Datasets:
Shuaimyself
/
data

Dataset card Data Studio Files
xet
 Community
1
text
stringlengths
0
3.13k
Portrait painting
In his earlier portraits Maes places his sitters who are typically dressed and presented in an austere manner against a dark background. Maes' mature style was formed during the 1660s and shows the influence of the Flemish style of portraiture created by van Dyck, which had been introduced into the Dutch Republic in the previous decade. From this time onwards, Maes employed staging and accessories often seen in Flemish portraiture. In the 1670s Maes' style further developed to reflect the lighter spirit of the times as he places his sitters in elegant gardens painted in light tones and with a free brushstroke. These later portraits emphasize the gestures and poses, as well as the clothes and hairstyles of the models. The stylistic evolution of his portraits shows the influence of developments in Flemish and French portraiture.
Maes painted hundreds of portraits during his mature period. These were mostly executed in two standardised formats: the first used a small rectangular canvas to depict a half-length figure within a painted oval in a while the second used on a larger format to depict a three-quarter-length figure, who would be leaning against a prop such as a column, fountain or rock. The setting was often a terrace or garden against a sunset sky. He also created many group portraits of families or just children shown at full length amidst a landscape. During the 1670s and early 1680s he painted several portraits of children in the guise of mythological figures such as Ganymede, Apollo and Diana, either as single figure or in a family group. He further painted one group portrait of a guild, the Six Governors of the Amsterdam Surgeons' Guild (1680–81, Rijksmuseum Amsterdam).
Selected works
Portrait of Laurence Hyde, Earl of Rochester - Oil on canvas, 113 x 89.4 cm, Private collection
Christ Before Pilate (1649-1650) - Oil on canvas, 216 x 174 cm, Museum of Fine Arts, Budapest
Portrait of Four Children (1657) - Oil on canvas, 150 x 112 cm, Groeningemuseum, Bruges
Christ Blessing the Children (1652-1653) -Oil on canvas, 206 x 154 cm, National Gallery, London
Admiral Cornelis Evertsen the Youngest (1662) - Oil on Canvas
Portrait of Justus Criex (1666) - Oil on canvas, 109 x 92 cm, Museum of Fine Arts, Budapest
Eavesdropper with a Scolding Woman (1655) - Oil on panel, 46,3 x 72,2 cm, Private collection
The Idle Servant (1655) - Oil on wood, 70 x 53 cm, National Gallery, London
The Lacemaker (1649-1650) - Oil on canvas, Metropolitan Museum of Art, New York
The Lacemaker (1655) - oil on canvas National Gallery of Canada, Ottawa, Ontario
Old Woman Dozing (1656) - Oil on canvas, 135 x 105 cm, Royal Museums of Fine Arts of Belgium, Brussels
Portrait of a Woman (1667) - Oil on canvas, 90 x 72 cm, Musée d'Arras, Arras
Portrait of a Woman - Oil on canvas, 89,6 x 71,2 cm, Museum voor Schone Kunsten, Ghent
A Woman Spinning (1655) - Oil on panel, Rijksmuseum, Amsterdam
Apostle Thomas (1656) - Oil on canvas, Museumslandschaft Hessen Kassel
Woman Plucking a Duck (c.1656) - Oil on canvas, Philadelphia Museum of Art, Philadelphia
Old Woman at Prayer (c.1656) - Oil on canvas, 134 x 113 cm, Rijksmuseum, Amsterdam
Doing the Accounts (1656) - Oil on canvas, 66 x 54 cm, Saint Louis Art Museum, Saint Louis
The Eavesdropper (1657) - Oil on canvas, 92 x 122 c, Dordrechts Museum
Portrait of Jacob Trip (c.1660) - Oil on canvas, 88 x 68 cm, Museum of Fine Arts, Budapest
Portrait of Margaretha de Geer, Wife of Jacob Trip (c.1660) - Oil on canvas, 88 x 68 cm, Museum of Fine Arts, Budapest
Portrait of Simon van Alphen (c.1680) - Oil on canvas, 71 x 57 cm, Rijksmuseum, Amsterdam
Portrait of William the Third of Orange (after 1677) - Oil on canvas, Blanton Art Museum Austin, Texas
Notes
Further reading
van Suchtelen, Ariane; Cornelis, Bart; Schapelhouman, Marijn; Cahill, Nina (2019). Nicolaes Maes: Dutch Master of the Golden Age. Dan Haag; London: Mauritshuis; National Gallery Company. ISBN 9781857096545.
External links
Media related to Nicolaes Maes at Wikimedia Commons
Nicolai Abraham Abildgaard (11 September 1743 – 4 June 1809) was a Danish neoclassical and royal history painter, sculptor, architect, and professor of painting, mythology, and anatomy at the New Royal Danish Academy of Art in Copenhagen, Denmark. Many of his works were in the royal Christiansborg Palace (some destroyed by fire 1794), Fredensborg Palace, and Levetzau Palace at Amalienborg.
Biography
Nicolai Abraham Abildgaard was born in Copenhagen, Denmark, as the son of Anne Margrethe (née Bastholm) and Søren Abildgaard, a noted antiquarian draughtsman.
Abildgaard was trained by a painting master before he joined the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, where he studied under the guidance of Johan Edvard Mandelberg and Johannes Wiedewelt. He won a series of medallions at the Academy for his brilliance from 1764 to 1767. The Large Gold Medallion from the Academy won in 1767 included a travel stipend, which he waited five years to receive. He assisted Professor Johan Mandelberg of the Academy as an apprentice around 1769 and for painting decorations for the royal palace at Fredensborg. These paintings are classical, influenced by French classical artists such as Claude Lorrain and Nicolas Poussin. Mandelberg had studied in Paris under François Boucher.
Student travels
Although artists of that time usually journeyed to Paris for further studies, Abildgaard chose to travel to Rome, where he stayed from 1772 to 1777. He took a side trip to Naples in 1776 with Jens Juel. His ambitions focused in the genre of history painting. While in Rome, he studied Annibale Carracci's frescoes at the Palazzo Farnese and the paintings of Rafael, Titian, and Michelangelo. In addition he studied various other artistic disciplines (sculpture, architecture, decoration, wall paintings) and developed his knowledge of mythology, antiquities, anatomy, and perspective.
In the company of Swedish sculptor Johan Tobias Sergel and painter Johann Heinrich Füssli, he began to move away from the classicism he had learned at the Academy. He developed an appreciation for the literature of Shakespeare, Homer, and Ossian (the putative Gaelic poet). He worked with themes from Greek as well as Norse mythology, which placed him at the forefront of Nordic romanticism. He left Rome in June 1777 with the hope of becoming professor at the Academy in Copenhagen. He stopped for a stay in Paris and arrived in Denmark in December of the same year.
An academic and artistic career
In 1778, soon after joining the Academy, he was appointed to a professorship. He taught mythology and anatomy in addition to painting of the neoclassical style. Beyond his position at the Academy, he was very productive as an artist from 1777 to 1794. He produced not only monumental works, but also smaller pieces such as vignettes and illustrations. He designed Old Norse costumes. He illustrated the works of Socrates and Ossian. Additionally he did some sculpting, etching, and authoring. He was interested in all manners of mythological, biblical, and literary allusion.
He taught some famous painters, including Asmus Jacob Carstens, sculptor Bertel Thorvaldsen, and painters J. L. Lund and Christoffer Wilhelm Eckersberg. After his death, Lund and Eckersberg went on to become his successors as Academy professors. Eckersberg, referred to as the "Father of Danish painting," went on to lay the foundation for the period of art known as the Golden Age of Danish Painting, as professor at the same Academy.
As royal historical painter, Abildgaard was commissioned around 1780 by the Danish government to paint large monumental pieces, a history of Denmark, to decorate the entirety of the Knights' Room (Riddersal) at Christiansborg Palace. It was a prestigious and lucrative assignment. The paintings combined historical depictions with allegorical and mythological elements that glorified and flattered the government. The door pieces depicted, in allegory, four historical periods in Europe's history. Abilgaard used pictorial allegory like ideograms, to communicate ideas and transmit messages through symbols to a refined public who was initiated into this form of symbology. Abildgaard's professor Johan Edvard Mandelberg supplied the decorations to the room.
He made a failed attempt to be elected to the post of Academy Director in 1787 and was unanimously elected to the post two years later, serving as director during the period 1789–1791. He had the reputation for being a tyrant and for taking as many of the academy's monumental assignments as possible for himself.
Abilgaard was also known as a religious freethinker and an advocate of political reform. In spite of his service to (and in his artwork the glorification of) the government, he was hardly a great supporter of the monarchy or of the state church. He supported the emancipation of the farmers and participated in the collection of monies for the Freedom Monument (Frihedsstøtten) in 1792. He contributed a design for the monument, as well as for two of the reliefs at its base. He got drawn into controversies at the end of the 18th century because of his provocative statements and satirical drawings. He was inspired by the French Revolution, and in 1789–1790 he tried to incorporate these revolutionary ideals into the Knights' Room at Christiansborg Palace. However, the King rejected his designs.
His showdowns with the establishment culminated in 1794, when his allegorical painting "Jupiter Weighs the Fate of Mankind" (Jupiter vejer menneskenes skæbne) was exhibited at the Salon. He was politically isolated and cut out of the public debate by censors.
The fire at Christiansborg Palace, in February 1794, also had a dampening effect on his career, for seven of the ten monumental paintings of the grandiose project were destroyed in that accident. The project was stopped and so were his earnings. However, after that devastating fire accident, he started getting decorative assignments and also got the opportunity to practice as an architect. He decorated the Levetzau Palace (now known as Christian VIII's Palace) at Amalienborg (1794–1798), recently occupied home of King Christian VII of Denmark's half-brother Frederik. His protégé Bertel Thorvaldsen headed the sculptural efforts. He also planned for rebuilding the Christiansborg Palace, but he could not get the assignment.
At the start of the 19th century, his interest in painting was restored when he painted four scenes from Terence's comedy Andria. In 1804 he received a commission for a series of paintings for the throne room in the new palace, but disagreements between the artist and the crown prince put a halt to this project. He continued, however, to provide the court with designs for furniture and room decorations.
He was once again selected to serve as the Academy's director from 1801 until his death.
Gallery
Personal life
Abildgaard married Anna Marie "Nancy" Christiane Oxholm (1762–1822) in 1781. She gave birth to his son Marcus Aurelius the same year. However, he lived only to 4 years of age.
When Abildgaard found out his wife was unfaithful with Reinhard von Eppingen, chamberlain at the Danish court, he forced the pair to flee in disgrace across the Sound to Helsingborg, Sweden, getting a divorce. His second marriage in 1803 was to Juliane Marie Ottesen (1777–1848). He had a further two sons and a daughter from this marriage. He died at Frederiksdal House in 1809. Nicolai Abraham Abildgaard is buried in Copenhagen's Assistens Cemetery.
Legacy
Though Nicolai Abildgaard won immense fame in his own generation and helped lead the way to the period of art known as the Golden Age of Danish Painting, his works are scarcely known outside of Denmark. His style was classical, though with a romantic trend. According to the Encyclopædia Britannica Eleventh Edition, "he was a cold theorist, inspired not by nature but by art. He had a keen sense of color. As a technical painter, he attained remarkable success, his tone being very harmonious and even, but the effect to a foreigner's eye is rarely interesting." A portrait of him painted by Jens Juel was made into a medallion by his friend Johan Tobias Sergel. August Vilhelm Saabye sculpted a statue of him in 1868, based on contemporary portraits.
See also
Art of Denmark
References
Other sources
Christopher John Murray (2004). Encyclopedia of the Romantic Era, 1760–1850: A-K. Taylor & Francis. p. 1. ISBN 978-1-57958-423-8. Retrieved 31 December 2012.
S.A. Sørensen, "Reinhard von Eppingen", i: C.F. Bricka (red.), Dansk biografisk Lexikon, København: Gyldendal 1887-1905.
External links
Danish Biographical Encyclopedia ("Dansk biografisk Leksikion")
List of paintings by Nicolai Abildgaard
Nicolas Froment (c. 1435, Uzès, Gard – c. 1486 in Avignon) was a French painter of the Early Renaissance.
Nicolas Froment is one of the most notable representatives of the Second School of Avignon, (École d'Avignon), a group of artists at the court of the Popes in Avignon, who were located there from 1309 to 1411.
He was influenced by the Flemish style that characterizes the last phase of the Gothic.
He undertook to paint an altarpiece 12 February 1470 in Aix for a rich widow called Catherine Spifami; in the center of the panel is a depicting the Death of Mary, and on the side panels, the Saints Mary Magdalene and Catherine are shown. He was attributed a number of works from this timetime, but none of these attributions can be considered reliable.
One of the most interesting work of this group is the Retable des Pérussis or The Pérussis Altarpiece, depicts the adoration of the empty cross on Golgatha, and is located at the Metropolitan Museum in New York.
Works
The Resurrection of Lazarus, triptych, (1461), Florence, Galleria degli Uffizi.
The Matheron Diptych, (v.1475), oil on canvas, 17 x 26 cm, Paris, Musée du Louvre.
Le Buisson ardent, triptych, (1475-1476), tempera on wood, 410 x 305 cm, Aix-en-Provence, cathédrale Saint-Sauveur.
The Legend of Saint Mitre, (about 1470), oil on wood, Aix-en-Provence, cathédrale Saint-Sauveur.
Selected works
References
See also
Early Renaissance painting
Nicolas Lancret (22 January 1690 – 14 September 1743) was a French painter. Born in Paris, he was a brilliant depicter of light comedy which reflected the tastes and manners of French society during the regency of the Duke of Orleans and, later, early reign of King Louis XV.
Career
Lancret's first master was Pierre d'Ulin, but his acquaintance with and admiration for Watteau induced him to leave Ulin for Gillot, whose pupil Watteau had been. Lancret, who remained a pupil of Gillot from 1712–1713, was heavily influenced by the older painter, whose typical slender figures can be found in many of his pupil's younger works. Two pictures painted by Lancret and exhibited on the Place Dauphine had a great success, which laid the foundation of his fortune, and, it is said, estranged Watteau, who had been complimented as their author. In 1718 he was received as an Academician, from thereon becoming a very respected artist, especially amongst the admirers of Watteau. He completed works to decorate the Palace of Versailles, while his style was later to prove popular with Frederick the Great. Lancret's popularity was reflected by the decision to make him a councillor at the Academie in 1735.