17th Century Figurative Paintings
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Period: 17th Century
Frans Wouters, Adoration of The Herders, Christmas Scene, Christ, Flemish School
Located in Greven, DE
Frans Wouters was a Flemish Baroque painter who mainly created smaller cabinet pieces.
He was initially apprenticed to Pieter van Avont in Antwerp, but then moved to Rubens‘ worksho...
Category
Baroque 17th Century Figurative Paintings
Materials
Oak, Oil
Jan Miel ( 1599- 1663 ) - Hunters Resting - 17th Century Flemish Oil Painting
By Jan Miel
Located in Meinisberg, CH
Attributed/Close circle:
Jan Miel
(Flemish, 1599- 1663)
A Hunting Party resting by Ruins
• Oil on canvas, relined, ca. 52 x 70 cm
• Later Frame, ca. 70 x 8...
Category
Naturalistic 17th Century Figurative Paintings
Materials
Canvas, Oil
Old Master Flemish Oil on Canvas Baroque Painting Jesus Christ Ecce Homo 1630
Located in Portland, OR
An important Old Master oil on canvas painting by the Flemish artist, Jan Cossiers, a follower of the style of Caravaggio (1600-1671).
Born in Antwerp in 1600, Jan Cossiers was a pupil of his father, the painter Antoon Cossiers (died 1646/1647), and also studied under Cornelis de Vos...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
Circle of Maratta, Maria and Child, Madonna, Christ, Antique Frame, Old Master
By Workshop Of Carlo Maratta
Located in Greven, DE
Circle of Maratta,
Maria and Child,
in a Roman 18th century hand carved and gilded wooden frame, uncut
Images of the Virgin and Child were for centuries the most common subject for Christian religious...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas
Workshop of Louis de Boullogne - Moses defending Jethro's daughters
Located in BELEYMAS, FR
Workshop of Louis de BOULLOGNE
(Paris 1654 – Paris 1733)
Moses defending the daughters of Jethro
Oil on canvas
H. 75 cm; W. 106 cm
Produced at the end of the 17th century, this fair...
Category
French School 17th Century Figurative Paintings
Materials
Oil, Canvas
17th C painting of a peasant couple preparing for Carnival.Flemish School.
Located in brussel, BE
Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...
Category
Baroque 17th Century Figurative Paintings
Materials
Oil, Wood Panel
Portrait of a Boy, John Closterman, Large English Portrait Art, Old Master
By John Closterman
Located in Greven, DE
John Clostermann
(Osnabrück 1660 - 1711 London)
Portrait of a boy, maybe Charles Hinde
Oil on canvas, 61 x 74,6 cm
John Closterman (also Klosterman) was a portrait painter of the late 17th and early 18th centuries. He primarily portrayed English noblemen and European aristocratic families. His father was already an artist and he trained his son. In 1679 he went to Paris and studied with Francois de Troy. In 1681 he was in London and worked for the artist John Riley, whose studio he took over after his death. In 1696 he was invited to the Spanish court...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
Religious Subject Oil on Canvas Italy XVII Century
Located in Milan, IT
Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Chil...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
17th Century English Portrait of Admiral Horatio Nelson's great grandfather
Located in Norwich, GB
A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil, Canvas
Winter Landscape - Oil Painting by Antonie Beerstraten - 17th Century
Located in Roma, IT
Winter Landscape is an old master artwork attributed to Antonie Beerstraten (1639-1665).
The artwork depicts a river with hunters.
Mixed colored oil on canvas.
Category
Modern 17th Century Figurative Paintings
Materials
Pencil
Madonna with Child Angels and Saints, XVII-XVIIIth century
Located in Milan, IT
Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who suppo...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
The Preaching of St. John the Baptist, Workshop of Fans Francken II, 1600s
Located in Milan, IT
The sermon of the Baptist is set in a large open space, with rich vegetation and wooded glimpses, and on the back, in the distance, you can see the buildings of a city.
The scene see...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Dutch 17th Century Oil Painting - The Card Game by Ter Borch
By Gerard ter Borch the Younger
Located in London, GB
Gerard ter Borch
The Cards Game
Oil on canvas
14 x 15.5 inches unframed
19 3/4 x 21 1/2 inches framed
Gerard ter Borch (Dutch; December 1617 – 8 December 1681), also known as Gerard Terburg, was an influential and pioneering Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil
Mythological Subject, Italy XVII Century, The Tale of Apollo and Marsyas
Located in Milan, IT
Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduce...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Traveller in a Duch Village, Jan Meerhoud, 1633 – 1677, Dutch School, Golden Age
Located in Bruges, BE
Traveller in a Duch Village
Meerhoud Jan
Gorinchem 1633 – 1677 Amsterdam
Dutch School
Golden Age
Signature: Signed bottom left
Medium: Oil on panel
Dimensions: Image size 21 x 25 c...
Category
Dutch School 17th Century Figurative Paintings
Materials
Oil, Panel
Lamentation of Christ oil on paper laid on canvas
By Annibale Carracci
Located in Brooklyn, NY
The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Par...
Category
Old Masters 17th Century Figurative Paintings
Materials
Paper, Canvas, Oil
Battle Scene Oil On Canvas 17th Century
Located in Milan, IT
Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represen...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Testa di Vecchio
Located in Balerna, TI
Francesco Fracanzano (Monopoli 1612-Napoli 1656)
Testa di vecchio
Olio su tela, cm 66x52,5
La tela presenta la figura di un uomo anziano a mezza figura con lo...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
Roman Baroque Painting 17 century oil canvas
Located in Florence, IT
The painting represents the moment of the death of Lucretia, a Roman noblewoman who was raped by the seventh and last King of Rome-the Etruscan Tarquin the Proud-and committed suicide-in front of her husband and her father-because she couldn’t stand the violence she passed through. According to the legend, this episode caused the rebellion that overthrew the Roman monarchy and led to the transition of Roman government from a kingdom to a republic.
The scene is entirely dominated by the figure of the lady, emerging from a dark background in contrast with the brightness of her skin and of the colors of her dress. The torments and agony are intensively expressed by her glance, capable of creating a strong empathizing. The shiny white skin and the pearls (symbol of virginity) in her hair are an allegory of her purity, while the red tablecloth seems predicting the violent end. The painting is characterized by lots of exquisite details (like the richly decorated knob of the knife, the ribbon that tie up the purple curtains...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
Andata al calvario
By Sebastiano Mazzoni
Located in Balerna, TI
Sebastiano Mazzoni
Andata al calvario
Olio su tela, Sec. XVI, cm 130x143; con cornice 167x153x9
Il dipinto rappresenta un episodio della Passione di Cristo cui accennano appena i Van...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
Roman Ruins - Painting attr. to Francis Harding - 17th Century
Located in Roma, IT
Roman ruins is an original old master artwork realized realized by a follower of the artist Giovanni Paolo Panini and attributed to Francis Harding (1730-1766).
Mixed colored oil on canvas.
Includes frame.
The work is a replica of Panini's canvas made around 1740, made known by Ferdinando Arisi in his 1986 monograph (Cat.456) as belonging to the Galleria Taccani in Milan and recently reappeared on the London market...
Category
Modern 17th Century Figurative Paintings
Materials
Paint, Oil
Still Life with fruits - Oil Paint On Canvas - 17th Century
Located in Roma, IT
Still Life with fruits is an original oil on canvas realized in the 16th Century by an Italian School Master.
Original oil painting on Canvas.
The painting represents a still life...
Category
Baroque 17th Century Figurative Paintings
Materials
Oil, Canvas
Barend Graat (1628-1709) Diana the huntress and her dogs
Located in BELEYMAS, FR
Barend GRAAT
(Amsterdam 1628 – Amsterdam 1709)
Diana the Huntress
Oil on wood
H. 33.5 cm; L. 44 cm
Signed lower right on the stone
A discreet painter with respect to history, Barend...
Category
Dutch School 17th Century Figurative Paintings
Materials
Oil, Wood Panel
Erminia meets the shepherds Camillo Gavassetti, XVII sec.
Located in Milan, IT
In the oil on canvas, on the right, a young woman is depicted with dark hair tied up and held in place by ribbons of pearls. She is dressed in warrior clothes: she wears a red tunic...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
French Old Master oil painting of 3 figures releasing a dove
By Jean-Antoine Watteau
Located in Petworth, West Sussex
Circle of Jean-Antoine Watteau (French, 1684-1721)
Freeing a dove
Oil on canvas
27.3/4 x 38.1/8 in. (70 x 96.8 cm.)
Possible repair to upper right. In overall good order for the age...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil, Canvas
Cristo deposto alla croce con un angelo, Maria Maddalena e tre angioletti
By Girolamo Troppa
Located in Balerna, TI
Girolamo Troppa (Rocchette, 1636 – Roma, 1710)
Cristo deposto alla croce con un angelo, Maria Maddalena e tre angioletti con i simboli della passione.
Olio su tela, cm 155x200 con cornice cm 170x230
Il Cristo deposto occupa l’intera composizione dal taglio orizzontale e presenta il corpo con il capo abbandonato all’indietro, ben studiato nei dettagli anatomici dei muscoli e avvolto in fasce di lino. Al tragico evento partecipano tre angioletti con i simboli della Passione, intenti a sorreggere il velo, a raccogliere la corona...
Category
Baroque 17th Century Figurative Paintings
Materials
Canvas, Oil
The Poor Widow's Offer - Oil Painting - 17th Century
Located in Roma, IT
The Poor Widow's Offer is an old master artwork realized by a follower of Marten de Vos (Antwerp 1532-1603) in the half of 17th Century.
Mixed colored oil on canvas.
Inscribed bottom right “Jesus Laudat Pauperculam […]”.
The painting, whose subject is taken from the Gospel episode of the Offering of the poor widow (Mk., 12, 38-44; Lk., 21, 1-4), depicts Jesus in the Temple...
Category
Modern 17th Century Figurative Paintings
Materials
Oil, Paint
Testa di Santo Martire
Located in Balerna, TI
Sebastàn de Llanos Valdès (circa 1605-1677) testa di santo martire
Olio su tela, cm 50,5x72,5
Non vi sono dubbi in merito all’autografia del dipinto che spetta a Sebastian de Llanos y Valdes (1616-1677), come testimonia l’ iscrizione frammentaria posta nel margine inferiore destro della composizione. Il pittore spagnolo fu allievo di Herrera il Vecchio (1576-1656), poliedrico artista suo conterraneo, abile oltre che nel dipingere anche nella lavorazione del bronzo e nel campo della medaglistica. Nella famosa bottega dell’ Herrera, cui viene attribuito il ruolo di fondatore della famosa Scuola di Siviglia, gravitarono anche il tredicenne Velasquez, che vi rimase per un intero ano, e Ignacio de Riarte. Nel nostro dipinto raffigurante la testa...
Category
Old Masters 17th Century Figurative Paintings
Materials
Canvas, Oil
Due teste di Apostoli
Located in Balerna, TI
Seguace di Peter Paul Rubens, Due teste di apostoli
Metà del XVII secolo,
Olio su tela, cm 47,5x61
Il dipinto raffigura due teste di anziani ed è collocabile in ambito fiammingo. Potrebbe trattarsi del ritratto di due sapienti dell’ antichità , e in particolare di due filosofi caratterizzati da atteggiamenti opposti: quello di sinistra con lo sguardo verso terra, potrebbe ricordare Aristotele; quello di destra, con lo sguardo rivolto verso il cielo, il suo maestro Platone. In alternativa va presa in considerazione l’ ipotesi, forse più probabile, che si tratti di uno studio su due teste di apostoli che trovano posto nella zona inferiore dell’ assunzione della Vergine.
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Follower of Peter Paul Rubens, Two Heads of Apostles
Mid 17th century,
Oil on canvas, 47.5x61 cm
The painting depicts two heads of elderly people and can be placed in the Flemish context. It could be the portrait of two scholars of antiquity, and in particular of two philosophers...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil, Canvas
Cleopatra Queen of Egypt 17' century Painting Oil on Canvas
Located in Rome, IT
Amazing painting of Cleopatra oil on canvas with a gilt wood frame.
Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705)
The dramatic subje...
Category
Academic 17th Century Figurative Paintings
Materials
Oil
"Buddha Flanked by Female Attendants, " Gouache on Wood Panel, c. 1600
Located in Chicago, IL
This rare mural was painted in China over four centuries ago, and is an exquisite example of Buddhist art. The enlightened Buddha is shown standing at the center of the painting, dre...
Category
Ming 17th Century Figurative Paintings
Materials
Wood, Gouache
St John the Baptist, Stained Glass
Located in London, GB
Stained glass with lead frame and soldering
Height: 8 3/4 inches (22.25 cm)
This is a beautiful small stained glass window showing John the Baptist, created with bright coloured glass and painted details in brown and gold stain.
Here, John is shown holding a lamb, a common attribute given to St John to symbolise his recognition of Jesus as the Son of God. Indeed, when John baptised Jesus in the River Jordan he said 'Behold, the Lamb of God'. His reed cross and camel skin...
Category
17th Century Figurative Paintings
Materials
Glass
Religious Subject Oil on Canvas Italy XVII Century
Located in Milan, IT
Oil painting on canvas. Lombard school of the seventeenth century. The large scene presents in the center the seated Madonna proposing her breast to the Baby Jesus, who instead stretches out to try to pick a fruit from the basket that St. John gives him, standing under them; around, five figures of saints, recognizable by their iconographic attributes. From the left you have: St. Paul, holding the sword, St. Anna, lovingly watching over his daughter and grandson, St. Peter holding the keys to the Kingdom, St. Joseph with his stick and a carpenter's tool at his waist , and finally, last on the right, San Carlo Borromeo...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Italian, 17th Century old master oil painting of the Annunciation
Located in Petworth, West Sussex
Circle of Giovanni Francesco Barbieri, called Guercino (Italian, 1591 – 1666)
An annunciation
Oil on canvas
30 x 45 in. (76.2 x 114.4 cm.)
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil, Canvas
Religious Subject Oil on Canvas Italy XVII Century
Located in Milan, IT
Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
The Choir Boys, 17th Century Italian School
Located in London, GB
Oil on canvas
Image size: 22 x 33 1/2 inches (56 x 85 cm)
This is a half portrait of two choir boys wearing white ruffs at their necks, looking down as the...
Category
17th Century Figurative Paintings
Materials
Oil, Canvas
Saint Michael the Archangel, Sevillan school
Located in Brooklyn, NY
An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...
Category
Baroque 17th Century Figurative Paintings
Materials
Oil, Canvas
Deposition of Christ from the Cross, 1600s, 1700s
Located in Milan, IT
Oil painting on canvas. Northern Italian school of the 17th-18th century. On the back this label of the Art Gallery with the indication "Venetian School of 1600". The Gospel episode of the deposition of...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Dutch Bamboccianti Jacob van Huchtenburg Rome Market 1674 Oil canvas
By Jacob Van Huchtenberg
Located in Florence, IT
The Market in Piazza del Popolo is a work by the Flemish painter Jacob van Huchtenburg, born in Haarlem and present, in the early 1660s, in Rome, in close contact with his compatriot...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil, Canvas
A red chalk study sheet by Baldassare Franceschini, known as Volterrano
Located in PARIS, FR
This fresh sanguine sheet presents various studies placed next to each other in no apparent order. Two of the feet studies are preparatory to the first major commission received by the young Baldassare Franceschini, shortly after his installation in Florence, the frescoes for the Medici Fastes. This cycle was executed between 1636 and 1646 for the Villa La Petraia, a Medici villa on the outskirts of Florence, which allows us to date this sheet to the artist's youth.
1. The Medici Fastes, the first major commission for a young artist
Born in Volterra in 1611, the town from which he took his nickname, Baldassare Franceschini apprenticed with his father, a sculptor of alabaster, one of his home town's specialities, and studied with Cosimo Daddi (1540-1630), a local artist. The Marquis Inghirami, who spotted his talent, sent him to the workshop of Matteo Rosselli (1578 - 1650) in Florence, which was also attended by Francesco Furini (1603 - 1646).
In 1636, Lorenzo de' Medici, the youngest son of Ferdinand Ier and Christine of Lorraine, chose the 25-year-old artist, again on the advice of the Marquis Inghirami, to decorate with frescoes the loggias of the inner courtyard of the Villa La Petraia, which he had just inherited on the death of his mother. The project lasted about ten years and included ten scenes placed symmetrically in two loggias on either side of the courtyard: four main scenes and six placed above the doors, each to the glory of a member of the Medici family.
This decoration was his major secular project, but Volterrano also executed several religious frescoes and a few easel paintings, often with less success. Among the religious commissions, we can cite the dome of the Colloredo chapel dedicated to Saint Lucy...
Category
Old Masters 17th Century Figurative Paintings
Materials
Paper, Chalk
Jefte and his daughter, Girolamo Forabosco and aides, 17th century
Located in Milan, IT
The painting depicts Jephthah and his daughter, two Old Testament biblical characters. The girl is depicted in profile,dressed in the clothing of a seventeenth-century Venetian lady: the low-cut dress, tightened at the waist
by a golden belt...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Erminia among the Shepherds, Louis Dorigny attributable to
Located in Milan, IT
Oil painting on canvas. The large canvas recounts an episode taken from the Gerusalemme Liberata by Torquato Tasso, in which the young Erminia, princess of Antioch secretly in love w...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
17th Century Dutch Old Master Oil on Panel, Ladies Gathering Flowers
Located in Cirencester, Gloucestershire
Artist/ School: 17th Century Dutch School
Title: Ladies Collecting Flowers
Medium: oil painting on panel, framed
Oval : 6.75 x 9.25 inches, frame...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil
Painted in Historical Subject, XVIIth century
Located in Milan, IT
Oil painting on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Peasants in a Cornfield (Boer in het veld) by David Teniers the Younger
Located in Stockholm, SE
Remembering the magic of everyday life moments in the art of David Teniers:
The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.
As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life.
Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful.
As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.
Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works.
The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance.
In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment?
Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention?
One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else.
It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil, Canvas
Virgin with Child - Painting by Theodor Mathon - 17th Century
Located in Roma, IT
Virgin Mary and Jesus is an original old masters' artwork realized by the Flemish painter Theodor Mathon (1606-1676) in the 17th century.
Mixed ...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil
Antique Italian School Late 17th - Early 18th "Cherubs (A)" Pen drawing of Putti
Located in SANTA FE, NM
"Cherubs" (A)
Pen and Ink drawing of Putto
Italian School
Late 17th early 18th century.
Pen and ink on paper
6 ½ x 17 ½ (22 ½ x 11 ½) inches
Antique scenes of putto and a faun cele...
Category
Old Masters 17th Century Figurative Paintings
Materials
Paper, Ink, Pen
17th Century by Giovanni Battista Beinaschi Saint Bartholomew Oil on Canvas
By Giovanni Battista Beinaschi
Located in Milano, Lombardia
Giovan Battista Beinaschi (Fossano, 1636 - Naples 1688)
Saint Bartholomew
Oil on canvas, cm. 96 x 71,5 – with frame cm. 108 x 86
Shaped and gilded ...
Category
Old Masters 17th Century Figurative Paintings
Materials
Canvas, Oil
St Paul With Sword and Book, Mannerist School, Oil on Copper
Located in Stockholm, SE
Mannerism, derived from the Italian term "maneria," which simply means "style," was an artistic movement that emerged in the later years of the Italian High Renaissance, around 1520, and extended into the early 17th century. It is often referred to as the "stylish style" due to its emphasis on self-conscious artifice rather than realistic depiction. Historians debate whether Mannerism should be classified as a style, a movement, or a period.
In contrast to the harmonious ideals embraced by renowned artists such as Raphael, Michelangelo, and Leonardo da Vinci, Mannerist painters took a step further and created compositions that were almost bizarre. They introduced fresh color schemes, elongated proportions, and exaggerated anatomy of figures, portraying them in convoluted and serpentine poses. These artists skillfully exhibited their techniques and abilities, aiming to evoke a sense of sophisticated elegance.
Among the notable Mannerist painters are Jacopo da Pontormo, Bronzino, Lavinia Fontana...
Category
Old Masters 17th Century Figurative Paintings
Materials
Copper
17th Century by Giuseppe Assereto Portrait of an Elderly Woman Oil on Canvas
Located in Milano, Lombardia
Giuseppe Assereto (Genova - 1626 ca – Genova 1656/57)
Portrait of an elderly woman, possible portrait of Maddalena Massone, wife of Gioacchino Assereto
Oil on canvas, cm. 65,5 x 51,5...
Category
Old Masters 17th Century Figurative Paintings
Materials
Canvas, Oil
The Continence of Scipio, XVIIth century
Located in Milan, IT
Oil on the table. Northern European school of the 17th century. The scene depicts an episode in the life of Scipio narrated by Tito Livio and Valerio Massimo. Publius Cornelius Scipi...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Italian Landscape with Jack Players, a painting by Gaspard Dughet (1615 - 1675)
By Gaspard Dughet
Located in PARIS, FR
Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation...
1. Gaspard Dughet, a landscape artist in the light of Poussin
Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio.
Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669).
This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco.
Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675.
2. Discovering an idealized landscape
Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains.
The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature.
In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts.
Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene.
Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective.
While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641)
A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period.
3. Three amazing anthropomorphic details
While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures.
We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff.
The main cloud could thus evoke a Christ-like face or that of an antique god...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil
Van Bloemen Flemish Landscape Painting figures sheperd 17 century oil canvas
By Jans Frans van Bloemen
Located in Florence, IT
This painting is added to the corpus of Jans Frans Van Bloemen by an expertise of professor Giancarlo Sestrieri.
The Van Bloemen were a family of painter. Jans, born in Antwerp, prob...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Canvas, Oil
Cardinal with Missive - Painting by Unknown - 17th Century
Located in Roma, IT
Cardinal with missive is an original old master artwork realized in the 17th Century.
Mixed colored oil painting on canvas. Provenance: Italy. Avery precoius artwork depicting a ca...
Category
Old Masters 17th Century Figurative Paintings
Materials
Oil
17th Century by Simone Cantarini Adoration of The Magi Painting Oil on Canvas
Located in Milano, Lombardia
Simone Cantarini (Pesaro 1612 - Verona 1648)
Adoration of the Magi
Oil on paper applied to canvas, cm. 16,5 x 24 – with frame cm. 22 x 29
Antique sh...
Category
Old Masters 17th Century Figurative Paintings
Materials
Canvas, Cotton Canvas, Oil
Penitent Magdalene and St. John the Baptist, oil on slate, early 17th century
Located in Milan, IT
The figure of the Magdalene emerges from the
darkness, leaning to follow the curve of the stone
support; it is depicted vaulted with an interrogative
air towards the dark, as if in an attitude of listening,
the left hand raised and the other leaning on the
"memento mori" very shortened. In front of her a
scourge and the jar of ointment.
Painted en pendant, Saint John the Baptist is depicted
as a young man, with a lamb at his feet, in his hand
the processional cross with the banner "exception
agnus dei", while with his right hand he draws from
the source of water, recalling the episode that will see
Jesus Christ baptized.
In both paintings the figures stand out in a strong and
incisive way thanks to the black that characterizes the
slate plate on which they are depicted.
Historical-critical analysis:
We are faced with two examples of oil painting on
stone. The beginnings of this particular technique are
to be placed in the first half of the sixteenth century:
after some fifteenth-century experiments it is with
Sebastiano del Piombo that the genre takes hold in
the sixteenth century. There were different types of
support used, also linked to their availability:
amethyst, marble in various colors, alabaster and
blackboard. The reasons underlying this technical
choice refer to Renaissance artistic theories: it is no
coincidence that the painter who most often
experimented with oil painting on marble...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
Sacra Conversazione, Maria, Christ, Old Master, Religious, Baroque Painting, art
Located in Greven, DE
Attributed to Peter Candid / Pieter de Witte
(Bruges c. 1540 - 1628 Munich)
Sacra Conversazione
Oil on wood, 29 x 37 cm
The painter, sculptor and architect Peter Candid, known in Italy as Pietro Candido, was born in Bruges between 1540 and 1548. In the 1560s he stayed in Florence, where he worked in the workshop of Giorgio Vasari, with whom he collaborated on a number of commissions for the House of Medici. After a brief stay in Volterra, he went to Munich in 1586. For the next 42 years, until his death, he remained court painter to Duke William V...
Category
Renaissance 17th Century Figurative Paintings
Materials
Panel, Oil
Adoration of the Child Jesus, XVII century
Located in Milan, IT
Oil painting on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angel...
Category
Other Art Style 17th Century Figurative Paintings
Materials
Oil
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