A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes – the blue jacket he wears has been roughly stitched at the seams.
This painting’s style and subject matter are typical of Giacomo Francesco Cipper, an artist active in Lombardy in the early eighteenth century. The artist has applied thick brushstrokes (for example, on the man’s temple) and has left the reddish-brown ground exposed to form the shadows in the darker areas (for example, around his eyes). The animated brushwork gives movement and life to the figure, as does the off-centre pose, and tilt of the head.
This characterful portrait is a pair to Head of a Man in Red, also in our collection.
","source":"Dokuwiki","type":"short text","value":"A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes -- the blue jacket he wears has been roughly stitched at the seams.\n\nThis painting’s style and subject matter are typical of Giacomo Francesco Cipper, an artist active in Lombardy in the early eighteenth century. The artist has applied thick brushstrokes (for example, on the man’s temple) and has left the reddish-brown ground exposed to form the shadows in the darker areas (for example, around his eyes). The animated brushwork gives movement and life to the figure, as does the off-centre pose, and tilt of the head.\n\nThis characterful portrait is a pair to Head of a Man in Red, also in our collection."},{"formatted":"A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes – the blue jacket he wears has been roughly stitched at the seams.
This painting’s style and subject matter are typical of Giacomo Francesco Cipper, an artist who was active in Lombardy in the early eighteenth century. The freedom of the paint handling is startling: the artist has applied thick impastoed brushstrokes (for example, on the man’s temple) and has purposely left the reddish-brown ground exposed to form the shadows in the darker areas (for example, around his eyes). The painting’s ‘blotchy’ – almost impressionistic – appearance is achieved by not blending the daubs of paint, and the animated brushwork gives movement and life to the figure, as does the off-centre pose, and tilt of the head.
This characterful portrait is one of a pair with Head of a Man in Red, also in our collection.
","source":"Dokuwiki","type":"long text","value":"A man looks out at us with his shirt opened to reveal his neck, disfigured by a goitre (a swelling caused by an enlarged thyroid gland). Despite suffering this medical condition, he has an amused expression and the artist has portrayed him sympathetically. He is evidently poor, as can be seen by his ragged clothes – the blue jacket he wears has been roughly stitched at the seams.\n\nThis painting’s style and subject matter are typical of Giacomo Francesco Cipper, an artist who was active in Lombardy in the early eighteenth century. The freedom of the paint handling is startling: the artist has applied thick impastoed brushstrokes (for example, on the man’s temple) and has purposely left the reddish-brown ground exposed to form the shadows in the darker areas (for example, around his eyes). The painting’s ‘blotchy’ -- almost impressionistic -- appearance is achieved by not blending the daubs of paint, and the animated brushwork gives movement and life to the figure, as does the off-centre pose, and tilt of the head.\n\nThis characterful portrait is one of a pair with Head of a Man in Red, also in our collection."}],"accession":{"date":[{"from":"1944","to":"1944","value":"1944-01-01"}],"agent":[{"summary":{"title":"Maurice Woolff 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He gazes up at a Crucifix attached to a tree, on which hangs a painted figure of Christ. This is Saint Jerome, hermit and translator of the Bible. His cardinal’s robes and hat lie discarded behind him.
The rocky and wooded landscape is presumably the wilderness to which he fled and where he beat his chest when tempted by sinful thoughts. According to legend, while there he pulled a thorn out of a lion’s paw. It remained his faithful companion until his death – here it lies beside him like a pet dog. The tower behind could be Bethlehem, where Jerome settled in the year 386.
This subject was very popular in the late fifteenth and early sixteenth centuries. Jerome was seen as a role model for living an ascetic life – he renounced worldly riches and pleasure – and for the scholarly study of the Bible.
","source":"Dokuwiki","type":"short text","value":"An elderly man kneels in landscape, beating his sunken and bleeding chest with a stone. He gazes up at a Crucifix attached to a tree, on which hangs a painted figure of Christ. This is Saint Jerome, hermit and translator of the Bible. His cardinal's robes and hat lie discarded behind him.\n\nThe rocky and wooded landscape is presumably the wilderness to which he fled and where he beat his chest when tempted by sinful thoughts. According to legend, while there he pulled a thorn out of a lion's paw. It remained his faithful companion until his death -- here it lies beside him like a pet dog. The tower behind could be Bethlehem, where Jerome settled in the year 386.\n\nThis subject was very popular in the late fifteenth and early sixteenth centuries. Jerome was seen as a role model for living an ascetic life -- he renounced worldly riches and pleasure -- and for the scholarly study of the Bible."},{"formatted":"An elderly man kneels in landscape, beating his sunken and bleeding chest with a stone. He gazes up at a Crucifix attached to a tree, on which hangs a painted figure of Christ. This is Saint Jerome, hermit and translator of the Bible. His cardinal’s robes and hat lie discarded behind him.
The rocky and wooded landscape is presumably the wilderness to which he fled and where he beat his chest when tempted by sinful thoughts. According to legend, while there he pulled a thorn out of a lion’s paw. It remained his faithful companion until his death – here it lies beside him like a pet dog. The tower behind could be Bethlehem, where Jerome settled in the year 386.
The subject of the penitent Jerome was popular in the Low Countries. One of the so-called Doctors of the Church, Saint Jerome was seen as a role model for living an ascetic life – he renounced worldly riches and pleasure – and for the scholarly study of the Bible. Widely travelled and well educated, Jerome was deeply affected by a dream in which God accused him of loving classical literature more than scripture. He went to live in the desert of Chalcis in Syria, gave up the classics he knew and loved, and learnt Hebrew to study the Bible in its original language. He later went to Rome and became secretary to the pope, so is often shown with the red robes and hat of a cardinal, as in Crivelli’s Saint Jerome, although the office did not exist in his lifetime. He started work on what was to become the standard Latin text of the Bible.
The condition of this painting makes it impossible to judge its quality accurately. It is clearly in the style of Gerard David, but due to the popularity of the subject a number of versions were made by David’s followers. It may be compared with Canon Bernardijn Salviati and Three Saints – the cross shown at an angle is similar to one in the panel of this diptych that is now in Berlin – and is probably a version of a pattern by David painted in his workshop at about the same time as Salviati’s picture, in around 1501.
","source":"Dokuwiki","type":"long text","value":"An elderly man kneels in landscape, beating his sunken and bleeding chest with a stone. He gazes up at a Crucifix attached to a tree, on which hangs a painted figure of Christ. This is Saint Jerome, hermit and translator of the Bible. His cardinal's robes and hat lie discarded behind him.\n\nThe rocky and wooded landscape is presumably the wilderness to which he fled and where he beat his chest when tempted by sinful thoughts. According to legend, while there he pulled a thorn out of a lion's paw. It remained his faithful companion until his death -- here it lies beside him like a pet dog. The tower behind could be Bethlehem, where Jerome settled in the year 386.\n\nThe subject of the penitent Jerome was popular in the Low Countries. One of the so-called Doctors of the Church, Saint Jerome was seen as a role model for living an ascetic life -- he renounced worldly riches and pleasure -- and for the scholarly study of the Bible. Widely travelled and well educated, Jerome was deeply affected by a dream in which God accused him of loving classical literature more than scripture. He went to live in the desert of Chalcis in Syria, gave up the classics he knew and loved, and learnt Hebrew to study the Bible in its original language. He later went to Rome and became secretary to the pope, so is often shown with the red robes and hat of a cardinal, as in Crivelli's Saint Jerome, although the office did not exist in his lifetime. He started work on what was to become the standard Latin text of the Bible.\n\nThe condition of this painting makes it impossible to judge its quality accurately. It is clearly in the style of Gerard David, but due to the popularity of the subject a number of versions were made by David's followers. It may be compared with Canon Bernardijn Salviati and Three Saints -- the cross shown at an angle is similar to one in the panel of this diptych that is now in Berlin -- and is probably a version of a pattern by David painted in his workshop at about the same time as Salviati's picture, in around 1501."}],"archive":[{"summary":{"title":"Letter from the Treasury Solicitor relating to the Salting Bequest"},"@admin":{"uid":"02RV-0002-0000-0000","id":"R29552","source":"calm","uuid":"25f62540-77b7-30a7-8a44-7e9b001ccd35"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Copy of Affidavit made by Board of Education re Salting Bequest"},"@admin":{"uid":"0Z4H-0001-0000-0000","id":"R66792","source":"calm","uuid":"e2b99e8a-278d-3407-9d46-cf30ece4bce3"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Letter from the Treasury regarding proceeding in the Court of Chancery in the matter of the Salting 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He painted this view in 1837, possibly for his mother as a souvenir of their former home.
This picture shows a drawbridge (that no longer exists) outside the north gate of the Citadel, which crosses a moat to a guardhouse. Købke made a number of preliminary sketches and an oil study on location before working up the final painting in his studio. Bathed in an evening light, with a hint of pink in the sky, the view is suffused with tones of the complementary colours red and green.
The accurate rendering of the intricate manmade structure recalls the work of Christoffer Wilhelm Eckersberg, his teacher at the Royal Academy of Fine Arts in Copenhagen, but Købke is also expressing nostalgia for the place where he grew up.
","source":"Dokuwiki","type":"short text","value":"Located just outside Copenhagen, the Citadel (Kastellet) was a former military fort where Christen Købke and his parents lived from 1819 to 1833, although Købke often returned there to paint. He painted this view in 1837, possibly for his mother as a souvenir of their former home.\n\nThis picture shows a drawbridge (that no longer exists) outside the north gate of the Citadel, which crosses a moat to a guardhouse. Købke made a number of preliminary sketches and an oil study on location before working up the final painting in his studio. Bathed in an evening light, with a hint of pink in the sky, the view is suffused with tones of the complementary colours red and green.\n\nThe accurate rendering of the intricate manmade structure recalls the work of Christoffer Wilhelm Eckersberg, his teacher at the Royal Academy of Fine Arts in Copenhagen, but Købke is also expressing nostalgia for the place where he grew up."},{"formatted":"Located just outside Copenhagen, the Citadel (Kastellet) was a former military fort surrounded by moats and ramparts. Last used during the British bombardment of Copenhagen in 1807, it still housed around 600 soldiers and their families. Christen Købke and his parents lived there from 1819 to 1833. Købke’s father was the Citadel’s master baker, and the family moved out when he retired. Købke often returned to the Citadel over the next four years. He painted several views of it including this one, which he may have given to his mother as a souvenir of their former home.
In this picture, Købke has painted a drawbridge outside the Citadel’s north gate. From a vantage point at the foot of the rampart beside the bridge, he is looking across the moat looking towards a guardhouse on the other side. Although the drawbridge no longer exits, Købke’s preliminary sketches and oil study allow us to follow the choices he made in selecting this particular point of view. In an initial sketch (National Gallery of Denmark, Copenhagen) he placed himself to the left of the bridge. However, realising perhaps that the bridge seen from this location would block the view, he reversed the composition in a later, highly detailed drawing (Vejle Art Museum, Denmark) and an oil sketch (National Gallery of Denmark, Copenhagen). The oil sketch would have been painted outdoors, on site, most likely in May 1837. The revised vantage point, to the right of bridge and slightly further from it, allows the bridge to lead our eye into the picture and gives a clear view of the guardhouse.
Købke worked on the final painting in his studio at home, signing and dating it in September 1837. In contrast to the spontaneity of the oil sketch, he returned to the detailed precision of the compositional drawing. The intricacy and complexity of the manmade structure recalls the work of Christoffer Wilhelm Eckersberg, his teacher at the Royal Academy of Fine Arts in Copenhagen – for example, Eckersberg’s View of the Forum in Rome. Bathed in an evening light, rather than the bright daylight of the oil sketch, and with a hint of pink in the sky, Købke’s view is suffused with tones of the complementary colours red and green. Other changes included adding two soldiers fishing in the canal and replacing a soldier on the bridge with a sailor with his back turned towards us, who gazes at the scene before him, as we do. Købke also enhanced the effect of depth by placing a small group of figures at the far end of the bridge and by adding a thick band of rushes along the picture’s lower edge.
One viewer, the theologian W.F. Wiborg, pointed out that the withered rushes indicated autumn although the new leaves on the trees suggested spring. Wiborg also claimed it was impossible to identify the exact type of poplar tree and that, ‘the sky has an evening light, while the earth has midday light'. Although such demands for accuracy were typical of art criticism at that time, Købke was perhaps more interested in creating a specific mood – one infused with a fond nostalgia for the place where he grew up.
","source":"Dokuwiki","type":"long text","value":"Located just outside Copenhagen, the Citadel (Kastellet) was a former military fort surrounded by moats and ramparts. Last used during the British bombardment of Copenhagen in 1807, it still housed around 600 soldiers and their families. Christen Købke and his parents lived there from 1819 to 1833. Købke’s father was the Citadel's master baker, and the family moved out when he retired. Købke often returned to the Citadel over the next four years. He painted several views of it including this one, which he may have given to his mother as a souvenir of their former home.\n\nIn this picture, Købke has painted a drawbridge outside the Citadel's north gate. From a vantage point at the foot of the rampart beside the bridge, he is looking across the moat looking towards a guardhouse on the other side. Although the drawbridge no longer exits, Købke’s preliminary sketches and oil study allow us to follow the choices he made in selecting this particular point of view. In an initial sketch (National Gallery of Denmark, Copenhagen) he placed himself to the left of the bridge. However, realising perhaps that the bridge seen from this location would block the view, he reversed the composition in a later, highly detailed drawing (Vejle Art Museum, Denmark) and an oil sketch (National Gallery of Denmark, Copenhagen). The oil sketch would have been painted outdoors, on site, most likely in May 1837. The revised vantage point, to the right of bridge and slightly further from it, allows the bridge to lead our eye into the picture and gives a clear view of the guardhouse.\n\nKøbke worked on the final painting in his studio at home, signing and dating it in September 1837. In contrast to the spontaneity of the oil sketch, he returned to the detailed precision of the compositional drawing. The intricacy and complexity of the manmade structure recalls the work of Christoffer Wilhelm Eckersberg, his teacher at the Royal Academy of Fine Arts in Copenhagen -- for example, Eckersberg’s View of the Forum in Rome. Bathed in an evening light, rather than the bright daylight of the oil sketch, and with a hint of pink in the sky, Købke's view is suffused with tones of the complementary colours red and green. Other changes included adding two soldiers fishing in the canal and replacing a soldier on the bridge with a sailor with his back turned towards us, who gazes at the scene before him, as we do. Købke also enhanced the effect of depth by placing a small group of figures at the far end of the bridge and by adding a thick band of rushes along the picture’s lower edge.\n\nOne viewer, the theologian W.F. Wiborg, pointed out that the withered rushes indicated autumn although the new leaves on the trees suggested spring. Wiborg also claimed it was impossible to identify the exact type of poplar tree and that, ‘the sky has an evening light, while the earth has midday light'. Although such demands for accuracy were typical of art criticism at that time, Købke was perhaps more interested in creating a specific mood -- one infused with a fond nostalgia for the place where he grew up."}],"accession":{"date":[{"from":"1986","to":"1986","value":"1986-01-01"}],"@entity":"lifecycle"},"title":[{"type":"full title","value":"The Northern Drawbridge to the Citadel in Copenhagen"}],"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 362","illustrated":true,"page":"362","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"The National Gallery Report: January 1985 - December 1987"},"@link":{"details":{"figure":"p. 27","illustrated":true,"page":"26-7","type":"Key bibliography"}},"@admin":{"uid":"0DVQ-0008-0000-0000","id":"publication-76","uuid":"c3f341b1-bdf1-3a23-a50d-c6ece5535b7d"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Christen Købke"},"@link":{"details":{"illustrated":false,"page":"50-1","type":"Select bibliography"}},"@admin":{"uid":"0ZHU-000A-0000-0000","id":"publication-9408","uuid":"ca112941-6576-3ad9-8ce5-419267797d3e"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"The Golden Age of Danish Painting"},"@link":{"details":{"illustrated":false,"page":"161","type":"Select Bibliography"}},"@admin":{"uid":"0642-000B-0000-0000","id":"publication-18966","uuid":"ce93b6e0-bc97-38f8-8026-3d06742dd639"},"@datatype":{"actual":"Collection of essays","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-collection_of_essays","uuid":"976c6e08-dca6-3613-b9ae-c67baca2c484","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Christen Købke"},"@link":{"details":{"figure":"fig. 168","illustrated":true,"page":"365, 251","type":"Select bibliography","catalogue":"114"}},"@admin":{"uid":"05NX-000B-0000-0000","id":"publication-19001","uuid":"da00b73f-8e3e-3776-9988-e49cdb91573e"},"@datatype":{"actual":"Collection of essays","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-collection_of_essays","uuid":"976c6e08-dca6-3613-b9ae-c67baca2c484","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Art at Auction: The Year at Sotheby's 1985-86"},"@link":{"details":{"illustrated":false,"type":"Select Bibliography"}},"@admin":{"uid":"09RR-000B-0000-0000","id":"publication-20366","uuid":"d65e732f-37ab-3ffa-886f-4c8da76b8e6f"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"}],"provenance":{"incomplete":{"type":"1933-45","value":"Incomplete 1933-45 provenance"},"text":{"date":{"from":"1988","to":"1988","value":"1988"},"author":{"summary":{"title":"Christopher Riopelle"},"@admin":{"uid":"0QQN-0001-0000-0000","id":"agent-2930","uuid":"82b86177-2036-356c-90d7-b9f2fe792324"},"@datatype":{"actual":"Individual","equivalents":[{"@admin":{"id":"concept-individual","uuid":"1d4d592f-3d79-3e1f-97e1-bac2f41101be","status":"unavailable"},"@entity":"reference"}],"base":"agent"},"@entity":"reference"},"source":{"date":{"from":"1988","to":"1988","value":"1988"},"note":{"value":"Text extracted from the National Gallery’s Annual Report, ‘The National Gallery Report: January 1985 – December 1987’."},"publication":{"summary":{"title":"The National Gallery Report: January 1985 - 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The highly patterned tablecloth is also present in the artist’s Still Life: Fruit and A Vase of Wild Flowers (both in the National Gallery), making it possible that they were painted as pendants.
Monticelli painted fewer still lifes than any other subject, probably because he preferred to paint outdoors than to work in the studio. Nevertheless, his painted landscapes are generally far less realistic than his still lifes. Here, Monticelli looks back to Dutch seventeenth-century still lifes, which demonstrate the artist’s virtuosity through the careful description of objects and textures. This is evident in the naturalism with which he paints the light reflected in the glass and the texture of the juicy pulp of the lemon.
","source":"Dokuwiki","type":"short text","value":"A drinking glass, a vase, a plate of oysters, some small fish -- probably sardines -- and a half-peeled lemon lie on a table against a flat dark background. The highly patterned tablecloth is also present in the artist's Still Life: Fruit and A Vase of Wild Flowers (both in the National Gallery), making it possible that they were painted as pendants.\n\nMonticelli painted fewer still lifes than any other subject, probably because he preferred to paint outdoors than to work in the studio. Nevertheless, his painted landscapes are generally far less realistic than his still lifes. Here, Monticelli looks back to Dutch seventeenth-century still lifes, which demonstrate the artist’s virtuosity through the careful description of objects and textures. This is evident in the naturalism with which he paints the light reflected in the glass and the texture of the juicy pulp of the lemon."},{"formatted":"A drinking glass, a vase, a plate of oysters, some small fish – probably sardines – and a half-peeled lemon lie on a table against a flat dark background. The highly patterned tablecloth is also present in the artist’s Still Life: Fruit and A Vase of Wild Flowers, making it possible that they were painted pendants. The paintings are also very similar in terms of technique.
Most of Monticelli’s still life paintings were made between 1875 and 1885; the majority, including this picture, were finished between 1878 and 1882. Monticelli painted fewer still lifes than any other subject, probably because he preferred painting outdoors to working in the studio. Nevertheless, his painted landscapes are generally far less realistic than his still lifes. Here, Monticelli looks back to Dutch seventeenth-century still lifes, which demonstrate the artist’s virtuosity through the careful description of objects and textures. This is evident in the naturalism with which he paints the light reflected in the glass and the texture of the juicy pulp of the lemon.
In his later years Monticelli particularly loved rich colours, daring juxtapositions of saturated tones and, above all, a surface roughness that makes his works easily recognisable. As is typical of the artist’s work, this picture is painted on a wooden panel, probably mahogany, which was prepared with a pigmented varnish prior to painting. He left several areas of the support bare – it can be seen clearly in some parts of the tablecloth.
The picture was presented as part of the ‘Harry Wearne Collection of Twelve Paintings by Monticelli’ to the Tate Gallery in 1939. It was transferred to the National Gallery in 1956.
","source":"Dokuwiki","type":"long text","value":"A drinking glass, a vase, a plate of oysters, some small fish – probably sardines – and a half-peeled lemon lie on a table against a flat dark background. The highly patterned tablecloth is also present in the artist's Still Life: Fruit and A Vase of Wild Flowers, making it possible that they were painted pendants. The paintings are also very similar in terms of technique.\n\nMost of Monticelli's still life paintings were made between 1875 and 1885; the majority, including this picture, were finished between 1878 and 1882. Monticelli painted fewer still lifes than any other subject, probably because he preferred painting outdoors to working in the studio. Nevertheless, his painted landscapes are generally far less realistic than his still lifes. Here, Monticelli looks back to Dutch seventeenth-century still lifes, which demonstrate the artist’s virtuosity through the careful description of objects and textures. 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Creative Commons Zero dedication (CC0): https://creativecommons.org/publicdomain/zero/1.0/.\r\nDescriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY): https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"Presented as part of the 'Harry Wearne Collection of Twelve Paintings by Monticelli' to the Tate Gallery, 1939; transferred, 1956","status":"Accessioned object"},"inscription":[{"summary":"Signed","transcription":[{"value":"Signed"}],"signed":"Signed"}],"location":{"current":{"summary":{"title":"Not on 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Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead as though lost in thought. The palette is almost monochrome, consisting of greys and creams with a hint of golden beige in the shawl and the background which is echoed in Luise’s auburn hair.
This work is closely related to Scholderer’s larger and much more highly finished painting (Städelsches Kunstinstitut, Frankfurt) in which Luise wears the same costume but holds a European fan, rather than the Japanese one shown here. The Frankfurt painting, for which this may be a study, is dated 1873 and was exhibited at the Royal Academy in 1875. In it Luise reclines against her silvery striped shawl but turns to face the viewer, directly meeting our gaze.
","source":"Dokuwiki","type":"short text","value":"Scholderer made several portraits of Luise Steurwaldt, whom he married in London in 1872. Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead as though lost in thought. The palette is almost monochrome, consisting of greys and creams with a hint of golden beige in the shawl and the background which is echoed in Luise’s auburn hair.\n\nThis work is closely related to Scholderer’s larger and much more highly finished painting (Städelsches Kunstinstitut, Frankfurt) in which Luise wears the same costume but holds a European fan, rather than the Japanese one shown here. The Frankfurt painting, for which this may be a study, is dated 1873 and was exhibited at the Royal Academy in 1875. In it Luise reclines against her silvery striped shawl but turns to face the viewer, directly meeting our gaze."},{"formatted":"Scholderer made several portraits of Luise Steurwaldt, whom he married in London on 11 February 1872. Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead of her as though lost in thought and unaware of our presence. The palette is almost monochrome, consisting of greys and creams with a hint of golden beige in the shawl and the background which is echoed in Luise’s auburn hair. The red edge of the fan and the red of the pavilion design shown on it, pick up the red of Luise’s lips and the blush on her cheeks.
The portrait, probably made in 1872–3, is skillfully painted with great economy: the rapid opaque brushstrokes suggesting the folds of fabric are barely blended, and the translucent sleeves of Luise’s blouse over her bare arms beautifully observed. In style the portrait is influenced by the pared-back portraits of Henri Fantin-Latour, such as Mr and Mrs Edwin Edwards of 1875, on loan to the National Gallery from Tate.
The pose and restrained palette are also reminiscent of Whistler’s famous profile portrait of his mother, which was painted in London in 1871 and exhibited at the Royal Academy in 1872 as Arrangement in Grey and Black: Portrait of the Artist’s Mother (Louvre Abu Dhabi). It is possible that Scholderer knew Whistler’s portrait as he was living and working in London from 1871 to 1899.
This work is closely related to Scholderer’s larger and much more highly finished painting (Städelsches Kunstinstitut, Frankfurt) in which Luise wears the same costume but holds a European fan, rather than the Japanese one shown here. The Frankfurt painting, for which this may be a study, is dated 1873 and was exhibited at the Royal Academy in 1875. In it Luise reclines against her silvery striped shawl but turns to face the viewer, directly meeting our gaze. The black fan – the darkest element of the painting among the palette of silvery greys – draws our gaze as a second focal point: her dark eyes. Whereas in our painting Luise seems distant and dreamy, in the Frankfurt painting she appears alert and as though about to speak, creating quite a different mood.
This painting was bequeathed to the National Gallery, along with Lilacs by Dr J.V. Scholderer, the son of the artist.
","source":"Dokuwiki","type":"long text","value":"Scholderer made several portraits of Luise Steurwaldt, whom he married in London on 11 February 1872. Here he has portrayed her almost in profile, leaning back against a shawl draped over her chair. She holds a Japanese fan on her lap but looks straight ahead of her as though lost in thought and unaware of our presence. The palette is almost monochrome, consisting of greys and creams with a hint of golden beige in the shawl and the background which is echoed in Luise’s auburn hair. The red edge of the fan and the red of the pavilion design shown on it, pick up the red of Luise’s lips and the blush on her cheeks.\n\nThe portrait, probably made in 1872--3, is skillfully painted with great economy: the rapid opaque brushstrokes suggesting the folds of fabric are barely blended, and the translucent sleeves of Luise's blouse over her bare arms beautifully observed. In style the portrait is influenced by the pared-back portraits of Henri Fantin-Latour, such as Mr and Mrs Edwin Edwards of 1875, on loan to the National Gallery from Tate.\n\nThe pose and restrained palette are also reminiscent of Whistler’s famous profile portrait of his mother, which was painted in London in 1871 and exhibited at the Royal Academy in 1872 as Arrangement in Grey and Black: Portrait of the Artist’s Mother (Louvre Abu Dhabi). It is possible that Scholderer knew Whistler’s portrait as he was living and working in London from 1871 to 1899.\n\nThis work is closely related to Scholderer’s larger and much more highly finished painting (Städelsches Kunstinstitut, Frankfurt) in which Luise wears the same costume but holds a European fan, rather than the Japanese one shown here. The Frankfurt painting, for which this may be a study, is dated 1873 and was exhibited at the Royal Academy in 1875. In it Luise reclines against her silvery striped shawl but turns to face the viewer, directly meeting our gaze. The black fan – the darkest element of the painting among the palette of silvery greys – draws our gaze as a second focal point: her dark eyes. Whereas in our painting Luise seems distant and dreamy, in the Frankfurt painting she appears alert and as though about to speak, creating quite a different mood.\n\nThis painting was bequeathed to the National Gallery, along with Lilacs by Dr J.V. Scholderer, the son of the artist."}],"archive":[{"summary":{"title":"Acquisition: Scholderer, 'Portrait of the Artist's Wife'"},"@admin":{"uid":"0C7G-0005-0000-0000","id":"R44115","source":"calm","uuid":"3696aa61-08e0-3db3-b7eb-707a8bcfb321"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Acquisition file"},"@admin":{"uid":"0C0W-0005-0000-0000","id":"R44355","source":"calm","uuid":"d5db980a-c4a6-3036-b06c-11256a73b4c9"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Press cuttings"},"@admin":{"uid":"0DD0-0005-0000-0000","id":"R43180","source":"calm","uuid":"3634d36a-17aa-31ec-90c9-698ce506e48b"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"}],"accession":{"date":[{"from":"1971","to":"1971","value":"1971-01-01"}],"agent":[{"summary":{"title":"Dr J.V. 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He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper being carried by a swirling mass of putti (winged infants). The Virgin instructed Saint James to build an oratory to house the statuette on the spot where he had his vision. In the late seventeenth century it was held at the Cathedral Basilica of Our Lady of El Pilar in Zaragoza.
Bayeu’s painting was inspired by Antonio González Velázquez’s fresco of 1753 in the dome over the central chapel of the Basilica, which is compositionally similar but different in style. The painting might seem like a sketch for a larger painting, but it is probably an independent work of art intended for private devotion. The reverse of the canvas is signed and dated, which would be unusual for a preparatory sketch.
","source":"Dokuwiki","type":"short text","value":"The Virgin Mary appears to the patron saint of Spain, Saint James the Greater, as he prays beside the Ebro River. He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper being carried by a swirling mass of putti (winged infants). The Virgin instructed Saint James to build an oratory to house the statuette on the spot where he had his vision. In the late seventeenth century it was held at the Cathedral Basilica of Our Lady of El Pilar in Zaragoza.\n\nBayeu's painting was inspired by Antonio González Velázquez’s fresco of 1753 in the dome over the central chapel of the Basilica, which is compositionally similar but different in style. The painting might seem like a sketch for a larger painting, but it is probably an independent work of art intended for private devotion. The reverse of the canvas is signed and dated, which would be unusual for a preparatory sketch."},{"formatted":"The Virgin Mary appears to the patron saint of Spain, Saint James the Greater, who wears red and green and wears a barely visible pilgrim’s shell on his left shoulder. He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper on which to place it. These objects are carried by a swirling mass of putti surrounding the Virgin like a golden halo. The celebratory nature of the apparition is emphasised by the angels making music among the clouds. In the earthly sphere below Saint James is surrounded by the apostles, some of whom are sleeping while others appear as ghostly figures bewildered by the sight.
Although the sky suggests a daytime scene, the apparition was said to have taken place at night while Saint James was praying with the apostles next to the Ebro River, which passed through the Spanish city that subsequently became Zaragoza, and is shown in the bottom left corner. The Virgin instructed Saint James to build an oratory on the spot where he had his vision to house the statuette on the jasper column, which came to be known as the Virgen del Pilar (Virgin of the Pillar), and she became the patron saint of Zaragoza. Several churches housed the sculpture before the current Cathedral Basilica of Our Lady of El Pilar was erected in the late seventeenth century.
Bayeu taught the young Goya and, like his pupil (and later brother-in-law), he was born and active in the region of Zaragoza. He painted this scene there, inspired by Antonio González Velázquez’s fresco of 1753 in the dome over the central chapel of the Basilica of El Pilar. The paintings are compositionally similar, with the Virgin at the centre surrounded by putti and flanked by Saint James and the apostles, but they are quite different in style. Bayeu’s fluid brushwork and bright colour palette are more akin to those of the Italian artist Corrado Giaquinto, who was based in Madrid from 1753 to 1761. Giaquinto’s work was displayed at the city’s Royal Academy of San Fernando and at the Royal Palace, where he was court painter. Bayeu would have seen Giaquinto’s paintings during his short stay in Madrid in 1758, before returning to Zaragoza to focus on church and convent commissions. He also painted other versions of this subject and frescoed the ceilings in the Basilica of El Pilar.
The free handling and small format of this picture might suggest that it is a sketch for a larger painting or fresco. The existence of a highly finished preparatory drawing in a private collection, however, suggests that it was probably made as an independent work of art and was intended for private devotion. Also unusual for a preparatory sketch is the fact that the canvas is signed and dated by the artist on the reverse.
","source":"Dokuwiki","type":"long text","value":"The Virgin Mary appears to the patron saint of Spain, Saint James the Greater, who wears red and green and wears a barely visible pilgrim's shell on his left shoulder. He extends his arms ready to receive the statuette of the Virgin and Child and the column of jasper on which to place it. These objects are carried by a swirling mass of putti surrounding the Virgin like a golden halo. The celebratory nature of the apparition is emphasised by the angels making music among the clouds. In the earthly sphere below Saint James is surrounded by the apostles, some of whom are sleeping while others appear as ghostly figures bewildered by the sight.\n\nAlthough the sky suggests a daytime scene, the apparition was said to have taken place at night while Saint James was praying with the apostles next to the Ebro River, which passed through the Spanish city that subsequently became Zaragoza, and is shown in the bottom left corner. The Virgin instructed Saint James to build an oratory on the spot where he had his vision to house the statuette on the jasper column, which came to be known as the Virgen del Pilar (Virgin of the Pillar), and she became the patron saint of Zaragoza. Several churches housed the sculpture before the current Cathedral Basilica of Our Lady of El Pilar was erected in the late seventeenth century.\n\nBayeu taught the young Goya and, like his pupil (and later brother-in-law), he was born and active in the region of Zaragoza. He painted this scene there, inspired by Antonio González Velázquez’s fresco of 1753 in the dome over the central chapel of the Basilica of El Pilar. The paintings are compositionally similar, with the Virgin at the centre surrounded by putti and flanked by Saint James and the apostles, but they are quite different in style. Bayeu’s fluid brushwork and bright colour palette are more akin to those of the Italian artist Corrado Giaquinto, who was based in Madrid from 1753 to 1761. Giaquinto’s work was displayed at the city's Royal Academy of San Fernando and at the Royal Palace, where he was court painter. Bayeu would have seen Giaquinto’s paintings during his short stay in Madrid in 1758, before returning to Zaragoza to focus on church and convent commissions. He also painted other versions of this subject and frescoed the ceilings in the Basilica of El Pilar.\n\nThe free handling and small format of this picture might suggest that it is a sketch for a larger painting or fresco. The existence of a highly finished preparatory drawing in a private collection, however, suggests that it was probably made as an independent work of art and was intended for private devotion. Also unusual for a preparatory sketch is the fact that the canvas is signed and dated by the artist on the reverse."}],"accession":{"date":[{"from":"1985","to":"1985","value":"1985-01-01"}],"@entity":"lifecycle"},"title":[{"type":"full title","value":"Saint James being visited by the Virgin with a Statue of the Madonna de Pilar"},{"type":"short title","value":"Saint James being visited by the Virgin"}],"bibliography":[{"summary":{"title":"National Gallery Catalogues: The Spanish School"},"@link":{"details":{"illustrated":false,"page":"153","type":"Latest catalogue"}},"@admin":{"uid":"0DRO-0008-0000-0000","id":"publication-32","uuid":"fda33f15-abdf-32ab-9a3b-6ec3645841b4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"The National Gallery: Complete Illustrated 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Illustrated Dictionary of Narrative Painting"},"@link":{"details":{"illustrated":false,"page":"202","type":"Select bibliography"}},"@admin":{"uid":"0ZTX-000A-0000-0000","id":"publication-9705","uuid":"aac931c0-3bcf-3356-a0e7-2b3385e39e63"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Painting in Spain during the Late Eighteenth Century"},"@link":{"details":{"illustrated":false,"type":"Select Bibliography","catalogue":"4"}},"@admin":{"uid":"064Z-000B-0000-0000","id":"publication-18780","uuid":"b3765c93-9932-331f-b87a-844e7c074b91"},"@datatype":{"actual":"Collection of 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https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"Bought, 1985","status":"Accessioned object"},"inscription":[{"summary":"Signed; Dated and inscribed","inscribed":"Dated and inscribed","transcription":[{"value":"Signed on the reverse"}],"signed":"Signed"}],"place":[{"summary":{"title":"Catedral de Nuestra Señora del 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standardise the credit lines recording this acquisition, on the authority of Alistair Smith, ‘Presented by the Misses Rachel F. and Jean I. Alexander: Seventeen Paintings for the National Gallery’, The Burlington Magazine, 114/834 (Sept. 1972), pp. 630-634 (freely available JSTOR at https://www.jstor.org/stable/877127, with biographical info on both sisters plus their father)."},"formatted":"Credit line changed from 'Presented by the Misses Rachel F. and Jean I. Alexander; entered the Collection in 1972' to 'Presented by the Misses Rachel F. and Jean I. Alexander; entered the Collection, 1972'We don’t know who painted this portrait, or who the couple in the garden are. They seem to pause mid-conversation, their expressions enigmatic, leaving us wondering what the relationship was between them. She holds a glove in her hand – sometimes a symbol of betrothal but always a sign of wealth. He holds a scarf in one hand but points outwards with the other.
Their heavy, black clothes proclaim them as prosperous, if a little out-of-date: by the 1640s, the ruff was still worn but was considered unfashionable. The man’s only nod in the direction of frivolity are the red stockings and enormous garter rosettes on his portly legs, making the woman’s red sleeves dim in comparison. On her wrist she wears a coral bracelet, expensive but often worn as a defence against the 'evil eye’.
","source":"Dokuwiki","type":"short text","value":"We don’t know who painted this portrait, or who the couple in the garden are. They seem to pause mid-conversation, their expressions enigmatic, leaving us wondering what the relationship was between them. She holds a glove in her hand -- sometimes a symbol of betrothal but always a sign of wealth. He holds a scarf in one hand but points outwards with the other.\n\nTheir heavy, black clothes proclaim them as prosperous, if a little out-of-date: by the 1640s, the ruff was still worn but was considered unfashionable. The man’s only nod in the direction of frivolity are the red stockings and enormous garter rosettes on his portly legs, making the woman's red sleeves dim in comparison. On her wrist she wears a coral bracelet, expensive but often worn as a defence against the 'evil eye’."},{"formatted":"We don’t know who painted this portrait, or who the couple in the garden are. They seem to pause mid-conversation, their expressions enigmatic, leaving us wondering what the relationship was between them. She holds a glove in her hand – sometimes a symbol of betrothal but always a sign of wealth. He holds a scarf in one hand but points outwards with the other.
Their heavy, black clothes proclaim them as prosperous, if a little out-of-date: by the 1640s, the ruff was still worn but was considered unfashionable. The man’s only nod in the direction of frivolity are the red stockings and enormous garter rosettes on his portly legs, making the woman’s red sleeves dim in comparison. On her wrist she wears a coral bracelet, expensive but often worn as a defence against the 'evil eye’.
The picture was once attributed to the Amsterdam painter Thomas de Keyser – his Portrait of Constantijn Huygens and his (?) Clerk is in our collection – but it’s now considered more likely to be a copy after one of his works by an unknown painter working in Amsterdam in the 1640s.
","source":"Dokuwiki","type":"long text","value":"We don’t know who painted this portrait, or who the couple in the garden are. They seem to pause mid-conversation, their expressions enigmatic, leaving us wondering what the relationship was between them. She holds a glove in her hand -- sometimes a symbol of betrothal but always a sign of wealth. He holds a scarf in one hand but points outwards with the other.\n\nTheir heavy, black clothes proclaim them as prosperous, if a little out-of-date: by the 1640s, the ruff was still worn but was considered unfashionable. The man’s only nod in the direction of frivolity are the red stockings and enormous garter rosettes on his portly legs, making the woman's red sleeves dim in comparison. On her wrist she wears a coral bracelet, expensive but often worn as a defence against the 'evil eye’.\n\nThe picture was once attributed to the Amsterdam painter Thomas de Keyser -- his Portrait of Constantijn Huygens and his (?) Clerk is in our collection -- but it’s now considered more likely to be a copy after one of his works by an unknown painter working in Amsterdam in the 1640s."}],"archive":[{"summary":{"title":"Organisation"},"@admin":{"uid":"0VZD-0001-0000-0000","id":"R36183","source":"calm","uuid":"87d52f02-4818-37a9-b97b-504af8fe664e"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Acquisition: Pictures bequeathed by Misses Rachel F. and Jean I. Alexander from the collection formed by their father, William Cleverley Alexander. Emanuel de Witte, 'The Interior of the Oude Kerk, Amsterdam, during a Sermon'; Isack van Ostade, 'The Interior of a Barn with Two Peasants'; Aelbert Cuyp, 'The Maas at Dordrecht in a Storm'; Jan van de Cappelle, 'Vessels Moored off a Jetty'; Willem van de Velde, 'Dutch Vessels lying Inshore in a Calm, one Saluting'; Philips Koninck, 'An Extensive Landscape with a Town in the Middle Distance'; Giovanni Battista Tiepolo, 'The Banquet of Cleopatra'; Pieter Quast, 'A Standing Man'; Frans Hals, 'Portrait of Jean de la Chambre at the Age of 33'; Netherlandish, 'Portrait of Andreas (?) Boulengier'; Frans Hals, 'Portrait of a Woman (Marie Larp?)'; Dutch, 'Portrait of a Man and a Woman'; Attributed to Corneille de Lyon, 'Portrait of a Man'; Follower of Jean-Baptiste-Camille Corot, 'Seascape with Figures on Cliffs'"},"@admin":{"uid":"0BPS-0005-0000-0000","id":"R43848","source":"calm","uuid":"d113a450-15ac-3d99-95c4-7989fb432845"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Organisation: Documentary material and catalogue"},"@admin":{"uid":"0D9Z-0007-0000-0000","id":"R60491","source":"calm","uuid":"d36148bd-1610-33e8-8161-2cb8ee3ee448"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"}],"accession":{"date":[{"from":"1972","to":"1972","value":"1972-01-01"}],"agent":[{"summary":{"title":"Rachel F. and Jean I. 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This is Saint Sebastian, a Roman soldier who secretly converted to Christianity. When his faith was discovered, he was shot with arrows but miraculously survived.
Here, the saint seems more like a classical statue than a living figure. Cima must have been aware of Tullio Lombardo’s famous Adam (made around 1490–5), the first nude marble statue sculpted since antiquity; he has replicated the figure’s stance, curly hair and slightly vacant expression almost precisely.
This painting is one of two in the National Gallery’s collection which must have formed the side panels of a multi-panelled altarpiece, but we are not sure when they were made, or where for.
","source":"Dokuwiki","type":"short text","value":"A pale young man stands in a stone niche, almost naked and seemingly unaware of the arrows in his arm and leg. This is Saint Sebastian, a Roman soldier who secretly converted to Christianity. When his faith was discovered, he was shot with arrows but miraculously survived.\n\nHere, the saint seems more like a classical statue than a living figure. Cima must have been aware of Tullio Lombardo's famous Adam (made around 1490--5), the first nude marble statue sculpted since antiquity; he has replicated the figure's stance, curly hair and slightly vacant expression almost precisely.\n\nThis painting is one of two in the National Gallery's collection which must have formed the side panels of a multi-panelled altarpiece, but we are not sure when they were made, or where for."},{"formatted":"A pale young man, naked but for a loincloth, stands in a stone niche, seemingly unaware of the arrows in his arm and leg. This is Saint Sebastian, a Roman soldier who secretly converted to Christianity. When his faith was discovered, he was shot with arrows but miraculously survived.
Here, the saint seems more like a classical statue than a living figure. Cima must have been aware of Tullio Lombardo’s famous Adam (about 1490–9), the first nude marble statue sculpted since antiquity; he reproduces the figure’s stance, curly hair and slightly vacant expression almost precisely.
Saint Sebastian was enormously popular in the Middle Ages and Renaissance. He was thought to provide protection from the plague, which repeatedly ravaged central Italy in the fifteenth century: his arrow wounds were thought to be like the swellings it caused. He is often shown tied to a tree, as in The Martyrdom of Saint Sebastian; the tree is missing here, but he still has his hands behind his back.
This painting is one of two panels from the S. Maria dei Crociferi Altarpiece. They must have formed the side panels of a triptych or polyptych, but we are not sure exactly when they were made, or where for.
Cima da Conegliano made a number of pictures of Saint Sebastian, beginning with the side panels of two large altarpieces, painted in around 1486–8. One is still in the parish church at Olera, near Bergamo; the other was from Oderzo, in the Venetian territories on the mainland. The series culminates in the figure of the saint in the side panel of the altarpiece for San Rocco, painted in about 1500–2, in Mestre, also on the Venetian mainland. Our panel probably comes towards the end of the series. In the earliest examples, the saint stands against a burnished gold background, as in medieval altarpieces, while the stone niche in our panel is much more Renaissance in style.
Like many Renaissance artists, Cima sped up the production process for altarpieces by reusing designs for different commissions. The saint in our panel is based on his figure in the so-called Dragan Altarpiece (Galleria dell'Accademia, Venice), commissioned in about 1499 by Venetian shipowner Giorgio Dragan for his family chapel in Santa Maria della Carita, Venice. Another painting of the saint (Berenson Collection, Villa I Tatti, Settignano) also followed the same design.
","source":"Dokuwiki","type":"long text","value":"A pale young man, naked but for a loincloth, stands in a stone niche, seemingly unaware of the arrows in his arm and leg. This is Saint Sebastian, a Roman soldier who secretly converted to Christianity. When his faith was discovered, he was shot with arrows but miraculously survived.\n\nHere, the saint seems more like a classical statue than a living figure. Cima must have been aware of Tullio Lombardo's famous Adam (about 1490--9), the first nude marble statue sculpted since antiquity; he reproduces the figure's stance, curly hair and slightly vacant expression almost precisely.\n\nSaint Sebastian was enormously popular in the Middle Ages and Renaissance. He was thought to provide protection from the plague, which repeatedly ravaged central Italy in the fifteenth century: his arrow wounds were thought to be like the swellings it caused. He is often shown tied to a tree, as in The Martyrdom of Saint Sebastian; the tree is missing here, but he still has his hands behind his back.\n\nThis painting is one of two panels from the S. Maria dei Crociferi Altarpiece. They must have formed the side panels of a triptych or polyptych, but we are not sure exactly when they were made, or where for.\n\nCima da Conegliano made a number of pictures of Saint Sebastian, beginning with the side panels of two large altarpieces, painted in around 1486--8. One is still in the parish church at Olera, near Bergamo; the other was from Oderzo, in the Venetian territories on the mainland. The series culminates in the figure of the saint in the side panel of the altarpiece for San Rocco, painted in about 1500--2, in Mestre, also on the Venetian mainland. Our panel probably comes towards the end of the series. In the earliest examples, the saint stands against a burnished gold background, as in medieval altarpieces, while the stone niche in our panel is much more Renaissance in style.\n\nLike many Renaissance artists, Cima sped up the production process for altarpieces by reusing designs for different commissions. The saint in our panel is based on his figure in the so-called Dragan Altarpiece (Galleria dell'Accademia, Venice), commissioned in about 1499 by Venetian shipowner Giorgio Dragan for his family chapel in Santa Maria della Carita, Venice. 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standardise the credit lines recording this acquisition, on the authority of Alistair Smith, ‘Presented by the Misses Rachel F. and Jean I. Alexander: Seventeen Paintings for the National Gallery’, The Burlington Magazine, 114/834 (Sept. 1972), pp. 630-634 (freely available JSTOR at https://www.jstor.org/stable/877127, with biographical info on both sisters plus their father)."},"formatted":"Credit line changed from 'Presented by the Misses Rachel F. and Jean I. Alexander; entered the collection in 1972' to 'Presented by the Misses Rachel F. and Jean I. Alexander; entered the Collection, 1972'","source":"TMS","type":"cataloguing change","value":"Credit line changed from 'Presented by the Misses Rachel F. and Jean I. Alexander; entered the collection in 1972' to 'Presented by the Misses Rachel F. and Jean I. 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But, as is usual, the sea is flat and calm, giving subtle reflections of the vessels, the clouds and two porpoises swimming calmly on the left.
The pilings by the jetty and closer to us, blackened and dripping with weed, give a sense of age and permanence, almost as if van de Cappelle’s vision of the sea as calm and unthreatening is true. The geometry of their shapes, heavy and firm, is repeated – but with finer, cobwebby lines – by the masts, booms and ropes of the two vessels beyond them.
Sadly the condition of the painting prevents us from seeing the full misty atmosphere the artist intended to evoke through his subtle handling of the colours.
","source":"Dokuwiki","type":"short text","value":"The sense of activity on the boats and the jetty give a greater sense of movement than in many of Jan van de Cappelle's paintings. But, as is usual, the sea is flat and calm, giving subtle reflections of the vessels, the clouds and two porpoises swimming calmly on the left.\n\nThe pilings by the jetty and closer to us, blackened and dripping with weed, give a sense of age and permanence, almost as if van de Cappelle's vision of the sea as calm and unthreatening is true. The geometry of their shapes, heavy and firm, is repeated -- but with finer, cobwebby lines -- by the masts, booms and ropes of the two vessels beyond them.\n\nSadly the condition of the painting prevents us from seeing the full misty atmosphere the artist intended to evoke through his subtle handling of the colours."},{"formatted":"The sense of activity on the boats and the jetty give a greater sense of movement than in many of Jan van de Cappelle's paintings. But, as is usual, the sea is flat and calm, giving subtle reflections of the vessels, the clouds and two porpoises swimming calmly on the left.
The pilings by the jetty and closer to us, blackened and dripping with weed, give a sense of age and permanence, almost as if van de Cappelle’s vision of the sea as calm and unthreatening is true. The geometry of their shapes, heavy and firm, is repeated – but with finer, cobwebby lines – by the masts, booms and ropes of the two vessels beyond them.
Sadly the condition of the painting prevents us from seeing the full misty atmosphere the artist intended to evoke through his subtle handling of the colours – but if you would like to see more of his work, look at A River Scene with Dutch Vessels Becalmed and A River Scene with a Large Ferry and Numerous Dutch Vessels at Anchor.
","source":"Dokuwiki","type":"long text","value":"The sense of activity on the boats and the jetty give a greater sense of movement than in many of Jan van de Cappelle's paintings. But, as is usual, the sea is flat and calm, giving subtle reflections of the vessels, the clouds and two porpoises swimming calmly on the left.\n\nThe pilings by the jetty and closer to us, blackened and dripping with weed, give a sense of age and permanence, almost as if van de Cappelle's vision of the sea as calm and unthreatening is true. The geometry of their shapes, heavy and firm, is repeated -- but with finer, cobwebby lines -- by the masts, booms and ropes of the two vessels beyond them.\n\nSadly the condition of the painting prevents us from seeing the full misty atmosphere the artist intended to evoke through his subtle handling of the colours -- but if you would like to see more of his work, look at A River Scene with Dutch Vessels Becalmed and A River Scene with a Large Ferry and Numerous Dutch Vessels at Anchor."}],"archive":[{"summary":{"title":"Organisation"},"@admin":{"uid":"0VZD-0001-0000-0000","id":"R36183","source":"calm","uuid":"87d52f02-4818-37a9-b97b-504af8fe664e"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Acquisition: Pictures bequeathed by Misses Rachel F. and Jean I. Alexander from the collection formed by their father, William Cleverley Alexander. 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Boulengier'; Frans Hals, 'Portrait of a Woman (Marie Larp?)'; Dutch, 'Portrait of a Man and a Woman'; Attributed to Corneille de Lyon, 'Portrait of a Man'; Follower of Jean-Baptiste-Camille Corot, 'Seascape with Figures on Cliffs'"},"@admin":{"uid":"0BPS-0005-0000-0000","id":"R43848","source":"calm","uuid":"d113a450-15ac-3d99-95c4-7989fb432845"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Organisation: Documentary material and catalogue"},"@admin":{"uid":"0D9Z-0007-0000-0000","id":"R60491","source":"calm","uuid":"d36148bd-1610-33e8-8161-2cb8ee3ee448"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"}],"accession":{"date":[{"from":"1972","to":"1972","value":"1972-01-01"}],"agent":[{"summary":{"title":"Rachel F. and Jean I. 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He travelled widely across Europe, producing pastels and chalk drawings of European nobles and diplomats who are often in Eastern costume.
The bearded man here may be one of these sitters wearing Turkish clothes. However, it is far more likely that he is an as yet unidentified Turkish Grand Vizier (Prime Minister), as both the white gold-striped conical turban and the ermine-trimmed coat were worn by Grand Viziers of the Ottoman Empire. The most likely candidate is Nişanci (Chancellor) ‘Kőr’ Ahmed Pasha, who served the longest of the four Grand Viziers in office during Liotard’s stay in Constantinople. If this portrait is of Ahmed Pasha, it was probably produced around 1741.
","source":"Dokuwiki","type":"short text","value":"The Swiss artist Jean-Etienne Liotard most likely produced this portrait in pastel on vellum or parchment while he was living in Constantinople from 1738 to 1742. He travelled widely across Europe, producing pastels and chalk drawings of European nobles and diplomats who are often in Eastern costume.\n\nThe bearded man here may be one of these sitters wearing Turkish clothes. However, it is far more likely that he is an as yet unidentified Turkish Grand Vizier (Prime Minister), as both the white gold-striped conical turban and the ermine-trimmed coat were worn by Grand Viziers of the Ottoman Empire. The most likely candidate is Nişanci (Chancellor) ‘Kőr’ Ahmed Pasha, who served the longest of the four Grand Viziers in office during Liotard’s stay in Constantinople. If this portrait is of Ahmed Pasha, it was probably produced around 1741."},{"formatted":"Born and raised in Geneva before moving to Paris, Jean-Etienne Liotard had an international career that took him around Europe. While in Rome, he was invited by William Ponsonby, the 2nd Earl of Beesborough, to join him on a visit to Constantinople (now part of Istanbul). Liotard remained in Constantinople from the spring of 1738 to the autumn of 1742, and these four years were a defining period for his work. While living there, Liotard grew his distinctive long beard, adopted Turkish clothing and called himself ‘the Turkish painter’. He travelled widely across Europe producing pastels and highly finished red and black chalk drawings of European nobles and diplomats, often in Eastern costume.
The bearded man in this pastel on vellum or parchment (specially prepared animal skin) may be one of these sitters wearing Turkish clothes. He was once thought to be Edward Wortley Montagu, either the father (1678–1761) or the son (1713–1776). However, although Montagu senior was the British ambassador in Constantinople from 1717 to 1718, he was there 20 years before Liotard arrived. Liotard could have painted him during his first visit to London in 1753, but the former ambassador would have then been 75 and too old for the man we see here. Nor does the portrait look like confirmed portraits of his son, so he too is no longer believed to be the sitter. The claim that this is a self portrait of Liotard himself has also been rejected.
Although the possibility of a European sitter cannot be completely ruled out, it is far more likely that this man is an as yet unidentified Turkish Grand Vizier (the Prime Minister answerable only to the Sultan himself), as both the white gold-striped conical turban and the ermine-trimmed coat were worn by Grand Viziers of the Ottoman Empire. There were four Grand Viziers whom Liotard might have portrayed during the four years he was in Constantinople, but identifying the one we may be looking at here is not straightforward. The most likely candidate – on the basis of age at least – is Nişanci (Chancellor) ‘Kőr’ Ahmed Pasha, who died in 1753 (the date of his birth is unknown). Before his dismissal in April 1742 and exile to Rhodes, Ahmed Pasha also served the longest of the four Grand Viziers in office during Liotard’s time in Constantinople. If this portrait is of Ahmed Pasha, it was probably produced around 1741. The plain background and direct stare at the viewer are in keeping with other pastels by Liotard from this period.
Although it has not been possible to confirm the identity of the sitter, this is a fine portrait. Liotard mainly limits his colours to a cool jade green for the background and white and brown tones for the clothing. The man’s pale face, with its open and inquiring expression, is consistent with the subtle tones of the picture. Liotard skilfully uses the pastel to capture the texture and sheen of the various fabrics – for example, the reflected light on the gold band, the folds of the sleeve and the coat’s ermine trims.
","source":"Dokuwiki","type":"long text","value":"Born and raised in Geneva before moving to Paris, Jean-Etienne Liotard had an international career that took him around Europe. While in Rome, he was invited by William Ponsonby, the 2nd Earl of Beesborough, to join him on a visit to Constantinople (now part of Istanbul). Liotard remained in Constantinople from the spring of 1738 to the autumn of 1742, and these four years were a defining period for his work. While living there, Liotard grew his distinctive long beard, adopted Turkish clothing and called himself ‘the Turkish painter’. He travelled widely across Europe producing pastels and highly finished red and black chalk drawings of European nobles and diplomats, often in Eastern costume.\n\nThe bearded man in this pastel on vellum or parchment (specially prepared animal skin) may be one of these sitters wearing Turkish clothes. He was once thought to be Edward Wortley Montagu, either the father (1678--1761) or the son (1713--1776). However, although Montagu senior was the British ambassador in Constantinople from 1717 to 1718, he was there 20 years before Liotard arrived. Liotard could have painted him during his first visit to London in 1753, but the former ambassador would have then been 75 and too old for the man we see here. Nor does the portrait look like confirmed portraits of his son, so he too is no longer believed to be the sitter. The claim that this is a self portrait of Liotard himself has also been rejected.\n\nAlthough the possibility of a European sitter cannot be completely ruled out, it is far more likely that this man is an as yet unidentified Turkish Grand Vizier (the Prime Minister answerable only to the Sultan himself), as both the white gold-striped conical turban and the ermine-trimmed coat were worn by Grand Viziers of the Ottoman Empire. There were four Grand Viziers whom Liotard might have portrayed during the four years he was in Constantinople, but identifying the one we may be looking at here is not straightforward. The most likely candidate -- on the basis of age at least -- is Nişanci (Chancellor) ‘Kőr’ Ahmed Pasha, who died in 1753 (the date of his birth is unknown). Before his dismissal in April 1742 and exile to Rhodes, Ahmed Pasha also served the longest of the four Grand Viziers in office during Liotard’s time in Constantinople. If this portrait is of Ahmed Pasha, it was probably produced around 1741. The plain background and direct stare at the viewer are in keeping with other pastels by Liotard from this period.\n\nAlthough it has not been possible to confirm the identity of the sitter, this is a fine portrait. Liotard mainly limits his colours to a cool jade green for the background and white and brown tones for the clothing. The man’s pale face, with its open and inquiring expression, is consistent with the subtle tones of the picture. Liotard skilfully uses the pastel to capture the texture and sheen of the various fabrics -- for example, the reflected light on the gold band, the folds of the sleeve and the coat’s ermine trims."}],"accession":{"date":[{"from":"1929","to":"1929","value":"1929-01-01"}],"agent":[{"summary":{"title":"Mrs John P. 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