3 cm, Private collection, New York City |
Portrait of a Man (1474) - Oil on wood, Staatliche Museen, Berlin |
Madonna with Child (Salting Madonna) - Oil on wood, 43.2 x 34.3 cm, National Gallery, London |
Portrait of a Man (1474) - Oil on wood, 32 x 26 cm, Staatliche Museen, Berlin |
Annunciation (1474) - Oil on panel, 180 x 180 cm, Bellomo Palace Regional Gallery, Syracuse |
St. Jerome in His Study (c. 1474) - Oil on wood, 46 x 36,5 cm, National Gallery, London |
Ecce Homo (1475) - Oil on panel, 48.5 x 38 cm, Collegio Alberoni, Piacenza |
Portrait of a Man (Il Condottiere) (1475) - Oil on wood, 35 x 38 cm, Musée du Louvre, Paris |
Crucifixion (1455) - Oil on panel 52.5 x 42.5 cm, Koninklijk Museum voor Schone Kunsten, Antwerp |
Crucifixion (1475) - Wood, 42 x 25,5 cm, National Gallery, London |
Portrait of a Man (c. 1475) - Oil on wood, Galleria Borghese, Rome |
Portrait of a Man (c. 1475) - Oil on panel, 36 x 25 cm, National Gallery, London |
Portrait of a Man (1475–1476) - Oil on panel, 28 x 21 cm, Museo Thyssen-Bornemisza, Madrid |
San Cassiano Altarpiece (1475–76) - Oil on panel, Kunsthistorisches Museum, Vienna |
The Dead Christ Supported by an Angel (1475–78) - Panel, 74 x 51 cm, Museo del Prado, Madrid |
Christ at the Column (c. 1475–1479) - Oil on wood, 25,8 x 21 cm, Musée du Louvre, Paris |
Virgin of the Annunciation -Oil on panel, Alte Pinakothek, Munich |
Portrait of a Man (1476) - Oil on panel, Museo Civico d'Arte Antica, Turin |
Virgin of the Annunciation (c. 1476) - Oil on wood, 45 x 34,5 cm, Museo Nazionale, Palermo |
St. Sebastian (1477–1479) - Oil on canvas transferred from panel, 171 × 85 cm, Gemäldegalerie Alte Meister, Dresden |
Portrait of a Young Man (c. 1478) - Panel, 20.4 x 14.5 cm, Staatliche Museen, Berlin |
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