#nicolaes pieterszoon berchem

[illustratus]

Landscape with a waterfall and the Temple of the Sibyl at Tivoli

by Nicolaes Pieterszoon Berchem

[clove-pinks]

Seated cavalier with hat by Nicolaes Pieterszoon Berchem, dated 1630-1683 (Rijksmuseum).

[rosealouette]

credits! the price of salt by patricia highsmith, two friends by henri de toulouse-lautrec, jupiter and callisto by nicolaes pieterszoon berchem, the fragments of sappho, sara by fleetwood mac, two nymphs of diana by françois boucher, my love mine all mine by mitski, two fairies embracing by hans zatzka, annabel lee by stevie nicks (inspired by the edgar allen pie poem), the seven husbands of evelyn hugo by taylor jenkins reid

[eddiebabygirldiaz]

Jupiter and Callisto, Peter Paul Rubens, 1613

Jupiter & Callisto, Nicolaes Pieterszoon Berchem, 1650

Diana and Callisto, Pietro Liberi, 1670

The medieval male obsession with female lovers is certainly something, but I am happy to reap the benefits of it centuries later.

Also, fun fact, in the original poem Metamorphoses written by Ovid in 8 CE which was inspired by mythology combined with history, when Jupiter seduces Callisto, Callisto becomes pregnant from the union. Fanfiction is ageless and eternal.

[visualpoett]

Nicolaes Pieterszoon Berchem, Annunciation to the Shepherds (detail), 1656

[eatingbreadandhoney]

The Four Seasons, Allegory of Autumn by Nicolaes Pieterszoon Berchem 1675

[klassizismus]

Details: 'Allegory of Spring', 1670, Nicolaes Pieterszoon Berchem (Dutch, 1620-1683)

[laclefdescoeurs]

A Peasant with his Flock by a Ford by Moonlight, Follower of Nicolaes Pietersz. Berchem

[1five1two]

'Allegory of Spring'. Nicolaes Pieterszoon Berchem. c. 1670.

[hannahlhnd2021]

Inspired by Art still life Inspiration - paintings (15/11/20)

Above: a still life with apricots, cherries, a wild strawberry, red currants, shells and insects by Balthasar van der Ast (lifespan 1593/94 - 1657: painting date unknown) est. value $400k-$600k.

Visual:

Light - the light is very much centered in the foreground on the left hand side with the shadows gradually elongating toward the back, in the right.

Line - there is somewhat of a triangle formation, building from the corners of the painting to the top in the middle.

Shape - the shapes are organic; round, smooth, all except the shell in the bottom right which has a sharp point. There is not really a geometric quality to this at all, disregarding the line formed between the table and wall at the back, it is entirely natural.

Colour - significant colour in the image with the pop of red from the cherries and red currants, the lively yellow from the fresh apricots, orange of the butterfly, and earthish green of the leaves.

Contextual:

Balthasar was a Dutch Golden Age painter who specialised in shells, flowers, and fruit. He was classically trained in art by his brother in law Ambrosius Bosschaert the Elder, and after Ambrosius passed, Balthasar taught his sons. The sons went on to excel and are sometimes referred to as the ‘Bosschaert Dynasty’. 

Technical:

Balthasar would have perhaps used light coming from a large window on the left to illuminate the objects.

Above: a still life of lemons and olives, pewter plates, a roemer and a façon-de-venise wine glass on a ledge by Pieter Claesz (painted 1629) est. value $700k-$900k.

Visual: 

Light - natural light. There’s a lot of reflections, in the metal plates, glasses, and even the knife on the plate. 

Shape - primarily geometric with some organic shape coming from the lemons and olives.

Space - there is some depth although it is quite shallow, not a wide depth of field. The table looks no more than a couple of feet wide.

Form - a lot of interesting form in this image, the glasses look almost like a photograph, especially the more intricate one on the left. The dimensions of the objects are perfect and three dimensional.

Contextual:

Pieter Claesz was a Dutch Golden Age painter. He was born in Berchem, Belgium, where he became a member of the Guild of St. Luke in 1620. He moved to Haarlem in 1620, where he had a son - landscape painter Nicolaes Pieterszoon Berchem. He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important purveyors of the ‘ontbijt’, meaning dinner piece.

Technical:

Pieter used a large window on the left, as you can see from the reflections in the objects, to utilise daylight.

[clove-pinks]

I am a little bit obsessed with the 1600s men's pants that look like board shorts. Handbook of English Costume in the 17th Century by C. Willett Cunnington and Phillis Cunnington simply calls them "open breeches unconfined at the knee" and adds that "these somewhat resembled modern 'shorts' and were a Dutch fashion from 1585 and an English from 1600 to 1610 and again from 1640 to 1670's."

ſurf's upp!

Of course cavaliers sometimes wore them; they're cool and sexy. The mid-1600s cavalier drawing by Nicolaes Pieterszoon Berchem has this type of breeches.

But I'm also finding them shown on the Parliamentary soldiers in the English Civil War?

Obviously these illustrations are from modern uniform reference books and might be questionable; but literally Cromwell himself is shown in breeches unconfined at the knee in a 1652 satire print (Rijksmuseum)!

I don't think this particular style of breeches has a necessarily foppish appearance (unless you put ribbons all over them), they can also be plain.

Here's a Puritan of 1649 in the Cunningtons' book, with the source given as "Reproduced in Planché 'Cyclopaedia of Costume.' (1876-9) vol. I, p. 109." He has the board shorts AND bucket-top boots? Anyway I am dying for more period illustrations and portraits showing this style.

[vozdodeserto]

No sermão de amanhã, chamado “Não vistas o que adoram em ti”, planeio abrir o texto bíblico em Actos 14 para vermos que a popularidade de Paulo e Barnabé em Listra não aproxima as pessoas de Cristo mas afasta-as. Quando confundem o bom que há na nossa fé com o bom que há em nós, o que temos a fazer é rasgar as vestes. Não devemos vestir o que as pessoas adoram em nós. O melhor que temos a fazer não é chamar a atenção dos outros para o cuidado visível que temos com eles; o melhor que temos a fazer é chamar a atenção dos outros para o cuidado que Deus tem com eles e que parece invisível. Foi isso que Paulo e Barnabé fizeram e é isso que devemos fazer.

Liguem-se à conta da Igreja da Lapa nas redes sociais para seguirem o link da emissão online do nosso serviço de culto, amanhã às 11.30h.

[A pintura, "Paulo e Barnabé em Listra", é de Nicolaes Pieterszoon Berchem.]

[civil-law-en-blog]

Brigandage

"Brigand" redirects here. For the aircraft, see Bristol Brigand. For the film, see Brigands (film). Brigandage refers to the life and practice of brigands: highway robbery and plunder. A brigand is a person who usually lives in a gang and lives by pillage and robbery. The painting, Travellers attacked by brigands by Nicolaes Pieterszoon Berchem (c. 1670). More details Android, Windows

[arthisour-blog]

Jan Baptist Weenix (1621 – 1659), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground.

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Weenix was born near Amsterdam’s harbour, the son of an architect. He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken.

Weenix first studied under Jan Micker, who was the brother-in-law of his oldest sister Lysbeth. He then studied in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1639, he married Josijntje d’Hondecoeter. In 1643, Weenix travelled to Rome with Nicolaes Pieterszoon Berchem, who had also studied with Moeyaert. He had left his home secretly, but his wife, the daughter of Gillis d’Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome, he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. He returned to Amsterdam after four years; his wife had refused to come to Rome. In 1649, he became master of the guild of St. Luke in Utrecht, and also painted a portrait of René Descartes. When his brother-in-law Gijsbert d’Hondecoeter died, he trained his nephew Melchior d’Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle at Vleuten outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date.

He painted a few religious scenes, one of the rare pieces of this kind being the “Jacob and Esau” (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a “Hunting Scene” by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.

Jan Baptist Weenix was originally published on HiSoUR Art Collection