Jules Victor Génisson

Interior of Church - Oil Paint by Jules Victor Génisson - Mid-19th Century

Mid-19th Century

Interior of a House is an original oil painting realized during the 19th Century by anonymous italian artist. Includes frame: cm 39 x 0.1 x 47.5 ...

Untitled - Interior is an original modern artwork realized in the 1860s circa by the Italian artist Giuseppe Puricelli (Varese 1825 - Casirate, 1894). Original Oil Painting on Canva...

"Church Interior" is an original drawing in ink and watercolor on paper, realized by Jules Rene Leblanc. Hand-signed on the lower right in pencil. The state of preservation of the ar...

Interior of The Church is an original Artwork realized by Remy Hetreau (1913-2001). Realized with pencil, and watercolor on cardboard. in good condition.

A charming late 19th century oil by W.D. West depicting mother and child attending church. Presented in a stained oak frame with a gilt inner edge. Signed to the lower right. Inscri...

Alexis Pierre MILON (Rouen, 1784 - After 1858) View of one of the aisles of the apse of Saint-Germain-des-Prés Oil on canvas Signed and dated lower left 50.5 x 34.5 cm 1838 Exhibi...

Signed lower right: “Irwin D. Hoffman”.

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...