Visualizzazione post con etichetta 17th century Art. Mostra tutti i post
Visualizzazione post con etichetta 17th century Art. Mostra tutti i post


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Ambrosius Bosschaert the Elder | Baroque painter

Ambrosius Bosschaert the Elder (1573-1621) was a Flemish-born Dutch still life painter and art dealer.
He is recognised as one of the earliest painters who created floral still lifes as an independent genre.
He founded a dynasty of painters who continued his style of floral and fruit painting and turned Middelburg into the leading centre for flower painting in the Dutch Republic.


He was born in Antwerp, where he started his career, but he spent most of it in Middelburg (1587-1613), where he moved with his family because of the threat of religious persecution. He specialized in painting still lifes with flowers, which he signed with the monogram AB (the B in the A).

At the age of twenty-one, he joined the city's Guild of Saint Luke and later became dean.
Not long after, Bosschaert married and established himself as a leading figure in the fashionable floral painting genre.
He had three sons who all became flower painters: Ambrosius II, Johannes and Abraham.
His brother-in-law Balthasar van der Ast also lived and worked in his workshop and accompanied him on his travels. Bosschaert later worked in Amsterdam (1614), Bergen op Zoom (1615-1616), Utrecht (1616-1619) and Breda (1619).

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In 1619 when he moved to Utrecht, his brother-in-law van der Ast entered the Utrecht Guild of St. Luke, where the renowned painter Abraham Bloemaert had just become dean.
The painter Roelandt Savery (1576-1639) entered the St. Luke's guild in Utrecht at about the same time. Savery had considerable influence on the Bosschaert dynasty.
After Bosschaert died in The Hague while on commission there for a flower piece, Balthasar van der Ast took over his workshop and pupils in Middelburg.


His bouquets were painted symmetrically and with scientific accuracy in small dimensions and normally on copper.
They sometimes included symbolic and religious meanings. At the time of his death, Bosschaert was working on an important commission in the Hague.
That piece is now in the collection in Stockholm.
Bosschaert was one of the first artists to specialize in flower still life painting as a stand-alone subject. He started a tradition of painting detailed flower bouquets, which typically included tulips and roses.
Thanks to the booming seventeenth-century Dutch art market, he became highly successful, as the inscription on one of his paintings attests.
His works commanded high prices although he never achieved the level of prestige of Jan Brueghel the Elder, the Antwerp master who contributed to the floral genre.


His sons and his pupil and brother-in-law, Balthasar van der Ast, were among those to uphold the Bosschaert dynasty which continued until the mid-17th century.
It may not be a coincidence that this trend coincided with a national obsession with exotic flowers which made flower portraits highly sought after.
Although he was highly in demand, he did not create many pieces because he was also employed as an art dealer.| © Wikipedia

Ambrosius Bosschaert il Vecchio (Anversa, 18 gennaio 1573 - L'Aia, 1621) è stato un pittore di nature morte del Secolo d'oro Olandese.


Cominciò la sua carriera ad Anversa, anche se passò la maggior parte della vita a Middelburg, dove divenne decano della gilda dei pittori.
Lavorò poi ad Amsterdam, Bergen op Zoom, Utrecht e Breda.
Si specializzò nelle rappresentazioni di nature morte con fiori, spesso accompagnate da conchiglie o lepidotteri.
Nel 1587, Bosschaert si trasferì da Anversa a Middelburg con la sua famiglia per la minaccia di persecuzioni religiose.
All'età di ventun'anni entrò a far parte della Corporazione di San Luca; non molto tempo dopo Bosschaert consolidò la sua fama come figura di spicco nel proprio genere artistico.
Suo figlio Johannes Bosschaert ed il suo allievo e cognato, Balthasar van der Ast, furono tra coloro, assieme all'altro figlio Abraham Bosschaert, che portarono avanti la dinastia dei Bosschaert, la quale durò fino alla metà del XVII secolo.

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I suoi bouquet di fiori sono dipinti simmetricamente e con una precisione scientifica, solitamente in piccole dimensioni. Includono spesso significati reconditi, dove ogni fiore va a rappresentare un'accezione simbolica.
Bosschaert divenne uno dei primi artisti a specializzarsi in nature morte, e nel fare ciò diede vita ad una tradizione di opere d'arte aventi per soggetto realistici mazzi di fiori, generalmente tulipani, rose e specie esotiche.
Dal punto di vista storico, tale scelta coincise con la Bolla dei tulipani, che aumentò enormemente anche nell'arte l'interesse verso il genere floreale.
Nonostante la fama raggiunta come pittore di genere, il numero di opere di Bosschaert non è particolarmente elevato, probabilmente perché mantenne come impiego principale quello di venditore d'opere piuttosto che artista. | © Wikipedia


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Willem Kalf (1619-1693) | Dutch Golden Age painter

Willem Kalf was a Dutch Golden Age painter who specialized in still lifes. Later in his life, Kalf became an art dealer and appraiser.

Life and work

Willem Kalf was born in Rotterdam, in 1619. He was previously thought to have been born in 1622, but H. E. van Gelder's important archival research has established the painter's correct place and date of birth. Kalf was born into a prosperous patrician family in Rotterdam, where his father, a cloth merchant, held municipal posts as well.


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Diana Scultori (1547-1612) Mannerist painter

Diana Scultori, Diana Montovano, or Diana Ghisi was an Italian engraver from Mantua, Italy.
She is one of the earliest known women printmakers.
She was one of four children of the sculptor and engraver Giovanni Battista Ghisi. Diana learned the art of engraving from her father and the artist Giulio Romano.
She received her first public recognition as an engraver in Giorgio Vasari’s second edition of his Vites (1568).


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Lavinia Fontana (1552-1614)

Lavinia Fontana was an Italian painter.
She is regarded as the first woman artist, working within the same sphere as her male counterparts, outside a court or convent. She was the first woman artist to paint female figures, and was the main breadwinner of a family of 13.
Lavinia Fontana was born in Bologna, the daughter of the painter Prospero Fontana, who was a prominent painter of the School of Bologna at the time and served as her teacher. Continuing the family business was typical at the time.


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Massimo Stanzione (1585-1656) | Baroque painter

Massimo Stanzione was an Italian Baroque painter, mainly active in Naples, where he and his rival Jusepe de Ribera dominated the painting scene for several decades. Most of his work, in both oils and fresco (these usually for ceilings), depicted religious subjects.
A papal knight, he is often referred to as Cavalliere Massimo Stanzione, especially in older sources.
Born in Frattamaggiore, Naples in 1585, Massimo Stanzione was influenced by Caravaggio.
What distinguished Massimo’s art from that of Caravaggio's was that he combined the latter's dramatically lit and brutally realistic style with the classical and lyrical manner of Bolognesi painters, earning him the nickname of the Napolitan Guido Reni.


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Rembrandt | Adoration of the Magi, 1632 | Hermitage Museum

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him.


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Grand Prix de Rome (1663-1968) | Art history

Dea Roma, Viale Trinità dei Monti, Villa Medici, Roma

Prix de Rome, in full Grand Prix de Rome, any of a group of scholarships awarded🎨 by the French government between 1663-1968 to enable young French artists🎨 to study in Rome.
It was so named because the students who won the grand, or first, prize in each artistic category went to study at the Académie de France in Rome.


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Saint Cecilia: Patroness of Musicians

In the fourth century a Greek religious romance on the Loves of Cecilia and Valerian was written in glorification of virginal life with the purpose of taking the place of then-popular sensual romances.
Consequently, until better evidence is produced, we must conclude that St. Cecilia was not known or venerated in Rome until about the time when Pope Gelasius (496) introduced her name into his Sacramentary.
It is said that there was a church dedicated to St. Cecilia in Rome in the fifth century, in which Pope Symmachus held a council in 500.
The story of St. Cecilia is not without beauty or merit. She is said to have been quite close to God and prayed often:
"In the city of Rome there was a virgin named Cecilia, who came from an extremely rich family and was given in marriage to a youth named Valerian. She wore sackcloth next to her skin, fasted, and invoked the saints, angels, and virgins, beseeching them to guard her virginity".

Orazio Gentileschi🎨 | Saint Cecilia with an Angel