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 th... |
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... |
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 destroye... |
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 La... |
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... |
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 No... |
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 ... |
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... |
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 depic... |
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 colle... |
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 decorati... |
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 con... |
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... |
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... |
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 attribu... |
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 hi... |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.