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Illustrated catalogue of 100 paintings of old masters of the Dutch, Flemish, Italian, French, and English schools - belonging to the Sedelmeyer Gallery, which contains about 1000 original paintings of (14766565282)
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Identifier: illustratedcatal00gale_1 (find matches)
Title: Illustrated catalogue of 100 paintings of old masters of the Dutch, Flemish, Italian, French, and English schools : belonging to the Sedelmeyer Gallery, which contains about 1000 original paintings of ancient and modern artists
Year: 1894 (1890s)
Authors: Galerie Sedelmeyer
Subjects: Painting
Publisher: Paris : (The Gallery)
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
Text Appearing Before Image:
29- — Van Ostade (Adrian) REMBRANDT VAN RJIN (1608-1669) 30. The good Samaritan In a landscape with high rocks in the background, is seen awounded man stretched out on the ground, reclinig on his elbow.He is in profile, dressed in a linen shirt of a dazzling whiteand with a white turban on his head. On his right, the good Samaritan is kneeling. Full-face; he wearsa red garment with a variegated turban, and holds in his hands aphial; a medicine-box is open on the ground beside him. Inthe centre stands a grey horse with its back to the spectator. On the left, a Pharisee is walking and reading a book. He passeswithout stopping, throwing a side-glance on the pathetic scene. Inthe distance, among the rocks, we perceive the outlines of anotherPharisee. Signed, on the left.Canvas, 3 ft. t 3/4 in. by 4 ft. 3/4 in. Described in The Life and the Works of Rembrandt by, « Emile Michel »,page 33o. — 36 —
Text Appearing After Image:
REMBRANDT VAN RJIN ( I 608-I 669) 31. — The Artists Wife (Smith, vol. VII p. 183, n° 5y6, gives the following description of the picture) : A Young Lady, styled : « The Artists Wife. » She has a floridfull countenance, which is seen in a three quarter view, and herbright auburn hair is partly concealed by a muslin veil, embroi-dered with gold, which falls on her shoulders behind. She wears adark-coloured dress, relieved by an embroidered neck-kerchief, anda gold chain. — This is a carefully finished work of the master. » Panel, 2 ft. 1 in. by 1 ft. 8 in. A Mezzotint by Read of this portrait, Styled A Dutch Lady has been publishedby J. C. Bryer, Oct. ist 1776. Collection of William Wells Esq. Redleaf.Collection of H. Bingham Mildmav, Esq. — 38 — REMBRANDT VAN RJIN (1608-1669) 32. — Pilate washing his Hands In the foreground is a group of three persons : Pilate, the High-priest and a page. Pilate is seen in profile, turned to the left, seatedon a chair with high back, of c
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
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