Music and musicians by Gerrit van Honthorst

Besides Gerrit van Honthorst (1592-1656) several painters of the 15-18th centuries were interested in music as a motif for their works, as it played an important role in the evening entertainment gatherings and in festive occasions.

Além de Gerrit van Honthorst (1592-1656) vários pintores dos séculos XV-XVIII se preocuparam com o tema da música por esta servir de entretenimento nos serões e ocasiões festivas.

Gerrit van Honthorst (1592-1656)-'concert'-oil on canvas-1625   Roma-Galleria Borghese

Gerrit van Honthorst (1592-1656)-'concert on a balcony'-oil on canvas-1624   Paris-Musée du Louvre

   
Gerrit van Honthorst (1592-1656)-'musical group on a balcony'-fresco-1622   Private collection

Gerrit van Honthorst (1592-1656)-'happy violinist'-oil on canvas   Amsterdam-Rijksmuseum

Gerrit van Honthorst (1592-1656)-'the happy violinist with a glass of wine'-oil on canvas-1624   Madrid-Museo Thyssen Bornemisza

Sanssouci Palace in Potsdam

In 1745, Frederick II of Prussia (Friedrich der Grosse or der Alte Fritz) (1712-1786) ordered the construction of the palace of Sanssouci in Potsdam. It features a Rococo style with a design by the architect and painter Georg von Wenzeslau Knobelsdorf (1699-1753), whom he had sent to Italy to study. To his refuge he called in French “sanssouci” or “without worry”. The picture gallery has paintings of artistic value; the ones that stand out are those by Rubens.

Frederico II da Prússia (Friederich der Grosse ou der Alte Fritz) (1712-1786) mandou construir em 1745 o palácio de Sanssouci em Potsdam. De estilo rococó, tem desenho do arquiteto e pintor Georg Wenzeslau von Knobelsdorf (1699-1753), que mandara estudar em Itália. Ao seu refúgio chamou em francês sanssouci ou without worry. A galeria de quadros possui pinturas com valor artístico, onde se destacam as de Rubens.

Johann Friedrich Nagel (1765-1825)-'deer garden colonnade'-watercolor-1792   Potsdam Sanssouci Schloss (Bildergalerie)

Johann Heinrich Hintze (1806-1861)-'Potsdam-Sanssouci Palace, terraces and fountains of Great West'-watercolor-1844

Georg Wenzeslau von Knobelsdorff (1699-1753)-' Neptune grotte in the park of Sanssouci'

Luca Cardevarijs (1663-1729)-'the warf, looking toward the Doge's Palace'-oil on canvas    Potsdam Sanssouci Schloss (Bildergalerie)

Jean-Baptiste Pater (1695-1736)-'Mme de Bouvillon tempts fate by asking Ragotin to search for a pea'-oil on canvas    Potsdam Sanssouci Schloss (Bildergalerie)

The Seven Deadly Sins by Pieter van der Heyden

The seven deadly sins or capital vices, characteristic of the human condition and listed by St. Gregory the Great (540-604), are a truthful code of conduct. In a community, human beings must behave so that they accept the other as their equal and not as a 'medium' or object. Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca. 1525-1569) represents the seven deadly sins in his prints.

Os sete pecados ou vícios capitais, característicos da condição humana, elencados por São Gregório Magno (540-604), são verdadeiro código de conduta. Em comunidade os seres humanos devem comportar-se de modo a aceitar os outros como alguém igual a si e não como um 'meio' ou objeto. Pieter van der Heyden (1530-1572), baseando-se em Pieter Brueghel the Elder (ca 1525-1569), representa-os nas suas gravuras.

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'sloth (desidia)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'greed (avaritia)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'envy (invidia)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'anger (ira)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'lust (luxuria)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'gluttony (gula)'-engraving-1558   New York-Metropolitan Museum of Art

Pieter van der Heyden (1530-1572) after Pieter Brueghel the Elder (ca 1525-1569)-'pride (superbia)'-engraving-1558   New York-Metropolitan Museum of Art

Sistine Chapel

The chapel was named after Sisto IV (Della Rovere), a Pope of the 15th century. Its construction was inspired in the Temple of Solomon and it is located in the Vatican Apostolic Palace. Its frescoes were painted by some of the best Renaissance artists: Michelangelo, Raphael, Bernini, Botticelli and others.

A capela recebe o nome de Sisto IV (Della Rovere), Papa do séc. XV. Inspirada no Templo de Salomão, situa-se no Palácio Apostólico Vaticano. Pintaram os seus frescos alguns dos melhores pintores renascentistas: Miguel Ângelo, Rafael, Bernini, Botticelli e outros.

Several painters-'interior of the Sistine Chapel'-fresco

Michelangelo Buonarroti (1475-1564)-'the creation of Adam'-fresco

Michelangelo Buonarroti (1475-1564)-'the fall and expulsion from garden of Eden'-fresco

Michelangelo Buonarroti (1475-1564)-'Last Judgment'-fresco

Cosimo di Lorenzo Rosselli (1439-1507)-'crossing of the Red Sea'-fresco

Passion of Christ the by Limbourg Brothers (ca 1416)

The miniatures painted by the Limbourg brothers are part of the manuscript “Très Riches Heures du Duc de Berry”, which belongs the Condé Museum in Chantilly.

As iluminuras pintadas pelos Irmãos Limbourg encontram-se no manuscrito 'Très Riches Heures du Duc de Berry' pertença do Museu Condé de Chantilly.

Limbourg Brothers (ca 1416)-'the entry into Jerusalem'-tempera on vellum-fol. 173v

Limbourg Brothers (ca 1416)-'Christ leaving the Praetorium'-tempera on vellum-fol. 146v

Limbourg Brothers (ca 1416)-'the flagellation'-tempera on vellum-fol. 144r

Limbourg Brothers (ca 1416)-'the road to Calvary'-tempera on vellum-fol. 147r

Limbourg Brothers (ca 1416-'the Crucifixion'-tempera on vellum-fol. 157v

Holy Land by William Henry Bartlett

The London artist William Henry Bartlett (1809-1854) visited the USA and Canada several times. He also left some engravings on his visit to The Holy Land.

O pintor londrino William Henry Bartlett (1809-1854) visitou várias vezes os EUA e também o Canadá. Da Terra Santa deixou algumas gravuras.

William Henry Bartlett (1809-1854)-'Khan et Tejjar-Arab fair'-steel engraving   in W. M. Thomson; The Land and the Book, or Biblical illustration drawn from the manners and customs, the scenes and scenery of the Hoy Land, New York (1859), vol. II

William Henry Bartlett (1809-1854)-'Jews place of Wailing, Jerusalem'-steel engraving by E. Chalis-1850   in Walks about the city and environs of Jerusalem

William Henry Bartlett (1809-1854)-'interior of the house of a Christian family in Jerusalem Holy Land'-steel engraving by J. Carter-ca 1850

William Henry Bartlett (1809-1854)-'Tell Abu Hawam (small city established in the 14th century BC near Haifa)'-steel engraving

William Henry Bartlett (1809-1854)-'the tomb of the Kings (built outside the walls of en Jerusalem by queen en Helena of Adiabene in the mid first century CE)'-lithography

Streets with people by Max Ginsburg

The painter Max Ginsburg (1931-), born in France and naturalized a USA citizen, realistically addresses contemporary social issues.

O pintor Max Ginsburg (1931- ), nascido em França e naturalizado cidadão dos EUA, aborda com realismo temas sociais contemporâneos.

Max Ginsburg (1931- )-'peace march'-oil on canvas  

Max Ginsburg (1931- )-'bus stop'-oil on canvas  

Max Ginsburg (1931- )-'field trip'-oil on canvas  

Max Ginsburg (1931- )-'tire swing'-oil on canvas

Max Ginsburg (1931- )-'sandbox'-oil on canvas  

Spain by Paul Gustave Doré

The French painter Paul Gustave Doré (1832-1883) together with Charles Davillier travelled in Spain to draw the most characteristic features and to take notes for the book “Voyage en Espagne”.

O pintor Francês Paul Gustave Doré (1832-1883) conjuntamente com Charles Davillier viajou por Espanha a desenhar os aspetos mais característicos e a tomar notas para o livro “Voyage en Espagne”.

Paul Gustave Doré (1832-1883)-'Gypsy caves, Sacro Monte, Granada'-drawing-1865

Paul Gustave Doré (1832-1883)-'dance of little Gypsies in the Sacro Monte'-drawing-1881

Paul Gustave Doré (1832-1883)-'el Generalife of Seville'-drawing-1881

Paul Gustave Doré (1832-1883)-'general view of Alhambra'-drawing-1862

Paul Gustave Doré (1832-1883)-'La Alhambra tower door'-drawing-1865

Paul Gustave Doré (1832-1883)-'bullfighting on streets'-drawing-1862

Dante’s Hell by Jan van der Straet

Dante Alighieri (1265-1321) divided the Divine Comedy in three parts: Hell, Purgatory and Paradise. In this work he describes the fate of the human beings’ souls according to their behavior on Earth. In his visit to the beyond, Dante was accompanied by Virgil and Beatrice, his beloved.

Dante Alighieri (1265-1321) dividiu a Divina Comédia em três partes: Inferno, Purgatório e Paraíso. Nesta obra descreve o destino das almas dos seres humanos conforme o seu comportamento terreno. Na sua visita ao Além faz-se acompanhar por Virgílio e Beatriz, a sua amada.

Jan van der Straet (1523-1605)-'Canto 1'-illustration

Jan van der Straet (1523-1605)-'Canto 5'-illustration

Jan van der Straet (1523-1605)-’Canto 8’-illustration

Jan van der Straet (1523-1605)-'Canto 25'-illustration

Jan van der Straet (1523-1605)-’Canto 33B’-illustration

Missions in California by Edwin Deakin

The Spaniards colonized California after 1769. To evangelize the various native tribes they settled 21 missions along the coast and El Camino Real between San Diego and Sonoma. They served until 1823. The USA annexed the region to Mexico in the 1850s. In the late century Edwin Deakin (1838-1923) showed the state of neglect and degradation of these missions.

Os Espanhóis colonizaram a Califórnia depois de 1769. Para evangelizar as diversas tribos nativas instalaram 21 Missões ao longo da costa e de El Camino Real entre San Diego e Sonoma. Funcionaram até 1823. Os EUA anexaram esta região ao México na década de 1850. No fim do século Edwin Deakin (1838-1923) mostrou o seu estado de abandono e degradação.

Edwin Deakin (1838-1923)-'Mission of San Luis king of France'-oil on canvas-1899   Santa Barbara-Mission Archive (Library)

Edwin Deakin (1838-1923)-'Mission of Santa Clara of Assis'-oil on canvas-1899   Santa Barbara-Mission Archive (Library)

Edwin Deakin (1838-1923)-'Mission of San Juan Bautista'-oil on canvas-1899   Santa Barbara-Mission Archive (Library)

Edwin Deakin (1838-1923)-'Mission of San Francisco of Assis'-oil on canvas-1899   Santa Barbara-Mission Archive (Library)

Edwin Deakin (1838-1923)-'Mission of Nuestra Señora de la Soledad'-oil on canvas-1899   Santa Barbara-Mission Archive (Library)