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III/iv - l-r: Richard Leeming (Abel Drugger), Tom McCall (Kastril) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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III/iv - l-r: Tom McCall (Kastril), Richard Leeming (Abel Drugger) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/iiii: Tim Samuels (Sir Pertinax Surly) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/iiii: Ian Redford (Sir Epicure Mammon) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/iiii - l-r: Ken Nwosu (Face), Mark Lockyer (Subtle) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/iiii - l-r: Ken Nwosu (Face), Richard Leeming (Abel Drugger) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/iiii: Richard Leeming (Abel Drugger) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/i: Ken Nwosu (Face) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/i: Mark Lockyer (Subtle) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/i: Ken Nwosu (Face), Siobhan McSweeney (Dol Common) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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Siobhan McSweeney (Dol Common) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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I/i: Mark Lockyer (Subtle) in THE ALCHEMIST by Ben Jonson at the Royal Shakespeare Company (RSC), Swan Theatre, Stratford-upon-Avon, England 02/06/2016 design: Helen Goddard lighting: Charles Balfour director: Polly Findlay-stock-foto
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LORENTINO D'AREZZO (b. ca. 1430, Arezzo, d. 1506, Arezzo) St Bernardino of Siena 1452-66 Fresco San Francesco, Arezzo The large two-light window of the Cappellla Maggiore was the work of Niccol? Tedesco made in 1417. It was destroyed in the rarly seventeenth century. The window probably included effigies of Franciscan saints to which, following the canonization of St Bernardino in 1450, Lorentino, a collaborator of Piero della Francesca, added an image of the new saint against a 'mille fleur' background in the window embrasure of the Cappella Maggiore of San Francesco, Arezzo. --- Key-stock-foto
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Wignacourt Water Tower, a 17th‑century Baroque structure in Floriana, Malta-stock-foto
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Wignacourt Water Tower, a 17th-century Baroque structure in nearby Floriana-stock-foto
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Wignacourt Water Tower, a 17th-century Baroque structure in nearby Floriana-stock-foto
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Wignacourt Water Tower, a 17th-century Baroque structure in nearby Floriana-stock-foto
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Wignacourt Water Tower, a 17th-century Baroque structure in nearby Floriana-stock-foto
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Wignacourt Water Tower, a 17th-century Baroque structure in nearby Floriana-stock-foto
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KEYSER, Thomas de (b. 1596/97, Amsterdam, d. 1667, Amsterdam) Portrait of a Silversmith 1630 Oil on panel, 65 x 54 cm Private collection This painting belongs to a group of small full-length portraits in meticulously delineated interiors, executed by the Amsterdam artist Thomas de Keyser in the 1620s and 30s, which were extremely influential upon the development of Dutch portrait painting in the second quarter of the seventeenth century. In each case the sitter is placed in a rich interior, informally posed with lively gestures, looking confidently out at the viewer. The first of this series-stock-foto
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KONINCK, Philips (b. 1619, Amsterdam, d. 1688, Amsterdam) Dutch Landscape Viewed from the Dunes 1664 Oil on canvas, 122 x 165 cm Gem?ldegalerie, Dresden If Koninck's development had stopped in the middle of the seventeenth century, he would be remembered as a talented Rembrandt follower. But from about 1649-50 until around 1665 he created a series of very large panoramic views in a distinctive personal style. They are closely related to the classical phase of Dutch landscape painting and are amongst the great glories of Dutch art. --- Keywords: -------------- Author: KONINCK, Philips-stock-foto
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LA HIRE, Laurent de (b. 1606, Paris, d. 1656, Paris) Theseus and Aethra 1635-40 Oil on canvas, 141 x 118,5 cm Sz?pm?v?szeti M?zeum, Budapest This is a representation of Plutarch's story in which, in the presence of his mother, the young Greek hero Theseus finds the swords and sandals his father Aegeus has buried under a heavy stone. Seventeenth century French masters often chose to depict some fairly recondite theme from the Graeco-Roman history or legend, and La Hire, a popular artist of the period, excelled in paintings of this kind. The painting was commissioned by Cardinal Richelieu.-stock-foto
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LANGETTI, Giovanni Battista (b. 1635, Genova, d. 1676, Venezia) Mary Magdalene at the Foot of the Cross c. 1670 Oil on canvas Santa Teresa, Venice Langetti, a Genoese artist, produced a number of tempestuously dramatic paintings. The tragic intensity of his figures reflects the rather gloomy and melodramatic atmosphere of later seventeenth-century painting. --- Keywords: -------------- Author: LANGETTI, Giovanni Battista Title: Mary Magdalene at the Foot of the Cross Time-line: 1651-1700 School: Italian Form: painting Type: religious-stock-foto
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LAIRESSE, G?rard de (b. 1641, Li?ge, d. 1711, The Hague) Achilles Discovered among the Daughters of Lycomedes c. 1685 Oil on canvas, 150 x 181 cm Nationalmuseum, Stockholm This subject is rare in seventeenth-century Northern Netherlandish art. However, it became extremely popular in Flanders after Rubens' version appeared in c. 1616. There are three known versions of the theme by Lairesse: in the Mauritshuis, The Hague, in the Nationalmuseum, Stockholm, and in the Herzog Anton Ulrich-Museum, Braunschweig. The subject is taken from Ovid's Metamorphoses. Knowing her son was destined to die if-stock-foto
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LAIRESSE, G?rard de (b. 1641, Li?ge, d. 1711, The Hague) Achilles Discovered among the Daughters of Lycomedes c. 1685 Oil on canvas, 138 x 190 cm Mauritshuis, The Hague This subject is rare in seventeenth-century Northern Netherlandish art. However, it became extremely popular in Flanders after Rubens' version appeared in c. 1616. There are three known versions of the theme by Lairesse: in the Mauritshuis, The Hague, in the Nationalmuseum, Stockholm, and in the Herzog Anton Ulrich-Museum, Braunschweig. The subject is taken from Ovid's Metamorphoses. Knowing her son was destined to die if he-stock-foto
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KERSTING, Georg Friedrich (b. 1785, G?strow, d. 1847, Meissen) Man Reading at Lamplight 1814 Oil on canvas, 48 x 37 cm Oskar Reinhart Collection, Winterthur Kersting concentrated exclusively on interiors, a genre established in seventeenth-century Netherlandish art. His pictures often show humble, even Spartan working and living quarters, redolent of the concentrated spiritual life led by their inhabitants, who are often occupied with reading. This was Kersting's favourite subject apart from portrayals of his friend, Friedrich, and quite in tune with his unemphatic but delicately coloured co-stock-foto
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HOOCH, Pieter de (b. 1629, Rotterdam, d. 1684, Amsterdam) Two Soldiers and a Serving Woman with a Trumpeter 1654-55 Oil on panel, 76 x 66 cm Kunsthaus, Zurich Military life was a topical subject during the first half of the seventeenth century in the Netherlands. Battle scenes were painted by many Dutch and Flemish artists, Esaias van de Velde and Palamedes Palamedesz being two of the most prolific representatives. During the 1630s and 1640s, when Frederick Hendrick was conducting or threatening campaigns against the Spanish Netherlands, numerous troops, many of them mercenaries, spent month-stock-foto
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HOOCH, Pieter de (b. 1629, Rotterdam, d. 1684, Amsterdam) A Woman with a Baby in Her Lap, and a Small Child 1658 Oil on panel, 60 x 47 cm Private collection While hardly unknown earlier, pictures affectionately describing the virtues of motherhood and the responsibilities of the housewife flourished remarkably on the Dutch art market during the third quarter of the seventeenth century. De Hooch could be considered the foremost representative of this development, especially in the late 1650s and early 1660s, when his finest domestic scenes were painted. The painting is signed and dated lowe-stock-foto
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HONDECOETER, Melchior d' (b. 1636, Utrecht, d. 1695, Amsterdam) Peacocks and Ducks c. 1680 Oil on canvas, 211 x 177 cm Wallace Collection, London A group of Dutch artists in the seventeenth century represented live domesticated and wild birds. Their pictures do not belong to the category of still-life, but their emphasis on the textural and colouristic beauty of their subjects gives a still-life character to their works. Their patrons probably included the rich burghers who lived as landed aristocrats on estates in the country where they kept exotic as well as native fowl. Just as some paint-stock-foto
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HONDECOETER, Melchior d' (b. 1636, Utrecht, d. 1695, Amsterdam) Peacocks and Ducks c. 1680 Oil on canvas, 211 x 177 cm Wallace Collection, London A group of Dutch artists in the seventeenth century represented live domesticated and wild birds. Their pictures do not belong to the category of still-life, but their emphasis on the textural and colouristic beauty of their subjects gives a still-life character to their works. Their patrons probably included the rich burghers who lived as landed aristocrats on estates in the country where they kept exotic as well as native fowl. Just as some paint-stock-foto
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HOUCKGEEST, Gerard (b. ca. 1600, The Hague, d. 1661, Delft) Interior of an Imaginary Catholic Church in Classical Style 1638-40 Oil on panel, 69 x 98 cm Private collection In this panel Houckgeest reinterprets the Early Christian Basilica in the style of his own time. Certain elements of the design, such as the barrel-vaulted narthex and the giant order of columns and pilasters in the foreground, recall Catholic churches built in the Spanish Netherlands during the first third of the seventeenth century. Similar compositions were painted from the 1620s onward by Dirck van Delen and Bartholom-stock-foto
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GREUZE, Jean-Baptiste (b. 1725, Tournus, d. 1805, Paris) Student with a Lesson-book 1757 Oil on canvas, 63 x 49 cm National Gallery of Scotland, Edinburgh Back in Paris from Italy, Greuze seems to have come close temporarily to Chardin's handling of paint - seldom closer than in the fine Student (?colier qui ?tudie sa le?on), which has the unforced sobriety of his best male portraits. Although Greuze painted this towards the end of his stay in Italy it shows the strong influence of seventeenth-century Dutch painting and the work of the slightly older French artist Chardin. --- Keyword-stock-foto
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GUERCINO (b. 1591, Cento, d. 1666, Bologna) Raising of Lazarus c. 1619 Oil on canvas, 199 x 233 cm Mus?e du Louvre, Paris 'Guercino' means 'squint-eyed' and is the unpromising nickname under which the artist Giovanni Francesco Barbieri won international fame. Coming from Cento, a small town equidistant between Ferrara and Bologna, he was virtually self-taught and like many seventeenth-century artists was able to choose his own influences. He looked to Bologna, to the work of the Carracci, and to paintings by Caravaggio in private collections, forging from these a lyrical idiom of his own. A-stock-foto
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GUERCINO (b. 1591, Cento, d. 1666, Bologna) Erminia Finds the Wounded Tancred 1618-19 Oil on canvas, 145,5 x 187,5 cm Galleria Doria-Pamphili, Rome The painting was commissioned in 1618 (significantly the date of the start of the Thirty Years War) by the famous mosaicist Marcello Provenzali da Cento, but was probably not finished by the painter until the following year. A seventeenth-century copy that is about ten centimetres wider, in a private collection in Paris in 1987, suggests that the left side of the painting, where the Parisian composition appears more developed, may have been cut o-stock-foto
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GUARDI, Gianantonio (b. 1699, Wien, d. 1760, Venezia) The Marriage of Tobias c. 1750 Oil on canvas Chiesa dell'Angelo Raffaele, Venice To the middle years of the eighteenth century belongs one of the most remarkable examples of decorative painting in Venice. The ancient church of the Angelo Raffaele (perhaps founded as early as the seventh century) is now rather out of the way and looks dull in its unfinished form, which dates from the sixteenth or seventeenth century. Inside, above the doorway, is a great Baroque organ loft, its parapet decorated with a cycle of seven brilliantly painted sc-stock-foto
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HALS, Frans (b. 1580, Antwerpen, d. 1666, Haarlem) Willem van Heythuyzen c. 1625 Oil on canvas, 204,5 x 134,5 cm Alte Pinakothek, Munich This portrait, which was formerly dated about 1635 but upon the basis of style and costume should be dated about a decade earlier, is Hals's only known life-size, full-length. This type of portrait was not popular during the first half of the seventeenth century in Holland. It was one that was still primarily used for state portraits and the nobility; only the most powerful, the wealthiest or the most pretentious commissioned them. Moreover, few Dutch homes-stock-foto
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HALS, Dirck (b. 1591, Haarlem, d. 1656, Haarlem) A Merry Company Making Music 1623 Oil on oak panel, 23 x 31 cm Private collection Depictions of merry companies had begun at the very beginning of the seventeenth century with Esaias van de Velde, David Vinckboons and Dirck Hals' elder brother by ten years, Frans. These they set in elegant gardens or on outdoor terraces but it was Dirck Hals and Buytewech who were the first to move them indoors in the early 1620s. The present work joins the Musicians as one of Dirck Hals' two earliest known interiors, both dated 1623. During these early years-stock-foto
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HALS, Dirck (b. 1591, Haarlem, d. 1656, Haarlem) A Merry Company Making Music 1623 Oil on oak panel, 23 x 31 cm Private collection Depictions of merry companies had begun at the very beginning of the seventeenth century with Esaias van de Velde, David Vinckboons and Dirck Hals' elder brother by ten years, Frans. These they set in elegant gardens or on outdoor terraces but it was Dirck Hals and Buytewech who were the first to move them indoors in the early 1620s. The present work joins the Musicians as one of Dirck Hals' two earliest known interiors, both dated 1623. During these early years-stock-foto
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GOYEN, Jan van (b. 1596, Leiden, d. 1656, Den Haag) Seashore at Scheveningen 1645 Oil on wood, 53 x 71 cm The Hermitage, St. Petersburg In Holland in the seventeenth century it was customary for painters to specialize in one field, or even one subject. Painters who specialized in figure painting sought the help of another artist for the execution of a landscape, while the landscape painter would often ask a colleague to paint the human or animal figures or still-lifes that he wanted to include in his composition; it was very seldom that anyone who had established his name in a certain field-stock-foto
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GOBIN, Michel (active around 1681, Orl?ans) Young Man with a Candle 1681 Oil on canvas, 121 x 116 cm Mus?e des Beaux-Arts, Orl?ans Many authorities believe that this picture is an allegory of study and vigilance, rather than a genre scene without any specific meaning. The painting is a remarkable proof of the long continuation of the early seventeenth-century tenebrist tradition; only the handling of still-life is any indication of the late date of the picture. It is assumed that Gobin worked at Orl?ans. He was also a still-life painter, and it is likely that his work is still confused wit-stock-foto
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