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1665: A Lady playing a Clavichord (Dulwich Picture Gallery, London) |
1670: A Hermit Praying (Minneapolis Institute of Arts, Minnesota) |
1670: The Hermit (National Gallery of Art, Washington, D.C.) |
1670s: A Poulterer's Shop (National Gallery, London) |
1670–75: The Herring Seller (Hermitage Museum, Saint Petersburg) |
Self Portrait (National Gallery, London) |
Portrait of a Young Man (Fitzwilliam Museum, Cambridge) |
Evening Light (Rijksmuseum, Amsterdam) |
Young Man (The Hague) |
The Cook (Louvre, Paris) |
The Spinner (Gala-Salvador Dalí Foundation) |
The Spinning Reel (Fine Arts Museums of San Francisco) |
The Reader (Fine Arts Museums of San Francisco) |
Portrait of an Unknown Gentleman (Museum of Fine Arts at the University of Montana, Missoula) |
Dog at Rest (Museum of Fine Arts, Boston) |
Gerrit Dou's works |
Cultural references |
In Honoré de Balzac's 1831 novel La Peau de chagrin, the curiosity shop Raphaël de Valentin enters in the opening sequence contains, among other paintings, "a Gerald Dow which resembled a page of Sterne," and the old shopkeeper is compared to "Gerald Dow's Money-Changer." |
In the comic opera The Pirates of Penzance, by Gilbert and Sullivan, the Major-General brags of being able to distinguish works by Raphael from works by Dou and Johan Zoffany. |
Dou (as "Gerard Douw") is a character in J. Sheridan Le Fanu's short story "Schalken the Painter". In the 1979 BBC television adaptation of this work, Schalcken the Painter, he was played by Maurice Denham. |
Dou is portrayed on film by Toby Jones in Nightwatching (2007). |
W. F. Harvey's short story "Old Masters" features a picture by Dou (as Gerhard Dow) as the subject of an ingenious scam. (The story is included in the 2009 Wordsworth Edition omnibus collection of Harvey's stories, "The Beast with Five Fingers".) |
A group of boys in Mary Mapes Dodge's Hans Brinker or the Silver Skates visit a museum in Amsterdam and see two paintings by "Gerard Douw"--"The Hermit" and "Evening School." |
In the 2023 film, “The Little Mermaid” Dou’s painting, Astronomer by Candlelight, is featured as a page in a book which the mermaid, Ariel, flips though while singing “Part of Your World”. |
References |
Sources |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Douw, Gerhard". Encyclopædia Britannica. Vol. 8 (11th ed.). Cambridge University Press. p. 451. |
Baer, Ronni (2000). "The Life and Art of Gerrit Dou". In Wheelock, Arthur K. (ed.). Gerrit Dou 1613–75: Master Painter in the Age of Rembrandt (exhibition catalogue). National Gallery of Art Washington; Yale University Press. ISBN 0-89468-248-2. |
Gerrit Dou (1613–1675): Master Painter in the Age of Rembrandt at the National Gallery of Art |
External links |
58 artworks by or after Gerrit Dou at the Art UK site |
Works at WGA |
Works and literature |
Oldandsold.com |
Vermeer and The Delft School, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Gerrit Dou |
Giacinto Gimignani (1606 – 9 December 1681) was an Italian painter, active mainly in Rome, during the Baroque period. He was also an engraver of aquaforte. |
Biography |
Gimignani was born in Pistoia, where his father, Alessio (1567–1651) was also a painter and former pupil of Jacopo Ligozzi. Gimignani had been patronized by the prominent Guido Rospigliosi, Cardinal Secretary of State, and descendant of the prominent Rospigliosi family of Pistoia. |
By 1630 his father had arranged for him to travel to Rome, where he is said to have begun training under Poussin, and by 1632 he had transferred to work under Pietro da Cortona. Luigi Lanzi describes that he learned design from the former and color from the latter. |
In Rome, his first known work is the fresco of the Rest on the Flight to Egypt (1632), a lunette in the chapel of the Palazzo Barberini. He competed with Camassei and Maratta for fresco commissions, including the fresco of the Vision of the Cross by Constantine the Great in the ambulatory of the baptistery of San Giovanni in Laterano. He completed this work under the guidance of Andrea Sacchi. In 1648, he assisted Cortona in the decoration of the Palazzo Pamphili in Rome. He developed a classical style befitting the grand manner style developing in Rome. Among other works in Rome, he painted a San Pio for the church of San Silvestro al Quirinale, and a Martyrdom canvas for the church of Santa Maria a Campo Santo. In Perugia, for the Benedictine church, he painted a St. Benedict meeting Totila, King of the Goths. |
He joined the Accademia di San Luca in 1650. He married the daughter of the painter Alessandro Turchi of Verona. He spent his last years back in Tuscany. In Pistoia, are a number of paintings in the Museo Clemente Rospigliosi, including the Meeting of Venus and Adonis and The brothers show Joseph's bloody coat to Jacob. |
The Fondazione Cassa di Risparmio di Pistoia e Pescia was the owner of Venus Awakened by Cupid, Olindo e Sophronia, Venus, Cupid and Time, Venere e amore, Olindo e Sofronia and La verità che scopre il tempo. |
His son Ludovico Gimignani is also known for his fresco work in Rome. |
References |
External links |
Media related to Giacinto Gimignani at Wikimedia Commons |
Web Gallery of Art Biography |
Giacomo Antonio Melchiorre Ceruti (13 October 1698 – 28 August 1767) was an Italian late Baroque painter, active in Northern Italy in Milan, Brescia, and Venice. He acquired the nickname Pitocchetto (the little beggar) for his many paintings of peasants dressed in rags. |
He was born in Milan, but worked primarily in Brescia. He may have been influenced early by Antonio Cifrondi and/or Giacomo Todesco (Todeschini), and received training from Carlo Ceresa. While he also painted still-life paintings and religious scenes, Ceruti is best known for his genre paintings, especially of beggars and the poor, whom he painted realistically and endowed with unusual dignity and individuality. |
Ceruti gave particular attention to this subject matter during the period 1725 to 1740, and about 50 of his genre paintings from these years survive. Mira Pajes Merriman, in her essay titled Comedy, Reality, and the Development of Genre Painting in Italy, observes that "Generally his figures do almost nothing—after all, they have nothing to do." She describes his paintings as confronting us withthe detritus of the community; the displaced and homeless poor; the old and the young with their ubiquitous spindles, eloquent signs of their situationless poverty and unwanted labour; orphans in their orderly, joyless asylums plying their unpaid toil; urchins of the streets eking out small coins as porters, and sating them in gambling; the diseased, palsied, and deformed; lonely vagabonds; even a stranger from Africa—and all in tatters and filthy rags, almost all with eyes that address us directly... |
A characteristic painting is his Woman with a Dog which portrays a rather plain subject sympathetically and without idealization. Like most of his figures, she appears before an undifferentiated dark background; when Ceruti attempted to represent deep space, the results were frequently awkward. His landscape backgrounds resemble stage flats and are often copied from print sources, such as the engravings of Jacques Callot. The realism Ceruti brought to his genre paintings also distinguishes his portraits and still lifes, while it is less apparent in his somewhat conventional decorative paintings for churches, including frescoes for the Basilica Santa Maria Assunta of Gandino and an altarpiece for Santa Lucia in Padua. This limitation is not unique to Ceruti; the Brescian painter from the late 16th century, Giovanni Battista Moroni, was similarly known for expressive portraits, and drab religious paintings. |
Gallery |
Notes |
Resources |
Spike, John T. (1986). Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Fort Worth: Kimball Museum of Art. pp. 66–67. |
External links |
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 Ceruti (see index) |
Giacomo Guardi (13 April 1764 – 3 November 1835) was an Italian painter from Venice. The son of famous Veduta painter Francesco Guardi, he continued his father's line of work, though without the same level of renown. The majority of his works are quite small views of only minor artistic interest, more akin to postcards than to his father's grand scenes, but he produced several paintings showcasing a notable level of artistic skill as well. Evaluating his legacy is somewhat complicated due to the frequency with which paintings are misattributed to him. |
== References == |
Giovanni Battista Canal or Canale (1745 – 5 December 1825) was an Italian painter of the late Baroque and early Neoclassical era, active mainly depicting history and sacred subjects in his native Venice. |
Biography |
His father, Fabio Canal, was a fresco painter that was a follower of Tiepolo. Giovanni Battista was criticized for his celeritude in fresco painting, which led to a nickname of fa presto. He too was strongly echoed by the light colors of Tiepolo, but lacked the skill in design of the great master. |
Giovanni Battista was initially trained by his father and then at the Academy of Fine Arts, Venice, where he would also teach from 1783 to 1807. He was made an academic in 1776. He was active throughout the Veneto, and also in Ferrara and Udine. |
Among his works were the ceiling of the church of Sant'Eufemia in the Giudecca. In 1776, he painted for the church of Fonte in Asolo. He painted Storia d'amore in villa Viola of Treviso; frescoes (1790) for the Palazzo Mocenigo a San Stae in Venice; frescoes (1804) for the Palazzo Filodrammatici of Treviso; and a Martyrdom of Santi Gervasio e Protasio (1822) for the church of San Trovaso in Treviso. In later years, he collaborated with the neoclassical quadratura painter Giuseppe Borsato. He also lost his sight in later years, but his impoverishment forced him to continue to paint. |
== References == |
Giambettino Cignaroli (Verona, July 4, 1706 – Verona, December 1, 1770) was an Italian painter of the Rococo and early Neoclassic period. |
Biography |
He was a pupil of Santo Prunato and Antonio Balestra and active mostly in the area of the Veneto. He became the director of the academy of painting and sculpture of Verona in December 1764. The Academy was subsequently known as Accademia Cignaroli. Among his many pupils were Maria Suppioti Ceroni, Giovanni Battista Lorenzi, Saverio Dalla Rosa, Domenico Mondini, Domenico Pedarzoli, and Christopher Unterberger. His brother Giovanni Domenico Cignaroli was also a painter. |
For the Austrian governor of Lombardy and a collector of antiquities, Count Karl von Firmian, Cignaroli painted two canvases on Greco-Roman episodes, a thematic preferred by Neoclassic painters: Death of Cato (1759) and Death of Socrates. |
Giambettino was born into a family of artists, and this tradition continued after his death with his children. Artists from his family who were contemporaries and elders of Giambettino include |
his uncle Leonardo Seniore, and his two sons (cousins of Giambettino), Martino and Pietro. |
Works |
Martyr of Saints Felix and Fortunatus (1737), Bergamo Cathedral |
Apollo and Marsyas (1739) and the Sacrifice of Iphigenia (1741), Villa Pompei, Illasi, Verona |
Saint Helena (1741), Castelvecchio, Verona |
Saint Procolus Visiting Saints Fermus and Rusticus (1744), Bergamo Cathedral |
Virgin and Child With Saints Jerome and Alexander (1744), Chiesa dell'Ospedale, Bergamo |
Aurora (1748), Casa Fattori, Verona |
Death of Rachel, Accademia, Venice |
Death of Socrates (1759) |
Death of Cato (1759) |
Sacrifice of Isaac |
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