Category Archives: #FineArtFriday

#FineArtFriday: the Dragon’s Cave by Georg Janny 1917

Georg_Janny_-_The_Dragon's_Cave_1917Artist: Georg Janny  (1864–1935)

Title: The Dragon’s Cave (German: Drachenhöhle)

Date: 1917

Medium: oil on canvas

What I love about this painting:

What’s not to love about a dragon? Georg Janny gives us the beast in his natural environment. Our dragon is immense, gloriously armored with steel gray and silver scales. Twin streams of smoke rise from his nostrils, evidence of his fiery internal workings. The dragon sits at the entrance to his mountain aerie, surveying the world, and believes that he is the master.

I love fantasy paintings. The artists who painted scenery for the opera were, and are, incredibly skilled. The scenery painters of the early twentieth century were often influenced in their subject matter and style by the works of the pre-Raphaelites.

About the Artist, via Wikipedia:

Georg Janny (20 May 1864, Vienna – 21 February 1935, Vienna) was an Austrian landscape painter and set designer.

He worked as a scene painter in the studios of Carlo Brioschi and Johann Kautsky, alongside Alfons Mucha, and was a member of the Dürerbund.

In 1898, he participated in painting the “Eisernen Vorhang” (Iron Curtain) at the Vienna Volksoper for the 50th jubilee of Emperor Franz Joseph I. In 1904, he exhibited in the Austrian Pavilion at the St.Louis World’s Fair with scenes from the Imperial Royal Austrian State Railways (now at the Technisches Museum Wien). Two years later, he designed the stage for The Queen of Sheba by Karl Goldmark, one of the most popular operas of the late 19th century. Pictures from the second and third acts have been preserved.

He also painted landscapes and figures, including scenes from fairy-tales or imaginary worlds that are reminiscent of the works of Arnold Böcklin or Gustave Doré. [1]


Credits and Attributions:

Image: The Dragon’s Cave by Georg Janny. Wikimedia Commons contributors, “File:Georg Janny – The Dragon’s Cave 1917.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Georg_Janny_-_The_Dragon%27s_Cave_1917.jpg&oldid=636191261 (accessed August 25, 2023).

[1] Wikipedia contributors, “Georg Janny,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Georg_Janny&oldid=1159021400 (accessed August 25, 2023).

Wikimedia Commons contributors, “File:Georg Janny – The Dragon’s Cave 1917.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Georg_Janny_-_The_Dragon%27s_Cave_1917.jpg&oldid=636191261 (accessed August 25, 2023).

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#FineArtFriday: Summer, Lake Ontario by Jasper Francis Cropsey 1857 (revisited)

Cropsey,_Jasper_Francis_-_Summer,_Lake_Ontario_-_Google_Art_ProjectTitle: Summer, Lake Ontario by Jasper Francis Cropsey (1823–1900)

Genre: landscape art

Date: 1857

Medium: oil on canvas

Collection: Indianapolis Museum of Art

What I love about this painting:

Cropsey paints a summer evening in New York State, along the shore of one of Lake Ontario’s bays. Near the bottom center, a pair of fishers are placed on the wooden bridge over a creek. This image has a fantasy quality, as if it depicts a dream or a fond memory.

Our point of view is from a hill, looking down to the creek, the bridge, and the bay shore, and then across low hills to the great lake beyond. Cropsey gives equal importance to the earth below and sky above.

Cropsey’s signature deep colors are featured in this panoramic view of a summer evening. Warm reds, browns, yellows, and dark greens are lightened by wispy mists rising in the early evening air, lit by the setting sun.

About the Artist, via Wikipedia:

Jasper Francis Cropsey (February 18, 1823 – June 22, 1900) was an important American landscape artist of the Hudson River School.

Cropsey was born on his father Jacob Rezeau Cropsey’s farm in Rossville on Staten Island, New York, the oldest of eight children. As a young boy, Cropsey had recurring periods of poor health. While absent from school, Cropsey taught himself to draw. His early drawings included architectural sketches and landscapes drawn on notepads and in the margins of his schoolbooks.

Trained as an architect, he set up his own office in 1843. Cropsey studied watercolor and life drawing at the National Academy of Design under the instruction of Edward Maury and first exhibited there in 1844. A year later he was elected an associate member and turned exclusively to landscape painting; shortly after he was featured in an exhibition entitled “Italian Compositions.”

Cropsey traveled in Europe from 1847–1849, visiting England, France, Switzerland, and Italy. He was elected a full member of the Academy in 1851. Cropsey was a personal friend of Henry Tappan, the president of the University of Michigan from 1852 to 1863. At Tappan’s invitation, he traveled to Ann Arbor in 1855 and produced two paintings, one of the Detroit Observatory, and a landscape of the campus. He went abroad again in 1856, and resided seven years in London, sending his pictures to the Royal Academy and to the International exhibition of 1862.

Returning home, he opened a studio in New York and specialized in autumnal landscape paintings of the northeastern United States, often idealized and with vivid colors. Cropsey co-founded, with ten fellow artists, the American Society of Painters in Watercolors in 1866. He also made the architectural designs for the stations of the elevated railways in New York. [1]


Credits and Attributions:

Image: Summer, Lake Ontario by Jasper Francis Cropsey 1857. Wikimedia Commons contributors, “File:Cropsey, Jasper Francis – Summer, Lake Ontario – Google Art Project.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Cropsey,_Jasper_Francis_-_Summer,_Lake_Ontario_-_Google_Art_Project.jpg&oldid=618625179 (accessed June 30, 2022).

[1] Wikipedia contributors, “Jasper Francis Cropsey,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jasper_Francis_Cropsey&oldid=1093620569 (accessed June 30, 2022).

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#FineArtFriday: The Hay Harvest by Pieter Bruegel the Elder, 1565 (reprise)

Haymaking,_Pieter_Brueghel_the_Elder (1)Artist: Pieter Bruegel the Elder (1526/1530–1569)

Title: The Hay Harvest

Genre: genre art

Date: 1565

Medium: oil on panel

Dimensions: Height: 117 cm (46 in) Width: 161 cm (63.3 in)

According to the Web Gallery of Art, Haymaking, also known as The Hay Harvest, belongs to the Series of the Months. All the other panels in this series are dated 1565. July and August are the months when most summer crops are harvested. This painting and the August panel (The Corn Harvest) show the bringing-in of the harvest.

I first featured this painting in August of 2021, but it is well worth a second look. Workers scythe grain in the large field toward the center of the painting. In the foreground, other laborers harvest vegetables and pick berries. Everyone works to bring in the food, men, women, and children, as winter isn’t that far away, and the hay will sustain the draft animals in the long cold months ahead.

While each painting in the series shows the traditional occupation of that month, Bruegel’s real subject is the landscape itself, its ever-changing appearance.

I have always loved Bruegel the Elder’s work because he portrays the gathering of food as a fundamental human activity. He shows us that the quantity of food we have on our tables is determined by the knowledge and labor of others.

The variety of foods we have available to us is dictated by the form of the landscape. To carve a living from the earth a farmer must understand and care for the land that sustains them. They must know what areas of soil will be best for each crop and use that knowledge when laying out how the fields will be planted, as each crop has different nutrient requirements.

Within one valley, many types of soils will exist, so what serves to grow hay may not work for more delicate vegetables.

In the lush bounty of this painting, Bruegel the Elder shows us the wisdom of farmers, knowledge that sustains us to this day. He illustrates the way all people who grow and gather our food are bound to the land.

Those who grow food in their back gardens understand and respect the labors of those small farmers who grow produce for our local markets.

About the series, Months of the Year, via Wikipedia:

(Bruegel’s) famous set of landscapes with genre figures depicting the seasons are the culmination of his landscape style; the five surviving paintings use the basic elements of the world landscape (only one lacks craggy mountains) but transform them into his own style. They are larger than most previous works, with a genre scene with several figures in the foreground, and the panoramic view seen past or through trees. Bruegel was also aware of the Danube School‘s landscape style through prints.

The series on the months of the year includes several of Bruegel’s best-known works. In 1565, a wealthy patron in Antwerp, Niclaes Jonghelinck, commissioned him to paint a series of paintings of each month of the year. There has been disagreement among art historians as to whether the series originally included six or twelve works. Today, only five of these paintings survive and some of the months are paired to form a general season. Traditional Flemish luxury books of hours (e.g., the Très Riches Heures du Duc de Berry; 1416) had calendar pages that included the Labours of the Months, depictions set in landscapes of the agricultural tasks, weather, and social life typical for that month.

Bruegel’s paintings were on a far larger scale than a typical calendar page painting, each one approximately three feet by five feet. For Bruegel, this was a large commission (the size of a commission was based on how large the painting was) and an important one. In 1565, the Calvinist riots began and it was only two years before the Eighty Years’ War broke out. Bruegel may have felt safer with a secular commission so as to not offend Calvinist or Catholic. Some of the most famous paintings from this series included The Hunters in the Snow (December–January) and The Harvesters (August). [1]

About the Artist, Via Wikipedia:

Pieter Bruegel (also Brueghel or Breughelthe Elder c. 1525–1530 – 9 September 1569) was the most significant artist of Dutch and Flemish Renaissance painting, a painter and printmaker, known for his landscapes and peasant scenes (so-called genre painting); he was a pioneer in making both types of subject the focus in large paintings.

He was a formative influence on Dutch Golden Age painting and later painting in general in his innovative choices of subject matter, as one of the first generation of artists to grow up when religious subjects had ceased to be the natural subject matter of painting. He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp, where he worked mainly as a prolific designer of prints for the leading publisher of the day. Only towards the end of the decade did he switch to make painting his main medium, and all his famous paintings come from the following period of little more than a decade before his early death, when he was probably in his early forties, and at the height of his powers.

As well as looking forwards, his art reinvigorates medieval subjects such as marginal drolleries of ordinary life in illuminated manuscripts, and the calendar scenes of agricultural labours set in landscape backgrounds, and puts these on a much larger scale than before, and in the expensive medium of oil painting. He does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations.

He is sometimes referred to as “Peasant Bruegel”, to distinguish him from the many later painters in his family, including his son Pieter Brueghel the Younger (1564–1638). From 1559, he dropped the ‘h’ from his name and signed his paintings as Bruegel; his relatives continued to use “Brueghel” or “Breughel”. [2]


Credits and Attributions:

Wikimedia Commons contributors, “File:Haymaking, Pieter Brueghel the Elder.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Haymaking,_Pieter_Brueghel_the_Elder.jpg&oldid=431869636 (accessed August 10, 2023).

[1] Wikipedia contributors, “Pieter Bruegel the Elder,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Pieter_Bruegel_the_Elder&oldid=1028859234 (accessed August 10, 2023).

[2] Wikipedia contributors, “Pieter Bruegel the Elder,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Pieter_Bruegel_the_Elder&oldid=1028859234 (accessed August 10, 2023).

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#FineArtFriday: Fisherwomen, Cullercoats by Winslow Homer 1881

Homer,_Winslow_-_'Fisherwomen,_Cullercoats',_1881,_graphite_&_watercolor_on_paperArtist: Winslow Homer  (1836–1910)

Title: Fisherwomen, Cullercoats

Date:   1881

Medium: watercolor and graphite on paper

Dimensions: height: 34.2 cm (13.4 in); width: 49.2 cm (19.3 in)

Collection: Honolulu Museum of Art

What I love about this painting:

Homer shows us a foggy morning at the beach, capturing the quality of light on the strand at Cullercoats, Tyne and Wear, England. He paints the background with an impressionist’s eye and gives us realistic portraits of the working women whose labors fed the country.

The fish baskets are heavy, but they share the load. Their sleeves are rolled up for work, and skirts are shorter than if they were in town—no one wants wet skirts dragging around their ankles.

I love the way he shows these women as they were that day, treating them with respect. During his lifetime, Winslow Homer depicted men and women of all races, slaves and former slaves, and soldiers. He showed us people who worked hard, not giving us caricatures but painting portraits of real people.

Homer loved the sea and traveled widely, painting everywhere he went. Critics sometimes dismiss his work as “calendar art, appealing to the unschooled masses.” But think about it – calendars and magazines often were the only art poor and working-class people had in their homes. If you don’t have access to art, how can you become “schooled” in it? Some art critics are a little too schooled.

If you are interested in knowing more about the art of Winslow Homer, this documentary is excellent: FAKE OR FORTUNE SE1EO4 WINSLOW HOMER – YouTube

About the Artist, via Wikipedia:

Homer started painting with watercolors on a regular basis in 1873 during a summer stay in Gloucester, Massachusetts. From the beginning, his technique was natural, fluid and confident, demonstrating his innate talent for a difficult medium. His impact would be revolutionary. Here, again, the critics were puzzled at first, “A child with an ink bottle could not have done worse.” Another critic said that Homer “made a sudden and desperate plunge into water color painting”. But his watercolors proved popular and enduring, and sold more readily, improving his financial condition considerably. They varied from highly detailed (Blackboard – 1877) to broadly impressionistic (Schooner at Sunset – 1880). Some watercolors were made as preparatory sketches for oil paintings (as for “Breezing Up”) and some as finished works in themselves. Thereafter, he seldom traveled without paper, brushes and water based paints.

As a result of disappointments with women or from some other emotional turmoil, Homer became reclusive in the late 1870s, no longer enjoying urban social life and living instead in Gloucester. For a while, he even lived in secluded Eastern Point Lighthouse (with the keeper’s family). In re-establishing his love of the sea, Homer found a rich source of themes while closely observing the fishermen, the sea, and the marine weather. After 1880, he rarely featured genteel women at leisure, focusing instead on working women. [1]


Credits and Attributions:

Image: Fisherwomen, Cullercoats by Winslow Homer 1881. Wikimedia Commons contributors, “File:Homer, Winslow – ‘Fisherwomen, Cullercoats’, 1881, graphite & watercolor on paper.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Homer,_Winslow_-_%27Fisherwomen,_Cullercoats%27,_1881,_graphite_%26_watercolor_on_paper.jpg&oldid=721923030 (accessed August 3, 2023).

[1] Wikipedia contributors, “Winslow Homer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Winslow_Homer&oldid=1168361459 (accessed August 3, 2023).

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#FineArtFriday: Mount Adams by Albert Bierstadt (revisited)


I live just north of Mount Adams. When you drive down past Mt. St. Helens, you often catch glimpses of this majestic volcano, but it is not usually on the tourist routes. Several of our native tribes call this mountain Klickitat, and some call it Pahto. Although Adams has not erupted in more than 1,000 years, it is not considered extinct.

I find it interesting that while it is the second-highest mountain in Washington State, after Mount Rainier, it is the least well-known to me. As a child, we stayed at Spirit Lake Resort (long before the 1980 eruption of Mt. St. Helens) and often camped at places near Goat Rocks. Sometimes I saw it from afar and wondered but never visited.

My father was an amputee, and 1940s prosthetics were rudimentary at best. He was unable to wear his prosthetic leg and walked on crutches. He adored fishing, but couldn’t hike for any distance, so we trailer-camped in places where he could fish from a boat. While there were camp sites in the Mt. Adams area, one often had to hike into them. But despite Dad’s disability, we traveled every summer and saw as much of our beautiful state as we could.

I don’t know if Bierstadt actually visited Mt. Adams, or painted this from what he was told–he was famous for painting scenery he had never seen and doing it with some accuracy.

Quote from Wikimedia Commons: Albert Bierstadt enjoyed great success in the years surrounding the Civil War, producing finely detailed vistas of nature’s splendor in majestic canvases that were similarly invested with significance beyond their surface appearance.

The first technically advanced artist to portray the American West, Bierstadt offered to a rapidly transforming nation pictures whose spectacular size and fresh, dramatic subject matter supplied a visual correlative to notions of American exceptionalism, while also contributing to the developing concept of Manifest Destiny.

Trained in the highly finished manner of the Düsseldorf Academy, Bierstadt’s precise style imbued his works with a reassuring sense of veracity despite their sublime subjects and occasional liberties with geographic reality. In Mount Adams, Washington, he characteristically combined an impressively scaled natural background with a foreground view of American Indian life, which serves to heighten the picture’s putative realism even as it enhances its exotic appeal.

The implied movement of the clouds and the sunlit figures on horseback similarly off to the right seems to open up the depicted space for the viewer to inhabit, providing an apt pictorial metaphor for the actual occupation and exploitation of the West by the eastern interests that constituted the artist’s clientele.


Credits and Attributions:

Mount Adams by Albert Bierstadt [Public domain], via Wikimedia Commons

Wikimedia Commons contributors, “File:1875, Bierstadt, Albert, Mount Adams, Washington.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:1875,_Bierstadt,_Albert,_Mount_Adams,_Washington.jpg&oldid=272380899 (accessed March 9, 2018).

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#FineArtFriday: Wivenhoe Park, Essex by John Constable 1816

John_Constable_-_Wivenhoe_Park,_Essex_-_Google_Art_ProjectArtist: John Constable  (1776–1837)

Title: Wivenhoe Park, Essex

Genre: landscape art

Date: 1816

Medium: oil on canvas oil on canvas

Dimensions: height: 56.1 cm (22 in); width: 101.2 cm (39.8 in)

Collection: National Gallery of Art

What I love about this image:

This is the painting that made John Constable’s name. It contains everything he idealized about his native country, England. He gives us a deceptively simple image of a summer’s day, with white clouds drifting above a peaceful scene.

So beautifully composed, and so relaxing. When life is crazy, a Zen picture as painted by a master reminds me to slow down and enjoy the scenery.

About this painting, via Wikipedia:

The National Gallery of Art holds this painting as one of its highlights:

A pleasant sense of ease and harmony pervades this landscape of almost photographic clarity. The large areas of brilliant sunshine and cool shade, the rambling line of the fence, and the beautiful balance of trees, meadow, and river are evidence of the artist’s creative synthesis of the actual site.

The painting was commissioned by the owner of Wivenhoe Park, Major General Francis Slater Rebow, who was among the artist’s first patrons, being a close friend of the artist’s father, Golding Constable. Wivenhoe Park is 200 acres (81 ha) of parkland, purchased by the Rebow family before 1734. Slater-Rebow commissioned several paintings from Constable, including a portrait of the general’s seven-year-old daughter in 1812. She also figures in this painting, in a donkey cart to the left. This painting, finished in September 1816, earned the artist enough money to allow him to marry his long-time love, Mary Bicknell. They married in October 1816.

Constable’s art is always penetrated by longing, melancholy and a yearning for the simple, natural life, for a bucolic, pastoral idyll, to rural subjects and aspects of life in the countryside, a “golden age” when people lived together in harmony with nature, a world on its way of disappearing when he painted his landscapes thanks to the beginning of the Industrial Revolution. He was aware of the issue of urban growth, of urban life’s unpleasantness, which he contrasted to life in the countryside. Constable’s art was rather unconventional for his time, and he loved simple things, a natural landscape without the ruins, dramatic effects or exalted, often excessive feelings, like the ones displayed in the paintings of his contemporary, J. M. W. Turner. His landscapes are flooded by a silvery brilliant light in the water and air and in the sky, and are characterised by a special intensity that is such an important feature of this artist’s works. [1]

About the Artist, via Wikipedia:

John Constable RA (11 June 1776 – 31 March 1837) was an English landscape painter in the Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting, with his pictures of Dedham Vale, the area surrounding his home – now known as “Constable Country” – which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”.[3]

Constable’s most famous paintings include Wivenhoe Park (1816), Dedham Vale (1821) and The Hay Wain (1821). Although his paintings are now among the most popular and valuable in British art, he was never financially successful. He became a member of the establishment after he was elected to the Royal Academy of Arts at the age of 52. His work was embraced in France, where he sold more than in his native England and inspired the Barbizon school. [2]


Credits and Attributions:

[1] Image: Wikipedia contributors, “Wivenhoe Park (painting),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Wivenhoe_Park_(painting)&oldid=1163430201 (accessed July 20, 2023).

[2] Wikipedia contributors, “John Constable,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=John_Constable&oldid=1162727967 (accessed July 20, 2023).

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#FineArtFriday: Sur la plage, les bains de mer by François d’Orléans

François_d'Orléans_-_Sur_la_plage,_les_bains_de_merArtist: François d’Orléans, prince de Joinville (1818-1900)

Title: Sur la plage, les bains de mer (English: On the beach sea bathing)

Medium: Watercolor

Date: before 1900

What I love about this painting:

I love the wild sense of humor shown in this portrayal of upper-class Victorian-era people on vacation beside the sea. In the background two young men are clowning around, one leaping over the back of the other. Everyone is having fun, except perhaps the woman being drenched by a bucket of water. So much action! It was a party, and François d’Orléans, Prince de Joinville recorded it with his own unique style.

About the Artist, via Wikipedia:

François d’Orléans, Prince de Joinville (14 August 1818 – 16 June 1900) was the third son of Louis PhilippeKing of the French, and his wife Maria Amalia of Naples and Sicily. An admiral of the French Navy, François was famous for bringing the remains of Napoleon from Saint Helena to France, as well as being a talented artist, with 35 known watercolours.

He married Princess Francisca of Brazil, daughter of Emperor Pedro I and sister of Emperor Pedro II. The dowry received by François upon the marriage became the Brazilian city of Joinville.

François and Francisca’s grandson Jean went on to become the Orléanist claimant to the extinct French throne, a claim passed on to his son, grandson and now great-grandson Jean, Count of Paris, current Orléanist claimant to the French crown.


Credits and Attributions:

Image: Sur la plage, les bains de mer  by François d’Orléans, prince de Joinville. Wikimedia Commons contributors, “File:François d’Orléans – Sur la plage, les bains de mer.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Fran%C3%A7ois_d%27Orl%C3%A9ans_-_Sur_la_plage,_les_bains_de_mer.jpg&oldid=757902107 (accessed July 13, 2023).

Wikipedia contributors, “François d’Orléans, Prince of Joinville,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Fran%C3%A7ois_d%27Orl%C3%A9ans,_Prince_of_Joinville&oldid=1160992832 (accessed July 13, 2

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#FineArtFriday: History Painting, Titus (with self portrait) by Rembrandt Harmenszoon van Rijn 1626 (revisited)

History Painting, Titus (with self portrait of Rembrandt) by Rembrandt Harmenszoon van Rijn 1626

  • Artist: Rembrandt  (1606–1669) Rembrandt Harmenszoon van Rijn
  • Title: Historical Scene.
  • Inscriptions: Monogram and date bottom right: RH 16[2]6
  • Object type: painting
  • Genre: history painting
  • Depicted people: Titus
  • Date: 1626
  • Medium: oil on oak panel
  • Dimensions: Height: 89.8 cm (35.3 in); Width: 121 cm (47.6 in)
  • Collection:   Museum De Lakenhal

What I love about this Painting:

This is one of Rembrandt’s earliest history paintings. The young artist went all out to compose and execute this painting. He scoured the city for props, and found old armor and weapons. Then he dressed the players richly in the finest garments of his own day, so as to befit a beloved and respected emperor.

Wikipedia says: Rembrandt’s portraits of his contemporaries, self-portraits, and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

The level of detail in the weaponry and richly worked garments is remarkable, as are the faces and features of each of the players. Emperor Titus is portrayed as slightly larger than life, noble, wise, and kind.

In the background, hidden by the scepter, we find Rembrandt himself, the witness who happened to come upon the scene and is looking on with wonder. Of the witnesses, he alone is shown dressed in the unadorned muted gray woolen clothing of a common man.

We know Rembrandt was well educated in history, and admired the Emperor Titus greatly, as he named his only surviving son after him.

About the Roman Emperor Titus, the Subject of this Painting (via Wikipedia):

Vespasian died of an infection on 23 June 79 AD, and was immediately succeeded by his son Titus. As Pharaoh of Egypt, Titus adopted the titulary Autokrator Titos Kaisaros Hununefer Benermerut (“Emperor Titus Caesar, the perfect and popular youth”). Because of his many (alleged) vices, many Romans feared that he would be another Nero. Against these expectations, however, Titus proved to be an effective Emperor and was well loved by the population, who praised him highly when they found that he possessed the greatest virtues instead of vices.

One of his first acts as Emperor was to order a halt to trials based on treason charges, which had long plagued the principate. The law of treason, or law of majestas, was originally intended to prosecute those who had corruptly “impaired the people and majesty of Rome” by any revolutionary action. Under Augustus, however, this custom had been revived and applied to cover slander and libel as well. This led to numerous trials and executions under TiberiusCaligula, and Nero, and the formation of networks of informers (Delators), which terrorized Rome’s political system for decades.

Titus put an end to this practice, against himself or anyone else, declaring:

“It is impossible for me to be insulted or abused in any way. For I do naught that deserves censure, and I care not for what is reported falsely. As for the emperors who are dead and gone, they will avenge themselves in case anyone does them a wrong, if in very truth they are demigods and possess any power.”

Consequently, no senators were put to death during his reign; he thus kept to his promise that he would assume the office of Pontifex Maximus “for the purpose of keeping his hands unstained.” The informants were publicly punished and banished from the city. Titus further prevented abuses by making it unlawful for a person to be tried under different laws for the same offense.  Finally, when Berenice returned to Rome, he sent her away.

As Emperor he became known for his generosity, and Suetonius states that upon realizing he had brought no benefit to anyone during a whole day, Titus remarked, “Friends, I have lost a day.”


Credits and Attributions:

History Painting, Titus (with self portrait of Rembrandt) by Rembrandt Harmenszoon van Rijn 1626

Wikipedia contributors, “Titus,” Wikipedia, The Free Encyclopedia,  https://en.wikipedia.org/w/index.php?title=Titus&oldid=950453618 (accessed April 24, 2020).

Wikimedia Commons contributors, “File:Rembrandt Historical Painting 1626 (Detail, with self-portrait).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Rembrandt_Historical_Painting_1626_(Detail,_with_self-portrait).jpg&oldid=369318658 (accessed April 24, 2020).

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#FineArtFriday: Hastings: the Front by Theodore Casmir Roussel 1908 (revisited)


Title: Hastings: the Front.

Medium: Watercolor.

Signed and dated: Theodore Roussel 1908.

Dimensions: 6.75×10 inches. Framed: 13.75×16 inches.”

Summer is here, so today we’re taking a second look at this lovely dreamscape of Hastings, a seaside town in East Sussex on the south coast of England. It is southeast of London, and in the 19th and early 20th century, when this painting made, the railway enabled ordinary tourists and visitors to reach the town. Thus, it became a popular seaside resort.

Historically, Hastings is an ancient town. Wikipedia tell us that the start of the Norman Conquest was the Battle of Hastings, fought on 14 October 1066, although the battle itself took place 8 mi (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey. It is thought that the Norman encampment was on the town’s outskirts, where there was open ground; a new town was already being built in the valley to the east. That “New Burgh” was founded in 1069 and is mentioned in the Domesday Book as such. William defeated and killed Harold Godwinson, the last Saxon King of England, and destroyed his army, thus opening England to the Norman conquest. [1]

What I love about this painting:

I love watercolors and especially love this scene. The medium allows for a dreamy atmosphere, and in this case, the artist has presented us with the impression of a sundrenched afternoon at the seashore. Roussel’s work grew more atmospheric as he grew older, but he was known more for his classically depicted nudes than as an impressionist. However, it’s clear he had an eye for impressionism and the ability to show a story with watercolors.

Tourists stroll along the breakwater in front of the hotels, wearing broad hats and coats. Like many days at the beach on the Washington Coast, where I live, even in summer the wind often carries a chill.

About the Artist, via Wikipedia:

Theodore Casimir Roussel (1847–1926) was a French-born English painter and graphic artist, best known for his landscapes and genre scenes. He came to painting late, in 1872, after his military service had ended, and he was entirely self-taught. His earliest works were scenes of daily life, rendered in the style of the Old Masters. In 1878, he moved to London and, two years later, married the widow Frances Amelia Smithson Bull (1844–1909), a distant collateral relative of James Smithson. In 1885, he met James McNeill Whistler, who became a lifelong friend and mentor. [2]


Credits and Attributions:

Hastings: the Front by Théodore Roussel, Public domain, via Wikimedia Commons

[1]Wikipedia contributors, “Hastings,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Hastings&oldid=1160573614 (accessed June 23, 2023).

[2]Wikipedia contributors, “Theodore Roussel,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Theodore_Roussel&oldid=896039278 (accessed December 3, 2020).

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#FineArtFriday: The Bird Concert by Jan Brueghel the Younger ca. 1640 – 45 (revisited)

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Artist: Jan Brueghel the Younger (1601–1678)

Title: the Bird Concert

Date: between circa 1640 and circa 1645

Medium: oil on copper

Dimensions: height: 13.2 cm (5.1 in); width: 17.9 cm (7 in)

Collection: Herzog Anton Ulrich Museum

Today we are taking a second look at one of my favorite paintings of the 17th century.

What I love about this painting:

This is a joyous, surreal exploration of all the birds the artist had ever seen in his native Antwerp, and many rare birds that he could only imagine. Brueghel has gathered birds from all over the world into a mystical, fairytale glen, posing them around a songbook.

They are learning to sing a in a language they all can understand, a wonderful allegory of the aspirations of the artist for humanity in the turbulent times during which he lived.

This painting also celebrates the new discoveries made by European explorers, as Brueghel had only seen scientific drawings of many of these birds. Even though he hadn’t seen some of these birds personally, he paints them as if they are before him.

The amazing flock of birds gathered here gives us an insight into the mind and sense of humor of Jan Brueghel the Younger, a man not too different from us even though he lived over 300 years ago.

This composition must have been important to Brueghel and says something about him. He went to the expense of getting copper as the base upon which he painted this scene. He was comfortable but not rich, so that tells me he intended this painting to last, to be something he would be remembered for.

About the medium of Oil on Copper, via Wikipedia:

Oil on copper paintings were prevalent in the mid sixteenth century in Italy and Northern Europe. The use of copper as a substrate for an oil painting dates back to Medieval times. The Flemish masters and other artists including Jan Breughel the ElderClaudeEl GrecoGuido ReniGuercinoRembrandtCarlo SaraceniAmbrosius Bosschaert IICopley Fielding and Vernet painted on copper. They favored copper for its smooth surface which allowed fine detail, and its durability. Copper is more durable than canvas or wood panel as a support for oil painting, as it will not rot, mildew or be eaten by insects. Contemporary painters also use copper as a base for paintings, some of them allowing the metal or patina to show through.

The old masters prepared the copper for painting first by rubbing it with fine pumice abrasive. The copper surface was then treated with garlic juice which is believed to improve adhesion of the paint. Finally a white or grey ground layer of oil paint was applied as a primer. After drying the copper panel was ready for the artist to begin painting. Later artists used the patina process, in which the copper is oxidized with the use of various acidic solutions, as part of the art work itself. The resulting patina or verdigris includes darkening of the metal, green and blue tones, depending on the chemical solution used. Patina is characterized by beautiful, variated patterns and textures which occur on the metal’s surface. [1]

About the Artist, via Wikipedia:

Jan Brueghel the Younger was born in Antwerp on 13 September 1601 as the son of Jan Brueghel the Elder and Isabella de Jode. His mother was the daughter of the cartographer, engraver and publisher Gerard de Jode. He trained and collaborated with his father in his workshop. His father was a friend and close collaborator of Peter Paul Rubens. Brueghel likely assisted with his father’s large-scale commissions.

On the wishes of his father he traveled around 1622 to Milan where he was welcomed by Cardinal Federico Borromeo. The cardinal was a patron and friend of his father who had met in Rome about 30 years earlier. In what was likely an act of rebellion against his father, he went to Genoa where he stayed with his cousins, the Antwerp painters and art dealers Lucas de Wael and Cornelis de Wael. Their mother was a sister of Brueghel’s mother. At the time his friend and fellow Antwerp artist Anthony van Dyck was also active in Genoa. He later worked in Valletta on Malta in 1623. From 1624 to 1625 he also resided in Palermo on Sicily at the time when van Dyck was also working there.

Brueghel learned that his father had died on 13 January 1625 from cholera only after his return to Northern Italy in Turin. Wanting to return to Antwerp immediately, he had to delay his departure for 16 days due to a severe fever. After recovering from his illness, he set off for his homeland by way of France. In Paris he met the Antwerp art dealer and painter Peter Goetkint the Younger, who was the son of Peter Goetkint the Elder, the master of Jan’s father. Goetkint was eager to return to Antwerp because his wife was expected to deliver a baby soon. The child was born on 25 August, the day on which Breughel arrived in Antwerp with his traveling companion who himself died a few days later.

Brueghel took over the management of his father’s workshop, sold the finished works of his father and finished some of his father’s unfinished paintings after completing them. In the Guild year 1624-1625, Brueghel became a master painter of the Guild of Saint Luke of Antwerp.

In 1626 he married Anna Maria Janssens, daughter of Abraham Janssens, a prominent history painter in Antwerp. He continued to operate the large workshop of his father. He became dean of the Guild of Saint Luke in 1630. That same year he was commissioned by the French court to paint a series of paintings on the life of Adam. It seems that his studio declined after this period and that he started to paint smaller scale paintings which commanded lower prices than those produced earlier.

In later years, he worked independently in Paris in the 1650s and produced paintings for the Austrian court in 1651. He is recorded again in Antwerp in 1657 where he remained until his death. [2]


Credits and Attributions:

[1] Wikipedia contributors, “Oil on copper,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Oil_on_copper&oldid=1060711380 (accessed June 9, 2022).

[2] Wikipedia contributors, “Jan Brueghel the Younger,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jan_Brueghel_the_Younger&oldid=1086952033 (accessed June 9, 2022).

Image: The Bird Concert by Jan Brueghel the Younger ca. 1640 -1645, PD|100. Wikimedia Commons contributors, “File:Bruegel Vogelkonzert@Herzog Anton Ulrich Museum (1).JPG,” Wikimedia Commons, the free media

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