Today, I am posting a lot of photos I took of Dutch/Flemish works that were on exhibit at the de Young and the Getty museums, beginning with Frans van Mieris the Elder (Dutch, 1635-1681). The first is Pictura (Allegory of Painting), 1661, oil on copper. This one was behind glass so please excuse the reflection.
The caption reads, “The allegorical figure shown here represents the art of painting. She holds a palette,, brushes, and a small plaster sculpture. The mask on a chain may refer to art’s deceptive illusions. Instead of being hung on a wall, a painting of this size, like a precious object, would have been kept in a cabinet for close examination. ”
The Doctor’s Visit, 1667, oil on panel
“Van Mieris was well known for his finely painted works. Here a young woman faints as a doctor examines a vial of her urine. The ostentatious doctor, whose extravagant clothes suggest that he is a quack, was a stock figure in contemporary theater. The erotic painting over the fireplace hints that the woman suffers from lovesickness, while the burning ribbon held by the crying girl was seen at the time as a sign of pregnancy.”
A Young Woman Feeding a Parrot, 1663, oil on panel
The following two Frans Hals paintings are quite large–larger than life.
Lucas de Clercq, Dutch, about 1635, Frans Hals, oil on canvas, 49 13/16 x 36 5/8
Feyna van Steenkiste, Dutch, about 1635, Frans Hals, oil on canvas, 48 7/16 x 36 5/8
Closeup of Feyna’s hands
These two paintings came to the Getty as part of the conservation partnership program. For information on the restoration and removal of old varnish on these two paintings as well as stories about Lucas and Feyna’s lives and additional insights into Hals’ working methods, go to http://www.getty.edu/museum/conservation/partnerships/rijksmuseum_hals/index.html
This painting by Anthony van Dyke was huge. I include the first photo to give you an idea of just how large it was:
Portrait of Agostino Pallavicini, About 1621, oil on canvas, Anthony van Dyck, Flemish, 1599-1641
“This portrait commemorates the sitter’s service as ambassador of the Republic of Genoa to the newly elected Pope Gregory XV. The artist depicted Agostino Pallavicini, the future head of the state of Genoa, in his sumptuous robes of office, seated before a billowing curtain that bears his family’s coat of arms. The elegant formality of the image exemplifies van Dyck’s highly influential approach to portraiture.”
Note: All text in quotes is taken from the Getty or de Young museum placards posted beside paintings.